Alan Bates in In Celebration
Brian Cox in In Celebration
Bill Owen in In Celebration
Bruce Dern in Smile
Richard Dreyfuss in Jaws
Nicol Williamson in The Wilby Conspiracy
Ugo Tognazzi in My Friends
For Prediction Purposes:
Bates in In Celebration
Monday, 24 September 2018
Alternate Best Supporting Actor 1975
Alan Bates in In Celebration
Brian Cox in In Celebration
Bill Owen in In Celebration
Bruce Dern in Smile
Richard Dreyfuss in Jaws
Nicol Williamson in The Wilby Conspiracy
Ugo Tognazzi in My Friends
For Prediction Purposes:
Bates in In Celebration
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101 comments:
What are your ratings and thoughts on the rest of the cast of Tommy?
Louis: Your thoughts on Robert Krasker, Jack Cardiff and Joseph Ruttenberg as cinematographers.
Has anyone seen this video yet? I found the central performance oddly hypnotic actually. https://www.youtube.com/watch?v=AL0cT-Yi1SU
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Louis: Your Thoughts on the Female performances and your rating for Adjani.
And Updated thoughts on Fletcher and the Hanging Rock Women.
Your Thoughts on Mirror and the cast. I'm relieved that you loved your first Tarkovsky.
Ratings and Thoughts on:
Pszoniak and Seweryn in The Promised Land.
The Holy Grail Cast
Bruce Robinson in The Story Of Adele H.
And please make sure to re-watch The Man In The Glass Booth.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
And I'm really happy for Williamson getting his first review.
Louis: Ratings and Thoughts on John Huston in The Wind And The Lion, Richard Attenborough in Brannigan and Coburn, Johnson and Bannen in Bite The Bullet.
Luke: It wont be his last either =)
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
RatedRStar: Oh, he'll be on here again for The Reckoning and Excalibur. :)
Louis: Ratings and thoughts on Amjad Khan in Sholay.
1.Dreyfuss
2.Bates
3.Williamson
4.Tognazzi
5.Dern
Louis: Thoughts on Monty Python and the Holy Grail as a film?
Louis: And Your ratings for the Mirror and Hanging Rock casts.
Louis, could you post your 1975 winners.
Louis: Lastly, these are the only films I would like you to watch during this lineup.
The Man In The Glass Booth
The Magic Flute
Lepke
Love And Death
The Messiah
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Guys, do you have any suggestions for 1986 Lead. I've got:
Erland Josephson - The Sacrifice
Yves Montand - Jean De Florette/Manon Des Sources
Rutger Hauer - The Hitcher
River Phoenix - Stand By Me
For the final slot, I'm thinking David Bowie in Labyrinth, but I can't remember how much screentime he had.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Luke: Bowie is Supporting in Labyrinth.
Robert: Thanks.
For the final slot, I've got Christopher Walken in At Close Range or Tom Waits in Down By Law.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Luke: "Thats not a knife....(whips butterfly knife out) thats a knife =D.
Louis: Your toughts on Picnic at Hanging Rock as a film?
RatedRStar: My bad, I thought Louis had already seen Crocodile Dundee.
Josephson
Montand
Hauer
Walken
Hogan
Phoenix - Bonus
Anyone know where I can watch In Celebration or a version of My Friends with English subs?
Michael: That video was certainly something. Wiseau's demented mannerisms were actually effective for that particular scene.
Louis: Your cast for Mel Gibsons' The Wild Bunch should the remake go ahead? And who would you have cast instead of Clooney for his Oscar-nominated turns?
Bob Barnes (Although he could've done it himself, based on The American)
Michael Clayton
Ryan Bingham (Reitman said Steve Martin was his second choice, so maybe him?)
Bryan L: As someone who actually likes half of Clooney's oscar nominated performances, I'll take a crack at it.
Bob Barnes: Liev Schrieber - The way I see it, Barnes was the prime emotional anchor of "Syriana", and for that you would need an actor of considerable gravitas. Someone whose a little rough around the edges, sort of speak, who could be believably closed off, yet still show shades of warmth at the right moment. In that regard, I think Schrieber is a quality choice as he's always been somewhat underrated as a performer, and has delivered even when the movie around him hasn't.
Michael Clayton: Ewan McGregor - An interesting one I know, and this is actually the performance I feel Clooney was best cast in. Nevertheless, based on his work in "The Ghost Writer" I think McGregor could be very strong as the lead of a thriller. He has the presence and charisma, and like the Polanski movie demonstrated, a viable cynical side as well.
Ryan Bingham: Dennis Quaid - Now bare with me; Quaid is not a classically handsome or charming fellow, or the strongest actor in the world, and he would've been a little old for the part anyways. Regardless I do think he's a fairly likable guy on screen, and while he can be jaded when necessary, Quaid just has this wonderful sincerity in his strongest work. He could absolutely play the love struck guy if asked. He's also an actor who doesn't get the leading role that often, if ever, so Bingham would've been an intriguing departure.
