Wednesday 17 April 2019

Alternate Best Actor 2013: Sol Kyung-gu in Hope

Sol Kyung-gu did not receive an Oscar nomination for portraying Im Dong-hoon in Hope.

Hope tells the harrowing story of an 8-year-old and her family trying to recover from her brutal rape. 

Now with that description I suppose it may seem obvious why this film might not have been the easiest to take in. Of course, I'm not really one who is too shy to more extreme subject matter. I will say though the film itself rubbed me the wrong way, and it was not the subject matter itself that did. This was rather than matter in which it was realized with, what I felt to be, an unfortunate blend of the most unsettling blended together with the style of a more cloying light hearted feel good feel, where even the characters dress up in outrageous costumes. Although I will say the film's heart does seem to be in the right place. I'll admit there is a purpose for that here, this was an instance where this approach didn't blend appropriately, for my own view anyways, and made the experience of watching the film especially unpleasant, while not in the fashion as intended by the filmmakers. What I'm here for though is to look at Sol Kyung-gu's performance, which in a certain sense is separate from the overarching narrative of the film. This is as Sol's performance very much stays within the reality of the situation and at least in terms of his own work avoids the sort of tonal tricks the film uses to try to alleviate the intensity of the central horror.
  
Sol's performance is a consistency of reality within the film and provides this truth from the outset of the film. This is where we just see Dong-hoon as the working dad. Sol doesn’t have a great deal of focus in these scenes however Sol's performance is consistently effective in these moments, by essentially not exactly standing out. He just exudes the right naturalism as this workaday father. Sol does something well in these early scenes in suggesting sort of an assumed love for his daughter, even when portraying the early moments with almost a casual distance. This is not Sol portraying an actual coldness or anything, but rather just the state of measured affection of a family just living their life without a thing to worry about. That is instantly thrown out of the window most horribly though when Hope is raped and brutally beaten leaving her in a hospital. Sol's performance matches this trauma in conveying the sheer devastation of the act, in his often silent face, that nonetheless exudes the sheer anguish in the man. Sol's work is powerful in itself as he is able to realizes the severity of the terrible act without becoming overwrought.

The film then breaks into its separate stories one of the recovery of Hope, and the other the attempt to get justice for her by arresting the horrible man. Sol is great in realizing the weight of the situation within his performance essentially for the rest of the film. Rightfully, Sol shows that this is a changed man who likely will never be able to achieve that blissful indifference ever again when it comes to his family. Every moment he is onscreen Sol reveals at least some level of the strain of the knowledge of what happened to his daughter and keeps it as this consistent element as this hole in the man's soul. Sol's work though carefully does find the nuance within this and does not portray a single note even with being the focus of the character. There are of course the most extreme moments where we see the vicious hate, that Sol wraps within this always palatable grief, at the man who has committed this crime that also transfers against the police who do not instantly arrest the man. Sol brings the right intensity in these moments by in his face creating it always as being inspired by his sorrow.

Sol provides the right contrast then in his scenes with his family and his daughter. Here to he finds the right difference depending on the moment, the grief a constant. In this we see the moments just in proximity of his daughter, where Sol shows the man as essentially this shell of a person much of the time with his anger as one of his few outlets of existence. The moments directly with his daughter Sol is terrific in bringing this desperate warmth as he tries to show his love to daughter. He captures a very real sense of affection though even this is portraying it as this distraught act as it is still intertwined with his personal anguish. The film then takes its approach which often leaves Sol as adjacent to what is going as people try to help Hope to recover from all over the community. This technically includes Dong-hoon as he even dresses up as one of her favorite children's show characters. The man though is essentially petrified within his state and Sol is very moving in the moment of the still grieving father, even within his suit, as a man in this endless suffering. The only real change, which Sol does gradually realize effectively, is the internalization of grief as the man says less and less, though the heartbreak is always evident in his defeated physicality of depression along with the eyes filled with the endless tragedy. This is a very good performance even as it is often pushed to the side within the narrative. Although I do wish there had been time to grant more within Dong-hoon's personal story, what we do see is well realized by Sol's work. This is as even though I felt at times a dishonesty within the overall choices within the film, Sol’s performance consistently offered a strict honesty within his powerful portrayal of the man’s painful journey.

126 comments:

Luke Higham said...

Louis: Ratings and thoughts on the rest of the cast.

Charles H said...

I agree about the film for the most part, but personally i hold Sol at a bit higher esteem.

Emi Grant said...

Yeah, I'd have gone higher with Sol's work. Admittedly the film did rubbed me the wrong way at times in the same fashion it did to you, Louis, but I'd say it happened considerably less overall.

I do think the film could have expanded more on the trial itself, too.

Matt Mustin said...

Yeah...I don't feel the need to watch this.

Calvin Law said...

I thought he was great but now you mention it, it is a problematic film. I do think it has some great sequences in it though. Sol usually plays pretty deadbeat characters so this was quite a nice change of pace.

Excited for you to see Like father like son

Calvin Law said...

