Monday 25 March 2019

Alternate Best Actor 2013: Christoph Waltz in The Zero Theorem

Christoph Waltz did not receive an Oscar nomination for portraying Qohen Leth in The Zero Theorem.

The Zero Theorem is a return for Terry Gilliam to a world of overwhelming nonsensical bureaucracy, and for me, a return to form. This time through the story of a loner programmer given a most unusual task. A film I've found rather compelling both times I've watched it, strangely enough suffering from the flu while doing so both times. Of course I can't say for sure whether that aided or hindered the experience each time, or if in fact was somehow the cause of the illness...food for thought.

Christoph Waltz is an actor who as much as he was embraced by mainstream Hollywood by winning an Oscar in his breakthrough role, then won a second only three years later. As notable of an achievement as that is, it did not lead Waltz to avoid being used as most international performers are, which is that of the villain. Although to be fair that is where Waltz's breakout came from, however these roles were far thinner than his Oscar winning role of Hans Landa in Inglourious Basterds. One notable exception to this is here, where he not only doesn't play the villain, he has the chance to solely lead a film. Most importantly though it grants Waltz a chance to show off his range outside of flamboyant foreigners capable of great violence, though on very different parts of the moral spectrum. Here though Waltz must call upon a different aspect of his talent as the part of Qohen Leth is that of the quiet programmer, who unlike Waltz's roles that became his claims to fame, is an extremely reserved man who would rather stay home at all times, and have as little interaction with others as possible. A man who rather hideaway in his former monastery apartment rather than live out in the cold alienating world of this future.

Waltz's performance is fittingly a great departure as he changes his physicality within the role, rather than the outgoing gestures of his Quentin Tarantino collaborations. Waltz internalizes his work much more with his often furrowed brow of a man always trying to avoid eye contact with those around him, and his meek walk of a man trying to avoid notice. Waltz effectively establishes this precarious place of Qohen as a man trying so hard to not be part of the world around him, and makes sense of this man. This man who speaks in pluralities of "we" rather than I. A logic that Waltz brings to life brilliantly as again this painful modesty of a man who can't even bring up the courage to speak as one, deflecting towards any feelings or ideas as a group. Although of course the man wants to avoid actually interacting with a group, Waltz is fantastic in finding the difficult comfort the man has in these statements of the we, that avoids both being himself, but also avoids being part of anything. He makes a man completely isolated yet wholly without an individualism, which is a fascinating juxtaposition that Waltz brings a remarkable life to.

What Waltz does in his establishment of Qohen is that he is able to humanize a character that could have been a grotesque series of tics. Waltz though manages to find essentially the logic behind every strange little mannerism of the man. The mannerisms are never perfunctory, as he manages to create not only that logic to them, but an emotional truth within. Yes they are farfetched in a certain sense, however Waltz breathes into them a real sense of the cause of each. The causes being these methods of the man to disconnect himself essentially from the experience of life. Waltz offers this as not something hollow, but rather with a genuine pathos. A inherent sadness that Waltz brings to his eyes, that carries itself a man deeply wounded at some point in his experience, which we never fully are told the circumstances of. Waltz realizes this struggle as something quite tangible that offers the needed soul within the film, to grant the film a purpose within the character of Qohen. This is before Qohen is given the most unusual task by management (Matt Damon), to finish a theorem that is meant to prove that life is meaningless.

Now this performance is still a lead in a Terry Gilliam so there is a matter of balance to be maintained with the purposefully mad tone he brings to the proceedings. A tone that Waltz masters with his performance that is able to both create an honest character within Qohen as a man, while having just the right bit of color essentially within his work as he interacts with the world. This is as he finds a certain level of humor in his work, which actually a facet of all of Waltz's successful performances that I've seen, although here he very much delivers them within still the expression of this man's interactions with the world around him. In his scenes with his the less sympathetic forces of the world including management, as well as the majority of the other company workers, Waltz's delivers wonderful bit of unease of this experience. A man whose very being seems shaken by every bit of interaction as this horrible strain. Waltz manages to even within the specific nature of the character offer just enough of the right reality, to find the befuddling humor within certain circumstances of technically great anxiety. This is just a welcome facet of Waltz's work, but what stays with me about this performance is actually the most human elements within it.

This is found through the two central relationships within the film, the first being with the beautiful Bainsley (Melanie Thierry) who seems perhaps a little too eager to begin a sexual relationship with him, though through virtual reality. Waltz though is again fantastic in showing the struggle within the reticence within Qohen even with her apparent aggressive affection. This is worn away of course, and Waltz though is great by not playing it as this overt lust within these scenes. He rather grants the sense of Qohen opening himself, still timid in his manner, but with just a bit of extroversion as he finally looks and interacts with her with a real appreciation for another person. This also comes when she questions a very specific habit of Qohen's which is to habitually wait for a single phone call that he finally explains. This explanation being a highlight of Waltz as an actor as he brings such a painful passion and even inspiration within his eyes as he explains that he waits for a phone call that will give him the meaning of life. Waltz is heartbreaking as this explanation, as delusional as it may seem, he grants such a terrible sincerity of a man who has this desperation need for answers and so firmly believes they will all be answered in a single message.

Unfortunately for Qohen, he discovers Bainsley seemingly to be just a tool of management to keep him happy while he finishes the project. The other relationship though is in his stranger, pseudo fatherly relationship with a physically unwell young intern sent to help him, Bob (Lucas Hedges), who doesn't fully know what to make of Qohen. Waltz's work in these moments though is excellent in again portraying the state of Qohen when he is challenged a bit, as Bob both questions and supports the loner. Waltz has some especially important moments in his work where he is allowed to discuss his own past, including the relationship with his wife. This description being a brilliant bit of acting by Waltz as he manages to be completely unemotional in his delivery of the destruction of apparently the love of his life, while in his eyes still showing this sense of an unhealed wound, of a man whose shut off himself to avoid any further pain. I love the moment of empathy Waltz again slowly reveals within Qohen for the physically troubled young man, that is without hesitation even if still modest. We see this challenge though against Qohen's personal protections, that Waltz poignantly reveals.

An even greater one comes as Bainsley appears speaking of genuine affection for Qohen, and offering him a way outd. Waltz only says a few words, however finds a real power within this silence and frankly anguish in the man weighing this love, against his delusions and essentially the fear of this unknown. Waltz again does so much within the minor detail of his expression, portraying so well the pain of a man who tries to internalize everything. His mistakes though come to ahead as he finds himself lost within the virtual world, and faced with an uncaring management. Waltz is outstanding in this scene again of finally unleashing his anguish more forwardly, as this intense despondency as he questions trying to prove that life is trivial. Unfortunately for him, management has already determined this based on Qohen refusing to live his life based on the need for his "meaning of life" phone call that would never come. In the end though Qohen finds some serenity within technically a false reality, but it is an amazing moment for Waltz. As in this scene he loses the physical restraints to show this man embracing his existence with a delight and unrestrained splendor, even if it is perhaps all now an illusion. This is a great performance by Christoph Waltz as he finds the essential humanity within this more surreal journey, showing another facet of his talent and range, that hopefully he'll be able to explore again sometime soon.

