5. Roy Cheung in Prison on Fire - Cheung gives an effective, if limited turn, as the toughest guard of a prison who rules with quiet confidence and a pinch of sadism.
Best Scene: Making a false rat.
4. Bill Paxton in Near Dark - Paxton gives it his all, in only the way he can, in his portrayal of a monster just loving his living death.
Best Scene: Picking up some ladies (victims).
3. Kurtwood Smith in Robocop - Smith gives a marvelous atypical turn for a villain who just doesn't care much for anything or anyone, other getting to do what he wants.
Best Scene: "Bitches leave"
2. Robert Downey Jr. in Less Than Zero - Downey manages to overcome the weaknesses of his film to give a wholly heart wrenching depiction of drug addiction through a man whose charisma thinks can keep getting him by.
Best Scene: Asking his father for help.
1. Will Patton in No Way Out - Good predictions
Luke, Jackiboyz, Tahmeed, Emi Grant, Lezlie, and
Matt C. Patton steals his film whole sale through his absolutely captivating portrayal of a man so controlled on the surface, yet in a way motivated by a powerful passion.
Best Scene: Men of power.
Updated Overall
Next: Well I'll be trying to catch up on the films of 2018 missed. Feel free though to again throw out a recommendation from the years I've covered in the bonus rounds already, or an animated, documentary or television film from any year.
386 comments:
«Oldest ‹Older 201 – 386 of 386Luke: Yeah, I'm trying to find more concrete evidence of that Greek release. If you or anyone else uncovers anything, be sure to let me know (especially as I don't want to have to redo my lineups when I release my 2018 nomination videos).
Psifonian: I'll look at it again a couple of days before the alternates begin.
Luke: Not to worry, since the Academy always picks someone else for that fifth slot in Directing, like PTA instead of McDonagh last year, Gibson/Davis, Abrahamson/Scott, etc.
Although if there's a year where even the Academy could screw that up, it'd be this year...
Well, at least DGA did a great job with the First Time Director Award. It's easily becoming one of my favorite categories to look forward to with each year.
In regards to the DGA nominations, this awards season just seems to hate me. Hopefully, since usually only one director misses from DGA, Lanthimos (as long as he long as gets a BAFTA nom tomorrow) can possibly at least upset one of those guys who were better at directing Dumb and Dumber and Step Brothers.
Prediction wise a notable miss for Black Panther, which suggests along with its ACE Eddie miss, as I've assumed all season, that it's not a top 5 contender at the very least.
Tahmeed:
http://actoroscar.blogspot.com/2017/12/alternate-best-actor-1965.html
Anonymous:
Not to be too insulting, but other than the production design, it reminded me more of a Guy Ritchie effort.
Have you watched any recommendations, Louis.
Kind of ridiculous there isn’t a single female director nomination, given that they could have gone for Granik, Heller, Ramsay, Zhao...
Also, Louis: know you helped crack a Princess Bride 2010s casting before but how does a Taika Waititi version sound:
Westley: George MacKay
Buttercup: Lucy Boynton
Inigo Montoya: Taika Waititi
Humperdinck: Bill Hader
Rugen: Jermaine Clement
Vizzini: Toby Jones
Fezzick: Thor Bjornsson
Max and Valerie: Jeff Goldblum and Rachel House
I guess we have our top six sewn up in Blackklansman, Vice, Green Book, Roma, A Star is Born, and thankfully the Favourite.
Director:
Sadly the Vice delusion has no borders as McKay now has gotten in everywhere for director and screenplay. Though it was nice to see somewhere love Cold War almost as much as Roma. Hopefully either Lanthimos and Pawlikowski can make it in, hopefully both, though it seems like it won't be at McKay's expense.
Actor:
Well Coogan it is, and as I predicted back at the first, I don't think he'll translate. First Man had a slight comeback here (notable for being a place with techs) but Gosling still seems a long shot. Hawke can happen still, but now it has to be a major surprise.
SAG five seems likely.
Actress:
MAJOR miss for Blunt all things considered. The fifth spot seems wide open. So glad McCarthy showed up here.
Supporting Actor:
Well I guess we have our potential six there, with Elliot missing again. Hopefully there is a dark horse in there somewhere.
Supporting Actress:
As expected the biggest shakeup. King's chances at winning are even lower now, and sadly Adam's all the greater. Glad Foy made a come back, which I think can help her still make Oscar. Robbie's sticking around at least for a bit.
Notable Techs:
Hey Scruggs in costume that's nice, but sadly nowhere else. First Man was a big player here, though strangely it was snubbed in score...odd.
In regards to BAFTAS, I'm glad to see Adam Driver get in.
Louis: I am getting more excited by the Oscar nominations, not because of the quality, but the potential for a huge surprise, I can feel a surprise coming. Gosling missing, Foy getting in and First Man seeming to appear more in the categories albeit tech ones. Hawke missing, Washington missing like his father, that might just be a Washington curse, but I dont think Washington is a lock at all, Rockwell riding on that Vice buzz which seems to be increasing, Chalamet appearing again seeming like he is safe but again how many people are voting for Chalamet with number 1 and 2 votes, Eliott missing again despite his film doing well is a very worrying sign for him. Robbie getting in again.
RatedRStar: The one good thing I'll say about this Awards race, is for the first time in, maybe ever, I can't confidently predict the Oscar nominations.
Interestingly, a surprise could come in any of the four categories, I could easily see Hawke taking Washingtons spot, I could easily see McCarthy being replaced by Blunt or Yalitza Aparicio if Roma continues to do well. one of Rockwell, Eliott or Chalamet could miss out to Jordan if Black Panther overperforms or some hidden surprise like Nicholas Hoult. As for SA, Robbie and Foy could potentially get in but who do they replace?? Regina Kings situation is a really bizarre one, missing at SAG and Bafta, could damage her chances of winning.
Calvin: Interesting that you had predicted Pike to get Oscar nominated, that would be a giant shock for me.
If someone had told me that Black Panther, Bohemian Rhapsody, Mary Poppins Returns, and Spider-Man: Into the Spider-Verse were all Oscar contenders in early 2018 I would have eaten my socks lol.
Bananas this Oscar Season lol
Louis: McKay wasn't nominated for directing at the BAFTA.
Really really happy that Davis was nominated somewhere.
Blunt's situation is quite odd: double nomination at SAG but zero support from her homeground, where both films did pretty well at the box office. She's more likely to get in for Mary Poppins, but A Quiet Place is doing better with the guilds and Robbie got in at BAFTA. Supporting actress is quite crazy - The Favourite ladies aside, I see anyone missing, including Adams.
Augusto:
Yeah the official BAFTA site initially listed him incorrectly, I thought the announcements had said Cooper and not him. So a bit of silver lining there.
I guess I'm gonna have to swallow the bitter pill here.
Rating predictions for Supporting Actor
5
Grant
Yeun
Crowe
Nelson/Waits
Nivola
Hoult
Bridges
Henry
Franky
And maybe Roache as well.
4.5
Jordan
Hemsworth
Brolin
Driver
Yelchin
Elliott
Pullman
Bogdanovich
Kaluuya
Hornsby
Casal
With the bafta nominations just being announced, I'll now state my full predictions for the acting oscars.
Actor-
Bale
Cooper
Malek
Mortensen
Washington
Shake up: Hawke
Actress-
Blunt
Close
Colman
Gaga
McCarthy
Shake Up: Collette, although this is admittedly quite the gamble.
Supporting Actor-
Ali
Chalamet
Driver
Grant
Rockwell
Shake Up: Elliott, and if its between him and Rockwell, I'm hoping for the former.
Supporting Actress-
Adams
Foy
King
Stone
Weisz
Shake Up: Robbie
I'm just so glad Lanthimos made it in for Director
Louis: If Colman wins at BAFTA, do you see the Best Actress race shifting from Close/Gaga to Close/Colman? I feel like Gagas nomination is mainly a "Welcome to the club" choice, although you could kind of say the same for Colman, since she isn't as big in Hollywood.
Personally, I feel like the race is now Close/Colman
Saw "Wildlife" today, which I thought was a fine directorial debut from Paul Dano. Jake Gyllenhaal, Ed Oxenbould and Bill Camp are all solid.
Louis: Seen anymore 2018 releases?
Calvin:
Not sold on MacKay, not quite dashing enough to be honest, but love all the other choices, especially the House/Goldblum combination. You'd also need Rhys Darby in either Mel Smith's or Peter Cook's role.
Bryan:
Well yes, although Colman is obviously expected to win at BAFTA. BAFTA has less of a mind of its own recently (like last years acting winners), though so that's not a guarantee, however given the love for the film there it would be rather surprising. Usually the default to the makeup win requires a weaker field than Close is in. The Academy will frequently go "nah", Bruce Dern, Peter O'Toole, Emmanuelle Riva, Isabelle Huppert, Close herself for Albert Nobbs are such examples (now not all of those would I consider a makeup, however in those instances they did not give the vet "their due"). Not all those are equal though I'll admit, and I think Close can win (unfortunately). Although the thought is "the Golden Globes didn't go for Gaga, no one will" that's not automatically the case, as SAG you could argue liked the film more given the Elliot nomination, so I wouldn't count her out there, though I am currently predicting Close to win there. If that's the case it will be between Close and Colman. Close's advantage solely being "overdue" (very strong quotes there by the way) whereas Colman has the prestige, more critical favor, and will have the stronger player as a film. She could potentially be the sole win for the film (if the academy decides to rip my heart out and give Original Screenplay to Green Book), which would help. It's an open race though, very open if Gaga wins SAG, it will closed though if Close wins that and heaven forbid, BAFTA.
Robert:
RBG
Support the Girls
Hearts Beat Loud
Beautiful Boy (because you gotta fill out that bottom ten of the year)
Tully
Thoughts on the movies and their respective casts?
Louis: Have you seen Diary Of A Country Priest, Rudy, or While The Wolf's Away.
Thoughts on Rudy and rating/thoughts on Sean Astin.
Well, Farrelly has been reported to be a sexual harasser. Maybe Green Book won't do that well.
Anonymous:
No as I was not able to find a way to watch "While the Wolf's Away". So I watched one of the recommended wrestling docs instead.
Robert:
RBG frankly makes Won't You Be My Neighbor look like Crumb in its excessively cursory examination of a potentially fascinating subject. It's more akin to something that would play at a gala in Ginsburg's honor than something really of note when it comes to the documentary form. All questions asked are simple, all answers are much the same, all subjects, no matter how fascinating, are examined at a news segment's depth. A little bit of a shame as there's plenty of material for something far more based on the subject, but it chooses to really essentially puff piece. Which...fine, but I don't think it should be in best documentary contention.
Support the Girls I actually liked, and I'll admit a bit of trepidation upon approach given there is a certain type of Indie. Thankfully this is not that film, aside from a few moments like the final screaming scene, or the laborious "firing" scene (which struggles due to the lack of Hall) which get into a bit of Indieitis. Otherwise though I think it avoided becoming a caricature fest, and more engaging study into the manager of not exactly the most classy "main stream" restaurant. I'll admit though I think the sort of plot elements where its weakest parts, and really just the interactions is what the film work for me, though very much anchored by Hall's performance.
Hall - 4.5(She is the film, and really I do think it could have fallen off the rails completely if there was a more self-aware performance at the center of it. Let's say a Greta Gerwig for example. Hall though refuses any elements of caricature, never overplaying sort of the steadfastness of the character, which I think could have been easily made too much of a quirk. Hall instead brings the right combination of this sort of resilient charm combined with a more genuine exasperation. Her sort of portrayal of the determination to make everything "work" in her life and her restaurant, always feels very honest, and emotionally earned in the conviction she brings to every second of it. Always shirking the opportunity for an inappropriate "big" moment, to just give a quiet earnest turn.)
Richardson/McHayle - 3.5/3(Now speaking more towards caricature there are these two who definitely play it up, and honestly I might have rejected their performance if not for Hall as an essential balancing factor. They are both nearly one note that of over eagerness and that of the complete opposite. Richardson bringing just ball of energy, that I actually I did think worked for the most part, against McHayle as a constant state of just about not caring that I found leans perhaps just seeming a touch too detached. I never felt either went too far, although think a touch more subtlety would've hurt.)
Hearts Beat Loud is more than mildly charming, I'd say, with some nice songs. Every beat (no pun intended) is obvious and there are no surprises. It's anything too notable by any measure, but it's a nice little film.
Offerman - 4(Offerman makes for a more than fine lead, and in many ways makes the film with his unassuming performance. This too is when he runs in with a few more of the obvious setups to make his character arc, which thankfully Offerman never overplays and finds the genuine emotion even in the somewhat forced moments. Offferman though excels most with his extremely natural chemistry with Clemons. The two really are just naturally sweet together, and it is fun just to spend time with them.)
Clemons - 3.5(Like Offerman just gives a nice charming turn that works best in the most naturalistic moments of the film. She is given a touch less to do overall, but it is rather endearing turn to be sure.)
Collette - 3(The far less taxing performance from 2018 for her I'd say. She doesn't have much to do, but delivers nicely with the little she has.)
I'll be back for Beautiful Boy...but first....
https://thumbs.gfycat.com/LivelyClearHousefly-small.gif
In the year of Vice, Beautiful Boy might in fact be the most obnoxiously directed film of the year. This with the endless use of ill-fitting music choices, bizarre editing decisions, and seemingly an intentional vision to do everything possible to gut the dramatic potential of any given scene. Of course that should not forgive the razor thin screenplay which has the depth of a drug PSA. In fact every scene pretty plays out like a series of drug PSA's, right down to the ending text. The film is dealing with serious subject matter and completely fumbles. It offers not a hint of insight into the idea of addiction, what it does to families, or even even just in the characters it presents to us.
Carell - 2(I found his performance to essentially be a series of concerned looks for much of it. Although hollow these would not be awful in itself, but sadly he mixes these in with his moments of extreme anger. I found Carell to be downright awful in every one of these moments where he just raises his voice to this sort of, sadly, comic pitch more fitting to Carell's former comedic actor days. This is unfortunate as he so effectively portrayed some similar emotions in Little Miss Sunshine, but here Carell essentially delivers the performance one might have believed he was only capable of when you first hear "Steve Carell is trying to become a dramatic actor".)
Tierney and Ryan are wasted.
I actually liked Tully and is perhaps one of the surprises of the year. Although you can see some faints traces of it, Reitman and Cody both temper their excesses and THANKFULLY their misanthropy to realize a far more honest and moving tale hood of motherhood. Now Now I'd say the central conceit is probably my least liked thing about the film, however it did not get in the way of the strength of the individual moments throughout the film.
Theron - 5(She's fantastic here and brings so much real life to this performance. She is simply wonderful by never becoming too fixated upon a singular state of the character. Of course an overarching idea is that of the exasperation and stress of her life, however I liked how Theron kept this as an assumed element yet never a single element. There is more to her Marlo than that, bringing such a natural spark in her moments of a motherly warmth, or the glimpses of the more lively woman of old that she naturally grows stronger into as the film proceeds. Of course even in her depiction of that exasperation she brings such an honesty to the stress, creating the right compromises of being completely overwhelmed, to those of just an exact visceral fear, and all that in-between. It is never a one note state, and thankfully this is never a one note character as Theron brings such a tender care to the character and performance. This is to the point that I felt even the most Diablo Cody lines, she managed to soften and synthesize towards something a bit more honest.)
Davis - 3(Now she's a specific part of that central conceit, and I wouldn't say she completely overcame the limitations of it. At the same time I thought she also avoided becoming too much in the role either, finding enough of a balance there.)
Livingston - 4(Although perhaps a touch underused (although isn't that the truth about Livingston in general?), he is great in the moments of bringing something so genuine even of the moments that are intentionally a bit more comical in his reactions. What takes him further for me though is his final scene with Theron where I thought he was genuinely great, being incredibly moving in a moment where both grant such a real sense of the real love the two characters share.)
I will say one minor point of distraction was that Mark Duplass played Theron's sibling, when he'd be such a perfect fit to play Livingston's brother.
Luke:
Rudy is a bunch of sentimental hogwash, which you know can be fine honestly, but it was perhaps a little much even in that sort of style...for me anyways. I think more than anything it suffered with how simple it drew Rudy, and every other character, creating this sort of tunnel vision around the idea of playing for Notre Dame, which fine as dream sure, but isn't here more to this guy?
Astin - 3(The part as written does him no favors whatsoever, as he's just this earnest guy who wants to do this one thing, and that's about it. To the point even his education seems secondary to the idea of just being on the team. Having said that, Astin is perhaps one of the very best actors when it comes to selling earnest. You just believe every second of it, and I'll admit he made the film as a whole far more tolerable through just how devoted he is in the role.)
Completely agree on Beautiful Boy. Another bad film to toss in with Oscar season unfortunately.
Louis: I'll admit to being a little more forgiving of Carell's performance in "Beautiful Boy". Perhaps this is because I find Carell to have a naturally warm and earnest presence, and however uneven he was in the emotional highs of his portrayal, I did think had some decent moments. Although considering your distaste of the film and Carell, and I'm very curious now as to how Chalamet will fair.. should he get nominated, at least.
Glad to see you liked "Tully", though, which I too found to be a surprisingly effective film. And yes, Livingston and Duplass should definitely play brothers at some point.
Louis: While the Wolf's Away is available on Amazon Prime Video, I think.
Which doc did you see?
I watched RBG and Tully, too, and agree about both more or less. Kind of not surprised that you didn’t really like Rudy but it was worth a crack haha.
I'm also a little bit more forgiving of Carell in Beautiful Boy. I think he realized slightly more of an arc to the character than the script really gave him. Chalamet on the other hand was mostly just a series of exasperated smirks and hunched over poses.
Louis: Did you watch the two 1992 movies I mentioned (School Ties and A Midnight Clear)?
Louis: Could you try to watch all 4 of mine today or tomorrow. Shouldn't take longer than 5 1/2 hours and we really need some contenders for that Voice Acting lineup.
Am I getting the feeling that Timothee Chalamet is probably not gonna win the overall for Supporting Actor this year or the official lineup reviews?
RatedRStar: If the SAG line up pulls through for supporting actor, I can't imagine Louis liking Chalamet enough to put him beyond 5th place. My feelings would be the same, honestly, as I do think he has some good reactionary scenes, but overall his performance lacks the depth needed to create a dimensional portrait of Sheff. His James Dean type mannerisms also don't help, but in fact reduce the honesty a film like this should be going for.
Now if Rockwell gets in based on the Globes and Bafta, I can see a Michael Shannon/Lucas Hedges situation where the performance that reaches the greater heights (Chalamet) overtakes the more consistent but restricted turn (Rockwell).
One part of me is somewhat excited to see Chalamet nominated simply because I see Louis giving Chalamet the Eddie Redmayne treatment, we havent had one of them reviews in a while lol.
I think Chalamet is the clear snub motivated by the weakness of his film (it's so different than Duvall's case since he's obviously not a veteran and there are clear options in more acclaimed films) - and quite often we see someone who gets nominated in every single precursor that misses the Oscar nod. I think the lineup is gonna be:
Ali
Driver
Elliot
E. Grant (winner)
Rockwell
Yeah I think Elliott pulls through at the end, and Vice is surviving the backlash well enough so Rockwell probably makes it in as well.
The Oscars are going hostless.
RatedRStar: I don't think Chalamet deserves the Redmayne treatment, honestly. He had a few poignant moments where I could see the potential of his performance, and what he may have done with a better script and director.
Bryan L: First time since 89, I hear, and I'd say this doesn't paint the academy in the best light, given how Hart left on his own accord.
Going Hostless might be a good idea to be honest. Also agree that Chalamet doesn’t deserve the Redmayne treatment, he was pretty much the biggest victim of the poor directorial vision. Sure he would’ve done better with better direction.
Saw The Favourite and loved it outside of a few minor reservations. All three leads equally great though Weisz might’ve been my favourite.
The ceremony might be a lot quicker with no host, apparently they are going to get the Avengers to appear lol I guess that would be fun for a headline or 2. Apparently looking back, most times when there hasn't been a sole host it has been a disaster lol especially for the 1989 ceremony which had no host.
I think Chalamet probably gets a 2.5, and in a paragraph review if/when he gets snubbed.
I also wish the Oscars didn't go through with their plan of airing all the technical awards at the end of the ceremony in a montage. It's practically the only time said craftsmen get their due.
Bryan: The BAFTAS have been doing it for years but I agree, with no pointless skits this year, they really should reverse that decision.
Louis: If Beast Wars had been recorded in the US instead of Canada, what do you think of Jim Cummings for Optimus Primal and Tim Curry as Megatron? And one thing we would have gotten was Welker reprising G1 Megatron.
I watched 'The Sisters Brothers'. I loved it.
Reilly is my best actor win.
Louis: For a 2010s version of Sorcerer, does Christopher Nolan seem like a good fit for director, with McConaughey or Dicaprio in Scheider's part?
And for a 2010s Angel Heart, how about Gosling in Rourkes role, with Refn as director?
I saw The Favourite and The Sisters Brothers.
The 3 females of The Favourite are all fives and Hoult is a five as well. Reily would be my #3 for lead actor. Loved both films.
Emi:
"Wrestle Donst Wrestle", which was a well done documentary short. I wish it actually got into a bit more into the sort of indie wrestling scene, however I will say it manages to certainly capture something in its passionate idiosyncratic subject.
Luke:
Yeah, I'm working down the list, in between watching 2018 films, which I just realized I made an essential typo in the original post. But doing one film per recommender first.
Anonymous:
I could see it, that is I could heart it at least.
Bryan:
I'd actually say yes, of course 2010 of Wage of Fear, but I think DiCaprio could definitely work in the lead there if he played it more movie star than desperate soul.
Absolutely for Refn with Angel Heart, and Gosling could be a great fit.
Louis: Seeing Refn work with extroverted Gosling could be quite interesting, well apart from Gosling's "TAKE IT OFF!!" from Only God Forgives.
And who would be your choices for the rest of the cast for each film?
Louis: On your note about recommendations, actually, and I believe I mentioned this to everyone before, but I'd suggest watching "All About Nina" if you get the chance. Its a movie that won't appeal to everyone, honestly (even I find some elements to be rather grating), but the performance of Mary Elizabeth Winstead - who I'm sure many of us consider to be an underrated actress - is certainly worth checking out.
Louis: I'm sure you've heard of "Blindspotting". Daveed Diggs and Rafael Casal are pretty good.
I haven't seen "Thunder Road" but there's a lot of praise for the lead performance.
Luke: Seems like the Greek release was stripped from IMDb's recent update. So it's 2019. And I'm fine with that.
Meanwhile, gang, be sure to check out "The Guilty" at your earliest convenience. Jakob Cedergren deserves to be a lock for a Louis review.
Louis: Thoughts on any recommendations and 2018 releases with ratings & thoughts.
On the cast.
Your thoughts on Stephen Root in Barry, Louis?
I am wanting to see "The Guilty" my kind of sort of mystery suspense thriller.
Louis: Start off with Watership Down and get to the others by the end if you could.
Also Louis I know you didn’t care for Rudy, but what did you make of Jerry Goldsmith’s score?
Louis, If you've seen War & Peace, could you give thoughts on the Mini-Series as a whole, the cast but just the top ten performers for now and your updated top ten Paul Dano moments.
Could you also begin with your #10 down to #1 whether it's Dano or Buckley.
Louis: I'm curious, how would you rank the Silly Symphony Disney cartoon shorts (if you've seen any of them)?
Louis: Your thoughts on John Hughes, Garry Marshall and Barry Levinson as filmmakers?
Luke:
Well I'll start with the films.
Watched Eighth Grade, which I thought was fine, however these films are becoming a touch too similar in terms of the plot mechanics. As with Ladybird, Easy A, The Edge of Seventeen, you have the awkward teen with a contentious relationship with parent or guardian, tries some questionable things to get into the "IT" crowd, leading to a problematic sex based experience, that leads her to a heart to heart with parent/guardian, and going back to the old crowd/equally awkward love interest. I mean I only dislike one of those aforementioned films, but they are all touch too predictable I think. I mean liked this film well enough, although I'd say it's better directed actually than written by Burnham
If Beale Street Could Talk, for me was the kind of film you don't see much, in terms of my own reaction, in terms of the extremes of my personal reaction. Now everyone should try to find someone who loves them as much as Barry Jenkins clearly loves Wong Kar-wai, and this is shown in terms of many of the purely visual/musical moments. In those instances the film is nearly masterful. All except for the strained emotion face he forces upon Layne and James frequently, which I think actually go more than a touch too far to falling into a certain melodrama by just how extreme they are. It reminded of 50 melodrama acting, sort of that attempted Sirk style, I don't think that was really intention for the overall film. One could also say the central lovers are excessively simplistic in both character, and their relationship. Although I'll honestly be completely forgiving of this due to the vibrancy of Jenkins's visual direction, which is style over substance, and I don't say that as a criticism honestly. What I will say as a criticism though is in the adaptation of the novel which might be a little too faithful in terms of using Baldwin's words verbatim in dialogue, which lot of it work better on the page. I found this excessively true in the instance of the families meeting scene, which I'll be honest I thought bordered on being terrible. The dialogue came off as excessively stilted and unnatural, while also failing to come to life more lyrical sense in that scene. This is a problem it combines a directly coarse attitude with a more poetic sense is extremely jarring. I'll admit that was the only scene, other than a later one one involving King's character and her use of "daughter", that I really had that problem with. I think it would have been beneficial though to "adapt" a little more and make it more conducive to film, at the very least THAT scene. There is also the questionable use of established actors in bit parts, where I find a good rule of thumb is that one should not introduce a well known actor halfway into the film unless they are suppose to stand out. That's just a nitpick though. The film has many amazing scenes as well though, and referring back to my first sentence, the film was nearly like something like Network for me, where it shoots for the sky, and it actually hits the moon quite often, however there are those moments where it goes right into a black hole. With that mind, also so my thoughts aren't misinterpreted I prefer the film more than the majority of the contenders, for example I prefer it over all the PGA nominees that I've seen other than Roma, and The Favourite.
Bryan:
Mathias Schoenaerts, Riz Ahmed, and Mads Mikkelsen as the other drivers (always should switch up the motivations for each as Sorcerer did to an extent from Wages of Fear).
Epiphany Proudfoot: Zoe Kravitz
Louis Cyphre: Damian Lewis
Margaret: Carice van Houten
Ethan Krusemark: Ciaran Hinds
Calvin:
Root - (His performance is decidedly not for laughs either as just the sleazy manipulative jerk. Root though is good, as is typically the case, in being able to pull it off as essentially this good old boy type who jerks Barry around. He's convincing in his manipulations as essentially playing as this mentor type however just completely lacking any actual words of wisdom. Root though is terrific in portraying the confidence of this control in his words, and just the complete lack of real sympathy that goes along with each and every one of them.)
I mean you never really go wrong with Goldsmith, and it is of course a spirited score as to be expected. The work is naturally reminiscent of his work in Hoosiers, except perhaps just a bit more bombastic in terms of how extreme its sentimental orchestrations become. They are well done though as such things go to be fair.
Anonymous:
I've seen several, but I'd go through their Wikipedia pages to be reminded of which ones.
Anonymous:
Well let me start with Hughes, who I have a notable blind spot with having not seen Sixteen Candles, or his written film Pretty in Pink. It is simple enough to say that he is a better writer than director. His direction, though typically serviceable if not a bit more at times, he certainly comedic sensibilities and general competency, he does teeter upon workmanlike. In that his attempts at style are usually the most dated elements of his films that typically break in the tone of them such as the glass breaking in The Breakfast Club. There is seemingly a struggle, perhaps studio mandated, between sort of mainstream expectations of silliness with his more serious subject matter. Of course all his films are attempting some mix of comedy with drama typically within the mundane, with some absurdist qualities thrown in occasionally. There wasn't always a completely natural balance in his work, however his notable successes in either the dramatic and comedic, both as a writer and director are remarkable. You can also certainly see his success and its influence with later writers seeking more naturalistic humor, though after Hughes typically seeking a little less of that mainstream comedy. I suppose you can kind of take that down to his earliest work as a writer, and perhaps his bread and butter as a fully mainstream comedy writer, with films like Vacation, Home Alone, and even in his own directed film in Ferris Bueller's Day Off. These films vary in quality greatly, as is often the case for writers, and in a way though you can see Hughes always working with that idea to a degree, something he never fully broke from. The closest he probably ever came was the ending of Planes, Trains and Automobiles, which is in turn is by far the best thing he ever did as a filmmaker.
Ratings and thoughts on the casts?
I’m actually reading the novel for Beale Street right now and love the dialogue, so I’m *really* interested to see what my reaction will be.
Did you prefer this or Moonlight Louis?
My mum refuses to watch Bohemian Rhapsody because she thinks Malek looks creepy as lol haha,
My winning request is - Donald Pleasance in Cul-de-sac
Crunchyroll Anime awards were announced as well lol always interesting to read up on, thank god it looks more balanced this time, couldn't stand the sweeps that Yuri on Ice (liked some of it) and My Hero Academia (its good but not deserving of everything) had in the previous 2 years.
RatedRStar: This is not a comment on Malek's performance, because neither of us have seen it, but during the Golden Globes my mom said about him "Who looked at this guy and said 'Freddie Mercury'?"
He actually looks nothing like Mercury in the early stages of the film, but I actually didn’t mind that much since he made me believe in it regardless.