2010s Almost Famous directed by Anna Boden and Ryan Fleck
William Miller: Lucas Jade Zumann
Russell Hammond: Glenn Howerton
Elaine Miller: Emily Watson
Penny Lane: Margot Robbie
Jeff Bebe: Michael Angarano
Lester Bangs: Jesse Plemons

Bryan L. said...

Calvin: How about Mendelsohn for Lester Bangs? It is Boden and Fleck acter all haha.

Anonymous said...

Louis, once you've completed the bonus rounds, do you have plans to help move the blog forward.

Luke Higham said...

Anonymous: Aside from the 5s cleanup and the voice acting lineup, I'm hoping he'll do random TV (Series, Mini-Series and TV film) performance reviews but only those that are worth talking about and post rankings per year when he's seen enough from them.

Calvin Law said...

Bryan: even better.

Also this is kind of movie news, but Jason Momoa shaved his beard for Dune lol. Actually think it’s a pretty good look and moreover will probably help him disappear into a different sort of role better.

Luke Higham said...

Louis: Have you seen any 2019 films lately.

Anonymous said...

Louis: Your thoughts on the parking lot, the "funny looking in a general kinda way" and the Mike Yanagita scenes from Fargo. Someone described the "funny looking in a general kinda way" as a scene that separates good movies from bad movies in that in a bad movie, a scene like that one would be a boring, filler scene.

Louis Morgan said...

Luke:

Lee - 4(Her performance is certainly moving and effectively conveys the most traumatic moments, though brief as they are. I think honestly her performance technically suggested a greater potential within the film as well, as her work does commit a definite genuine quality within it, but it is the service of such cloying sequences. She's consistently effective in conveying the growth back to a normal little girl, but the whole process is not as poignant as it should be given the focus choices.)

Uhm - 4(Also moving though given less of a focus than Sol in terms of the overall reactions, and they make her personal journey somehow even more limited. She is though quite effective in her own way in portraying a quieter, though just as intense of a heartbreak regarding the event. She certainly delivers on her end as well in creating the natural relationship in the opening, to the sheer devastation later on. Again though I found the film's approaches kept a certain hold on the true potential of this however.)

Did watch Phil Spector, still struggling to find the will to watch Behind the Candelabra, due to my Soderbergh aversion.

Anyway I found Phil Spector to be engaging enough, but in the end it felt like the first half of a film, or a one act play. There just wasn't enough depth granted to the story as the whole and really any scene without Pacino is rather repetitive as the film makes the same exact point in terms of professing the man's "innocence".

Mirren - 4(She gives a fine performance if rather straight forward as just the straight laced defense attorney type. She does it well though in bringing the right intensity and incisiveness in the role. It doesn't require too much depth, but she effectively delivers as a more reactionary scene partner to Pacino, who occasionally comes in with a more prying statement.)

Pacino - 4.5(I have to admit I probably haven't quite given Pacino his just desserts in the past, and not just because of seeing some of his better recent work. As even though he might not have stayed with his 70's heights, few actors could maintain that, and unlike De Niro, you can see him typically trying, if only having fun, even in his lesser work. Anyway this is another terrific performance from him as he owns every scene he is thoroughly in his captivating portrayal of this force of personality that is his Spector. Pacino is excellent in that he manages to blend this megalomania with this desperation, he's though about to be charismatic even as he's petty. Pacino plays it well as this constant hire wire act of a man nearly sabotaging himself as he speaks with this grandiose mentality, while doing so with this constant vulnerability.)

Anonymous:

I'll be honest, haven't thought about it much, it'll be a bit after all before I'm done.

Anonymous:

The parking lot scene is a great moment of a more overt violence, where the Coens grant a particular bluntness to the spiraling out of control for everyone, from the father-in-law's inability to be the tough guy one more, to seeing the danger of Carl when pushed into a corner and then with Jerry's horrorfied reactions to seeing the carnage he's unfold.

The Mike Yanagita scene is one of the brilliant scene of social awkwardness ever filmed, with Steve Park bringing this perfect balance of cheeriness against such a unnerving desperation against McDormand, comedic, and pitch perfect reactions of unease while maintaining a certain decorum. The scene is wrongly seen as superfluous by some, though it is just a brilliant scene anyways so technically who would care, however it is essential to Marge second guessing Jerry's initial interview.

The funny looking scene is indeed something that makes Fargo a great movie, as technically speaking we see Marge finding out about things we as the audience already know. There's so much character, and comedy that comes from every line, and really all three performances that makes it an amazing scene,

Emi Grant said...

Louis: Which would be your Top 5 posters and trailers from 2018?

Louis Morgan said...

Emi Grant:

Trailers:

1. Mission Impossible: Fallout first trailer
2. If Beale Street Could Talk Teaser
3. A Quiet Place First Trailer
4. First Man First trailer
5. Godzilla: King of Monsters

Posters:

1. The Endless
2. Blackkklansman
3. First Man
4. Summer of 84
5. The Favourite

Tahmeed Chowdhury said...

Louis: Are there any performances by Pacino that could go up for you.

Luke Higham said...

Tahmeed: Perhaps The Devil's Advocate or Heat. I don't see him going up for Donnie Brasco/Glengarry Glen Ross or any of his other 4s.

