Saturday 29 December 2018

Alternate Best Supporting Actor 1987: Will Patton in No Way Out

Will Patton did not receive an Oscar nomination for portraying Scott Pritchard in No Way Out.

No Way Out is a mostly decent remake of The Big Clock, despite its ludicrous bookends, about a naval officer in intelligence, Tom Farrell (Kevin Costner), finding himself in the middle of a duplicitous conspiracy.

As a remake No Way Out makes several changes to its "wrong man" plot, however the one major consistency is that there is a powerful man who has killed his mistress which his assistant decides to coverup by framing the man the mistress was with. In this version the powerful man is the secretary of defense named David Brice played by Gene Hackman. A major difference though is in this assistant here played by another "that guy" actor, in Will Patton. The character is expanded with his Scott Pritchard actually being responsible for bringing Costner's Farrell into the U.S. intelligence fold. Patton's performance here is heavily mannered, though in a wholly brilliant way that I'd say alludes less to the character's homosexuality and more so to his fastidiousness. Patton portrays Pritchard with a very exact presentation in every way, showing a man who seems to emphasize an exact control of the situation. The way he stands and conducts himself is with sly incisiveness, and a strict confidence about him. Patton grants an innate consistency with this, and specific method to this as even he blinks in a specific way of a man who knows exactly how he must conduct himself to best serve his boss.

Patton's setup I'll admit is already intriguing alone, and it is fascinating just to watch him here. This is an example of a great mannered performance to be sure as everything Patton does feel lived in within the character, and creates this as the natural state of the man Pritchard at the very least believes himself to be. He is atypical to be sure, but atypical in such a compelling way that never feels forced either. Patton is marvelous to watch, but he is also essential in creating this very specific operator within the film. This is even as we first meet him as he just simply introducing his old college acquaintance Farrell to some people around Washington D.C. Patton has a forcefulness even in this simple task. This is particularly remarkable in the way Patton maintains such a careful, technically affected, delivery with his voice that sounds almost Truman Capoteesque. Now this one can certainly say alludes to the character's homosexuality, however what is so notable about what Patton does is how he uses this so effectively in his work. The character carries an innate power in the way Patton fashions this altogether as very much the operative protocol for the man, that gives him a real menace even though he's not the typically menacing sort.

Of course when Pritchard really steps up is when Hackman's Brice kills his mistress (Sean Young), who is also seeing Farrell. Brice goes to Pritchard for a personal counsel supposedly before going to confess to the police this crime. Patton is downright brilliant in this scene as he portrays a geninue concern in Pritchard, but also shows that gear kick in. He is not simply listening to the confession rather Patton shows the wheels turning in the man's head, making it when he suddenly springs in with an alternate path by making the murder seem to be part of a conspiracy of a secret Russian agent that they'll say was the last man to see the mistress alive. Again what is brilliant about what Patton does in this scene though is make it more than just a determined underling doing his job. That concern Patton mixes in with this wholly honest passion to helping his boss that he is firmly devoted to. A devotion that creates the essential motivation within the character of Pritchard as he is far from a typical sycophant. Now the film actually I would say as written seems to try to simplify this towards Pritchard being in love with Brice. I appreciate how Patton uses that partially but takes it much further. In that he creates this determined sense of respect as he speaks about Brice early on that shows that it isn't some simple lust, but rather Patton depicts Pritchard as caring about Brice on a deep personal level. 

