Wednesday 24 April 2019

Alternate Best Actor 2013: Masaharu Fukuyama in Like Father, Like Son

Masaharu Fukuyama did not receive an Oscar nomination for portraying Ryōta Nonomiya in Like Father, Like Son.

Like Father, Like Son is a terrific film that follows a wealthy couple as they learn that their son was switched at birth, and must contemplate switching him with their biological son.

Masaharu Fukuyama has a very difficult role here as it is not nearly as straight forward as one might expect just from the brief synopsis I provided above. This is as the film itself takes a very naturalistic approach to the story, despite the potentially melodramatic central element. The film takes a very calm and very honest approach, that is evident right within Fukuyama's performance as a Ryōta. This is as we see him interact with his wife and apparent son as they live their life. Ryōta spending much of his time working, in fact far more time than with his wife and son. I love that Fukuyama portrays this without stereotype within the idea of such a man, though while wholly fulfilling the reality of such a man. In that we see him in his life and there is not an excessive unhappiness. Instead Fukuyama portrays a contentment within Ryōta's life, not a fulfilling contentment perhaps, but there is no sense of loss or desperation within this. Fukuyama rather portrays a man just naturally living his life, which for him means spending very little time with his actual family. Fukuyama is effective though by doing so in such a believable way by also accentuating a natural decency within the man, by simply never turning this into a one-dimensional caricature of the stern businessman.

Fukuyama is great in that he realizes so naturally what should seem like artifice, however Fukuyama finds the truth of the matter given that the man's experience has crafted him in this traditional expectation. This is as his physical performance, and general manner carries the weight of expectation so well. He doesn't overplay but finds the right authentic stilted quality in the man caused by this overt formality as required to be a proper man that has been gilded within him. Again, Fukuyama still shows the general sense of an affection with his wife and son, though always with a certain level of disconnectedness. This is as his eyes often drift as though he is looking elsewhere and seems tethered to some other requirement of life. Fukuyama is terrific in the way he shows a certain type of coldness that isn't intense, but still notable. Fukuyama portrays well as this assumed burden int he way the man so carefully speaks his emotions and always presents his strongest drive within his professionalism as opposed to his family. Fukuyama does a fantastic job of finding such a humanity within essentially the realization of a man. Fukuyama does not bring us some standard stiff Japanese businessman, but rather shows us a real man, who happens to technically be a stiff Japanese businessman.

Things must change a bit though when Ryōta is faced with a different reality for himself and his wife Midori (Machiko Onon), when they discover their son is technically not their own. In fact, their son technically belongs to the people who have been raising their biological son. The couple being a rather affable and outgoing pair named the Saiki family (the apparently always delightful Lily Franky and Yoko Maki). Fukuyama is essential in a fascinating way in these series of scenes where the couples meet, try to come with a solution, and deal with the strangeness of the situation. This is as Fukuyama's work, though certainly the central focus, is often of the observer. This falls right in the man's life where family has come second, and now he is forced a bit more interaction. Fukuyama is marvelous in creating certainly the sense of discomfort in these moments particularly as he sees the contrast in his parenting style to the far more engaged Saiki's. Fukuyama is amazing though as in his subtle glances he is able to convey an uncertainty in observation, of a man trying to determine his own thoughts, both as this state of being critical towards what he is seeing while also being unable to processes it within himself. Fukuyama creates this essential conflict within the man that so importantly defines Ryōta's journey.

Fukuyama again is great at portraying the complexity of the situation within the mind of Ryōta as it is not this simple thing. As there are these moments of this unease alluding to a discomfort within his own distance. These then though are followed by statements of cruelty such as when he criticizes his "adopted" son's lack of ambition or suggests, by virtue of his financial circumstances, that he takes all of the Saiki children. Fukuyama's delivery of these moments is great as he makes them feel so honest, even as he does not portray Ryōta as some evil man. Fukuyama though finds so effectively this formality in this delivery of a moment as it represents a man who has learned a certain expectation. This being a certain expectation of success as painted even in parenthood, which is more financially oriented that emotionally so. Fukuyama again makes this a natural reaction within the learned state of the man. Fukuyama making this almost required. This is supplemented though through the real humanity, so quietly portrayed, minimally but not mute, as the man contemplates this situation. This in seeing the loving family but also dealing with the cruelty that they learn had been purposefully inflicted upon them by a nurse. Fukuyama shows that at every point it is not a hollow thought within the man, as his eyes show the real concerns within Ryōta even as he is unsure if to express them.

Ryōta coldly chooses to switch children. This of course goes as well as to be expected as their son, accustomed to the ever-present father, reacts poorly to Ryōta's parenting style. Fukuyama's performance though is excellent in these moments as he is able to express the difficulty of the situation, that we see him attempt to apply his business approach, though this falls away by the boy's reactions. Fukuyama's small concession are made so authentic by making the fall of the business this reversion to that humanity that has never been absent, yet only hesitated to express. Fukuyama in these moments still shows this to be quiet, yet the small loss of the more reserved attitude brings such a power to it as the man tries to provide a more open affection. This is only a small realization though as he comes across more directly his failings towards the son he raised, first in visual proof via pictures the boy took of his "father", always sleeping. Fukuyama is heartbreaking in his reaction that is so expressive. It is an anguish that is defined by the real affection he did have for his son that he failed to show when he had him. This is followed by when the families reunite again though Ryōta's raised son runs from him. Fukuyama is outstanding in the scene of talking his son back to him. This is as he so powerfully loses any of that professional distance. He doesn't overplay it, as his words are still quiet, yet the love is expressed so deeply in his eyes and still within his voice as he now directly speaks to his son like a father should. I loved this performance as Fukuyama offers such an atypical journey. This is as this character typically would be a villain, and the film would probably be about Lily Franky's character. We are granted a different perspective though and through that Fukuyama offers a most poignant and human portrait of a man coming to terms with his life and family.

124 comments:

Anonymous said...

Louis: your cast for a 70’s version of Mandy?

Charles H said...

This performance somehow reminds me of Mikkelsen in The Hunt & Trintignant in Amour because it's such an emotionally genuine performance without a hint of acting. So happy about his 5.