139 comments:

Charles H said...

This is an amazing, although different type of performance by Waltz. How much you like his performance might depend on how you like the film

Also, Waltz seems to have an interesting project coming up this year with "Georgetown". Not so much with Alita.

Deiner said...

Yes, finally a film I've seen. I don't think I'd give Waltz 5 stars but he's close from there and he's certainly great. Oh, and Melanie Thierry is my favorite part of this film, she's just lovely.

Bryan L. said...

This film really wasn't my cup of tea honestly, though I did like Waltz. A 4.5 for me.

He is decent in Alita for that matter.

Robert MacFarlane said...

He is quite good in Alita. Especially impressive how he managed to build such strong warmth and pathos, considering his lead costar was absolutely horrendous.

Matt Mustin said...

Robert: How is Mahershala in that?

Bryan L. said...

Matt: I thought Mahershala in Alita was...ok.

Robert MacFarlane said...

Matt: He’s fine. Totally thankless role, and the way they handled his character at the end left a bad taste in my mouth. Honestly Connelly kind of overshadows him in their scenes together. She and Waltz were the only two to really makes something of the movie. (Okay, maybe Ed Skrein doing his Liquid Snake audition as well)

Emi Grant said...

Waltz is amazing here. I'm still not fully sure what to think of the film but I really liked it overall.

Louis: Thoughts on the film's screenplay?

Robert MacFarlane said...

Also, anyone else read Zack Snyder’s idiotic comments?

Bryan L. said...

Robert: I have. Eh, I'm just glad he's not going to direct any more films for the DC Universe, although the damage is already done.

Charles H said...

Robert: I expected something worse honestly. He's just being a dick to his fans, which should be a decreasing amount since his directing skills are garbage anyway.

Michael McCarthy said...

Is there any chance of Hedges being reviewed in the supporting lineup? I'm a big fan of his performance in this.

Bryan L. said...

Oh, I almost forgot. To add on to Anonymous' question in the last post about who could give a career-best performance in 2019, I think Adam Sandler has a shot for Uncut Gems. The Safdie brothers got a great performance out of Pattinson, so they could do it again I think.

Luke Higham said...

3rd five for Waltz. :)
That's 200 fives for the decade so far. Really looking forward to Bale finally getting his 2nd.

Louis: I know you usually don't give thoughts on any other films or performances until the results are posted but is there any possibility you could give thoughts on Blue Is The Warmest Colour, Short Term 12 and ratings and thoughts on Exarchopoulos, Seydoux, Larson and if you've seen it, Juliette Binoche in Camille Claudel 1915.

Your thoughts on the Peggy Gordon/Flogging scene from The Proposition.

Álex Marqués said...

A comment in the previous post reminded me: guys, WATCH. DEADWOOD. IAN. MCSHANE. IS. MAGNIFICENT. IN. THAT. SHOW.

Anonymous said...

Louis, you really need to start watching Deadwood soon. The film looks great.

Luke Higham said...

Alex: I've no doubt McShane is incredible in that from what little I've seen of it. I know Deadwood's cancellation really stung for many though the one HBO cancellation that really hurt personally was Rome. Putting 3 seasons worth of story into its 2nd and last season made it one of the most rushed seasons for a TV Drama that I've ever seen.

Bryan L. said...

Luke: What are your thoughts on The Water Diviner as a film btw? Thinking of checking it out just for Russell Crowe.

Tahmeed Chowdhury said...

Louis: Your top 20 Christoph Waltz acting moments, and your thoughts on him as an actor.

Luke Higham said...

Bryan: I thought it was a decent enough directorial effort from Crowe whilst giving another strong turn. I'll admit when Crowe is the sole lead in films, I find them more watchable due to him whether it's Noah or even A Good Year where he plays a bond trader trying to sell his Uncle's house.

Bryan L. said...

Luke: Would you consider the film worth watching? And if you don't mind, your thoughts on A Good Year, as well as the same question regarding its watchability?

Luke Higham said...

Bryan: I'd say so, It's about the Battle Of Gallipoli and it's aftermath which hasn't been represented in film much aside from Weir's film and A Good Year is one of Scott's weaker efforts but I found Crowe rather entertaining, especially in his scenes as the bond trader. The film as a whole is skippable so you should probably watch some of his scenes on Youtube if you could.

And whenever you see The Water Diviner, could you give thoughts on Crowe.

Calvin Law said...

He is terrific here, and honestly I do think the film as a whole is a return to Gilliam form too, but I’ve just never been a big fan of him. Incidentally I agree with Robert completely on him in Alita which for some reason I completely forgot to mention on here. My ratings for that cast would be:

Salazar: 2 (could go lower)
Waltz: 3.5 (could go higher)
Johnson: 1
Ali: 2.5
Connelly: 3
Skrein: 3
Haley: 3

Luke Higham said...

Avengers Endgame is 182 minutes long. So that could possibly derail it's chances of overtaking Infinity War as the highest grossing MCU film however it will give Downey Jr. and Evans more time to shine which I'm pleased with.

Luke Higham said...

Louis: Do you think this could be the year Tom Hanks finally gets nominated again after 19 years.

Luke Higham said...

And do you intend to get a new profile picture since you don't have the Headless Horseman/Ichabod Crane painting anymore.

Calvin Law said...

Didn’t realize it had been 19 years. Wow.

Bryan L. said...

Luke: Yeah I can give thoughts on Crowe once I get around to it, and I love Peter Weirs film about that battle, so I'm guessing this film would be more of a complement to that.

I think Hanks could definitely get a nomination, although it should've been 6 years since his last one (Captain Phillips).

And I thought Louis' profile picture disappearing was only on my end for some reason haha.

Emi Grant said...

Bryan: I thought the same.

Bryan L. said...

Luke: Your Top Ten Richard Harris performances?

Luke Higham said...

Bryan: I want to see The Molly Maguires (1970) before making that list.

Bryan L. said...

Luke: Understandable.

Bryan L. said...

I saw Short Term 12 about a couple of years ago, but here are my ratings for the cast for that film

Larson-4.5
Stanfield-4
Gallagher Jr.-3.5
Dever-4
Malek-3

Luke Higham said...