This leads Brice and Pritchard to develop a manhunt, that they have Farrell ironically lead to find the "Russian agent" therefore finding a fall man for the murder. Meanwhile Farrell attempts to find something to incriminate Brice with in a race against time. This is where again Patton's performance is an essential facet to the film, and really quite the most compelling aspect of it. On one hand he is needed to be a proper villain for the thriller, as Brice is shown as hesitant towards the whole idea of the coverup initially, but the devoted Pritchard stands by the idea. I love again that passion Patton brings towards the investigation, though carefully placed within the calculated personal style of the character, that becomes so overwhelming that it creates a needed palatable sense of danger to the proceedings. Patton though is simply, again, just fascinating to watch particularly his physical performance where he slowly creates a greater strain on the man's style alluding so effectively that perhaps the weight of the gamble is even too much for him. A most riveting example of this is when Pritchard learns about Farrell connections to the woman, and knowledge of Brice's hands in the murder. Patton makes just the act of a few too many blinks, and slight raise of the voice have an impact, showing the man nearly breaking. His violent act being portrayed essentially his method of returning to his needed calm equilibrium. This ends up being but slight reprieve in the final confrontation between Farrell, Brice and Pritchard. Patton is downright brilliant in this scene as he begins with that controlled manner, now so painfully repressed and artificial in Patton's manner. This being something he quickly breaks once Farrell presents his evidence, and Patton brings such desperation as Pritchard tries to take hold of the situation. Sadly for him Brice decides to instead switch Pritchard to the scapegoat. Patton again is outstanding as he plays it as far more meaningful to Pritchard than just his boss abandoning him. Patton loses all control in manner and voice, showing a man whose world has come crashing around him. Patton conveys such a powerful sense of anguish that his friend he so deeply respected, and really loved has betrayed him, that I have to admit I actually felt sympathy for his villain. This is a great performance by Will Patton, as he takes the little nuggets of complexity in the part and expands them so effectively. He avoids turning into just a plot device, or a one note stereotype, but rather steals the film entire in what could've been just a role there to move the plot forward.

50 comments:

Bryan L. said...

Louis: Same question as the previous post, but for this combination? I borrowed it from a previous list of yours, if you don't mind.

The "Brooders": Hardy, Gosling, DDL, Rourke (Another comeback! Although he'd probably blow it again.)

Calvin Law said...

Great performance. I agree that I felt pretty sympathetic to him, in a strange way. This is the sort of role I hope someone like Jimmi Simpson gets in the future.

And when you’ve time the thoughts on The Favourite and Mary Queen of Scots cast. I figured Tennant would be bad from the trailers to be honest.

Calvin Law said...

Bryan: I’d pair up Hardy and Rourke as a father and son. Day-Lewis and Gosling in opposition to them. No idea what Louis has in store for them but I could imagine a thriller with a class divide subtext.

Anonymous said...

Louis: your top 20 emma stone and miranda richardson acting moments

Anonymous said...

Louis: your thoughts on the direction, screenplay, score and cinematography of naked lunch

Luke Higham said...

Louis: Could I have extended thoughts on Mary, Queen Of Scots and The Favourite. I'm so happy you gave all 5s to The Leads of the latter and finally, a Weisz performance you loved. :)

Bryan L. said...

Calvin: That could be interesting. I'd love to see Hardy and Gosling team up for a movie.

Luke: Your thoughts on Weisz as an actress?

Luke Higham said...

Bryan: Oh, I feel the exact same as Louis does about her but I'm happy she got one as it's nice to see performers who don't often impress you, turn it around and at least have something to be fondly remembered for.

Luke Higham said...

Bryan: The most I liked her in was The Mummy and I've yet to get around to Disobedience And The Favourite (Which I'm so looking forward to, The 18th century setting alone would've been enough for me to go see it)

And I remember Weisz being on Louis' overrated Actresses list as well.

Luke Higham said...

I really hope Cheung and the results are up tomorrow.

Anonymous said...

Louis, what rating do you give Gene Hackman in No Way Out?

Luke Higham said...

I just realized, The Favourite maybe the only film with a leading trio to get all fives.

Bryan L. said...

Luke: He's made his thoughts on Weisz well-known but I don't recall her showing up on that list, if you're referring to this one:

http://actoroscar.blogspot.com/2015/07/alternate-best-supporting-actor-1989_11.html

Anyways, I'm very much looking forward to The Favourite, since it's always great to see such actors really impress.

Luke Higham said...