Emi Grant said...

Louis: Thoughts and ratings on the rest of the cast? (Though, I assume you're saving Franky for the moment).

Also, what are your thoughts on A Taxi Driver's screenplay and direction?

Calvin Law said...

Hell yeah! Can I have your thoughts on the screenplay, direction and cinematography to this? I thought it was just immaculately written and the direction was so good in all regards in just capturing a real vibrancy even in the most low-key encounter. And that scene on the train with mother and son going home is just beautifully shot.

Calvin Law said...

Also heaven forbid they do a remake but this is the exact sort of Ryan Gosling role for this film.

Calvin Law said...

Also special mention: Yoko Maki’s sweet winks. She and Franky should do a buddy comedy some time.

Emi Grant said...

Calvin: Who would you pick for Lily Franky's role if they remade it?

Calvin Law said...

Emi: Once again, god forbid they do one. But having seen Eighth Grade, Josh Hamilton.

Emi Grant said...

Calvin: I could see that working. It'd be really interesting to see some of the scenes with Hamilton and Gosling, though.

Calvin Law said...

Emi: You know if it wasn’t a direct remake, I could see it working. But probably would want a different approach.

Charles H said...

I'm starting to wonder if any other Kore-eda film performances will be reviewed on this blog. His films probably have a lot of hidden gems.

Anonymous said...

Louis: Thoughts on Blindspotting and 12 Years a Slave direction and screenplay?

Luke Higham said...

Very happy with this review and rating.

Charles: I have Yūya Yagira in Nobody Knows for 2004 Lead. He won Cannes that year and Lily Franky in Shoplifters.

Luke Higham said...

Louis: Are you able to give thoughts on Us & Nyong'o and Duke's performances.

Luke Higham said...

Charles: I've read that Kirin Kiki is the acting MVP of Still Walking and After The Storm.

Calvin Law said...

Endgame was HUGE. As in like I genuinely think I shouldn’t say a single thing about it except that it matched my expectations with slight nitpicks which ultimately didn’t matter. Only ratings for now.

Ruffalo: 3.5
Hemsworth: 4
Johansson: 4
Renner: 4
Cheadle: 3.5
Rudd: 4/4.5
Gillan: 4
Cooper: 4

Leaving off a few because I don’t want to spoil expectations/cool cameos/need to give a bit more thought. I will say too that the MVPs are who you’d expect them to be I just need to give some thought.

Gus B. said...

Very happy with this review. Keita Ninomiya delivers which is quite likely my favorite child actor performance ever.

About his other films: Still Walking, in particular, a movie that has an even lower key approach than this one, has terrific performances across the board (Kiki is amazing, as always, but I wouldn't say she's the MVP there - she is, for me, in Shoplifters and After the Storm). Air Doll, performance wise, is really worth watching for Donna Bae. As is Our Little Sister for Suzu Hirose.

But, really, overall, I can't remember a single uninspired performance in any of his films.

Bryan L. said...

Calvin: Thank you for leaving off several players in the Endgame cast.

Bryan L. said...

Who else watching Endgame tonight?!

Luke Higham said...

Bryan: I'm seeing it in 2 hours.

Mitchell Murray said...

Calvin: A 4 for Johansson, eh.. I'm guessing the hinted scene between her and Renner contributes to that, somewhat? Though of course, I'll have to see the movie to be sure.

Also, I finished watching the best actress line up of 2010, officially concluding the century for myself. My ranking would be as followed:

1) Williams
2) Lawrence
3) Portman
4) Kidman
5) Bening

And just for the heck of it, I'll also put up my top 10 and bottom 10 for the overall ranking;

1) Saorise Ronan (Brooklyn)
2) Marion Cotillard (Two Days, One Night)
3) Frances McDormand (Three Billboards Outside Ebbing, Missouri)*
4) Margot Robbie (I, Tonya)
5) Rooney Mara (The Girl with the Dragon Tattoo)
6) Sally Hawkins (The Shape of Water)
7) Charlize Theron (Monster)*
8) Marion Cotillard (La Vie en Rose)*
9) Sissy Spacek (In the Bedroom)
10) Emma Stone (La La Land)*
.......
.......
86) Ellen Page (Juno)
87) Michelle Williams (My Week with Marilyn)
88) Samantha Morton (In America)
89) Sandra Bullock (The Blind Side)*
90) Halle Berry (Monster's Ball)*
91) Reese Witherspoon (Walk the Line)*
92) Glenn Close (Albert Nobbs)
93) Diane Keaton (Something's Gotta Give)
94) Julia Roberts (Erin Brockovich)*
95) Hilary Swank (Million Dollar Baby)*

Emi Grant said...

Mitchell: Your thoughts and ratings on Portman, Williams and Lawrence?

I'm surprised Ronan is your win for the century. Could we know what made her you win over Cotillard or McDormand?

Luke Higham said...

Saw Endgame, Loved it. Shall say no more.

I'm not giving ratings just yet since I'd rather wait until most of the readers here get to see it and feel the need to see it a 2nd time someday soon.

Charles H said...

Luke: I agree about Yagira & Franky being reviewed as they're both amazing. I haven't seen anything else from Kore-eda yet but it seems like every one of his films might have something to offer.

Luke Higham said...

Charles: Would you say he's today's Yasujirō Ozu.

Bryan L. said...

Ronans my Best Actress win for 2015, though I do like Theron in MMFR a great deal.

Luke: Thank you for waiting a bit on the ratings. I'm watching it at 7 PM in my area.

Luke Higham said...

Bryan: I will say there's a decent chance we could get a supporting review for one of the main players but we have a long way to go.

Mitchell Murray said...