I've completed my suggestions for 1970.

1970 Lead
Alain Delon - Le Cercle Rouge
Nicol Williamson - The Reckoning
Jason Robards - The Ballad Of Cable Hogue
Tom Courtenay - One Day In The Life Of Ivan Denisovich
Sean Connery/Richard Harris - The Molly Maguires
James Fox/Mick Jagger - Performance
Alec Guinness - Cromwell
David Bradley - Kes or Rod Steiger - Waterloo

1970 Supporting
Bernard Cribbins - The Railway Children
Klaus Kinski - Count Dracula
David Warner - The Ballad Of Cable Hogue
Gian Maria Volontè/Yves Montand - Le Cercle Rouge
Colin Welland - Kes
Alt. Christopher Plummer/Dan O'Herlihy - Waterloo

Anonymous said...

Louis: your top 20 kurt russell acting moments

Anonymous said...

I've also heard great things about Peter Sellers in Hoffman.

Louis: Your top 10 shots from The Thin Red Line.

Louis Morgan said...

Emi Grant:

The screenplay is an interesting bit from Gilliam, though I think the film is made for me by Waltz's performance and his direction, which is this more intimate portrait of the loss of the individual, as opposed to the grandeur vision he usually goes for in this regard. As it treads some similar themes to Brazil, although this one doesn't focus on the good natured any man, but rather this individual who creates his own prison through his mind. The world building in the work then is less aggressive, though effective as usual in the more minor details of the world that enlivens it beyond its ideas. The greatest facet of the film is within the central character in every regard, including the screenplay, which finds the most potent material in his methods of essentially trying to regress from the physical. This creating a most unusual journey, one you can either as a strict tragedy, as the man loses his self to technically fall even deeper in the mind, however does he find some illumination within that. Either way the major idea of the central theorem, is in particular most effective in creating through the journey of Qohen a man waiting for something, yet making nothing in this state of trying to find meaning. Although one could argue the narrative is perhaps too constricted, it works in my view, as this very specific examination through the most unusual protagonist.

Luke:

No, though I do wonder if I was somehow was being pranked with those sex scenes.

A beautifully rendered moment of brutality, as we see very little of the violence, though it is perfectly reflected by the screams, with such powerful use of the careful images of the brothers seemingly have that brief moment of empathy, against the townspeople ranging from the grieved dismay of the captain, the regretful horror of his wife, the sympathy of few and the callous indifference of the others.

In regards to Hanks, I'm going to say no at the moment. The reason being they just don't seem to care about nominating him. He was snubbed for Phillips hard, however he basically just was ignored wholesale for Bridge of Spies, Sully, Saving Mr. Banks and The Post (even though he even won NBR). Yeah not every single one of those films were overall players, though some were, but compare that to say his fellow 90's leading man, Denzel Washington who could get in for the critically derided Roman J. Israel. There still seems to be a strong vein of support to reward Washington, however with Hanks it seems like they've gone "eh he got two in a row". I frankly would wish that wasn't the case, as otherwise than The Post, I think he's been doing some of his best work of late. Could this change it, maybe, but history says bet on it, at your own peril at this point.

I actually wasn't intending on it, but that picture was originally a linked one, I think, so I'm guessing the source site must have been deleted.

Louis Morgan said...


Anonymous:

I'm on it.

Tahmeed:

1. Opening - Inglourious Basterds
2. "Fur Elise" - Django Unchained
3. Turning down Bainsley's offer - The Zero Theorem
4. Surprise appearance - Inglourious Basterds
5. Explaining his phone call - The Zero Theorem
6. Italian - Inglourious Basterds
7. Disposing of the Sheriff - Django Unchained
8. Final meeting with management - The Zero Theorem
9. Deal goes a little wrong - Inglorious Basterds
10. serenity - The Zero Theorem
11. Handshake - Django Unchained
12. His marriage - The Zero Theorem
13. Making a deal - Inglorious Basterds
14. Freeing Django - Django Unchained
15. Cinderella - Inglorious Basterds
16. Nature of Bounty Hunting - Django Unchained
17. First "rendezvous" with Bainsley - The Zero Theorem
18. Story of Seigfried - Django Unchained
19. Tending to Bob - The Zero Theorem
20. Dinner with Candie - Django Unchained

Well in a way I've covered all of Waltz's performances of note, though I do ponder if he has any hidden gems in his pre-basterds repertoire. Anyway, Waltz can do an egotistical European like no other, and even can find an appropriate variation even within similar roles. As found in his double Oscar winning turns. His talent, as evidenced by the above film, suggests a greater range than has really been explored. As he's been saddled in one disposable villain role after another, to the point he got to Spectre he frankly seemed a little tired of it. Outside of that it seems there's just other egotistical Germans for him to play, as was the case in Carnage, and Downsizing, two performances I did like honestly, but were lesser variations of the notes he played as Landa and Schultz. The thing is, this isn't Waltz being lazy, the parts as written essentially call for such approaches, it does show the laziness of casting directors. I didn't hate his turn in Big Eyes, and to be fair he was sabotaged by Tim Burton's tone deaf direction where he went from buffoon to a psychopath in a single scene. His work beyond that though shows that his talent goes beyond that type, and hopefully taking the reigns into his own hands will be beneficial for him in Georgetown. As I'd love to see him expand rather than constrict, as the talent is there.

Bryan L. said...

Louis: Your present film roles for Claude Rains and Edward G. Robinson?

Anonymous said...

Louis: What are your thoughts on Woody Allen as a filmmaker?

Anonymous said...

Louis: Your top ten animation directors

Anonymous said...

Louis: Thoughts on this intro from the 1987 G.I. Joe cartoon movie?

You mentioned how Shockwave was a great character in the Transformers G1 comics. Have you read the Marvel G.I. Joe comics?

Bryan L. said...

Anyone here follow/watch Major League Baseball? Or the sport in general?

Emi Grant said...

Nice new pic, Louis.

Luke Higham said...

Good ol' Larry. :)

Bryan L. said...

Luke: Your Top Ten Olivier performances?

Luke Higham said...

I'll do a top 5 for now in no particular order.
Rebecca
Richard III
The Entertainer
Sleuth
Marathon Man
Still need to see Uncle Vanya, A Little Romance and need to Re-Watch Brideshead Revisited.

Calvin Law said...

My top 5 would be:

Rebecca
Marathon Man
Richard III
Spartacus
Sleuth

Calvin Law said...

Some Waltz roles:

2010s Diary of Anne Frank directed by Marielle Heller
Anne Frank: An unknown the right age
Otto Frank: Christoph Waltz
Petronella Van Daan: Rachel Weisz
Peter Van Daan: Finn Wolfhard
Edith Frank: Martina Gedeck
Albert Dussell: Richard E. Grant

2010s The Thing directed by Quentin Tarantino
MacReady: Wyatt Russell
Blair: Christoph Waltz
Nauls: LaKeith Stanfield
Palmer: Charles Baker
Childs: Idris Elba
Norris: Benedict Wong
Bennings: James Parks
Clark: Lennie James
Garry: Jason Clarke
Fuchs: Steve Coogan

2010s The Little Foxes directed by John Crowley
Regina: Emma Stone
Horace: Christoph Waltz
Alexandra: Saoirse Ronan

2010s Foreign Correspondent directed by Joe Carnahan
John Jones: Steven Yeun
Carol Fisher: Elizabeth Debicki
Stephen Fisher: Christoph Waltz
Ffolliott: Dan Stevens
Van Meer: Juergen Prochnow

And I think he’d be a great fit for Humbert Humbert.

Charles H said...

Waltz as Otto Frank sounds brilliant.

Louis Morgan said...

Bryan:

Rains:

Hans Landa
Rudolf Abel
Beria

Robinson:

Albert (Enough Said)
Wilford
Khrushchev

Anonymous:

Well AS A filmmaker, Allen you can almost segment into a few different parts of his career, all that can hold a certain level of interest. In that you have his early phase where he is closest to Mel Brooks in his cinematic parodies, whether it be of true crime documentaries "Take the Money and Run" or Ingmar Bergman/European films "Love and Death". These ones are more creative than just a typical spoof, at their best, and are quite funny, though that is clearly their primary aim. The traits of a more ambitious filmmaker are even evident within the farce though, which is important to note. Although he never fully went back to this.

Then he switched to essentially making two sorta three kinds of films, the relationship/philosophical comedy/dramedy, Ingmar Bergman films and the "Tribute". Mind you these are not always separate, in fact are more often interwoven like Crimes and Misdemeanors (which I consider his best film, personally, as the best of both worlds essentially). The Bergman fair is actually in many ways almost how De Palma is to Hitchcock, though not as in "trashy Hitchcock" but rather in the way he seems to desire the influence be distinctly understood. There is no attempt to hide it, but rather flaunt the wish to achieve the same thing. On the other side we have the variations of that same song, of relationships, philosophy, philosophy of relationships and some comedy on there fore good measure I suppose. Typically centered around a rather nervous fellow. I'll give credit for when Allen is not doing directly drama, for managing to do as much as he has given the rather limited home for it all. Now on these you kind have two, you have the sort of "pure" Allen films, that are perhaps his romancing/comedy/philosophy in its most diluted form in Annie Hall, Hannah and Her Sisters and Manhattan.

Then you have the playing around with it with really those "tributes" films: early documentary (Zelig), 30's Hollywood (The Purple Rose of Cairo), German expressionism (Shadows and Fog), Mystery films (The Curse of the Jade Scorpion) Radio (Radio Days), Broadway: (Broadway Danny Rose), Broadway/30's gangster films, (Bullets Over Broadway), Tennessee Williams (Blue Jasmine), Greek tragedy (Mighty Aphrodite), Jazz (Sweet and the Lowdown) the list goes on...all funneled through the same themes, similar structure, and similar characters. I'll admit the primary core of his films isn't something I love to begin with, which is perhaps why he doesn't rank as one of my favorite filmmakers, though I don't dislike his work. Given this approach, it is no surprise he's slowly become all the more hit and miss, as there was never another sort expansion on this idea. He's now turning his wheels, occasionally finding some fresher riff, yet not entirely new.

Anonymous:

I'll stick to feature films, as including shorts becomes a little unwieldy.

1. Isao Takahata
2. Hayao Miyazaki
3. Don Bluth
4. Martin Rosen
5. Nick Park
6. Henry Selick
7. Kirk Wise & Gary Trousdale
8. Brad Bird
9. Lee Unkrich
10. John Lasseter

Have a lot more to see from the top two, however Bluth's bad films are enough to knock him down at this point, as much as I love his heights.

Anonymous:

Madness, and one ponders if they spent all their budget on that. Some impressive visuals in the there without a doubt at times, though I think somewhat wasted with just how scattershot the whole thing. That includes the use of music as well, where the G.I. Joe them I've found always especially ridiculous and touch too random.

I have not, beyond the G2 tie in issues.

Bryan L. said...

Louis: I have to wonder; do you think Bad Destroyer might've worked better if it was remodeled into a Bad Lieutenant type of film (either Cage or Keitel's version? Kidman does give it her all, and the film seems to discard Kidmans characters' addictions fairly easily, from what I remember.

Mitchell Murray said...

Everyone: Thoughts on this dialect coach and his analysis of these various "presidential" performances?

https://www.youtube.com/watch?v=A-3yN2ePJwk

Also, for Louis, your thoughts on Mary Elizabeth Winstead, Elizabeth Olsen, Jason Bateman and Diane Lane as actors?

Bryan L. said...

Mitchell: Hey, when did Dennis Reynolds leave his job as seria...err...at Paddy's Pub?

Seriously though, I like the videos that guy puts out.

He covered Bateman in Jesse Bradfords' review for King of the Hill btw.

Emi Grant said...

Mitchell: I love the videos with Erik Singer, I was just watching that one earlier on today. I swear I could listen to him for hours just talking about dialects.

Bryan L. said...

Louis: Also, your thoughts on the Sauna fight scene from Eastern Promises?

Charles H said...

Louis: Your thoughts on this scene from Locke?

https://www.youtube.com/watch?v=BcWjAeo8klg&t=6s

RatedRStar said...

Another year, another Benedict Cumberbatch Bafta nomination (and likely loss).

Tahmeed Chowdhury said...

Mitchell: I love watching Not Glenn Howerton's videos, he has so much insight on accents.

Louis: What do you find to be the most unfounded criticisms of actors you find great? Two which come up to my mind are critics who claim Day-Lewis is too "clinical" as an actor, or that Ryan Gosling plays all of his introverted characters the same way.

Mitchell Murray said...

Tahmeed: I'd add to that list Emma Stone's criticism of playing herself - which we've addressed already, I think - the weird hate Ethan Hawke seems to attract sometimes, and, as bizarre as this may sound, the backlash I've seen directed at Jeremy Renner and Josh Brolin for putting minimal effort into their performances.

Bryan L. said...

I think Sharlto Copley kind of counts as well, since he's even found a bit of variation in the usual types of characters he plays.

Anonymous said...

Louis: Your thoughts on Rooney Mara as an actress?

Luke Higham said...

