5. William Sadler in Bill and Ted's Bogus Journey - Sadler offers a particularly unique and rather enjoyable presence by appropriating the right amount of both goofiness and gravitas for his death.
Best Scene: "Yes, way."
4. Patrick Swayze in Point Break - Swayze truly owns his role as a zen bank robber by bringing so much conviction and charisma that somehow makes sense of his illogical role.
Best Scene: Bank robbery gone wrong.
3. Robert Patrick in Terminator 2: Judgment Day - Patrick gives a brilliant progression of the unstoppable android performance by representing a different type of machine, as well as his facade, and just a bit more.
Best Scene: Finger wag.
2. Alan Rickman in Robin Hood: Prince of Thieves - Rickman essentially trolls his own film, for the better, in his wildly over the top, yet absurdly enjoyable performance that seeks to entertain the audience knowing his own film is struggling to do so.
Best Scene: "Call off Christmas"
1. Joe Pesci in JFK - Good predictions
Omar, Tahmeed, Calvin, Luke, Jackiboyz, Charles, and
Emi Grant. Joe Pesci gives an endlessly fascinating performance worthy of his fascinating and mysterious figure. Pesci realizes the complexity of the man's within the conspiracy but takes this even further by offering a heartbreaking portrait of a man swallowed by the very conspiracy he helped to create.
Best Scene: "All I wanted in the world"
Updated Overall
Next Year: 1938 Lead, not sure if I'll do a full lineup so please just give me any recommendations for both lead and supporting.
67 comments:
Raimu, The Baker’s Wife
Charles Laughton, Sidewalks of London
Charles Laughton, The Beachcomber
Jean Gabin, Port of Shadows
Erich von Stroheim, Les disparus de St. Agil
Edward G. Robinson, A Slight Case of Murder
Harry Baur, Un carnet de bal
Supporting:
Michel Simon, Port of Shadows
Ernest Thesiger, They Drive by Night
Franchot Tone, Three Comrades
Michel Simon, Les disparus de St. Agil
Very strong year for supporting performances.
For 38.
Jean Gabin in Port of Shadows
Erich von Stroheim in Les disparus de St. Agil
Edward G. Robinson in A Slight Case of Murder
Haven't seen anyone else.
My request is Marcello Mastroianni in The Organizer (1963).
Louis: Could I have your updated Female Top 15s with ratings.
Your ratings and thoughts on the rest of the Lead performances you've seen and all Supporting performances with a 3 or higher.
Happy to see Ted Levine go up.
Gabin - Port Of Shadows (I hope you'll upgrade him for The Human Beast)
Laughton
Stroheim
Robinson
And Thoughts on Only Yesterday.
Other suggestions:
Victor Francen in I Accuse
Aleksei Lyarsky in The Childhood Of Maxim Gorky
Errol Flynn in The Dawn Patrol
Louis: My request is Masaharu Fukuyama for Like Father, Like Son (2013)
Charles: I guess a 10 lineup is definitely happening for 2013 Lead.
Luke: Definitely, i would like to see a 10 lineup for 2007 lead as well.
Charles: 10 for 2007 is very likely.
Charles: i wanted to do the same request! I saw the movie last week and i was so impressed by Fukushima.
Louis: your ratings and thoughts on the cast of The Ox, Europa, Mediterraneo, Night on Earth, Mayrig? Can i also have your rating and thoughts on Huppert in Madame Bovary, Swinton in Edward II, Farrow in Shadow and Fog and Pfeiffer in Frankie and Johnny?
Louis: Oh, I was right. You did watch Proof. What did you think of Russell Crowe and Hugo Weaving?
And your Top 10 Hugo Weaving acting moments?
My request is Anton Yelchin - Hearts in Atlantis (2001 Best Actor)
Is there any possibility of Heath Ledger being reviewed for A Knight's Tale. Because I find 2001 Lead really lacking in great performances to review.