Matt King - Really, both of his fellow nominees Pitt and Bichir were more believable fathers, or to be perfectly frank, a lot of actors capable of a vulnerable, complex performance.
Louis: Your 50's cast and director for Farewell, My Lovely. I'd keep Mitchum since he would have been absolutely perfect when he was younger.
Mitchell: Great choices, especially Schreiber, and McGregor as Clayton would've been interesting. I would've included Matt King as well, but I remembered that Louis picked Thomas Haden Church as the alternate, along with the actual Jennifer Lawrence for Alex, instead of the discount version.
Pitt as Matt King would've been good as well, since his Billy Beane (or the film's version anyway) isn't far off indeed.
Animated movies can be considered for Best Sound Mixing, right? Because I recently saw Akira for the first time (in a theatre, which is important) and it's probably my win in that category for that year.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Great to see Michael Mando again on BCS. Fantastic, very entertaining episode with some great buildup for what will hopefully be a great two finale episodes.
1. Dreyfuss
2. Williamson
3. Tognazzi
4. Bates
5. Dern
Matt:
Reed - 4(He manages the film's insane tone the best as he plays into it himself, but knows to occasionally pull back, unlike his main co-star. Reed is far from the best singer, but his way of capturing the energy of the song as the very "fatherly" uncle steals every scene he is in. Reed manages to find the right tone as he brings a certain comedic edge while also giving enough of his work towards the demented intensity needed for Ken Russell's vision.)
Nicholson is in it, but his appearance is essentially for another WTF moment, like (what Jack Nicholson is in this, huh?)
The singers all acquit themselves well enough in their songs to be sure, but they don't really stand out beyond that.
Anonymous:
Robert Krasker's work was one of the very best black and white cinematographers. His color work is fine, but not really too much of note. I mean Henry V for example is well shot, but is simply not nearly as notable as his black and white work. Brief Encounter, and The Third Man reveal an absolute master in terms of commanding lighting in a way few films ever could replicate. They are simply mesmerizing in that regard creating such deeply emotional work. Of course this is within such dynamic work, especially for the time, that realized such fascinating and effective choices in framing and composition that often shirked the typical wisdom. Out of the use of the specific lighting to black and white his work wasn't nearly as potent, but even so that work can stand against the work of any other cinematographer.
Jack Cardiff aka the master of technicolor is perhaps a cinematographer who can't fully be separated from his work with The Archers, though that's hardly an issue given the greatness exhibited there. Cardiff seemingly made the next step in his pioneering work in technicolor through such masterful attention to detail in regards to the lighting and use of every color. This in the idea of creating essentially detailed paintings for nearly shot in those films. Of course even outside of that work Cardiff's brilliance still pierced through, I suppose one of the features of a truly great cinematographer. As his work even in mediocre, if not bad films, like Vikings and Fanny is rather impressive still. His work I suppose lost a bit of its luster later on, but then again he managed to even occasionally pull a cool shot out of Conan The Destroyer. Nothing can touch his early work, or career in general, as he was essential in a major step forward in the art of cinematography in general.
Joseph Ruttenberg, four time Oscar winning cinematographer, I'd say has a clear gap in his work. That of his color work, and that of his black and white. This isn't the gap like Krasker's work though. Ruttenberg's color work is honestly kind of bad most of the time. It isn't incompetent but most often rather ugly in its attempts to be daring. The choices just never really work particularly in his work in Gigi of course, and Butterfield 8. Having said that his black and white work is fairly consistent. It isn't typically the best shot of the year so to speak, but they are well shot films. His work isn't overly daring though consistently fine in its achievement of sort of a standard of good cinematography of the time. The one film where I'd say his work goes beyond that, from what I've seen, is Gaslight where he succeeds in living up to that name in creating more overt lighting contrasts that creates such a remarkable atmosphere in that film. Most of the time though the work is just consistently good, when in black and white.
Matt:
Sound Editing, since all the sounds are "added" to the film.
Luke:
Jackson - (A juicy role that Jackson tears into with great aplomb, as you'd expect. She is a true "monster" when it comes to every venomous line she has creating such a viciousness within the character while still creating the right sort of presence of a "proper woman". Jackson's performance though goes beyond though just selling some meaty material as her character goes further than in terms of revealing the truth of who she is. Jackson finds a certain desperation so subtly within her work within the venom that is overarching in her character. It is notable that she brings so often through the lines though that manages to create a certain sympathy for her as she's stuck within this state of sorts. In addition Jackson naturally cultivates this to ensure that her rather extreme final actions actually come off as honest, and rather moving despite the nature of the character.)