Really looking forward to his Merchant Of Venice review which was probably his last great film performance until maybe this year with The Irishman (Far more confidence in him and Pesci delivering than De Niro).

And looking forward to Cruising and his work in Angels Of America, which I'm rather surprised Louis hasn't seen yet.

RatedRStar said...

Angels in America is one of those adaptations which would usually be impossible to make work on screen but it actually works well with the 2003 version.

RatedRStar said...

Louis: What did you reckon to Summer of 84 if you saw it? because I thought it was pretty meh and predictable for the most part especially the characters who I thought were mostly unlikable but then the final act I actually quite enjoyed and did not expect it.

Tahmeed Chowdhury said...

Louis: Your thoughts on Joe Dempsie's and Daniel Portman's performances on Game of Thrones.

Luke Higham said...

Louis: Could you at least attempt to watch Behind The Candelabra, I haven't seen it yet but if their comes a point where you had to turn it off, I'll accept it, considering how much of a turn-off Magic Mike was.

Bryan L. said...

Luke: Why do you have more confidence in Pesci and Pacino for The Irishman btw? De Niro is back with Scorsese after all.

Luke Higham said...

Bryan L: De Niro's last truly great performance was near 30 years ago and his last two Scorsese performances didn't live up to the standard that had been set in the 70s and 80s so I'm not getting my hopes up but praying that I'll be pleasantly surprised. Pacino with good to great material, usually delivers and Pesci, despite being in retirement for 12+ years has never phoned it in.

Luke Higham said...

Bryan: Now, what De Niro does have in his favor is that he did have a very good cameo in American Hustle as a mob boss.

Luke Higham said...

Louis: If you happen at all to take any recommendations next year, Do you consider Elizabeth I (2005) with Mirren and Irons to be a 2 part mini-series or a 2 part TV film.

Matt Mustin said...

Luke: I'll go to bat for De Niro's performance in Silver Linings Playbook being genuinely great.

Bryan L. said...

I'd also go to bat for De Niro and Pacino in Heat and say that they both give solid leading man performances (4 for each).

Luke Higham said...

De Niro was good in Heat but I personally preferred Pacino. I will say that the acting highlight of that film was the Diner scene.

Tahmeed Chowdhury said...

I'll agree with Matt regarding De Niro in Silver Linings Playbook, I'd at least give him a strong 4 for that performance.

Emi Grant said...

De Niro also borders a 4 for me in SLP.

If anything, I'm nervous about him having to tackle an Irish accent.

Matt Mustin said...

Louis: I don't know if you've posted them before, but could I have your updated top...let's say 25 Coen Bros. directing moments? (I was gonna say 10, but that would be way too hard)

Mitchell Murray said...

Matt: As someone whose recently revisited SLP, I would give de Niro a 3.5, most likely. His big scene opposite Cooper is genuinely touching, and beyond that its simply a nice supportive performance that adds a little more humour and earnestness to the film. Nothing amazing, per say, but certainly a fine element of the picture.

In point of fact, he'd probably be third in my ranking of the overall supporting actor field, smothered between Arkin-Jones and Waltz-Hoffman.

Anonymous said...

Louis: Your thoughts on the cinematography of Miller's Crossing and Misery.

Also, when you get to either 1997 or 1998, be sure to watch this anime film called Perfect Blue

Bryan L. said...

Anonymous: A coworker of mine recommended that film to me several weeks ago actually. He called it the "good version" of Black Swan.

Matt Mustin said...

Bryan L: Yeah, pretty much.

Emi Grant said...

Bryan: I personally didn't like Perfect Blue, so you could imagine what I think of that comment.

Louis Morgan said...

Tahmeed:

Not any in a major way, but a few could a little, mostly ones I haven't seen in a long time like those Luke mentioned.

Dempsie & Portman - (I'll talk about both at once as I actually think the two are similar, in that neither get to go into too much depth in their roles but that is in the nature of their characters who are straight forward, not in a bad way. Dempsie does a fine job in just bringing a very low key likability in his manner as really just an honest Joe. He doesn't overplay this and is effective as just being average, though with less average heritage. His couple of more extreme moments in there, namely his dalliance with the "red woman", he delivers on but never is too much asked of him. This is also true of Portman, who is good though in a more comedic sort of way. He's again though endearing in portraying the sort of straight forward honesty of the character. He brings a bit more of a comic shyness about him that works well in making Podrick both likable, while not being quite the best potential knight. He also doesn't have too much that stresses his work so to speak, but what he does have, like his goodbye to Tyrion, he delivers quite well. His performance is though a consistent reliable thing, even if you don't really think about it much.)

Luke:

I will try to get to it still, I mean I never could bring myself to watch Unsane because I noticed even Soderberg defenders didn't really care for it.

Mini-series.

RatedRStar:

Haven't seen it, but that's a good poster.

Emi Grant:

Frank Sheeran didn't have an Irish accent, so no worries there at least.

Matt:

Geez this wasn't hard all....(sarcasm).