And Ledger hasn't had an alternate/bonus review yet.
Louis: Could you add the Beauty And The Beast supporting cast to the ranking.
Louis: do you reckon Backdraft could've been much better if it had just focused on the dynamic between Donald Sutherland and Robert de Niro's characters? In fact, I think they could still make something like that today, as like a horror film a la Cape Fear.
Was Only Yesterday really that good? I've often heard it was one of Ghibli's misfires.
Louis: Brandauer was originally cast as Ramius in The Hunt For Red October. How would he have fared.
Michael: It's a tad slow in the beginning, but once it hits its stride, it becomes quite compelling. I recommend it.
I would like to think that Claude Rains was not forgotten lol after all he was a winning request as an emergency response to Liu Kai Chis rating.
Charles Laughton - Sidewalks of London
Charles Laughton - The Beachcomber
Jean Gabin - Port of Shadows
Claude Rains - White Banners
Edward G. Robinson - A Slight Case of Murder
RatedRStar: My apologies, forgot about it this morning. :)
My winning request is Alan Bates in Whistle Down the Wind (1961)
Jackiboyz: Is Bates lead or supporting.
Also, I saw Ocean's 8 today. It was surprisingly decent and enjoyable, and Bullock, Blanchett and Hathaway delivered solid turns.
Luke: Supporting definitely, It is Hayley Mills film 100%.
Tahmeed: I saw it as well the other day. I thought it was fine, but Hathaway stole the show for me.
Tahmeed: Thoughts on the rest of the cast?
Louis and everyone: I saw The Great Escape for the first time the other night and I loved it. Thoughts on this cast and director for a 2010s version?
Directed by the Russo brothers
Hilts: Chris Pine
Hendley: Channing Tatum (or Jon Bernthal)
Bartlett: Paddy Considine
Sedgwick: Sam Worthington
Blythe: Toby Jones
Ashley-Pitt: Dan Stevens
Danny: (A bit stuck on this one. Maybe Walton Goggins?)
Willie: Brian Gleeson
MacDonald: Kevin McKidd
Mitchell:
Bullock-4 (A good leading turn. She differentiates and finds common ground with Clooney's work in the earlier films, and has great chemistry with the rest of the cast. She also delivers when more is required)
Blanchett-3.5 (Gives an enjoyable eccentric performance that makes full use of her presence, and she and Bullock strike up a good dynamic)
Hathaway-4 (MVP for sure. She is good at first at playing the seemingly vain and dumb actress for the first two acts, and is entertaining while doing so. She manages to turn that on its head in the final act, and most importantly makes the development convincing while still being hilarious.)
Paulson-3.5 (I enjoyed her work, particularly any scene she shared with Bullock. She also succeeds in bringing a bit of humor when required, and fulfills her role in the final act well enough.)
Bonham-Carter-2.5 (Inconsistent accent aside, I felt she was just a tad forgettable some of the time. Hathaway steals the show from her in any scenes they have together, but I feel she's still decent in portraying her character's frazzled state of mind otherwise.)
Kaling, Rihanna, Awkwafina-3/3/2.5-(Kaling is decent throughout, and she's enjoyable in the final act. As for the two musicians, they're not distracting at least, and Rihanna does get her character's confidence across well enough. These three weren't given enough to do.)
Armitage-2.5 (Has little to work with, but it's a decent portrayal of a smarmy character.)
Corden-3 (Although perhaps slightly miscast as a fraud investigator, he's actually endearing enough here without going over the top. Also, I enjoyed his scene with Bullock quite a bit.)
Louis what are your thoughts and rating on Dante Basco in Hook?
Louis oh and your thoughts and rating on a rather against type Jeff Goldblum in Deep Cover?
Louis: Your thoughts on the cinematography of The Small Back Room and The Tales of Hoffmann.
