5. Richard Jenkins in Step Brothers - Jenkins offers a great bit of catharsis and entertainment through his hilarious turn that embodies every bit of exasperation possible in his observations of the titular's pair's nonsense.
Best Scene: His dream.
4. Mathieu Amalric in A Christmas Tale - Amalric gives a terrific turn in creating the complexity of his character's unique dynamics within his family that form through his own distinct way of interacting with the world.
Best Scene: The one time he loved his mother.
3. Tom Noonan in Synecdoche, New York - Noonan as per usual gives a fascinating idiosyncratic turn that both acts as a proper representation of emotion, but also the representation of the act of the observation of such emotions.
Best Scene: His own choice.
2. Jason Butler Harner in Changeling - Although he isn't given a great deal of screentime Harner leaves an undeniable impression through his both chilling and honestly heartbreaking portrayal of a stunted and bent serial killer.
Best Scene: The execution.
1. Lee Byung-hun in The Good the Bad The Weird - Good Predictions
Bryan L., Calvin, and
RatedRStar. Lee delivers a great villainous turn here that successfully matches and amplifies the film's heightened tone while also delivering a palatable menace, along with even some real nuance in his exploration of what really makes his villain tick.
Best Scene: The duel.
Updated Overall
Next Year: 1957 Lead
44 comments:
Sure enough, an upgrade for Downey. Rating and thoughts on O'Toole in Dean Spanley?
Didn't expect Oldman going down to 6th.
Louis: Ratings and thoughts on the lead performances you've seen, suppirting performances with a 3 or higher and your updated female top 15s with ratings.
Shame to see Oldman drop out of the top 5, but glad to have won :)
My request is,
Domhnall Gleeson - About Time (2013 Lead)
Mitchum (Heaven Knows Mr. Allison)
Sjöström (Wild Strawberries)
Steiger (Across The Bridge)
Cassavetes & Poitier (Edge Of The City)
Cagney (Man Of A Thousand Faces)
*supporting performances with a 3 or higher
Louis: Shouldn't Noonan be 10th?
Louis: Could I also have ratings and thoughts on Eric Bana, Scarlett Johansson and Natalie Portman in The Other Boleyn Girl, Jack O'Connell and Kelly Reilly in Eden Lake, Mortimer and Mara in Transsiberian and Maria Heiskanen in Everlasting Moments.
Your thoughts on Jan Troell as a director.
Louis: Lastly, Your thoughts on Kung Fu Panda & Ian McShane and if you've seen it, Waltz With Bashir.
Robert Mitchum, Heaven Knows Mr. Allison
Victor Sjostrom, Wild Strawberries
Ben Gazzara, The Strange One
Rod Steiger, Across the Bridge
Cary Grant, An Affair to Remember
Anthony Quayle, Woman in a Dressing Gown
Robert Mitchum (Heaven Knows, Mr. Allison)
Victor Sjostrom (Wild Strawberries)
James Cagney (Man of a Thousand Faces)
Rod Steiger (Across the Bridge)
Richard Widmark (Time Limit)
Honestly, I think Grant has been reviewed too much.
Louis: your top 20 kevin spacey and jake gyllenhaal acting moments
Ben Gazzara in The Strange One
Robert Mitchum in Heaven Knows Mr. Allison
Victor Sjostrom in Wild Strawberries
Rod Steiger in Across the Bridge
I finally win a prediction! =D
My request is...
Joaquin Phoenix in Buffalo Soldiers (2002 Best Actor. The film had a theatrical release in Germany that year.)
Robert Mitchum - Heaven Knows Mr. Allison
Victor Sjöström - Wild Strawberries
John Cassavettes and Sidney Poitier (if you dont think he is supporting) - Edge Of The City
James Cagney - Man Of A Thousand Faces
Rod Steiger - Across the Bridge
Louis: your thoughts on Maria Heiskanen in Everlasting Moments? Have you seen Gomorra or Il Papà di Giovanna? And can i have your thoughts on Il Divo?
Louis: What's your ratings and thoughts on Jack O'Connell in Eden Lake, as well as Jeremy Strong and Frank Collison in The Happening?
I'll replace the Edge Of The City guys with Ben Gazzara in The Strange One.
Louis: Present film roles you could see Henry Fonda, Dana Andrews and Fredric March in.
Louis: Your thoughts on this deleted scene from The Incredibles:
https://www.youtube.com/watch?v=mhMqWwyPPCc
Luke and everyone else: Is Sacha Baron Cohen worthy of a review for Borat.