Matt: I have seen it, as for Rami Malek himself he does have an interesting jawline lol I think thats what gives him this unique look in general.
Louis: Could I have your thoughts on Watership Down and ratings & thoughts on the cast.
And if you've finished War & Peace, same what Anonymous wrote yesterday.
Louis: And your thoughts on Bright Eyes sung by Art Garfunkel.
44 films I have seen for 2018 so far, 2017 I have seen 71 films overall so I still need to catch up on films for 2018.
Guys, your top 5 vocal turns.
1. Tony Jay - The Hunchback Of Notre Dame
2. Elizabeth Hartman - The Secret Of NIMH
3. John Hurt - The Plague Dogs
4. Robby Benson - Beauty And The Beast
5. Eartha Kitt - The Emperor's New Groove
Finally got to see The Favourite. I liked it a great deal, and I'm already looking forward to rewatching it. I was most impressed by Stone, though by the thinnest of hairs over Weisz and Colman.
Louis: Your thoughts on King Of Pride Rock from The Lion King.
Saw Stan and Ollie. Very standard Brit prestige stuff, but the two leads are excellent (especially Coogan), as are their onscreen wives, and the nature of the material at hand makes for a moving experience. All the recreations spot on too.
Coogan - 4.5
Reilly - 4.5
Henderson - 4
Arianda- 4
So how about those BATFA nominees?
Fisher - 4.5(Again a very good performance as typically lead these films, though hers is a bit different in terms of focusing on perhaps the most authentic sort of awkward state as she's not particularly charming or comical so to speak. In fact that musical/comedy placement is rather questionable. She's terrific though in giving a wholly earnest and honest portrayal of the teenage girl in a especially difficult time in her life, and particularly excels in the peer interaction scenes, that are extremely unpleasant, yet come off as authentic, a big reason for that is her performance.)
Hamilton - 4(Borders I'd say on caricature however in the end I liked what he did in the role as a truly goofy dad. He never goes too far with it and effectively makes the goofiness just a part of the "attempt" of the father to get along with his daughter. He brings the right warmth within that in every scene to the point that he absolutely earns the final heart to heart scene, which is very moving without being tonally off.)
Everyone else I thought was one note, and most bordered on caricature.
Saving Brian Tyree Henry.
Layne/James - 4.5(As I mentioned previously their roles are certainly limited very much as symbols more so than fully three dimensional characters in a sense. Of course, except for the aforementioned moments where I think Jenkins just asked a little too much to sell the emotions, both really give wonderful turns. This being in just creating such a powerful chemistry in their interactions even if the interactions themselves are indeed fairly simplistic at times. The two wholly create the sense of love though, and are certainly effective in presenting every stage of the relationship that we witness. In addition they have a bit to work with, even though the depth of these ideas are specifically deferred, this being the anguish over the incarceration in Layne and for James the anger in his lot. Both still though do well in articulating these ideas in largely a broader, overtly emotional way, that is typically quite powerful, save a few instances here and there.)
King - 4.5(I actually don't quite think her performance is this undeniable thing, though critics groups falling into group-think is nothing new. I shouldn't say too much on that though since I do think she gives a very good performance on her own terms, and even beyond them she would be a worthier nominee than either Adams or Robbie. Her performance though is actually mostly covered in the trailer, in bringing those fierce mama bear moments, which she definitely delivers on, and I'll say she is most effective in terms of realizing Baldwin's more flowery dialogue. To the point she was honestly the only thing I liked in the previously mentioned scene, as she rose above the awkwardness found in many of the cast members in that scene. She is also granted a "Tony Leung at the end of Days of Being Wild" scene, in sort of silent emotion in personal action, which she certainly delivers on her part of it, even if it is perhaps somewhat indulgent on Jenkins's behalf. And is also terrific in her final scene with Rios in again capturing the right passion and fierceness of a mother trying to genuinely help her child.)
Parris - 2.5(Thought her delivery in the scene was particularly stilted such as the "unbow your head sister" she makes it as this grandiose statement, rather something any normal person would ever say. She has several of these moments though during her screen time.)
Domingo/Beach - 3.5/3(Although they too have some trouble with that scene, Beach more so, I did rather like their other main scene together where they bring the right sort of blunt determination in their mutual decision.)
Rios - 2(Yeah rather underwhelming once again)
Ellis - 2(Over the top and, I'll say two notes of two extremes that fail to make her brief role into anything more than a caricature.)
Franco, Pascal, Luna - 2.5/3/NA(All distracting to an extent, particularly Franco who seems phony as normal man of the 70's, Pascal is good as a quick bit of smoothness from him, Luna's just there. I think all three probably should have been played by unknowns.)
Skrein - (I'll actually say the use of his distinct face was pretty effective)
Calvin:
Again not the dialogue in conception, but some things just sound better on the page than realized in the more literal state.
Moonlight is the more consistent film, however I'd say Beale Street hit higher heights for me, so I might go with the latter.
Luke:
I loved Watership Down, and again, broken record, I don't think animated films should ever be limited as a children's medium, nor should they have to be "adult" for the sake of it. This is a brilliant example of technically a balance of that, in that it is not completely inappropriate for older children, however it definitely isn't for children either. It instead is allowed to explore more so powerfully in the medium of animation, creating nearly a horror film in a sense, but also an often thrilling adventure film about talking rabbits. It it one of the most complex and emotional versions, of that animals must travel story that is common in animated films. This however is a completely alternative application of that, and I greatly appreciated it.
Bright Eyes I found to be a pretty beautiful melancholy song, however I'll admit it probably was my least favorite part of the film. In that I just don't think it fit appropriately into the film. It's a catching little song though in itself with its quiet build to nearly an inspirational anthem from somber beginnings much like the film.
And if I were to probably put someone from the cast in an animated lineup, it'd be Michael Graham Cox.
Hurt - 4(Of course that it is not to say anything against Hurt's wonderful work as usual. Hurt's voice is really something rather special in the way it is so distinctive, so still yet emotional all the same. It captures the perfect pitch for the heroic, yet still desperate character of Hazel.)
Briers - 3.5(Interesting to hear him deliver such light work in terms of the actual pitch of his voice, and does so quite well in capturing the sort of spiritual innocence so effectively.)
Mostel - 3(I think this is where Dom Deluise took all his pointers from for voice acting. Mostel is a lot lighter in tone than anyone else, though he comes at just the right time, and I liked his sort of approach that was comedic in this way as though he was speaking a different dialect from everyone else as his bird.)
Andrews - 3.5(I mean to be expected from him, but a particularly good example of him using his gruff brogue to such vicious ends.)
Ackland - 3(Although brief his work deserves special mention in being positively haunting yet not horrifying as the specter of death.)
Kinnear - 3(Lovely work from him, and manages to bring his comedic sensibilities out in voice so naturally.)
Everyone else is good no matter how brief their work may be.
It is unlikely I'll be getting to the mini-series requests at the moment.
Louis: Would you still be able to see The Hollow Crown as it's three seperate films or do you consider that a mini-series as well.
I'm so happy you loved Watership Down.
And your top 5 scenes from Watership Down and your thoughts on them.
Louis: I would also say that John Hurt surpasses his work here with The Plague Dogs and I had a feeling Henry would be your MVP for If Beale Street Could Talk.
Oh damn, looking over didn’t realize there were THAT many recommendations. I’ll save my additional ones for next time round then.
Calvin: I'm not sure about next year since the Academy moved the nominations forward by a week and a half.
