Mads Mikkelsen did not receive an Oscar nomination for portraying One-Eye in Valhalla Rising.
Valhalla Rising follows a silent warrior who follows with a group of soldiers in a crusade that leads them to an unknown land.
Valhalla Rising is film that seems to encourage polarizing reactions from those who watch with its minimalist, contemplative style. The only point of any agreement should come from the film's striking technical elements particularly its cinematography, although these are perhaps just a little diminished by the bizarre choice to use terrible and very distracting Photoshop blood splatter effects, especially given the amount of practical effects already utilized. The rest though will be how one takes to the stark story, and storytelling methods that features intense yet cold emotions. This is perhaps best personified through the central character of One-Eye played by Mads Mikkelsen. Mikkelsen has not a single line in the entire film, as his One-Eye is a man of actions only. This is from the outset of the film where we see him used by a chieftain for fights to the death in between being locked in a cage. Now often a silent performance does not mean unemotional however even here One-Eye is purposefully made to be an enigmatic character, and somewhat distant in his rather mystical presence within the film. That is right down to his moniker and physical attribute that alludes to Odin the Norse god, which extends as far as One-Eye having the power to foresee the future.
This performance is not exactly the usual type of challenge these performances are since part of the intention of the character is to be a bit impenetrable particularly against the other characters who wear their emotions far more openly and broadly. Mikkelsen's One-Eye is suppose to be set as a stone in a way, a man above and beyond those around him in someway. Mikkelsen's work is not particularly emotional, and really his character is rather static once again acting in contrast to those around him. Mikkelsen's portrayal falls largely upon his own presence which is remarkable in its own right. There is something naturally compelling about Mikkelsen to the point that even when he's not saying anything verbally or non-verbally for that matter, there is something striking in Mikkelsen's very being. Mikkelsen becomes an impressive conduit of interest throughout the film, as he does compel one to watch One-Eye even though he gives very little to explain the man. What truly defines Mikkelsen's performance is what is it that he brings within this almost set condition of One-Eye that defines the character throughout the film.
Mikkelsen's presence is worthy of the demi-god, or just simply god within the story. Mikkelsen brings that natural intensity of his, particularly through that incisive single eye of his here that indeed seems to see beyond all those around him. There is a mercilessness about this, yet not exactly an evil that Mikkelsen portrays. Mikkelsen for much of the film doesn't depict One-Eye as good or as evil, but something that simply is. Mikkelsen is able to capture a being who acts upon some will greater than the normal man even in the way he kills Mikkelsen portrays with this exactness not of a skilled warrior rather as a deity dispensing his judgment. Mikkelsen nor the film desires more from the character than this exact state which continues as he joins a crusade to the unknown. Mikkelsen acts as the only point of stability in the journey although even then this is in a purposefully cold and distant fashion. One-Eye even as he has visions of a certain doom does not wither from this, rather treats this as his inevitable fate. The only slight break we are granted is in his final moments where he awaits this fate with a boy who gave him food in captivity, and he acted as protector to on their journey to the unknown. Mikkelsen still portrays this true to the state of One-Eye as in simple comforting pat there is the only warmth to be found anywhere within the film. Mikkelsen even depicts this though as part of the otherworldly nature still even in the human act, it is still seemingly a pardon towards the boy from a god. This performance is exactly as it should be in this specific realization of the omnipotent One-Eye, to be more emotional, would be dishonest to the role. Mikkelsen delivers all that he is able within the confines, and is far more compelling than most actors would be in the role. He is however still subservient towards the overarching vision which leaves him in that exact distant state that is still only as absorbing as the film allows him to be.
117 comments:
Did not expect as low of a rating
Louis: Thoughts & ratings on the cast
Charles:
Lewis and Stewart - 3.5(All of the performances of the same vein in the film, other than Mikkelsen, in that they are very distant, yet with a definitive intensity in their emotions however off-putting in how desperate it feels. Lewis and Stewart are the most effective in terms of realizing this state that is there to make a certain non-empathetic impact, as we witness their turmoil more than feel it exactly.)
Stevenson - 3.5(The only other really different performance though also static in portraying only this quiet attachment to Mikkelsen's One-Eye. Stevenson's whole performance is as this human need for some protection in these interactions, though with just a modicum of something more in these most intimate, yet still remote interactions.)