Joel Coen is directing another version of Macbeth with Denzel Washington and Frances McDormand.

Emi Grant said...

Mitchell: Where have you found that backlash against Renner and Brolin?

Mitchell Murray said...

Emi: Some pretty nonsensical online sources, admittedly, though its a criticism I have actually heard in person a few times.

Mitchell Murray said...

Luke: Well then... that certainly sounds like a bold move on their part, if for nothing else.

Bryan L. said...

Luke: No Ethan? Hhmmmm...

Anonymous said...

Louis: your top 20 kurt russell and nicole kidman acting moments

Matt Mustin said...

Bryan L: Directing Shakespeare tends to be a passion project kind of thing. Maybe Ethan just wasn't into the idea as much as Joel.

Bryan L. said...

Matt: I was joking a bit. I'm always down for some Coen bros films.

I haven't see too many Shakespeare films, though I'm aware that a certain passion is indeed required for it. Maybe Ethan has something else in mind for his next film too.

Calvin Law said...

Louis: your thoughts on the ‘I like having you for my big brother’ scene in Rain Man.

Michael McCarthy said...

Update: I saw Us again tonight, and if it ends up my Best Picture win for the year I won’t be disappointed. The final dance scene absolutely takes my breath away, the way Peele’s direction, Nyong’o’s performance, Monsour’s editing and Abels’s score come together there is downright masterful. I highly recommend watching it a second time.

Anonymous said...

Louis: Your thoughts on the cinematography of Manhattan and Zelig.

Unknown said...

Louis: Have you seen the movie Shadow? What's your thought on this come back of Zhang Yimou?

Mitchell Murray said...

On a side note for myself, I just thought I'd mention that I finished watching the best actress nominees of 2007. My overall ranking would be as followed:

1) Cotillard
2) Linney
3) Christie
4) Blanchett
5) Page

Luke Higham said...

Mitchell: Ratings and thoughts on Cotillard and Blanchett.

Luke Higham said...

Dumbo
Keaton - 3.5
DeVito - 3.5
Green - 3
Farrell - 3

Deiner said...

Dumbo was... bad? And Michael Keaton would be a 0 or 1 for me, lol

Luke Higham said...

Deiner: I was meant to give him a 2.5, I'm very torn on Keaton in that film but DeVito was definitely MVP.

Luke Higham said...

I wouldn't say it was a flat out disaster but I'm done with Burton at this point.

Mitchell Murray said...

Luke:

Cotillard - 5 (Well the reputation of this performance honestly speaks for itself. To reiterate, however, Cotillard gives such striking work as Piaf, and effectively realizes a convincing and unique portrayal of the singer. This is made all the more notable considering the unexceptional nature of her film, which might've been more problematic in the hands of a lesser performer. Cotillard always hints at a better movie, though, in providing a particularly moving portrait of Piaf's later life, while also remaining believable in showing the woman's age. I suppose I should also mention Cotillard's lip syncing, which is handled extremely well and proves to a certain recent biopic that it can be done seamlessly. Again, despite "La Vie en Rose" as a motion picture being heavily flawed, Cotillard never falters in her performance, creating a specific and powerful characterization.)

Blanchett - 3.5 (It's here where I'll admit to not having seen the original "Elizabeth", therefor my response to this performance is purely based on this film. "Elizabeth: The Golden Age" is hardly a perfect movie, and in fact comes off as quite stock and bland, despite its fascinating titular figure. Blanchett has a considerable challenge, then, in providing its dramatic anchor, to which she succeeds more often than not. It helps that Blanchett has a naturally strong screen presence to begin with, so she has no problem bringing the necessary command and dignity. And although the film's narrative pretty much goes follows the paint-by-numbers diagram of period pieces, I will say Blanchett has enough variation in her performance to avoid being one note. She gives a measure of depth in her role, however minor, that avoids making Elizabeth a one dimensional being, and allows even the most badly written scenes to be somewhat passable. This isn't a defining interpretation of Queen Elizabeth, nor is it Blanchett's best performance by any margin, but it is a decent turn that doesn't deserve nearly as much criticism as it seems to get.)

Luke Higham said...

Mitchell: The '98 performance is far superior yet that film isn't great either.

Tahmeed Chowdhury said...

Louis: Have you checked out A.P. Bio? I saw a few episodes, and it's better than I expected, because of the Golden God.

Calvin Law said...

Tahmeed: Agreed. It’s not a bad show at all, occasionally even pretty great.

Calvin Law said...

Also your thoughts on Ralph Macchio and William Zabka on Cobra Kai?

Louis Morgan said...

Bryan:

Yes, potentially.

Mitchell:

Winstead is interesting in taking nothing from her, she very much began in pretty face roles, I mean look at her collaboration with Tarantino for example, and even Ramona Flowers isn't far off from that when you break that down. Of course I'll say that was more on the roles than her, and there are signs of a bit more there than she was perhaps allowed to show. Her work more recently, with more complex parts or at least more demanding, in films like Smashed, 10 Cloverfield Lane and Fargo where that potential was far more powerfully expressed. These being in parts that reveal both a capable screen presence of a proper lead, but also a more dynamic dramatic talent, almost in a covert fashion at times. Using essentially almost her initial pigeonhole, to make all the more impact, this being particularly evident in her Fargo performances especially.

Elizabeth Olsen is a case that seems a little unfortunate, in that she seems to rather rapidly fall into Robert Downey Jr. territory, in that a talent just defers to blockbuster work, however he being far less notable than his in that regard. This is as the majority of her work has been as the Scarlet Witch of late. Otherwise you had her very notable breakout in Martha Marcy May Marlene, where she showed quite the potential in that performance. From there though not too much have been made up of it. I mean she is good in most of her performances, moose and squirrel accents aside, if even perhaps a more forgotten aspect in even her good films. Now the dramatic ability shown in that first performance still is quite evident even in most of her lesser roles, but it does not feel as though she's been tested again since then.

Diane Lane is an interesting case of sort of a Gregory Peck style trajectory, although perhaps far more extensive in that regard given she started as a child actress. What I mean by that though is a performer who quite simply got better over the years, as her early performances quite frankly range from okay to downright terrible at times. They are more awkward than anything else much of the time, however this shifted to a far more confident performer in her 90's work, which weren't even necessarily great parts, however she typically brought a certain charisma to them. This advanced more so in her post-2000's work, which for the most part, she offers a real consistency and charm to her roles. Occasionally she's gotten a decent role as well, where she's shown a greater ability than perhaps she's been tested on since her very early breakout.

