Well this is an interesting line up. I've only seen "About Time" and "The Immigrant", though, so if I were to guess, I'd predict:
5) Meaney 4) Nighy 3) Phoenix (Not my favourite performance of his, admittedly. He's good, but is perhaps a little too intense in key moments, I think.) 2) Siddiqui 1) Franky
I actually loved the last half hour of it. And most of the first half hour as well. It was all that stuff in the middle that I had major problems with.
The way they handled Jaime is unforgivable. The way they handled Cersei was unforgivable. Hell, I don’t even like how they handled Dany (though paradoxically Clarke is giving the best work she’s ever done on the show the past few weeks).
In regards to GOT, yeah some great direction related bits in there, but maaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaan that writing. Okay, well actually I didn't hate the Varys bit, though it would've been far better with better pacing. But to concur with Robert, what they did to the Lannister twins was...not good. Dany's bit also theoretically could've maybe worked, but again rushed. Due to the rushing it also made too extreme of a shift, even though I'll at least grant those seeds were planted throughout the series. Also hated that the scorpions went from extremely dangerous to apparently completely worthless. Didn't really like the Hound's bit either, as it felt prefunctory due to the execution of it. Arya's sequence, had some great visual flair there, but went way overboard with the close calls.
I’m gonna totally disagree on Cleganebowl, I thought that went down pretty much perfectly. The Lannisters’ end I have to think about but I actually think I’m gonna end up more positive on it than the rest of you.
I will agree with you on the scorpions and the overall execution of the siege of King’s Landing, particularly the “twist.” Also despised the way the episode gave Euron exactly the sort of ending he’d have wanted.
Matt: Funny you bring that film up, since you could make the argument that La La Land is the ONLY good film that Emma Stone and Ryan Gosling have costarred in.
Louis: Your rating for John Hurt in Only Lovers Left Alive.
Your ratings and thoughts on: Stephen Dillane in Papadopoulos & Sons Nicole Kidman, Jeremy Irvine, Stellan Skarsgard and Hiroyuki Sanada in The Railway Man Berenice Bejo in The Past Jeremy Irons in Beautiful Creatures Tobey Maguire, Joel Edgerton, Jason Clarke, Carey Mulligan and Elizabeth Debicki in The Great Gatsby Will Poulter in We're The Millers Will Smith in After Earth Agata Kulesza and Agata Trzebuchowska in Ida Mia Wasikowska, Nicole Kidman and Matthew Goode in Stoker Elni Roussinou in Miss Violence And any updated thoughts on: Alison Pill in Snowpiercer Margot Robbie and Joanna Lumley in The Wolf Of Wall Street Carey Mulligan in Inside Llewyn Davis
Why was Emma Thompson not on the list for Saving Mr. Banks and where would you rank her.
Your ratings for Dench, Thomas, Adams and Paulson.
Lastly, your thoughts on Young and Beautiful from The Great Gatsby.h
Films To Watch: Ain't Them Bodies Saints (Possible upgrade for Mara) Prisoners (Possible Re-Examination of Jackman's work) American Hustle (Possible upgrade for Renner) Behind The Candelabra Short Term 12 Camille Claudel, 1915 (Juliette Binoche) Nymphomaniac Vol. I & II (Lars Von Trier, Watch the longer version if you can and I've read that Gainsbourg gave a fantastic performance) A Field In England (Ben Wheatley) The Garden Of Words The Conjuring This Is The End Le-Weekend The Selfish Giant Borgman Tangerines Stray Dogs Metro Manila Stranger By The Lake Still Life (Eddie Marsan) Tom At The Farm Upstream Color The Way Way Back Monsters University The Spectacular Now Drug War The Bling Ring (Sofia Coppola) Warm Bodies (Nicholas Hoult as a Zombie) Oblivion (Tom Cruise) The Heat (Sandra Bullock/Melissa McCarthy) We Are The Best! What Maisie Knew (Julianne Moore/Steve Coogan) Trance (James McAvoy) Welcome To The Punch (McAvoy/Strong) Dom Hemingway (Jude Law) The Kings Of Summer The Purge (Ethan Hawke) Oz The Great And Powerful Jack The Giant Slayer Jobs (Ashton Kutcher) Venus In Fur (Polanski/Amalric) The Best Offer (Geoffrey Rush) Much Ado About Nothing (Joss Whedon) Byzantium (Neil Jordan) To The Wonder (Terrence Malick) Now You See Me Coherence Palo Alto Mama (Chastain/Coster-Waldau) Charlie's Country (David Gulpilil) Young & Beautiful (François Ozon) Han Gong-Ju Gangster Squad (Sean Penn should be in your bottom five for Supporting Actor) Age of Uprising: The Legend of Michael Kohlhaas (Mads Mikkelsen) Ender's Game Oculus The Lone Ranger For Those In Peril Labor Day (Brolin/Winslet) Last Passenger In A World… Homefront Mood Indigo Charlie Countryman Gloria Sunshine On Leith The Reluctant Fundamentalist (Riz Ahmed) One Chance (James Corden) Zulu Jimmy P: Psychotherapy Of A Plains Indian The Grand Seduction (Brendan Gleeson) Prince Avalanche
Will get to those soon. I have seen Short Term 12, it and Saving Mr. Banks just weren't on the list of 2013 films I was looking at causing the over sight. Thompson would be #6 and Larson would be #10.
Michael:
Pegg's placement will be updated when I get to those years.
Matt:
Eh, I'd rather focus on films that are considered good (I don't see any dissent "hidden gem" voices on that film) or at least have something of note.
Louis: Your thoughts on this comedic spoof of Game of Thrones using a laugh track? It's a lot funnier than it ought to be. https://youtu.be/864gdSC9KOA
RatedRStar: No kidding its a hidden find - I didn't even know about this channel until now. There "Alien" review is particularly interesting, I feel, because it shows their trademark style, but also how their evaluations would only increase in detail throughout the years.
In point of fact, the clip actually reminded me of another "Alien" related video I saw recently, regarding Sigourney Weaver.
https://www.youtube.com/watch?v=s9u9H43Y9t8
It is quite amazing to think of the caution her cast members gave her at first, considering the talent Weaver would later demonstrate.
Appears to be a treasure trove of S&E goodness, as I'm quite sure I haven't seen many of those reviews before.
Luke:
Hurt's a 3.5.
I have to admit I completely forgot August, Osage County existed as a film, though I can't recall the rest of the film, I do recall Nicholson being very good still. Enough to be #6 in supporting.
Dillane - 4(It is interesting to see Dillane do comedy, although obviously as the straight man. Dillane though manages to do well with this approach but more than anything seeing him bring out a warmth within his work is especially notable. There's quietly endearing quality he brings that really carries the film in an enjoyable way, particularly his spirited dance at the end of the film that is purposefully evocative of Zorba the Greek, in a great way.)