Luke: yeah, what I’m saying is I’m not too fussed to be honest, just that I’m sure Louis will be busy with other stuff in the interim between now and the Oscars.
Luke: How do you mean the Academy moved the nominations forward by a week and a half, I must have misread something since last years were only a day later (23rd)
RatedRStar: Normally, it's the 3rd or 4th week of January but they've moved 2020's nomination announcement to Monday, 13th of January and the ceremony is on February 9th.
Luke: Ah 2020 nominations
2020 sounds so futuristic, back in 1999 we all thought we'd probably be nipping about in flying cars and living on the moon lol.
Louis: Your thoughts on the production design of It's a Wonderful Life, Gaslight and White Heat.
I saw the trailer for Velvet Buzzsaw, looks somewhat intriguing but its basically ruined as nearly the whole film is spoiled in the trailer, especially the deaths.
Louis: Your Thoughts on any recommendations or 2018 releases with ratings/thoughts on the cast.
Louis, Is their any possibility you could watch War & Peace and Maniac during the nominee reviews.
Louis: Have you seen Crimes Of Grindelwald yet.
My recommendation for next year will probably be Sherlock (Season 1), as I don't think Louis won't have any other time to see it.
*will have
Everyone: Thoughts on the final Captain Marvel trailer?
https://www.youtube.com/watch?v=7vTdylBGJKU
As someone who's voiced there skepticism already, specifically in regards to Larson's performance and the general "meh" tone from the first trailer, I must say...my initial response hasn't changed.
Louis: Your thoughts on Burning and The Guilty with ratings/thoughts on the casts.
Louis, are there any saves you want to get rid of.
I re-watched El Royale on the plane a few days ago, and I have to admit that the film itself hasn’t stuck with me at all (felt some of those editing choices really killed the momentum), but I certainly wouldn’t mind a Bridges and Pullman review.
Louis: your thoughts on the sunset scene in Burning?
Omar: I’m really glad he loved Burning.
Calvin: yeah, i’m happy the movie is in his top 10, my #1 of the year. I really hope to see both Yoo Ah-in and Steven Yeun reviewed.
Honestly, I'm at a point now where I don't really care if Kaluuya gets reviewed or not. I firmly believe he's getting a 4.5, Debicki being his MVP was enough to convince me and I'm more interested in Roache, Hoult, Nivola and Henry, along with Waits/Nelson, Bridges/Pullman, Crowe/Edgerton, Yeun and Franky.
I'd be satisfied with an extended paragraph instead.
I know I'm late to this, but regarding Beale Street, I do kind of agree with some of Louis's criticism's, particularly in regards to Rios and Franco. But I don't think the flowery dialogue hurt the film at all, I actually thought it livened it up in the best way. Also, even thought the Tish/Fonnie relationship was indeed quite simple, I think the physical performances of Layne and James brought something amazing out of it.
Also Louis, have you seen Boy Erased yet? That's one I'm very curious to hear your opinion of, along with Burning of course.
Saw "Mary Poppins Returns" today, which I neither loved nor hated, as far as contemporary Disney films are concerned. Despite a few sequences and one glaring performance I would've cut - and some pretty forgettable songs, for that manner - I would say Marshall does succeed at creating his own charming version of a classic story.
Miranda - 3.5
Whishaw - 3.5
Mortimer - 3
Firth - 3
Walters - 3
Dyke - 3
Streep - 2
Luke: I actually got the feeling that Kaluuya might not get reviewed once some of the other contenders for the Alternates got into the picture, and I do think you could sum him up in a paragraph anyways. He's a 4.5 for me as well btw.
Mitchell: Hhmmm I wonder what performance that would be...*Thinking emoji*
Calvin: You know, Bad Times at The El Royale is a film I wish I would've liked more. I think the film actually could've used another crazy character, something like say, a drugged-out hippie wild card as a counterpoint for Miles, since the films' runtime did allow for it. And I do think Hemsworth actually hurts the film, since his role REQUIRED a scene-stealer. Louis suggested Chris Pine as an alternate and that would've been awesome, and I also think Chris Evans combining his characters from The Losers and The Iceman might've been interesting.
Luke:
I consider Crown a mini-seris, especially given the part 1, part 2's and all.
1. Saving the refugees from Woundwort - (Just a downright thrilling sequence and especially love the real complexity of it with each group playing a different part of it.)
2. Bigwig in a snare - (Just a horrifying, gut wrenching sequence, made especially disconcerting given that Bigwig, you take as the toughest of the group.)
3. Getting the dog - (Just a brilliant set piece, especially love the "slightly" ambiguous finale with Woundwort.)
4. Violet's death - (A brief moment to be sure, but the bluntness of it creates a real tension for the rest of the film.)
5. Initial Escape - (Some ripe horror as we initially see the predators that sets up an appropriate fear for their journey.)
No I have not, and I have to say it's pretty low on my list of films to see.
Burning probably could have cut a good twenty minutes out of the first half, Lee Chang-dong is a very deliberate filmmaker to be sure, however minor quibble as I ended up finding it to be one of the more transfixing, and haunting cinematic experiences of 2018 by the end of the film. Again, as was the case with Poetry, Lee has a particularly fascinating ability to comment on very complex themes while doing so with a minimal use of words. In this instance this examination of a class experience, through a particularly lurid mystery, that becomes all the more emotional as it proceeds, to the point it sort of sneaks up on you in terms of the significance of every minor word or statement of the few characters we see. I love the way it is almost engrossing in this sort of secretive way, as the point of investment is not traditional, and there is almost a surprise as the mystery becomes unnerving by how sudden it is, and how covertly emotional it becomes.
Jeon is fine, however I'd say her performance is purposefully pretty limited.
Saving Yoo and Yeun.
On the other end of things The Guilty is perhaps the most efficient film of 2018. Another film I loved as it is rather minimalist, though in a very different way that is almost wholly dependent on words, and the performances. It is the most engrossing thriller of 2018 though as it realizes its story so simply yet so brilliantly, as it takes just an emergency phone call does so much with in terms of both unraveling what exactly is going in the crime, and who is the guy taking the call. It raises the tension so effectively and does in such a captivating way that is also again a rather atypical mystery in a certain sense as we slowly find out more through a series of calls. I won't say more, to avoid any spoilers, but this is fantastic film, that I'd say tops Locke in showing what can be done in a film centered around phone calls in a single location.
Saving Cedergren.
Dinnage - 4(Won't say more other than she gives an incredibly powerful vocal turn.)
Anonymous:
It's A Wonderful Life's production design is low key brilliant, as unlike many films from the era, you never really think of it as being shot almost entirely on a set. There is a such vivid realization of both the comforting small town of Bedford falls, along with also the degradation version in Pottersville. Attention is paid to just about everything we see to give it life and character all its own. Special commendation in particular should go to the bridge design that is so distinct. It's work that never really enforces attention be paid to it, yet is so well done. The same goes for the interiors that are straight forward yet never simple. This being Potter's office, the Building and Loan, The Bailey's eventual house, and even Uncle Billy's place. Each have a real sense of place and character to them even if very low key.
Gaslight is another very impressive instance of "all set" work as the exteriors never are so obvious, and create such a vivid period and place. The interiors though go a bit further though in granting a distinctive style. This is fascinating in create sort of both a nearly gothic allure, and a gothic horror in the main set of the home. We see this interesting both in the more ornate interiors, but also importantly in the ramshackle upstairs that is an essential bit of set design. It creates such a beautiful place to elicit a certain claustrophobia, doing so with style.