Bancroft - (Bancroft is terrific, as usual, though managing to really find the tone of the film better than Lemmon does. She's great early on in her often reactive performance creating a rather moving since of the wife's growing concern for her husband. Bancroft though is able to naturally transition towards the more comedic material, as well as, as more hectic style effectively without losing the dramatic thrust of the material. She brings the comic moments through sheer will almost that she nails every time and in doing so never causes her to lose sort of her dramatic footing.)
Adjani - 4.5(Adjani's performance is a bit of a challenge as technically a feature long crazy ex-girlfriend, though never really even an ex-girlfriend, who just happens to have a very famous father. Adjani though goes for broke with the performance and manages to realize the extreme of her character quite effectively. This in the overt obsession that she handles in a fascinating way as she works in a more repressed style that she still manages to exhibit this extreme even within this certain calm. She delivers it within her always watchful eyes, and just this forcefulness of presence. She though is excellent in the transition to a more overt insanity bringing the physical brunt of it within her performance just as she shows the psychology of it in her ever breaking mental state.)
Barrault - (Simply a wonderfully luminous turn from her that carries the film on her shoulders. This is not a film about really a dramatic affair but rather a pleasant one. This is carried by Barrault, perhaps a little too much, through her ever charming turn that just exudes such a natural bliss through every step of the affair even when her co-star isn't all that great. She realizes the worth of it all essentially through just how much she really "glows" as the affair continues.)
Kane - (This is an interesting performance in that this type is what she would be known for but mainly in comedic roles. This performance though she plays it absolutely straight as this earnest Jewish immigrant who believes in the old traditions. She realizes this idea here without winking delivering every moment of this with an honesty that makes her performance moving in a particularly low key way. She's also quite good in terms of creating the more subtle change of her Americanization, as more of this growing agency than is more modest yet still notable.)
Fletcher - (Well looking at this performance again and again, she ends up being this perfect sort of Yin to Nicholson's Yang, not as good versus evil rather control versus freedom, both arguably problematic extremes of each in at least some way. Fletcher's performance in turn is one of considerable command of every moment she is on screen with that iconic icy stare that exudes such a chilling yet natural lack of empathy in her moments of nursing. Fletcher though I noticed doesn't play this strictly as Ratched being an absolute evil, rather this being her technique, her terrible technique, she uses to "tame" the men. This is her to be sure but this is not all there, though that would technically be enough to be a great villainous turn. This is as she does show the right nuance in a few key moments outside of being the one matching McMurphy. This being the meeting with the staff where we see someone bordering on normal, though still vindictive, or after the death she causes. Fletcher rightfully does bring just a glint of humanity, even if she plays it as the control trying to essentially cover up her mistake. And I actually rather love her final moment where she shows that maybe, just maybe Ratched has lightened up....to a microscopic degree.)
Roberts - (Well speaking of cold women who like to speak people towards suicide, Roberts is also pretty great, in arguably an even more despicable character than Ratched, which is saying a lot. Roberts though is great in really a bit of different approach in making a more overt sadism in her work that is less attached to control. Her moments with the student with whom she chooses to abuse. Roberts brings this certain insanity in her work nearly as a derangement within the abuse as this impulse to mistreat without a true internal understanding of fully why. Like Ratched she is also great in her few moments of humanity, though Roberts this essentially summed in a single reaction shot that says it all as this moment of not quite guilt though more of shameful understanding that she went too far.)
Weaver - 3.5(She actually really isn't in it much, but she adds a nice bit of sort of a direct character in her few scenes.)
More to come...
Louis: And your rating and thoughts on Robert Duvall in The Killer Elite.
For those Clooney roles:
Bob Barnes: Viggo Mortensen
Michael Clayton: I actually thought he was pretty perfectly cast in this.
Ryan Bingham: Jude Law
Louis: Could you also watch Shivers by David Cronenberg.
I saw Assassination Nation. Just fucking awful.
Louis: What are your thoughts on Kramer's "Yeah, I am Batman" monologue from Seinfeld?
Luke:
Feldon - (Great to see Agent 99 in any post-Get Smart, and she's actually quite good in bringing that similar cheer towards a far less endearing character. This time developing as something rather overbearing with more than a low key desperation in her work. She's wonderful though as she keeps such a sunny demeanor overall even while she becomes more and more downtrodden internally throughout the film.)
Pszoniak/Seweryn - 3.5/3(Both fulfill the role of the best friends and together with Olbrychski form a convincing camaraderie. Seweryn is good with that though is pretty limited in terms of his overall impact on the film. Pszoniak has a bit more to do regarding his character's Jewish heritage however this does not enforce an overt empathy for the character as one might expect. Pszoniak rather portrays this also as something to be exploited however not in a cold blooded way. He rather portrays this certain spunky attitude of it with a lack of awareness about some its ends. He still shows a certain exploitation but makes it less purposeful in the way his performances presents it.)