1. "Life of the Mind" - Barton Fink
2. Gas Station - No Country For Old Men
3. Highway Massacre - Fargo
4. Chigurh and Llewellyn's "face off" - No Country For Old Men
5. Opening of All Gold Canyon - The Ballad of Buster Scruggs
6. Ending - Barton Fink
7. "Danny Boy" - Miller's Crossing
8. Opening - A Serious Man
9. "I'm a writer" - Barton Fink
10. "When a Cowboy trades his Spurs for Wings" - The Ballad of Buster Scruggs
11. Audition - Inside Llewyn Davis
12. Parking Lot - Fargo
13. Finding the drug deal gone wrong - No Country For Old Men
14. "Hello Mr. Pocket" - The Ballad of Buster Scruggs
15. Purifying Flood - O Brother, Where Art Thou
16. Final Confrontation - Blood Simple
17. UFO - The Man Who Wasn't There
18. Hotel California - The Big Lebowski
19. Retrieving the money from the vent - No Country For Old Men
20. This'll Tell the tale - The Ballad of Buster Scruggs
21. Fate gets Chigurh - No Country For Old Men
22. Ending - A Serious Man
23. Opening - Blood Simple
24. Wrestling dailies - Barton Fink
25. Fill your hands - True Grit

Louis Morgan said...

Anonymous:

It is rather a shame that Barry Sonnenfeld moved to directing and never went back to his original calling of cinematographer, since he was far better at the latter.

With Miller's Crossing he's obviously working with the very visually minded Coens, though you could argue he probably helped to cultivate that to some degree, but anyways it is interesting how you see his work in contrast to the work they would do later with Deakins and Delbonnel. In that with all three the shots are as daring, as you'd expect, though with a different aesthetic marked by what each cinematographer brings. Sonnenfeld's approach is that of a careful pristine, really prestige, look that is rather marvelous in its own right. It's less instantly evocative than Deakins and Delbonnel, yet stunning in its own right. Each shot has such elegant framing and composition, of these epic tapestries fitting of a painting, with lighting that isn't showing, yet still extremely eye catching in crafting a quietly atmospheric piece.

Now again a good judge of any cinematographer is how they perform across directors, and if that eye is evident still. Well Rob Reiner is a less visually minded, though I'll admit not some slouch in that department, but nonetheless the touch of a terrific cinematographer is evident with Sonnenfeld on hand. Once again his lighting is straight forward, though again effectively so, with some particularly nice touches in regards to amplifying Annie's moods. Although I'll say the positioning of Bates throughout the film is absolutely brilliant, in terms of just giving that extra something to her already great work. Though more than anything it is again just some great pristine work. What's most striking though is the sense of place realized in Sonnenfeld's work both in the exteriors and interiors. This in creating the isolation in those exterior shots of the house, with such a palatable sense of the cold through the vibrancy of the white snow. The interior work is as essential though in creating the sense of claustrophobia while never seeming repetitive despite the limited space, as the composition and framing of each shot, makes such striking use of such a small room, particularly in terms of creating those dynamics between Paul and Annie.

Anonymous said...

Luke, as a Game Of Thrones fan, are there any scenes that come to mind that you couldn't stomach watching again.

Luke Higham said...

Anonymous: Only one and it's Shireen burning at the stake.

BRAZINTERMA said...

Where is Joaquin Phoenix (You Were Never Really Here)? Will you consider his performance in the year 2017 or 2018?

Luke Higham said...

He'll be reviewed for 2017.

RatedRStar said...

Paddy Considine could finally get a major award nomination...A Tony nomination, hope he does, he is so underrated.

Bryan L. said...

Louis: Your thoughts on the screenplays for Ed Wood and Man on the Moon?

Interesting that one works more than the other, yet they were written by the same duo.

Bryan L. said...

Although I ponder if that has to do more with the direction...

Matt Mustin said...

Bryan L: Yeah, that's a weird one, especially since in general Milos Forman is certainly a much better director than Tim Burton.

Bryan L. said...

Matt: Agreed, since Forman also has one of the best biopics ever on his filmography. Maybe he just lost his spark in the 90s.


Louis: Also, would these be your ratings for the recent Best Picture lineup?

The Favourite-5
Roma-4.5
Black Panther-4
Blackkklansman and A Star is Born-3.5
Green Book and Bohemian Rhapsody-2.5
Vice-1.5 (I'm guessing Bale "saves" it a tad)

Robert MacFarlane said...

Bryan: Just my two cents, but-

The Favourite - 4.5
Black Panther - 4.5
A Star is Born - 4.5
BlacKkKlansman - 3.5
Roma - 2.5
Vice - 1.5
Green Book - 1
Bohemian Rhapsody - 1 bordering on 0.5

Calvin Law said...

Mine would be:

Roma - 5
The Favourite - 4.5
A Star is Born - 4.5
Black Panther - 4
BlacKkKlansman - 3.5
Green Book - 2.5
Bohemian Rhapsody - 1.5
Vice - 1.5

Bryan L. said...

Robert: Agreed on those bottom three, though the only I truly hate out of those is Vice. I understand that Roma wasn't your thing though.

What would be your Top Ten of 2018 btw? If you haven't given it already.

Robert MacFarlane said...

Bryan:

1. Thoroughbreds
2. Sorry to Bother You
3. First Man
4. First Reformed
5. Can You Ever Forgive Me?
6. Spider-Man: Into the Spider-Verse
7. You Were Never Really Here
8. Tully
9. The Favourite
10. Blindspotting

Bryan L. said...

Robert: Nice to see some love for Thoroughbreds, which has grown on me quite a bit.

Robert MacFarlane said...

Bryan: It was kind of like Get Out and Mad Max: Fury Road where I saw it early in the year and nothing really topped them in the months to come. (Okay, Your Name was pretty close for 2017, but that was also early in the year)

Mitchell Murray said...

Bryan: I don't really look at movies in the same way as I do performances, perhaps, but to answer your question;

1) The Favourite - 5 (No hesitation.)
2) Roma - 4.5
3) BlacKkKlansman - 4 (The performances of "A Star is Born" are stronger side by side, but I found Lee's picture on its own to be a little bolder and better paced.)
4) A Star Is Born - 4
5) Black Panther - 3.5
6) Bohemian Rhapsody - 2.5 (The reason for this being above "Green Book" and "Vice" is because, as utterly formulaic and superficial as it is, the film didn't actively piss me off like the latter two, or at least not to the same degree.)
7) Green Book - 2
8) Vice - 1.5

Mitchell Murray said...

Also, this is a belated and self explanatory question, but how would've everyone reacted if Timothee Chalamet got in for "Beautiful Boy" ahead of Sam Rockwell, as most of us expected. Me personally, I thought it would've been unfortunate to see such a misguided performance be recognized. Rockwell, although in a far more limited role, obviously has more of an assurance in his screen presence than the young Chalamet, and really didn't warrant ALL of the criticism that came his way, it seemed.

Bryan L. said...

Robert: I'm really looking forward to Finley's next film, since I think he perfectly captured the specific tone that Thoroughbreds needed. Also, bonus points for Yelchins' character and performance, since I know someone who acts EXACTLY like him.

Mitchell: My ranking and ratings would be the same as yours actually.

I probably wouldn't have been pleased if Chalamet had received a nomination.

Mitchell Murray said...

And while we're on this topic, actually, what's everyone's thoughts on this video, as well? I must say I do like this guy's content even if we usually differ (Sometimes radically) in our own preferences and rankings.

https://www.youtube.com/watch?v=MLnPM8Mjens

Emi Grant said...

In regards to the recent lineup:

1. The Favourite A+
2. BlackKklansman A
3. A Star is Born A-
4. Roma A-
5. Green Book B-
6. Black Panther C
7. Vice C
8. Bohemian Rhapsody C-

Anonymous said...

Louis: Thoughts on the cinematography of Gone Baby Gone, The Town and Argo.

Robert MacFarlane said...

All of you are way too kind to Bohemian Rhapsody.

Emi Grant said...

Robert: To be fair, I haven't re-watched since it came out and even then I watched it with my family, and it's hard for me to be critical of something when talking about films with them. Not to say I want to cut it some slack given it's the worst Editing in winner in maybe a decade or more, but still.

Bryan L. said...

Robert: For some reason, I can't bring myself to truly hate Bohemian Rhapsody, even if the scripts faults stood out WAY more on rewatch and the film being as generic and run-of-the-mill as it gets.

Robert MacFarlane said...

You see, I found Bohemian Rhapsody not only to be a terrible retread of previous music biopics, but also a homophobic, HORRENDOUSLY edited mess (seriously guys, this was way worse than Vice in that department) that deserves nothing bust scorn. I blame the surviving Queen members since they had way too much creative control. Their spiteful historical revisionism to make themselves look better at Mercury's expense is not nearly called out enough. Malek's performance is aging worse with me over time, too.

Tahmeed Chowdhury said...

Bohemian Rhapsody's Oscar win for editing stings even more than Green Book's wins for Screenplay and Picture for me. It was a complete hack job.

Calvin Law said...

Louis: your thoughts on Seamus McGarvey as a cinematographer?

Calvin Law said...

Also your thoughts on David Attenborough? If you’ve seen any of his stuff.

Álex Marqués said...

I completely agree with Robert, BR is terrible, manipulative crap. The scene with the MEN sign in the bathroom door while Freddie talks with Mary was the moment I knew I hated it. I find it surrealistic that it won a Golden Globe for Best Drama (funnily enough, both that and Green Book are among my least favourite films from last year).

Bryan L. said...

Trust me, I didn't like Bohemian Rhapsody at all.

The main reason I don't hate it though is because I never had any hopes for it in the first place. It was exactly what I thought it was going to be when I heard how involved Queens members were. I at least had some interest in Christian Bale as Cheney and the pairing of Mortensen and Ali, which is why I feel more hate for those two films when they turned out the way they did.

I don't think the editing is "Vice" bad, but it definitely wasn't worthy of a nomination anyways.

Tahmeed Chowdhury said...