Emi:

Williams - 5 (A great performance, but also a rather atypical one when compared to many nominated turns and/or roles. I say this as Williams really doesn't have any scenes here that provide an obvious "oscar clip", so to speak. The impact of her work is instead created by the combination of every little moment, as opposed to a few stand out sequences. Even beyond that, however, Williams plays to her very best strengths, here, in delivering an incredibly genuine and authentic portrayal of an unfulfilled wife. Her ability to juxtapose the past and present of Cindy's relationship, while still maintaining a consistent character, is particularly impressive. In her scenes as the young Cindy, Williams grants such an earnesty in the part, never in an overbearing sense given her downtrodden setting, yet still with a noticeable ambition all the same. She does an equally strong job of reflecting her struggling marriage later on, through the increasing bitterness and detachment she plays Cindy with, but again, never in a completely cold manner. Of course I'd be remiss if I didn't mention Williams' chemistry with Ryan Gosling, whose also turns in one of his finest performances. They absolutely sell the complex dynamic between Cindy and Dean - in their charming, intimate banter, and the volatile arguments they later have. Neither performer simplifies these exchanges in any way, though, resulting in some especially moving scenes for both Williams and Gosling. In terms of the former, she never hits a false note, and allows Cindy to be a memorable character with what might be her finest leading performance.)

Lawrence - 5 (Her best performance by a considerable margin, and one that I think reinforces the faults of her later work to some degree. For starters, it is quite refreshing to see Lawrence playing a character near her own age, which is immediately distinct from the majority of her roles. Also, despite having a clear energy as a performer, as shown in her collaborations with David O. Russell, I must admit to liking Lawrence's minimalist approach in this film a lot more. She never confuses this for blandness, though, and instead finds the appropriate steeliness in Ree's attitude, while still suggesting her insecurities all the same. Within a very bleak and understated film, Lawrence makes for a strong emotional anchor throughout, effectively capturing the stories tone and realizing a true character every chance she gets. The moments she does portray more overt emotion are also handled exceptionally well, and never come across as hysterical like some of her weakest acting. Overall Lawrence honestly shines in this performance as you can see the mainstream star she currently is, but also the capable actress that's often neglected or mislead in that image. It's not a showy performance in any meaning of the word, but it is a complete and multifaceted performance by Ms. Lawrence.)

Anonymous said...

Louis: Your thoughts on the production design, costume design and cinematography of The Grand Budapest Hotel.

Mitchell Murray said...

Portman - 4.5 (Portman's two leading nominations are quite interesting, because while "Jackie" forced her to really internalize her performance, "Black Swan" is more in line with the extreme emotion she's often known for. Although I admittedly wasn't expecting much from the movie or its leading actress, I will say Portman's performance worked much better than I originally predicted. I found her to be surprisingly convincing as she effectively conveyed Nina's physical and mental deterioration, and even handled most of her "big" moments believably. She makes Nina's arc fairly notable in that Portman reveals the growing darkness in the woman, but also the even tempered person struggling to deal with her situation. The reactionary moments Aronofsky trusts her with are where this performance excels, though; Portman is on point in every heightened scenario as she creates the right disorientation in Nina, and delivers the needed fear and anger when she's required to do so. If I was to quibble slightly, I would say Portman has some scenes early on where she's a little telegraphed, but even those serve the purposes of her character decently. For the most part, this is a strong turn from Portman and one that I ended up liking much more than I first suspected.)

It's fair to say that I've fallen head over heals with Ronan's "Brooklyn" performance, as I seen the film a couple times now, and every time I found her to be utterly enchanting and poignant. I guess the chief reason for this would be the ease and luminosity Ronan grants her character, as well as her ability to realize Ellis' narrative growth so beautifully, and make even the smallest moments stand out in there own regard. To say that she is my best actress winner of the century, though, in no way undermines the excellent work of the other top contenders - even everyone in the top 20, to be honest.

Charles H said...

Luke: His style is somewhat similar to Ozu with the approach he takes to his stories. Although i've only seen 3 of his films i won't hesitate to so yes to that question & that he's probably the best director in Japan today.

Luke Higham said...

I hope it won't be a very long wait for Pegg's review.

Louis: See any 2019 releases lately.

Matt Mustin said...

Luke: Pegg might be last.

Calvin Law said...

I’m fine with Louis taking his time. This is gonna be one busy weekend for him with Avengers and GOT.

Robert MacFarlane said...

Saw Endgame. It’s good. I get the appeal. Not really my thing. Great acting, though.

Louis Morgan said...

Will get to all requested thoughts soon.

Saw Endgame, really enjoyed it, have a lot of thoughts, but those and any ratings need to wait obviously.

Emi Grant said...

Mitchell: I'm so glad you ended up liking Portman. I didn't want to be alone here as a fan of her performance. What did you make of Black Swan itself?

Mitchell Murray said...

Emi: I enjoyed the movie well enough. It's definitely more "Requiem for a Dream" than "The Wrestler" as far as Aronofsky is concerned, but thankfully has a much greater focus and craft than his recent misfire "Mother!". In terms of the secondary cast, Mila Kunis and Barbara Hershey were fine, but I don't understand the supporting actress buzz that came from either, frankly.

Also, on two separate notes, 1) I wasn't aware the movie or Portman's performance was especially divisive on this blog, and 2) It will probably be a little bit before I see Endgame, but you guys have at it if you wish to discuss the film.

Matt Mustin said...

Louis: Could the ratings themselves be considered spoilers, or are you just not sure of what you'd give everyone?

Bryan L. said...

Louis: Actually, can you go ahead and postpone your thoughts on Season 2 of Barry that I requested? I really don't mind, and it seems that we're just now entering the "meat" of the season anyway. Plus, as Calvin mentioned, there'll be plenty to discuss regarding Endgame and GOT.

Bryan L. said...

Oh right, I saw Endgame as well. Liked it a great deal and it delivered, though mum is the word for now.

Charles H said...

Endgame was great, i was very surprised with Rudd's performance the most.

Luke Higham said...

Calvin: Not forgetting Fosse/Verdon and Barry.

Tahmeed Chowdhury said...

Louis: Have you seen Cobra Kai Season 2? If you have, I'd like to know your brief thoughts on the overall season (and that last episode in particular) , and your thoughts on these performances:
William Zabka
Martin Kove
Xolo Mariduena
Jacob Bertrand
Peyton List


Luke Higham said...

Aside from Michael, who else has yet to watch Avengers Endgame.

Tahmeed Chowdhury said...

Luke: Won't see it for a very, very long time lol. But it's fine, I've already been spoiled, so I don't mind all of you discussing it.

Emi Grant said...

Luke: I will watch it today around 4pm.

Bryan L. said...

Tahmeed: Someone spoiled it for you? Damn. My condolences, fellow reader :/

Mitchell Murray said...

To answer Luke's question, I still haven't seen End Game, and I'm not sure I'll be able to soon unless I can fit it in next week. It hasn't been spoiled for me as of yet, but again, to those who have viewed already, feel free to discuss it at your leisure.

Matt Mustin said...

I haven't seen it yet, but I'm fine with people at least posting ratings. Not much more than that.

Luke Higham said...

My top 6 would be:
1. Downey Jr.
2. Evans
3. Rudd
4. Renner/Hemsworth
6. Brolin

Mitchell Murray said...

On second thought, I'll actually second Matt's comment.

On that note, if you don't mind me asking Calvin, why is Johansson a 4 for you? If it involves some crucial spoilers then forget I asked, but otherwise I am curious as it would seem to suggest this is her finest outing as Black Widow.

Calvin Law said...

My top 5 would be:

Evans/Downey Jr.
Rudd
Johansson
Hemsworth/Gillan

Honestly though the whole cast was super on point.

Calvin Law said...

Mitchell: I’d rather not say.

Mitchell Murray said...

Calvin: Gotcha.

Bryan L. said...

I agree with Calvin. I don't think there were any weak links in the cast of Endgame. Though again, further details will have to wait.

Emi Grant said...

Just came back. Have to agree with everyone. Though I'd rank Renner slightly higher personally.

Louis Morgan said...

Anonymous:

Mandy 1970's:

Red: Warren Oates
Mandy: Natalie Wood
Jeremiah Sand: Marlon Brando
Caruthers: Scatman Crothers
The Chemist: Dennis Weaver

Emi Grant:

Ono - 4(Her performance has less of a focus, because she has less of an arc, however she's very good in bringing that same reality to the situation. This in creating the right relationship as well with her onscreen husband, in that you get the sense of some old affections as the dutiful wife, though with the distance that it has become somewhat perfunctory at this point. Her work brings a consistent honesty, and is especially effective in the parenting where she conveys a greater understanding to the kids though in a more understated way.)

Maki - 4(She's very good in complementing Franky's work as the also outgoing portrayal of the loving mother who is far more ready to openly speak her mind as well. Again the key to the performance though is just how wholly genuine every second of her work is. There is not a hint of artifice, just a genuine reality in creating the supportive mother, but also in reflecting the fierce frustrations when reflecting upon the situation forced upon them.)

Nonomiya - 4(A lot of his performance is just being a little boy, which he does well. He's terrific though in finding the moments that are more within the boy particularly in regards to this pivotal scenes with Fukuyama. He brings the discontent of the child so quietly yet so powerfully, as well as the moments of awkwardness from that distance. It is fantastic work as every moment has such an honest realization of the child's perspective with so much being conveyed in his reactions throughout the film.)

Louis Morgan said...

Taxi Driver's screenplay is patient zero of Paul Schrader's men on the razor's edge character portraits. This perhaps being the dirtiest and angriest of them, as Schrader wrote it while in a bad spot. The screenplay is a microcosm of ravings against all the ills of the world rolled upon into one Travis Bickle. This actually got slightly downplayed in the finished film, where there are a few moments that offer a modicum of positive humanity. The screenplay though remains as a hate letter to society, and I would say fittingly is unfocused in a certain sense. This as the demented state of Travis, which is left ambiguous to its exact cause, we essentially see in fits and starts. There are a few things I won't hesitate in stating my lack of affection for, as I would actually the Betsy story line could be argued as somewhat inconsistent in this as Travis is able to not be normal, appear charming, just for him to get the date even though the rest time it is shown that this essentially impossible. That is an element I would say feels more of a mechanic, to lead to the possible political assassination, as well as create the unbelievable redemption finale, which has no implication of otherwise in the actual screenplay. The same is for the Sport/Iris scene which has no essential purpose. I do ponder if the film would've been better served if it never left Travis's perspective, since never is a truly required element. Having said that, I do think the screenplay has much to offer in its form, and as this portrait of decay of both a place and a man's mind. This in the idea of also the release of it, as potentially this villainous or heroic act, that changes merely based on the ease of committing it. The long passages of narration are a striking manifesto in themselves, as are the moments of "night life", strewn throughout that support Travis's worldview. I don't love the film, or screenplay, but the last thing I'd say is that it is disposable. Schrader's demented state, offers something that often requests notice, even if you perhaps don't feel you should grant it.

Of course what helps with that is Martin Scorsese's direction. This still in the period though of Scorsese working out his style in many ways, and does not have the strict precision and craftsmanship of his later, greater works. What Scorsese does weave is a striking nightmare, and strangely a dream, fitting to the creation of the state of the insomniac. Although the dream part of this was technically somewhat accidental, as that is found in Bernard Herrmann's score, which was not what Scorsese expected him to score. He used it however, and its use is one of the best choices within the film. This as it creates some melancholy rather than a strict depression. This is in contrast to the dark imagery of the streets, with the blunt use of the narration and the often isolating choices as Scorsese places us within Travis's perspective so often. This is an example of Scorsese trying out a lot though, particularly I'd say in the final shoot out, which was part invention part service to the sensor. In turn that scene is a mix of some brilliant touches, like the final tracking shot of Travis's carnage, and some dated in bad way ones, like the frame rate switching. I shouldn't diminish too much though as so much what Scorsese does is, is what a greater director should do, and that is amplify his material. The smallest touches, like how the camera lingers on the outside bystander as we take Travis's POV to try out a gun, or the uses of improvisation that beef up a scene, or make a scene in the instance of the mirror scene. Scorsese's take, is more impressive, than Schrader's own, and often adds something more there. Whether it be the final cut, or even just having the Taxi cab guy mention his own time in the marines. There is a vision there, that while not flawless, is that of a filmmaker destined to make great works of cinema.

Bryan L. said...

Louis: Your choice of director and cinematographer for that Mandy cast? And your reasons for Brando as Jeremiah? I actually had him pegged as Red but Jeremiah sounds WAY better.