Bryan, he may have updated that list since or I mistook it for that top ten performances from Actresses he wasn't overly keen on list and I believe Weisz was 9th or 10th for The Mummy.

Bryan L. said...

I think that list is the one you're referring to, since I was the one that requested it and she did show up on it haha

Anonymous said...

My bets for January 1, 2019 (Another Year and Another Official Lineup)

BEST SUPPORTING ACTOR:
- Mahershala Ali (Green Book)
- Timothée Chalamet (Beautiful Boy)
- Adam Driver (Blackkklansman)
- Richard E. Grant (Can You Forgive Me)
- Sam Rockwell (Vice) or Sam Elliott (A Star is Born)

BEST ACTOR:
- Christian Bale (Vice)
- Bradley Cooper (A Star is Born)
- Rami Malek (Bohemian Rhapsody)
- Viggo Mortensen (Green Book)
- Ethan Hawke (First Reformed) or John David Washington (Blackkklansman)

Bryan L. said...

I think Elliott gets in instead of Chalamet.

And I wonder if Redford still has a chance at getting in...

Bryan L. said...

Feeling a tad bored, so here are a couple of remakes

2010s Bullitt, directed by Ben Affleck

Bullitt- Ryan Gosling (Of course)
Chalmers- Sam Worthington
Cathy- Daisy Ridley

2010s Gone Baby Gone, directed by Denis Villenueve

Patrick Kenzie- Andrew Garfield (Think 99 Homes)
Angie Gennaro- Brie Larson
Helene McCready- Linda Cardellini (Against-type)
Lionel McCready- Timothy Olyphant
Remy Bressant- Woody Harrelson
Jack Doyle- Richard Jenkins

Matt Mustin said...

Bryan L: Redford never had a chance, unfortunately.

Mitchell Murray said...

Matt: He has the globe nomination, but that'll probably be the extent of it I'm afraid.

Anonymous said...

Louis: What are your rating and thoughts on michael rooker in mississippi burning

Michael McCarthy said...

Since I know I won't have time tomorrow, I feel like posting my top 10's here before the new year. Anyone else who has the inclination can feel free to do so as well.

Picture:

1. If Beale Street Could Talk
2. Burning
3. Bad Times at the El Royale
4. Sorry to Bother You
5. A Star Is Born
6. Boy Erased
7. Spider-Man: Into the Spider-Verse
8. The Favourite
9. First Man
10. Can You Ever Forgive Me?

Actress:

1. Melissa McCarthy
2. Anya Taylor-Joy
3. Rachel Weisz (The Favourite)
4. Emma Stone
5. Kiki Layne
6. Carey Mulligan
7. Charlize Theron
8. Toni Collette
9. Lady Gaga
10. Thomasin McKenzie

(Other 4.5s)

11. Olivia Colman
12. Olivia Cooke
13. Yalitza Aparicio
14. Elsie Fisher
15. Amanda Stenberg
16. Claire Foy
17. Rachel Weisz (Disobedience)

Actor:

1. Bradley Cooper
2. Ethan Hawke
3. Lucas Hedges
4. Stephan James
5. Robert Redford
6. Ryan Gosling
7. Daveed Diggs
8. John C. Reilly
9. Lakeith Stanfield
10. Rami Malek

(Other 4.5s)

11. Yoo Ah-in
12. Marcello Fonte
13. Christian Bale
14. Ben Foster (Galveston)
15. Willem Dafoe
16. Alex Wolff
17. Ryan Reynolds
18. Michael B. Jordan
19. Joaquin Phoenix
20. John David Washington

Supporting Actress:

1. Elizabeth Debicki
2. Jun Jong-seo
3. Cynthia Erivo (Bad Times)
4. Regina King
5. Andrea Riseborough
6. Claire Foy
7. Michelle Yeoh
8. Nicole Kidman
9. Sissy Spacek
10. Zoe Kazan

Supporting Actor:

1. Jeff Bridges
2. Steven Yeun
3. Russell Crowe
4. Brian Tyree Henry
5. Tim Blake Nelson
6. Linus Roache
7. Richard E. Grant
8. Daniel Kaluuya
9. Lewis Pullman
10. Joel Edgerton

(Other 4.5s)

11. Russell Hornsby
12. Tom Waits
13. Michael B. Jordan
14. Chris Hemsworth (Infinity War)
15. Nicholas Hoult
16. Sam Elliott
17. Adam Driver
18. Anton Yelchin
19. Armie Hammer
20. Jeremy Renner (Tag)

Matt Mustin said...