Louis: What's your thoughts on the "I Feel Pretty" scene from Anger Management? I know it's stupid Adam Sandler humour, but I think Jack Nicholson actually makes it kinda funny (or he tries, anyway. Sandler doesn't help him).
Michael: People would say it's a misfire because it doesn't reach the heights of Grave of the Fireflies or Spirited Away. I think it's the one of the slower Studio Ghibi films but that doesn't mean it's bad. I found it very interesting & kind of fascinating once it picks up.
Will get to all other comments, let me just get this bit out for now.
Luke:
Actress:
1. Jodie Foster - The Silence of the Lambs
2. Juliet Binoche - The Lovers on the Bridge
3. Susan Sarandon - Thelma & Louise
4. Juliet Stevenson - Truly, Madly, Deeply
5. Angelica Huston - The Addams Family
6. Geena Davis - Thelma & Louise
7. Linda Hamilton - Terminator 2
8. Lili Taylor - Dogfight
9. Isabelle Huppert - Madame Bovary
10. Gong Li - Raise the Red Lantern
11. Sally Filed - Soapdish
12. Madeleine Stowe - Closet Land
13. Laura Dern - Rambling Rose
14. Isabelle Huppert - Malina
15. Sachiko Murase - Rhapsody In August - 4.5
Supporting Actress:
1. Judy Davis - Naked Lunch
2. He Saifei - Raise the Red Lantern
3. Christina Ricci - The Addams Family
4. Judy Davis - Barton Fink
5. Claudia Cardinale - Mayrig - 4.5
6. Tilda Swinton - Edward II - 4.5
7. Ruby Dee - Jungle Fever
8. Amanda Plummer - The Fisher King
9. Geneviève Picot - Proof - 4
10. Kong Lin - Raise the Red Lantern
11. Kathleen Quinlan - The Doors
12. Jessica Tandy - Fried Green Tomatoes
13. Tyra Ferrell - Boyz N The Hood
14. Cao Cuifen - Raise the Red Lantern
15. Meryl Streep - Defending Your Life
Woods - 4.5(I mean this is premium Woods redoing partially what he did in Cop, but to a far better purpose. He gets a plus by working with a great foil in Fox who is so engaging in his low key energy against Woods's overt intensity. Woods though is terrific in bringing that real intensity he is known for giving a completely convincing portrayal of this vicious renegade cop, but also balancing that in the more comedic interactions with Fox. He doesn't ease in these moments but is rather particularly funny by how they contrast. I do also like how Woods only eases then in the interpersonal scenes that he makes rather natural, and surprisingly poignant at times.)
Weaving - 4.5(I really need to see more of his hometown work as it seems to give him such a greater opportunity than his U.S. work that always pegs him as the villain. Weaving though is really fantastic here in giving a very moving and empathetic turn. Weaving though finds the right place in his performance in crafting this underlying bitterness that will spring up that relates to his disability, but also portrays so well the wish for a greater optimism. This is best found in his casual interactions with Crowe where both actors create a real believable low key friendship that ends up being rather moving. Weaving though finds the complexity in the man trying to craft his world as both this problematic hatred of his circumstances, but also with the real wish to make the most of it in the right time.)
Fox - 4.5(Fox delivering once again and it is again such a shame that his film career was cut short as it was. Fox is great here in the role bringing his usual comedic timing and energy that manages to make his egotistical movie star both completely a jerk yet still endearing in his own way. Fox just can do both the overt smug ego combined with such genuine reaction to the reality of being a cop that is just so very entertaining. This is made all the better by his chemistry with Woods who make for such a great pair with one being such tightly wound fuse, and Fox being the perfect accidental match.)
Hurt - 4.5(I actually must say I rather liked the film even if maybe it leaned into the cheese just a little at times. Hurt though gives a very moving performance here by portraying the man's journey actually rather subtly. Hurt doesn't make it Scrooge finding change but makes it a far more gradual realization and understanding of how he has been blind. Hurt's reactions are really where it all counts and Hurt finds a real power in slowly revealing this greater empathy in each subsequent scene as the man slowly comes to understand what his patients truly go through.)
Skarsgard - 4(I think the film actually perhaps takes a too low key of an approach at times however Skarsgard is good in creating this stake in the middle of it by so quietly yet powerfully portraying the man's struggle. He brings the right bluntness to the man as this man who quietly concerns for his family, and his actions are always emotional yet modestly portrayed by Skarsgard. He does this well though showing this as very much the man of a simple life just doing what he needs to do to survive. His consistency towards this work to make a properly moving portrait of the man's sometimes peculiar struggle.)
Chaykin & Koteas - 4(The Adjuster is one strange film that I will say was oddly compelling which is all I ask for with a strange film. Part of what makes it oddly compelling are the two leads who both give their turns as the titular adjuster technically speaking. Their performance though maneuver the film in a truly atypical way as they stay true to the character's calling in demeanor even as they deal with things far beyond what one would consider their line of duty. The purity yet off-beat nature of the work makes them oddly compelling creating fascinating and very weird characters.)
Hawke - 3.5(Quietly charismatic and wholly earnest work from Hawke here. It is unassuming in the right way in giving just the right genuine quality in his scenes as technically the secondary lead to the titular wolf dog.)
Pacino - 3(Horribly miscast although not as horribly miscast as his co-star. Pacino though here is interesting in doing his last breath of sort of his earlier style before changing for Scent of a Woman that continued to be so influential on him. He brings a bit of his old charm, somewhat Scarecrowish though not nearly on that level. He is a weird romantic lead that is tolerable even if he can't make up for the mix match that is the film.)
Baldwin - 2.5(He's not terrible however more than a little bland and often seems out to sea. He very much leaves everything to all his co-stars particularly De Niro and Sutherland.)
Waddington - 2.5(The idea of the part is the King who essentially is not made for the throne and is destroyed by the machinations around him. Waddington though perhaps is just too passive though to even make an impact as this weak King. He's not bad at any point, but he never makes the impact he should even in an unassuming way.)
Brandauer - 4(It is always good to have Brandauer in any film and that is the case here as well. Brandauer makes the most out of his role in doing a terrific job in bringing this initial colder front then slowly easing it away to wholly earn this revelation as this good hearted mentor beneath it all.)
Bankole - 4(The best of the drivers as he makes the most emotional impact while also achieving the needs of being just compelling in that strange Jarmusch sort of way of making the standard so very special. His work goes a bit further in making his an emotional journey as well, and gives a certain poignancy to his story.)
Sharif - 4(Along with Cardinale Sharif gives just a deeply moving portrayal of a sheer honesty of self. The characters are limited in a sense yet both actors just achieve this simple truths within the roles that fit so perfectly within the style of the film. They never seem thin, but rather create this interpersonal vibrancy that allows you to wholly understand them as people, and empathize with them even as you meet them at this certain purposeful distance.)
Dreyfus - 4(He's a properly grotesque villain bringing the right humor within his overarching villainous style as essentially this cooly rabid big bad wolf in the right way. He leans into the grotesque effectively and fits right in with the film's grim surroundings.)
Sutherland - 4(Sutherland is the best part of the film even if only in two scenes in giving a rather striking portrayal of the demented fascination of his character with the idea of fire. He manages to makes the personification of the fire not seem as ridiculous as it should be by offering such a conviction within his character, and creating this unique form of psychopathy believable.)
De Niro - 3.5(Ahhh awake De Niro is always so very welcome, and that is the case here. De Niro steals the film along with Sutherland by making the arson investigation so compelling through their work. De Niro in the same way offers that personification of the fire this time from this seasoned veteran insight sort of way, and with as much conviction that is just as effective in realizing the much better part of the film.)
