Jade Bahr

If he attended the oscars without being nominated just as Lilys supportive +1 I swear the world would collapse. Best free pr ever. Just sayin. 😙 It's also a bit different than 1998 I think. He's much more mature now (mostly *cough) and he cares about KOTFM and the highly important message of it like he cares for Marty and Lily and DeNiro. And even though he might cared for Kate back then he never felt that amount of commitment to Titanic nor James Cameron let's be real.

Still waiting for those hippies.... Lord this movie is already making me nervous 😄

In good old Saltburn candle tradition: You're welcome.

I liked him in Captain Fantastic, Thirteen Lives and Eastern Promises. He was pretty amazing in The Road too but that sh!t is too dark for me 🙈 But my all time favorite is A PERFECT MURDER. If you haven't watched I highly recommend. Brilliant thriller, many twists, great cast.

I would prefer the Viggo Mortensen rumors much more but I'm afraid Sean Penn (thought this mans career was over for christ sake) is playing this part since they're around the same age. If true that's a first massive downgrade.

@oxford25 I watched Magnolia (thought it was weird especially the ending), The Master (didn't hate it but it's nothing I would re watch mostly because of the unpleasant topic) and I tried to watch the Pizza movie but turned it off after 30 minutes of boredom. It's the first time I'm really afraid I won't like Leos next movie because PTA gives me absolutely nothing. The only thing I'm excited about is viewing Leo under someones direction for the first time. That's kinda thrilling. I like to see Leo trying new things the way he did with DLU (which I liked much more than KOTFM sry).

That's actually my hope too. I'm also glad it's not Scorsese again (sry Marty).

Would love that but isn't PTA very uhm - secretive? Never really paid attention to his movies let alone the sets to be honest 😅

for SNL Jan 2024

Yeah this is why Jordan Ruimy still doesn't let go of this idea. Could PTA’s Next Film Still Be ‘Vineland’?

^Yeah Zoyd sounds like someone's coming straight from space 🤣 This whole plot sounds so unappealing and meaningless good lord 🤪

@oxford25 thx for clarification. This whole Vineland plot is hella confusing 😄 Can someone explain me what the POINT of this novel is???

Allegedly the summery of Leos new PTA movie LOL

Soul food Leonardo DiCaprio’s Oscars snub for Killers of the Flower Moon is ridiculous I'm no Scorsese diehard but I struggle to think of a more perfect film The announcement of the Oscars shortlist today hasn’t yielded many surprises: big names Oppenheimer, Poor Things, The Holdovers, Barbie and Maestro come up again and again (though Margot Robbie is nowhere to be seen in the Best Actress category). The nominations mean that everyone is talking about the biggest and best films of the year: Oppenheimer, which has already swept the Golden Globes and is tipped to win big again; the shocking and taboo Poor Things, for which Emma Stone has rightly received a lot of hype and is now up for Best Actress; Celine Song’s delicate, moving Past Lives, about the rekindling of a childhood relationship, which has deservedly been nominated for Best Picture. But somehow, it feels as though people aren’t talking nearly enough about the best of them all: Killers of the Flower Moon, which is up for Best Picture, Costume Design, Original Song, Original Score, Production Design, Editing and Cinematography, along with Best Supporting Actor (Robert De Niro), Actress (Lily Gladstone) and Director (Martin Scorsese). This may seem like a lot, but they’re all deserved – and frankly, it’s a travesty that Leonardo DiCaprio has been snubbed in the Best Actor category. I’m no Scorsese diehard, but I would struggle to think of a more perfect film. It deserves to win every Oscar going. It’s not an easy watch: Killers of the Flower Moon is a Western tragedy, about the gradual theft of land and assets from the Osage, a Native tribe in Oklahoma, in the 1920s, who are wealthy due to the oil on their reservation. A cattle rancher, William King Hale (De Niro), poses as a benevolent benefactor of the native people but is secretly killing them, using his nephew Ernest Burkhart (DiCaprio) as a weapon when he falls in love with Mollie (Gladstone) and marries into the family. It’s based on David Grann’s non-fiction book of the same name. Everyone’s first thought when they set out to watch Killers is about its length – at three and a half hours, it’s hardly a weeknight watch. But I didn’t look away once, or at any point think about how long was left, or pop to the loo or the cinema Ben & Jerry’s bar (the same cannot be said of my experience watching Oppenheimer). This is a film that manages to be constantly gripping and chilling, despite its extremely slow burn. In fact, the slow burn is absolutely crucial. As Hale and Burkhart systematically pick off Osage people, the grief of those left – including Mollie – deepens and deepens. It’s a long, painful process, and we almost feel her agony in real time, watching her slowly deteriorate as the people she loves disappear, and she is manipulated into thinking Ernest is looking after her. This is Scorsese, so there is plenty of violence and destruction, but this – along with the lengthy runtime – never feels indulgent or gratuitous. It’s necessary to make us not only understand but go some way in feeling the scope of the horrors. Combine that with a haunting, pulsating soundtrack by Robbie Robertson, seemingly endless Wild West skies, and sublimely beautiful moments of Scorsese surrealism-cum-native folklore (such as the recurring owl motif, or the peaceful, dreamlike scene on the deathbed of Mollie’s mother), and you get one of the most darkly powerful films in living memory. A meta coda, which nods to the irony of the story being told by a white man, is a fitting end. All this, without even mentioning the performances – De Niro chills you to your core as the ruthless abuser; DiCaprio is gut wrenching as his greedy, gullible pawn; and Gladstone is breathtaking as a woman experiencing grief that is almost inconceivable, let alone imaginable. (Earlier in January, she became the first indigenous woman to win a Golden Globe.) Though Scorsese is no stranger to violence and evil characters, the way it manifests in Killers of the Flower Moon feels like little we’ve seen before on the big screen: cold, calculated and subtle. De Niro and DiCaprio are two actors the director often turns to, though, for similar roles: think of the young De Niro in Taxi Driver (1976), being gradually radicalised, or DiCaprio in Shutter Island (2010), self-sabotaging and confused. The result is performances that feel fresh, but actors who know exactly what they’re doing. That the Baftas snubbed Killers in the acting and directing categories was a disgrace. We can only hope the Oscars, already on thin ice with DiCaprio, gets it right. Killers of the Flower Moon is a stone cold masterpiece, and must, at the very least, win Best Picture.

Overall view: