Thursday 29 November 2018

Alternate Best Actor 1987: Mickey Rourke in Angel Heart

Mickey Rourke did not receive an Oscar nomination for portraying Harry Angel in Angel Heart.

Mickey Rourke's career is perhaps one of the great cautionary tales of stardom. Starting a meteoric rise that fell into obscurity of the direct to DVD bin. This unfortunately perhaps overshadows his talent particularly in regards to his place among the young actors of the 1980's. Rourke, sometimes literally, taking over roles that were meant for the premiere 70's actors like Pacino, De Niro or Nicholson. Harry Angel, a private investigator in the 50's, is one such role, and perhaps was the perfect vessel for Rourke as well. Angel Heart is a neo noir in style of course, but naturally classic noir in its setup. This is where a strange man, Louis Cypher (Robert De Niro), hires Angel to track down a crooner named Johnny Favorite who has disappeared without paying some "debt" to Cypher. In that it does not appear that the role will be immediately an overtly emotional, as the P.I. is often used as the audience surrogate. In this way we open with Rourke's Angel merely taking upon the case by the strange Cypher and his rather vague intentions for the elusive target. Rourke makes up for any potential space using his considerable charisma to add to Harry's personal style. A particularly notable success on Rourke's part, as even as Harry looks a bit spent, if not even a little smelly, Rourke just maneuvers within a scene with such remarkable ease.

Rourke is a proper noir lead in these early scenes where we see Rourke just working the case. In particular he brings an essential levity of sorts to his performance. This isn't to say that this is at all a comedic performance, it's not. It's rather though just finding that sort of charm within the detective that seems is one step in front of the competition. Rourke excels with this, that again falls right within that charisma he delivers to the role. Rourke empowers the role of Angel in itself because of this showing a man seemingly well within his powers. Now this is in even his earliest scene in taking the case as Rourke exudes a natural confidence through a casual demeanor as a man who has caught more than one man performing a disappearing act in his time. This is backed up though by his moments of actually tracking Favorite, starting with a hospital that supposedly housed him. Rourke's way with the nurse is quite marvelous in just bringing just the right slyness in the slick smile of his bringing out the right quality of persuasiveness as he tricks her into giving too much information. We see a similar thing as he tracks down the drug addict doctor who helped to hide Favorite's escape. Despite breaking and entering, Angel controls the situation, and Rourke makes every second of this utterly convincing in his near grace of his delivery and physical disposition as he breaks the doctor down to give him the information he wants. This without a single threat of violence.

The confident detective, while quite compelling already, is but a warm up act for Rourke's performance. Not that this is wholly eliminated, not at all. In fact Rourke maintain just a bit of that classical noir lead presence helps the film from becoming too dour right away. He allows one to believe properly that this is just one strange mystery, of course things shift rather quickly when he finds the doctor has been brutally murdered. Rourke is exceptional in the moment of discovery of the crime portraying so effectively the immediate fear, properly losing any of that ease. This is fitting to a man who tries to quickly back out of the case in his next meeting with Cypher, only kept on by the promise of a greater financial reward. Rourke's performance though expresses the greater weight of the situation immediately, but goes further than that. In he slowly develops this subtle anxiety that becomes a constant. An internalized intensity that initially creates this sense of unease not only in Angel, but we are the witnesses of the mystery. There is simply something off about it all and Rourke embodies this brilliantly. What is most remarkable though perhaps is how effectively Rourke tempers this all the same, as with the material it would've been easy to become too much too quickly, yet Rourke takes the right approach making the sinister nature slowly get under your skin, as it does Harry's.

There is some less gut wrenching thrills to be had at first as Angel still is working the case, and Rourke is still so terrific in playing into the noir style so effortlessly. He's great though in the way that any scene that is even a bit of exposition, or even looking over a less extreme clue, Rourke makes all the more fascinating. His performance is never vacant in its expression, as he grants such nuanced detail to every scene. Rourke is never simply there in creating such a captivating presence that is both dynamic and reflective in a given scene. Rourke again has that way with words, and just manner that makes every moment stand out to at least a certain regard. That is in the way he always brings a bit more of an overt charm when interviewing any of the women, while channeling a more incisive intensity of inquiry when questioning potentially duplicitous men. Both qualities though Rourke finds that similar ease. He though doesn't stop there though as the plot thickens, and the idea of the supernatural slowly seems to become far more present. Rourke's work conveys this and carefully grounds it in a certain reality. This is he portrays the reaction to these revelations as a normal man within the situation would, avoiding an overtly stylistic approach that wouldn't have suited the role.