Robinson - 3(As the very put upon object of the titular woman's affections Robinson is fine, but only just fine. He exhibits enough of the frustrations and gains the right degree of sympathy in his refusals. He however does go any further and I will say another performer likely could have enlivened the character.)
The Holy Grail Cast is particularly diluted form of the Monty Python crew in terms of their particular talents with each of their individual "main" characters, and their slight appearances. Fittingly then I find the cast pretty much aligns with how funny I find each typically. Then Palin is the tops, with Cleese and Idle are a close second, Chapman is a fine straight man, and then Jones and Gilliam who were perhaps more preoccupied with directing.
Huston - 3(He does some fine exposition, as to be expected with that voice of his, sadly he doesn't have too much to do beyond that.)
Attenborough - 4(He's terrific as usual easily stealing the film in his performance that brings so much life to a well worn role. Attenborough though manages to naturally shift from the proper officer who doesn't like the renegade to a more daring maverick himself. Attenborough does this though by bringing a sincerity to every moment of it, and of course just that dynamic energy that is typically evident in his performances.)
Coburn - 3.5(His second, second-fiddle performance though he brings his typical charisma once again even in such a place. His best moments though are with Hackman as the two create such a natural sense of their history together. The understanding is well earned, and Coburn is particularly good in the moment where he tries to tempt Hackman, bringing enough of a hesitation in it alluding towards the good relationship in the past. This makes the final moment rather moving as the two so naturally earn it as this true bit of absolute camaraderie.)
Johnson - 3.5(Wish he had gotten a bit more focus as Johnson brings such an honesty to every single one of his performance, and this one is no different as the old rider trying to prove himself. He's moving in creating this so naturally though with such a vulnerability within the need.)
Bannen - 3(He sadly just does not get much. He's good in his few highlighted scenes as the proper Englishman, then later as a rider at the end of his proverbial rope.)
Duvall - 3.5(Not his greatest hour, and it is easy to look good against Caan here, but still a fine performance from him. He's a more than decent villain for the piece portraying more than anything this very direct attitude of a man who just takes the best way for him every time. The blunt honesty that Duvall attaches to this makes this actually a far more interesting character than is often found in the double crosser.)
The Mirror, fittingly to its framing device, is a hypnotic experience. A transfixing view into memory that I might have doubted if I had known the approach before I had watched the film. Tarkovsky's direction though realizes this idea so poignantly and powerfully throughout. It simply grants you this minds eye view that feels like an eloquent and impeccably crafting of an experience. This is never gimmicky, nor obvious as the technique can quickly be forgotten as the emotional experience that is the film takes over.
The cast is good to be sure, but The Mirror is one of those extreme cases as the the director's vision is paramount. This is not to any detriment, but rather this purposeful in the very exact use of the performances.
Tahmeed:
Khan - 4(I felt he was the best performance in the film maintaining a consistency in tone through his realization of the character's needed striking presence. He grants the right sense of a certain power of personality, but also an intelligence, even a certain duplicity, within his manner. He creates a properly compelling force within the film making an impact every time in which he appears on screen.)
I don't love Holy Grail as a film. Now don't get me wrong I think plenty of the sketches therein are hilarious. They work better in clip form though as the actual through line is pretty weakly implemented. Life of Brian I felt more effectively created a proper cinematic element to carry it through than Holy Grail, which plays more as a tv series with episodes pressed together.
Anonymous:
Picnic At Hanging Rock is an amazing film. It is already a compelling story in itself in so effectively developing the interpersonal relationships in and around the school for girls. What bolsters it towards true greatness though is Peter Weir's direction which realizes this haunting, almost horror like tone. Weir makes the central event, and how it befalls all others felt within his work, to essentially affect the audience as well in the same way.
Bryan:
I like all of Calvin choices, particularly Weaving as Deke. I also do think, if he's doing it, he should cast himself as Pike.
Barnes (Like both Schreiber and Mortensen as choices)
I'm actually might be coming around to him a bit as Michael Clayton, as I can't immediately see someone else in the role.
Bingham (I'd rather have seen Steve Martin, as I think age could've helped the narrative behind the character.)
Anonymous:
Farewell My Lovely directed by John Huston:
Philip Marlowe: Robert Mitchum
Helen Grayle: Ava Gardner
Lt. Nulty: Louis Calhern
Jessie Florian: Joan Blondell
Moose Malloy: George Mathews
Calvin:
Great episode on every front I felt as the Kim/Jimmy story did not take a predictable route, the Mike story is now finding some proper tension, and Mando was great again even if brief.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
Louis: Your thoughts on the screenplays of White Heat and The Naked Spur.