Kidman - 3.5(She brings a nice charm and warmth as the common supportive wife turn. She however is a bit underused overall and I think it is a shame the romantic aspect gets pushed to the side. This is as I rather liked her chemistry with Firth in their first scene together.)
Irvine - 3.5(Far better than that other turn of his in his war film, and he does a fine job of sort of portraying the immediate original state of the man. This also capturing the growing hardship and displeasure as it proceeds to beat him down. He gives a fine performance, as in part the film is in many ways to me the good version of Unbroken even if it is itself imperfect.)
Skarsgard - 3(Always different to see him in a warmer role, but he does a fine job of it here. It isn't anything too notable for him beyond that though.)
Sanada - 3.5(I wished we spent a bit more time with he and Firth, rather than just the general confrontation, as I would not have minded to see the creation of the friendship. Sanada though gives a striking portrayal though of guilt in his moments and is particularly effective in conveying that along with his fear in his scenes with Firth.)
Bejo - (Her performance is terrific here in very much bringing that innate naturalism within Farhadi's work. She's best though overall in creating the sense of each relationship. This is as she finds this detail in every interaction of an old hardship with her ex-husband, though not completely bereft of affection, against the more open love with her new one, though underlined with its own intensity due to their situation. She excels though in the moments with the children creating the overall sense of the awkwardness with essentially juggling her own needs while also trying to relate to her children. In each interaction Bejo brings a real sense of every complication and gives a striking turn that never simplifies an aspect of that struggle.)
Irons - 3.5(He does a fine job here and actually doesn't go way over the top as one might've expected. He rather brings a surprising degree of conviction in his work that manages to bring a certain warmth while kind of keeping his general menacing style as a performer. Actually provides a rather atypical mentor character which he does not fail in realizing.)
Maguire - 3(Actually didn't find him to be bad here, and I'll grant that Nick Carraway isn't exactly the actors friend as parts go. He has a decent enough chemistry with DiCaprio in there moments and has some decent reactions. He's a touch bland, but then again Nick is kind of suppose to be.)
Edgerton - 4(This is an interesting performance in that I found his work essentially was trying to make Luhrmann's overt style to work, by bringing a certain broad arch villainy to the role. I actually don't think he over did this to the point of lunacy, rather kind of wields his work to be part of the outrageous style, but in a way that worked.)
Clarke - 3.5(Essentially found he tried to give the same performance as Scott Wilson, which isn't a bad idea given that it works for the part, and Wilson was very good. Clarke's focus is a bit lessened though than in the 74 version, and doesn't quite make the same impact, though he is good.)
Mulligan - 4(Although I'll firmly stand with a certain defense to Farrow's performance, which captured the real vapidness of the character, though more directly. Mulligan though perhaps is better in that she makes it a bit more of a covert element that she slowly brings out as there lacks a genuine depth as she reveals herself, in the right way. It also benefits though that she has far better chemistry with DiCaprio than Farrow did with Redford, though that was mostly the latter's fault. We are granted more so an understanding of the relationship here, or at least how Gatsby should see it, and perhaps misunderstand it.)
Debicki - 3.5(She fits to the period like a glove as one would expect, and like Lois Chiles did, makes an impact within a part that didn't necessarily need to. This in particularly making the most of her reactionary moments, though this is a bit more limited due to the film's style than in the previous adaptation. Debicki also has weaker chemistry than Waterston had with Waterston.)
Poulter - 3(I mean fine goofiness on his part, though doesn't exactly amount to too much.)
Smith - 1.5(If he meant to purge himself of all the qualities of himself as a movie star, mission accomplished. It is unfortunately that we have to than witness his extreme stilted work, which while intentional to a degree, also is extremely boring to witness as executed her.)
Kulesza & Trzebuchowska - (The performances very much inform each other though the latter I do think is more so a presence bit of work, though that isn't something that she be hand waved. The former though is terrific in creating this certain mess of a woman in her combination of sort of unpleasant cheeriness that she plays as this hiding this really very broken state of being. Her whole performance works as this constant confession of sorts, as she plays on this constant tip toeing around emotion tunneled through a nearly grotesque attempt at "living life". The latter's work then very much is this one of reaction, though is minor at best, however works so well in this way. In that just the quiet reserve ends up speaking so much, and while a lot is within the casting/direction, there are definitely moments within her work the convey the needed nuance of her character's experience as well.)
Wasikowska - (Much more in her wheel house of that sort of quiet insanity though here adjusted a bit more towards a demented demureness. This she pulls off fairly well in creating sort of the "thrill" in her characters this quiet lust that builds quite effectively within her work.)
Kidman - 3.5(Felt a touch underused here as well, as she does sort of the lusty widow routine with enough style, and just enough depth, however it just doesn't do much with here.)
Goode - 2(Waste of a perfect good part as he just makes "I'm crazy" eyes throughout the film and found he lacked the needed sort of animal magnetism for the role. He carries little to no menace, and as Uncle Charlie's go he is especially underwhelming if one were to compare him to Joseph Cotten. His performance even on its own merits, does little for a role with potential.)
Roussinou - (Her performance works most effectively as this one extreme distressed note though in the phases of revealing itself overtly throughout, as it peels itself away to be something far more frightening as the true trauma is shown in her work.)
Mulligan - (To amend my earlier thoughts I do think that her work touches slightly too broad in delivery, just a touch, however on re-watch what I noticed was how much nuance she brought in her silent moments particularly in her song moment, and just a brief interaction with Isaac where she completely silently give a bit more in terms of how she feels about Llewyn.)
Larson - (Her performance is much more in her wheel house than he most recent efforts, that being an innate naturalism within her work. This is where she excels as she finds so much personality and character in her work while also conveying sort of the strategy within her job. She's terrific in creating the right balance in the sense of devotion in her work along with a terrific just vibrancy in personality. Even when the film I felt tipped just a bit towards the melodramatic, I felt Larson delivered in giving a convincing portrayal of bringing the intensity of her distress that in a way compels her character.)
Malek - 2.5(Kind of bland I felt here, though really his role is just a strict narrative device, and he's not really truly bad.)
Stanfield - 4(His character is perhaps excessively straight forward however I still managed that he brought a real honesty to the painful distress that defines the character's existence. Although I do wish it gave him a bit more to play with, he hits those few notes asked of him extremely well.)
Gallagher - 4(Liked his performance a great deal, as he captures that same sort of spirited character that Larson does, and avoids becoming any sort of Indie style caricature. This in bringing such an honesty in creating the sense of the way his character goes about dealing with his job and life in general. This by just giving such a low key, yet vibrant naturalism.)
