14th Hall of Fame

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Women will be your undoing, Pépé
good write up, yam. Sorry it wasn't to your liking, but that does happen and I do enjoy the honesty.
As I've said in the beginning, this was a blind grab for me and one I was pretty happy to find, and, while it is a common saying in these HoF, but a very honest one: not everything is for everyone



The delivery guys showed up about half an hour ago with our new fridge. Now that that is sorted, I can finally relax and watch one of the films I have left for this.
Does it have a video screen on the front door that shows you what's inside the fridge? I've seen those and they cost a fortune. Myself I just open up the fridge to see what's in there



You should start rating the fridges you see in films.

I'd rate this fridge
. It's visually unappealing, there isn't much substance to it, but on the plus side it does seem to work as intended.



Women will be your undoing, Pépé
The delivery guys showed up about half an hour ago with our new fridge. Now that that is sorted, I can finally relax and watch one of the films I have left for this.
that has GOT to be a relief for you, that is such good news! Sorry to hear it's a crap one though. But a crap one always beats not having one, though.



You should start rating the fridges you see in films.

I'd rate this fridge
. It's visually unappealing, there isn't much substance to it, but on the plus side it does seem to work as intended.
Ha, I should! I did once nominate a fridge for an Oscar here:

Fences (2016)

....I'm probably the only reviewer in the world who will mention this:

At the start of the film (during the late 50's) we see a 1940's era refrigerator in the kitchen. Which is appropriate as the family has little spare money and the father is tight with his hard earned cash. Outside on the back porch is an old discarded refrigerator with a top mounted condenser, from the 1930s. A nice touch, as it says something about the family and their economy state. The camera never focuses on the fridge, it's just in the background, but it relays an extra depth to the story.

Flash forward towards the end of the film and it's 6 years later and the family now has a newer style refrigerator in the kitchen, presumably the old fridge broke.

To my amazement, I then noticed on the back porch that the 1930s refrigerator was gone and in place was the exact 40's refrigerator from the first part of the movie. That deserves and Oscar for set design!




Women will be your undoing, Pépé
only you, citizen! LOL
I remember you doing something similar in the musical HoF with cars and gadgets which was pretty cool





Mommy (2014)
Dir. Xavier Dolan
Starring: Anne Dorval, Antoine-Olivier Pilon, Suzanne Clément

At the start of the film, I found the 1:1 aspect ratio to be incredibly distracting, and I wasn't sure if I'd be able to stop thinking about it. I did eventually come to appreciate not only the intimacy it provided, but also how it was a visual representation of how trapped the main characters felt in their daily lives. For the few short scenes in which the aspect ratio changes, the difference almost seems overwhelming, while also giving a sense of relief and freedom. When it changes back to its original ratio, the effects of that narrow field of vision become all the more apparent. One could argue that the odd aspect ratio is nothing more than a gimmick, but I thought it was incredibly successful.

The Oedipal undertones to the relationship between Dia and Steve were very uncomfortable, particularly early in the film when all we see is their irritability and crassness, but I imagine that that was entirely intentional. I felt absolutely no sympathy for either character, until after that violent escalation that brings Kyla into their lives. I found Kyla and her unexplained but obviously tragic backstory to be the most interesting character in the film, and loved seeing how her interactions with Die and Steve helped her come out of her shell. The calming effect she had on the mother and son was greatly appreciated as well.

The film does not shy away from showcasing that heavy Québécois dialect, and its creative Catholic swearing. Some people may find the language or subtitles difficult to follow, but I just found it to be unmistakably Canadian. Though mostly unrelated to this film, I found it amusing that I had mentioned Bon Cop, Bad Cop to someone in PM just minutes before sitting down to watch Mommy, not knowing that Patrick Huard was in this film as well. My only real issue with Mommy was that its setting of a fictional Canada where one particular law is passed felt unnecessary, and as though it existed only to serve the plot and tell the audience in advance where the story was going. But luckily it didn't affect my overall enjoyment of the film. This is a great nomination that I'm glad I got the chance to see.

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Women will be your undoing, Pépé
very wonderful perception of Mommy, @CosmicRunaway. Definitely agree about the ratio and its effectiveness. Especially so when it widens and then closes back in, that was quite brilliant and spoke volumes.
Having family in Quebec and a number of other eastern Provinces I do agree about the dialect and correct amount of swearing as well
And I wondered about that law, I was surprised by it. Didn't feel right (Canadian).