Louis: Have you seen United 93? If so, could I have your thoughts on the film.
Louis: Your thoughts on the Black Knight scene from Holy Grail.
And your thoughts on Mirror's Cinematography.
Louis: Martin as Ryan Bingham could've been something great I think, although I like Clooney fine enough in that part. Lastly, are there any past film actors that you'd compare Leonardo Dicaprio to?
Louis: Your top 5 scenes from The Holy Grail?
Louis: For you, would you consider A Bullet For The General 1966 or 1967. On IMDB, it says January 1967 in Italy, but Wikipedia says December 1966 and other sources say 7 December 1966 and a week before The Good, The Bad And The Ugly had it's release. I don't really mind where you put it because 1966 lead is fairly stacked anyways and 1967 only has 2 that intrigue me (Paul Newman in Hombre and Charlton Heston in Will Penny, which he considers his best).
And are you intrigued to see more of Tarkovsky. Along with Mirror, Andrei Rublev, Solaris and Stalker have been listed as some of the best films ever made, Ivan's Childhood is seen as a precursor to Come And See and his lesser known works Nostalghia and The Sacrifice have really good scores on IMDB and Letterboxd.
Louis: Your ten favorite animal characters in live action films.
Louis: What did you think of the Dark Phoenix trailer. I thought it was alright but having Sophie Turner as the Lead makes her weaknesses from the previous film even more noticable this time round and I'm rather disappointed that they're not gonna touch upon Magneto and Quicksilver's relationship. And why was it necessary for Lawrence to appear when she's never really cared about this franchise. Fassbender and McAvoy look tired too and Hoult's the only one who looks as if he still gives a damn. All I would like is an improvement over Apocalypse and a decent send-off before the reins are handed over to Disney but I'm not hopeful.
Louis: Your thoughts on the South Park Season 22 premiere.
Glenn Howerton just absolutely KILLED it in the most recent episode of It's Always Sunny. One of his greatest monologues, for sure.
https://www.youtube.com/watch?v=bo_efYhYU2A
Full version of 'The Shallow'.
Calvin: It's a good song, I liked it. It'll be interesting to see how it plays in the context of the film.
Louis: thoughts on the bathtub scene from Training Day.
Louis: your top 20 johnny depp acting moments
Louis: Your top 10 horror film performances
Matt:
A brilliant scene that is almost wholly dependent on Richard's performance of it. As the story itself, besides the severed appendage being a toe (which is funny for some reason), and the making the stops gag, is technically dramatic. Richards way of telling it with that specific manic energy of it makes every beat, even the taking of a mugger, absolutely hilarious. This is only amplified though by the reactions of Seinfeld, and more so Alexander who are so transfixed it makes all the funnier. His exclamation of "You're Batman" is really just a cherry on top of it all. It's a great scene, and I love it as the telling of the story in a likelihood is more amusing than if we actually saw it.
Tahmeed:
I have not.
A scatter shot episode, which is kind of their go to style these days, and I'll be honest I wish they'd take a longer break to maybe bring some classic ideas back rather than trying to make every episode "ripped from the headlines". Again they meander around making a point, while also not purely going for "we're only trying to be funny". Although I did think they occasionally succeeded at being funny, if very dark at points, though both story lines I thought were a touch too repetitive in both plots and their joke.
Purely live action for the animal as well?
Luke:
A hilarious scene without a doubt from the blood limb loss, that is so funny by the Knight's non-chalance towards his state, and of course everything about his manner. His intensity is what is so hilarious honestly, with his great "none shall pass" which plays off so well against Chapman's confused and eventually annoyed demeanor. My favorite part is probably the sucker kick when Arthur goes to pray.
Well the Mirror's cinematography is an essential element in creating that wholly transfixing quality of the film. It's fascinating work actually as it manages to do something new in terms of the observer's eye that typically comes off as voyeuristic, but that is not the quality of the Mirror's work. It instead is far more intimate in a way that feels as the uninvited party. This is in the way the shots are realized as almost welcoming as the observer is part of every scene, yet again it is amazing how this too never feels gimmicky. I suppose as the work never uses this as an excuse to limit the work, as even from this perspective the film develops just lasting beautiful images fitting of vibrant memory.
Of course, if I see a film I love from a director, I'm definitely interested in more from that director.
Looks like garbage, as they once again misunderstand how that story line works. You know you need the Phoenix story line, before the dark Phoenix. It's kind of a no brainer. Oh wait, you also should develop Jean at all, and make sure her actress can carry the extremely emotional plot. Oh and you should make sure she and her Cyclops co-star have chemistry. Oh Wait you should develop him too. Oh and you should notice Jennifer Lawrence doesn't care at all, why is she still in this?
I will say it is a little comical at this point how hard McAvoy is trying to carry these things.