Louis: Your thoughts on the wheelchair scene in Kiss of Death.
Would Montgomery Clift and Orson Welles be your guys choice for a American remake of The Master as the characters of Freddy Quell (Clift) and Lancaster Dodd (Welles) in the early 1950s?
Also, with reference to his work in Manchester by the Sea and Gone Baby Gone, would Affleck be a good fit for the roles of Brando or Clift in the 1950s?
Louis: Your thoughts on 'Jai Ho' from Slumdog Millionaire.
Henry: Clift and Welles definitely would have been amazing in Phoenix and Hoffman's roles.
Saw Film Stars Don't Die in Liverpool. Pretty sappy though I liked it, like a better version of My Week With Marilyn.
Bening - 4/4.5
Bell - 4.5
Walters - 3
Redgrave - 2.5
Cranham, Graham, Best - 2.5
Calvin: Thoughts on Bening and Bell?
Omar:
Bening - her Gloria Grahame impression takes a while getting used to and her performance in the 'present' scenes are initially a bit limited. She's delightful though in portraying the spontaneity and charm of the fading actress and has such great chemistry with Bell, as well as suggesting the insecurities. What I most loved though was when everything came together in the end and Bening gives such a powerful portrayal of a heartbroken soul.
Bell - altogether fantastic and Eddie Redmayne should take some pointers. His role is all about being charming and endearing, and he more than fulfils that. He also brings such power to his frustrations, love and heartbreak over Bening, again their chemistry is great, and this might be a career-best.
Everyone: Is it just me or does anyone feel that Emma Stone has a more classic Hollywood look while Jennifer Lawrence is more contemporary? They look from different eras in pictures where they both show up haha.
Louis: I agree with the points you made in the review and I'm happy enough with the rating you gave him, though I personally would go slightly higher. I think he's at his most badass here and that's probably why I liked him as much as I did. I'm however glad that you didn't go under a 4 and my run of requests without a 3.5 or under goes on. :)
Louis: Have you seen You Don't Know Jack with Al Pacino yet.
Well I had to go quite the distance, but I got see Three Billboards Outside Ebbing Missouri, it was worth it.
Anonymous:
The most remembered scene of that film and really the best scene of the film since it is all about Widmark. This is interesting in that it is almost a turn in the villainy one was allowed to see on film given the extreme nature of the act for the time. We get a full psychotic lunatic realized with joyful glee quite effectively I'll admit.
Tahmeed:
Like many of the things I don't care all that much about it, although this is one where there are parts of the song but A.R. Rahman just kind of throws everything into it, which isn't a great thing especially since there are no real natural rhythm to the transitions. It's like five songs pressed together I sort of like two of them, however every single use of "Jai ho" itself whether part of the chorus in solo verse form I find wholly ear grating kind of even diminishing the good parts, for me.
Luke:
No.
YES. I'm glad you loved it. I'm guessing you're holding off on Rockwell but hopefully Harrelson as well for the timebeing?
Thoughts on the film and cast? I hope you enjoyed Landry Jones, Dinklage and well, pretty much everyone as much as me.
Calvin:
Well I need to let the film settle in a bit more for more expanded thoughts overall, as well as on the cast, but I'll just say for now it met my expectations, even in some ways I didn't expect. Saving Harrelson (and not just for the time being), and Rockwell (who I feel has perhaps inadvertently destroyed Will Poulter's Oscar nomination chances).
McDormand - 5
Hawkes - 3.5
Dinklage - 4
Cornish - 2
Weaving - 3
Jones - 3.5
Hedges - 3.5
Ivanek - 3
Martin - 2
Peters - 3
Louis thoughts on the Independent Spirit Awards nominations?
Anonymous:
They had ONE job, and they failed to do it.
In a perfect world I'd love to see Poulter and Rockwell get nominated together but I'm afraid you're probably right. Surprised you disliked Martin that much, I thought she was effective, but I do agree Cornish had a thankless role.
Calvin and Louis: Thoughts on Poulter?
Calvin:
The problem for me with Martin was I thought she rather distracting given that she gave just about the same exact performance as she does as Mrs. Mac in It's Always Sunny(where I find her hilarious).
Louis: That's fair. Need to re-watch those episodes now.