Uh, GOT MVP. Well it wasn't Kit Harington as even though Jon was never the smartest man, his "DURRRRRRRR She's muh Queen", seemed to be that of a man who had a full frontal lobotomy. Or Dinkalge with Tyrion "Cersei's baby, just keep saying that I guess", which isn't really either of their faults, but neither could find new ground with those terribly repetitive notes they were given.
Headey and Coster-Waldau both did their best to play the complete sabotage of their arcs. Cersei I guess never lost her soul. And Jaime, while I guess he did kill the Mad King for no reason, since he only cares about Cersei apparently, and his series long arc was meaningless. Hated that so much, so much. This isn't about the performances just the more I think about it the more I hate it.
Daenerys, who got Stannised (in that the end result makes enough sense but they blundered it by rushing) was well portrayed by Clarke though, so kudos there.
I don't know, guess I'll go with McCann, as he delivered on the emotion of his scene, even if it fell a bit flat since never previously in the series did it imply the Hound needed to kill his brother personally, he just wanted him dead in general. I think that could've been achieved if he just left as well. Man, they botched this thing, geez, I guess not everything can be Breaking Bad or Twin Peaks.
Not gonna lie, reading people’s reactions to this season isn’t exactly encouraging me to pick up the show...though hearing that the first four seasons are masterful also makes me want to, kind of.
Louis: Now that you've seen Short Term 12 and Captain Marvel/Endgame, your thoughts on Brie Larson an actress? I've noticed that you've preferred her performances in smaller films.
Louis: What would be some of your immediate examples of strong biopic performances, that succeed despite there film's weak/insufficient characterization of the real life figure?
The ones I could mention would be as followed: Redmayne, Cooper and Cumberbatch from 2014's best actor line up Sigourney Weaver (Gorillas in the Mist) Josh Brolin (W.) Marion Cotillard (La Vie en Rose) Gary Oldman (Darkest Hour) - Recently revisited the film, and his work still holds up for myself.
Emi Grant: I think it would be best for him not to watch it, since having seen the teaser months ago, he'll try to avoid as much promotional material as possible.
The Informer's cinematography is an essential element, realized by Joseph H. August, in creating Ford's basically German expressionist choices to realize the film. A fantastic choice mind you, that is aided greatly by August's work that creates that sort of dreamlike, perhaps nightmare like, quality in the emphasis on the greys rather than white in the lighting. This creating this beautiful if isolating haze. This amplified in the composition work which very much takes a lot from M in terms of emphasizing faces, but not every face. Allowing the jury for example to bleed together as a contrast to McLaglen who is always left front, center and well defined in all his guilt.
Portrait of Jennie is quite a swan song for August, which might be his greatest achievement with Dieterle, which is nothing to sniff. This as once again they both seem to push each other as no shot is wasted. This is in that even the "standard" shots of people talking have no limitation in beauty in the richness of the lighting that grants such a romantic glow. The film is far more expansive by granting these grand portraits shots throughout, fitting to the idea of the artist at the center of the film, This in this dynamic shots that are a wonderful combination of a romantic and mysterious angle.
Anonymous:
Yes, though Gregg Toland would be pretty tempting.
Tahmeed:
Rather enjoyable bit especially with Ned's classic double take.
Bryan:
Well in general I like her great deal, with Kong and her Marvel efforts being the outliers. Both though seem as though they are out of her comfort zone, and who knows perhaps they just really are. This is as there is a stiffness that you'd never expect from the rest of her work. This is as her greatest asset is a naturalism and comfort on screen. This being the basis in which she brings out with such ease either the dramatic elements or humorous elements of a given part. This is as even with "Stiffer" parts, as she's certainly enjoyable in Scott Pilgrim for example, and there she's against what's become her type, while pulling it off. I'd say she's perhaps still in discovery as an actress, so I hope she moves in the path of her great critical success and less so in her commercial, which doesn't play to that naturalism.
Luke:
No updated thoughts, as I never had any reservations there, she's great, and it is really notable as she really entirely sheds any of her typical Dench presence to do something quite new in her repertoire.
In regards to The Gatsby ballad, I actually don't love the mixing of the song strangely enough as I wish the vocals and the orchestral were a bit more evenly balanced. In that I actually do like both, but I think they would have been more powerful together, as the rather powerful instrumentation is a little too hidden by Del Rey's vocals, which are touch repetitive in terms of the lyrics.
John Smith:
Feel I should watch Where the Wild Things Are first.
Mitchell:
Cotillard is really the end all to me in that instance, given she made something extraordinary out of something very standard on paper.
Charles:
11. Before Midnight 12. Twelve Years a Slave 13. The Zero Theorem 14. Good Vibrations 15. Captain Phillips
Louis: If he hadn't passed away when he did, what films do you think August would have been perfect for? Apparently, there were two film adaptations of The Age of Innocence that were made in 1924 and 1934, so I'd say that if it Selznick had decided to adapt the novel right after Portrait of Jennie, he would have been an excellent choice for DOP.
I’m also hoping Abdi or Fassbender takes over the supporting overall, but I actually wouldn’t mind if it went to Nighy, Phoenix or Franky either (though that seems less likely).
Tahmeed: I just hope we get a five from this lineup. Especially looking forward to Nighy, Franky and Phoenix, then we can finally move onto 1963 Lead where we could get between 5-8 fives if you include Richard Harris going up for This Sporting Life.
Bryan: I think Cumberbatch is a tremendous talent and one who I've increasingly grown more fond of in the past five years. Still think he's yet to really leave his mark on Film but his TV work has been nothing short of brilliance. Whether it's Sherlock, Richard III or Patrick Melrose, he's been outstanding.
1. Barkhad Abdi, Captain Philips 2. Bill Nighy, About Time 3. Ben Foster, Lone Survivor 4. Matthew McConaughey, The Wolf of Wall Street 5. Hwang Jung-min, New World 6. Ben Foster, Ain’t Them Bodies Saints 7. Paul Dano, Prisoners 8. Jared Leto, Dallas Buyer’s Club 9. Colin Farrell, Saving Mr Banks 10. Kyle Chandler, The Wolf of Wall Street
I think Fassbender will take the win, my updated list would be:
1. Michael Fassbender - 12 Years a Slave 2. Barkhad Abdi - Captain Philips 3. Ben Foster - Ain’t Them Bodies Saints 4. Bill Nighy - About Time 5. Ben Foster - Lone Survivor 6. Hwang Jung-min - New World 7. Lily Franky - Like Father Like Son 8. Ed Harris - Snowpiercer 9. Matthew McConaughey - The Wolf of Wall Street 10. Eddie Marsan - Filth
The Terminator's screenplay is not some masterwork, the central idea, which probably was lifted from The Outer Limits, is pretty good though to the point that it fuels a proper thriller. In that the structure of it works, even if the concepts are somewhat underdeveloped at times, such as the vague sense of the future offered. It also sabotages its own time travel ideas with the patronage of John Conner which simply is a paradox, which you can take as the time travel rule of everything has already been set, but it doesn't even adhere to that honestly. The script is functional but it works. It also does have some good lines in there to be sure "I'll be Back" and "Come with me if you want to live". The romance, though not bad, is rather simplistic, which is kind of the Cameron way. The rest is mostly set up for action, which works, but the direction is what makes the film, a film I don't love either way.