Bryan:
It's hard to compare anyone to DiCaprio exactly because his career is so unique. In that he started out clearly with that ambition to be an actor's actor, to the point James Cameron made sure he didn't bring any of that to Titanic. DiCaprio is interesting then as he seemed to have taken a lesson from that to learn, if not even defer to, great, or at least very successful, directors as an actor. This has lead to great success with his only real flops coming from misfires from notable directors. Not trying to dismiss his own output, but he's one of a kind in terms of how astute his choices have been in regards to who he chooses to work, since he never lost his star power from that.
Anonymous:
1. Constitutional Peasants
2. The Black Knight
3. Bring out your Dead
4. Rabid Rabbit
5. Tim The Enchanter
Calvin:
Another legendary Howerton moment to be sure.
The bathtub scene is perhaps a bit much in terms of the overall plot mechanics however the scene does work due to Hawke's performance. He creates the intensity by selling the dire nature of the moment, and makes the desperation to save his life so real.
Louis: Will the Holy Grail cast be in the final ranking? I wasn't sure since you didn't give them ratings.
Luke:
That example may require further research to set a proper placement.
Anonymous:
Depp:
1. "Ed Talks Bela Out of Suicide" - Ed Wood
2. Talking to Orson Welles - Ed Wood
3. Christmas Present - Edward Scissorhands
4. Why Whitey wasn't a rat - Black Mass
5. Duel with Will - Pirates of the Caribbean: CBP
6. Weird coincidence - Donnie Brasco
7. Stopped Haunted House Ride - Ed Wood
8. Doing the "hit" - Donnie Brasco
9. Shooting around Lugosi - Ed Wood
10. Killing Deborah - Black Mass
11. final battle - Pirates of the Caribbean: CBP
12. Return home as Donnie - Donnie Brasco
13. His qualifications for the directing job - Ed Wood
14. "Just saying?" - Black Mass
15. Seen as a monster - Edward Scissorhands
16. Outrage at Arnie - What's Eating Gilbert Grape
17. Realizing who he murdered - Sweeney Todd
18. Meeting Lugosi - Ed Wood
19. Death in the house - What's Eating Gilbert Grape
20. The truth of his "escape" - Pirates of the Caribbean: CBP
Michael:
They will be, their ratings would be:
Palin, Cleese, Idle - 4
Chapman - 3.5
Gilliam/Jones - 3
Charles:
You'll find that here http://actoroscar.blogspot.com/2017/04/alternate-best-actor-1984.html
Louis: You forgot to give your thoughts on the screenplays of White Heat and The Naked Spur.
Louis: So Bruce Dern will play Burt Reynolds' role in Once Upon a Time in Hollywood.
Louis: Any chance you’d lower Leto’s score for Dallas Buyers Club?
Anonymous: I thought Tarantino was going to go with Keitel (for some reason) as his replacement, to keep with this movies' cast as practically being Tarantino's Avengers haha. I think Dern will do well in the part, although it's reportedly not a big one in the film.
Louis: The animal cam be CGI, like Okja.
For everyone here, what are some of your most anticipated leading performances of 2018? (And by that I mean movies that have yet to see there wide release) I'm sure its been proposed before but I'll lend my two cents to it.
Bradley Cooper (A Star is Born)
Ryan Gosling (First Man)
Carey Mulligan (Wildlife)
Steve Carell (Beautiful Boy)
And, in case she hasn't been mentioned before, Mary Elizabeth Winstead (All about Nina)
Mitchell: Apart from the ones you mentioned...
Andrew Garfield (Under The Silver Lake)
Lucas Hedges (Boy Erased)
Christian Bale (Vice)
Saoirse Ronan/Margot Robbie (Mary Queen of Scots)
Louis: Your thoughts on the rest of your top 5 Holy Grail scenes.
Mortensen/Ali (Green Book)
And Dafoe, Malek and Reilly.
1. Dreyfuss
2. Williamson
3. Bates
4. Tognazzi
5. Dern
I gave mine on the previous post I think, Cooper and Chalamet were in mine.
Bad times at the El Royale kinda looks like a fun cross between Cabin in the Woods and Identity.
I *finally* got to watch Bo Burnham's Eighth Grade. I have no problem calling it A24's best film of 2018 so far and I feel like it's probably going to be my Original Screenplay win.
Fisher: 4.5 (Bordering on a 5)
Hamilton: 4
The rest of the cast is pretty good too.
Louis: What are your ratings and thoughts on Brendan Gleeson and Chris Cooper in Live by Night?
Emi: Delighted to hear that you loved Eighth Grade. It's really something.
I saw Eighth Grade in theatres a while back, I also really liked Fisher and Hamilton but I thought a lot of the supporting cast were pretty bad actually.
Louis: thoughts on this cast for a 2010s The Great Escape?
The Cooler King: Ryan Gosling
Hendley: Jon Bernthal
Bartlett: Domhnall Gleeson
Ramsey: James D'Arcy
The Tunnel Kings: Dominic Cooper and Alfie Allen
Blythe: Eddie Marsan
Sedgwick: Luke Evans
Michael: Well, to be fair, some of their characters were indeed pretty simple, but I wasn't bothered or distracted by any performance in particular.
Calvin: I think that could be a great cast. I'd like to give mine if you don't mind.
Directed by Joe Carnahan
The Cooler King: Chris Pine (Think Wonder Woman)
Hendley: Yes Bernthal
Bartlett: Simon Pegg
Ramsey: Tom Hollander
The Tunnel Kings: Walton Goggins and yes, Alfie Allen
Sedgwick: Sam Worthington
Blythe: Marsan sounds great. Alternate Toby Jones
Bryan: Yeah, actually Pine would be the better choice I think.
Also, another question for Louis: having given some time and I know this is a tough feet, but what would your top 20 performances from Twin Peaks be, taking into account both the the original and The Return, as well as the film if you like? And your thoughts on Jack Nance in TP.
For me,
1. Kyle MacLachlan
2. Don S. Davis
3. Sheryl Lee
4. Ray Wise
5. Miguel Ferrer
6. Al Strobel
7. Naomi Watts
8. David Lynch
9. Richard Beymer
10. Grace Zabriskie
11. Dana Ashbrook
12. Sherilyn Fenn
13. Robert Knepper/Jim Belushi
14. Catherine E. Coulson
15. Everett McGill
16. Laura Dern
17. Harry Dean Stanton
18. David Patrick Kelly
19. Michael Horse
20. Harry Goaz
Calvin: I think he has the sensibility for Hilts' more comedic scenes, and has proven to fit the period (yes Wonder Woman took place in WWI, but you know what I mean.)
Although speaking of Gosling, he'd be the perfect choice for Lt. Bullitt (while we're on the topic of McQueen roles), as his Agent K isn't far off.
Venom review embargo until October 2nd, is that a sign? lol haha.
RatedRStar: That practically IS the sign about a movies' quality haha.
Note on the delay of posting my 75 winners comes from adapted screenplay which involves Cuckoos, Jaws, and Dog Day(It is adapted in my view since it was based off a specific article not just general research.)
Anonymous:
White Heat's screenplay has a certain duality in that it is amazing film, and pretty good one wrapped together. On the amazing side of things you have the story of Mama's boy "Cody" Jarrett who on the surface is just a brilliant villain, and particularly original at the time in terms of the brutality of the character, and the complexity granted to his state. Of course I will say what takes this even further in the film is more towards Walsh's direction and Cagney's performance, which takes the step further to honestly grant sympathy towards the devil. This isn't really isn't too much of a slight on the screenplay though as it allowed the director and the lead to take the next step in the creation of the film. The good film comes in the undercover cop story that ends up developing a more refined plot for the second and third acts. For an undercover cop story of the time, it is honestly pretty great, but where it falls ever so slightly short is in the final cover blown moment that seems a touch too simple, though really in a code mandated way as it takes away the complexity previously realized, though again a great deal of this comes from that sympathy Cagney and Walsh developed for him. Of course I shouldn't allow that to cover up how character driven it is, how much more tightly plotted the film is, and how much more inventive it is than almost any other gangster fair from the period.
Now all Stewart/Mann westerns are good, as all are well directed and have a great lead. The Naked Spur is the greatest though through featuring a major upgrade in villain due to Robert Ryan (sorry Arthur Kennedy), and the best screenplay. It is a brilliantly wound picture in creating the tension through the "transporting the prisoner" plot that is so well realized, but amplified by where it takes this idea. In that it uses this particularly intimate plotting to give such detail to every single character in the film. The writing gives depth to every single character, and in a fascinating fashion really creates a grey space within every one of them. No one is an absolute evil, nor is even Stewart's Howard an absolute good. The film allows you to understand every single member of the party making their interactions compelling, but also each and every betrayal convincing. It weaves its story into one of duplicity and desperation defined by human characters at every point, while within a tightly realized narrative.
Anonymous:
Ah that's a shame, I was hoping he had gotten to film his scenes already as I would have loved to have seen Reynolds in a Tarantino film. But hey at least Dern/Tarantino have proved to be a good combination already.
Robert:
I don't think I've seen it since early 2014, and if recall correctly my original review was technically a touch below in estimate than was the overarching general sentiment towards his work when he was sweeping. So I would say, maybe, since I never loved his performance, but I don't think it would be an extreme downgrade.