Henry: Hopefully Louis is still saving him. I'm going to leave my extended thoughts to a future blog post I can link you to.
Louis: Your cast and director for a 1960's Three Billboards Outside Ebbing Missouri.
I'd like to nominate Shelley Winters and Warren Oates as Mildred and Dixon.
Henry:
I'm still saving Poulter.
Calvin:
I will admit I imagine I probably would have had no such issue if I'd never seen It's Always Sunny.
Anonymous:
Three Billboards 1960's Directed By Billy Wilder:
Mildred Hayes: Claire Trevor (Winters would be ideal for the 70's)
Sheriff Willoughby: Burt Lancaster
Officer Dixon: Robert Mitchum (Oates would also be ideal for the 70's)
Charlie: Robert Ryan
James: Michael Dunn
Anne: Claire Bloom
Red: Sal Mineo
Robbie: Brandon deWilde
Mother Dixon: Agnes Moorehead
Tell me when you see Novitiate, Louis. I’m curious to how you’ll find its themes about faith compared to Silence. It’s covers much different ground, but at the same time there’s a lot of overlap. I’m also curious if you’ll like the ensemble as much as I did, because outside of Leo I found the cast excellent.
Louis: your top 20 frances mcdormand acting moments
This was a good performance, but I don't really get why so many people view this as a masterclass by Mikkelsen. On the other hand, Affleck has been staying with me surprisingly well, considering how cringey his film was. He could probably take this.
I thought my elation for Three Billboards would ease slightly, but honestly it's still easily my favorite of the year. Martin McDonagh's stuff just does something for me I guess. And I know what you mean when you say that it was satisfying in unexpected ways Louis, it ended up being a lot less Tongue in Cheek then I was expecting but in a way that really worked.
In terms of my ratings, is probably go a little higher on Jones, Cornish, and Ivanek and a little lower on Hedges.
Robert:
I'll certainly let you know, hopefully it plays near me sometime soon.
Anonymous:
Will do....soon.
Michael:
Actually thinking about it I'd probably move Ivanek to a 3.5 as his interactions with Rockwell were pretty hilarious, I love that he's McDonagh's mainstay.
Louis and you guys: Top ten "minimalist" performances of all time?
Henry W:
1.Jack Nicholson/Fibe Easy Pieces
2.Kevin Vaz/Play
3.Naserudin Shah/Sparsh
4.Tommy Bergren/Raven's End
5.Adam Driver/Paterson
6.Kristen Stewart/Adventure Land
7.Barbara Hershey/Hannah And Her Sisters
8.Liv and erland/Scenes from a marriage
9.Ullman/ The Emmigrants & The New Land
10.Tom Hardy/Locke
Louis: Your top 5 favorite YouTube channels. Mine are-
Epic Rap Battles of History
The Nostalgia Critic
Screen Junkies (for Honest Trailers)
The School of Life
Film Theory
Henry:
John Hurt, The Elephant Man
Charles Bronson, Once Upon a Time in the West
Rooney Mara, Carol
Ryan Gosling, Drive
Tom Hardy, Locke
Casey Affleck, Manchester by the Sea
Off the top of my head, depending on what one means by 'minimalist'
Louis: thoughts on Amy Shiels in Twin Peaks?
Some others to add to the list:
Gary Oldman (Tinker Tailor Soldier Spy)
Peter Fonda (Ulee's Gold)
Eastwood at his best (Unforgiven namely)
My Lead Actor prediction.
1. Min-Sik
2. Duvall
3. Byung-Hun
4. Eisenberg
5. Gosling
6. McGregor
7. Clooney
8. Ahmed
9. Serkis
10. Sheen
11. Affleck
Luke: Hope Louis actually does upgrade Byung-Hun and Eisenberg, although I'm certain about Eisenberg.
Tahmeed: Eisenberg's definitely happening. Byung-Hun could go up and if he did, I put him ahead of Eisenberg. His and Min-Sik's performances work extremely well together in my view.
Henry:
Robert Duvall, Tender Mercies
Ryan Gosling, Drive
Gary Oldman, Tinker Tailor Soldier Spy
Al Pacino, The Godfather
Laurence Olivier, Rebecca (although that one overtly emotional scene is fantastically earned)
Casey Affleck, Manchester by the Sea
Mark Rylance in Wolf Hall
Henry W:
Holly Hunter in The Piano
That’s it. I can’t even make a full ten. You can’t top that one.