Now this connection to the plot is initially presented more as that fear and anxiety that Rourke gradually builds within the film, that creates an all the greater tension in the film. It slowly becomes more than that as Rourke exudes so effectively this as the body count piles up. This fear he conveys less as only an exact shock, but also with almost this certain underlying near guilt as he looks upon the murder scenes. Rourke physically loses that ease creating this decay of self as Angel struggles to comprehend what he is finding, and begins to see all the more horrifying visions besetting him. Rourke's work makes the film's atmosphere all the more palatable by so powerfully humanizing this shock, and paranoia of a man who seems to be descending into some personal hell. Rourke's eyes deliver this chilling uncertainty, that is all the more pointed as he loses all nearly all of that charisma. He no longer has that ease, or even the charisma, as he loses himself physically and mentally with Rourke portraying a man seemingly decaying. This is as Angel reaches closer to the conclusion of the mystery which spoilers finds that he is in fact Johnny Favorite, in at least some sense. As Harry Angel had his soul stolen from the man in a satanic ritual. The moment of this revelation is perhaps the greatest acting of Rourke's career in the sheer intensity and emotional devastation he grants the revelation. Although it deals with the supernatural it is made heart wrenching through Rourke's portrayal of a man who's entire reality is torn asunder. Rourke delivery is strained of man drained of all capacity of understanding, and at an edge of his mental capacity as he relives the murders of the witnesses of Favorite, that he in fact committed. Rourke's exasperated cries of "I know who I am" are absolutely haunting as a man at the end of two lives. Rourke creates the sense of man struggling to keep the truth of his mind, while accepting the devastation it inflicts upon his psyche. Rourke is equally powerful though in his near final moment of acceptance as he looks upon the final murder. Rourke conveys such raw despair as Angel/Favorite fully understands what he is and what he has done. This is an amazing performance by Mickey Rourke as he utilizes his star charisma so naturally in tandem with his emotional range, to craft an unforgettable portrait of a man discovering his own sins on his path towards Hell.

88 comments:

Charles H said...

Looks like Lone has some competition, although i hope he keeps his win this is a worthy upgrade for Rourke.

In regards to the last post. My top ten for the 80's:
1. Back to the Future
2. The Last Emperor
3. A Christmas Story
4. Ran
5. A Fish Called Wanda
6. Raging Bull
7. The Killing Fields
8. The Thing
9. Once Upon a Time in America
10. Grave of the Fireflies

Robert MacFarlane said...

Oh yeah, never answered the 80's top 10. In no order:

Wing of Desire
Back to the Future
Aliens
Blue Velvet
A Christmas Story
Amadeus
Do the Right Thing
River's Edge
The Princess Bride
Who Framed Roger Rabbit?

HM: Ordinary People, The Fabulous Baker Boys, Dead Ringers, Raiders of the Lost Ark, and probably a few others I'm forgetting

Robert MacFarlane said...

As for the top 5's in each category for this year that were also in the last thread:

Picture

1. Thoroughbreds
2. Sorry to Bother You
3. First Man
4. First Reformed
5. Can You Ever Forgive Me?

Actor

1. John C. Reilly in The Sisters Brothers
2. Ethan Hawke in First Reformed (could switch to him)
3. Daveed Diggs in Blindspotting
4. Ryan Gosling in First Man
5. Joaquin Phoenix in You Were Never Really Here

Feel bad leaving out Stanfield.

Actress

1. Melissa McCarthy in Can You Ever Forgive Me?
2. Anya Taylor-Joy in Thoroughbreds
3. Charlize Theron in Tully
4. Lady Gaga in A Star is Born
5. Toni Collette in Hereditary

The last two slots I'm still debating myself on, I'm pretty big on Hall, McAdams, and McKenzie as well.

Supporting Actor

1. Russell Hornsby in The Hate U Give
2. Allesandro Nivola in Disobedience
3. Rafael Casel in Blindspotting
4. Richard E. Grant in Can You Ever Forgive Me?
5. Josh Hamilton in Eighth Grade

Kaluuya, Roache, and both Dragos from Creed II almost made it.

Supporting Actress

1. Elizabeth Debicki in Widows
2. Claire Foy in First Man
3. Cynthia Ervio in Bad Times at the El Royale

Can't even come up with five I'm enthusiastic about. Hopefully there'll be a few late game contenders to fill out my ballot.

Bryan L. said...

Actually I'd like to swap Ferris Bueller's Day Off for The Right Stuff for my Top 10

Louis: Your thoughts on...*puts aviator shades on*..."Highway to the Danger Zone"?