Louis Morgan said...

Calvin:

The screenplay is such a delicate piece. In that the overall plot and so many of the setups would prime for a more obvious melodrama (a reason I wouldn't want to see an American remake, though yes this role would be prime for Gosling). The film just is written so well. Every interaction so honest and not made to be more or less than it is. It doesn't telegraph itself, as even the most emotional moments have this naturalism in the way they appear. Take the moment where Ryota recommends taking all the kids, that could've been some over the top moment for declarations and posturing. Instead Hirokazu Kore-eda's has it such a genuine reacts that is quick, yet effectively so, as is the resolution of it. This in the authenticity he grants to both families, that avoids broad caricatures, even though they technically fit a type. There is only this approach, that doesn't do the equally false thing, that some slice of life things can do, which is avoid any drama or intensity. The work finds such honest blend in that fashion, that is even realized in the central arc, that I already described, yet realized so well, with the needed complexity that earns its resolution.

Kore-eda's direction is equally essential, and brilliant here. This is again, the idea of such a tone can be abused quite frankly, and be used as an excuse for blandness/boring. That is not the case here where Kore-eda finds a real vibrancy within the ordinary, and knows when to push his hand, with some more overt direction. Take the final talk, with the separated fence, or the families picture scene. These are especially cathartic as Kore-eda distinguishes from the ordinary, as they are essential moments. Take also the courtroom scene with the major revelation, where instead any music stings, or extreme zooms, he makes its mark through just the still natural yet so striking act of focusing on everyone straightening up to listen closer to the testimony. Of course one should not hand wave, his realization of the "ordinary" moments, which he again does bring something special to, particularly in his overarching choices in giving this children's perspective in so many scenes. No scene, just is there, there so much said in his visual use, even in the smallest of the touches, whether it be two bitten straws, or a boy in the corner of a bath. Kore-eda is able to say so much, in just one small cue.

Speaking of visuals Like Father Like Son, has wonderful cinematography. The cinematography though is again another example of not using the ordinary as an excuse. Although the aesthetic does adhere to a strict reality, and achieves that, it also never wastes a single stunning bit of lighting, realized in this naturalism. Of course, perhaps even more notable, are the framing and composition of shots, that help to achieve many of those little moments I referred to in Kore-eda's direction. These being so dynamic, especially in terms of conveying the relationships of characters just through where they are placed within a shot.

Louis Morgan said...

Anonymous:

12 Years a Slave does not have a great screenplay. It very much is the bullet point version of Solomon's experience and doesn't attempt adhere a greater depth than that to the story. Although there is a definite power just by detailing the process in this way it doesn't go beyond it...much. We don't get enough of a sense of any real portion within what is written. What is Solomon's life like before his enslavement, you don't really know, and I think that does diminish the ending a bit. The most detailed portion is the "processing" scenes, but even they just hit a few points. I think this in part may create the lack of really the time of his experience. The cursory approach though is throughout, and again, not to the point of being bad, just missed opportunities in terms of the potential of the material. The hypocrisy of Ford, the toxic rot of the Epps, or even the humanity of Samuel Bass are all just blunt to the point, to a fault. Take even Solomon's personal journey, which is a testament to the greatness of Ejiofor's work, there is nothing to him other than he is persistent in his cause to find freedom. Take the singing scene for example, it certainly suggests some greater purpose, but isn't really realized by the writing. The screenplay does get the job done, the inherent power of the material isn't gone entirely from it, but a greater work certainly seemed possible.

Now McQueen's direction is mostly great, but I feel I should note a few things that one shouldn't let him off the hook for. One the opening, not evident in the screenplay, feels from McQueen's Shame or Hunger in terms of style, which theoretically could've even been a successful different version of 12 years a slave, but this is not that film overall. Also he saw Brad Pitt looking the way he does as Bass and said "Sure! Let's go with that". Past that though his work is on point in creating an especially vibrant depiction of every single horrific situation. It feels lived in, and McQueen's work can even find the depth in some circumstances by the power of his choices. The horrors of slavery, the attempted lynching scene in particular, are given such a remarkable depiction of inhumanity, though with this particularly eerie calm of it, as this every day reality that it was.

Tahmeed Chowdhury said...

Rest in peace Isao Takahata, director of the greatest animated film.

Matt Mustin said...

Tahmeed: He died last year.

Tahmeed Chowdhury said...

....damn my Facebook feed.

Álex Marqués said...

Did anyone see Under the Silver Lake?

Luke Higham said...

If had to guess, the supporting lineup is probably gonna be:
Siddiqui
Meaney
Nighy
Franky
Irons or Stanfield
Bonus:
Phoenix
Harris (Snowpiercer)

Emi Grant said...

Alex: I did a while ago. I'm intrigued to see someone else's take on it.

Calvin Law said...

Alex: Not shoeing anywhere near me I’m afraid. Went to see Endgame again today and my view on it has only strengthened.

Matt Mustin said...

I re-watched Iron Man 3 the other night and it improved all around for me. I'm gonna have to bump Downey up to a 4.5, just for the anxiety attack scenes alone.

Louis Morgan said...

Anonymous:

The production design of GBH is perhaps the film Wes Anderson had been waiting to make his whole life. This is as it is this final, most pure, realization of his vibrant twee style to the fullest extent. This does not disappoint in this sense as there is such marvelous nearly fantastical styling to the work of every bit of production design. Those cakes are only one of the most delicious looking things in the film as it is such a wonderful extravagance that is pure Anderson.

The costumes are a mere extension of this, which also evoke a generalized early 20th century period, but not a specific country or exact period. Again with this sort of near fantastical quality in terms of how bright and colorful every costume is. Of course again the real marvel of it is it manages to be so much, yet never too much. Every costume is a touch absurd, but only just the right touch that creates such a wonderfully distinct world.

The cinematography one could argue is perhaps the least impressive technical value among these, as this is not to diminish the work, but much of the vibrancy is already present in the costumes. This film though features the academy ratio and we are treated to a microcosm of Anderson's visual style of the symmetrical. I shouldn't be too sniffy as it does achieve Anderson's style once again well, and the lighting, well in a way more muted, successfully does not hide those costumes or the production design. We get the trademark hits, such as the zooms, the cramped characters, the single object in the center of a frame, and all of it is well realized, even if it is not the single element that stands out.