Terminator: Judgment Day's script is probably more ambitious and far worse if you examine it too closely. This is as even the structure is wonky a bit with the, I guess we can just hide in Mexico bit, which releases too much tension. The plot also is just technically a standard bigger and better overall, though there is a nice twist in reusing the model and the liquid terminator certainly is a great addition. Then it is a back and forth between the nearly awful, and the more than decent. The Sarah Conner PTSD is easily the best element, but even that has the terribly written narration. The relationship between Terminator and John, has one great final line in there, but also some abysmal ones with Cameron writing for a "Cool teenager" much like a very old man. In fact just writing John terribly in general (although Furlong does not help things there). There are also just a lot of awful bits, some excised from the non-director's cut thankfully, that are completely unneeded, especially the let's have a whole scene reprogramming Arnold, rather than just answering the line "Can you learn?" with a simple "yes". Again the heights of the material, amplified by Cameron's direction, Hamilton, Patrick and yes Schwarzenegger, are what make the film, though not to the point they cover up those festering flaws in the script, which is why I've never loved the film.
Anonymous:
Could easily see his touch for that, also some obvious ones like The Man Who Shot Liberty Valance or A Place in the Sun.
I, Tonya is a fantastic screenplay right from its stated outside that very much states what you will see has to be a form of testimony rather than truth, and even the title alludes nicely to perhaps the titular one isn't as innocent as she tries to describe as such. The film for me works though in that it does not make the story misery, which it was in reality, by offering a sardonic approach as a sports satire. Although like the best satires it doesn't eliminate the human element, but rather carefully uses it. It is a confederacy of dunces throughout, and a hilarious one in revealing the most incompetent men all hatching a horrible plan. This is weaved so effectively within the very atypical, almost villain origin, sports tale, defined by hardship and cruelty, that inspires itself in our "heroine". A character it doesn't fully vilify, allowing the right degree of humanity in her moments of achievement, though does not hide her fatal flaws. It's greatness is its ability to grant a sympathy, while also very much laughing directly at the situation, which it pulls off quite wonderfully by never falling too far into quite honestly the absurd or the dramatic.
Citation for the first three: Calvin, as you can't beat Borgnine as Walter.
The Big Lebowski (1950s directed by Billy Wilder)
The Dude: Lee Marvin Walter: Ernest Borgnine Donnie: Elisha Cook Jr Maude Lebowski: Shirley MacLaine The Big Lebowski: Ray Collins Brandt: Jack Lemmon German Nihilist Leader: Gert Frobe Jesus: Eli Wallach Jackie Treehorn: Joe E. Brown The Stranger: Ray Teal
Razor:
Never Look Away tries very hard to achieve that emotion through kismet, that was so brilliantly achieved in The Lives of Others. Sadly this film just doesn't find it, though the ambition is there, and there are certainly striking moments. This is largely through Caleb Deschanel's work, who was very deserving of that surprise nod of his. Sadly despite the aesthetic elements being there, the ambition again there, it falls largely flat in its repetitive and ultimately disappointing narrative.
Schilling - (He actually might be partially to blame for the lack of success in the film, in that while he isn't bad, his work just doesn't really capture the needed emotion in his largely reaction part. Tricky role to pull off, but sadly only made me appreciate Ulrich Mühe's work all the more which had a similar challenge. Schilling's work is largely bland, where his "looking" in terms of Never Looking Away, needed to be the emotional core. It sadly isn't.)
Koch - (The best performance in the film however he is saddled with a two repetitive notes of an evil doctor and a cold father. I'll give him credit though in nailing the few moments where he gets a bit more and makes the most out of his "facing the guilt" moment. His work is sadly though is underused in the scheme of things.)
Snape: Benedict Cumberbatch McGonagall: Judi Dench Mad Eye Moody: Jonjo O'Neill Sirius Black: Mark Strong Hagrid: Kristian Nairn Gilderoy Lockhart: Richard E. Grant Voldemort: Simon Russell Beale Dumbledore: Michael Palin Lucius Malfoy: Mark Rylance
That's what I got right now. I deliberately didn't put Ian McKellen as Dumbledore.
Sirius Black- Martin Freeman Professor Minerva- Lindsay Duncan Snape- Richard E. Grant Sybill Trelawney- Olivia Colman Bellatrix- Emily Blunt Dumbledore- I think Broadbent could be great here, but to keep to your rule, Charles Dance Gilderoy- Ewan McGregor Pettigrew- Simon Russell Beale Cedric- Jack Lowden Voldemort- Damian Lewis
Matt: I actually wanted to cast Rylance somewhere too, but I wasn't too sure where he'd fit. And I think McGregor could bring the same charm that Hugh Grant would've if the filmmakers had gotten their first choice. Branagh was good though.
Bryan L: McGregor and Bettany are perfect choices for those roles, they just completely slipped my mind. I've seen snippets of Rylance's stage work, so I know the hugely impressive range of characters he can play, so I kinda just figured he'd work pretty much anywhere.
Albus Dumbledore- Anthony Hopkins Sirius Black- Christian Bale Remus Lupin- Paddy Considine Severus Snape- James McAvoy Peter Pettigrew- Martin Freeman (Stolen from Robert) Minerva McGonagall- Judy Davis Mad-Eye Moody- Robert Carlyle Bellatrix Lestrange- Elizabeth Debicki Gilderoy Lockhart- Tom Bennett Nymphadora Tonks- Karen Gillan Sybil Trelawney- Andrea Riseborough Mundungus Fletcher- Russell Brand Dolores Umbridge- Emily Mortimer Voldemort- Iain Glen
Albus Dumbledore- Tom Courtenay Sirius Black - Noah Taylor Remus Lupin - Damian Lewis Severus Snape- Richard E. Grant Peter Pettigrew- Martin Freeman Minerva McGonagall- Joanna Lumley Mad-Eye Moody- Brendan Coyle Bellatrix Lestrange- Emily Blunt Gilderoy Lockhart- Tom Hiddleston Nymphadora Tonks- Charlotte Riley Sybil Trelawney - Phoebe Waller-Bridge Mundungus Fletcher- Burn Gorman Dolores Umbridge - Brenda Blethyn Voldemort- Tobias Menzies
Dumbledore: Christopher Plummer McGonaggal: Michelle Fairly Snape: Tom Hiddleston Sirius: Christian Bale Lupin: Daniel Kaluuya (there’s subtext to be had casting Lupin with a minority actor) Lucius: Tobias Menzies Pettigrew: Martin Freeman Voldemort: Sean Harris Lockhart: Tom Bennett Umbridge: Ann Dowd (she could probably pull off the accent) Bellatrix: Florence Pugh Tonks: Rose Leslie Quirrell: Ewan McGregor Trelawney: Archie Panjabi Hagrid: Mark Addy Mad-Eye: Peter Mullan Scrimgeur: Michael McElhatton
LITTLE FINGER, I don't hate Gillen's performance, but his work never lived up to the full potential of the character. Considine I think could've soared.