The second episode of season 8 of Game of Thrones got leaked, and I couldn't resist my urge to watch it. I'll wait until everyone else gets to see it, but I will say that I liked it quite a bit, and Nikolaj Coster-Waldau is an easy MVP for me.

Luke Higham said...

Tahmeed: I'll try and see it tonight if it's still up.

Luke Higham said...

Tahmeed: Do you have a link.

Tahmeed Chowdhury said...

As my IGCSE exams start from next Monday, I'll be irregular on the blog until June 14th (when they finally end). I'll still give thoughts on whatever I get the chance to see, and I'll definitely read Louis's reviews.

Tahmeed Chowdhury said...

Luke: The link I gave is down.

Luke Higham said...

Tahmeed: Good Luck. :) And don't worry, managed to find another link.

Emi Grant said...

Robert: Oh, absolutely. It's so horrendously edited. It's probably the only film I've watched on cinemas that was on the verge of genuinely giving me a headache.

Matt Mustin said...

Emi Grant: I almost got a headache from American Hustle.

Luke Higham said...

Louis: Your thoughts on Game Of Thrones tonight and your episode MVP.

Louis Morgan said...

Bryan:

Well the career best direction from Tim Burton does help matters, the screenplay for Ed Wood is excellent in his own right, and part of the duo of writers films on sort of these fringe entertainers. Now it is interesting to examine Ed Wood, and what exactly makes it so great in comparison to any other biopic. Well one essential element throughout the film is the core of the character, that is so brilliantly realizes by the idea of passion for film making even if perhaps misguided. That idea though is key, and Burton worked with that to create his greatest film. Of course as we follow Ed Wood, there isn't a wasted element within the screenplay, as technically speaking we follow Ed through three film productions. This could be theoretically by the numbers, but in each we get something special within the journey of Ed as Filmmaker, in his romance, as a transvestite and most importantly his relationship with Bela Lugosi. The colorful characters that make his entourage all around provide certainly extra bit of humor, but also provides a greater sense of this sort of fringe community that defines Wood. It's brilliant work as it succeeds in telling this very personal story in Ed as the man, this very tragic story of the final days of Bela Lugosi, while successfully revealing it through, this in the end, life affirming idea of one living out their dreams no matter what.

Man on The Moon on the other hand is not nearly as successful in telling the story of Andy Kaufman, despite Jim Carrey's best efforts. The script though lacks something to grasp onto and I will say this in part comes from their inability to get to the heart of Kaufman. He remains enigmatic to a fault, as it never exactly "get him" which keeps the film from finding a true thematic purpose. The film itself seems to get tricked by the image Kaufman himself created, as it isn't able to decipher anything beyond the tricks he provided. Now to be fair this still makes for a more than moderately entertaining affair as is, but it lacks the depth the screenwriting pair were able to give Ed Wood. There is no real meaning to any segment of Kaufman's personal journey. It's fun to see the recreations of what he did, but that's all they really are. There isn't that depth to the chapters provided in Ed Wood. Again I think it is because they never answer the essential question of the "why" of Kaufman, and perhaps were too timid in broaching the subject matter.

The Favourite - 5
Roma - 4(Should watch it again, since it has not stayed with me.)
Black Panther - 3.5
Blackkklansman - 3.5
A Star is Born - 3
Green Book - 2.5
Bohemian Rhapsody - 1.5
Vice - 1(no)

Bryan L. said...

Louis: Eh, I got half right at least.

Lastly, your ratings for your Top 25 films of 2018? Just the ratings though. I know where I can find #11-25.

RatedRStar said...

So glad we have a bank holiday, for me to actually see Game of Thrones when I am not at work lol.

RatedRStar said...

About time I changed my picture, was surely only one performer I could choose lol =D.

Calvin Law said...

Kinda sad to see Roma hasn’t really stuck with anyone on here but such is the nature of things.

RatedRStar: Expected nothing less. Also yeah Easter weekends are a godsend!

Louis Morgan said...

Anonymous:

Gone By Gone features work from of course the great John Toll, with Affleck making his first film going for sort a poetic realism I'd say, in that while it wishes to flaunt the grit it does so in a way that doesn't marginalize the aesthetic. It's not a film where the cinematography is really the focus per se, however it is well shot as is. Toll finds a non-flashy, yet still eye catching approach in terms of his lower lighting, and compositions that tip towards docudrama while maintaining a definite dynamic quality within his work.

The Town aesthetic wise is essentially going for the same thing Toll did in Gone By Gone, however I feel that Robert Elswit's efforts are not quite on the level of Toll's, in this instance, though not by much. He too manages to make the most out the lighting choices, and creates some remarkable shots, if purposefully limited by the overarching choices by Affleck.

Argo is Affleck's least impressively shot film despite having Rodrigo Prieto at the helm. Now don't get me wrong when you actually see the shots, there is definitely an eye there, however the main choice is to shoot the film seems to be to go for the Z approach. That being as the documentary of the events, and it doesn't compare at all to something like Z. This is part due to the editing which is a little too cut happy, as when you do see what Prieto is doing it is more than decent, however lacking in comparison to other films with a similar aesthetic.