Tahmeed:

I have. I enjoyed it. There isn't really much more to be said as I thought the season worked as just a natural progression, though I do hope they find a way to include Chozen sometime. I'll give them credit for being able to find a new structure based on the summer. I enjoyed more than anything the character interactions still which managed to be entertaining but also rich once again. I had special affection for the Johnny and his old crew episode which was surprisingly moving. The last episode was well done in terms of choreography and where it left all the character, which leaves plenty to be done in a third season. The one major event though in particular I have slight trepidation of as I actually hope they don't lean "too" much to the dramatic, as I think the comedic tone is essential for the series to work.

Don't have anything to really add to the repeats. Zabka is once again MVP who once again manages to be both hilarious and often finding so much poignancy in the part.

List - (I think her character got a little bit of a short shrift in that her motivation is a little too rushed I feel. Having said that I do think she managed to do an admirable job as the "bad girl" in the role. In that she doesn't overplay it. This as she does manage to find enough nuance within her few sympathetic moments, and even manages to convey somewhat the signs of desperation. Again I think more could've potentially done with the role, but it's a decent turn.)

Kove - (His performance could've been potentially concerning, as even though I enjoy his work in the original films it isn't particularly complex. Kove once again brings that Kreese goodness in his big speech moments and his evil stares. He goes further with the role however. He's terrific in his moments sort of outside the dojo where we see the real desperation of the man where Kove manages to find a certain believable sympathy for such a hateful character. Kove successfully bridges the gap though as he offers this sympathy but in a way that still maintains the general evil of the character, that still is once again rather entertaining.)

Bryan:

John Carpenter & Dean Cundey. Well Brando doesn't exactly strike me as lumberjack, especially not 70's Brando. A proper cult leader though for sure, a more comedic take on Kurtz.

Anonymous said...

Louis: Thoughts on Blindspotting direction and screenplay?

Luke Higham said...

Could you give thoughts on Game Of Thrones tomorrow.

Bryan L. said...

Louis: Hhmmm...I too think he EASILY could've pulled off the "grandeur" delusions of Jeremiah, however I'm honestly having trouble picturing 70s Brando saying "I'll blow you maannnn", since comedy isn't what comes to mind when one mentions Brando.

How about Harry Dean Stanton instead?

Matt Mustin said...

It's weird to say this considering the type of character that Jeremiah is, but I feel like Brando would just go way too far in the wrong direction. Roache really was brilliant, because he was walking a razor thin tightrope and never fell off once.

Bryan L. said...

Matt: Your second sentence is the exact reason why he's my Supporting win for 2018. Every scene of his is gold. I wish he got recognized a bit more, though I'm still glad that Cage got positive buzz for once though.

Robert MacFarlane said...

Okay, so:

Objectively the episode isn’t even in the same ballpark as Battle of the Bastards and I should complain about the lighting and plot armor.

But THAT ENDING. Screw it, that was MY Endgame-level fanservice. I was screaming.

Matt Mustin said...

Robert: Do you mean lighting in terms of cinematography? Because that's always a problem for me with that show.

Luke Higham said...

Louis: Your Episode MVP.

The lighting's doing my head in right now.

Luke Higham said...

The Long Night was amazing up until the ending which was a huge letdown.

Lezlie said...

Hey all!

About GoT, this is gonna be long.


Things I liked/loved:


Melisandre manifesting out of the night that's dark and full of terrors, and stepping up with all that fire magic! And "retiring" herself at the end.

The Dothraki going all Leeroy Jenkins on the zombies and then seeing their fires go out in mere seconds looked great.

Sam and the Hound having realistic reactions and shitting themselves/PTSD-ing.

Arya in the library was a great horror scene.

Theon going out like a fucking boss, as a true son of Winterfell, and as a good man. Thank you, Alfie Allen. I never thought during his first few appearances in S1 that he was gonna be one of the top actors and have probably the best character arc in the whole show.

Daenerys' tearful mourning of Jorah was really sad, and while I'm usually not the bigges fan of Emilia Clarke's acting, that moment was very real and great from her.


Lezlie said...

And now for the things I didn't like.


I know it was night and cloudy and all, but sometimes I couldn't see shit besides random flailing.

Ghost showing up and then getting whacked by the CGI budget limitations. Is he dead or not?

I may get murdered for this, but...Lyanna fucking fanservice Mormont. For me, she was one of the most overhyped, in-your-face unrealistic character in the show. I didn't hate her, but never cared for her and she did annoy me sometimes. I actually got a little sad because I legit thought she was gonna be chewed up by the giant, which would have been a pretty horrid death, but then, of fucking course, she goes out in the most corny, cringeworthy bullshit heroic style, the fanservice side character she is. Just, ugh.

And now on to the whole Night King story...

What was actually the point of any of that? At first I thought they were gonna lose Winterfell and have to retreat or something like that, but as the battle was basically lost and Mel's wink-wink prophecizing to Arya, I knew it was gonna end this episode. Which is a bit frustrating, because you have this huge, apocalyptic clash between the dead and the living, which the show has slowly but steadily built towards since the very fist scene...and then it's over in one episode and 3 more left for politicking and Arch Villain Cersei and her mercenary army led by a guy whose name sounds like he's a racist cop from L.A.?

I think part of my disappointment comes from the last few years' popcultural "meta" and the increasingly complex characters and storylines across different TV shows and other mainstream media. Where the viewers on the internet scrutinize every frame of every episode, churn out more fan theorys than there's official stories and everything and everyone has a backstory. Was I expecting too much? Possibly. It has been spelled out before; the Night King was a weapon of mass destruction against humans created by the Children of the Forest, which has gone rogue. And we knew, he wanted to wipe out humanity. But still, I wanted something more. Probably because in the land of great and complex villains, a big baddie that essentially boils down to "he's evil because the Children oopsie-doopsied him like this" is pretty damn underwhelming.