Benigni, Esposito, Mueller-Stahl - 3.5(All three are compelling and humorous in their own strange ways. Each bringing a different form of humor though with Benigni being completely mad, Esposito being so casually intense, and Mueller-Stahl being completely out to sea so perfectly. All are very enjoyable in their little vignettes.)
Downey - 3.5(He does smug rather well here and is a pretty entertaining weasel. He is particularly good though in being so charismatic he isn't at all irritable in his frequent plot pushing diversions, and is just appropriately funny in a more low key way.)
Berry - 3.5(Similar to Sharif though perhaps not as poignant, though still moving in showing a different kind of present reflections and understanding without as much inherent weight of the past.)
von Sydow - 3.5(the Ox)(The warm and wise mentor one should expect and hope for from von Sydow. Not a major stretch from him yet wonderful work as to be expected.)
von Sydow - 3.5(Europa)(His narration was the best part of the film in my mind creating so much atmosphere with his stark yet strangely alluring style.)
Waterston - 3.5(Classical quiet father role that Waterston excels with in a rather modest but rather effective way. He is particularly good in the final scenes in offering a bit more emotionalism in the right way.)
Lang - 3.5(Lang is completely ridiculous in the role however it wholly works given his character is suppose to be a ham serial killer. His approach works actually in making the tone work in part as he is just ridiculous enough to stop the film from getting too dark, but also still providing the right degree of menace.)
Russell - 3(His part was far more boring in my mind however Russell brings his usual presence which helps a rather underwhelming role as written.)
Lane - 3(Fine example of the "gay best friend")
Cassel - 3(He's surprisingly moving in his brief screentime actually and wish he didn't exit so quickly.)
Gere - 3(Simple yet moving work actually from him as he provides just the right earnestness that isn't too much yet provides the right needed emotional substance within the work that fits the tone of the film so well.)
Well I will say perhaps why Only Yesterday might have that reputation, though I'll admit I hadn't heard that until Michael brought it up, as it is very modest in its animation use, as it is a straight drama. The animation is still beautiful but I know some reject a film if it "didn't have to be" animated. I loved the film, every moment of it including the beginning as this understated yet very beautiful rumination on one's youth particularly in the point of reflection and how it leads to one's self later on.
Louis: Your Ratings and Thoughts on Crowe in Proof, Balmer in Madame Bovary and Flynn in Edward II.
Louis: Ratings and Thoughts on Huppert's performances, Cardinale in Mayrig and Murase in Rhapsody In August.
Louis: Could I have your updated thoughts on Al Pacino in Scarecrow?
Louis: I haven't seen the film myself, I very well might end up agreeing with you.
On a different note, I don't know if you have any interest in Ray Donovan but if you want to see James Woods in a really meaty role in the recent past it's something to check out.
As far as recommendations, I haven't seen The Baker's Wife but I've heard only wonderful things. The musical based on it is great as well.
Louis: I'm not sure if it counts but could I have yoùr thoughts on Tears In Heaven from Rush.
It'll be interesting to see what Louis will think of Heaven's Gate when we get to 1980. Wonder if he'll call the sets overproduced like in Cleopatra.
For 1938, I recommend Edward G. Robinson in A Slight Case of Murder and Charles Laughton in Sidewalks of London.
Anonymous: He'll most likely watch the 216 minute version which is supposedly vastly superior to what was shown in theaters.
And 1980 will come within the next few months. Personally I'm more interested in 1987 but I need more time to request Manesse and Bale.
Luke: Louis gave his thoughts in the 2003 Alternate Supporting lineup page-
Tears in Heaven - (Well I haven't seen Rush I will say that as expected from a Clapton song the guitar itself is incredibly dynamic and engaging all in itself. The rest of what's "above" it is not nearly as compelling though with some standard repetitive lyrics. It never exactly goes anywhere.)
Tahmeed: Thanks.
Also, I saw The Incredibles 2. I liked it a lot, even if it doesn't match the original.
Tahmeed: Your cast ratings and do you think not having a ten year story gap between 1 and 2 was a major missed opportunity.