Gregory Peck in To Kill a Mockingbird is one of the best minimalistic performances I've ever seen.
Louis: Your Top Ten Tracks from the Harry Potter films and your thoughts on #10-6.
Louis: Your ranking on the lead performances of Refn films?
Anonymous: I'll give it a try.
1. Hardy - Bronson
2. Gosling - Drive
3. Pansringarm - Only God Forgives
4. Turturro - Fear X
5. Fanning - The Neon Demon
6. Mikkelsen - Valhalla Rising
7. Gosling - Only God Forgives
Seeing a preview of The Disaster Artist in an hour's time.
Calvin: Could I have your ratings later and thoughts on The Brothers Franco. :)
And what are your rating predictions for The Last Jedi cast.
Luke: Sure. :)
Hamill: 4.5/5
Fisher: 4
Driver: 4.5
Ridley: 4/4.5
Boyega: 4
Isaac: 4
Serkis: 2.5
Nyong'o: 2.5
Gleeson: 3 (he's a goner)
Christie: 3
Tran: 3
Dern: 3
Del Toro: 3.5
It'd be cool if Hamill got a 5.
Hamill - 5
Fisher - 3.5
Driver - 4.5/5
Ridley - 4.5
Boyega - 4 (Won't play as big a part as he did in the first film)
Isaac - 4 (I hope they'll give him more to do)
Serkis - 3
Nyong'o - 3
Christie - 3
Tran - 3
Dern - 3
Del Toro - 3.5
Gleeson - 3
I'll give mine
Hamill-5 (I believe he will deliver.)
Driver-4.5 (Though a 5 isn't out of the question.)
Ridley-4.5
Boyega-3.5
Gleeson-3
Isaac-4
Dern-3
Del toro-3.5
A 3 for everyone else
Louis: Are there any more Lead or even Supporting saves that you've decided not to keep. If so, can I have your thoughts on them.
Louis: I personally would like to get your thoughts on Evans and Reilly, since I doubt they'll make the final 10 slots.
The Disaster Artist was just thoroughly great. It really nails the hilarity and insanity of Wiseau's project, but more surprisingly I really felt moved and invested in the emotional backdrop that made the ending particularly powerful in its own way. Franco as a director proves to be more than adept in balancing the tone of the film, dealing with its central figure in an affectionate fashion without trying to sugarcoat his darker side. On that note as a performer I'll leave my thoughts till later but it's easily his best cinematic performance.
Franco of the Dave variety - 3.5 (now he doesn't really try any sort of overt Greg Sestero impression, but he's effective as 'Mark' and in just being the young actor filled with vibrant energy, enough to be enveloped into the madness of Wiseau but just enough awareness to be shocked at some of his more ludicrous antics. What really makes his performance work is his chemistry with his offscreen brother, you really believe in their friendship, their troubles, and makes the ending of the film surprisingly affecting)
Rogen and Scheer - 3.5, 3 (the former is an enjoyable straight man to Franco of the James variety, while the latter provides the right amount of indignation to the lunacy of the production. Bonus points for Rogen providing his comedic routine in a way that doesn't feel distracting at all given his previous collaborations with Franco)
Graynor, Hutcherson, Weaver, Raphael, Fielder, Efron - 3 (all do more than admirable jobs with their recreations of their counterparts, especially Efron and Hutcherson who are a hoot in their 'where's the money' scene. I wouldn't have minded a bit more time dedicated to them outside of the production of the film but they're all entertaining)
Brie - 2.5 (a mere plot device and she has very little to work with, but she's fine)
All the cameos and very bit parts are good, particularly Apatow, Odenkirk, Buress/Mantzoukas.
Calvin: I'm glad to hear that :) I like Seth Rogen more in straight man roles where someone else wilds out.
Everyone: Thoughts on this cast for a 2010s female remake of Unforgiven?
Munny- Sissy Spacek
Daggett- Frances McDormand (Think Fargo, but the opposite)
Logan- Tess Harper
English Bob- Helen Mirren
The Schofield Kid- Karen Gillan
Beauchamp- Sienna Miller
Wait, Teresa Palmer instead of Karen Gillan haha.