Tahmeed: Yes i think so
Tahmeed: I haven't seen Borat in a long time and I'm ashamed to admit I've watched The Dictator more. I'd go 3.5/4 but honestly it's a performance that should be examined in more detail.
And with the amount of time we have before 2006, a lineup of ten is possible.
Luke: I actually enjoy The Dictator quite a bit, but the reason I asked is also because I haven't watched it in years.
Tahmeed: It's more of a mixed bag for me. I remember enjoying it alot in the cinema but now I only enjoy the first act, Reilly and any scenes with Cohen and Mantzoukas together. Also it was shown more on British television in recent years than Borat.
Sjöström-Wild Strawberries
Guru Dutt-Pyaasa
Tahmeed: I like the idea of him being reviewed, but even though I enjoy the film a great deal I would say it's not really an acting showcase.
Also, I saw Love, Simon which I actually rather liked. Nothing too special worthy of mention (though the acting is pretty uniformly solid), but as people have said before it's nice to see a mainstream teen romcom which doesn't treat homosexuality like some wacky quirk. Also I was wrong about Nick Robinson before, he does have potential.
Louis: thoughts on this short film featuring the Gleesons. https://www.youtube.com/watch?v=5-xH3MHBvUE
Louis: You didn't add Phoenix to the winning requests page.
Louis: Since you're gonna review McDowell in O Lucky Man and Britannia Hospital simultaneously when you cover 1982, could you do the same for Ethan Hawke in Before Sunset and Midnight when you cover 2004 again.
Has anyone seen the sixth episode of Atlanta's new season? Holy shit, this show is completely bananas (and it's great).
Michael:
O'Toole - 4(Well as to be expected O'Toole makes for quite an entertaining irascible grump with his properly fierce and unrelenting delivery of his old lord's rather cynical attitude in much of the film. Although the film itself just kind wanders around at first O'Toole is consistently enjoyable in his portrayal of the man just not having a second of any of it creating the idea of a man just altogether fed up with the world. The change of the character is technically a purposeful plot moment rather than a gradual arc however O'Toole does make the most of it, and makes the transition as natural as it can be given the circumstances. First just conveying the real intrigue in his reactions to Neill's Dean Spanley's story then quietly realizing the way the strange story deeply affects him. This makes his following scenes as a much nicer older man properly sweet, and if not even quite moving in his moment of the man finally showing his old wounds towards the world finally coming out as grief based in love rather than hate only based in hate.)
Luke:
Fassbender - 4(Fassbender actually is just altogether quite good here in playing up just very much a normal man in the early scenes creating enough of a proper exasperation at the "hoods" while also creating enough of an endearing low key chemistry with Reilly. What is most impressive about his work though is how well he portrays the physical exhaustion and the intensity of the pain once that aspect of the film begin. Fassbender does his absolute best to make you feel it yourself as he is incredible convincing in every aspect of that, as well as portraying this very honest type of fear that shows a guy who is no way survivor and just is intensely scared for his life. Within that he actually becomes quite moving by creating a real investment into his survival by building off his relationship with Reilly to be something surprisingly heartfelt given the overall tone of the film.)
Persbrandt - 3.5(He's fine so much as his performance goes as this obnoxious brute type. In comparison to what likely would've been his 70's version in Max von Sydow though his performance is a little underwhelming. In that he fulfills what he needs to in terms of the surface needs of the part. He brings the appropriate lousy behavior with the right intensity of a vicious fool. He doesn't deliver anything within that. it is not even in terms of making the character more than there is but rather in terms revealing what makes the man as he is. This is something that there are hints of within the character as written, something von Sydow likely would have brought out however Persbrandt's work is a little underwhelming in that regard.)
Black - 3.5(He's appropriately Jack Blacky so to speak, but in a way here that actually works well for the part. He manages to make it fairly endearing by knowing really when to temper his performance enough at times to give a needed variation to make a properly likable foolish hero type.)
Harrelson - 3(The least lead performance you'll see for a lead, but he still fulfills the role as the companion to the "wrong man" played by Emily Mortimer. Harrelson really doesn't have much to do to the point his character is written to be purposefully just a simple guy which Harrelson certainly does well enough while also bringing enough balance within this to still reveal the severity of their situation in an appropriate fashion.)
Northam - 3(He's entirely fine as just the unassuming son to the more extroverted character. Nonetheless though he is very much overshadowed by both O'Toole and Neill. This works for the film well enough though, but I suppose he could have brought a bit more that might have made the lead up to Spanley's story a little more compelling.)
Servillo - 2.5(To me this performance very much could be used to explain why Gary Oldman is so great in Tinker Tailor Soldier Spy. Now to begin with what Servillo does is a poor representation of the real man who was not nearly as reticent as is depicted in the film. I could live with that though anyways if Servillo's approach worked just so well it didn't matter. It doesn't though in his approach which is to overplay the mannerisms of modesty to the point of a caricature, again without a real worth basis to sort of earn the caricature either. Servillo fails to be compelling within the extremely subdued nature rather just seems like this oddity in every scene he is in to the point he strangely stands out because of how ridiculously constricted he seemed. This is in contrast to say Oldman's work who was compelling within his minimalism yet also properly portrayed the man who observed and listened more often than acted. Servillo is neither compelling as is, and always seems like an absurd act than this dignified statesman or even this controversial statesman. The only reason he's this high is because of the few moments where he finally does bother to have any emotion at all, which are few and far between, but still don't work as these proper eruptions or anything like that either.)
Neill - 4(Neill gives a quietly fascinating performance here in exuding such quiet dignity and passion while then in turn revealing this certain madness in his character's adoration of dogs. Neill though manages to find this strange balance in creating this endearing passion within this idea that becomes compelling and oddly inspirational as the man regales about his life as a dog. He manages to find something rather poignant about it through his delivery of the story that brings to life the vividness of the tale beyond even as a man as a dog, but rather just in this expression of what it is to live.)
Christensen - 4(It's nice to see him not playing some form of creep for once to begin with. His performance though goes far beyond that in his effortlessly moving work in creating such a powerful unrequited love story within the heart of the film. What is so notable about it is how their words on the surface are not of all that great meaning nor are their actions in their interactions. What Christensen and Heiskanen manage to convey just in their performances together is what really reveals the whole of this relationship. This particularly special though because even this is rather modestly portrayed by both actors however in every moment they both convey that underlying affection for one another, and how that changes over time even as their interactions always remain very cordial and proper. It is just in their careful delivery and the way they look at one another, which is so flawlessly realized by both actors.)
Strong - 4(Strong wholesale steals the film to the point I desperately wish the film was just about his character setting everything straight for the entire runtime, also wish it had been directed by Matthew Vaughn instead but I digress. Strong though is terrific though in capturing the menace on top, the intelligence in the middle and the heart beneath it all with such a certain grace to his work. He manages to not only be the emotional core to the film but also best captures any sense of fun through his sly comic delivery in the reactions to the less intelligent sorts he has to deal with.)
Rylance - 3.5(Rylance is just playing with an entirely different set of cards than the majority of the other actors in the film. This is even with technically what could be considered a simpler role, yet he steals the whole thing by creating such a strong sense of who the Boleyn father is and what he is trying to do. He's already essentially working in a Wolf Hall level of complexity in capturing enough of the sense of the father just being concerned for his children, yet within that finds this quiet urge and other intention to fall into the ambition pushed by others. The role is in no way a scene stealing role yet Rylance does so by essentially making the story of the father much more compelling than what is suppose to be the main plot.)
Alda - 3.5(He does just fine old work as the seasoned lawyer type. He goes further though than just a few well delivered impassioned speeches, though he certainly does deliver in that regard. He's particularly good in showing from scene to scene the character's growing emotional connection to his client which reveals well in this growing sense of urgency and even desperation in his work.)
Kingsley - 3.5(He's pretty good in doing a properly questionable weasel sort. He does well in doing this combination of the sly seeming dignity that devolves into a more overt menace along with a more coarse attitude fitting towards a desperate man. He's particularly good though in terms of bringing a more Hitchcokian tone to the film in offering the right sort strange paranoia towards the main character by finding the right duality within this sort of passive aggressive sort of villain.)
Rubinek - 3.5(Rubinek's pretty good here deriving though few decent moments out of Swinton's early scenes. Rubinek's quite good in creating this sort genuine warmth and sweetness while still establishing a certain level of jovial sleaze as well. Rubinek is quite effective as he realizes this more overtly good nature to the character by the end of it. It's an interesting turn in a somewhat atypical role to the point I wish there had been much more of him.
Moshonov - 3.5(Like Rosselini he brings such a genuine heart to the role and to the material in creating the sense of this genuine care and concern for his son. Again much of this is only in reactions that add up to great deal as we see him sort analyzing his son's decisions through these reactions.)
Walton - 3.5(A nice endearing bit of work as he just manages to make the character's base decency both quite endearing and moving but also wholly believable. Walton's low key in the right way in just always emphasizing this guy who is doing his job, but just trying his best to do the right thing as well.)
Hardy - 3.5(Strangely underutilized as with so much of Hardy's early work, and this is right on the border in that sense. I mean why have Butler lead, when Hardy is right there....Nonetheless Hardy still steals the film, even if the character is basically written to be a one note joke, however Hardy's charisma carries the role well past that to steal every scene he's in nevertheless.)
Renier - 3.5(Once again playing a rather pathetic sort, but this time not in as comedic of a way as In Bruges. He's actually pretty moving here in finding the extreme desperation of the character's physical state along with this alternate desperation towards that reveals itself through such an intense need towards the titular character.)
Hoffman - 3.5(Best part of the voice cast as he delivers just the right dead pan humor in his work along with some real passion to offer a genuine heart to his mentor character as well.)
Torn - 3.5(Torn's pretty good at the somewhat sage, but also very honest pool hall owner. He manages to find this combination in a particularly honest way by making his concerns always alive, but naturally filtered through his, as always, rough exterior.)
Dillon -3 (He's fine in just bringing just this strict passion within his character at every point to play it as though he is this firebrand rather than just a villain as he easily could have been played as.)
Bleibtreu - 3(This film itself I found struggled by its refusal to truly make a statement leaving the whole thing somewhat vague without taking a documentarian view either. Anyway his performance is fine in he brings enough of a charisma as well as enough of an ego to the role. It doesn't amount to much either though as again the film itself struggled to make a point leaving so many of the character, including his, to be far too limited.)
Fengyi - 3(He makes for a proper egotistical creeper, however I think the film perhaps limits him too much to base his ambition wholly around stealing another man's wife.)
McShane - 3(Has less to do than expected however his work gives an appropriate edge to the character as to be expected through his always rather dynamic voice.)
Wilkinson - 3(He's entertaining enough in just doing his own cockney routine that is purposefully grotesque. The character is a touch one note, which Wilkinson finds a bit of variation in yet he is very much overshadowed by Strong in the scheme of the film.)
Actress:
1. Maria Heiskanen - Everlasting Moments
2. Kristin Scott Thomas - I've Loved You So Long
3. Melissa Leo - Frozen River
4. Yolande Moreau - Seraphine
5. Cate Blanchett - The Curious Case of Benjamin Button
6. Angelina Jolie - The Changeling
7. Kate Beckinsale - Nothing but the Truth
8. Sally Hawkins - Happy Go Lucky
9. Kate Winslet - The Reader
10. Kelly Reilly - Eden Lake - 4
11. Arta Dobroshi - Lorna's Silence
12. Emily Mortimer - Transsiberian - 4
13. Michelle Williams - Wendy and Lucy
14. Famke Janssen - Turn the River
15. Tilda Swinton - Julia
Supporting Actress:
1. Amy Adams - Doubt
2. Samantha Morton - Synecdoche, New York
3. Gwyneth Paltrow - Two Lovers
4. Hope Davis - Synecdoche, New York
5. Stine Stengade - Flame and Citron
6. Marisa Tomei - The Wrestler
7. Martina Gedeck - The Baader Meinhof Complex - 4.5
8. Ursula Strauss - Revanche
9. Catherine Deneuve - A Christmas Tale - 4
10. Elsa Zylberstein - I've Loved You So Long
11. Hiam Abbass - The Visitor
12. Vinessa Shaw - Two Lovers
13. Irina Poptapenko - Revanche
14. Tilda Swinton - Burn After Reading
15. Michelle Williams - Synecdoche, New York
Bana - 2(He's no Shaw, he's no Lewis, he's no Laughton, he's not even Burton. Bana is just very underwhelming here as he gives a far too brooding a turn. He just comes off as this cretin, an overt cretin that is, which is all wrong for Henry. He plays it almost like this troubled soul, which again is all wrong, and just completely missing the mark with the role in every regard there is. Henry is nothing that he should be. I'm all for alternate interpretations for roles however they have to work in some sense, or they even have to seem as such. That's not the case here where Bana is bland and frankly quite boring in the role.)
Johansson - 3(I actually thought she was entirely decent here in granting this sort of moral sympathy within the character. In that she realizes much more of this almost naive, yet not quite, type of romantic view of her relationship with the King and even her own family. It is a performance that still is nothing too substantial, but she manages to find a little bit of heart within the role, and even a bit substance through that which is more than I can say for...)
Portman - 1.5(Not the best person to do an English accent, not even because it is so horrible or anything like that but it makes her usually already artificial performance style all the more restricted. She's quite terrible her honestly playing Anne almost like this robot whose only function is this simple ambition. Every other performance as Anne that I have seen was better than this one. Even the execution scene, which at least tends to deliver something special was pretty underwhelming due to her performance. She never truly grants a sense of the character, and even more so her relationship to the king.)
Reilly - 4(She's terrific her in giving a properly survivalist turn. As I mentioned with Fassbender she strikes up the right sort of chemistry with one another that is quietly moving particularly later on. Although she has less of a focus on the physical pain to Fassbender she too is quite effective in portraying the exhaustion and horror from the events. She frankly creates more so than those suppose to be inflicting the horror through being so convincing in every step. Furthermore she excels with the slight arc of the character in creating this sense of determination but also this split anguish, and anger in the moments when she gets a bit of revenge. Although the film does not dwell on this idea she realizes this messy mix in a cohesive sense, and is quite effective throughout to the point she ensured that I would hate the ending of the film.)
O'Connell - 1(Now I'm not saying this performance should have gotten O'Connell banned from acting but I'm not not saying that, even after being well aware of his later and better work. O'Connell is just atrocious here playing the part in such a one note sneering fashion to the point he is literally sneering all the time. His nose cocked in unintentionally comical way to just show how "ferocious" his character is. He's downright horrible here laughable in his attempts at menace, but also just so uninteresting to watch.)
Mortimer - (Her performance I think is particularly essential in creating the tension of the film, which lacks quite the Hitchcockian pull the film desires. Her work though manages to create somewhat of drive through portraying well within her performance the growing desperation from every single setback and change. She effectively maneuvers this changing situation, and does well in the moments of overt intensity, and the quieter ones of just trying to pass by her crime unnoticed. It doesn't quite build to something truly remarkable, but it is consistent work that offers a proper "wrong man" for the film.)
Mara - 2.5(Her performance is mostly just fine. There are hints there could be more to her character but she really doesn't bring them out in say maybe the way her sister probably could have.)
Heiskanen - (Reminded of Liv Ullmann in all the best of ways. Although the film itself plays almost as a companion piece to The Emigrants/The New Land, it isn't as cohesive as a film entirely as that work. Her performance though does offer the needed consistency through her portrayal of this mother dealing with the changing world, and dealing with her very specific family dynamics. She is incredible throughout in successfully adapting towards every scene and creating in particular this sense of a changing time through her own work. In that she is excellent in the early scenes in just portraying the much more quiet anguish of the mother dealing with an unfaithful husband, while also portraying the definite care for her children. She also underlies this early on with this palatable yet purposefully subdued passion towards photography in her scenes with Christensen which as mentioned before are just brilliant in terms of how naturally that relationships is realized. She effectively changes so gradually and powerfully in this portrayal of her character's growth in agency from each period. It is incredible work and never simplified for any moment. There is instead such a power in how she brings these moments of directness that become all the more abundant and pointed as time moves on. Again although the film itself in terms of the grand journey isn't as captivating, her singular work is stunning in creating such a beautiful and poignant portrayal of this struggle and discovery within the realm of a changing life.)
I'd like to see one of his films outside of a family through the years context first.
Kung Fu Panda - (Just a really entertaining animated film that makes up such a strong use of the fun world it creates, and in particular its use of animation in the action. It creates such enjoyable set pieces with the idea of this combat, and is just great ride throughout. I will say the film itself shows to me my problem with Pixar because I probably prefer this film overall to Wall-e, despite Wall-e's heights. This film though is far more consistent to what its intention is and succeeds within this intent. Unlike say Wall-e which is brilliant, but then does stay to its conviction falling to a subpar slapstick comedy. This remains a far above average slapstick comedy, as was intended from frame one.)
Waltz with Bashir - (I will say this was a strange instance of a film that left me completely cold, and I'm not entirely sure why. Perhaps the animation leaves every sequence too unemotional, but that should not be. I felt myself observing far too much when the whole thing is about this stream of consciousness through the traumatic events of old. I never connected with it though in its approach as the series of vignettes to unravel this view of the war. Perhaps it was due to that approach, which unfortunately felt like this exercise rather than something more substantial.)
No.
Omar:
Sorry but I could not find a decent copy of Giovanna's Father.
Il Divo as a film I found underwhelming, though perhaps Servillo's performance was part of the problem for me. I would say I also just don't seem to like Paolo Sorrentino's style, which I find is his own attempt to sort of attempt at a Scorsese, or even Oliver Stone type of approach. I mean that would make sense for the material, however I felt, unlike say Scorsese's best work, it did not have enough inherent substance within to allow the style to properly amplify that. In addition the style was not good enough in itself to make up for that. I will say I ponder if the film benefits to being more aware of the real history to begin with as I did find it difficult to follow at times, which is generally not a problem for me even with more complex films. I also wasn't wholly engaged which is another problem since it seemed the story itself should be inherently compelling. In fact I'll say I found reading about the actual story more compelling afterwards than watching the film.
Anonymous:
Spacey:
1. The Box - Seven
2. Reflection - L.A. Confidential
3. "I know you" - Seven
4. "I don't Remember" - L.A. Confidential
5. "Innocent?" - Seven
6. Vice arrest gone wrong - L.A. Confidential
7. Breakdown - The Usual Suspects
8. "I don't like you" - Glengarry Glen Ross
9. "Rollo Tomasi" - L.A. Confidential
10. Describing Keyser Soze - The Usual Suspects
11. Burying his dog - Margin Call
12. "That is Lana Turner" - L.A. Confidential
13. Initial interrogation - The Usual Suspects
14. Car plea - Glengarry Glen Ross
15. Christmas - L.A. Confidential
16. Losing the limp - The Usual Suspects
17. Vice arrest - L.A. Confidential
18. First scene - Margin Call
19. How's he feeling - American Beauty
20. Solving everything - The Ref
Gyllenhaal:
1. Taking Nina out to dinner - Nightcrawler
2. Job Interview - Nightcrawler
3. I will hurt you - Nightcrawler
4. Demands - Nightcrawler
5. Mirror - Nightcrawler
6. Turning down the offer - Nightcrawler
7. Police interrogation - Nightcrawler
8. Loki rushes to the hospitable - Prisoners
9. Court jester - Nightcrawler
10. Meeting the news team - Nightcrawler
11. Non-speech - End of Watch
12. Interrogation gone wrong - Prisoners
13. The Basement - Zodiac
14. Perfect Day - Source Code
15. Finding a different prisoner - Prisoners
16. Cemetery - Demolition
17. Final meeting - Brokeback Mountain
18. Meeting with his rescuer - Stronger
19. Breakdown - Prisoners
20. Dinner - Brokeback Mountain
Anonymous:
Fonda:
Woody Grant
Walter Vale
Andrews:
Lee Chandler
Eric (The Rover)
March:
Patrick Denham
J. Paul Getty
Anonymous:
Its funny little scene to a point though I can see why it was deleted given that it kind of doesn't go far enough with the joke to be something truly special, however given its a Pixar film its stuck in a bit grey area since some might also have seen it as going too far for a kid's film.
Calvin:
Well that is clearly just capital in every sense of the word. With there being quite the match their between Brendan's straight forward delivery and Domhnall's horror. I think that says more than anything the Gleesons are really holding out on us with just not enough of them, I think perhaps a feature length "family" comedy should be in the works.
Thoughts on Gedeck in The Baader Meinhof Complex and updated thoughts on Tomei in The Wrestler.
I hope you will review Hawke in Before Midnight.
Louis: is Sally Hawkins a 4,5 for Happy Go Lucky?
Ratings and thoughts on Strong and Collison in The Happening.
Luke:
I'm just going to say it, I've given thoughts on this post.
Omar:
Yes.
Matt:
Strong - 2Wiseaus(Bad overactor in general made worse by whatever by the "next Steven Spielberg" was trying to make him do so. "Cheese and Crackers" though and his delivery of it is hilarious. As is much of his somewhat brief performance.)
Collison - 3Wiseaus(A master like David Lynch knew exactly how to use this guy in Twin Peaks that was brilliant. In The Happening he is just as weird, but with no obvious intention to the purpose of that. There is no why he wants to talk about hot dogs, no why whatsoever. It is hilarious though with whatever it is he's doing there.)
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