Mitchell Murray said...

Robert: If I may, could I ask why Russell Hornsby is your supporting actor win thus far? I've seen "The Hate U Give", and I admired the movie decently enough. I liked Hornsby as well as he made a considerable impression with the limited time he had. Still, from what I've watched so far I wouldn't say he's given the most memorable supporting performance of the year. Even now I'm struggling to remember the entirety of his work, or any moments that I felt he truly excelled in.

I'm not criticizing your choice by any stretch. Like I said before I admired Hornsby's work upon my first viewing. I'm simply curious as to what you see in the performance that I might be missing out on.

Tahmeed Chowdhury said...

Louis: Has De Niro gone up to a 5. Also, your rating and thoughts on Bonet and Rampling.

Matt Mustin said...

Robert: You really think Rafael Casal is supporting in Blindspotting? I mean, I can see it, but I don't know if I agree.

Luke Higham said...

Louis: Have you seen Escape From Sobibor.

Luke Higham said...

Rating predictions for all lineups
Lead Actor Nominees
Cooper - 5
Mortensen - 4 (I think Louis likes him too much to go under a 4)
Malek - 4.5
Bale - 5 (Hopefully the wait for his 2nd five will end sooner than expected)
Hawke - 5

Supporting Actor nominees
Ali - 4.5 (Only predicting a higher score for him since I've read much praise for his Piano scenes though I could be wrong)
Elliott - 4.5
Grant - 5
Driver - 4.5
Rockwell - 4.5/5 (A 4.5 is a safer bet but we all know how great he can be with limited focus such as his work in The Assassination Of Jesse James)

Other contenders:
Carell (Vice) - 4/4.5
Jordan - 4.5

Alternate Lead Actor
Gosling - 5
Dafoe - 5
Huston - 5 (His role is so intriguing)
Redford - 5
Eastwood - 5
Foster - Both 5s
Diggs - 5
Reilly & Phoenix - 5/4.5
Reilly & Coogan - Both 4.5s
Yoo - 5
And for the 10th spot:
Hedges - 4.5
Stanfield - 5

Bonus: Fonte - 4.5

For the other saves:
Wolff - 4.5
Washington - 4.5
Cage - 4.5

Alternate Supporting Actor
Waits - 5
Nelson - 5
Yeun - 5
Franky - 5
Crowe - 5 (Just going by the trailer and Michael's thoughts, I'm confident he'll get his 3rd five)
Bridges - 4.5/5
Pullman - 4.5
Kaluuya - 4.5
Roache - 4.5/5
Bogdanovich - 4.5/5
Hornsby - 4.5
Nivola - 4.5/5

Other Saves:
Brolin - 4.5
Hemsworth - 4.5
Yelchin - 4.5

Luke Higham said...

And a 4/4.5 for Joel Edgerton in Boy Erased.

Álex Marqués said...

Hate to sound like a prick, but giving a higher rating to an actor just because he's been good in other roles doesn't feel like a particularly good criteria.

Luke Higham said...

Alex: I understand, I've yet to see Green Book, but Louis hasn't been as negative on it as others.

Luke Higham said...

Alex: I know everyone else except Daniel who has would give him a 3.5 or lower due to the responses I've seen from them but something tells me Louis will give him a 4.

Luke Higham said...

Louis: What would be your 2010s voice cast for The Secret Of NIMH, Snow White And The Seven Dwarves, Pinocchio and The Lord Of The Rings (Bakshi)

They're the same films as they were just with new voice dubs like the Japanese to English translations for Anime films.

Anonymous said...

Louis: Did Kevin Spacey in Se7en drop to #3 for 1995 Supporting? And did Macfadyen overtake McGoohan for #1?

Luke Higham said...

Louis: Your reason why for the change. I've no complaints with Macfadyen taking the win but I'm rather curious as to why McGoohan's ahead of Spacey as well.

Tahmeed Chowdhury said...

Given that Macfayden is my 3rd favourite supporting performance from the 90s decade, I'm elated.

Calvin Law said...

Rourke was fantastic here. I'm not all that big on the film itself, though.

I think Hawke's the only dead cert for a 5, I think based on what I've seen. I could see Louis perhaps loving Cooper a little less than the rest of us, since he's a bit less enthusiastic about the film, but I hope at the very least he considers it a career-best.

As for supporting, Elliott and Driver are likely 4.5's (though I think someone else could sneak in over the latter, wouldn't 100% count out Chalamet, Jordan could get in). It'll be interesting to read his Grant review after he's seen Withnail & I, re-watched that a couple days ago, and not only did the film grow on me, but I really hope he gets into the top 5 for the year.