What about Alfre Woodard as Logan? Also McDormand would be an awesome Daggett, but maybe someone who was more known as an action hero would be more suited to play Munny, like Sigourney Weaver.
Michael: Sigourney Weaver would be a great choice as well. I thought of Spacek because I think she seems a bit more "Western" than Weaver but I definitely see your point about a former action hero taking on the part of Munny haha.
Michael: Woodward as Logan would also be great.
2000s Heat, directed by Joe Carnahan
Hanna-Liam Neeson
McCauley-Viggo Mortensen
Shiherlis- Joaquin Phoenix
Cheritto- Jeremy Renner (in an early film role)
Nate- Jeff Bridges
Louis: Your thoughts on the Incredibles scene where Edna shows Helen the suits.
Louis: Before you finish 2010, could you watch Les Petit Mouchoirs? It's like the french The Big Chill; Cotillard is terrific in it, an easy 5 for me and my runner-up in supporting behind Manville.
Louis: Could either Tom Berenger or Willem Dafoe go up to a 5 for Platoon.
Saw Phantom Thread with a dozen movie crirtics in a private screening in London. I won’t give a score out of fear of breaching the review embargo which lasts until December 7, but what I will say is that when that embargo is lifted, expect some laudatory from a number of publications, including for DDL and maybe Krieps performances. I think you guys will enjoy very much.
Henry W: That is good to hear =D lucky you.
I am not really convinced that Krieps will get nominated regardless of how praised she gets, I mean, does she really get in over Streep, Stone, Hawkins, Robbie, Ronan, McDormand and Chastain, I would love to see a brand new star but I feel this might be too tricky for her.
Louis: Is your top 5 for Lead Actress:
1. McDormand
2. Stone
3. Hawkins (Maudie)
4. Keen
5. Kidman
By the way, did anyone else watch Star Trek Discovery? I absolutely loved it, although the Klingon stuff is less interesting than the stuff involving the crew. Pretty much the entire cast is great, although I think the MVP for me was actually Rainn Wilson, despite being in only two episodes so far.
Saw Lady Bird and LOVED it.
Robert: I'm looking forward to that film. Are Ronan and Metcalf as good as the reviews claim?
Also, Louis, what's your thoughts on Hal Sparks in Spider-Man 2, Richard Roxburgh in Van Helsing and Jay Baruchel in Million Dollar Baby?
Well giving a bit more time to Three Billboards, I can say that I absolutely love the film and look forward to watching the film again. As I mentioned before the film wasn't exactly as I expected it to be, I thought it was going to be a darkly comic revenge thriller, but that's not the film. Although the film has some hilarious moments throughout, that really isn't intention. It is very funny whenever it wants to be, as with In Bruges it feels wholly natural to the film as a whole, however this is McDonagh's least comedic film. It is instead a powerful mediation on loss, through technically the lens of the sort of "quirky" small town type film though of course in a manner fitting McDonagh. What McDonagh accomplishes isn't to make a story of those who are right or wrong, but rather something far more complicated and frankly poignant in showing those trying to come with terms with what they've done or haven't been able to do. Also I think McDonagh doesn't really get enough credit as a director. He takes sort of the Billy Wilder approach to direction, and I think effectively so. In that he never forces you to notice what he is doing yet brings exactly what his scenes need, and when does tip his hand a bit its brilliant e.g. "Raglan Road".
McDormand - (Well I thought this was a match made in heaven and indeed it was. McDormand as proven in her Oscar winning work is extremely adept in capturing a darkly comic tone, however this with a very different bent. McDormand is indeed often hilarious instead of being so chipper being decidedly not so. Her very coarse vicious tongue lashings to others are most often comic gold, however McDormand balances this even with portraying some real outrage within the character. That's not her only definition as she weaves this tapestry of the woman trying to deal with her grief. In that she brings such a real intensity to the anger at the crimes, and those she sees as failing to do it. There is also though the sheer palatable sadness combined with even a sense of guilt that is incredibly heartbreaking as McDormand so naturally reveals her moments of real tenderness within the loss. McDormand never makes them conflicting rather the natural whole of a woman struggling and failing to deal with her loss. Every action of Mildred's McDormand makes sense of in her amazing performance.)