The other part to this story: Bran. The writers and the showrunners really did him dirty, didn't they? This whole time, there were two great supposed foils to the NK: Jon, the opposing general, and Bran, the opposing wanker with magical powers. I legit thought that since nothing seems to work against the NK, Bran was gonna do something that would turn the tide. They had this cat-and-mouse dynamic for a few seasons now. I thought there was maybe gonna be some more insight into the NK's story, or Bran's higher purpose. But in the end, it turns out Bran is really just the internet in a wheel chair that's about as impactful in the fight against darkness as Little Sam down in the crypts.

Good thing Arya has her improbable super ninja skills and no previous history with the NK so he can be offed in a fanservicy, but for me, personally dissatisfying way. Seriously, if Bran knew that Arya with her like 2 years worth of unfinished training with the Faceless Men could save the day like this, he could have just suggested pooling their money and hire "Jaqen H'ghar" to come over to Westeros and single-handedly solve the NK problem in one afternoon.

With all that said... I liked the episode, but I wasn't truly satisfied. At least my favourite character, Varys, is still around. I was absolutely sure he was gonna get rekt down in the crypts.


Sorry for the novel-length post.

Luke Higham said...

Lezlie: Yeah, I was fully expecting the Night King to last a full season. The fact we didn't get a 1 on 1 fight between him and Jon after the years of buildup left a bitter taste in my mouth.

Luke Higham said...

Moving forward, I really hope that Gendry is Cersei's son theory is true.

Louis Morgan said...

Luke:

Well things I liked:

Theon's moments (other than specifically the stupid charge which was too cliched). Alfie Allen MVP.

Arya in the library.

Melisandre's moments.

The action you could actually see.

Things I was less thrilled about:

The Lighting. Visibility should never be sacrificed to this extent. I get you want to convey a blizzard, but too many moments were "yeah, I just can't see what's going on".

The crypt attack (didn't really have much of a point).

The use of Jaime, Brienne, Podrick, Tormund, Sam and Ghost (who apparently did survive at least). But just how long were all of them fighting off mono e mono with a horde?

The biggest issue though is that there wasn't a real narrative surprise to be found. Benioff and Weiss seem completely incapable of coming up with their own revelations, as they've yet to deliver a single one that had not be setup HEAVILY by Martin. This story line seems like there should have been at least one, especially in regards to the Night King and Bran's relationship (not necessarily Night Bran, but at least something). After all what was the point of Bran's visions? Why was he warging? Was it just to be bait? If that is the case...it is extremely disappointing.

In the end it comes back to what I wrote from the first episode, which is the series has changed to more overt fantasy spectacle. I was entertained by that here, but it's a shame the series couldn't maintain its complexity of old.

Lezlie said...

Louis:

Your observations are on point. I forgot to mention the crypt ambush in my overlong complain session. Exactly, what was the point of any of that? I guess to worry about even more characters, but I was worried anyway, with the bunch of likable but useless-in-combat people all in one spot just waiting helplessly. Also...long dead Stark ancestor skeletons just smashing through their goddamn sarcophaguses (sarcophagi?) like they were made out of paper? I know, magic zombies and such but come on.

Also, how in the shit did Sam and Davos (or pretty much anyone) survive the onslaught in the Winterfell courtyard, especially after Viserion crash lands in and barbecues everything?

Robert MacFarlane said...

I did find Arya’s victory to be a surprise, actually, and one that made sense the more I thought about it. Thematically she’s been the most intwined with death throughout the series, even beyond “not today”. This is the first time she’s killed to protect instead of revenge. This is how she finally beat death.

Michael McCarthy said...

While the episode was imperfect for sure, I don’t get why anyone is dissatisfied with Arya’s scene at the end. Jon fighting and defeating the Night King would have been the most predictable moment of the episode had it happened, this gave so much direction to Arya’s plot line from the past few seasons.

Lezlie said...

I didn't want Jon to defeat the NK. I wanted Bran to defeat the NK, or at least have a role in it. But unless there's some twist in the next 3 episodes, which I highly doubt, Bran's whole journey and becoming the 3 Eyed Raven has just been turned into an almost completely pointless slog.

Emi Grant said...

Louis: Which would you say are the best/most accurate portrayals of alcoholism in film and why?

Luke Higham said...

The Lost Weekend is right up there.

RatedRStar said...

RIP John Singleton

Luke Higham said...

RIP John Singleton

Emi Grant said...

R.I.P. John Singleton

Louis Morgan said...

I didn't at all mind that Arya was the one to take down the Night King. In fact I thought it worked naturally in terms of her arc throughout the show, and it was certainly an effective crowd pleasing moment. My reservation lied in that there was no extra layer to the Night King or Bran. Maybe there is something else to be seen with the latter still but I doubt it at this point.
















RIP John Singleton

Calvin Law said...

RIP John Singleton.

Louis: you ready to give Endgame ratings yet, or do you want to mull for awhile longer?

Louis Morgan said...

Calvin:

I can give em:

Saving Evans and Downey.

Ruffalo - 3.5
Hemsworth - 4
Johansson - 4
Renner - 4
Cheadle - 3 (Most he's gotten to do, but still too little)
Rudd - 4
Larson - 2.5
Gillan - 4
Cooper - 3.5
Brolin - 3.5
Paltrow - 3.5

Calvin Law said...

Ruffalo - 3.5
Hemsworth - 4
Johansson - 4.5
Renner - 4
Cheadle - 3.5
Rudd - 4.5
Larson - 3
Gillan - 4
Cooper - 4
Brolin - 3.5
Paltrow - 3.5

Calvin Law said...

I still wanna give Evans and Downey Jr. more thought though at the moment, definitely co-MVP’s.

Matt Mustin said...

I'm seeing Endgame on Wednesday, so I can give ratings then if people want.

Matt Mustin said...

RIP John Singleton. Damn shame.

Bryan L. said...

RIP John Singleton

Charles H said...

RIP John Singleton

Bryan L. said...

Louis: Your 90s choices for Captain Marvel, Ant-Man, Hawkeye, and Pepper Potts?

Bryan L. said...

Just noticed that Johansson's 4 is the highest rating Louis has given her.

Also, if anyone's interested, Calvin just wrote a retrospective look about the MCU.