Kinda don't want to make a best-of list until I've seen at least The Favourite and Beale Street, but I will A Star Is Born currently remains my favourite movie of the year.

Michael McCarthy said...

I don't want to speak too soon, but for once I'm pretty sure I've seen all of the films from this year that I'm going to love before the year's end.

Calvin Law said...

Michael: what about your top 10 for director?

Haven't seen The Favourite, If Beale Street Could Talk, Boy Erased and Into the Spider-Verse, but lists would be:

Picture

1. First Man
2. Roma
3. Leave No Trace
4. The Ballad of Buster Scruggs
5. Can You Ever Forgive Me?
6. Mission Impossible - Fallout
7. Burning
8. A Star is Born
9. Isle of Dogs
10. Creed II

Director

1. Alfonso Cuarón, Roma
2. Damien Chazelle, First Man
3. Joel and Ethan Coen, The Ballad of Buster Scruggs
4. Marielle Heller, Can You Ever Forgive Me?
5. Debra Granik, Leave No Trace
6. Christopher McQuarrie, Mission: Impossible - Fallout
7. Lee Chang-dong, Burning
8. Wes Anderson, Isle of Dogs
9. Bradley Cooper, A Star is Born
10. Steve McQueen, Widows

Actress

1. Thomasin McKenzie, Leave No Trace (5)
2. Melissa McCarthy, Can You Ever Forgive Me?
3. Toni Collette, Hereditary
4. Lady Gaga, A Star is Born
5. Carey Mulligan, Wildlife
6. Olivia Cooke, Thoroughbreds
7. Anya Taylor-Joy, Thoroughbreds
8. Yalitza Aparicio, Roma (4.5)
9. Rachel McAdams, Disobedience
10. Rachel Weisz, Disobedience

Other 4.5's

11. Constance Wu, Crazy Rich Asians

Actor

1. Ryan Gosling, First Man (5)
2. Ethan Hawke, First Reformed
3. Ben Foster, Leave No Trace
4. Bradley Cooper, A Star is Born
5. Robert Redford, The Old Man and the Gun
6. Yoo Ah-in, Burning
7. John C. Reilly, The Sisters Brothers
8. Rami Malek, Bohemian Rhapsody (4.5)
9. Daveed Diggs, Blindspotting
10. LaKeith Stanfield, Sorry to Bother You

Other 4.5's

11. Ryan Reynolds, Deadpool 2
12. Alex Wolff, Hereditary
13. Michael B. Jordan, Creed II
14. John David Washington, BlacKkKlansman
15. Nicolas Cage, Mandy

Supporting Actress

1. Elizabeth Debicki, Widows (5)
2. Jeon Jong-seo, Burning (4.5/5)
3. Claire Foy, First Man (4.5)
4. Andrea Riseborough, Mandy
5. Cynthia Erivo, Bad Times at the El Royale
6. Amanda Seyfried, First Reformed
7. Zazie Beetz, Deadpool
8. Zoe Saldana, Avengers: Infinity War
9. Sissy Spacek, The Old Man and the Gun (4)
10. Tessa Thompson, Creed II

Supporting Actor

1. Steven Yeun, Burning (5)
2. Tom Waits, The Ballad of Buster Scruggs
3. Richard E. Grant, Can You Ever Forgive Me?
4. Tim Blake Nelson, The Ballad of Buster Scruggs
5. Lily Franky, Shoplifters
6. Daniel Kaluuya, Widows
7. Michael B. Jordan, Black Panther (4.5)
8. Alessandro Nivola, Disobedience
9. Linus Roache, Mandy
10. Riz Ahmed, The Sisters Brothers