Bryan L. said...

Luke: I can definitely those coming to fruition. Fosters an easy 5 for Leave no Trace but I'm not entirely sold on a 5 for Galveston. Although never bet against Foster...

I can practically already see the 4.5 Plainviews for the Malek review, as is the case with performances from McCarten screenplays.

I would love to see Redford go out on top with his first 5, and I have a hunch that Roache might get that 5...

And I too, am hoping for a second five for Bale

Anonymous said...

Louis: Your thoughts on the first scene with Howard in Treasure of the Sierra Madre.

Emi Grant said...

Am I the only one hoping for a 5 for Cage in Mandy?

I also think I'm the only person who didn't really get what you all saw in Roache. I mean, he's a solid 4 for me, but his work only went so far with me.

Matt Mustin said...

Luke: I wouldn't be surprised if Outlaw King had something to do with the switch.

Bryan L. said...

Emi: Oh I'm definitely hoping for a 5 for Cage, but I wouldn't be surprised if he ends up a 4.5

As for Roache, I'm planning on rewatching Mandy soon, and I feel like it's the type of performance where he could go up for me, but that's just me.

Luke Higham said...

Matt: Yeah, I've had a feeling that could be the reason.

Calvin Law said...

I thought Cage was excellent but wouldn’t go higher than a 4.5 I think. I think I’m setting on a 4.5 for Roache too.

Speaking of Sierra Madre, Louis your thoughts on a 2010s version of the film directed by

Fred C. Dobbs: Ethan Hawke
Howard: Tom Waits
Bob Curtin: George MacKay
James Cody: Tim Blake Nelson
Gold Hat: Clifton Collins Jr.

Calvin Law said...

*The Coen Brothers

Charles H said...

In regards to the last thread, some of my line-ups for 2018.

Picture:
1. First Man
2. A Star is Born
3. First Reformed
4. Buster Scruggs
5. Shoplifters/Leave No Trace

Actor
1. Ethan Hawke in First Reformed
2. Ryan Gosling in First Man
3. Bradley Cooper in A Star is Born
4. Rami Malek in Bohemian Rhapsody
5. Joaquin Phoenix in You Were Never Really Here

Actress
1. Mellissa McCarthy in Can You Ever Forgive Me?
2. Anya Taylor-Joy in Thoroughbreds
3. Lady Gaga in A Star is Born
4. Charlize Theron in Tully
5. Toni Collette in Hereditary

Supporting Actor
1. Jeff Bridges in Bad Times at the El Royale
2. Lily Franky in Shoplifters
3. Tim Blake Nelson in Buster Scruggs
4. David Kaluuya in Widows
5. Grant/Crowe

Louis Morgan said...

So do we have a full consensus win with Debicki at the moment?

Bryan:

Extreme eighties to the extreme, which is already an extreme. I mean put Kenny Loggins vocals in anything and it just makes it pure eighties. Add in some particularly deep synth chords, and electronic echoes, you got a near purity. I will say the song is pretty insane and random throughout with its rather random use of the chorus, which is essential and unforgettable.

Tahmeed:

No, but he's terrific.

Bonet, I don't really makes much of an impact either way. She's there, she's fine, but she is very much a plot device.

Rampling - 3.5(I will say the praise around her performance is maybe a little much from what I've seen, in that she's good in doing her typical incisive cold routine. I however did not find it overly remarkable as those go for Rampling. She's good though.)

Luke:

Same animation? I refuse to even imagine some overdubbing Elizabeth Hartman.

Re-watched Seven around Halloween. Outlaw King did indeed spur me to re-watch Braveheart, which lead to the change. Now McGoohan, was never far from Spacey in my mind to begin with as two different kinds of villains. Re-watching the film though only further cemented my great affection for MacFadyen's work, and honestly his scenes with Ian Bannen alone would give him the win for me.

Anonymous:

Yes.

Calvin:

Fine choices.

Anonymous:

That scene is an effective setup to the main theme of the film without over doing. It successfully creates the right naturalism in the exposition, helped greatly by Huston's performance that makes Howard such a vivid character.

Matt Mustin said...

Louis: If you've seen it, what are your thoughts on Ian McKellen's "acting advice" from Extras?

Anonymous said...

Louis: Thoughts on the supermarket scene and the scene where Keyes and Neff talk while Phylis hides behind the door from Double Indemnity.

Tahmeed Chowdhury said...

Louis: Could Gibson go up to a 5 for Braveheart? Your original review makes it sound like he was quite close.

Luke Higham said...