Again will get to them all.
Omar:
Froling - 3.5(Her performance is moving mostly in matching the sort desperation with Skarsgard. Her best moments come late though as she brings that same determined desperation in a way as this representation of her choices that took extreme risk given their dire situation. She delivers the right honesty to the desperation and brings a real power in her confrontation scene near the end of the film.)
Ullmann - 2.5(She's good but honestly has almost nothing to do.)
Josephson - 3(Also does not get nearly enough to do although he is effective in his little bits of creating something to his rather simplistic role.)
Barr - 2.5(His performance is mostly just fine as this purposeful surrogate for the audience. His performance is though very forgettable within this purpose as well as in the schemes of the Kafka protagonists featured in 1991, I guess Kafka simply was big that year. Barr's work though just mostly there no less, but certainly on more.)
Sukowa - 4(Her performance is properly fascinating in creating this different forms of intrigue around her. In that she creates an allure in a romantic, sexual and political sense. She finds the right balance to be intriguing in developing these different sides of the character while having an internalized consistency to make her more overtly sympathetic moments later on work.)
Every one else is purposefully stylized though effective as these alienating interrogators of one form or another essentially.
Ryder - 3.5(She nearly over does it but manages not to go overboard in making her very much this spunky driver/mechanic. She manages to make the more overt personality work as being a bit much in way, but manages to make in an appropriately charismatic fashion.)
Rowlands - 3.5(She is also effective though as to be expected as there is some consistency between Jarmusch and Casssavettes, though with the greater allowance for humor. Rowlands does well then as to be expected particularly in terms of her reactions directly towards Ryder and how she projects a change mainly within that.)
Perez - 3.5(She's doing her typical brassy thing, but it certainly works effectively for the part.)
Cardinale - (Her work is like Sharif's in just creating such a moving portrait of this person in such a wholly genuine way that is shown from this certain dreamy distance yet Cardinale makes it so her character never feels distance. As with Sharif she does such a subtle work in how much is just in her expressions, and yet within that she carries so much in terms of the emotional value of the film. It is luminous work yet also wholly grounded as well.)
Huppert - (The adaptation itself I didn't feel had anything too notable about it other than Huppert in the lead role who is quite effective to be sure. This is her very much working within her ice queen mold in a way however that is not the sole definition of her performance for even a moment. She uses that well though in her reflections of the Madame's interactions with her husband where initially there is an almost brutal vapid disregard. This is against the affairs where Huppert slowly reveals a more open passionate performance that becomes both more alluring but also more desperate as well. The best aspect of this though is how Huppert uses this to change the dynamic with the husband where she reveals slowly any connection making her final scenes particularly affecting by so naturally creating this change.)
Swinton - (Steals the film wholesale in giving such a dynamic turn within the film as essentially the woman behind the man seemingly with all the power. Swinton is terrific in realizing within her own work this power dynamic as she plays the different roles of the queen so well from any given scene. As she has the moments of seemingly regal formality balanced with a false supportive quality, then undercut all by her more incisive moments of the true manipulator that define the character. Swinton goes further though and also most makes the films style, which I didn't think worked as whole, a bit more dynamic through her astute portrayal that matched the style so well amplifying beautifully.)
Farrow - 2.5(Standard Farrow in Allen honestly. The film itself feels like some excessively basic Allen ideas right down to her character. She's okayish but nothing special at any point. She's mostly just there like so many of the setups and payoffs of the film.)
Pfeiffer - 3(Pfeiffer is very charming in the role and even occasionally moving. The problem is she is horribly miscast and cannot overcome with just how poorly cast she is. The film doesn't even try to make her look frumpy, perhaps it is impossible to do so, and the idea of the particular desperation the film tries to put around her character just never is believable in Pfeiffer's hands because of that. Again not really her fault, but she doesn't have the right starting point for the character.)