Calvin:

Seamus McGarvey's overall work you could argue fails the "across all filmmakers" approach. In that if he doesn't have a visually minded filmmaker working with him, it becomes rather noticeable. For example, you'd never guess the same guy shot Atonement and The Avengers. McGarvey's work then seems connected, perhaps too much, to the filmmaker, as say Joe Wright, who even though I don't always love his choices certainly always tries to make a visual feast, McGarvey obviously helps to amplify, but with the TV focused mind of a Joss Whedon his work looks quite frankly like a tv movie. McGarvey's work doesn't find what's not in there in his filmmaker, something truly great cinematographers are capable of. Having said that McGarvey's work is consistent with the filmmaker he's working with, and will realize whatever that well, even with distinction. That vision already seems to need to be there however.

Who doesn't love David Attenborough? The guy's always a delight bringing such unstuffy sophistication, with his narrations and hosting in general. I actually ponder if dear Richard channeled his brother a bit for the introduction to Jurassic Park moment.

Bryan:

First Man to The Favourite - 5

Cold War to Shoplifters - 4.5

The Sisters Brothers to Boy Erased - 4

Calvin Law said...

Louis: I agree COMPLETELY with that David/Richard assessment. Also does that mean Can You Ever Forgive Me is a 5 or 4.5?

And yeah McGarvey is pretty unwieldy.

Bryan L. said...

Calvin: Roma is in the bottom half of Top Ten for sure, and a 4.5 at that.

Bryan L. said...

Calvin: *My Top Ten

Matt Mustin said...

It's interesting that Affleck's weakest film (Live by Night) is actually BY FAR his best looking, in terms of both cinematography and production design.

Louis Morgan said...

Calvin:

4.5

Anonymous said...

Louis and everyone: Thoughts on the today's Game of Thrones episode?

Anonymous said...

What a wonderful episode

Michael McCarthy said...

Overall I'd say this was a stronger episode than the premiere. It did a wonderful job with tension building, and it built very nicely upon many of the pre-existing relationships (other than the Grey Worm/Missandei scene, which I hated for a number of reasons). The best bits for me were all of the fireplace sequences, particularly the final song.

Also Hot Take: Isaac Hempstead-Wright did a great job in this episode.

Louis Morgan said...

Luke:

Liked it quite a bit actually, very evocative I felt of the scenes in Two Towers of the Helm's Deep calm, but I mean that in a good way. A little too much "call back" lines, that's become too much of a go to for the writers post-Martin. Overall though I enjoyed the emotion and atmosphere of it all, the knighting scene being the highlight. Coster-Waldau being the MVP, closely followed by Gwendoline Christie, whom I'm glad finally got to do something, as its been awhile.

Emi Grant said...

Louis: Who would be your wins for Best First Film from 2000 to last year?

Anonymous said...

Louis: I recall you saying that you would have preferred Albert Brooks for Kevin Spacey's role in Baby Driver. Maybe also have Newton Thomas Sigel doing the cinematography instead of Bill Pope?

Michael McCarthy said...

Update: While I really dug tonight's episode of GoT, I've gotta say the best episode of TV tonight was season 4 episode 2 of Barry. WOW that tackled a lot of difficult subject matter in a half hour but it did so in such a mature and respectful way. Hader, Goldberg, Winkler and Root were all outstanding, I'd love to discuss this one with anyone who's following the show.

Michael McCarthy said...

Season 2 episode 4*

Bryan L. said...

Michael: Always glad to see some love for Barry around here. I still need to get around to Episode 3 and 4, though I'm quite liking this season so far. I'll let you know when I watch both.

Bryan L. said...

Louis: What past films do you think would be a good fit for the directorial styles of these gents?

Damien Chazelle
Jeff Nichols
Denis Villenueve

RatedRStar said...

I love that in the episode everybody kept saying, oh the Crypt is the safest place, I bet it isn't lol.

Robert MacFarlane said...

I really loved that Game of Thrones episode. Brienne's knighting very nearly got me to cry.

Tahmeed Chowdhury said...

I'm like 50% sure the White Walkers are gonna go to the Crypt first and sneak up on them.

RatedRStar said...

Yep I am certain the episode 3 teaser showed Arya running away from something, I reckon the White Walkers are in the crypt.

Anonymous said...

Does anybody reckon Jaime will die in the third episode?

Louis Morgan said...

Emi Grant:

2000: Chopper (Andrew Dominick)
2001: Donnie Darko (Richard Kelly)
2002: Confessions of a Dangerous Mind (George Clooney)
2003: The Station Agent (Thomas McCarthy)
2004: Shaun of the Dead (Edgar Wright)
2005: The Three Burials of Melquiades Estrada (Tommy Lee Jones)
2006: The Lives of Others (Florian Henckel von Donnersmarck)
2007: The King of Kong (Seth Gordon)
2008: In Bruges (Martin McDonagh)
2009: District 9 (Neill Blomkamp)
2010: Animal Kingdom (David Michod)
2011: The Guard (John Michael McDonagh)
2012: Beasts of the Southern Wild (Benh Zeitlin)
2013: Fruitvale Station (Ryan Coogler)
2014: Nightcrawler (Dan Gilroy)
2015: Ex Machina (Alex Garland)
2016: The Edge of Seventeen (Kelly Fremon Craig)
2017: Lucky (John Carroll Lynch)
2018: Blindspotting (Carlos Lopez Estrada)

Anonymous:

Sure, although I think what that film needed was a touch more imagination in the script.