A lot of White Heat's production design is very much to the point, though effectively so. It looks real and raw, as is fitting to the tale. Take that as the prison lunch room, which is just as it should be, just as are any of Cody's various hideouts. The set though that takes it up a notch is the final chemical factory which is a memorable bit of design, especially the site of the final scene. It again is low key, dirty piece of work, that is again distinct, and very practical.
Michael:
Not yet, but it's one I plan to get to soon.
Omar:
Are you referring to the searching scene, or the final scene?
I think he means the dancing scene.
Also, I thought the same about Jeon, but her performance really grew on me.
Everyone's thoughts on the Critic's Choice results?
I'm ecstatic for Bale.
Christian Bale might be out Best Actor winner, folks. We'll see how they vote elsewhere but at the very least it's between him and Malek. Ali is now a much better bet than he was before, but I still think Grant could take it.
Looks like Gaga's back in the race.
Regina King is our Supporting Actress winner, and I will be surprised if that's not the case.
Matt:
Bale's is in a good position, especially since he hasn't won a BAFTA before so he could easily win there, which could be enough. Malek though I think still probably has it though, as long as he wins SAG.
Hmm hard to say that about King when she doesn't have a BAFTA or SAG nomination. The last person to win Globes/Critics, without the actual overlapping precursors nominations was Sylvester Stallone...and we all know how that turned out.
Louis: Hmmm, you make a good point about King, especially in regards to SAG. We'll see.
Did anyone watch the premiere(s) of True Detective, by the way? I didn't, I was just wondering who had.
Emi Grant: Without giving too much away, I'll say that I'm pleased seeing someone challenge Close for the best actress win, even if that's diverting attention from other worthy elements within "A Star is Born".
Matt: Again, without going into further detail, my sentiments on Bale gaining momentum for his performance from "Vice" would've been about the same if he'd gained the front runner spot for "The Big Short".
Mitchell: That doesn't sound good. Which is a shame, since he's my favorite out of the ones in the race right now (still haven't watched Cooper)
Louis: Do you think Shakespeare in Love would have a better reputation today if it had focused more on the Globe Theater and/or if Ralph had been cast in the lead role? Since either of those changes would've made for a better film.
As in it would've stood more on its own nowadays instead of being best known as the film that "robbed" Saving Private Ryan, just to clarify.
Personally, I think Shakespeare in Love is great the way it is.
Michael: I do like the film, since there's fun to be had in the Globe scenes, but I can't for the life of me remember any of the main romance. I think a more charismatic actor would've brought that life to that plot at least.
I think it's going to be between Bale & Malek at the Oscars. Mortensen & Cooper don't seem to be the front runners like i thought.
Charles: I actually had Mortensen as the frontrunner in the early stages, then I had Cooper once Green Book didn't do so well money-wise and faced severe backlash, then I had Malek and Cooper as the frontrunners, and now it's Malek and Bale.
Louis: Your thoughts on this Game of Thrones theory?
https://nerdist.com/bran-night-king-game-of-thrones-theory
Still think Malek will win it this year.
Louis: I don't mind you skipping the Mini-Series for now since I really want your thoughts on Diary Of A Country Priest and the rest of mine.
I assume you'll be watching A Midnight Call and The Prince Of Egypt today so could I have your thoughts on them, ratings/thoughts on the casts and in the latter's case, thoughts on the songs, score and the opening scene.
Luke: Your thoughts on Olivia Colman as an actress? And have you ever seen Peep Show by any chance?
Bryan: Before now, I would've said she's one of the more underrated actresses around but a really talented one in her own right. From what I've seen, she's yet to put a foot wrong and loved her in Tyrannosaur, Broadchurch, The Night Manager and she's great in Rev and Accused as well. She's also infinitely better than Carter was as Madame Thenardier despite the difference in adaptations. Lastly, she just has a really endearing personality that makes me want to root for her.
And I've seen some of That Mitchell & Webb Look but haven't seen Peep Show.
I liked her quite a lot in Peep Show, I think Peep Shows final season was awful though and pretty much ruined the majority of the characters, Colmans included.
Luke: Thanks. I definitely gotta get around to watching Tyrannosaur sometime, and after watching and liking The Favourite, I'd love for her to land some more meaty film roles, be they in the UK or the States.
I did watch the first...uh...series and a half of Peep Show, and I quite dug it, although I got distracted by other stuff and just never went back.
I finally got to seeing Burning. It's a stunning film to be sure. I agree that some scenes could be cut out in the first half but i don't mind considering i was never bored and engrossed the whole time. I love how it perfectly switches from a drama to a full blown mystery-thriller. The ending is very powerful moment & Louis is apt with the significance of every word or even look.
Yeun would be my supporting win & Yoo would be my #3 in lead. They're both performances that deserve to be elaborated on and i would be very shocked if they get anything less than a 5.
For a 2000's version i imagine Byung-Hun Lee as Jung-su & Yoo Ji-Tae as Ben(just think of Oldboy)
I'm gonna go with 9-10 fives in Lead and 9-11 in Supporting.
I personally regard Shakespeare in Love as near masterful as it is. Funnily enough, it’s the Judi Dench scenes which I consider as kind of part of a lesser film (I know it’s not meant to be ‘realistic’ anyway but come on).
Louis: Both the searching and the dancing scenes.
Charles: Yoo Ji-Tae would be amazing as Ben. I would pick Moon So-ri as Hae-mi.
I've bumped Richard E. Grant up to a 5 for Can You Ever Forgive Me?, by the way. I didn't rewatch it, I just realized that's the rating he always should've had. I was just thrown by his first couple scenes where I couldn't quite get a read on what he was doing at first.
Louis: Your thoughts on Diary Of A Country Priest and ratings/thoughts on the cast, please tell me you're saving Laydu for a full review and I'm really happy you've given him a five.
Lead Actor 1951 looks ridiculously great for it's time.
I’ll be very upset if Grant doesn’t win the Oscar. Ali’s win, if it happens, will not age well.
Calvin: It's up to Bafta now to give him a fighting chance.
Louis: Really, really glad you loved Laydu :)
Could I have your thoughts on the Game of Thrones Season 8 trailer?
Luke: well let’s hope home court advantage is a thing this time round (for Actress too)
Louis: *A Midnight Clear
About to watch "The Guilty" cannot wait, desperate for a good mystery film just like I got with "Searching".
Bryan:
Probably not. And obviously I'm looking at the wider view not my own, as personally I view the two films on pretty much the same level (I have issues with both, but I do like them), and to me The Thin Red Line was the one that was "robbed". As even in its current state the problem is more related to the passion behind Ryan than really the problems with Shakespeare in Love, which would have been seen as "trite" against the "important" film that was Ryan.
Tahmeed:
An interesting theory to be sure, though I might lean a bit more towards the time manipulation theories in general more so than Bran as specifically the Night King, as it is a little difficult to explain the origin of the character given that it was shown.
Luke:
Yeah saving Ladyu, as I'll do some sort of 5 (cleanup) down the road for performances I'd give a five that I haven't reviewed, in years I've already covered.
Now watching the film it did make me ponder something on the idea of Adaptation or Original screenplays. As if something like There Will Be Blood is a loose adaptation of Oil, I'd definitely describe First Reformed as a loose adaptation, rather than just inspiration, of Diary of a Country Priest, though I digress. The film though is a fascinating very early example of this sort of intimate portrait of a flawed protagonist. Although obviously there were flawed protagonists before that film, it is notable as how we are allowed such a depth of understanding to the character through the use of the diary entries. This examination being used effectively though to further draw upon the ideas of faith, as well as one's place in society as this priest, who isn't quite a normal man within his place. It is of course less about the plot, and rather how what happens effects the central character in quiet, yet potent, contemplation. It's a very unassuming yet in the rather powerful film that remarkably brings you so closely within the mind of the central priest, and making his difficult journey a particularly vivid one.