Mediterraneo does not matter as everyone in the film gives bland forgettable performances in that bland forgettable film. The fact that it beat Raise the Red Lantern and was nominated over so many better films is one of the worst decisions in that category.
Anonymous:
I actually was referring to Patrick Melrose.
Crowe - (Crowe is very good here just in terms of making essentially this big lug believably kind, and optimistic. More than anything what is so special is his chemistry with Weaving where Crowe brings in every interaction and reaction such a genuine concern and kindness. This very specifically in the most minute interaction though where Crowe creates the right genuine interest in the man and makes the friendship so very moving.)
Weaving:
1. Brand New Uniform - Hacksaw Ridge
2. Attempted Seduction - Proof
3. His last scene - Patrick Melrose
4. Reconciliation - Proof
5. Graves of his friends - Hacksaw Ridge
6. With Morpheus - The Matrix
7. Past Story - Proof
8. Son's knowledge - Priscilla Queen of the Desert
9. Making his way in court - Hacksaw Ridge
10. Callus - Patrick Melrose
Calvin:
Yes, very much so. I actually rather liked the arsonist elements, but found the rest forgettable.
Luke:
I imagine he would have been great, and honestly probably better than Connery.
Bryan:
Fine choices, I particularly like the would-be pairing of Tatum and Jones.
Anonymous:
Basco - 3.5(Notable in that he seems to have made a lasting impact on most from this film, and honestly is the best part of the Lost Boys section. Basco brings a genuine charisma as the leader to the point that one could even be kind of on his side, even as he does the petulance of a boy just as well. He manages to make a real pseudo journey out of the character to the point his ending is rather moving due to his performance, although I do think the film could have built in another way to make it all the more emotional, but that is just another flaw of it. Basco though is a highlight without a doubt, and honestly I could higher if I re-watched the film.)
Goldblum - (Weird seeing him this particular role however he is good, even if his role is cut short by the film, which isn't very good. Goldblum though manages to create a some intriguing arc, better than the more lauded Sean Penn in Carlito's Way which is very similair, in bringing this worrisome attitude fitting the white collar criminal that slowly segues to a vicious confidence once he turns to a different kind of a crime. It is a good performance though the film doesn't quite let him go all the way with it.)
Louis: Have you watched Avatar: The Last Airbender? Basco voices the most compelling character on the show.
Hereditary is one of the most deeply upsetting movies I've ever seen. It's extraordinarily well-done, but I don't think I'll ever re-watch it, just because I don't want to put myself through that again.
Collette-5(About as perfect and unquestionable 5 I can possibly give, I think. She's absolutely astonishing.)
Wolff-4.5(I guess he's the talented brother.)
Byrne-4(Just wanted to say I *loved* seeing him in a prominent role again.)
Shapiro-4
Dowd-4
By the way, I consider Wolff lead in Hereditary, would anyone who's seen it disagree with that placement? Because I can see him in supporting too.
Matt: He straddles the line. I actually haven't decided.
Luke: Given that this was how Brad Bird envisioned it for a long time, I didn't necessarily begrudge the lack of a time skip. It would have been 50-50 on whether the children would have been well developed as teenagers/adults, yet at the same time I think Bird could have pulled it off if he wanted to. I enjoyed the film as it is, but if another sequel were ever to be made, I would want a time skip.
Cast ratings-
Nelson-3.5/4
Hunter-4
Vowell-3.5
Odenkirk-4
Keener-4
Banks-3.5
Milner-3
Louis: Your thoughts on Patrick Melrose and the cast.
Matt: I'd put him Lead too, mostly due to the third act.
Louis: I know Considine might get a review for Dead Man's Shoes but what are your thoughts on his Scene with Gary Stretch's character.
Louis: Your thoughts on the voices of Don LaFontaine, Hal Douglas, James Coburn and Ted Cassidy.
I got the chance to rewatch Deadpool 2, and I'll say that it was far more ambitious than the first film, and that Reynolds is a 5 for me.