Michael:

Concur 100% when it comes to Barry. Also loved that final twist involving Chad from Twin Peaks.

Bryan:

Chazelle:

The Hustler
Magic
Quiz Show

Jeff Nichols:

Hud
Stand By Me
Straight Time

Denis Villeneuve:

2001
Witness
The American Friend

Anonymous:

I suspect he has too much unfinished business with Cersei to go out here...Brienne may not be so lucky.

RatedRStar said...

Louis: Any predictions for episode 3? There are so many possible ways they could go.

Louis Morgan said...

RatedRStar:

Have a feeling they might get a temporary victory, though the Night King might pull a "whispering woods" himself, and not be there.

My death guesses:

Brienne
Tormund
Beric
Gendry
Theon
Either Jorah or Lyanna
Grey Worm (Who might as well had a war movie "Guys here's my future plans" moment this episode.)

Luke Higham said...

Yeah, I loved the episode, Nikolaj Coster-Waldau was an easy MVP, with Christie in 2nd but I thought near enough everyone brought what was required to the proceedings. Also, special mention to Daniel Portman.

Robert MacFarlane said...

Calling it that Dolorous Edd will be the first named casualty next episode. That poor guy has been screwing up death pools for at least five seasons. Some people have probably lost more money on him lasting this long than playing cards in Atlantic City.

Calvin Law said...

2010s The Hustler directed by Damien Chazelle
Eddie Felson: Ryan Gosling
Minnesota Fats: John C. Reilly
Sarah Packard: Bella Heathcote
Bert Gordon: Corey Stoll

2010s Magic directed by Damien Chazelle
Corky Withers: Glenn Howerton

2010s Quiz Show directed by Damien Chazelle
Charles Van Doren: Gosling could pull this off, but just for fun Dan Stevens
Herb Stempel: Shia Labouef
Richard Goodwin: Dave Franco
Dan Enright and Albert Freedman: Damian Lewis and Paul Ralph Macchio
Mark Van Doren: Jeremy Irons

2010s Straight Time directed by Jeff Nichols
Max Dembo: Chris Pine
Jenny Mercer: Kirsten Dunst
Earl Frank: Michael Shannon
Willy Darin: Rory Cochrane
Jerry Schue: Paddy Considine

2010s Witness directed by Denis Villeneuve
Detective John Book: Matthias Schoenaerts
Rachel Lapp: Sarah Gadon
Samuel Lapp: Jacob Tremblay
Chief Paul Schaffer: Bradley Whitford
Lt. James McFee: Brian Tyree Henry
Daniel Hochleitner: Florian Munteneau

2010s The American Friend directed by Denis Villeneuve
Tom Ripley: Jimmi Simpson
Jonathan Zimmermann: August Diehl

Bryan L. said...

Calvin: Damn I'd love to see Jimmi Simpson play Tom Ripley.

Anonymous said...

Louis: Your thoughts on the "Where's the money Lebowski?" and "This is what happens when you fuck a stranger in the ass" scenes.

Anonymous said...

Louis: I particularly love how in the censored version, it's renamed to "Stranger in the Alps."

Bryan L. said...

Michael: I also fully agree about the fourth episode of Season 2 of Barry, and I can't wait to see how the rest of the season plays out. Gotta give credit to the writers for handling several tones without their being any whiplash.

Bryan L. said...

Louis: Your expanded thoughts on Season 2 of Barry so far?

RatedRStar said...

Someone I know asked me if I could describe a Powell and Pressburger film.

I said "They are sort of like Disney films in real life" Is that a good response?

Bryan L. said...

Calvin: I think Labouef might be a little too young for Stempel. Maybe Jake Gyllenhaal, as suggested by Louis when I asked him for potential collaborations for him and Gosling?

(Btw, Villenueve needs to get on that post haste! Or after Dune anyway)

Razor said...

Louis: Thoughts on Paula Newsome in Barry?

moviefilm said...

At last, the number of makeup nominees increases from 3 to 5!!!

Calvin Law said...

Seeing Endgame tomorrow morning at 9.

Calvin Law said...

Moviefilm: that is GREAT news, no lie.

Luke Higham said...

I'm seeing it at 4:15 PM tomorrow.

Bryan L. said...

Moviefilm: Glad to hear that.

Luke Higham said...

Dicaprio's the Lead in Del Toro's Nightmare Alley.

Bryan L. said...

Luke: I guess GDT has changed his mind and will indeed direct the film.

Michael McCarthy said...

I'm crossing my fingers that the theater where I work gives us an employee screening tomorrow night, otherwise there's no way I'll be able to see it before Monday.

Anonymous said...

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