Bryan:

I mean pure Cronenberg where he really pushes the edge of violence, not towards gratuitous over the top, but rather this gritty detail that is so viscerally effective, though certainly purposefully off-putting. There is quite frankly the extra edge as Mortensen goes right along without holding anything back quite literally, but in that only makes the fight all the more effective as this vulnerable bloody affair.

Louis Morgan said...

Charles:

Fantastic acting piece by Hardy, as in the moment much of what Locke is saying to his son is seemingly straight forward words of a loving father. Hardy's reaction though as he grants the sense of his very real distress through his silent reaction, is simply just amazing work from.

Tahmeed:

Toshiro Mifune ("He's always over the top" aka I've only seen Seven Samurai, where he played a half-mad, often drunk, wannabe samurai.)

DDL - (I concur that as nonsense, and I feel it is wholly leveled with his process in mind, and probably wouldn't even be thought of if that was less publicized. Although I'll further disagree, as when a role calls for warmth (The Boxer and Lincoln) and comedy (Lincoln, Phantom Thread, even Gangs of New York "Whoopsee Daisy!" he's quite capable of it. )

Gosling - (I'd say his comes in part from a laziness to examine minimalist work to begin, and I find that approach is often underappreciated by a general audience.)

Nicolas Cage - (There are multiples for him, however I feel far too many attribute wrongly, his lack of choosiness for a lack of talent on his part. As if you take his best work, you can legitimately argue him as a truly great actor. I think this view is however how he for example became the focus of Mandy's reception for some, as though it is a surprise that Cage is good, not rather that is basically the natural result if he has some actually decent material.)

James Stewart - ("He only plays himself". Ugh.)

Laurence Olivier - ("His performances are stagy and lifeless" ehhhhhhhhhhhh)

Anonymous:

Rooney Mara could be arguably the most innately talented actress of her generation, at least it seems that way. This however comes with a slight exception, or perhaps almost a commentary of the nature of so many thin roles for women. In that you have so many great performances from her, in that you have a more grandiose work, though with the nuance of a truly great performer, in her work as Lisbeth Salander, you have such quietly tender work in Ain't Them Bodies Saints. In those two performances alone she shows almost the best of two worlds, in giving great work in both a larger than life transformation, or just one of pure naturalism. If you can be equally successful in a role that might say fit a Tilda Swinton, or one that would be closer to Sissy Spacek, that is quite the extraordinary range. This is even further supported in any role, with any substance to it, even if lesser overall, like Side Effects and Una for example. She's even shown quite the talent for voice acting in Kubo and The Two Strings. Now that exception though comes from the unfortunate "girlfriend" roles, especially if that is all there is to them. She seems frankly ill-fitting in these parts, as you are almost granted this sense of a wasted talent, as she always seems constrained by the limits of these characters in films like Her or Lion.

Bryan L. said...

Louis: Your Top Five Actresses from this decade in terms of their output in said period? I kind of have a feeling of who they are, but I want to see if I guessed correctly :)

Luke Higham said...

Louis: Your thoughts on Eva Green and has Mara gone up to a five for Ain't Them Bodies Saints.

Anonymous said...

Louis: How would you list the MCU films (best to worst) in terms of cinematography? I recall someone saying that it would have been better if The First Avenger had been shot in black-and-white for most of the film and color for the scenes set in the present.

And don't forget to give your thoughts on the cinematography of Manhattan and Zelig. Also, like the new profile pic.

Mitchell Murray said...

Bryan: Some favourites of mine would be...

Emma Stone
Marion Cotillard
Rooney Mara
Saoirse Ronan
Mary Elizabeth Winstead

I know for a fact that I'm missing a few names, and they'll probably come to me soon enough.

Bryan L. said...

Mitchell: Mine would be...the same as yours actually, though instead of Winstead, I'd include Tilda Swinton. I think Swinton has been quietly great this decade (Okja, WNTTAK, Dr. Strange, Snowpiercer, her scene in War Machine, and her work with Wes Anderson)

Haven't seen Only Lovers Left Alive yet. I couldn't stand A Bigger Splash, but she was good there. And I don't really feel like watching Suspiria, so I'll just assume shes ok there.

Tahmeed Chowdhury said...

Louis: Not sure if you've given it before, but your thoughts on this scene from the 13th season of It's Always Sunny in Philadelphia:
https://youtu.be/SPG4eD4Dfx0

Louis Morgan said...

Anonymous:

Kurt Russell:

1. THAT scene - Bone Tomahawk
2. The truth of the Lincoln letter - The Hateful Eight
3. Making the tape - The Thing
4. Goodbye - Bone Tomahawk
5. Bad coffee - The Hateful Eight
6. Testing the blood - The Thing
7. Opening - The Hateful Eight
8. Ending - The Thing
9. It's all in the reflexes - Big Trouble in Little China
10. Arguing politics - The Hateful Eight
11. Breaking back in - The Thing
12. Arresting the stranger - Bone Tomahawk
13. Demanding answers - Escape From New York
14. Burton leaves - Big Trouble in Little China
15. Making a Declaration - The Hateful Eight
16. "Yeah, fuck you too" - The Thing
17. Creating a posse - Bone Tomahawk
18. Meeting Mannix - The Hateful Eight
19. The ultimatum - Escape From New York
20. You need to grow up - Guardians of the Galaxy 2

Nicole Kidman:

1. Sentence of Dogville - Dogville
2. Seeing the man to bed - The Beguiled
3. Seduction - To Die For
4. Arriving to Dogville - Dogville
5. Explaining why she adopted - Lion
6. Bank robbery - Destroyer
7. "No thanks" - To Die For
8. Fruit Cart - Dogville
9. Making a decision - The Beguiled
10. Interrogation - Destroyer
11. First broadcast - To Die For
12. Train Station - The Hours
13. Meeting the teens - To Die For
14. Seeing her daughter the final time - Destroyer
15. Tom's temptation - Dogville
16. Meeting Saroo - Lion
17. With her Sister - The Hours
18. First sign of prejudice - Dogville
19. Meeting the "killer" - Rabbit Hole
20. Talking of the city - Dogville

Calvin:

It's a wonderful scene that exemplary of the charm of that film, but also why if someone was going to a win an Oscar for that film, it should have been Cruise. He's the one who carries the emotions of that moment, and absolutely delivers on the idea of the shallow man gaining something from that experience in such a tender way.

Louis Morgan said...

Anonymous:

Manhattan's cinematography is iconic in itself, in that a montage about films set in New York will be incomplete without it. It is absolutely gorgeous work and fascinating black and white realization by Gordon Willis. In that his achievement is unique in that he in no way hides sort of the grit of the city, at least not in any extreme way, using the black and white to create both an honest reflection of the city but also in a way that seems to exemplify the beauty of it. What's fascinating is that he achieves almost an honest romanticism with it, that is just a stunning work.