Anonymous:
The Small Back Room's cinematography is notable,and it is fair to say Christopher Challis learned well from Cardiff who he worked under before taking over as cinematographer, in that it is a blunt shift from the grand scale technicolor work from Powell & Pressburger to something far smaller scale yet no less potent. It is a beautifully shot film in sort of that British noir look which I do feel is different from the American look. In the film is less of the extremes of light, but rather crafts it within the greys and so beautifully as such. The film is most notable in its use of such dynamic compositions throughout in creating the right style within the interiors that brilliantly realizes the state of mind of our central character while also just simply being beautifully shot.
Challis's work though returns to sort of the work pioneered by Cardiff with P&P in seeking the full vibrancy capable of technicolor, and once again does so beautiful. He achieves that same effect within granting such a depth and beauty to every color to create that almost painted quality to the work. A difference here though is the camerawork, and framing and composition is less dynamic overall. This is purposeful in that it seeks to show the us the opera at a full scale so often, in this technique though it does it well, allowing that fuller view without becoming truly static either.
Matt:
I'll admit Nicholson does get a couple of chuckles out of me going full ham, in an instance where it is kind of earned, but he isn't helped by Sandler's annoying voice, his "I don't care" face, or Peter Segal's truly uninspired direction of the scene.
Luke:
Flynn - 3(He is actually pretty good here, and seems to be another one where you can already see the charisma in his earlier work making one ponder why it took so long for him to breakout past a certain point. He is effective in his role, and his scenes are more dynamic though there are too few of them.)
Balmer - (As the cuckolded husband he is more than fine, but that is about it. He doesn't go beyond in say the way Rickman does in a similair role in Close My Eyes. He's there, he creates enough sympathy in the "boring" man, but does not truly make an impression within the role.)
Huppert (Malina) - 4.5(The film is rather frustrating in its every changing everything for every moment. The one take away from it though is Huppert's impressive and expressive. As she manages to be compelling and match any given emotional tone needed for every singular vignette created within a single scene, and is effective even when the film's style in itself becomes a little tiring after awhile.)
Murase - (Similar to Matsumura's work in Madadayo, and the film itself is similair to that film as these humble "retirement" pictures that feel very much earned as this quiet little pictures against his final epics of the 80's. Murase's performance matches this style beautifully though in that her work is also quietly moving and powerful fitting to the film's storytelling which purposefully avoids any "big" moments, yet it never feels too small. Murase finds the right balance in bringing so much honesty within her work in creating the central emotional conflict in a very low key yet wholly moving fashion that examines it without extremes, yet never without feeling.)
Let me get to Melrose on the next post, though I will say it features Cumberbatch's best performance.
Well that scene is a rather fascinating subversion of a typical revenge threat scene in every way, from the indirect comedy of the "gang" watching but more so how the man who should be issuing the threat to go away is so hopelessly out of his league against our "hero" who is downright terrifying in his verbal beat down.
Tahmeed:
My thoughts really haven't changed on Pacino.
Robert:
I have not.
Anonymous:
LaFontaine - (In a world where we needed such a ridiculous yet in its own amazing voice to sell action movies we had him. It simply was a simple, and easy representation of "epic" without effort. Although it seems hopelessly dated now.)
Douglas - (Also selling us all in a world with the same intensity and strange grit to every ridiculous trailer line. Also rather endearing though in that absurdity, that also is rather dated if still very enjoyable.)
Coburn - (One of the smoothest voices one will hear and quite enjoy. Coburn just defined an ease of particular voice that seemed particularly effortless in the style of it all, and though his co-star McQueen was the king of cool, Coburn perhaps had the coolest voice.)
Cassidy - ("You RAAAANG" Though Cassidy was one step beyond his typical voice as Lurch to a comedic depth, against his normal voice which actually was rather Coburnesque just somehow deeper.)
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