Hawkes - (He's a pretty good, for a lack of a better word prick, in every regard. Hawkes though I do think properly balances the role in that he isn't always at a 11. He nicely brings in...not really a gentler side, but rather just the side of a man who constantly was fighting with his wife. There is the right casualness he brings to the confrontation showing it's been going for years. He also does importantly find at least just a minor, very minor, sense of grief in his own character.)
Dinklage - (Probably one of the most purely comic characters though Dinklage isn't a joke by any means, and I have to say I was glad to see a non-tortured Dinklage here. Dinklage brings the right type of earnest energy, and does well to present his guy as one of the few rather simply nice guys in the film, without complication. At the same time though he is hilarious in bringing just such a strong degree in awkwardness in every one of his attempts to be even slightly romantic.)
Cornish - (Mostly she's just there but I found she overcooked her scene with McDormand just a touch, not really detrimental
however an easy weak link to me.)
Weaving - (Simply, however simply funny I found in doing a proper ditz routine.)
Jones - (His best performance by far, so far, as his mumbly approach was finally a perfect fit for the constantly over his head billboard owner. Jones is always slightly just not quite there, and with just the right degree of attempted yet wholly failed confidence. His best scene though is his last one where I found him incredibly moving actually in revealing just a real decency, bringing such a genuine warmth.)
Hedges - (Very similair to his Oscar nominated turn however without the frozen chicken scene. Once again he portrays grief quite well, and finds the right chemistry with McDormand. In that he does find enough of a underlying warmth even while earning a certain animosity that he attaches properly to that grief.)
Ivanek - (Once again a perfect fit for McDonagh's world and dialogue.)
Peters - (Very straight forward role though effectively so as a straight man against everyone else.)
Anonymous:
McDormand:
1. Second interview with Jerry - Fargo
2. The doe - Three Billboards
3. Buying the Billboards - Three Billboards
4. Beautiful Day - Fargo
5. The Fire - Three Billboards
6. Meeting with Mike - Fargo
7. Awkward dinner - Three Billboards
8. Ending - Fargo
9. Blood - Three Billboards
10. Ending - Three Billboards
11. Crime Scene - Fargo
12. Her ideas to catch him - Three Billboards
13. "Nothing's over you dumb bitch" - Three Billboards
14. Arby's - Fargo
15. Confronting Dixon - Three Billboards
16. Catching Grimsrud - Fargo
17. bad customer - Three Billboards
18. First Interview with Jerry - Fargo
19. Flashback - Three Billboards
20. "Funny looking how?" - Fargo
Tahmeed:
I wouldn't really qualify any as favorites.
Berenger is very likely.
Omar:
Will do.
Calvin:
Covered Shiels in 92 supporting re-results.
Anonymous:
Luke got the right order.
Luke:
Evans - Beauty and the Beast - 4(Well having re-watched the film once it truly is disposable beyond belief, and Evans is the best part however even that diminished a bit on re-watch. Evans still brings the right comedic energy and boisterous to the role. He also nicely does portray an actual arc to Gaston, and a change from the original. He effectively does portray slowly a more sinister bent in the role that he shows becoming more extreme the longer he is denied what he wants. Also his singing is a major plus.)
Elliott - The Hero - 4.5(The more I think about the film the more I hate it with just how predictable every element of it was. Elliott, as he did with Grandma, though does elevate some sub par material best he can. Although the writing makes everything a bit phony Elliott brings the needed honesty to every moment, and his portrayal of the old man trying to redeem himself is moving just because of him. Elliott just refuses to make a single moment false no matter how obvious the scenes are, particularly his failed audition scene. Elliott though in that scene absolutely delivered giving even the worst scene as conceived at least something worthwhile.)
Matt:
Sparks - (Intolerable cameo, I guess? I really like Spider-man 2 but this scene just is an extended indulgence of attempted comedy that just doesn't work. It just goes on for far too long due to Sparks is horrible hamming it up, that could be okay if he was actually funny however he is not.)
Roxburgh - (Scenery chewing at the most extreme. Now as Dracula you are allowed a bit of flamboyance however he takes it to a maximum level of ridiculousness. Extreme ridiculous yet not even slightly entertaining is what is so strange. His ham is off-putting rather than enjoyable at any point, as it just runs together in a strange way that makes him both over the top and bland which is always the worst combination.)
