Academy snubs fine Palestinian movie
F U C K YOU, you corrupt useless bunch of luvvie FUCKS.
Wait, we give a shit about what the Academy of Motion Picture Arts and Sciences thinks about international politics now?
It snubbed Billy Elliot too, the most perfect movie since Casablanca. Fuck the AMPAS.
How come it snubbed Billy Elliot? Just on judgement reasons, or on a technicality?
I also thought it was a brilliant film.
Specious fuckers.
That was a hyperbole, right Lib?
Fuck the AMPAS, certainly, but there have been plenty of movies better than Billy Elliot since Casablanca.
This is baffling, what the fuck difference does it make where a movie was made? Who gives a shit, I mean, really? I guess films made anyplace outside of AMPAS authorized countries aren’t really films. :rolleyes:
Apostate. Philistine.
Has the Academy ever had any credibility?
Billy Elliot is just remarkable on so many levels.
The screenplay is brilliantly conceived. It was director Stephen Daldry’s first film, although he had directed for the Royal Court Theatre, and his directing was stunning. It was Jamie Bell’s first role (Billy Elliot), and his gift for acting is at least equal to a young James Dean. The casting was inspired. Julie Walters (Mrs. Wilkinson), Gary Lewis (Jackie Elliot), and Jamie Draven (Tony Elliot) give incredible performances, and work so well together that you think they’ve worked together all their lives. The sexually charged yet innocent scenes between Billy and his best friend Michael (played by Stuart Wells) are beautiful and sensitively done.
The dancing is not gratuitous but rather is an integral part of the story. The score is a seamless blend of classical Tchaikovsky and T-Rex gutter rock. The editing is sharp and snappy with a number of wonderful directorial surprises peppered throughout the film. Like the disappearance of Debbie (played by Nicola Blackwell) behind the truck. Like when she and Billy are walking along and she’s dragging a stick against the wall when suddenly her stick is slapping against police shields and then back to a wall again. Like when Tony is captured by the cops and rather than the standard American gore, all we see is a bloody sheet. Like when summer transforms into winter with a close-up of a sweaty and disheveled Billy. Like the parallel editing between Billy’s dance of anger and Tony’s argument with Mrs. Wilkinson. Like the scene segue from Billy’s bus to Jackie and Tony’s subway.
And the endearing Grandma (Jean Heywood) deserves a paragraph of her own. What a sweetheart!
It was done on a shoe-string budget and swept the BAFTA awards (where Jamie Bell won the equivalent of Best Actor). Plus, just the production itself is a minor miracle. Finding a boy who was pre-pubic, could dance, spoke with a Northeast English accent, and could act was an astounding accomplishment. And in Jamie, they found the perfect one.
And those people on the panel at the ballet school! What a riot they are! Especially the lady to the far right! And their reaction to Billy’s dance is just precious.
Laugh. Cry. Laugh. Cry. Cry. Laugh.
And then the triumphant ending that just makes your heart soar out of your chest. What a film. What an incredible film.
Excuse me, I’ve got a DVD to watch. 
Ever since Meet the Deedles failed to get even a nomination, I’ve had no respect for the Academy.