Tahmeed:
1. Paddington
2. Asta
3. Ferdinand (Babe)
4. Okja
5. Rex (Babe)
6. Babe
7. Jack (The Artist)
8. The Black Stallion
9. Toto
10. White Fang
Matt:
Gleeson - 3.5(Gleeson is another facet of the film that should've had expansion. Having said that still though he and Affleck in their short time together due capture the difficult yet not distant relationship between father and son. The two find this tension but with an underlying warmth, that is actually rather moving even within this through the honesty of their performances. Gleeson is particularly good in portraying the father's disappointment, in his stern manner, yet always keeps a consistent sense of his love all the same.)
Cooper - 3(He's good as the salt of the earth sheriff as is to be expected who is naive though with this rather weak attempt to be confidant. His descent as a character again is something that also could've used more time, however Cooper hits his marks so to speak with the emotional wreck as well.)
Calvin:
I like all the choices, out of the two I'd say my preferences are as follows:
The Cooler King: Chris Pine (Gosling would be good though)
Hendley: Jon Bernthal
Bartlett: Domhnall Gleeson
Ramsey: James D'Arcy (Required as heir apparent to James Donald)
The Tunnel Kings: Walton Goggins and Alfie Allen
Blythe: Eddie Marsan
Sedgwick: Sam Worthington
1. Kyle MacLachlan
2. Sheryl Lee
3. Ray Wise
4. Miguel Ferrer
5. Naomi Watts
6. David Lynch
7. Don S. Davis
8. Grace Zabriskie
9. Richard Beymer
10. Al Strobel
11. Robert Knepper/Jim Belushi
12. Sherilyn Fenn
13. Dana Ashbrook
14. David Patrick Kelly
15. Laura Dern
16. Everett McGill
17. Harry Dean Stanton
18. Catherine E. Coulson
19. Don Murray
20. Russ Tamblyn
Including the film, which obviously helps Lee the most.
Nance - (Nance is an absolute delight in the role in my view as I love how he portrays one person in the town without a hint of duplicity. In that even his love he portrays towards Jocelyn as such an earnest and sweet affection without a hint of sleaze about it. I love that even when he's doing Catherine's bidding it is with just this sweetest of smiles the whole time, even in his technically darkest moment when he gloats over Benjamin. Nance brings just this small town attitude so well, and for me is so often hilarious throughout it whether it be his reaction to being kissed by the "Japanese Man" or just the way he says "The King and I" when figuring out the song Leland's singing.)
Luke:
Constitutional Peasants - (Like the "what has Rome done for us?" bit in Life of Brian this is just hilarity by bringing a wholly modern mindset into a scene of the medieval.)
Bring out your Dead - (I mean the all classic scene of rather dark humor, hilariously realized through so glibly fitting to history and just taking it up a notch.)
Rabid Rabbit - (Cute rabbit, graphic violence, perfect combination.)
Tim The Enchanter - (All the pay off the name, as his introduction is rather dramatic with that being the perfect punchline after that.)
Louis: And your choice for director for a 2010s The Great Escape? I think Christopher McQuarrie could do a good job.
Louis: Oh and speaking of Nance, your overall thoughts on the dynamic between him and David Lynch, in terms of their output?
"I'm Paul; what's your name?"
"Jeffrey..."
"................................."
Louis: What did you think of the Holmes And Watson trailer.
Luke: Yeah, I'm passing on that one. And I'm someone who doesn't mind Will Ferrell.
Louis: Your top 10 production design snubs. Don't understand how Hunchback of Notre Dame and The Devil and Daniel Webster didn't get nominations.
Louis: Your 1939 wins for production design, costume design and makeup/hairstyling.
What a disappointing trailer Holmes And Watson was, almost everything was wrong or phoney.
Luke:
I might be going out on a limb here, when I say that's probably not going to be John C. Reilly's best film as one half of a duo this year. In fact far far from it, in fact it might just be a cinematic abomination, though I'll admit I can usually get a laugh from Reilly even in bad films, Ferrell...not so much.
Anonymous:
Again snubs based on being in the conversation as films in some way in terms of either precursors or other Oscar nominations, so that's why there aren't films like "A Matter of Life and Death", "Eraserhead" or "Night of the Hunter" on the list.
1. Dr. Strangelove
2. The Hunchback of Notre Dame (1939)
3. Battleground
4. The Devil and Daniel Webster
5. Mulholland Drive
6. Blue Velvet
7. The Godfather
8. Phantom of the Paradise
9. A Clockwork Orange
10. Das Boot
And there were a whole lot I left off.
Anonymous:
Production Design: The Wizard of Oz (though that would be an all time great top three with it Hunchback, and Gone With the Wind)
Costume Design: Gone With the Wind
Makeup/Hairstyling: The Wizard of Oz
Louis: I forgot. That question regarding 20 films in which the city was a character and you asked me if it's of a specific location or in regards to setting, it's probably specific location I was wondering.
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