Baruchel - (Well he went full simple jack here, and I would like an explanation for why he is in this film. Now Baruchel is awful really in almost everything anyways. This is at his worst given that he is tonally broken from the rest of the film to such an extreme in his "comedic" tomfoolery, which has no place in the film. Again though he could at least be funny, but he's not. It's just a terrible display of bad acting going for some bad comedy.)
Luke:
That would be my ranking.
Alex: Yeah, Metcalf in particular.
Question for anyone: Is there any particular actor or actress you'd like to see in Fargo Season 4?
Robert: I'll give you 5.
Jon Hamm
Daniel Kaluuya
Christian Slater
Ruth Negga
Steven Yeun
Calvin: Some actors I think would work well with the show's style
Lakeith Stanfield
Greta Gerwig
Sam Rockwell
Jay R. Ferguson
Ellen Wong (seriously, just keep casting Scott Pilgrim alumni)
Robert:
If there's a season 4 I'd rather see another period piece, maybe one set around the founding of the Fargo area with Nikolaj Coster-waldau as a recent immigrant turned lawman, or maybe go 1950's with Bradley Cooper as a younger version of Ted Danson's Hank Larsson.
Louis and you guys: best cinematography of the year that you have seen so far?
Henry:
Blade Runner
(Louis) Thoughts on McDormand's oscar nominated supporting performances?
Mitchell:
I've given those thoughts in the past, and I like them all. The absence of any scenes from those performances on my list stems only from the strength of her performances in Billboards and Fargo.
Admittedly, McDormand isn't an actress I've seen that much of, aside from her iconic Fargo performance which I adore quite a bit. I want to say shes a strong actress from what I've seen but I definitely should see her other roles to be sure.
On another note, the buzz around "The Shape Of Water" seems to be picking up. I'm excited for the movie and loving how Sally Hawkins is having a banner year with it and "Maudie". I know best actress seems ridiculously crowded at the moment, but I wouldn't count her out.
My hesitation with predicting Hawkins is the genre bias, which even the seeming lock of Amy Adams couldn't overcome. It can be done, but in a stacked year the "safer" more traditional academy friendly performances usually win out. Also I ponder if we might be overestimating Shape of Water ever so slightly, particularly those saying del Toro is overdue for a win given that Pan's Labyrinth is his only film that has made a blip on the Academy radar, even then he didn't get in for director, and the film lost Foreign Language Film (rightfully so).
Yah you hit the nail on the head admittedly. That genre bias has been prevalent pretty much since the oscars began, since for every Signourney Weaver that makes the cut you also someone like Charlize Theron, who wound up getting sidelined supposedly by the more awards baity Lawrence/Rampling. I have my hopes, though, because if I'm allowed to say so there has been amazing boost for best actress in the last couple of years. I think the quality and versatility of leading performances were seeing now is remarkable, and even those who miss out still fall into that pattern like Amy Adams. By the looks of it, 2017 could be to best actress what 2016 was to best actor.
I think Hawkins has an edge over Adams in Arrival though, because even though Arrival was universally claimed, Adams's role wasn't especially showy. Hawkins on the other hand is in a very Oscar-friendly role, if you look at it outside the context of the film's genre.
Michael: I don't know, I mean, Adams had a pretty emotionally heavy role and they love that.
Now I'm not exactly sure when the voting took place, but I don't think I'd be unreasonable in saying Streep's Trump speech had a hand in eventually knocking Adams out of the race.
Michael:
Well I'd say it's sorta Oscar friendly in that there have been two, almost three, mute performances that have won in actress, however it isn't a general rule that mute performances get nominated, nor is it a detriment however, although again those were not in sci-fi films. If this was a weaker year, she probably would make it with ease, this year though I think anything can happen...well Streep's probably safe.
Mitchell:
Eh, I'd probably say Negga knocked out Adams not Streep, Streep never really has to fight for her spost.
Well at least it would be far easier to accept Negga doing it than Streep, considering she actually turned in a noteworthy performance.
*spots
Well, given my exams start from tomorrow, I probably won't be on here till the 3rd. I hope Louis covers 1980 or 1983 soon.