Luke:
1. Frozen Assets 2. The Guardian 3. Highlander 2: The Quickening (What a title!) 4. Blown Away 5. 3 Men and A Little Lady
Tahmeed:
The wonderful screenplay, along with acting, is what carries the film, though as unremarkable as his career is overall Dean Parisot's work occasionally does more than not getting in the way of things, despite taking a fairly basic aesthetic. The screenplay is great though as the best type of parody, in that it is successfully a good star trek film through the overall plot and narrative. It though has the right fun with its twist on that by having it be "star trek" actors, and makes fun, or plays into the tropes so hilariously, whether it be a light touch like the removal of a shirt during a fight or a more overt one like the whole character of Guy. It has a lot of great fun there, but it works beyond that. That is in creating such an effective narrative in the idea of embracing one's past and really one's self. Whether that being the story of Jason facing his own shattered ego by recognizing his faults, Guy learning he can be more than just crewman #6, or my personal favorite of Alexander Dane coming to term through Grapthar's hammer. A highlight in the film being the arc realized through that phrase as it begins so hilariously as one of exasperation of wasted potential, to the end of heartbreaking meaning. I kind of love the film because it works as a Star Trek film, as a parody of one, and just quite practically as a film which is evident in its screenplay.
The visual effects hold up remarkably well, partially as they don't overuse them with the abundance of practicals throughout. I'd say really say the Miners, not minors, probably hold up the least, though most of the CGI is more than decent. This again is through the intelligent use of not stretching the use of the time, by using for all artificial not overly detailed things, like the rock monsters and the ships, which are well designed that they work in this way.
108 comments:
1º Phoenix
2º Franky
3º Meaney
4º Nighy
5º Siddiqui
1º Phoenix
2º Franky
3º Nighy
4º Meaney
5º Siddiqui
1. Franky
2. Phoenix
3. Nighy
4. Meaney
5. Siddiqui
Still think Phoenix is co-lead, though.
1. Phoenix
2. Franky
3. Nighy
4. Siddiqui
5. Meaney
1. Phoenix
2. Franky
3. Nighy
4. Siddiqui
5. Meaney
Well this is an interesting line up. I've only seen "About Time" and "The Immigrant", though, so if I were to guess, I'd predict:
5) Meaney
4) Nighy
3) Phoenix (Not my favourite performance of his, admittedly. He's good, but is perhaps a little too intense in key moments, I think.)
2) Siddiqui
1) Franky
1. Nighy
2. Franky
3. Phoenix
4. Meaney
5. Siddiqui
Also, fuck Game of Thrones.
I actually loved the last half hour of it. And most of the first half hour as well. It was all that stuff in the middle that I had major problems with.
1. Phoenix
2. Franky
3. Nighy
4. Siddiqui
5. Meaney
The way they handled Jaime is unforgivable. The way they handled Cersei was unforgivable. Hell, I don’t even like how they handled Dany (though paradoxically Clarke is giving the best work she’s ever done on the show the past few weeks).
1. Phoenix
2. Franky
3. Nighy
4. Siddiqui
5. Meaney
In regards to GOT, yeah some great direction related bits in there, but maaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaan that writing. Okay, well actually I didn't hate the Varys bit, though it would've been far better with better pacing. But to concur with Robert, what they did to the Lannister twins was...not good. Dany's bit also theoretically could've maybe worked, but again rushed. Due to the rushing it also made too extreme of a shift, even though I'll at least grant those seeds were planted throughout the series. Also hated that the scorpions went from extremely dangerous to apparently completely worthless. Didn't really like the Hound's bit either, as it felt prefunctory due to the execution of it. Arya's sequence, had some great visual flair there, but went way overboard with the close calls.
I’m gonna totally disagree on Cleganebowl, I thought that went down pretty much perfectly. The Lannisters’ end I have to think about but I actually think I’m gonna end up more positive on it than the rest of you.
I will agree with you on the scorpions and the overall execution of the siege of King’s Landing, particularly the “twist.” Also despised the way the episode gave Euron exactly the sort of ending he’d have wanted.
Also question Louis: Are you going to wait to update Simon Pegg on your overall rankings for best actor 2004 and 2007 until you cover those years?
Louis: Are you gonna see Gangster Squad before you finish the year out, or is that one you're just gonna skip?
1. Phoenix
2. Nighy
3. Franky
4. Meaney
5. Siddiqui
Man, I wish this entire season could have been redone.
Episode 3 onwards has been a gigantic disappointment.
Matt: Funny you bring that film up, since you could make the argument that La La Land is the ONLY good film that Emma Stone and Ryan Gosling have costarred in.
1. Phoenix
2. Franky
3. Nighy
4. Siddiqui
5. Meaney
Louis: Your rating for John Hurt in Only Lovers Left Alive.
Your ratings and thoughts on:
Stephen Dillane in Papadopoulos & Sons
Nicole Kidman, Jeremy Irvine, Stellan Skarsgard and Hiroyuki Sanada in The Railway Man
Berenice Bejo in The Past
Jeremy Irons in Beautiful Creatures
Tobey Maguire, Joel Edgerton, Jason Clarke, Carey Mulligan and Elizabeth Debicki in The Great Gatsby
Will Poulter in We're The Millers
Will Smith in After Earth
Agata Kulesza and Agata Trzebuchowska in Ida
Mia Wasikowska, Nicole Kidman and Matthew Goode in Stoker
Elni Roussinou in Miss Violence
And any updated thoughts on:
Alison Pill in Snowpiercer
Margot Robbie and Joanna Lumley in The Wolf Of Wall Street
Carey Mulligan in Inside Llewyn Davis
Why was Emma Thompson not on the list for Saving Mr. Banks and where would you rank her.
Your ratings for Dench, Thomas, Adams and Paulson.
Lastly, your thoughts on Young and Beautiful from The Great Gatsby.h
Louis: Same question as Matt, but for Short Term 12? Inagine trying to get that cast together in a film NOW
1.Phoenix
2.Franky
3.Nighy
4.Meaney
5.Siddiqui
Louis: As you've rewatched The Wolf of Wall Street, can you confirm if Jonah Hill has gone up. And if so, what is his new rating.