Well I can guarantee any schedule there, I'll just be trying my best.
Omar:
Well that sequence I think is especially fascinating upon reflection as it seems minor initially however is the crux of the mystery in the end. I love actually in the moment is how Lee's direction keeps it so unassuming initially, though I will say his use of the time of day is rather remarkable, but starts forcing his hand essentially as the idea grows in the searching scene. I'll actually have a lot more to write I think, that sequence are rather essential moments when it comes to both performances.
Seen any other 2018 films, Louis.
Louis: what’s your thoughts and rating for Carol Kane in Scrooged? She’s my favourite part of the film.
And I’m so excited for Yeun’s review.
Me too, Yeun's performance almost easily took my supporting win. Yoo on the other hand, i think is difficult to explain the greatness of his performance on first watch. His performance during the searching, confrontation scenes or his decision in the ending are complex because of the characterization.
Also i would like to see Steven Yeun stay within Korean cinema for a while. He's limited within his TV show work.
Tahmeed:
I mean that teaser falls right into their others, all the characters are dead, themes they've done before, like the hall of faces teaser. I also think too many people are making far too much out of Jon looking old, I think the true message there is beard/scars=hard to sculpt.
Calvin:
Kane - 4(I always forget how little she is actually in the film since she makes a pretty big impact, no pun intended, in her short amount of screentime. This in this demented violent, yet still very pixie like way of delivery that is both shrieking and graceful. She does her little inconsistencies beautifully even in her method of being mostly comical, though with some effective moments of toning her performance down to get across the intention of the ghost.)
I honestly think Kane has more depths yet to be explored as an actress. She’d be my pick for a 1990s Daisy Domergur.
Charles: Burning was the best possible thing for his Hollywood career, in my opinion. Critics organisations have clearly taken great notice of him and his film which could only be helpful in the long run.
Tom Cruise and Christopher McQuarrie have announced two new back-to-back Mission: Impossible movies. All I can say about that is...BRING IT ON!!!
Louis: I too like The Thin Red Line the most out of that Best Picture lineup.
Lastly, your reasons for Damian Lewis as Louis Cyphre and as Black Mask? (Back when you chose him when they announced McGregor for the role)
Matt: that’s mad. I’m all in though.
Louis: If you're not able to see The Prince Of Egypt, could you possibly watch it as a recommended viewing during this animated lineup that's been talked about lately.
I'm not big on Saving Private Ryan, but at least it has a solid lead performance in Tom Hanks. Shakespeare in Love, on the other hand, has a pretty boy with little no charisma in the lead. I suppose the stuff with the Globe Theatre is fine, but even then you have to deal with the bland performance of Ralph's lesser-talented brother. And do I need to mention Judi Dench's baffling Oscar win? I suppose I like Paltrow as well. And the settings and the costumes are great to look at.
If Ralph or Russell Crowe had been Shakespeare, then I probably would have preferred Shakespeare over Ryan.
Louis: Your thoughts on the sound design in Saving Private Ryan and The Thin Red Line.
God help him if he tries to do those stunts beyond 60, otherwise I'm happy. Hopefully they'll get a really big name to play the villain if this is indeed a two-part storyline.
Louis: Your thoughts on Spider-Man: Far From Home trailer.
Louis: Lastly, is it only Jay, Benson and Cox saved for that animated lineup so far, because Hurt/Benjamin and Philip Seymour Hoffman in Mary And Max would be my picks for the other two slots.
Louis, Your thoughts on any recommendations and 2018 films with ratings/thoughts on the cast.
Calvin: Your thoughts on the Spider-Man trailer. I'm actually looking forward to Gyllenhaal here.
Luke: Not sure how I feel about the ‘travelling around Europe’ aspect and for that matter the timing of the trailer release seems weird. Can’t say I gathered much from Gyllenhaal here but I do like the costume design and Mysterio is an intriguing character.
So I finally saw Boy Erased. I will say there were a few nitpicks, wasn't a fan of how the Troye Sivan song was used the first time around, and some scenes should have been allowed to play out a bit longer, but the overall emotional punch was powerful enough to easily put it among my top 10. Joel Edgerton's direction outside of those few nitpicks bits is pretty amazing, and contrary to some of the criticisms I've read I loved how he really approached the subject matter with sensitivity and honesty instead of trying to exploit the horrors of conversion therapy, presenting that as more of a way of finding its way into our lead character's mindset and how it affects him.
Hedges - 5 (definitely in my top 5, just need to figure out where exactly)
Kidman - 4
Crowe - 5 (his final scene with Hedges is one of the best acted scenes of the year)
Edgerton - 3.5
Alwyn - 3
Dolan - 3
Sivan - 3 (and I should note, his song is beautiful, just didn't think it was perfectly implemented)
Sear - 3.5
Flea - 3
Calvin: Loving the praise for Hedges and Crowe, especially. I'm more confident about Crowe getting a five due to his track record but hopefully Louis will love Hedges this time after being only fairly positive on his work in Manchester By The Sea.
Luke: Crowe isn't actually in it that much, there's a long stretch where he doesn't appear, but honestly I think his last scene alone pretty much guarantees a strong 4.5 at the very least from Louis. Hedges is a different matter, I have no idea whether he'll take to his performance, but it worked for me entirely.
Boy Erased is now online, Louis.
Calvin: I'd actually go for a strong 4.5 for Edgerton. I was surprised by how much complexity he was able to bring to his characters motivations and methods.
Michael: I’ll need a re-watch. I did find him good at the very least but he never really stood out to me, though I wouldn’t say he was exactly overshadowed either. I’d agree that he definitely granted more complexity to the character than what might’ve seemed on paper.
Rest in Peace Carol Channing
Bryan:
Lewis has a certain ominous power to his natural presence that would work well for Cyphre, the same goes for Black Mask, which would also be aided by his raspyish yet commanding voice.
Anonymous:
Both films have very rather impressive sound designs, though each with different intentions, and I'll actually say though they both excel in each specialty that especially well aligned with one each. Ryan emphasizing a reality and brutality in the sound work, with its sound editing being particularly of note in that regard. The Thin Red Line certainly has that but that is among its very specific mixing involving the sounds of gunfire, the score, the narration, and the sounds of nature. They are so eloquently and carefully intertwined in a way that makes it an essential facet to the power of that film.
Luke:
Eh, I've become rather weary by standard super-hero films, which this appears to be. Gyllenhall at least doesn't appear to be doing anything too weird, which is good at this point.
Yes.
Anonymous:
Well out of the recommendations saw The Woman on the Beach, which was an entirely disposable American film by Jean Renoir. It is essentially a non-starter as nothing remotely interesting comes of it at any point, as it doesn't really choose to become a noir, or a traditional drama. It is just a nothing honestly.
Ryan - 2.5(One of his least interesting turns, even with some potentially interesting material as related to ptsd. Ryan just can't seem to find his character here, and just gives a very general disappointing turn.)
Bennett - 2(Boring and bland as usual)
Bickford - 3.5(The best part of the film to be sure as his performance at least conveys effectively the pain yet passion within his character for both his art and his wife. Although the film doesn't really let him explore the role much this is a better turn by him to be sure.)
RIP Carol Channing
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