Zelig is also incredible work by Gordon Willis that is both an achievement in cinematography but also visual effects. Frankly Willis/Allen should've won for the latter given how influential and important their achievement actually turned out to be. This is especially notable considering that Forrest Gump won for a weaker version of that effect 10 years later. Now there are of course some well shot "interview" footage, if basic, but well lit. The achievement of the film, is in making such flawless original footage within the old. This is as every one of these shots Willis managed to light, compose, and even sometimes damage to look as though Allen and Farrow had simply traveled back in time. Downright amazing work.

Nguyễn Ngọc Toàn:

I have, visually stunning, great choreography, costumes, cinematography, production design and some visual effects all intertwined brilliantly by Yimou. The film is just brimming with style, I wouldn't say over the substance, but the substance is lacking in comparison. The central conflicts I found to be a bit muddled with frankly too many perspectives granted throughout the film, without enough sense in order of the sequences. Not that it is "bad" at any point, but it is a touch unwieldy. It's less than stellar storyteller though I would say, can almost be overlooked by the stylistic choices, that do carry it through.

Louis Morgan said...

Tahmeed:

I have not, though the Golden God, makes anything at least a bit tempting with him in it.

Calvin:

Macchio - (In many ways a natural continuation on who we left off in the second film, not the lame brain Daniel of the third film. Macchio's work though once again finds a real charm in the performance and I like his turn as this self-actualized worthy of Miyagi's teachings. I like how Macchio makes the conflicts mostly comedic, not that he doesn't care, but rather always emphasizing that he's really living a good life with these only being minor set backs. His comic though certainly works to his benefit, as this guy who often is walking on air, and I do have to give special mention to his reaction when he's thinking about the Miyagi healing before deferring to call for a medic. He's good at being just a normal dad more than anything, and I like that he plays Daniel as someone whose led a good life. Special mention though needs to be made to the visiting Miyagi's grave scene, which while I do wonder how much of it is acting, Macchio nonetheless funnels that to such a heartbreaking remembrance of both Miyagi and Pat Morita in the scene. This is as he manages to evoke such a powerful grief at the lost, but with such a poignant love as he "speaks" to his old friend.)

Zabka - (Well Oscar nominated Billy Zabka, is actually pretty great, and just missed out on my lead actor tv lineups last year. Now I actually think he might be slightly underrated in the first film, as even there he actually did provide a bit more nuance to Johnny than the typical 80's movie bully. Of course that in the end just was a seed for his work here, that is just wonderful in so many ways. The first being his performance is consistently hilarious in the way he brings such a genuine quality to the cocky jerk who has been brought to earth. That sort of short hand is still in his performance, often in a hilarious way, though now properly broken by living not a great life. He's great though in his portrayal of the comedic, though not entirely so, way of dealing with his shortcomings particularly in his scenes directly with Macchio, at first. There is more to his work though and Zabka delivers in bringing the honesty to the old anger in the moments of explaining his mistakes, and brings a surprising emotional depth throughout his work in the show.)

Bryan:

1. Marion Cotillard
2. Tilda Swinton
3. Emma Stone
4. Saoirse Ronan
5. Rooney Mara

If weren't for the extreme gaps between her hits and misses, Amy Adams would be an easy mention.

RatedRStar said...

Luke: Whats your Wrestlemania predictions?

Luke Higham said...

RatedRStar: Becky Lynch MUST win. Couldn't care less about the rest. I've no time whatsoever for wrestling in general and I'm skipping Wrestlemania altogether. My enthusiasm for WWE in particular has been dying for the past 5 years.

Charles H said...

Honestly, WWE ruined the main event of Wrestlemania because of the horrible overbooking. I'm probably going to skip it.

Luke Higham said...

Charles, I feel really bad for them as the crowd's going to be completely dead after 6/7 hours.

RatedRStar said...

I always for some reason get excited at what the stage will look like lol.

RatedRStar said...

Ill quickly put mine down although its not 100% confirmed yet. So many bleeding matches, this show is gonna last forever.

Becky Lynch
Kofi Kingston
Brock Lesnar
AJ Styles
The Miz
Bayley & Sasha
Finn Balor
Roman Reigns
Samoa Joe
Buddy Murphy
Kurt Angle
Triple H
Braun Strowman
Asuka

Anonymous said...

Louis: Your past film roles for Chris Evans, Tom Hiddleston, Elizabeth Olsen, Sebastian Stan, Chris Hemsworth and Tom Holland?

Charles H said...

Mine as well give mine

Becky Lynch
Kofi Kingston
Seth Rollins
Triple H(Would've said Batista but don't think H would have his last match yet)
AJ Styles
The Miz
Bayley & Sasha
Finn Balor
Drew McIntyre(His push should not end here)
Rey Mysterio
Kurt Angle
Buddy Murphy
Braun Strowman
Asuka

Louis Morgan said...

Luke:

Eva Green seems to be an actress whose biggest struggle seems to be finding herself in the right type of films, as right now she's in just a lower grade pseudo blockbusters. Now to be fair her semi-breakout came from Casino Royale was successful, down to her performance, though that was after one false start in Kingdom of Heaven, that also came after her first film in the not quite successful The Dreamers. She's never quite seem to found the right path, and has not truly broken out despite the attempts there. This is all in the face that she definitely is talented, in a way I could almost see her in a path similar to Tilda Swinton as she has a similar presence, and is very good in "big" roles while also capable of quieter turns. Unfortunately she still seems to be stuck in a strange grey area, currently within bad Tim Burton films who she should probably stop collaborating with.

No, at least for the moment.

Anonymous:

1. Thor: The Dark World
2. Iron Man 3
3. Thor: Ragnarok
4. Doctor Strange
5. Black Panther
6. Thor
7. Captain America: The First Avenger
8. Ant-Man
9. Captain Marvel
10. Guardians of the Galaxy Vol. 2
11. Captain America: Winter Soldier
12. Avengers: Infinity War
13. Iron Man
14. Captain America: Civil War
15. The Incredible Hulk
16. Ant-Man and the Wasp
17. Guardians of the Galaxy
18. Iron Man 2
19. Spider-man: Homecoming
20. The Avengers
21. Avengers: Age of Ultron

Calvin Law said...

Agree completely with you on the Cobra Kai thoughts. And yeah, even some of Marvel’s best films have some pretty bland cinematography and some of their weakest have pretty great shots. I’d say my favourite is probably Ragnarok or The First Avenger in that regard.

Calvin Law said...