Gangster Squad is atrocious, though it’s also kind of fascinating to see Gosling give such an outright terrible performance.
1. Phoenix
2. Nighy
3. Siddiqui
4. Franky
5. Meaney
Films To Watch:
Ain't Them Bodies Saints (Possible upgrade for Mara)
Prisoners (Possible Re-Examination of Jackman's work)
American Hustle (Possible upgrade for Renner)
Behind The Candelabra
Short Term 12
Camille Claudel, 1915 (Juliette Binoche)
Nymphomaniac Vol. I & II (Lars Von Trier, Watch the longer version if you can and I've read that Gainsbourg gave a fantastic performance)
A Field In England (Ben Wheatley)
The Garden Of Words
The Conjuring
This Is The End
Le-Weekend
The Selfish Giant
Borgman
Tangerines
Stray Dogs
Metro Manila
Stranger By The Lake
Still Life (Eddie Marsan)
Tom At The Farm
Upstream Color
The Way Way Back
Monsters University
The Spectacular Now
Drug War
The Bling Ring (Sofia Coppola)
Warm Bodies (Nicholas Hoult as a Zombie)
Oblivion (Tom Cruise)
The Heat (Sandra Bullock/Melissa McCarthy)
We Are The Best!
What Maisie Knew (Julianne Moore/Steve Coogan)
Trance (James McAvoy)
Welcome To The Punch (McAvoy/Strong)
Dom Hemingway (Jude Law)
The Kings Of Summer
The Purge (Ethan Hawke)
Oz The Great And Powerful
Jack The Giant Slayer
Jobs (Ashton Kutcher)
Venus In Fur (Polanski/Amalric)
The Best Offer (Geoffrey Rush)
Much Ado About Nothing (Joss Whedon)
Byzantium (Neil Jordan)
To The Wonder (Terrence Malick)
Now You See Me
Coherence
Palo Alto
Mama (Chastain/Coster-Waldau)
Charlie's Country (David Gulpilil)
Young & Beautiful (François Ozon)
Han Gong-Ju
Gangster Squad (Sean Penn should be in your bottom five for Supporting Actor)
Age of Uprising: The Legend of Michael Kohlhaas (Mads Mikkelsen)
Ender's Game
Oculus
The Lone Ranger
For Those In Peril
Labor Day (Brolin/Winslet)
Last Passenger
In A World…
Homefront
Mood Indigo
Charlie Countryman
Gloria
Sunshine On Leith
The Reluctant Fundamentalist (Riz Ahmed)
One Chance (James Corden)
Zulu
Jimmy P: Psychotherapy Of A Plains Indian
The Grand Seduction (Brendan Gleeson)
Prince Avalanche
Luke:
Will get to those soon. I have seen Short Term 12, it and Saving Mr. Banks just weren't on the list of 2013 films I was looking at causing the over sight. Thompson would be #6 and Larson would be #10.
Michael:
Pegg's placement will be updated when I get to those years.
Matt:
Eh, I'd rather focus on films that are considered good (I don't see any dissent "hidden gem" voices on that film) or at least have something of note.
Tahmeed:
Yes, he's a 4, which I'll update soon.
Louis: Your ratings and thoughts on the cast of Short Term 12 as well please.
Louis: Who was your episode MVP for 'The Bells'.
Daenerys basically just turned heel WWE style, I almost expected to hear J.R to go "OMG"
RIP Doris Day
RIP Doris Day
1. Phoenix
2. Nighy
3. Franky
4. Meaney
5. Sidqqui
Louis: Your thoughts on the cinematography of The Informer and Portrait of Jennie.
Louis: And where would you rank Julianne Nicholson in August: Osage County.
R.I.P. Doris Day.
Louis: Also, for that 30's Road to Perdition with Ford as diRector, would Joseph August be your choice for DP?
*dirctor
*director
Louis: Your thoughts on this comedic spoof of Game of Thrones using a laugh track? It's a lot funnier than it ought to be.
https://youtu.be/864gdSC9KOA
Louis: What do you reckon to this? bit of a hidden find, dont remember ever seeing any Siskel and Ebert reviews from 1979 such as Alien.
https://www.youtube.com/user/greggagne/videos
1. Phoenix
2. Nighy
3. Franky
4. Siddiqui
5. Meaney
RatedRStar: No kidding its a hidden find - I didn't even know about this channel until now. There "Alien" review is particularly interesting, I feel, because it shows their trademark style, but also how their evaluations would only increase in detail throughout the years.
In point of fact, the clip actually reminded me of another "Alien" related video I saw recently, regarding Sigourney Weaver.
https://www.youtube.com/watch?v=s9u9H43Y9t8
It is quite amazing to think of the caution her cast members gave her at first, considering the talent Weaver would later demonstrate.
Since you've also re-watched Dallas Buyers Club, Is Leto still a 4.5 or is he now down to a 4.
RatedRStar:
Appears to be a treasure trove of S&E goodness, as I'm quite sure I haven't seen many of those reviews before.
Luke:
Hurt's a 3.5.
I have to admit I completely forgot August, Osage County existed as a film, though I can't recall the rest of the film, I do recall Nicholson being very good still. Enough to be #6 in supporting.
Dillane - 4(It is interesting to see Dillane do comedy, although obviously as the straight man. Dillane though manages to do well with this approach but more than anything seeing him bring out a warmth within his work is especially notable. There's quietly endearing quality he brings that really carries the film in an enjoyable way, particularly his spirited dance at the end of the film that is purposefully evocative of Zorba the Greek, in a great way.)
Kidman - 3.5(She brings a nice charm and warmth as the common supportive wife turn. She however is a bit underused overall and I think it is a shame the romantic aspect gets pushed to the side. This is as I rather liked her chemistry with Firth in their first scene together.)
Irvine - 3.5(Far better than that other turn of his in his war film, and he does a fine job of sort of portraying the immediate original state of the man. This also capturing the growing hardship and displeasure as it proceeds to beat him down. He gives a fine performance, as in part the film is in many ways to me the good version of Unbroken even if it is itself imperfect.)
Skarsgard - 3(Always different to see him in a warmer role, but he does a fine job of it here. It isn't anything too notable for him beyond that though.)
Sanada - 3.5(I wished we spent a bit more time with he and Firth, rather than just the general confrontation, as I would not have minded to see the creation of the friendship. Sanada though gives a striking portrayal though of guilt in his moments and is particularly effective in conveying that along with his fear in his scenes with Firth.)
Bejo - (Her performance is terrific here in very much bringing that innate naturalism within Farhadi's work. She's best though overall in creating the sense of each relationship. This is as she finds this detail in every interaction of an old hardship with her ex-husband, though not completely bereft of affection, against the more open love with her new one, though underlined with its own intensity due to their situation. She excels though in the moments with the children creating the overall sense of the awkwardness with essentially juggling her own needs while also trying to relate to her children. In each interaction Bejo brings a real sense of every complication and gives a striking turn that never simplifies an aspect of that struggle.)