Other 4.5's

11. Chris Hemsworth, Avengers: Infinity War
12. Anton Yelchin, Thoroughbreds
13. Adam Driver, BlacKkKlansman
14. Rafael Casal, Blindspotting
15. Sam Elliott, A Star is Born
16. Jonjo O'Neill, The Ballad of Buster Scruggs
17. Jeff Bridges, Bad Times at the El Royale
18. Josh Brolin, Avengers: Infinity War

And a couple others on the verge.

Louis Morgan said...

Mary Queen of Scots is a mostly well mounted film as it hits its technical marks pretty well for the most part. It also is not nearly as thematically heavy handed as the trailer suggested. Those elements are in the film but far more naturally implemented than suggested there. It's a decent film in terms of telling the story. I think a problem actually is how it is slanted so much for Mary, we don't get a proper portrait of both sides to bringer a richer complexity to the story. We get her attempt to maintain power which slowly becomes more and more restricted. This is realized in a decent enough fashion though never in truly remarkable way. It sadly loses steam in the last act in particular as it rushes through her last husband/betrayal, and essentially skips to the execution. Not a bad film, but fairly standard period work for the most part.

Ronan - (Her performance in many ways makes the film particularly due to the fact the film does not create a natural sympathy for her as written. We get some lip service about her desire for religious in a single scene, but mainly we get her stating about essentially just her divine rights much of the time. Ronan creates this by giving yet again such a charismatic turn that essentially reveals the sort of figurehead that could create the initial loyalty to her. Although I think the film limits her by the writing that limits the character, Ronan delivers consistently in bringing the right power of personality while never sacrificing real emotional moments in showing the vulnerabilities within her losses, even though she never gives up. It is a consistently compelling performance that keeps the film afloat, and frankly helps to cover up some of its weaker elements.)

Robbie - (Her performance is limited by the role, which even though we do have scenes to herself, they are almost always in a strict reaction to what Mary is doing. It limits her performance as the film strangely makes Elizabeth nearly a non-entity much of the time. Robbie is decent enough in granting a certain less charismatic reflection of what Ronan is doing, however it does not add up to much. Frankly I'd probably go lower if it were not for her final scene with Ronan, where she succeeds in finding the emotional weight of the interaction and certain sense of betrayal in Elizabeth's reactions to Mary's reluctance to change.)

Lowden - (The part is a little bit thankless giving how many times they throw him from one thing to another to fulfill one betrayal or another. Lowden does bring enough charisma to the part while avoiding overplaying his more insidious moments. He thankfully creates enough reservations in his work to create some natural changes in the character even if it does not add up to too much in the end.)

Alwyn - (Probably the most sympathetic depiction of Dudley I've seen. Alwyn's fine but mostly just there.)

Tennant - (Bug eyed with a bombastic delivery for every single second he is on screen.)

Pearce - (His accent is a bit forced which is a problem when he really only delivers exposition to the point of exasperation.)

McArdle - (Offers enough of an emotional weight within his character's betrayal, successfully finding a bit of sympathy in the part, and not overplaying his emotional moments.)

Louis Morgan said...

The Favourite hopefully will lead Yorgos Lanthimos to only direct his future films as he has a striking vision, but now with something to create appropriate boundaries, the script, he never falls into his gross excesses. I'll admit he also avoids this directly himself by allowing his actors to give their character humanity rather than forcing that strange "everyone is a Vulcan" approach of his last two films. Together with the brilliant script at hand, Lanthimos creates a period piece like you've never seen it. It's hilarious, beautiful, grotesque, but with a pivotal allowance for sympathy for the characters. It is quite simply a lot of fun in the political, and personal backstabbing, which are so eloquently done with such delicious wit, and are invigorated by Lanthimos's atypical energetic approach that leaves both the words and movements of a scene ever so evocative. I just loved everything about it, even the ending which I know some have reservations over, however I think it was just the right for the characters.