Michael McCarthy said...

Saw Endgame for the second time tonight. Here’s how I would rank the main cast:

1. Downey - 5
2. Renner - 4.5
3. Johansson - 4.5
4. Evans - 4/4.5
5. Hemsworth - 4
6. Gillan - 4
7. Rudd - 4
8. Ruffalo - 3.5
9. Cooper - 3/3.5
10. Cheadle - 3

Michael McCarthy said...

Also did ANYONE WATCH THE LATEST EPISODE OF BARRY? Seriously, I want to see Bill Hader break into directing feature films after what he did with this episode.

Luke Higham said...

I really hope Downey gets reviewed this time.

Calvin Law said...

Like: same.

Luke Higham said...

Louis: Would you be able to give thoughts on Endgame or are you waiting a little while longer.

Same with the cast if you're able to.

Anonymous said...

Louis: Your thoughts on the cinematography of 1984 and Sid and Nancy.

Tahmeed Chowdhury said...

Louis: Your thoughts on the following scenes from GOT:
Jaime knighting Brienne
Jorah's demise (and Daenerys's reaction)

Luke Higham said...

Louis: Your thoughts on 'Jenny Of Oldstones'.

Luke Higham said...

Louis: Could I also have your thoughts on this scene from Season 3.

youtube.com/watch?v=7who4CaKl14

Bryan L. said...

Chung-hoon Chung (IT, The Handmaiden) is doing the cinematography for Edgar Wrights next film.

Louis Morgan said...

Emi Grant:

The Lost Weekend
Days of Wine and Roses
Leaving Las Vegas

Luke:

Rather a wait a bit longer on that.

Anonymous:

1984 was only Roger Deakins's second film as a cinematographer, but that hardly matters as his greatness was already quite evident. As is typically the case with Deakins his work pushes any filmmaker to greater visual heights, as even though Il Positino is not a poorly shot film by any measure, one can see the mark of Deakins in the work here. The film is incredible looking as it is an absolute gorgeous yet still wholly bleak film. What he achieves then is something wholly remarkable in the way he is able to provide this contrast between the white of faces against their drab dress, that creates this vibrancy of despair that is stunning. In typical Deakins form though his lighting is only part of this, as his camerawork is incredible in granting a distant drifting melancholy in the movements that almost evoke a propagandist documentary. The composition and framing of shots though is outstanding in the way it grants both intimacy and alienation. No person bleeds together in a given shot, however everyone has this hollow separation, aided again by his lighting that bleeds the clothing together to create such a powerful tapestry.

Sid and Nancy is another testament to Deakins's greatness, as again he excels with yet another filmmaker with Alex Cox. This time creating a brilliant grungy look, that again doesn't sacrifice a thing even with the focus not all being on a traditional beauty. Deakins once again finds a way that honors the choice but still does so in a way that is visually pleasing. As again everything is drab, yet his ability to still make the contrasts in the drab absolutely striking. The most notable in that being the my way sequence. Within this then though he provides epic, romantic, compositions for almost every shot, but with the palette and lighting choices making this skewed approach that is just right for the material.

Louis Morgan said...

Tahmeed:

Jaime knighting Brienne - (Another reason I wish we had gotten a better sense of their part in the battle, rather than just some shaky cam scenes and then both just swinging a sword with their back to a wall. Anyway though a wonderful scene however as just the characters coming together with a scene that works just as one character achieving an honor that was always deserved recognized by a character finding it again in the same moment. Beautifully done, bolstered by Coster-Waldau and Christie who say so much in every reaction to the moment and to each other.)

Friendtotheendzone - (All jokes aside it's a death that definitely worked for me in the episode, along with Theon's, as it felt like a natural conclusion to the character, with a heroic, but not over the top end. I actually liked the simplicity of the lack of words and just rested in Daenery's reaction, where Clarke's wholly delivered in conveying the loss of a friend of so long.)

Luke:

Jenny of Oldstones - (Love me a good pseudo medieval ballad, and beautiful rendition of pure unfiltered melancholy, properly fitted with a gentle melody. I think they perhaps could've been a touch more creative with the chorus, but nonetheless a powerful piece on its own.)

Probably one of my favorite pure acting sequences with Charles Dance at the top of his form. This bringing of course that dominant dynamic pragmatic power as always. Love that Tywin's specific words are not entirely untrue in regards to Tyrion's life choices as the hand, but just the same as Tyrion speaks his grievances. Love then the two sidedness of Tywin dealing with his son, in that we have the moment of the true leader as he grants Tyrion his initial rewards, but then reveals his one, eventually fatal, flaw though still with the most careful emotion as he brings out his irrational disgust for Tyrion. This with Dance so effectively bringing out the more intense emotion of the man, that almost bleeds out as something he'd prefer not to exhibit yet cannot help himself with his "bad" son. Also love the small touch of the swiftness of Tyrion's turn to walk out on Tywin's whore threat, that is a true "yeah heard that before dad" of a son.

Bryan:

Captain Marvel: Uma Thurman
Ant-Man: Kevin Kline
Hawkeye: Tom Berenger
Pepper Potts: Karen Allen

Michael:

I have and yes that episode was amazing in every respect.

Bryan L. said...

Louis: I especially like those Kline and Thurman choices. Speaking of Ant-Man, your thoughts on the "Baskin-Robbins always finds out" scene from the first film?

Bryan L. said...

Michael: I agree, in regards to Barry. Bill Hader definitely pulled off quite the directing feat in this one. I also think Stephen Root was the MVP of this episode for his reactions alone.

RatedRStar said...

I liked Endgame quite a lot, I think Infinity War is a bit better all around though and probably my favorite still.

Matt Mustin said...

Louis: What are your thoughts on the makeup and hairstyling of The Way Back (2010)?

Tahmeed Chowdhury said...

Louis: Your thoughts on this scene-
https://youtu.be/Ue_URYDfPoA

RatedRStar said...

Has anyone seen the Sonic the Hedgehog trailer lol OMG it looks insanely bad.

Michael McCarthy said...

I watched the trailer yesterday. Yikes. On the plus side though, the trailer really reinforced how bafflingly good Detective Pikachu looks.