Irons - 3.5(He does a fine job here and actually doesn't go way over the top as one might've expected. He rather brings a surprising degree of conviction in his work that manages to bring a certain warmth while kind of keeping his general menacing style as a performer. Actually provides a rather atypical mentor character which he does not fail in realizing.)
Maguire - 3(Actually didn't find him to be bad here, and I'll grant that Nick Carraway isn't exactly the actors friend as parts go. He has a decent enough chemistry with DiCaprio in there moments and has some decent reactions. He's a touch bland, but then again Nick is kind of suppose to be.)
Edgerton - 4(This is an interesting performance in that I found his work essentially was trying to make Luhrmann's overt style to work, by bringing a certain broad arch villainy to the role. I actually don't think he over did this to the point of lunacy, rather kind of wields his work to be part of the outrageous style, but in a way that worked.)
Clarke - 3.5(Essentially found he tried to give the same performance as Scott Wilson, which isn't a bad idea given that it works for the part, and Wilson was very good. Clarke's focus is a bit lessened though than in the 74 version, and doesn't quite make the same impact, though he is good.)
Mulligan - 4(Although I'll firmly stand with a certain defense to Farrow's performance, which captured the real vapidness of the character, though more directly. Mulligan though perhaps is better in that she makes it a bit more of a covert element that she slowly brings out as there lacks a genuine depth as she reveals herself, in the right way. It also benefits though that she has far better chemistry with DiCaprio than Farrow did with Redford, though that was mostly the latter's fault. We are granted more so an understanding of the relationship here, or at least how Gatsby should see it, and perhaps misunderstand it.)
Debicki - 3.5(She fits to the period like a glove as one would expect, and like Lois Chiles did, makes an impact within a part that didn't necessarily need to. This in particularly making the most of her reactionary moments, though this is a bit more limited due to the film's style than in the previous adaptation. Debicki also has weaker chemistry than Waterston had with Waterston.)
Poulter - 3(I mean fine goofiness on his part, though doesn't exactly amount to too much.)
Smith - 1.5(If he meant to purge himself of all the qualities of himself as a movie star, mission accomplished. It is unfortunately that we have to than witness his extreme stilted work, which while intentional to a degree, also is extremely boring to witness as executed her.)
Kulesza & Trzebuchowska - (The performances very much inform each other though the latter I do think is more so a presence bit of work, though that isn't something that she be hand waved. The former though is terrific in creating this certain mess of a woman in her combination of sort of unpleasant cheeriness that she plays as this hiding this really very broken state of being. Her whole performance works as this constant confession of sorts, as she plays on this constant tip toeing around emotion tunneled through a nearly grotesque attempt at "living life". The latter's work then very much is this one of reaction, though is minor at best, however works so well in this way. In that just the quiet reserve ends up speaking so much, and while a lot is within the casting/direction, there are definitely moments within her work the convey the needed nuance of her character's experience as well.)
Wasikowska - (Much more in her wheel house of that sort of quiet insanity though here adjusted a bit more towards a demented demureness. This she pulls off fairly well in creating sort of the "thrill" in her characters this quiet lust that builds quite effectively within her work.)
Kidman - 3.5(Felt a touch underused here as well, as she does sort of the lusty widow routine with enough style, and just enough depth, however it just doesn't do much with here.)
Goode - 2(Waste of a perfect good part as he just makes "I'm crazy" eyes throughout the film and found he lacked the needed sort of animal magnetism for the role. He carries little to no menace, and as Uncle Charlie's go he is especially underwhelming if one were to compare him to Joseph Cotten. His performance even on its own merits, does little for a role with potential.)
Roussinou - (Her performance works most effectively as this one extreme distressed note though in the phases of revealing itself overtly throughout, as it peels itself away to be something far more frightening as the true trauma is shown in her work.)
Dench: 5
Adams: 4.5
Paulson: 4
Mulligan - (To amend my earlier thoughts I do think that her work touches slightly too broad in delivery, just a touch, however on re-watch what I noticed was how much nuance she brought in her silent moments particularly in her song moment, and just a brief interaction with Isaac where she completely silently give a bit more in terms of how she feels about Llewyn.)
Larson - (Her performance is much more in her wheel house than he most recent efforts, that being an innate naturalism within her work. This is where she excels as she finds so much personality and character in her work while also conveying sort of the strategy within her job. She's terrific in creating the right balance in the sense of devotion in her work along with a terrific just vibrancy in personality. Even when the film I felt tipped just a bit towards the melodramatic, I felt Larson delivered in giving a convincing portrayal of bringing the intensity of her distress that in a way compels her character.)
Malek - 2.5(Kind of bland I felt here, though really his role is just a strict narrative device, and he's not really truly bad.)
Stanfield - 4(His character is perhaps excessively straight forward however I still managed that he brought a real honesty to the painful distress that defines the character's existence. Although I do wish it gave him a bit more to play with, he hits those few notes asked of him extremely well.)
Gallagher - 4(Liked his performance a great deal, as he captures that same sort of spirited character that Larson does, and avoids becoming any sort of Indie style caricature. This in bringing such an honesty in creating the sense of the way his character goes about dealing with his job and life in general. This by just giving such a low key, yet vibrant naturalism.)
Uh, GOT MVP. Well it wasn't Kit Harington as even though Jon was never the smartest man, his "DURRRRRRRR She's muh Queen", seemed to be that of a man who had a full frontal lobotomy. Or Dinkalge with Tyrion "Cersei's baby, just keep saying that I guess", which isn't really either of their faults, but neither could find new ground with those terribly repetitive notes they were given.
Headey and Coster-Waldau both did their best to play the complete sabotage of their arcs. Cersei I guess never lost her soul. And Jaime, while I guess he did kill the Mad King for no reason, since he only cares about Cersei apparently, and his series long arc was meaningless. Hated that so much, so much. This isn't about the performances just the more I think about it the more I hate it.
Daenerys, who got Stannised (in that the end result makes enough sense but they blundered it by rushing) was well portrayed by Clarke though, so kudos there.
I don't know, guess I'll go with McCann, as he delivered on the emotion of his scene, even if it fell a bit flat since never previously in the series did it imply the Hound needed to kill his brother personally, he just wanted him dead in general. I think that could've been achieved if he just left as well. Man, they botched this thing, geez, I guess not everything can be Breaking Bad or Twin Peaks.
Not gonna lie, reading people’s reactions to this season isn’t exactly encouraging me to pick up the show...though hearing that the first four seasons are masterful also makes me want to, kind of.
Calvin: The first four seasons are superb.