Also what’s everyone’s top 10 for 2013 now? For me,

1. Inside Llewyn Davis
2. Like Father, like Son
3. The Wolf of Wall Street
4. Gravity
5. About Time
6. 12 Years a Slave
7. Captain Phillips
8. Rush
9. Prisoners
10. New World

Bryan L. said...

Calvin: Here's mine. It's far from definitive though, which is why I've been looking forward to this round for awhile.

1. Inside Llewyn Davis
2. Her
3. The Wolf of Wall Street
4. Snowpiercer
5. Captain Phillips
6. Dallas Buyers Club
7. Rush
8. 12 Years a Slave
9. About Time
10. Gravity

Bryan L. said...

I need to rewatch Gravity though.

Louis Morgan said...

Anonymous:

Chris Evans:

Taylor (Planet of the Apes)
Tom Grunick
John Glenn

Tom Hiddleston:

Frederick Treves
Simon Dermott
Philip VanDamm

Elizabeth Olsen:

Eve White/Black, Jane
Kirsten Arnesen Clay
Sally Matthews

Sebastian Stan:

Luke Skywalker
Gregory Powell
Fred Derry

Chris Hemsworth:

Tom Jones
Detective John Kimble (Kindergarten Cop)
Dr. Hugo Pine

Tom Holland:

Billy Elliot
Phillipe (The Fallen Idol)
Marty McFly

Bryan L. said...

Hhmmm...

2010s Back to the Future, directed by Paul King

Marty McFly: Tom Holland
Dr. Emmett Brown: John C. Reilly
Lorraine: Analeigh Tipton
Biff: Blake Jenner
George McFly: Johnny Simmons

2010s North by Northwest, directed by Christopher McQuarrie

Roger Thornhill: Tom Cruise (for McQuarrie of course)
Eve Kendall: Emma Stone
Phillip vandamm: Tom Hiddleston
The Professor: JK Simmons
Leonard: Jack Reynor

2010s The Three Faces of Eve, directed by Cary Fukunaga
Eve White/Black, Jane: Elizabeth Olsen
Dr. Luther: Josh Brolin

I did a 2010s Broadcast News once but I'll post it again

Directed by Craig Gillespie

Tom Grunick: Chris Evans
Aaron Altman: Jordan Peele (Thanks Louis!)
Jane Craig: Brie Larson, though you can't go wrong with any of the Stone/Lawrence/Vikander crowd

RatedRStar said...

Calvin:
1) The Wolf of Wall Street
2) Her
3) 12 Years a Slave
4) Blue is the Warmest Color
5) Dallas Buyers Club
6) Ain't Them Bodies Saints
7) Mud
8) Short Term 12
9) The Grandmaster
10) Snowpiercer

Bryan L. said...

2010s The Best Years of Our Lives, directed by Jeff Nichols

Al Stephenson: Kyle Chandler
Peggy: Amanda Seyfried
Milly: Amy Adams
Fred Derry: Sebastian Stan
Marie: Margot Robbie

2010s Tom Jones, directed by Taika Waititi

Tom Jones: Chris Hemsworth
Sophie Western: Lily James
Squire Western: Jared Harris
Blifil: Nicholas Hoult
Miss Western: Judi Dench
Squire Allworthy: Mark Rylance

Luke Higham said...

Louis: Have you seen any 2019 releases lately.

Tahmeed Chowdhury said...

Louis: Your thoughts on this scene from the 13th season of It's Always Sunny in Philadelphia:
https://youtu.be/SPG4eD4Dfx0

Bryan L. said...

Luke: Your thoughts on Peter Capaldi as an actor?

Bryan L. said...

Louis: Your thoughts on those aforementioned casts? Sans Broadcast News.

Calvin Law said...

2010s The Elephant Man directed by Yorgos Lanthimos
John Merrick: Ben Whishaw
Dr Treves: Tom Hiddleston
Madge Kendal: Emily Mortimer
Carr-Gomm: Stephen Dillane
Mrs Mothershead: Olivia Colman
Mr Bytes: Michael Smiley

Perfect cast and possibly great choice for director if I may say so myself ;)

Bryan L. said...

Calvin: That I'd like to see, though Louis chose Paul Bettany as Merrick I believe.

Calvin Law said...

Bryan: Bettany would be an even better choice.

Luke Higham said...

Bryan: I think he's a really good actor who's been rather great to fantastic in the major roles I've seen him in whether it's Malcolm Tucker, Charles I (The Devil's Whore, 2nd best portrayal after Guinness) or as The Doctor.

Looking forward to him working with Iannucci again.

Bryan L. said...

Luke: Him and Iannucci are quite the duo. And it seems like his character in David Copperfield will be like an optimistic Malcolm Tucker, which I'm looking forward to seeing.

Luke Higham said...

Louis: Your thoughts on The Dead Don't Die trailer.

Calvin Law said...

Didn’t like that trailer personally...though I feel it might just have been a weirdly cut trailer for purposes of making it more ‘accessible’. I do have faith in Jarmusch though, and Driver did crack me up a couple of times.

Calvin Law said...

So I finally saw Gotti and wow.

Bryan L. said...

Calvin: That bad?

RatedRStar said...

Big news for everyone on the legendary Oscar blog.

Congratulations to our very own Michael McCarthy for becoming an official cast member for Saturday Night Live during its 45th season airing in the fall of 2019 =D. Well Done Michael.

Luke Higham said...

Congrats Michael. :)

ruthiehenshallfan99 said...

Louis: Thoughts and ratings for the cast of Goonies

Michael McCarthy said...

...I think I’ve gotten a bit too good at April Fool’s jokes.

RatedRStar said...

Michael: Ok you did get me there lol its because of the reactions from everyone on FB, thought it was genuine haha.

Calvin Law said...

Honestly that was the only April Fool’s joke that truly got me.

Bryan L. said...

Nice try Michael, but I know that SNL hires their new cast members during the summer :)

Although if it's your dream to be on that show, then best of luck!

Anyways, anyone here get their Avengers: Endgame tickets yet? :o

Louis Morgan said...

Luke:

No, I have not.

Tahmeed:

A scene that I suppose makes sense given Mac's physique, and I guess shall go beyond just that single joke in the first episode. It's a marvelous bit as it so intensely frankly gives itself to the idea, as comical as it is in theory, but delivered with the utmost earnestness that it frankly works on that level as well.

Back to the Future:

Fine choices, though perhaps a bit more of a goon for Biff, though I do like Jenner.

North By Northwest:

All works, though I think, one again, Nicholas Hoult would be a better fit for Leonard who needs a bit more of an erudite bent.

Three Faces:

Brolin seems right.

Best Years:

Fine choices all.

Tom Jones:

All great choices.

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