Colman - (I have to say I wish this actress race was between McCarthy and her rather than Gaga and Close, but whatcha gonna do. Strangely I'd actually say she'd probably have been the most sensible to fraud, though all are without question lead to me. Any who Colman very gets the sort of Hannibal Lecter part as the whole point is that ole Queen Anne doesn't really change, she simply is. Colman though is brilliant in being this state of being of a grown and grotesque petulance, that can spring out at any moment which Colman delivers with such a beautiful combination of humor and unpleasant fright. This in this depiction of a mix of rage, and sadness fitting of a woman whose never quite learned to be denied things, yet never quite has what she wants. I actually loved that Colman doesn't go too far with this performance, she certain has some bombastic moments, wholly earned in my view, however the sadness in the part Colman realizes I felt with the appropriate nuance. I especially love a few moments of her just quietly reacting first before she then acts in a bit more extreme way, such as when she's watching the dancing, or her reaction to something Stone's Abigail does near the end of the film.)

Louis Morgan said...

Stone and Weisz - (Okay I'll admit for SAG supporting actress I want either of these next two ladies to pull off an upset, as even though they are both clear fraud, there such a huge gap between them and their closest competitor that I don't mind in the slightest. I actually don't want to give too much away since I'd like everyone to see the film more, and a great deal of the fun comes from seeing where the two go along the way. Both are great one being an actress I've loved for a bit now, and with an ever expanding range here being shown by Stone, and Weisz giving easily my favorite performance of hers. Stone not only gets over her very much "Americaness" which itself is an accomplishment, she gives a exceptionally dynamic turn her. She is just outstanding in so many ways, some I expected with the comic timing, some I did not at all, so I really praise her enough as I loved everything she did her, and I'll expand my thoughts in the future. Weisz is an actress I've had trouble with as she can go to become excessively precise and artificial. That honestly could have worked for Sarah Churchill, however even so I thought this was her most sort "loose" work since The Mummy of all things. In that she really seems to be having fun in the part that makes her work all the more delicious. Weisz is just dynamite though with every little blithe delivery hitting with the sharpest wit, though with this magnificent complexity in how she maneuvers her character's emotional manipulations. Like Stone, I loved everything she did here.)

Alwyn - (Frankly he deserves a positive score for those dance moves alone. Alwyn though is pretty delightful here in doing a great series of befuddled reactions, effectively showing a man who just is about ten steps behind all the power players around him.)

Smith - (I really liked his performance as he plays it so strictly straight which makes two rather farcical moments involving his character, one involving a duck, absolutely hilarious when delivered by a man who seems out of a more traditional period piece.)

Anonymous said...

Your toughts on Taika Waititi and Armando Iannucci as filmmakers?

Michael McCarthy said...

Calvin:

Thanks for reminding me, I meant to include directors on the previous post.

1. Barry Jenkins
2. Lee Chang-dong
3. Damien Chazelle
4. Drew Goddard
5. Boots Riley
6. Joel Edgerton
7. Yorgos Lanthimos
8. Alfonso Cuaron
9. Marielle Heller
10. Panos Cosmatos

Michael McCarthy said...

Also I keep forgetting to upgrade Casal, he'd be #12 for me in Supporting Actor.

Calvin Law said...

No worries.

Louis: your thoughts on this 1980s version of Prisoners, directed by John Carpenter?

Keller: Harrison Ford
Loki: John Lone
Nancy: Pam Grier
Grace: Karen Allen
Franklin: Keith David
Holly: Jean Simmons
Alex: ?

Bryan L. said...

Matt: Oh well :/

Calvin: That cast sounds great, though I'd opt for Morgan Freeman for Franklin, Elizabeth Hartman for Grace and Diahann Carroll for Nancy. Maybe Willem Dafoe for Alex.

Luke Higham said...

My rating predictions for the rest of the female performances that have received praise this year. I'm gonna assume Blunt will get a 4.5 for Mary Poppins Returns.
Nicole Kidman in Destroyer - 5, in Boy Erased - 4
Rosamund Pike in A Private War - 4.5 (Like Weisz this maybe the performance some of us have been waiting for from her but I'm sticking with a 4.5. Gone Girl does have it's fans but I'm not as enthusiastic for her work as I used to be)
Carey Mulligan in Wildlife - 4.5/5
Julia Roberts in Ben Is Back - 4
Elsie Fisher in Eight Grade - 4.5
Charlize Theron in Tully - 4.5
Amandla Stenberg in The Hate U Give - 4.5
Kiki Layne in If Beale Street Could Talk - 5
Regina King in If Beale Street Could Talk - 4.5
Natalie Portman in Vox Lux - 4.5 (Could go either way)

Luke Higham said...

And a 5 for Jeon Jong-Seo in Burning.

Calvin Law said...

I think Kidman in Destroyer could go either way too.

Luke Higham said...

Happy New Year Guys :)

Mitchell Murray said...

Happy new years, everyone.

Emi Grant said...

Happy New Year!

Louis Morgan said...

Bryan:

For the brooders put them in the 100 days offensive during WWI with DDL and Rourke as British/American Officers with Hardy and Gosling as infantrymen from the two countries covering different aspects of the battle.

Anonymous:

Stone:

1. "Audition" - La La Land
2. Dancing with the Queen - The Favourite
3. Dinner Fight - La La Land
4. Making a deal with Harley - The Favourite
5. Sarah returns - The Favourite
6. Ponderous handjob - The Favourite
7. Last Look - La La Land
8. Cruel step/cruel punishment - The Favourite
9. Night with Marilyn - Battle of the Sexes
10. Failed Audition - La La Land
11. After the Match - Battle of the Sexes
12. Waste of a lovely night - La La Land
13. To rape or seduce - The Favourite
14. Asking for a job - The Favourite
15. Confrontation with Kramer - Battle of the Sexes
16. 80's Tribute Band - La La Land
17. Eaves dropping - The Favourite
18. You be tripping - La La Land
19. First talk with Harley - The Favourite
20. Playful forest romp - The Favourite

Richardson:

1. Seducing Fergus - The Crying Game
2. "Death" - Spider
3. A Mr. Nobody is needed - The Crying Game
4. Veiled threats - The Crying Game
5. Different Woman - Spider
6. First Sccene - Made in Dagenham
7. Confronting Fergus and Dill - The Crying Game
8. Confrontation - Damage
9. Death - Spider
10. initial meeting - The Apostle
11. Loving mother - Spider
12. Failed hit - The Crying Game
13. prostitute - Spider
14. Finale scene - Made in Dagenham
15 .Jodi freaking out at her - The Crying Game
16. Noticing a watcher - The Empire of the Sun
17. Interview - Harry Potter and the Goblet of Fire
18. Some happiness - Enchanted April
19. Some tension - Damage
20. Giving up - The Empire of the Sun

Louis Morgan said...

Anonymous:

Well let me start with the first two.

The direction of Naked Lunch is an example of a director very much achieving his ambition and vision. This vision however is purposefully off-putting and unnerving at every point. Of course that is typically fine for Cronenberg because has has some sort of life line somewhere, however there isn't much to hold onto on purpose with the more elusive protagonist. What Cronenberg does accomplish though is wholly succeed in creating this nightmarish world that is most vivid, and is as it should be even if I don't enjoy spending time there. I don't even enjoy it on the level of say one enjoys a horror film. Perhaps Cronenberg could have granted more innate humanity to the material, however that might have been dishonest towards it source.