Louis: Now that you've seen Short Term 12 and Captain Marvel/Endgame, your thoughts on Brie Larson an actress? I've noticed that you've preferred her performances in smaller films.
Calvin: Exactly how I feel as well, although I'm afraid fantasy isn't one of my favorite genres to begin with.
*Hangs head in shame*
Louis: Any updated thoughts on Dench, pleased to see her get a five.
Louis: What would be some of your immediate examples of strong biopic performances, that succeed despite there film's weak/insufficient characterization of the real life figure?
The ones I could mention would be as followed:
Redmayne, Cooper and Cumberbatch from 2014's best actor line up
Sigourney Weaver (Gorillas in the Mist)
Josh Brolin (W.)
Marion Cotillard (La Vie en Rose)
Gary Oldman (Darkest Hour) - Recently revisited the film, and his work still holds up for myself.
Your thoughts on Lana Del Ray's Young and Beautiful from The Great Gatsby.
RIP TIM CONWAY. A genius.
RIP Mr. Conway
1.Franky
2.Nawazuddin
3.Phoenix
4.Meaney
5.Nighy
Louis, your thoughts on meryl streep as actor?
Also your top 10 spike jonze directing moments?
Mitchell: Ben Foster in The Program would be one.
John: He covered Streep here :)
http://actoroscar.blogspot.com/2016/08/alternate-best-actor-2011-results.html?m=1
Louis: Thoughts on the new Midsommar trailer?
Emi Grant: I think it would be best for him not to watch it, since having seen the teaser months ago, he'll try to avoid as much promotional material as possible.
Luke: Your thoughts on Cumberbatch as an actor?
Louis: Your #11-15 films of 2013
Anonymous:
The Informer's cinematography is an essential element, realized by Joseph H. August, in creating Ford's basically German expressionist choices to realize the film. A fantastic choice mind you, that is aided greatly by August's work that creates that sort of dreamlike, perhaps nightmare like, quality in the emphasis on the greys rather than white in the lighting. This creating this beautiful if isolating haze. This amplified in the composition work which very much takes a lot from M in terms of emphasizing faces, but not every face. Allowing the jury for example to bleed together as a contrast to McLaglen who is always left front, center and well defined in all his guilt.
Portrait of Jennie is quite a swan song for August, which might be his greatest achievement with Dieterle, which is nothing to sniff. This as once again they both seem to push each other as no shot is wasted. This is in that even the "standard" shots of people talking have no limitation in beauty in the richness of the lighting that grants such a romantic glow. The film is far more expansive by granting these grand portraits shots throughout, fitting to the idea of the artist at the center of the film, This in this dynamic shots that are a wonderful combination of a romantic and mysterious angle.
Anonymous:
Yes, though Gregg Toland would be pretty tempting.
Tahmeed:
Rather enjoyable bit especially with Ned's classic double take.
Bryan:
Well in general I like her great deal, with Kong and her Marvel efforts being the outliers. Both though seem as though they are out of her comfort zone, and who knows perhaps they just really are. This is as there is a stiffness that you'd never expect from the rest of her work. This is as her greatest asset is a naturalism and comfort on screen. This being the basis in which she brings out with such ease either the dramatic elements or humorous elements of a given part. This is as even with "Stiffer" parts, as she's certainly enjoyable in Scott Pilgrim for example, and there she's against what's become her type, while pulling it off. I'd say she's perhaps still in discovery as an actress, so I hope she moves in the path of her great critical success and less so in her commercial, which doesn't play to that naturalism.
Luke:
No updated thoughts, as I never had any reservations there, she's great, and it is really notable as she really entirely sheds any of her typical Dench presence to do something quite new in her repertoire.
In regards to The Gatsby ballad, I actually don't love the mixing of the song strangely enough as I wish the vocals and the orchestral were a bit more evenly balanced. In that I actually do like both, but I think they would have been more powerful together, as the rather powerful instrumentation is a little too hidden by Del Rey's vocals, which are touch repetitive in terms of the lyrics.
John Smith:
Feel I should watch Where the Wild Things Are first.
Mitchell:
Cotillard is really the end all to me in that instance, given she made something extraordinary out of something very standard on paper.
Charles:
11. Before Midnight
12. Twelve Years a Slave
13. The Zero Theorem
14. Good Vibrations
15. Captain Phillips
RIP Doris Day, Tim Conway and Machiko Kyō
Louis: If he hadn't passed away when he did, what films do you think August would have been perfect for? Apparently, there were two film adaptations of The Age of Innocence that were made in 1924 and 1934, so I'd say that if it Selznick had decided to adapt the novel right after Portrait of Jennie, he would have been an excellent choice for DOP.
Louis: Your thoughts on the screenplay for I, Tonya?
1. Franky
2. Nawazuddin
3. Phoenix
4. Meaney
5. Nighy
1. Bill Nighy
2. Joaquin Phoenix
3. Lily Franky
4. Colm Meaney
5. Nawazuddin Siddiqui
I’m also hoping Abdi or Fassbender takes over the supporting overall, but I actually wouldn’t mind if it went to Nighy, Phoenix or Franky either (though that seems less likely).
Louis: Also, your cast and decade of release for a Billy Wilder version of The Big Lebowski?
I'd be overjoyed if Nighy wins, he's my win for the year without a doubt.
Tahmeed: I just hope we get a five from this lineup. Especially looking forward to Nighy, Franky and Phoenix, then we can finally move onto 1963 Lead where we could get between 5-8 fives if you include Richard Harris going up for This Sporting Life.
Bryan: I think Cumberbatch is a tremendous talent and one who I've increasingly grown more fond of in the past five years. Still think he's yet to really leave his mark on Film but his TV work has been nothing short of brilliance. Whether it's Sherlock, Richard III or Patrick Melrose, he's been outstanding.
Louis: Your thoughts on Never Look Away and it's cast?
Louis, could you also re-watch The Place Beyond The Pines.
My personal top 10 for 2013 supporting would be:
1. Barkhad Abdi, Captain Philips
2. Bill Nighy, About Time
3. Ben Foster, Lone Survivor
4. Matthew McConaughey, The Wolf of Wall Street
5. Hwang Jung-min, New World
6. Ben Foster, Ain’t Them Bodies Saints
7. Paul Dano, Prisoners
8. Jared Leto, Dallas Buyer’s Club
9. Colin Farrell, Saving Mr Banks
10. Kyle Chandler, The Wolf of Wall Street
I think Fassbender will take the win, my updated list would be:
1. Michael Fassbender - 12 Years a Slave
2. Barkhad Abdi - Captain Philips
3. Ben Foster - Ain’t Them Bodies Saints
4. Bill Nighy - About Time
5. Ben Foster - Lone Survivor
6. Hwang Jung-min - New World
7. