Joe Coughlin: James Cagney (Of course) Loretta Figgis: Joan Fontaine Dion Bartolo: Humphrey Bogart Maso Pescatore: George Bancroft Albert White: Lewis Stone Graciela Corrales: Rita Hayworth Thomas Coughlin: Donald Crisp Chief Figgis: Walter Huston R.D. Pruitt: Louis Calhern
Lucky Logan 1950's directed by Jules Dassin:
Jimmy Logan: Robert Preston Clyde Logan: Jack Lemmon Mellie Logan: Debbie Reynolds Joe Bang: Van Heflin Bobbie Jo Chapman: Shelley Winters Sylvia Harrison: Barbara Bel Geddes Warden Burns: Walter Brennan Max Chilblain: Terry-Thomas The Bang Brothers: Warren Oates & Ben Johnson Sarah Grayson: Gloria Grahame
Yes, I appreciated his performance even more on re-watch, which is saying a lot since I already loved his work.
Robert:
From 2018 The Polka King, which has a fun Jack Black performance, but otherwise isn't anything special.
From 2017 the Breadwinner and A Fantastic Woman which I thought were both fine.
Luke:
1. Drive 2. Silence 3. Mad Max: Fury Road 4. Blade Runner 2049 5. Birdman 6. Phantom Thread 7. Tinker Tailor Soldier Spy 8. Dunkirk 9. La La Land 10. The Hunt 11. I Saw the Devil 12. Tower 13. The Social Network 14. Snowpiercer 15. The Wolf of Wall Street
Tahmeed:
The main "Greatest films" list I think is a fine list if first you discount exact positions, then look at it more in terms of influence, cultural impact, and less so on exact quality, though one can consider that as well.
I mean I personally don't love "Singin in the Rain" or "Some Like it Hot" however I recognize their cultural impact/cinematic influence.
Although having said that there are a few headscratchers on the list such as "Tootsie", "Sophie's Choice", and "Guess Who's Coming to Dinner", as well as the exclusion of "Amadeus" on the 07 list which is a great testament to why quality of the film making itself should matter most.
The list itself though is a representation of sort of mainstream "great cinema" thinking to a fault where great filmmakers like David Lynch, David Cronenberg, Terrence Malick, John Carpenter were completely ignored or someone like Robert Zemeckis is recognized for "Forrest Gump" rather than "Back to the Future" or "Who Framed Roger Rabbit".
As for the top ten top tens I'll look at it more critically.
Ridiculous number 1 in Snow White, as first does not equal to best. It also again is a little standard in terms of populist choices with "Shrek" being included rather than "The Secret of NIMH" or I'd even take "The Nightmare Before Christmas". The rest of the films are fine choices.
Courtroom Drama:
A few of these feel a stretch as the courtroom drama designation goes particularly "In Cold Blood", but at least it's a great film. These are all fine choices although "Kramer vs Kramer" should be at the bottom of the list certainly not above "Anatomy of a Murder". There are no major inconceivable snubs that I can think of off the top of my head.
Epic:
Top three are all great choices though I've never thought of "Schindler's List" as an "epic" but it's open to interpretation. Also since it seems as a cover for larger scale war films I would've personally put several films over "Saving Private Ryan", "Reds" or especially "Titanic" such as "The Thin Red Line", "Master and Commander" or "The Last Emperor".
Fantasy:
Fine choices though it wouldn't be my order, also if one considers "Fellowship of the Ring" as a placeholder for the trilogy. Well other than "Big", which I'd take "A Princess Bride" over.
Gangster:
A fine list other than far too much "Scarface" going around as neither is a great film. "Mean Streets", "The Roaring Twenties", "Miller's Crossing" and especially "Angels with Dirty Faces" would have been better choices. Also since "Bonnie and Clyde" is included "Badlands" was sorely snubbed.
Mystery:
Fine choices all around although the inclusion of "The Third Man" calls very much into question its non-appearance on the main list.
Also probably would've put "Seven" over "the Usual Suspects" as 1995 films go. Also not sure if "L.A. Confidential" counts as a gangster or a mystery film but its painfully missing here.
Romantic Comedy:
Not horrible choices at all, though I haven't seen "Sleepless in Seattle" although the lack of "The Apartment" and "Modern Times" is very strange.
Science Fiction:
Again would not be my order, but nothing wrong with these choices.
Sports:
"The Pride of the Yankees" is much too high, and I'll never understand "Caddyshack" I suppose.
Western:
I assume this was staying consistent with the American production company angle, or else I'd hate this list.
Having said that "The Searchers" is a film with a little too much retrograde interpretation of brilliance, more than it is truly brilliant. All praise that films gets so often should be offered to "The Man Who Shot Liberty Valance" instead which of course absent from the list. The lack of "The Ox-Bow Incident", "The Naked Spur" or any Mann/Stewart western again suggests a little too insular of thinking. Most of these are still good choices though, but again a little too typical overall.
Black - 4(It's an entertaining performance that is very much in a similair vein to his work in Bernie, in that he brings such a genuine unbridled enthusiasm that carries not only the film, but also his character through some very problematic character flaws. Black manages to make his legitimate cheat just oh so likable in a believable fashion that makes his success at being a cheat convincing. Black goes a bit further though in bringing a certain madness in this faulty ambition though just a hint of it to in a way show that the very same spark that makes the man so outgoing and charming also in turn makes him willing to do whatever it takes to achieve his dreams even when amoral. It's a strong performance that makes the film work much more than it would've otherwise.)
Slate - 3(She's more than fine in portraying the dutiful wife though also entertaining in bringing her own bit of that same madness that Black finds in portraying her more hidden desperation and frankly temptations towards their strange spotlight.)
Schwartzman - 3(He's mostly there and just fine as a comedic foil for Black. I'll give him a bit extra for his scene with Weaver though where he's pretty funny in realizing a very atypical relationship to say the least.)
Weaver - 3(I would like to see her in a role other than the kooky mother one of these days, however she once again does it well particularly in terms of delivering just the right incisiveness in her doubtful attitude towards Black's character.)
The Breadwinner is decent enough in its well animated portrayal of what should be fairly harrowing subject matter. The film juxtaposes its main story with a series of stories within it that never quite coheres as well as they should. They're fine, and also well animated however it makes it feel as though the main story is not fully serviced. It seems oddly slight when the central idea certainly seems to have a great deal of potential. It explores it to a degree but never to the point it becomes something truly notable. It's one of those films that's good but feels like missed opportunity to be great. I'd rank behind Loving Vincent and Coco. Also I should note I did try to watch Ferdinand and Boss Baby, but about ten minutes into each I had to quote Murtaugh from Lethal Weapon and stopped watching.
All the vocal performances are fine though none really stand out.
A Fantastic Woman was similair to the Breadwinner for me in it also is decent enough on its own but never quite takes the next step into becoming something extraordinary. The film is a touch repetitive in its structure of one person after another from the deceased's family diminishing Marina with these usually broken apart by a few stylistic sequences of Marina exploring other things away from that main thrust. These never quite perfectly cohered either, however some of these scenes were compelling in terms direction. Overall what really holds the film together is the central performance that creates enough of an emotional anchor that prevents the film from ever becoming truly adrift.
Vega - 4.5(Vega's performance is actually struggling with perhaps a little too simplistic of a character at times. Marina is mostly there just to react towards others as they are continually dismissive. What character is really there is mostly just through what Vega does performance wise. Vega's work manages to create well just the sense of the emotional fallout in the character that is only exacerbated through this treatment. Vega is particularly effective though in creating this sense of a slowly growing discontent over this while still giving a pretty low key portrayal overall. It is in Vega's work that the film finds its central dramatic thrust as Vega carries every scene even when it does not exactly have Marina doing anything particularly new or interesting. Vega though maintains the character, and an emotional connection in the film even during the film's most extreme flights of fancy during the film's stylistic sequences.)
Everyone else is fine but no one really makes much of an impact.
Tahmeed:
Probably 3rd.
Calvin:
I think it could happen, Original Screenplay is certainly going to be the one to watch.
1. The Memory is real - Blade Runner 2049 2. Tears in the snow - Blade Runner 2049 3. Unexpected Date - Phantom Thread 4. Luv v K - Blade Runner 2049 5. The Ghost - Phantom Thread 6. "Kiss Me" - Phantom Thread 7. Farrier saves the day - Dunkirk 8. "I like this song" - Blade Runner 2049 9. Barbara Rose - Phantom Thread 10. Opening - Blade Runner 2049
Matt:
Original:
I, Tonya Lucky Okja Phantom Thread Three Billboards Outside Ebbing, Missouri
Adapted:
Blade Runner 2049 The Death of Stalin The Disaster Artist Logan Paddington 2
Rorschach: Van Heflin Nite Owl II: William Windom Silk Spectre II: Ann Blyth Silk Spectre I: Shelley Winters Dr. Manhattan: Robert Stack Ozymandias: Patrick McGoohan The Comedian: Richard Widmark
60's:
Rorschach: Ralph Meeker Nite Owl II: Donald Sutherland Silk Spectre II: Jane Fonda Silk Spectre I: Carolyn Jones Dr. Manhattan: Richard Crenna Ozymandias: Terence Stamp The Comedian: Lee Marvin
Okay this is not me just saying arguably the best working director, but PTA. I say that as the book in a way is very much about a relationship that is not completely unlike the relationships PTA likes to explore. Wiseau himself is not at all unlike a Freddie Quell with his own vague past involving some type of trauma, or Reynolds Woodcock, though just far less successful artistically speaking, in his personal idiosyncrasies in behavior as well as in his tantrums.
I guess I'll join the anti-populist sentiment when it comes to The Greatest Showman. It's not a good a film or even a good musical. Every single character is so poorly defined, with every arc being far too simplistic even as musicals go, and the film severely lacking in any idea of what its dramatic core really wants to be. It rather would be just extremely vague in every single one of its plot lines. The one asset it does have is the songs which for the most part are pretty entertaining, only to listen to though. I will say though the actual direction and staging of the song sequences though are ludicrously underwhelming. The camerawork, and the editing never seem to have any idea what to do in any given scene to the point that you can't even tell if there is any good choreography since the film has no idea how to present it.
Jackman - 2.5(It is a little strange that Jackman, who is so charming in interviews or anywhere it seems, has such a hard time getting this across in performances. I will say the film doesn't help him here with its poorly realized arc of Barnum's about appreciating family...I guess. Jackman occasionally can get across his magnetism, mostly in the musical numbers, but it does not happen often enough. I will say he also doesn't help matters with his strange accent he does here, which seems odd as his American accent has always been strong so I don't know why he switched it up here. The performance is unfortunately a let down, but again the film probably would have been better if it just played into pure fluff while allowing Jackman to go on a full charm offensive. Or...they should have made it a comedic musical with John C. Reilly in the titular role, the man needs to lead another musical, but I digress.)
Williams - 2.5(She has a nothing part here though she does manage to bring some hints of charm within it despite how underwhelming the role is as written.)
Ferguson - 2.5(Her underwhelming streak, since her impressive breakout with Mission Impossible, continues unfortunately once again. She is not terrible but her role again is horribly written right down to the extremely turn her character makes. Ferguson isn't terrible, but she really doesn't do much of anything.)
Zendaya - 3(She actually manages to be fairly charming here and even though her relationship with Efron is severely underwritten still there is at least enough of a chance to strike up a vague chemistry. They do this successfully to the point together they are one of the "better" things about the film.)
Efron - 2.5(He's good in his scenes with Zendaya however his performance is very strange specifically when acting with Jackman, as he brings this odd stilted quality to his work. He makes up for it to a degree in those aforementioned scenes, and his performance in the musical sequences.)
Bryan:
Frank Slade (Scent of a Woman) Glen Whitehouse (Affliction) Frank Horrigan (In the Line of Fire)
Tahmeed:
I love it, but that's all I'll say since it didn't originate in the film.
Louis: your thoughts on the cinematography of A Fantastic Woman? It was the highlight of the film for me alongside Vega (I really liked it, although the screenplay was a weaker element and I'm not quite sure I liked how it ended).
On A Greatest Showman I actually think a darker version with a more realistic look at the less than savoury sort of individual P.T. Barnum was with Jackman in a supporting role/against type, and Efron and Zendaya as the leads, could have worked. Of course, that wasn't the sort of film they wanted to make, so I respect Jackman's decision. Though it's ironic that this is the film he leveraged his final appearance in Logan with.
Louis: Great choices, especially In The Line of Fire.
How do you think Heath Ledger would've done in each of these roles in the 2010s? I thought of these because they were directed by filmmakers I could see him wanting to work with.
James Hunt Avery Cross Max Rockatansky John Fitzgerald (Villainous role with an overt accent, though Hardy was exceptional.) Eric (The Rover)
RIP David Ogden Stiers, great as Major Winchester and gave such wonderful vocal performances.
Tahmeed:
Although it is a symptom of sequelitis, and I would have preferred if he played George even in his small role I don't think it was THAT unfortunate. As one George's role was small, and his reduced role actually felt natural to where the sequels went. George's arc after all was so satisfying in its completion in the original film so he really didn't need to come back in any major way. I still would have preferred him to reprise the role, but George's reduced role really doesn't stand out as a major flaw within the sequels. Although perhaps he would have been a better choice for Shamus McFly.
Calvin:
I'd agree the cinematography is one of the better aspects of the film. Like the film itself it kind of has its two types of scenes though. In that its scenes in dealing with the family it is shot in more of a basic pristine way, and I don't mean that as a criticism. It is well shot as such with sort of sympathetic hue towards the lighting on Vega in particular. This is contrast to the stylized scenes where it goes far more all out in the saturation of colors and far more dynamic lurid lighting. This is also effectively realized though and works in a way in showing sort of the vibrancy of the scenes of Marina embracing life against banality of the family's attitude in the funeral preparations.
James Hunt - (I feel he could have brought the same swagger that Hemsworth delivered though probably with a greater sense of the sense of self-destructive quality within Hunt's behavior. His likely would have delivered a more dramatic edge to it that probably would have been a stronger match for Bruhl.)
Avery Cross - (I more or less see him giving a performance very similair to Cooper's which probably also would have been good.)
Mad Max - (Not sure of this one only because the character is so dependent on Hardy's particular degree of physicality in his performances.)
John Fitzgerald - (Given his success with the Joker I think he potentially could have brought something very special in the role, of that is what Hardy did.)
Eric - (I think this wouldn't have been the best fit as the age of Pearce at the time added more to the role. There's the sense that Eric's been through some type of hell, and I'm not sure Ledger would have been the best fit for that, though maybe he would have been.)
Griffin Mill: Ray Milland June Gudmundsdottir: Ingrid Bergman Walter Stuckel: William Demarest Detective Avery: Myrna Loy Larry Levy: Ralph Bellamy David Kahane: Burgess Meredith Andy Civella: Brian Donlevy Tom Oakley: Rex Harrison Henry Fonda and Barbara Stanwyck as the stars of Habeas Corpus.
Where Eagles Dare 1950's directed by J. Lee Thompson:
Smith: James Mason Schaffer: Charles Bronson Mary Ellison: Honor Blackman Heidi Schmidt: Ulla Jacobsson Col. Turner: Herbert Lom Vice Admiral Rolland: Charles Laughton Olaf Christiansen: Peter Finch Cartwright Jones: Harry Harvey Col. Kramer: Walter Slezak Major Hapen: John Neville
Inglorious Basterds 1960's directed by Brian G. Hutton:
Aldo Raine: Lee Marvin Donowitz: Alan Arkin Utivich: Richard Benjamin Shosanna: Catherine Deneuve Bridget von Hammersmark: Romy Schneider Lt. Hicox: Albert Finney General Fenech: Peter Ustinov Winston Churchill: Patrick Wymark Hans Landa: Alec Guinness Major Hellstrom: Hardy Kruger Private Zoller: Horst Buchholz Hugo Stiglitz: John Ericson Monsieur LaPidite: Philippe Noiret
Does anyone have any Hail Mary predictions for the Oscars tomorrow night? I’m gonna hold steady to my prediction of Gerwig getting Best Director, and then play it overly safe in every other category.
Well since I'm not going to be able to watch them live, here are my final predictions for the oscars:
Picture - Lady Bird (Now here me out.. Three Billboards and Shape of Water both have a ton of support, but also a distinct backlash. Lady Bird seems to be the nominee that most people can agree on, and much of the time the winner isn't the movie with the most love, but the movie with the broadest appeal. Ex, Spotlight winning over The Revenant.)
Director - del Toro (He's won everything before hand and there little question the movie thrives on his singular vision.)
Actor - Oldman (Won everything, overdue factor, strong performance.. Chalamet and Kaluuya could throw him a surprise but I still think the career achievement will strike again.)
Actress - McDormand (Won everything, no overdue factor because of her "Fargo" win, but she is a highly respected and admired figure in the industry. The only people I can see knocking her out is Hawkins and Ronan, but even then its an exceedingly small chance.)
Supporting Actor - Rockwell (Now he could split votes with Harrelson, in which case Dafoe might take the prize, but I think its fairly clear cut at this point. I'd be pushing for Dafoe myself but Rockwell puts in some of his best work, so I'll still be happy.)
Supporting Actress - Janney (The campaign has been nice to her, and while I would actually favor Metcalf and Manville, she's a worthy choice herself.)
Original Screenplay - Get Out (I could also see Lady Bird sneaking in there, but with the year it's in, and how it has the most support in this field, I'm sticking with my choice.)
Adapted Screenplay - Call Me by Your Name (Previous history with the academy, and again, a good deal of support in this category.)
Best Animated Feature - Coco
Best Foreign Language - A Fantastic Woman
Best Documentary - Faces Places/Icarus
Best Documentary Short - Heroin(e)
Best Live Action Short - The Silent Child
Best Animated Short - Lou
Best Original Score - The Shape of Water
Best Original Song - Remember Me/Mystery of Love
Best Sound Editing - Baby Driver/Blade Runner 2049
Best Sound Mixing - See Editing
Best Production Design - Shape of Water/Blade Runner 2049
Best Cinematography - Blade Runner 2049
Best Makeup - Darkest Hour
Best Costume - Phantom Thread, though Beauty and the Beast also has a shot sadly.
Best Film Editing - Baby Driver - I,Tonya for outside chance.
Best Visuals - Blade Runner 2049/War for the Planet of the Apes
1. Jimmy Kimmel will be fine but not as good as last year. 2. They will be about 12 speeches with ME TOO written all over it 3. At least 4 speeches being political 4. At least one surprise, probably in a minor category 5. Alex Zane and the gang in the studio (UK only) will be quite funny as usual, and I predict Alex Zane himself gets most predictions right.
Best Picture- Three Billboards, a la Argo. Wouldn't be surprised if The Shape of Water or Lady Bird surprise. Best Director- Guillermo Del Toro, although I'd love for Nolan or Anderson to surprise. Acting categories- Oldman, McDormand, Rockwell, Janney. Original Screenplay- Get Out Adapted Screenplay- Call Me By Your Name (although it's a fine script, please let it be Logan instead) Animated Feature- Coco (for the umpteenth time, Your Name should have been here instead) Original Song- 'Remember Me' Cinematography- Blade Runner 2049 Editing- Baby Driver, although Dunkirk should take this. Sound Editing/Mixing- Dunkirk
Theodore Twombly: Karl Malden Samantha: Marilyn Monroe Amy: Vivien Leigh Catherine: Dorothy McGuire
Rashomon 2010's:
The Carpenter: Tracy Letts The Priest: Stephen Merchant The Commoner: James Badge Dale The Medium: Lili Taylor The Bandit: Tom Hardy The Wife: Rooney Mara The Husband: Daniel Craig
Tahmeed:
I think that ending would have worked as well as very much a far more 70's style horror ending like "The Wicker Man" or "Don't Look Now", which is different than some modern horror endings that love a cheap jump scare. This was naturally realized within the film. Having said I do prefer the used ending since all the scenes of Rod in the second half would have seemed extremely pointless without any payoff whatsoever.
Ranked in terms of level of improvement of first to last:
1. Hugh Jackman - Logan 2. Sylvester Stallone - Creed 3. John Cazale - The Godfather Part II 4. Gene Hackman - French Connection II 5. Mark Hamill - Star Wars: The Last Jedi
Luke:
Jim Caviezel & David Harbour
Anonymous:
Scorsese's Gershwin - (Along with his attempted biopic on Sinatra it seems like there's always something in the way of Scorsese doing a musicians biopic, which is a shame. As we've never truly seen what Scorsese could potentially bring to such subject matter which seems clearly passionate about. It's one I hope he has a chance to make sometime soon as it could be a unique invigorating approach to subject matter that is often given rather dull treatment.)
Cronenberg - (Well Cronenberg doing horror is just something one always wants to see, or at least should want to see. Either way his Frankenstein likely would be something truly disturbing and truly fascinating given his other work in the body horror genre. It's a shame we did not get to see this one, and frankly with how his straight dramas are going currently perhaps it would be good for him to return to his genre roots.)
Anonymous:
Duvall - (Obviously someone not exactly noted for his voice however like Hackman it is just part of his naturalistic and commanding presence as an actor.)
O'Toole - (There's something very special about his as this almost sousey refinement. In that he certainly has the proper diction of a king, but with a little casual variation in it that makes it so distinct.)
Jones - (One of the all time great voices without a doubt as there is just a sheer magnitude and presence in his vocals alone. An innate power, and even menace that is innate to his work.)
Wincott - (Another one of the great underrated voices around though perhaps because Wincott is anything but soothing. His voice though is such a unique sound as it somehow is both extremely coarse yet at the same time so how smooth. That oxymoron combination is one of the coolest voices that is not used enough.)
Irons - (The spiritual successor to George Sanders in the personification of a great feline in human form through their purring voice, even when not playing tigers or lions.)
Lee - (Pretty much like Jones yet somehow there seems something innately malevolent in Lee's effortlessly overpowering voice.)
Rickman - (Similar to Irons/Sanders, yet something all his own with his sort of lazy yet refined diction.)
Connery - (I'll say I preferred when his Scottish brogue was a bit more subdued during his younger years where he carried just a great classical command. His voice slowly became more of a caricature over the years and starting to sound like the imitators by time League of Extraordinary Gentleman rolled around.)
Caine - (My co caine its a voice you know that just has something that all Caine in the psedou but not quite cockeny styling that is all Caine and only Caine.)
McKellen - (Perfect casting of Gandalf to Lee's Saruman as McKellen's voice is very similair to Lee's yet just the far gentler and warmer version of it.)
DiCaprio - (Not one of his great assets to be honest. I mean there's nothing overly wrong with his voice but it can be a little whiny when he yells.)
Bale - (Easy to see why he tends to do an accent as his natural cockney accent is a little rough not all that distinct.)
Gosling - (Gosling's voice is a great personification of sort of a modern smooth.)
Gyllenhaal - (Not an overly distinct voice though there is just something slightly atypical about it that does make it stand out in a very low key way.)
Gosling's screaming is one of his best assets. It earned laughs every time it was used in The Nice Guys, and I was shocked by the un-high pitched it was when he unleashed it in BR2049.
Scofield - (The personification of speak softly but carry a big stick. Except for Scofield his calm timbre someone carries such a powerful heft to it that he can unleash while barely raising his voice. His was a one of a kind type of refinement that we frankly didn't hear enough of.)
Reed - (Well when he bothered to use his actual voice, which was far more refined than say his Bill Sykes, Reed was surprisingly elegant with a real grace to his voice that in no way undercut sort of his macho presence.)
Well deserved win, though it's funny that like say Christian Bale he went from someone seen extremely overdue for a nomination for the longest time right to a win.
Very well deserved for Sound Editing, and not a bad win for mixing either despite the few hiccups. Either way, happy it's not going home without a win.
BP: Paddington 2 Director: Paul Thomas Anderson, Phantom Thread Best Actor: Josh O'Connor, God's Own Country Best Actress: Sally Hawkins, The Shape of Water (I haven't seen all the contenders, though) Supporting Actor: Brendan Gleeson, Paddington 2 Supporting Actress: Lesley Manville, Phantom Thread Adapted Screenplay: Paddington 2 (based on the prequel) Original Screenplay: The Big Sick
124 comments:
Really good video, I have to say. I don't know it was your intention Louis, but it made me want to see Phantom Thread again.
Louis: Your cast and director for:
Live by Night (1930's version)
Lucky Logan (1950's version)
Phantom Thread (1960's version)
Anonymous:
Live by Night 1930's directed by Raoul Walsh:
Joe Coughlin: James Cagney (Of course)
Loretta Figgis: Joan Fontaine
Dion Bartolo: Humphrey Bogart
Maso Pescatore: George Bancroft
Albert White: Lewis Stone
Graciela Corrales: Rita Hayworth
Thomas Coughlin: Donald Crisp
Chief Figgis: Walter Huston
R.D. Pruitt: Louis Calhern
Lucky Logan 1950's directed by Jules Dassin:
Jimmy Logan: Robert Preston
Clyde Logan: Jack Lemmon
Mellie Logan: Debbie Reynolds
Joe Bang: Van Heflin
Bobbie Jo Chapman: Shelley Winters
Sylvia Harrison: Barbara Bel Geddes
Warden Burns: Walter Brennan
Max Chilblain: Terry-Thomas
The Bang Brothers: Warren Oates & Ben Johnson
Sarah Grayson: Gloria Grahame
Phantom Thread 1960's directed by Michael Powell:
Reynolds Woodcock: Laurence Olivier
Alma Elson: Bibi Andersson
Cyril Woodcock: Miriam Hopkins
Olivier or no one else for Reynolds Woodcock in the 60s.
Great choices Louis.
Louis: Could Colin Firth go up for A Single Man.
Louis: Is Daniel Day-Lewis sneaking toward your top ten performances this decade for Phantom Thread? I noticed you hadn’t listed him.
Tahmeed: Either myself or someone else asked about that some time ago and he said no. Hope Sheen goes up for The Damned United.
Louis: Your updated top 15 films of the decade so far.
See anything, Louis?
I saw It Comes at Night and it was perfectly fine, not sure what all the online fuss was about. Cast was good.
Louis: Could I have your thoughts on the AFI "100 Greatest Films" list, and their 10 Top 10 lists.
Anonymous:
Yes, I appreciated his performance even more on re-watch, which is saying a lot since I already loved his work.
Robert:
From 2018 The Polka King, which has a fun Jack Black performance, but otherwise isn't anything special.
From 2017 the Breadwinner and A Fantastic Woman which I thought were both fine.
Luke:
1. Drive
2. Silence
3. Mad Max: Fury Road
4. Blade Runner 2049
5. Birdman
6. Phantom Thread
7. Tinker Tailor Soldier Spy
8. Dunkirk
9. La La Land
10. The Hunt
11. I Saw the Devil
12. Tower
13. The Social Network
14. Snowpiercer
15. The Wolf of Wall Street
Tahmeed:
The main "Greatest films" list I think is a fine list if first you discount exact positions, then look at it more in terms of influence, cultural impact, and less so on exact quality, though one can consider that as well.
I mean I personally don't love "Singin in the Rain" or "Some Like it Hot" however I recognize their cultural impact/cinematic influence.
Although having said that there are a few headscratchers on the list such as "Tootsie", "Sophie's Choice", and "Guess Who's Coming to Dinner", as well as the exclusion of "Amadeus" on the 07 list which is a great testament to why quality of the film making itself should matter most.
The list itself though is a representation of sort of mainstream "great cinema" thinking to a fault where great filmmakers like David Lynch, David Cronenberg, Terrence Malick, John Carpenter were completely ignored or someone like Robert Zemeckis is recognized for "Forrest Gump" rather than "Back to the Future" or "Who Framed Roger Rabbit".
As for the top ten top tens I'll look at it more critically.
Animation:
Ridiculous number 1 in Snow White, as first does not equal to best. It also again is a little standard in terms of populist choices with "Shrek" being included rather than "The Secret of NIMH" or I'd even take "The Nightmare Before Christmas". The rest of the films are fine choices.
Courtroom Drama:
A few of these feel a stretch as the courtroom drama designation goes particularly "In Cold Blood", but at least it's a great film. These are all fine choices although "Kramer vs Kramer" should be at the bottom of the list certainly not above "Anatomy of a Murder". There are no major inconceivable snubs that I can think of off the top of my head.
Epic:
Top three are all great choices though I've never thought of "Schindler's List" as an "epic" but it's open to interpretation. Also since it seems as a cover for larger scale war films I would've personally put several films over "Saving Private Ryan", "Reds" or especially "Titanic" such as "The Thin Red Line", "Master and Commander" or "The Last Emperor".
Fantasy:
Fine choices though it wouldn't be my order, also if one considers "Fellowship of the Ring" as a placeholder for the trilogy. Well other than "Big", which I'd take "A Princess Bride" over.
Gangster:
A fine list other than far too much "Scarface" going around as neither is a great film. "Mean Streets", "The Roaring Twenties", "Miller's Crossing" and especially "Angels with Dirty Faces" would have been better choices. Also since "Bonnie and Clyde" is included "Badlands" was sorely snubbed.
Mystery:
Fine choices all around although the inclusion of "The Third Man" calls very much into question its non-appearance on the main list.
Also probably would've put "Seven" over "the Usual Suspects" as 1995 films go. Also not sure if "L.A. Confidential" counts as a gangster or a mystery film but its painfully missing here.
Romantic Comedy:
Not horrible choices at all, though I haven't seen "Sleepless in Seattle" although the lack of "The Apartment" and "Modern Times" is very strange.
Science Fiction:
Again would not be my order, but nothing wrong with these choices.
Sports:
"The Pride of the Yankees" is much too high, and I'll never understand "Caddyshack" I suppose.
Western:
I assume this was staying consistent with the American production company angle, or else I'd hate this list.
Having said that "The Searchers" is a film with a little too much retrograde interpretation of brilliance, more than it is truly brilliant. All praise that films gets so often should be offered to "The Man Who Shot Liberty Valance" instead which of course absent from the list. The lack of "The Ox-Bow Incident", "The Naked Spur" or any Mann/Stewart western again suggests a little too insular of thinking. Most of these are still good choices though, but again a little too typical overall.
Louis: Your thoughts on the casts of the films you saw and more in-depth thoughts on The Breadwinner and A Fantastic Woman.
Louis: Thanks for the thoughts. Have you decided where Phantom Thread ranks among Day Lewis's best performances?
I'm going all out with either Lady Bird or Get Out pulling a Spotlight this Sunday (Best Original Screenplay and Best Picture).
Luke:
The Polka King:
Black - 4(It's an entertaining performance that is very much in a similair vein to his work in Bernie, in that he brings such a genuine unbridled enthusiasm that carries not only the film, but also his character through some very problematic character flaws. Black manages to make his legitimate cheat just oh so likable in a believable fashion that makes his success at being a cheat convincing. Black goes a bit further though in bringing a certain madness in this faulty ambition though just a hint of it to in a way show that the very same spark that makes the man so outgoing and charming also in turn makes him willing to do whatever it takes to achieve his dreams even when amoral. It's a strong performance that makes the film work much more than it would've otherwise.)
Slate - 3(She's more than fine in portraying the dutiful wife though also entertaining in bringing her own bit of that same madness that Black finds in portraying her more hidden desperation and frankly temptations towards their strange spotlight.)
Schwartzman - 3(He's mostly there and just fine as a comedic foil for Black. I'll give him a bit extra for his scene with Weaver though where he's pretty funny in realizing a very atypical relationship to say the least.)
Weaver - 3(I would like to see her in a role other than the kooky mother one of these days, however she once again does it well particularly in terms of delivering just the right incisiveness in her doubtful attitude towards Black's character.)
The Breadwinner is decent enough in its well animated portrayal of what should be fairly harrowing subject matter. The film juxtaposes its main story with a series of stories within it that never quite coheres as well as they should. They're fine, and also well animated however it makes it feel as though the main story is not fully serviced. It seems oddly slight when the central idea certainly seems to have a great deal of potential. It explores it to a degree but never to the point it becomes something truly notable. It's one of those films that's good but feels like missed opportunity to be great. I'd rank behind Loving Vincent and Coco. Also I should note I did try to watch Ferdinand and Boss Baby, but about ten minutes into each I had to quote Murtaugh from Lethal Weapon and stopped watching.
All the vocal performances are fine though none really stand out.
A Fantastic Woman was similair to the Breadwinner for me in it also is decent enough on its own but never quite takes the next step into becoming something extraordinary. The film is a touch repetitive in its structure of one person after another from the deceased's family diminishing Marina with these usually broken apart by a few stylistic sequences of Marina exploring other things away from that main thrust. These never quite perfectly cohered either, however some of these scenes were compelling in terms direction. Overall what really holds the film together is the central performance that creates enough of an emotional anchor that prevents the film from ever becoming truly adrift.
Vega - 4.5(Vega's performance is actually struggling with perhaps a little too simplistic of a character at times. Marina is mostly there just to react towards others as they are continually dismissive. What character is really there is mostly just through what Vega does performance wise. Vega's work manages to create well just the sense of the emotional fallout in the character that is only exacerbated through this treatment. Vega is particularly effective though in creating this sense of a slowly growing discontent over this while still giving a pretty low key portrayal overall. It is in Vega's work that the film finds its central dramatic thrust as Vega carries every scene even when it does not exactly have Marina doing anything particularly new or interesting. Vega though maintains the character, and an emotional connection in the film even during the film's most extreme flights of fancy during the film's stylistic sequences.)
Everyone else is fine but no one really makes much of an impact.
Tahmeed:
Probably 3rd.
Calvin:
I think it could happen, Original Screenplay is certainly going to be the one to watch.
Louis what are your top ten favorite scenes from 2017?
Louis: What are your other nominees for original and adapted screenplay?
Louis: your casts for a 50’s and 60’s version of watchmen?
Anonymous:
1. The Memory is real - Blade Runner 2049
2. Tears in the snow - Blade Runner 2049
3. Unexpected Date - Phantom Thread
4. Luv v K - Blade Runner 2049
5. The Ghost - Phantom Thread
6. "Kiss Me" - Phantom Thread
7. Farrier saves the day - Dunkirk
8. "I like this song" - Blade Runner 2049
9. Barbara Rose - Phantom Thread
10. Opening - Blade Runner 2049
Matt:
Original:
I, Tonya
Lucky
Okja
Phantom Thread
Three Billboards Outside Ebbing, Missouri
Adapted:
Blade Runner 2049
The Death of Stalin
The Disaster Artist
Logan
Paddington 2
Anonymous:
50's:
Rorschach: Van Heflin
Nite Owl II: William Windom
Silk Spectre II: Ann Blyth
Silk Spectre I: Shelley Winters
Dr. Manhattan: Robert Stack
Ozymandias: Patrick McGoohan
The Comedian: Richard Widmark
60's:
Rorschach: Ralph Meeker
Nite Owl II: Donald Sutherland
Silk Spectre II: Jane Fonda
Silk Spectre I: Carolyn Jones
Dr. Manhattan: Richard Crenna
Ozymandias: Terence Stamp
The Comedian: Lee Marvin
Louis: I could be wrong, but is Brian Cox in Churchill missing from your lead ranking?
Louis, since you thought The Disaster Artist was a good but not great movie, who do you think should have directed it?
Matt:
Right you are, it has been corrected.
Anonymous:
Okay this is not me just saying arguably the best working director, but PTA. I say that as the book in a way is very much about a relationship that is not completely unlike the relationships PTA likes to explore. Wiseau himself is not at all unlike a Freddie Quell with his own vague past involving some type of trauma, or Reynolds Woodcock, though just far less successful artistically speaking, in his personal idiosyncrasies in behavior as well as in his tantrums.
Your thoughts on The Greatest Showman and the cast.
Louis: Any roles in the 80s you think Steve McQueen could've been good in if he hadn't passed away?
Louis: Your thoughts on 'Nightcall' from Drive.
I actually had a few minor nitpicks with I, Tonya's screenplay, nothing major but enough to keep it out of the top 5.
Luke:
I guess I'll join the anti-populist sentiment when it comes to The Greatest Showman. It's not a good a film or even a good musical. Every single character is so poorly defined, with every arc being far too simplistic even as musicals go, and the film severely lacking in any idea of what its dramatic core really wants to be. It rather would be just extremely vague in every single one of its plot lines. The one asset it does have is the songs which for the most part are pretty entertaining, only to listen to though. I will say though the actual direction and staging of the song sequences though are ludicrously underwhelming. The camerawork, and the editing never seem to have any idea what to do in any given scene to the point that you can't even tell if there is any good choreography since the film has no idea how to present it.
Jackman - 2.5(It is a little strange that Jackman, who is so charming in interviews or anywhere it seems, has such a hard time getting this across in performances. I will say the film doesn't help him here with its poorly realized arc of Barnum's about appreciating family...I guess. Jackman occasionally can get across his magnetism, mostly in the musical numbers, but it does not happen often enough. I will say he also doesn't help matters with his strange accent he does here, which seems odd as his American accent has always been strong so I don't know why he switched it up here. The performance is unfortunately a let down, but again the film probably would have been better if it just played into pure fluff while allowing Jackman to go on a full charm offensive. Or...they should have made it a comedic musical with John C. Reilly in the titular role, the man needs to lead another musical, but I digress.)
Williams - 2.5(She has a nothing part here though she does manage to bring some hints of charm within it despite how underwhelming the role is as written.)
Ferguson - 2.5(Her underwhelming streak, since her impressive breakout with Mission Impossible, continues unfortunately once again. She is not terrible but her role again is horribly written right down to the extremely turn her character makes. Ferguson isn't terrible, but she really doesn't do much of anything.)
Zendaya - 3(She actually manages to be fairly charming here and even though her relationship with Efron is severely underwritten still there is at least enough of a chance to strike up a vague chemistry. They do this successfully to the point together they are one of the "better" things about the film.)
Efron - 2.5(He's good in his scenes with Zendaya however his performance is very strange specifically when acting with Jackman, as he brings this odd stilted quality to his work. He makes up for it to a degree in those aforementioned scenes, and his performance in the musical sequences.)
Bryan:
Frank Slade (Scent of a Woman)
Glen Whitehouse (Affliction)
Frank Horrigan (In the Line of Fire)
Tahmeed:
I love it, but that's all I'll say since it didn't originate in the film.
Louis: How unfortunate do you find it that Crispin Glover didn't reprise his tole in the second and third Back to the Future films.
*role
Zendaya was indeed the best part of The Greatest Showman. She barely had a role to begin with, but she was genuinely charming.
Louis: your thoughts on the cinematography of A Fantastic Woman? It was the highlight of the film for me alongside Vega (I really liked it, although the screenplay was a weaker element and I'm not quite sure I liked how it ended).
On A Greatest Showman I actually think a darker version with a more realistic look at the less than savoury sort of individual P.T. Barnum was with Jackman in a supporting role/against type, and Efron and Zendaya as the leads, could have worked. Of course, that wasn't the sort of film they wanted to make, so I respect Jackman's decision. Though it's ironic that this is the film he leveraged his final appearance in Logan with.
Louis: Your ratings of:
- Bebe Daniels in Reaching for the Moon
- Florence Eldrige in Les Misérables
- Ginger Rogers in Swing Time
- Helen Hayes in A Farewell to Arms
- Julie Andrews in Star!
- Marlene Dietrich in Morocco
- Margaret Dumont in Duck Soup
- Ruby Keeler in 42nd Street
- Sylvia Sidney in Sabotage
RIP David Ogden Stiers.
Louis: Great choices, especially In The Line of Fire.
How do you think Heath Ledger would've done in each of these roles in the 2010s? I thought of these because they were directed by filmmakers I could see him wanting to work with.
James Hunt
Avery Cross
Max Rockatansky
John Fitzgerald (Villainous role with an overt accent, though Hardy was exceptional.)
Eric (The Rover)
R.I.P. David Ogden Stiers. A wonderful actor, so good on MASH.
RIP David Ogden Stiers, great as Major Winchester and gave such wonderful vocal performances.
Tahmeed:
Although it is a symptom of sequelitis, and I would have preferred if he played George even in his small role I don't think it was THAT unfortunate. As one George's role was small, and his reduced role actually felt natural to where the sequels went. George's arc after all was so satisfying in its completion in the original film so he really didn't need to come back in any major way. I still would have preferred him to reprise the role, but George's reduced role really doesn't stand out as a major flaw within the sequels. Although perhaps he would have been a better choice for Shamus McFly.
Calvin:
I'd agree the cinematography is one of the better aspects of the film. Like the film itself it kind of has its two types of scenes though. In that its scenes in dealing with the family it is shot in more of a basic pristine way, and I don't mean that as a criticism. It is well shot as such with sort of sympathetic hue towards the lighting on Vega in particular. This is contrast to the stylized scenes where it goes far more all out in the saturation of colors and far more dynamic lurid lighting. This is also effectively realized though and works in a way in showing sort of the vibrancy of the scenes of Marina embracing life against banality of the family's attitude in the funeral preparations.
Deiner:
Daniels - 3
Eldrige - 3
Rogers - 3.5
Hayes - 2.5
Andrews - 2
Dietrich - 3
Dumont - 3
Keeler - 3.5
Sidney - 3
Bryan:
James Hunt - (I feel he could have brought the same swagger that Hemsworth delivered though probably with a greater sense of the sense of self-destructive quality within Hunt's behavior. His likely would have delivered a more dramatic edge to it that probably would have been a stronger match for Bruhl.)
Avery Cross - (I more or less see him giving a performance very similair to Cooper's which probably also would have been good.)
Mad Max - (Not sure of this one only because the character is so dependent on Hardy's particular degree of physicality in his performances.)
John Fitzgerald - (Given his success with the Joker I think he potentially could have brought something very special in the role, of that is what Hardy did.)
Eric - (I think this wouldn't have been the best fit as the age of Pearce at the time added more to the role. There's the sense that Eric's been through some type of hell, and I'm not sure Ledger would have been the best fit for that, though maybe he would have been.)
Louis: Are you a fan of the MASH series, Louis? I know you don't like the movie.
Matt:
Yeah, I like the series.
Louis: Your cast and director for:
The Player (1940's version)
Where Eagles Dare (1950's version)
Inglorious Basterds (1960's version)
Anonymous:
The Player 1940's directed by Preston Sturges:
Griffin Mill: Ray Milland
June Gudmundsdottir: Ingrid Bergman
Walter Stuckel: William Demarest
Detective Avery: Myrna Loy
Larry Levy: Ralph Bellamy
David Kahane: Burgess Meredith
Andy Civella: Brian Donlevy
Tom Oakley: Rex Harrison
Henry Fonda and Barbara Stanwyck as the stars of Habeas Corpus.
Where Eagles Dare 1950's directed by J. Lee Thompson:
Smith: James Mason
Schaffer: Charles Bronson
Mary Ellison: Honor Blackman
Heidi Schmidt: Ulla Jacobsson
Col. Turner: Herbert Lom
Vice Admiral Rolland: Charles Laughton
Olaf Christiansen: Peter Finch
Cartwright Jones: Harry Harvey
Col. Kramer: Walter Slezak
Major Hapen: John Neville
Inglorious Basterds 1960's directed by Brian G. Hutton:
Aldo Raine: Lee Marvin
Donowitz: Alan Arkin
Utivich: Richard Benjamin
Shosanna: Catherine Deneuve
Bridget von Hammersmark: Romy Schneider
Lt. Hicox: Albert Finney
General Fenech: Peter Ustinov
Winston Churchill: Patrick Wymark
Hans Landa: Alec Guinness
Major Hellstrom: Hardy Kruger
Private Zoller: Horst Buchholz
Hugo Stiglitz: John Ericson
Monsieur LaPidite: Philippe Noiret
Louis: Your cast for a 50s The Master a 50s Her and a 2010s Rashomon (American adaptation)?
Does anyone have any Hail Mary predictions for the Oscars tomorrow night? I’m gonna hold steady to my prediction of Gerwig getting Best Director, and then play it overly safe in every other category.
Louis: Thoughts on this alternate ending to Get Out-
https://youtu.be/A3JS7_OcPWQ
RIP David Ogden Stiers
Michael: I'm afraid I've lost interest in the oscars this year to be honest.
Michael: Get Out for Best Picture ans Baby Driver for best editing are my 'boldest' choices.
Well since I'm not going to be able to watch them live, here are my final predictions for the oscars:
Picture - Lady Bird (Now here me out.. Three Billboards and Shape of Water both have a ton of support, but also a distinct backlash. Lady Bird seems to be the nominee that most people can agree on, and much of the time the winner isn't the movie with the most love, but the movie with the broadest appeal. Ex, Spotlight winning over The Revenant.)
Director - del Toro (He's won everything before hand and there little question the movie thrives on his singular vision.)
Actor - Oldman (Won everything, overdue factor, strong performance.. Chalamet and Kaluuya could throw him a surprise but I still think the career achievement will strike again.)
Actress - McDormand (Won everything, no overdue factor because of her "Fargo" win, but she is a highly respected and admired figure in the industry. The only people I can see knocking her out is Hawkins and Ronan, but even then its an exceedingly small chance.)
Supporting Actor - Rockwell (Now he could split votes with Harrelson, in which case Dafoe might take the prize, but I think its fairly clear cut at this point. I'd be pushing for Dafoe myself but Rockwell puts in some of his best work, so I'll still be happy.)
Supporting Actress - Janney (The campaign has been nice to her, and while I would actually favor Metcalf and Manville, she's a worthy choice herself.)
Original Screenplay - Get Out (I could also see Lady Bird sneaking in there, but with the year it's in, and how it has the most support in this field, I'm sticking with my choice.)
Adapted Screenplay - Call Me by Your Name (Previous history with the academy, and again, a good deal of support in this category.)
Best Animated Feature - Coco
Best Foreign Language - A Fantastic Woman
Best Documentary - Faces Places/Icarus
Best Documentary Short - Heroin(e)
Best Live Action Short - The Silent Child
Best Animated Short - Lou
Best Original Score - The Shape of Water
Best Original Song - Remember Me/Mystery of Love
Best Sound Editing - Baby Driver/Blade Runner 2049
Best Sound Mixing - See Editing
Best Production Design - Shape of Water/Blade Runner 2049
Best Cinematography - Blade Runner 2049
Best Makeup - Darkest Hour
Best Costume - Phantom Thread, though Beauty and the Beast also has a shot sadly.
Best Film Editing - Baby Driver - I,Tonya for outside chance.
Best Visuals - Blade Runner 2049/War for the Planet of the Apes
I'll be mad as hell if Dunkirk goes empty handed.
I have booked tomorrow off so I can watch the Oscars with alcohol aplenty =D hehe.
2 of either Get Out, Lady Bird or Dunkirk will be the big losers with no wins.
I only care about Gary Oldman winning at this stage and I'm just looking forward to moving onto 2008.
My big predictions for the ceremony itself
1. Jimmy Kimmel will be fine but not as good as last year.
2. They will be about 12 speeches with ME TOO written all over it
3. At least 4 speeches being political
4. At least one surprise, probably in a minor category
5. Alex Zane and the gang in the studio (UK only) will be quite funny as usual, and I predict Alex Zane himself gets most predictions right.
RatedRStar: Shame I don't have Sky anymore.
My predictions:
Best Picture- Three Billboards, a la Argo. Wouldn't be surprised if The Shape of Water or Lady Bird surprise.
Best Director- Guillermo Del Toro, although I'd love for Nolan or Anderson to surprise.
Acting categories- Oldman, McDormand, Rockwell, Janney.
Original Screenplay- Get Out
Adapted Screenplay- Call Me By Your Name (although it's a fine script, please let it be Logan instead)
Animated Feature- Coco (for the umpteenth time, Your Name should have been here instead)
Original Song- 'Remember Me'
Cinematography- Blade Runner 2049
Editing- Baby Driver, although Dunkirk should take this.
Sound Editing/Mixing- Dunkirk
Anonymous:
The Master 1950's:
Freddie Quell: Montgomery Clift
Lancaster Dodd: Orson Welles
Peggy Dodd: Joan Fontaine
Her 1950's:
Theodore Twombly: Karl Malden
Samantha: Marilyn Monroe
Amy: Vivien Leigh
Catherine: Dorothy McGuire
Rashomon 2010's:
The Carpenter: Tracy Letts
The Priest: Stephen Merchant
The Commoner: James Badge Dale
The Medium: Lili Taylor
The Bandit: Tom Hardy
The Wife: Rooney Mara
The Husband: Daniel Craig
Tahmeed:
I think that ending would have worked as well as very much a far more 70's style horror ending like "The Wicker Man" or "Don't Look Now", which is different than some modern horror endings that love a cheap jump scare. This was naturally realized within the film. Having said I do prefer the used ending since all the scenes of Rod in the second half would have seemed extremely pointless without any payoff whatsoever.
I don't think I'll ever hear a crowd cheer as hard as at the end of Get Out again.
Louis: Who would be your picks to play John Proctor in a 2000s & 2010s The Crucible.
Louis: Your top 5 role reprisals that you feel were better than the original performance.
O'Toole in The Lion In Winter
Cazale in The Godfather Part II
Hackman in French Connection II
Stallone in Creed and Hamill in The Last Jedi.
Tahmeed: Is it only Second films that count or can it be multiple.
If it's the former then Stallone and Hamill wouldn't count.
Louis: Your thoughts on Scorsese's Gershwin and Cronenberg's Frankenstein as missed opportunities.
Luke: It's all the same to me, I have the 5 you and Calvin listed, alongside Jackman's work in Logan in my list.
Well, I would also add Stewart in Logan and Astin in Return Of The King.
Louis: Your thoughts on the voices of Robert Duvall, Peter O'Toole, James Earl Jones, Michael Wincott and Jeremy Irons.
Tahmeed:
Ranked in terms of level of improvement of first to last:
1. Hugh Jackman - Logan
2. Sylvester Stallone - Creed
3. John Cazale - The Godfather Part II
4. Gene Hackman - French Connection II
5. Mark Hamill - Star Wars: The Last Jedi
Luke:
Jim Caviezel & David Harbour
Anonymous:
Scorsese's Gershwin - (Along with his attempted biopic on Sinatra it seems like there's always something in the way of Scorsese doing a musicians biopic, which is a shame. As we've never truly seen what Scorsese could potentially bring to such subject matter which seems clearly passionate about. It's one I hope he has a chance to make sometime soon as it could be a unique invigorating approach to subject matter that is often given rather dull treatment.)
Cronenberg - (Well Cronenberg doing horror is just something one always wants to see, or at least should want to see. Either way his Frankenstein likely would be something truly disturbing and truly fascinating given his other work in the body horror genre. It's a shame we did not get to see this one, and frankly with how his straight dramas are going currently perhaps it would be good for him to return to his genre roots.)
Anonymous:
Duvall - (Obviously someone not exactly noted for his voice however like Hackman it is just part of his naturalistic and commanding presence as an actor.)
O'Toole - (There's something very special about his as this almost sousey refinement. In that he certainly has the proper diction of a king, but with a little casual variation in it that makes it so distinct.)
Jones - (One of the all time great voices without a doubt as there is just a sheer magnitude and presence in his vocals alone. An innate power, and even menace that is innate to his work.)
Wincott - (Another one of the great underrated voices around though perhaps because Wincott is anything but soothing. His voice though is such a unique sound as it somehow is both extremely coarse yet at the same time so how smooth. That oxymoron combination is one of the coolest voices that is not used enough.)
Irons - (The spiritual successor to George Sanders in the personification of a great feline in human form through their purring voice, even when not playing tigers or lions.)
Louis: Thoughts on the voices of Christopher Lee, Alan Rickman, Sean Connery, Michael Caine, Ian McKellen and Morgan Freeman.
Louis: Your thoughts on the voices of Leonardo DiCaprio, Christian Bale, Ryan Gosling and Jake Gyllenhaal?
Luke:
Lee - (Pretty much like Jones yet somehow there seems something innately malevolent in Lee's effortlessly overpowering voice.)
Rickman - (Similar to Irons/Sanders, yet something all his own with his sort of lazy yet refined diction.)
Connery - (I'll say I preferred when his Scottish brogue was a bit more subdued during his younger years where he carried just a great classical command. His voice slowly became more of a caricature over the years and starting to sound like the imitators by time League of Extraordinary Gentleman rolled around.)
Caine - (My co caine its a voice you know that just has something that all Caine in the psedou but not quite cockeny styling that is all Caine and only Caine.)
McKellen - (Perfect casting of Gandalf to Lee's Saruman as McKellen's voice is very similair to Lee's yet just the far gentler and warmer version of it.)
Freeman - (Eeeesay listening incarnate. Freeman's voice defines proper storytelling diction and style.)
Bryan:
DiCaprio - (Not one of his great assets to be honest. I mean there's nothing overly wrong with his voice but it can be a little whiny when he yells.)
Bale - (Easy to see why he tends to do an accent as his natural cockney accent is a little rough not all that distinct.)
Gosling - (Gosling's voice is a great personification of sort of a modern smooth.)
Gyllenhaal - (Not an overly distinct voice though there is just something slightly atypical about it that does make it stand out in a very low key way.)
Gosling's screaming is one of his best assets. It earned laughs every time it was used in The Nice Guys, and I was shocked by the un-high pitched it was when he unleashed it in BR2049.
And yeah DiCaprio's screaming only works when it's utilized well (i.e. Wolf of Wall Street, Django to an extent).
Louis: And lastly, Paul Scofield and Oliver Reed.
Luke:
Scofield - (The personification of speak softly but carry a big stick. Except for Scofield his calm timbre someone carries such a powerful heft to it that he can unleash while barely raising his voice. His was a one of a kind type of refinement that we frankly didn't hear enough of.)
Reed - (Well when he bothered to use his actual voice, which was far more refined than say his Bill Sykes, Reed was surprisingly elegant with a real grace to his voice that in no way undercut sort of his macho presence.)
Despite feeling apathetic towards the ceremony tonight, good luck everyone and please don't get too mad, at the end of the day it's only an award.
I'm prepared for something truly wild to happen tonight. Hopefully in a good way.
Louis are you going to give your reactions/thoughts on the Oscars while it goes?
I'll be here.
Let's go!
Someone's going to beat Pesci's record.
Rockwell!
Well deserved win, though it's funny that like say Christian Bale he went from someone seen extremely overdue for a nomination for the longest time right to a win.
Surprise Stanfield.
Well deserved Darkest Hour, Eva Marie Saint, what a legend.
Thank goodness for the Phantom Thread win, no Shape of Water sweep, and one of the most deserving winners possible tonight.
BRIDGES yes. Phantom Thread won't go winless.
I have a feeling Icarus got an Olympic boost, however a well deserved win.
Dunkirk won't go home empty handed, Luke will be glad!
Very well deserved for Sound Editing, and not a bad win for mixing either despite the few hiccups. Either way, happy it's not going home without a win.
So happy for TSOW. Please let it be Manville or Metcalf?
The best choice for Foreign Language (from what I've seen).
Calvin:
Well it sure beats Loveless or On Body And Soul, though I did prefer the monkey man scene of The Square overall. Fine winner though.
Oh yeah for sure, great scene.
Janney, I'm glad I guess.
Kobe and Coco, what a time to be alive.
Eh, "Dear Basketball" wasn't a bad win, but I would've ranked it fourth out of the ones I saw.
My favourite athlete with the Oscar, I can't complain though Lou was great, and I'm sure the other ones are too.
Blade Runner for visual effects!
Hey Dunkirk for editing as well. Great choice.
My predictions aren't going well as a result, but I'm so happy for these last two wins.
Ivory is a fine winner, though I'd have hoped for Logan.
Wait...James Ivory is American?
I loved Logan’s screenplay, but for me Ivory’s win is completely deserved.
Michael:
Biggest surprise of the night so far.
Yeah that took me aback too lol
Though not my preference still a deserving win for Peele.
PEELE
FINALLY!!! DEAKINS! Best win of the night.
Roger m'boy. What a class act too.
Desplat, great winner, great speech he's so eloquent!
That was a great memoriam and Vedder is great.
GUILLERMO
Very deserving win for Tinker Tailor Soldier Spy, but hey "Oscar winner Gary Oldman", to quote Mayor Goldie Wilson "I like the sound of that".
Finally, Oldman. And what a speech.
Calvin:
Great ending, and his James Masonesque shyness is endearing.
*sigh*
Very deserving two time winner. Night of not a single upset, but that's fine by me since there's been no truly bad winners.
McDormand was honestly my least favorite of the nominees, but I’m fine with her winning just because of her speech.
GOAT speech by McDormand.
Well I guess Picture/Director were bound to line up again.
Hope Mark Bridges enjoys his jet ski.
Here's the 2008 lineup, I'm going to bed.
My winners
BP: Paddington 2
Director: Paul Thomas Anderson, Phantom Thread
Best Actor: Josh O'Connor, God's Own Country
Best Actress: Sally Hawkins, The Shape of Water (I haven't seen all the contenders, though)
Supporting Actor: Brendan Gleeson, Paddington 2
Supporting Actress: Lesley Manville, Phantom Thread
Adapted Screenplay: Paddington 2 (based on the prequel)
Original Screenplay: The Big Sick
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