Speaking of the screenplay by Cronenberg himself is absolutely mad with a particularly loose structure, that is in many ways more of vignettes, though they are not completely random. He creates enough of a pathway within the central character even it is distant and causes one great anxiety. A great deal of credit towards the screenplay can be given as it makes the story even remotely tangible, if still maddening. Now one could argue perhaps there was a path to make it all far more cohesive, or at least more tolerable in some way, it certainly be interesting to see like how the other David would have tackled the film. Nonetheless there is an achievement of some sort here, even if most atypical in that regard.

Anonymous:

3.5

Anonymous:

Rooker - 3(A more than decent slime ball performance. He just plays it pretty straight to the bone of hillbilly sleaze but it does it fairly well. Although the character is pretty limited one can almost grant it a bit more credit when compared to something like say Kiefer Sutherland in A Time to Kill)

Louis Morgan said...

Anonymous:

Waititi is one of the very best working comedy directors as he is capable of maneuvering an improvised scene of two characters talking, just as he is capable of pulling off a great visual gag. Like Edgar Wright he doesn't take the "sitcom" approach to his camerawork reigning in the improvisation while using it properly within still an engaging cinematic form. Now two of his films are mainly funny romps, that being "What we do in the Shadows" and Thor: Ragnarok, which might actually be my favorite marvel film at this point. Both are just very funny films. Hunt for the Wilderpeople and Boy, are also hilarious films, even funnier perhaps than the pure comedies, but they reveal a more ambitious and greater range to the filmmaker. This being his ability to maneuver tone, both in terms of more emotional and darker material, while still maintaining the comedy. Waititi has shown such a remarkable ability in his balancing acts to find the humor and the heart in both of these films. Now his next film in Jojo Rabbit is certainly going to put these abilities to the task, Boy already did so pretty heavily, but this is the next step, and I hope he pulls it off.

Armando Iannucci's output is pretty limited in terms of my own experience in that I've only seen his two "non-Alan Patridge" feature films, and none of his television work. His first film, while absolutely hilarious a biting, very much feels like a television film, a very good one mind you, however his choices are fairly basic docudrama styling. Again still an example of Iannucci's work having a sense of his material, and of the form. Again like Waititi he uses improvisation as a benefit rather than a crutch. Now "Death of Stalin" felt like true natural progression for the filmmaker. Similar in material and its use in terms of the use of actors, however effective in a growth in his cinematic ambition. This in terms of granting some more ardent visual storytelling that he rather smartly used to aid rather than diminish the satire. Again like Waititi's work he proves a delicate balancing act of maintaining humor within the act of broaching dark material while avoiding seemingly overly blithe or condescending (looking at you Adam McKay).

Louis Morgan said...

Calvin:

Like the choices, alternate though Kurt Russell naturally for Keller. Love the idea of Lone as Loki.

Also Donald Pleasance cameo as Father Dunn.

Tom Hulce for Alex.

And David Patrick Kelly for Red Herring Bob Taylor.

Bryan it's gotta be Keith David with Carpenter.

Calvin Law said...

I think you’d like The Thick of It, and Alan Partridge you’d enjoy so long as you like Steve Coogan in general.

In fact come to think of it I could see Lone in various Jake Gyllenhaal roles. For example an alternate 1980s Nightcrawler, with Anne Bancroft as Nina, Gordon Warnecke as Rick, directed by David Cronenberg.

Anonymous said...

Louis: Thoughts on this Lynch/Woody Woodpecker video?
https://www.youtube.com/watch?v=lrE9PHsbCXA

Louis Morgan said...

Lynch once again being so seamlessly and effortlessly hilarious as usual. Proper weirdness though to celebrate such a weird film, as really you need plush dolls who have suffered to really sell that film fully, as it's not just about jokes, there's hardship as well. Lynch honestly should work with dolls and puppets of some kind more often. Imagine Lynch's take on the Muppets for example.

Robert MacFarlane said...

Louis: Pretty sure you could argue Little Shop of Horrors was the closest thing you'll ever get to a David Lynch Muppets movie.

Louis Morgan said...

Robert:

Yeah, you could say that.

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