Tahmeed: Robert will be in complete despair if that happened.

Robert MacFarlane said...

Mitchell: What I loved about Hornsby was how he brings an underlying sense of stubborn pride to the character that creates a flawed, three dimensional picture of a character archetype typically over-idealized.

Mitchell Murray said...

Robert: I get that, honestly. Although there are some minor structural elements within "The Hate U Give" that don't entirely work, in my opinion, Hornsby, along with the majority of the cast, do add the needed dimension to their performances. I will say he particularly succeeds at this because Maverick could've been fairly standard as a character, yet he manages to bring some intrigue and magnetism to a well-worn role.

Like I said before, I liked Hornsby, but I can think of other supporting turns from this year that have left a bigger impact.

BRAZINTERMA said...

My guesses for the overall rating of best SUPPORTING actor:
1º Michael B. Jordan (Black Panther)
2º Tom Waits (The Ballad of Buster Scruggs)
3º Nicholas Hoult (The Favourite)
4º Richard E. Grant (Can You Ever Forgive Me?)
5º Bruno Ganz (The House That Jack Built)
6º Sam Elliott (A Star Is Born)
7º Daniel Kaluuya (Widows)
8º Tim Blake Nelson (The Ballad of Buster Scruggs)
9º Sam Rockwell (Vice)
10º Johnny Depp (Fantastic Beasts: The Crimes of Grindelwald)


My hunches for the overall rating of best actor PROTAGONIST:
1º Matt Dillon (The House That Jack Built)
2º Willem Dafoe (At Eternity's Gate)
3º Bradley Cooper (A Star Is Born)
4º John Huston (The Other Side Of The Wind)
5º Ethan Hawke (First Reformed)
6º Ryan Gosling (First Man)
7º Clint Eastwood (The Mule)
8º Ben Foster (Leave No Trace)
9º Christian Bale (Vice)
10º Viggo Mortensen (Green Book)

Robert MacFarlane said...

I severely doubt Louis is going to like Dillon that much. Mostly because that movie sounds utterly radioactive.

Matt Mustin said...

Jordan has NO chance of winning the overall.

Bryan L. said...

I honestly doubt that Johnny Depp will end up in the Top 10.

Bryan L. said...

Louis: Your thoughts on Christopher McQuarrie as a filmmaker?

Emi Grant said...

I finally caught up with Widows, it has some flaws indeed, but man was it a blast. I've found my supporting wins for now.

Davis: 4.5
Debicki: 4.5/5
Rodriguez: 3.5
Erivo: 3.5
Farell: 4
Henry: 4
Kaluuya: 5
Duvall: 3.5

Emi Grant said...

By the way, I adore the love Eighth Grade has been getting out of lately.

BRAZINTERMA said...

I put Dillon and Ganz so that Louis and the others do not forget about their great performances in a movie that many prefer to forget.
I mentioned Johnny Depp because it's one of his best performances over many years in which he managed to be a subtle villain without falling into exaggeration.

Louis Morgan said...

Matt:

Fittingly the strongest competition for funniest guest appearance in the show along with his pal Patrick Stewart. McKellen, like Stewart, is also hilarious by in a way how devoted he is in his scene. Here in portraying the sort of deranged state of man who assumes most people aren't aware how acting works. I especially love the seriousness he brings to his recounting how he told Peter Jackson he is not really a wizard, and his "performance" of becoming Gandalf from Ian is just great.

Anonymous:

Both great tension building scenes, particularly the second scene, even if legally impossible for an apartment building. Great though in particular how Wilder directs them to bring you within the mindset of the duplicitous conspirators each time, even though one would assume you're morally with Keyes, these two scenes are great examples of how the film brings you into their fold.

Tahmeed:

No, but defending that performance is a hill I'll gladly die on.

Bryan:

Well without having seen his lower budget debut, McQuarrie fits a similar mold to fellow Cruise collaborator Doug Liman. In that he typically avoids an overt style, but that isn't to say his films don't have style. Now his work in Jack Reacher was perhaps a little to the point, the film lacked any alternative perspective that it probably needed to give the story a little more of an edge. His approach though has worked great twice though with Mission Impossible, where one can see where he seems to be a match for Cruise in terms of ambition of vision. A different type of ambition than visionary direct mind you. It isn't pushing the medium of film, but rather trying to create a refinement of known spectacle within film. In this McQuarrie's work is through a slick emphasis on almost the product in a way, but not in a cynical way. It is with a clear intent, that is in many sort of the part of kind of the "actor auteur" that is Tom Cruise, to make a proper crowd pleasure in the best sense of the term.

Anonymous said...

Louis: what would be your cast and director for a 80s, 90s and 00s version of A Star Is Born (based on the Bradley Cooper version)?

Anonymous said...

Louis: Your thoughts on Clint Eastwood and Richard Linklater as directors?

Mitchell Murray said...

Anonymous: It might be a bit obvious, but Jeff Bridges or Kurt Russell for 90's A Star is Born. The only issue with that is I'm not sure Russell can sing.

Linklater is most certainly an interesting director with a distinct style, and his filmography is filled a number of enjoyable efforts. I would say he works best with more personal, offbeat stories, as his major attempt at broadening his technical scope, "Boyhood", didn't pay off entirely for myself.

Eastwood's direction, much like his acting, honestly, is normally quite straight forward and earnest. His technique is not a perfect one, though, as when dealing with very uneven performers, that limited take method becomes rather detracting. More often than not, however, I appreciate Eastwood's "nuts and bolts" mentality with cinema, as the strongest of his efforts are simple in scope, yet also honest in there impact. Not every story Eastwood has tackled suits that method, but again, when that approach works, it really works in my view.

Calvin Law said...

I'll take a crack:

80s directed by Bruce Beresford
Ally Maine: Cher
Jackson Maine: Robert Duvall

90s directed by Atom Egoyan
Ally Maine: Bjork
Jackson Maine: Jeff Bridges

00s directed by Ang Lee
Ally Maine: I'm stumped
Jackson Maine: Nicolas Cage

Bryan L. said...

Calvin: I might opt for Liev Schreiber (think Chuck) for Jackson for the 00s version. And how about either Beyonce or Mandy Moore for Ally?

Anonymous said...

Louis: Think that in a few years we'll get another A Star is Born? Honestly, I think they should stop remaking these films. I wonder what it's about them that warrants remaking them three times.

Michael McCarthy said...

Bryan: Beyoncé would be an interesting choice, but I can tell you from watching This Is Us that Mandy Moore could have knocked that role out of the park.

Tahmeed Chowdhury said...

Louis: Your top ten favorite performances in films adapted from plays or musicals (except for Shakespearean adaptations).

Anonymous said...

Louis: What are your thoughts on the direction, cinematography, editing and screenplay of angel heart

John Smith said...

Just watched 'Less Than Zero and Downey vice a remarkabla performance. Will be very suprise if he does not get a 5.
Ö

Michael McCarthy said...

I saw The Front Runner today. It's not terrible, but it suffers from excessive editing and a few too many points of view that the audience are meant to sympathize with. Jackman's good but honestly he barely qualifies as lead, it's practically an ensemble film.

Bryan L. said...

Michael: I'll admit that my knowledge of singers-turned-actresses isn't vast, but I have heard good things about Moore in This is Us, and she seems like the type that could've played Ally back then.

I also straight-up forgot about The Front Runner in the midst of all the Oscar contenders this awards season.

Mitchell Murray said...

Bryan L: I don't blame you. Given its tepid reception I can't really see the film making a stand during this season. That's a shame, honestly, because after delivering his career best performance not that long ago, I want to see Jackman continue to challenge himself and pursue quality roles.

Matt Mustin said...

Captain Marvel trailer is alright, I guess. There's no way I'm not gonna see it because it's a Marvel movie and Brie Larson is always good, but...this did nothing for me.

Michael McCarthy said...

Bryan & Mitchell: I wanted to see it because it looked like it could be this year’s The Founder.

Mitchell Murray said...

I second that, although I must say, I'm not buying Brie Larson in this role from what we've seen so far. I'll reserve the strongest judgements for the actual movie, of course, but from the trailer... I don't know.. am I the only one who thinks she looks rather... stiff?

Matt Mustin said...

Mitchell: She does, but I feel like we're looking at that out of context.

Bryan L. said...

Mitchell: I was looking forward to it as well, since it seems like a role that could've made a great use of Jackman's charm.

I concur with Matt, and maybe her scenes in the trailer will play better in the film.

Anonymous said...

Louis: Your 2010s choices for these Robert Duvall roles?

Boo Radley
Mac Sledge
Bull Meechum
Lt. Col. Bill Kilgore
Jerome Facher
Sgt. Martin Prendergast
Euliss "Sonny" Dewey
Boss Spearman

Tahmeed Chowdhury said...

Larson's line deliveries in the trailer sound more disinterested than anything, but I hope that's more of a purposeful choice.

Calvin Law said...

I’ll take a crack at those too:

Boo Radley - Jimmi Simpson
Mac Sledge - Tim Blake Nelson
Bull Meechum - Josh Brolin
Kilgore - Woody Harrelson
Facher- Billy Bob Thornton
Prendergast - Ray Winstone (opposite Martin Freeman)
Dewey - John Goodman
Boss Spearman - Richard Jenkins

Calvin Law said...

Also I doubt she’s disinterested since she’s been so vocal and passionate about her role thus far, so I agree with Tahmeed it’s probably a purposeful choice.

Bryan L. said...

Anonymous: I asked him once for a 2010s cast for Apocalypse Now and he picked Jeremy Renner for Kilgore, so that's one right there.

Bryan L. said...

Tahmeed and Calvin: I feel the same about her line deliveries but maybe it'll indeed make sense within the context of the film.

I'd go with Viggo Mortensen for Mac Sledge btw, since I think he has the exact presence needed for that part.

Louis Morgan said...

Anonymous:

Clint Eastwood is perhaps the definition of the consummate professional as a director. In that he is well known for his ability to make films with little on set drama, that come in potentially budget, and certainly never over time. Eastwood speaking on film is always interesting as he mixes passion with almost a strict sense of duty to the film making process. Eastwood is interesting though in that you almost look at him as a filmmaker who should direct what he knows. In that he does seek to adhere a definite vision towards every film, but not ever film he makes are suited to his strengths, despite his precision in the film making. For example all of his westerns go from very good to masterpieces. Each adhere though to different styles that suit each narrative, while all within the western form. Of course a man who made his name in westerns, it makes he knows what they need. Outside of westerns though his work as a director has been hit and miss. Essentially this seems to be based on really what Eastwood is suited for in a strict sense, and perhaps, unlike as an actor, he Adoesn't always know that especially as he's gotten older. In turn his method kind of ensures a failure if he doesn't quite have it already since he doesn't try to find a scene or a film, this is especially evident in his work with non-actors. He relies on a professionalism that he seems to expect back, which is fine if you have a Gene Hackman but less so with a Bee Vang.

Richard Linklater is a bit of a precursor to someone like David Gordon Green with certain extremes between his mainstream and Indie fair. There are his gun for hire films, films he typically doesn't write, like School of Rock and Me and Orson Welles. His direction of these types of films are pretty serviceable, much like Green honestly, and not overly distinctive. This is against his independent film work which feels often defined by improvisation and experimentation. In turn his work can be somewhat inconsistent. He isn't an aggressively visual filmmaker, not that the lacks any sense there, it rather doesn't feel to be his focus beyond perhaps A Scanner Darkly, which is more in conception than execution. Linklater's style honestly leads to different results depending seemingly if he finds the film, kind of the opposite of Eastwood in a way, in his process. Often he does that creates rich, off-beat storytelling, but others times he just becomes a man rambling about nothing.

Anonymous:

Probably not in a few years.

Louis Morgan said...

Tahmeed:

1. F. Murray Abraham - Amadeus
2. Celia Johnson - Brief Encounter
3. Laurence Olivier - The Entertainer
4. Michael Redgrave - The Browning Version
5. Vivien Leigh - A Streetcar Named Desire
6. Paul Scofield - A Man for All Seasons
7. Katherine Hepburn - The Lion in Winter
8. Laurence Olivier - Sleuth
9. Edward Woodward - Breaker Morant
10. Tom Hulce - Amadeus

Note: Did not include the grey area examples of Novel-Play-Film. Like Cuckoo's Nest.

Anonymous:

I actually nearly love Alan Parker's direction of Angel Heart, which just feels right for his rather overt style. The one thing that does hold it back for me is that stupid use of CGI, which could've been truly terrifying if the effect had been better realized. Parker though should have cut when it looked that goofy. That is an exception to the film he creates that is just oozing with atmosphere throughout. Parker carries this in every aspect of the film that hot, dingy, and dirty in the best of ways. As though the world itself is just on the verge of hell, as every choice in production design, costumes, and cinematography creates such a vivid sense of place, and oppressive feeling. It creates the right feeling of placing you into a similar mindset as Angel. Parker's approaches is the right, as the material itself is overt and purposeful. It is an inevitability what will happen in the horror and Parker creates a descent rather a mystery. This brilliantly done in his addition of the supernatural touches slowly, and just easing you into the horror, again other than those silly eyes, which he almost makes up for by the non-bearded De Niro shot, and the final elevator scene.

Louis Morgan said...

Parker's screenplay goes hand and hand with his direction of the film in terms of crafting that descent of Angel. It does so though carefully I find as even though the story doesn't hide its allusions, Parker carefully does not excessively stylize the dialogue. In turn he allows for the right humanity to establish Harry Angel before we send him on his supernatural path of despair. The structure being essential though in also realizing this path carefully turning its hands to get under your skin, without falling apart. It plays between horror and more direct noir effectively, by playing with both elements, and having one take over at the right moment. It succeeds in creating this captivating more of discovery than mystery in a sense, through terror and blood.

As mentioned previously the cinematography is essential in crafting the film's atmosphere, which I love actually that it doesn't go too far in terms of its style. It is certainly extremely atmospheric but it finds the right balance in terms of a period aesthetic with that. The lighting for example isn't that overtly done, though certainly very purposefully handled in creating a sense of almost the moisture of a given scene, and this sense of heat. It uses shadows, it uses lighting to create such specific moments yet it does so without excessively enforcing itself. I especially love the touches in it that are slightly off-kilter, such how the elevator scene is shot, that unnerves in a very subtle way in terms of the way, yet extremely effective in that execution of it.

The editing is another fantastic aspect of the film that again is really brilliantly used in being stylistic without overplaying the hand. In the moments of sudden cutaways it never over does this, rather knowing exactly how to create this sort of subconscious view in these edits. I especially love the use of the "Sailor victim" shot that creates the sense of a nightmare you can't quite describe in its use. This of course within just a well cut film in every other respect, especially in terms of the moments where it does linger to create anxiety just as effectively when it inserts something. Again so essential in realizing this sort mind's eye of Harry throughout the film.

Anonymous:

Boo Radley: Lucas Black
Mac Sledge: John Hawkes
Bull Meechum: Woody Harrelson
Lt. Col. Bill Kilgore: Jeremy Renner
Jerome Facher: Michael Keaton
Sgt. Martin Prendergast: William Hurt
Euliss "Sonny" Dewey: Keith Carradine
Boss Spearman: Sam Elliott

Anonymous said...

Louis thoughts on the AFI top ten?

Louis Morgan said...

Anonymous:

First Man snubbing is making me a sad Panda. Buster Scruggs I expected to be a slightly tougher sell, but still stings. I like Black Panther, and A Quiet Place well enough, but I really don't think they need to be on any "best of" lists at this point. And yeah....Green Boook...ehhhh. I don't hate you but you're nothing remotely special.

Side note, I guess Mary Poppins Returns might be a thing.

Luke Higham said...

Louis: Is Blunt a possible nominee this year.

And I'm happy to see Scofield high on that list. :)

Louis Morgan said...

Luke:

I'd say it's becoming quite possible since she is sure to get that Globe nomination (possibly a win), and a BAFTA is seeming quite likely. Category is stacked, but not in a way where there are multiple locks.

Calvin Law said...

Louis: might be reading too much into it when looking up your thoughts, but are you saving Munteanu and Lundgren from Creed 2?

Calvin Law said...

Also, my thoughts and ratings for the cast:

Jordan - 4.5
Stallone - 4
Thompson - 3.5
Lundgren - 4 (could go higher)
Munteanu - 4
Rashad - 3
Hornsby - 3
Ventimiglia - he was fine but it felt like too much of a retread

Louis Morgan said...

No, probably not, there probably just isn't room, but I do think they'd make for an interesting review.

Bryan L. said...

Louis: Your thoughts on Green Book and the cast sans Mortensen and Ali? I'm not sure if you've given those thoughts yet.

Luke Higham said...

Kevin Hart's hosting the Oscars.

Mitchell Murray said...

Luke: I still want John C Reilly to host at some point, but I don't mind Hart in small doses. I'm at least glad there changing it up after having Kimmel on two years in a row.

Anonymous said...

Louis: Your thoughts on The Little Drummer Girl as a series and the cast

Luke Higham said...

Louis: Your ten most anticipated films of 2019 and your reasons why for each.

Bryan L. said...

Luke: It seems like they're doing it for ratings, but honestly...I really don't mind that he's hosting.

Anonymous said...

Louis: Your thoughts on the production design of Paths of Glory and Throne of Blood.

Also, apparently Tony Todd was the original voice for Dormmammu in Doctor Strange before Cumberbatch took over. Thoughts on this as well.

Michael McCarthy said...

I saw At Eternity's Gate. It's an interesting film and I can imagine how someone could love it, but Im not sure I quite tapped into its wavelength.

Luke Higham said...

Michael: Your ratings for the cast.

Charles H said...

I don't like Kevin Hart much at all, i agree with Bryan that it's for ratings.

Louis Morgan said...

Let me get those thoughts on the next post.