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:
1 – 200 of 386 Newer› Newest»Rating and thoughts on Lowe in Square Dance?
I love the tale of this man Simple Jack.
Louis: So it looks like back in 1943, a biopic of Jack London was already made, but it wasn't apparently good. If Walsh had made his London biopic with Cagney in the role (in the 40's), who would have you cast as his two wives, the Strunsky sisters (who were members of "The Crowd" along with him), his friend George Sterling and William Randolph Hearst, whom London had worked for as a correspondent?
Louis: I guess he went full retard, huh?
My recommendation is Flash of Genius (2008), starring Greg Kinnear and also Alan Alda in a supporting role.
I did have two (2) other films in mind, but it turns out that they are 2013 releases, so I'll wait on those for a bit.
Bryan: Ugh, Flash of Genius is so boring.
Wolf Children (2012)
And, if you have time, Diary of A Country Priest.
Matt: I thought it was a fine showcase for Kinnear and I liked the story.
Although I did watch it when it first came out on DVD and I was MUCH less discerning then, I'll admit
Well, I'd recommend a film from 2017 called While the Wolf's Away. I'm quite interested in seeing what you make of it, Louis.
Oh, and hopefully, if you could, I'd like to hear your thoughts on some of Kenny Johnson's wrestling documentaries. Specifically, "Wrestle Donst Wrestle" and "Please Don't Die Joey Janela". They're on Youtube.
Actually, I'd like to take out my original recommendation and substitute it for El Infierno (2010), a crime comedy-drama about drug trafficking in Mexico.
https://www.imdb.com/title/tt1692190/
Sorry, I also forgot Philip Seymour Hoffman's Jack Goes Boating (2010)
If you have any time, Rudy (1993) starring Sean Astin. But not too fussed if you can’t get round to it, I’ll probably pester you with a couple more thoughts on the awards race in the meantime.
Louis: My request is Bertil Guve in Fanny And Alexander.
And my recommendations are:
Watership Down
The Plague Dogs
When The Wind Blows
Fantastic Mr. Fox
I'll get you the link for The Plague Dogs later on today and my recommandations shouldn't take any more than 6 hours.
Louis: Ratings and thoughts on the rest of the 4s in Lead and James Woods in Best Seller.
Louis: Your Updated Female Top Tens of 1987 with ratings, as well as thoughts on the female performances you watched during Supporting.
And you forgot to include Bill Paxton in the Supporting overall.
Tahmeed: I'm glad you're recommending Diary Of A Country Priest. Was an inspiration for Taxi Driver and First Reformed. And a possible 5 for Claude Laydu who should be saved for a review I think.
Hi Louis, my recommendation is a 6 hour mini-series, War And Peace (2016) with a sensational performance from Paul Dano. I've been watching Andrew Davies' Les Miserables on BBC as well and I'm quite liking it thus far.
Anonymous: You must be new, since that mini-series has been recommended on here MANY times haha.
Bryan: Yeah, I discovered it three months ago and I'm really enjoying it. Can't praise Louis' writing enough. =)
Louis: Lastly, Your ratings and thoughts on Rourke, Hoskins, Neeson and Bates in A Prayer For The Dying.
I'd also suggest the 1967/8 War and Peace while we're on the topic of Tolstoy.
Ruthiehenshallfan99: Bondarchuk's version came out in 66/67 and we haven't reached those years yet.
Diary of A Country Priest and Fantastic Mr Fox are musts.
Louis: As if Rob Lowe was actually Golden Globe nominated for that lol.
Also, I think Netflix's 'Maniac' might be your sort of thing Louis. I had a lot of issues with the series but I did find Jonah Hill and Emma Stone both superb in their respective roles. Justin Theroux is kind of awful in it though.
By the way, here seems as good a place as any to put it, but here's the full list of the films and performances from 2018 I've seen so far, which I'll update as I catch up with more of the awards season releases.
https://reelandroll.blogspot.com/2019/01/2018-films-tracker.html
Few things to note:
- yes, that is Oscar Isaac x 2 in my bottom 3.
- I decided not to put the cast of 15:17 to Paris in even though they gave terrible performances for the timebeing, but they'd be my bottom of my lead actor ranking. Tye Sheridan really wasn't THAT bad.
Feel free to ask me about my placements/where my ratings begin and end.
One more thing, Louis could you watch everyone's recommendations from the first to the most recent comment chronologically because I'd prefer to get thoughts on mine, all at once.
Louis, I'm new here, But I'd just like to say I love this blog and your analysis is very well thought out and intricate. As a newbie, I'm not sure if I'm able to give a recommendation but If I'm allowed to then mine would be The Hollow Crown: The Wars Of The Roses, starring Benedict Cumberbatch, Sophie Okonedo, Hugh Bonneville and Sally Hawkins.
Calvin: Good thing about Maniac is that he could probably watch it beyond the interval.
BAFTA rising stars nominees:
Letitia Wright
Lakeith Stanfield
Jessie Buckley
Barry Keoghan
Cynthia Erivo
Calvin: Good set of nominees. I'd go with Stanfield or Buckley as my two favourites from that category though this is the first in quite a few years where the winner wasn't easily predictable.
Louis: Here's the link for The Plague Dogs in it's Uncut form.
https://watchcartoonsonline.la/the-plague-dogs-1982/#tabs-71077-0-1
Louis: My request is Boman Irani for 3 Idiots in 2009 supporting.
Tahmeed: That's one of two films along with The Godfather that Spielberg feels connected to the most.
My rating predictions for the recommendations. (I'm only doing those that I've seen or am well aware of)
Diary Of A Country Priest
Laydu - 5
Jack Goes Boating
Hoffman - 4/4.5
Ryan - 4
Ortiz - 4
Rudy
Astin - 3.5/4
Beatty - 4
Dutton - 3.5
Taylor - 4
Watership Down
Hurt - 4
Briers - 4
Andrews - 3.5
The Plague Dogs
Hurt - 4.5
Benjamin - 4/4.5
When The Wind Blows
Mills - 4
Ashcroft - 4
Fantastic Mr. Fox
Clooney - 3.5
Streep - 4
Schwartzman - 3.5
Murray - 3
Dafoe - 3.5
Gambon - 3.5
War And Peace Top 6
1. Dano
2. Buckley
3. Broadbent
4. Norton
5. Burke
6. Rea
And for The Hollow Crown.
Bonneville - 4.5
Dunbar - 4/4.5
Miles - 4/4.5
Sturridge - 4
Hawkins - 4
Okonedo - 4.5/5
Cumberbatch - 5
Townsend - 4
47 Sup = Charles Bickford, The Woman in the Beach
47 Lead = Dana Andrews & Henry Fonda, Daisy Kenyon
51 Sup = Vincent Price, His Kind of Woman
57 Lead = Yves Montand, The Crucible
60 Lead = Charles Aznavour, Shoot the Piano Player
60 Lead = Ignacio López Tarso, Macario
68 Lead = Oskar Werner, Interlude
73 Sup = Martin Balsam, Summer Wishes, Winter Dreams
74 Lead = Alan Bates, Butley
74 Lead = Philip Noiret, The Clockmaker
84 Lead = Avtandil Makharadze, Repentance
05 Sup = David Morse, Down in the Valley
08 Lead = François Bégaudeau, The Class
Saw "The Favourite" today, which I rather loved as a well crafted, somewhat subversive period piece.
Saving Colman, of course, but I can say Stone and Weisz are great here. There banter really carried a lot of the movie's scenes, as both actresses tear into there machiavellion-type dialogue with equal gusto. To be more specific, I thought Weisz was a lot more "lived in" in this performance than usual, with a cynical sense of humour to boot. Stone, meanwhile, continues her hot streak by employing her usual presence and charm, but with a decidedly twisted edge this time around. I still stand by how she has a very modern look, but she completely makes up for that in my view with her superb work here.
Just curious, out of everyone who's seen the movie, who would be ahead in your ranking should Weisz and Stone both get nominated? I liked both of them, but I suppose Stone would be my "favourite" for the moment - though again, that's not to dismiss Weisz in the slightest as I'd want to see her get some recognition as well.
Louis: I would probably say any performance that was nominated for the Golden Globe but not the Oscar that you haven't seen.
RatedRStar: I assume you're still wanting him to see Robert Blake.
Luke: Not just Blake necessarily, there are lots of hidden gems that could be found in the Golden Globe snubs I would like to see, pretty much any Globe nominee that wasn't Oscar Nominated would be interesting.
Mitchell: I just caught up with The Favourite, and I would agree. All 3 leading ladies are 5s to me as they were all incredible. But Stone would be my favourite as well.
What's everyone's pick for Best Original Song for 2015? I'll be honest, I can't think of one.
I hope The Favourite comes to a theater near me.
Matt: Off the top of my head, "See You Again", from...oh you know where.
Matt:
Of the nominees I honestly don't mind "Writing on the Wall", but "Till it happens to you" definitely has the edge in power and singing prowess. And Bryan's spot on in his praise of "See you again" as well.
Mitchell: Let's just say that I hardly ever change the radio station when it comes on the airwaves haha
I saw Beautiful Boy. The way the editing and screenplay presents the story is terrible, and honestly removes a lot of power than if Van Groeningen had just focused less on trying to complicate things, and focused more on giving the performances some direction.
Carell - 2.5 (he's decent as the harried father but I felt his 'big' scenes lacked that extra 'oomph' needed and made them feel a bit hollow, plus this is the first one of his dramatic performances where I've found his raised voice to be a bit distracting and reminding me a bit of Brick Tamland)
Chalamet - 2.5 (I honestly think Groenigen is most to blame for his performance being lackluster for the most parts as he feels so aimless in the more 'day to day' scenes, and in terms of depicting the addictive nature of Nic he's quite underwhelming and excessively mannered in a way that makes me think he never quite got a grip on the character. I will say though he has a few great knockout scenes which prove to me that in the right hands, he could've given a great performance)
Tiernet, Ryan, and Dever are wasted but not overly bad or anything.
Matt: Yeah, not gonna lie, it's 'See You Again' from Furious 7.
Also, I think we can all agree that 2016 is the best year ever where Original Song is concerned. My own choice is 'To Find You' from Sing Street.
Louis and you guys If you’ve got the time, can you read the following story and give some thoughts?
Here it is:
https://www.google.com.au/amp/s/amp.reddit.com/r/nosleep/comments/1c1eh9/turkish_online_casino_and_something_way_too_crazy/
Louis: for the above story, if it was adapted into a film, who do you see writing a screenplay for it, and who do you see directing it?
Louis: As it is not a Studio Ghibli film, I Would implore you to watch Wolf Children with the original Japanese audio.
Two movies from 1992 I’m curious to what you’d think: A Midnight Call and School Ties.
I decided to watch "Green Book" today, which I didn't find to be THAT bad as a breezy road trip movie. It is a flawed and inconsequential film, though, specifically in its paper thin approach to the story's racial themes. I couldn't help but feel there were a couple scenes missing, where Tony or Shirley could've found some genuine common ground, so as to make the overall progression of there relationship less rushed. Farrelly seemingly has noble intentions with this picture, but he doesn't seem willing to discuss what should be discussed, or to face challenging questions regarding the 60's era and the real severity of Shirley's struggle. Again, its an okay watch if your looking for light entertainment, but it's not saying anything that hasn't already been said significantly better.
Saving Mortensen.
Now in defense of the movie, I do think Ali gives fine work here. There are a few iffy elements to his performance, like his early scenes which are a little too stilted, or his drunken sequence that isn't the most convincing. Ali, though, still carries the same notable charisma he did in "Moonlight", and works well enough in his reactionary portrayal opposite Mortensen's antics. As the story went along his performance did grow on me, as I thought he did a believable job showing whatever emotions he was asked to convey, even if the resolution to his arc isn't fully satisfying.
He's probably a 3.5/4 for myself, not an amazing performance by any means - certainly not anything that rivals his oscar winning turn - but a solid effort nonetheless.
I thought it wasn’t a great choice for Ali to give such a mannered performance, but I did think his natural charisma did come through often enough. I wonder how it’d have turned out differently if the filmmakers had actually consulted the Shirley family before filming though.
Calvin: Mannered at the start, at least, because once Ali settles down in the role and starts to portray more overt, naturalistic emotions, his performance gets better.
And yes, if your going to attempt a biographical picture, it might be a good idea to consult some of the very people your trying to depict - or if that's not possible, there closest relatives or friends.
Calvin: Probably quite a bit, since Shirleys family said that Dr. Shirley never considered Tony a friend, and that he wasn't estranged from the family, as the movie depicts.
Oh and that prison scene in Green Book might as well have said "For Your Consideration" at the bottom.
I’m actually fine with creative liberties in some regards. Stuff like The Social Network, JFK, etc. makes it work. Hence I don’t really mind that they fictionalised a friendship. The estrangement from family in itself wouldn’t be bothersome I guess if it wasn’t for the racial undertones it tried to instil into that.
Louis: If you have the time, my recommendation is The Prince Of Egypt (Often considered the lone highlight of Dreamworks' hand drawn era and has one of the greatest animated scores ever).
Louis: In terms of 2017 films, You Were Never Really Here and Film Stars Don't Die In Liverpool are the only notable omissions (Understandable) from last year.
As much as I like Phoenix as an actor, I could honestly live without a review for him in that film. I'd give him a strong 4. He's good, but some of the directorial flourishes get in the way.
I think Phoenix is an absolute essential for You Were Never Really Here. I’d put it in his top 5 best performances.
Louis: Your thoughts on this scene from The Goblet of Fire:
https://youtu.be/kG4XLZUAot4
Thank you to everyone for the recommendations.
Razor:
Well let's just say, if you truly ever wanted to watch Simple Jack, you can, it's Square Dance. I mean I'm barely even joking about this, Lowe pretty much gives the same performance as Stiller did.
RatedRStar:
Yeah it's is important to watch those Globes only nods, or else I would have never discovered Square Dance...
Anonymous:
Claire Trevor as Charmian. Ruth Hussey as Maddern.
Olivia De Havilland and Joan Fontaine as the Strunsky Sisters, yeah they probably wouldn't have done it...maybe if they shot all their scenes separately. Shame though as I think theoretically they could've been great, on screen, together.
John Carradine would be the only choice for George Sterling, and Pat O'Brien as Hearst.
Luke:
Woods - 4.5(Best Seller is more than a little flimsy as a film but this is another example of 80's Woods being perhaps one of the most naturally magnetic performers. Woods once again is just captivating to watch here as he brings not only such a powerful intensity, but also this real grace in the way he performs it. He just invigorates every moment he is onscreen no matter how standard the scene might be, by the mere virtue of his presence. Although it mostly has him going around just killing people Woods is terrific in how he brings such a real emotion within it, and even with the seemingly ludicrous idea of a Hitman wanting a personal "best seller" about his name. Woods though sells every moment of this, and every scene to the point that I found the film watchable, even though he really would not have been with most actors in his role. Woods not only just is engaging in that sense of his performance is entertaining, but he brings so much conviction to the character that he creates an investment in the story even a one as weak as Best Seller's.)
Taylor - 4(As to be expected a good performance from him, though almost comical that he was playing a teenage boy ten years after this film but I digress. Taylor though is effective in terms of creating just a natural portrait of the unassuming boy with a crush on his best friend. He creates sort of the natural unease about her relationships while effectively avoiding ever seeming creepy or forceful in this portrayal. He rather creates the right natural goodness with the character while still evoking the right frustrations involved in his situation.)
Malkovich - 4(Still in the time before he became MALKOVICH, which in turn leads to a far more naturalistic performer. Actually looking at some of his earlier work it seems like he's someone who decided just to give up and essentially become at least a little bit of a caricature of his earlier work. I say that as he gives such a stronger turn, though limited as the observant narrator. Malkovich finds the effective emotional discontent and unease of his interactions with his family that is a mix of exhaustion along with genuine concern.)
Dreyfuss - 4(This is a very good performance of him that really makes the most out of a potentially rather silly concept. He has good comedic chemistry with Estevez to be sure but what is far more impressive is how well he finds a real dramatic weight to the material. He has surprisingly strong chemistry with Stowe to the point he makes the central relationship far more emotional than expected, and makes the film far more impressive than a silly cop movie.)
Actress:
1. Maggie Smith - The Lonely Passion of Judith Hearne
2. Holly Hunter - Broadcast News
3. Holly Hunter - Raising Arizona
4. Lilian Gish - The Whales of August
5. Cher - Moonstruck
6. Ellen Barkin - The Big Easy
7. Emily Lloyd - Wish You Were Here
8. Cher - The Witches of Eastwick
9. Michelle Pfeiffer - The Witches of Eastwick
10. Susan Sarandon - The Witches of Eastwick
Supporting Actress:
1. Joan Greenwood - Little Dorrit
2. Faye Dunaway - Barfly
3. Veronica Cartwright - The Witches of Eastwick
4. Angelica Huston - The Dead
5. Olympia Dukakis - Moonstruck
6. Kathy Baker - Street Smart
7. Carroll Baker - Ironweed
8. Joan Chen - The Last Emperor
9. Christine Lahti - Housekeeping - 4
10. Wendy Hiller - The Lonely Passion of Judith Hearne - 4
Smith - 5(Although the film struggles with its excessively somber tone, including a rape scene it barely even gives a second thought, Smith is outstanding in her part. She does brilliant depiction in what is often the sort of role that she became slightly typecast in this period of career. Smith however takes that idea here and deconstructs it brilliantly. This being initially portraying such a powerful state of sort of this understood sadness that makes her initial "romantic" moments with Hoskins especially painful to watch. Smith though naturally segues this to reveal an even greater desperation, and gradually reveals a greater emotional pain that slowly becomes searing. Smith is amazing in as she slowly reveals a more intense emotion away from the demure woman in the opening. She creates such a sympathetic portrait of this woman rejecting essentially the life, including the society, and religion that created here. It never becomes posturing but rather this deep revelation of lost soul.)
Gish - 4.5(The film really doesn't add up to much at all, but Gish is on point, as usual. Her performance just breaths life into every scene making the sentimental qualities never overwhelm, but rather feel natural. She creates such an earnest performance that frankly puts Davis's somewhat posturing work to shame. Gish just brings such a lived in quality to every moment realizing such vivid portrayal of the life of the two sisters, that the film itself struggles to beyond her dedicated work.)
Lahti - (She gives engaging work in portraying a very specific mental illness. This being the way she never seems quite right though is especially convincing in her portrayal of this. This being though as someone who can be often taken as normal, yet there is just the little sense within her eyes of a mind that just doesn't quite function in a typical way.)
Hiller - (Terrific work, though unfortunately far too brief. Compliments Smith brilliantly though in her portrayal of a similar state though when defined by malice rather than sadness. Hiller finds in her few minutes of screen time a similar pathos though with the appropriate lack of sympathy within her approach.)
Rourke - 4(His Irish accent is more than a little iffy, and the film really undercuts the emotions of the material. Having said that Rourke still is extremely charismatic in the role, and does find a definite power within the man's anguish as he tries to become a better man than he is.)
Hoskins - 3.5(He seems a bit miscast at times as I think the part needed someone just an innate soulfulness. Hoskins though still gives the needed devoted passion to the performance, even if again the impact is diminished by the editing of the film which seems to want to avoid the emotional crux of the story.)
Neeson - 3(It seems like his scenes were likely cut however his most important moments with Rourke is well delivered, finding the appropriate sense of guilt in his interaction. A wasted opportunity, though just another facet that alludes to the studio cutting of the film.)
Bates - 2(Bates lays it in a bit too thick here. He lays on an excessively evil grin, and just hams it up here. It sadly isn't even hamming it up an entertaining way either.)
Louis: Your new rating and thoughts on Glenn Close in Fatal Attraction.
Did you not like Mendelsohn in The Year My Boice Broke?
The PGA nominees have been announced:
- Black Panther
- BlackKKlansman
- Bohemian Rhapsody
- Crazy Rich Asians
- The Favourite
- Green Book
- A Quiet Place
- Roma
- A Star is Born
- Vice
Emi: That list is... odd.
I feel like if there's gonna be another year where the PGA win doesn't translate to Best Picture, it might be this one.
On a side note, they nominated Maniac, and I'm glad.
Matt: Indeed, although this is kind of what they're known for.
Crazy Rich Asians and A Quiet Place are not moving on to BP. I still don't know what Black Panthers fate will be though.
Hot take, but even though I liked more than flat out loved them I’d much rather Crazy Rich Asians and Black Panther make it over a lot of the contenders I’ve seen.
Luke:
Close - 4(Not big downgrade by any means. She certainly has some strong moments in her performance. I honestly thought her best ones are those of portraying the character's state of depression more than her psychopathic, or attempted alluring scenes. Those moments felt far more excessively calculated to me, and a touch artificial at times. The more intense do have a certain effectiveness at times however I don't think they always cohere entirely.)
Emi:
Oooh Vice was nominated..... https://www.youtube.com/watch?v=aRq1Ksh-32g
And of course no First Man, Ballad of Buster Scruggs, or Can You Ever Forgive Me. Or even Beale Street (yeah haven't seen it, but if Vice is better I'll eat a shoe. Though I more of bring it up because this has made Adams even more likely to win.) I'll thank the good lord for The Favourite making it at least.
Calvin:
No, he's fine, he just has a pretty limited part.
Well Black Panther is better than Bohemian Rhapsody, Green Book, and garbage fire...I mean Vice, out of that lineup. I wish there was a bit more imagination in the groups though, I hate when the field becomes so simplified. Hopefully BAFTA will introduce a little anarchy.
Louis: Would it be safe to say that Vice is your "#1" Worst of the year?
Bryan:
Close, but I'm afraid Life Itself gets in the way.
Louis: Hhmmm, I kind of thought that it would be Vice, since its a huge waste of intriguing material and Life Itself is unsaveable, although I'm guessing that the reason Vice isn't the worst is thanks to one actor in particular?
Bryan:
Well I'll admit when I first saw Life Itself I did not think it would be possible for a film to even come close to unseating that disaster, but Vice did come close, and in some ways is a more obnoxious film, than the already rather obnoxious film that is Life Itself. I mean they're both horrible, let's just leave it at that.
Winning Request: Richard Pryor in Blue Collar
Louis: At the end of each day from now until the Oscar nominations, could you give thoughts on each of the recommendations and ratings and thoughts on the casts.
Louis: your rating and thoughts on Ann Sothern in The Whales of August? And have you seen Baby Boom?
My recommendation would be Sophie Scholl - The Final Days
Overall, I can't say I really hated Vice. Sure, all of Adam McKay's little "flourishes" were pretty idiotic, but I think the cast of this one did a far better job of rising above that than in The Big Short. Also the actual story was much more clear than the aforementioned film. I'd probably give it a 2 or 2.5 out of 5.
Louis: Whom would have you picked to write Walsh's London biopic? Oh, and you kinda forgot to answer this question when it comes to Gunga Din, would have you kept Stevens as director or get Hawks to direct it?
In continuing with my side game of catch up, I finally watched "The Old Man & the Gun" today. A pretty enjoyable, breezy way to spend 90 minutes, I must say, as Lowerly really finds that sweet spot of being laid back in his story telling, yet not sappy or contrived. It's nothing that redefines cinema but then again, it doesn't really need to, since the film delivers exactly what's advertised.
As for the acting, Glover and Waits are reliable, Affleck is solid, and Spacek is quite lovely - though with regards to the later, I think its just nice to see her in front of the camera again.
I have finally seen Vice as well, I mean, I agree with Michael on everything, I will add that I thought Bale was good although he is obviously hampered, Rockwell is amusing enough and I would say he certainly captures Bushs stupidity, if Amy Adams wins the Oscar over the Favorite ladies or King it really would be a career award because she does nothing at all, its a nothing role. McKay really shocked me here because I went into Vice before reviews thinking this really could be good, I was probably easy on The Big Short because the financial crisis is such a fascinating real story and because of Bales Anxiety peformance which I of course suffer from, I recommend people watch Margin Call instead if people want a really good version of that kind of story.
Also wow Steve Carell has had a really bad year.
Being that there is still no Oscar host, having heard about Kevin Hart and Ellen, you reckon that he will be reinstated as Oscar host??
Louis: I didn't see Roy Cheungs review until way after it was posted, I should comment since I kept saying he is such a great HK character actor, I think my opinions on HK performances seems to be mostly.. on par with you Louis.
Louis: Do you think the following actors would be a good fit for Frank (OUATIW)? And who would be your choice?
Dennis Quaid
Jeff Daniels
Tom Hanks
Kevin Costner
I feel like he's a bit hard to cast, since most of the actors from that age group all have villainous roles to their name (DDL, Oldman, Dafoe, Neeson, Gibson).
Or wouldn't be very good (*cough* Travolta *cough*)
Louis: Your bottom 10 performances of the year? (So far)
Omar:
Sothern - 2.5(Very odd that she was the citation from the film rather than Gish or even Price. She's serviceable enough in really what is just a thin role. She does not add much to it either. Now she doesn't detract, but it's a classic "oh here's a nom for some reason". Again not bad, but nothing remarkable either way.)
I have like 20 years ago. I recall Keaton being more than decent, but the film not being particularly good, so was not at all eager to revisit.
Anonymous:
Well ideally John Huston.
I think the screenplay is what needed to be retooled, as Hawks would be as likely to fall victim to the tonal shifts as Stevens. Both honestly are pretty similar directors.
Bryan:
Quaid and Costner - (Both I would see just doing just a grizzled angry dude. I don't think either would be right for the role.)
Daniels - (He's actually done villainous plenty, so I don't think it would have that extra something you'd want for the role. Plus I wouldn't say he's quite the right type.)
Hanks - (He actually was decent in his pseudo villain turn in the Circle (which given how bad that film was kudos to him), however he was not particularly impressive in his villain parts of Cloud Atlas. I still would like to see him full blown, more complicated villain, not sure Frank would be the right one, but I could potentially see it.)
Well I'd argue they already pulled it off with Tom Cruise, Vincent from Collateral really is the modern day Frank. Otherwise just get Viggo Mortensen, he'd be great.
Robert:
1. Rafe Spall - Jurassic World: Fallen Kingdom
2. Justice Smith - Jurassic World: Fallen Kingdom
3. Gina Rodriguez - Annihilation
4. Paul Rudd - Mute
5. Oscar Isaac - Annihilation
6. Jesse Plemons - Vice
7. Oscar Isaac - Life Itself (Hopefully things will pick up)
8. Shea Whigham - Vice
9. Jean Smart - Life Itself
10. Mike Myers - Bohemian Rhapsody
Mine would be,
1. Oscar Isaac - Life Itself
2. Scott Eastwood - Pacific Rim: Uprising
3. Oscar Isaac - Annihilation
4. The leads of The 15:17 to Paris
5. Mike Myers - Bohemian Rhapsody
6. Annette Bening - Life Itself
7. Gina Rodriguez - Annihilation
8. Max Irons - The Wife
9. Olivia Wilde - Life Itself
10. Jean Smart - Life Itself (I nearly forgot about her, she wasn’t good)
Louis what are your Golden Globe predictions/preferences?
Anonymous:
Well here are predictions:
Drama Picture: A Star is Born
M/C Picture: Green Book
Drama Actor: Rami Malek (NGNG)
Drama Actress: Lady Gaga
M/C Actor: Viggo Mortensen
M/C Actress: Olivia Colman
Supporting Actor: Mahershala Ali
Supporting Actress: Amy Adams
Director: Bradley Cooper
Screenplay: The Favourite (oh wait, these are my predictions not my preferences, uh, eh I'll stick with it. I just don't want to see any one perhaps most famous for movies about two men children up there.)
Score: Black Panther
Song: Shallow - A Star is Born
Animated Film: Incredibles 2
Foreign Language: Roma
Louis: Are you going with Ali since he failed to win the globe in 2016?
Emi Grant:
Yes. Also they clearly loved Green Book.
I hope Oscar Isaac gets out of the hole he's dug for himself soon.
For the worst of the year:
1. Gina Rodriguez - Annihilation
2. Oscar Isaac - Annihilation
3. Oscar Isaac - Life Itself
4. Jesse Plemons - Vice
5. Shea Whigham - Vice
6. Mike Myers - Bohemian Rhapsody
7. Jean Smart - Life Itself
8. Annette Bening - Life Itself
9. Olivia Wilde - Life Itself
10. Rafe Spall - Jurassic World: Fallen Kingdom
His upcoming projects are Triple Frontier, Star Wars Episode 8 and The Addams Family. I hope they all turn out decent (yeah I honestly don't care too much for Star Wars nowadays).
And he said he's taking a break anyways.
That Spielberg project he was attached to a while back looked good. But otherwise, yeah I’m glad he’s taking a break.
I still don’t get the Venom towards Rodriguez in Annihilation. I mean she definitely wasn’t good, but she was nowhere near as toxic as Isaac or Leigh.
Calvin: Seems like he's hitting the slump Fassbender also did in 2017, who I also hope recovers (though X-Men: Phoenix Something looks bad and I don't know what Kung Fury 2 will result in).
Louis: Any chance you’ll review Bill Heck in Buster Scruggs? I was more taken with him than Nelson or Waits.
Louis: Your reasons for picking Tom Cruise as The Great Stanton.
And apparently, del Toro is set to just produce the Nightmare Alley remake. I know you picked PTA, but are there any other directors that you think could work?
Robert:
Probably not, though I did like his performance quite a bit.
Bryan:
Well was also the case with Power, it would be a great chance for Cruise to go darker (again), he also has that sort of showman spirit in his performance that would a great fit. Something he's already shown in Magnolia, however I think that could result in a fascinating alternative.
Well that's good, as I actually think Del Toro is all wrong for that material which I think needs far more subtly than he's capable of.
With that in mind I could also could see Bennett Miller, or David Fincher working in addition to PTA.
Louis: Once you see it, your thoughts on Wolf Children, its cast (alongside ratings) and score.
Louis: can I have your thoughts on the scene in Room where Leo and Jack hang out for the first time, and the cutting hair scene? I just re-watched the film (only strengthened even more) and those scenes stood out greatly.
I saw The Favourite. Aside from a little too much fish-eye lens, I pretty much loved it. Colman, Stone (without question my MVP) and Weisz are all great, and all lead.
Also, this is very, very easily my win for Production Design and Costumes.
Colman-5
Stone-5
Weisz-5
Hoult-5("Must the duck be here?" is one of my favourite line deliveries of the year)
Alwyn-3
Smith-3
Tahmeed:
I found the film itself beautifully animated of course, with some particularly strong moments in wholly visual storytelling. I'll admit the introductory romance though to be a little stilted honestly, and perhaps a little too much there just to quickly setup the main idea. The main idea being a rather clever fantastical take on the idea of parenthood, this specifically single motherhood while dealing with two "beasts" children often literally. It has fun with this to be sure, but also a real natural. I think that segment is the strongest. The shift towards adolescence though I felt rushed at times and there were elements I felt it could have developed given how obvious the made the course for each sibling. I found this especially for the brother, where I think more could've been done with the relationship with nature. Overall I still thought it resulted fairly powerful tale, though inconsistent in its acts.
The score is especially emotive, a standard I'm finding as I watch more anime films in terms of a style. A rather effective example of such though as I find it tempers itself well between the grander orchestral movements, and more simplistic pieces that create a real poignancy fitting to the story.
Miyazaki - 3.5(Wonderfully emotional work that brings the right sort of inherit sweetness to her voice, while still creating the right sense of exasperation and frustration that grants the needed reality within the fantastical situation.)
Osawa - 2.5(Perhaps a part of the problem with the romance was his vocal performance I felt was also just a touch standard, without an extra something that felt needed for the character.)
Kuroki - 3(I would the narration is perhaps a bit better than the in the story moments which don't quite capture the age of the character as well. Still fine work, but a bit more "youth" in the performance would not have hurt.)
Nishii - 3(Vocal work becomes fairly one note of the "edgy teenager" essentially, but does not go overboard in that regard either.)
Calvin:
I think both of those scenes are great, and essential work in terms of Lenny Abrahamson's direction. In that they so well played as both mundane (though not boring), yet notable in terms of Jack coming out of his shell. They're realized in a very moving naturalistic way, that never really enforces a sentiment, rather just let's what's already there work for itself. Also McCamus, Allen, and of course Tremblay all just are pitch perfect in those moments.
Louis: Have you watched any other recommendations.
Matt: I actually liked the fish eye lens as I thought it added to the movie's aesthetic.
On a different note I watched "Beautiful Boy" today, which I felt was...umm...frustrating. I care about the issue Groeningan is trying to portray, and my heart goes out to the Sheff family for there ordeal. As a piece of cinema, though, the film never comes together in a way that's truly powerful or authentic. A lot of that comes down to Groeningan's direction, specifically his use of music which I found very annoying. There are questions about Nic's conflict, as well, that are never fully explored, thus leaving Carell and Chalamet in an awkward spot.
Carell's performance was one I was eager to watch early in the year, as I thought it looked like the perfect role for him at this point in time. The resonance and fatherly warmth in his portrayal, however, as mostly lost for me, and that's strange given Carell's usual skill set. I'll also say the scenes where he raises his voice felt a tad forced, which is again bizarre as he has attained that kind of intense emotion elsewhere. To his credit, though, Carell does have some singular moments that are quite moving, despite Groeningan's weak direction. He works well enough as a reactive guide for this story, even if there was a potential for Carell to give a career defining performance that simply isn't coaxed out of him.
And then there's Chalamet...oh Chalamet...how your legions of fans have built you up so much, generating so much hype even for the smallest of roles. I see now I was mistaken in comparing Chalamet to Marlon Brando, when if anything, he seems to be channeling James Dean in certain moments. These scenes took me out of the movie, though, as like Carell's shouting, they came off as rather unnatural or "actory". While there is a logical reason for Chalamet to be this strained in his body language, given the movie's subject matter, its not believable the way he attempts it. He also doesn't convey Sheff's internal struggle that well, either, as he rarely shows enough conflict in his face to suggest the motivations behind this guy's actions.
Now I'll admit, like Carell, Chalamet has some individual moments that are quite strong. These mainly occurred in the middle of the film for myself, although there's another scene towards the end that he genuinely delivers in. Its because of those scenes that I imagined Chalamet creating a superb performance, here, mainly by employing a grounded approach much like his "Call Me by Your Name" work. Unfortunately he wound in less capable handles this time around, resulting in an uneven performance, but not one entirely devoid of merit.
I suppose I should add that with Chalamet, I've seen all but Grant out of the SAG's nominees for supporting actor. As of right now, my ranking would be something like this;
4) Chalamet (3/3.5)
3) Ali (3.5/4)
2) Driver (4)
1) Elliott (4/4.5)
Watched Beautiful Boy today too, and just to add to everything already said here is that I'm so sorry Amy Ryan has been so underused everywhere I've seen, Gone Baby Gone aside. Constantly delivering the most she can in small parts. She's easily my MVP in that - I wish the movie spent more time with her, although totally understand why it didn't.
So, now that I've seen The Favourite, I guess my Leading Actress lineup would look something like this.
1. Toni Collette-Hereditary
2. Melissa McCarthy-Can You Ever Forgive Me?
3. Emma Stone-The Favourite
4. Rachel Weisz-The Favourite
5. Thomasin McKenzie-Leave No Trace
Well I'm glad I was wrong, and they chose the better animated super-hero film.
Hey! First Man for Score, two great film choices honestly so far.
So glad I was wrong on that too!
I guessed that they’d go for King!
Yeah no surprises there with Ali winning. I'd say the race is wide open still.
I’ve been putting it off too long but really need to see Killing Eve
Green Book took screenplay...
Of course...should have assumed as much when Lanthimos didn't make director.
I really don't mind that they awarded Ali for Green Book, since I get that they want to makeup for the Moonlight snub. As for the screenplay, eehhhhh....
I’ll repeat what I said earlier: Ali bordered on bad in Green Book and I’m surprised he’s getting such a pass.
Apparently, Green Book is winning everything but director - blacklash may come stronger then.
Robert: Just pretend he won for Moonlight 2 years later
Bale wins, hm interesting.
At least Bale’s speech was great.
Roma wins!
Emi: my favourite of the actual contenders and it’s not even close.
I still have to catch up with some, but I'm glad Roma is getting some well deserved love.
Cuaron wins, well deserved, especially in that lineup.
Overjoyed to see Colman take it!
Fucking Close.
Well Malek wins
https://www.youtube.com/watch?v=iH-IifdFfto
Essentially the one thing I called this night mind you...
I really don't want to have to watch The Wife...let's hope for someone else on the SAG's
UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
Hhmmm...
I'm just gonna assume this was a Globes thing.
Emi:
I mean, yeah, but PGA, SAG....
Let's just wait until those 2. If they win either, then it's time to panic.
I hate to use it as an example, but let's remember 3 Billboards last year.
Film Twitter is about to become utterly uninhabitable.
Emi Grant:
Well it helps that it obviously won't be nominated at DGA. As I think the producers would like the film to be acknowledge as having been directed by Alan Smithee.
Even people who liked Bohemian Rhapsody didn't think it was the best movie of the year.
Actually surprised at this A Star is Born underperformance.
I wonder if Bohemian Rhapsody is going to see any backlash.
Robert: Didn't it already become uninhabitable when Timothee Chalamet broke out last year?
Yah, I've come to expect nothing less from the Globes.
Question for everyone here; What was the most disappointing win of the night - Screenplay, Actress or Picture (Both Drama), or something else entirely?
Bryan:
Yeah it almost seems like the HFPA went "Pff everyone thinks we're gonna love A Star is Born, well we'll show them".
I guess we should have taken that Elliot snub a bit more seriously.
What the actual fuck lol. At least Malek was deserving.
Anybody else felt a vibe tonight of a possible Linda Cardellini coattail nomination for Green Book, Ã la Jacki Weaver and Maggie Gyllenhaal?
Matt: Same here. I know someone who's a Queen die-hard, and she still liked Spider-Man: Across the Spider-Verse more.
Mitchell: I kind of saw a Close win coming in that category honestly, since I think Gaga was the only other real contender there. I haven't seen The Favourite, but I have heard that the screenplay is one of its many strong assets, so I would have liked to see that win, or even Roma.
But to answer your question, yeah Bohemian Rhapsody winning Drama.
Augusto BSF: I don' think so, but I did notice everybody heaping praise on her.
Mitchell: Yeah, definitely BP Drama. I'm so rooting for Colman now.
Augustine: If Cardellini gets in over Foy, I swear...
Mitchell: My biggest disappointment was the general "Yeah, whatever" attitude they seemed to have towards A Star Is Born.
I mean, I’m not entirely displeased. Cuaron winning was great, First Man winning Best Score was great, and I didn’t really mind the acting nominees I’d seen, plus I’m glad Incredibles 2 didn’t win.
Staying off Twitter for a while.
I'm thrilled for Spider-Verse, Olivia Colman (even though she's only my third favourite performance in the film) and the First Man score. Other than that...uhhh...
Oh, and Shallow. But there was never any doubt about that one.
On a more positive note, did anyone else love Christian Bale's acceptance speech? I was in stitches practically the entire time, it was almost enough for me to root for him at the Oscars.
Michael: Yes! I was glad to see that side of Bale for once.
Michael: Hell yeah, there are few things in life I value as much as Mitch McConnell being shat on.
Michael: I loved it, and I was wondering if he was drunk or if he just didn't give a fuck what came out of his mouth, but either way it was glorious.
"Thank you, Satan..." is possibly the greatest line of the night
Louis: Your rating and thoughts on Angela Bassett in What's Love Got to Do with It.
Bohemian Rhapsody winning best picture is so pathetic I can only laugh lol the worse thing is I actually now think Rhapsody has chance at the Oscars, its definitely getting nominated lol, I am quite desperate now to see A Star is Born win best picture lol.
Guys, thoughts on this Lion King review.
https://m.youtube.com/watch?v=I3abeMX2fO4&t=999s
As for the Globes, Bohemian Rhapsody's win is a complete joke, Anyone but Close, Grant should've taken Supporting though he should win the BAFTA. Pretty sure The Favourite and IBSCT had far superior screenplays. Delighted with the Music winners and glad to see Spider-Man win the animated film award.
And for TV, really happy for Madden and Whishaw.
Quite curious now about what the Baftas nominations this Wednesday will bring.
RatedRStar: I'm not expecting much different or an upturn in fortunes for Hawke. I predict Malek, Grant, Colman and Weisz for the acting wins.
My (bold) predictions for the BAFTAs:
Best Film -
Bohemian Rhapsody
Roma
A Star is Born
The Favourite
Mary Poppins Returns
Best Director -
Cuaron
Cooper
Lanthimos
Jenkins
Heller
Best Actress -
Colman
Aparicio
McCarthy
Blunt
Mulligan
Best Actor -
Cooper
Malek
Bale
Mortensen
Everett
Best Supporting Actress -
Weisz
Stone
King
Foy
Kidman
Best Supporting Actor -
Ali
Grant
Driver
Kaluuya
Chalamet
Louis: your thoughts on these two 2010s castings
The Heart is a Lonely Hunter directed by John Crowley
Singer: Jesse Plemons
Mick: Anya Taylor-Joy
Blount: Jack Reynor
Copeland: Sterling K. Brown
Wait Until Dark directed by Thomas Vinterberg
Susy: Carey Mulligan
Roat: Jimmi Simpson
Mike: Matt Ross
Louis: Thoughts on El Infierno and Diary Of A Country Priest, If you've seen it. And ratings/thoughts on the casts.
Calvin: I think you mentioned him before but why Rupert Everett at Bafta? I wonder where would the support come from.
RatedRStar: Everett's performance received alot of praise in Britain and he was nominated for the London Critics award which can be an indication for a Bafta, like Richard Griffiths in The History Boys or Hugh Grant in Paddington 2.
Calvin: I believe Louis picked Singer as one of Goslings past film roles so I think he might opt for him.
And how about Saulnier as director for Wait Until Dark, with Dano as Roat?
Bryan: Perfection, and perhaps Macon Blair as Mike then.
Calvin: Macon Blair is a must for a Saulnier film. Mulligan would be great of course, though I'd also like to see what Amy Adams would do with that part.
WGA Nominees:
Original Screenplay
- Eighth Grade
- Roma
- Green Book
- Vice
- A Quiet Place
Adapted Screenplay:
- BlackKklansman
- Black Panther
- Can You Ever Forgive Me?
- If Beale Street Could Talk
- A Star is Born
A Quiet Place and Vice instead of The Favourite? Uuhhhh...
National Society Of Film Critics
Best Picture: The Rider
Runners-Up: Roma, Burning
Best Director: Alfonso Cuarón, Roma
Runners-up: Lee Chang-dong, Burning, Chloé Zhao, The Rider
Best Actress: Olivia Colman, The Favourite
Runners-Up: Regina Hall, Support the Girls; Melissa McCarthy, Can You Ever Forgive Me?
Best Supporting Actress: Regina King, If Beale Street Could Talk
Runners-Up: Elizabeth Debicki, Widows; Emma Stone, The Favourite
Best Actor: Ethan Hawke, First Reformed (As I predicted, knew they'd go with Hawke or Dafoe)
Runners-Up: Willem Dafoe, At Eternity’s Gate, Ben Foster, Leave No Trace; John C. Reilly, The Sisters Brothers and Stan & Ollie
Best Supporting Actor: Steven Yeun, Burning
Runners-Up: Richard E. Grant, Can You Ever Forgive Me?; Brian Tyree Henry, If Beale Street Could Talk, Widows, and Spider-Man: Into the Spider-Verse
Best Foreign Language Film: Roma
Runners-up: Cold War, Burning, Shoplifters
Best Non-Fiction Film: Minding the Gap
Runners-Up: Shirkers, Amazing Grace
Best Cinematography: Alfonso Cuarón, Roma
Runners-Up: James Laxton, If Beale Street Could Talk; Lukasz Zal, Cold War
Best Screenplay: Armando Iannucci, David Schneider and Ian Martin, The Death of Stalin
Runners-Up: Nicole Holofcener and Jeff Whitty, Can You Ever Forgive Me?; Deborah Davis and Tony McNamara, The Favourite
ASC (cinematography) nominations:
Roma
A Star is Born
The Favorite
Cold War
First Man
Well along with its Ace Eddie nomination, I'm glad First Man will be a tech player at least. Sad to see Scruggs left off once again, though Cold War is an inspired nomination.
Bryan:
In regards to WGA
The Favourite wasn't eligible nor was The Death of Stalin. Ballad of Buster Scruggs was though so it being left off in favor of Vice, and A Quiet Place (I'd say the script was the weakest element of the film) is quite vexing.
As for Adapted overjoyed to see Can You Ever Forgive Me?, Black Panther over First Man though is a little much, I'd say script wise the only thing that was really too notable there was Killmonger's motivation.
Anonymous:
I'm fairly sure I've covered her before.
Calvin:
For the Lonely Hunter, Taylor-Joy and Brown are great choices. Reynor's a fine choice. I could see Plemons pulling it off, however I think he comes off as naturally nefarious (to no fault of his own) so I would defer to say a Gosling there.
Wait Until Dark:
Great cast choices especially Simpson. Though I might go with Saulnier, keep your cast though, but add Macon Blair as Carlino. Would definitely go Simpson over Dano for Roat who needs a touch of physical intimidation which isn't Dano's strong suit.
Luke:
Will get to those soon.
Louis: I'm actually kind of confused by the nom for A Quiet Place, since I'd figured it be a contender for the Sound awards at most, besides the early precursor attention for Blunt which I didn't expect to translate to this point.
The Bohemian Rhapsody love is ridiculous. If anyone told me 2 months or so ago that it would be a front runner for best picture i would've cringed.
National Society Of Film Critics did a good job. WGA nominations not so much.
Bryan:
Well it's funny that the guilds actually seem sometimes less linked towards the exact craft they are representing (as at least a good chunk of their voters use it as their chance for a "best of"), and typically they lean more idiosyncratic (as in with their specific craft in mind) at the actual Oscars. For example David Lynch has 1 DGA nomination (for the Elephant Man, which was a best picture nominee), yet has 3 Oscar nominations for director.
Luke:
El Infierno I thought began in a rather promising fashion as this striking mix of a pitch black comedy with the intensity of emotion in its depiction of a descent into the drug trade by one unassuming fellow. Unfortunately the longer it lasts the more it becomes just a pretty standard cartel film. Not a bad one mind you, but just it loses its initial style that results in a far less interesting film.
Alcazar - 4.5(A terrific performance to be sure, and a real highlight in the film because of how atypically he plays it. In a way he almost plays it as if he was like Woody Allen type protagonist becoming a drug lord. Alcazar initially brings a certain atypical levity to well worn sequences that adds something rather special to the unraveling of the story. His sort of hapless portrayal even in murder scenes creates a most unusual yet compelling presence. He doesn't overplay this mind you, creating still enough of a stable sense within his work to allow for the more emotional moments to still take hold. He creates the right elegant balance that really grants something remarkable at the center of the film. The film sadly though pushes him off to the side strangely once it becomes more serious with so many scenes just having him be a mere part of them. He still delivers when he is the focus, but sadly the film's shift to a standard tone diminishes his work ever so slightly.)
Cosio - 4(Cosio's performance on the other hand isn't at all comedic, though it works in tandem well with what Alcazar is doing as this contrast. This portraying a more overt intensity as a proper drug dealer. He brings sort of the right callousness and edge needed to the role. What is most remarkable about his work though is how he peels away this attitude to reveal the real emotional heartbreak behind the character's actions throughout the film. He is particularly powerful in the real quiet honesty he brings when reflecting the men already live in hell, when suggested he might go there.)
Louis: your thoughts on Cold War and it’s cast?
Also I’m so glad Yeun keeps getting these critics wins.
Calvin:
I loved it, and unpopular opinion time, it's my favorite black and white film of 2018, and not just in terms of the cinematography. Oddly enough though it probably has more in common with A Star is Born strangely enough, that being mixed in with The Best Intentions. It is just a beautifully realized film that creates such striking contrasts in terms of the harsh and the romantic. This being in terms of the setting, the visuals, and the central romance. I find the weaving of the flow of the relationship, along with the change in their circumstances, and their world grants such a poignancy, yet quiet intensity within the film.
Kot - 4(In many ways the simpler of the two roles as essentially just the normal man in some abnormal circumstances involving his lover, and this is indeed a director's film in many ways. Kot though brings the right naturalism within this, and creates more than just a slight distance in his performance. He connects appropriately within a given scene, although these moments of reaction are typically pretty subtle, they grant an understanding and vividness to the character's relationship as well as his own personal journey.)
Kulig - 4.5(Kulig delivers the more dynamic turn of the two granting a certain enigmatic quality essential for the character. This is fascinating though in the way she manages to create both this certain purity of presence as she sings, but with a earthly allure at the same time. This is especially potent within relationship as she almost plays with the idea of innocence, as something she uses, not so much exactly as a weapon, but rather as a tool. That is but the surface to that far more honest complicated woman behind the angelic performer. Wonderful, and just another reason 2018 was an amazing year for lead actresses.)
My BAFTA predictions (there are so many 'more-british' options this year, it's hard to pick just a few of them)
FILM
The Favourite
Bohemian Rhapsody
A Star is Born
Roma
Blackkklansman
DIRECTOR
Yorgos Lanthimos - The Favourite
Bradley Cooper - A Star is Born
Alfonso Cuarón - Roma
Spike Lee - Blackkklansman
Lynne Ramsay - You Were Never Really Here
ACTOR
Rami Malek - Bohemian Rhapsody
Bradley Cooper - A Star is Born
Christian Bale - Vice
Viggo Mortensen - Green Book
Joaquin Phoenix - You Were Never Really Here
ACTRESS
Olivia Colman - The Favourite
Lady Gaga - A Star is Born
Emily Blunt - Mary Poppins Returns
Glenn Close - The Wife
Saoirse Ronan - Mary Queen of Scots
SUPPORTING ACTOR
Richard E. Grant - Can You Ever Forgive Me?
Mahershala Ali - Green Book
Adam Driver - Blackkklansman
Alessandro Nivola - Disobedience
Nicholas Hoult - The Favourite
SUPPORTING ACTRESS
Rachel Weisz - The Favourite
Emma Stone - The Favourite
Amy Adams - Vice
Regina King - If Beale Street Could Talk
Elizabeth Debicki - Widows
Louis,
I wanna throw out a recommendation for three excellent performances, but the trouble is, I'm not entirely sure which year it falls under.
The film is "The Vanishing." Not talking about "Spoorloos" or the godawful American remake, but rather this tiny Scottish indie thriller that is partly "The Treasure of the Sierra Madre", partly "A Simple Plan", partly "The Terror" . . . and all-around excellent.
Based on the infamous Flannan Isles Disappearance of 1900, Kristoffer Nyholm's film details the story of three Scottish men (Peter Mullan, Gerard Butler, Connor Swindells) who take on the mantle of being lighthouse keepers on a gloomy windswept rock in the Outer Hebrides. Nyholm's superb direction and Jørgen Johansson's austere cinematography (amplified by some terrific sound design and a foreboding score from Benjamin Wallfisch) create a riveting backdrop to a story of isolation, greed, mistrust and, ultimately, horror.
I don't want to give too much away here, but I will say that Peter Mullan is stunning in a role that I'd consider a career peak from him (and this is coming from a big fan who loves his work in "Tyrannosaur" and the underseen "My Name Is Joe") . . . but Gerard Butler surprises in what is far and away the performance of his career. He is remarkably understated throughout much of the film, which will probably surprise the average filmgoer who wonders why he took the role in the first place . . . and then the film and performance pivot, and Butler showcases heretofore uncharted depths as an actor. For his part, newcomer Swindells holds his own against both men remarkably, and I can see him carving out a fine future for himself.
I'm still trying to discern if it counts as a 2018 film by my standards (IMDb says it got a Greek release in 2018, but I want to ensure that wasn't a festival screening; my research can't turn up any actual evidence it screened in wide release in 2018 at all), or if 2019 is off to a tremendous start. Either way, make time for this one.
Louis: Interesting. I liked the film but it left me somewhat...cold? (No pun intended) I preferred Roma a lot, but I’m glad you’ve found so many films this year you’ve felt strongly about, even though few are actual contenders.
Bautista has been cast in ‘Dune’. Colour me intrigued.
Calvin: With Denis Villeneuve on board, I'm sure he'll deliver.
Louis: Your thoughts on 'I See the Light' from Tangled.
Louis: Have you seen ay other 2018 releases lately.
I'm quite late to the conversation, but I did want to say that I watched "Vice" finally.
What a scatterbrained, dumbed down mess of a film, perhaps most egregious for squandering a very intriguing and relevant story. Yes, McKay, spell out everything for the audience with bold font and pop culture references. Be as heavy handed and inappropriately comic as you can..its not like the subject matter has, oh I don't know, actual historical significance. I gave McKay a chance to prove himself with "The Big Short", a movie that I actually didn't mind on my first viewing, but my opinion has diminished considerably since then. McKay seemingly has learned nothing from that film, though, as he makes the same mistakes with regards to uneven tone, unnecessary humour and a severe lack of any true pathos or dramatic heft.
Much of the blame really can't go to the actors, honestly, as McKay's direction probably didn't help them all that much. Adams is fine as Lynne Cheney, but if she wins supporting actress for this it'll look really bad on the academy, given the terrific work she's been snubbed for in the past. Rockwell and Carell are okay, as well, but if either gets in for supporting actor it would be quite a waste, I think.
Louis: Thoughts on this Terry Gilliam commercial.
https://www.youtube.com/watch?v=egNMC6YfpeE
Oh Dear! DGA nominations have come and it's gonna be very heated here if a repeat does happen.
Looks like those reviews haven't dented Vices chances one bit lol if anything its getting stronger.
Psifonian: I think Louis needs a date or even a month on that Greek release to consider it.
Calvin: Happy to see Bautista being used again. Hopefully he'll be in more than one scene this time.
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