Luke Higham
Tahmeed: 1965 is the next year and 1980 will be the next one from the 80s.
Tahmeed: Good luck =D =D.
Ohh if 1980 is soon I am very interested in how Louis will view Al Pacino in Cruising, will it be team Siskel and Ebert or team Kermode??? =D.
Saw Paddington 2 and Justice League, thought the former was really delightful, and the latter a real mess but not without merit.
Whishaw - 4
Bonneville - 3.5
Hawkins - 4
Gleeson - 4
Walters - 3
Broadbent - 3
Capaldi - 3
Grant - 4
Harris and Joslin - 3
Neil and Taylor - 3
Conti - 3
Affleck - 2
Gadot - 2.5
Miller - 3
Cavill - 2.5
Mamoa - 3
Fisher - 2.5/3
*3 for Gadot and a 2.5 for Mamoa
Calvin: Finally have a day off tomorrow so I'll be seeing Paddington 2. I heard Grant was great. I'm probably gonna leave Justice League until just before the Aquaman film is released.
Louis: Is there any possibility of Hardy going up to a 4 for Dunkirk.
Louis: Any chance on Rush or Bale going in the rankings for 2010?
If 1965 is really the next year, then I'm looking forward to see what Louis thinks of Orson Welles in Chimes at Midnight.
Louis: Your thoughts on Gaston and The Mob Song scenes from Beauty And The Beast (2017).
My Supporting Actor Suggestions
Armie Hammer - The Social Network
Cillian Murphy - Inception
Trond Nilssen - King Of Devil's Island
Liu Kai Chi - The Stool Pigeon
Michael Lonsdale - Of Gods And Men
Alt. Colin Farrell - The Way Back
Luke: i would also suggest Peter Wight and David Bradley for Another Year.
Omar: Thanks, I'll add them alongside Farrell.
I have no interest in judging someone else's tastes, but anything higher than a 3.5 for Hardy would be baffling to me.
Also to answer your previous question Robert, although I haven't seen the Fargo series, I've always wanted to see Michael Palin in a Coen Brother's project.
Michael: I re-watched it recently and I've grown to like his work even more than I thought I would. He's a weak 4, though perhaps I am being biased since Hardy's probably my favourite actor working at the moment.
Louis: I'm completely fine with Hardy remaining at a 3.5.
Michael McCarthy: Your rating and thoughts on Affleck in The Killer Inside Me.
As the biggest Hardy skeptic on the blog, I... actually have been thinking about him Dunkirk a lot lately. A 4 would be justified.
Hardy is excellent, but I'd actually much rather see Styles get bumped up to a 4.
Robert: for me it's been the ensemble cast of Get Out that's been on my mind recently. I really hope Stanfield, and Marcus Henderson will end up as 3.5's and Howrey and Gabriel 4's.
Calvin: Agreed.
I wouldn't mind watching Dunkirk again in order to fully rate the performances :D
2010s Lord of War
Yuri Orlov- Leonardo DiCaprio
Vitaly- Paul Dano (think Swiss Army Man)
Jack Valentine- Bradley Cooper
Simeon- Rutger Hauer
Luke:
Probably not, however again I do think the impact he makes with so little is quite impressive.
Gaston - (Vocals on point as his bringing a needed real sense of fun within their own performances, something lacking from other songs that is very much needed for what is suppose to be an entertaining musical. Although they do over blow just a touch with the dance sequence it is still very enjoyable, though the revised lyrics don't hold a candle to the original.)
Mob Song - (Perhaps the only scene that I simply do prefer in this version for the real intensity that Evans brings to the scene, with the addition of La Fou questioning him that provides the most depth to any aspect of the remake. Also Evans's is singing once again is superb both technically and delivering the needed power to the emotion of the song.)
Robert:
Well they are there in lead, though I could put Rush back in supporting. If you meant could they up? yes.
Luke: 4.5ish for Affleck. Like with Robert Ford, he's great at infusing every word and action with a very unbalanced energy, but he makes this role slightly different by giving his character a very false charisma that anyone who really got to know him would be able to see. The dynamic he creates with his female co-stars is properly hollow and lustful (even though I hated most of those scenes) and he goes a step further by keeping alive the history of the character, enabling the audience to see how this particular psychopath was created.
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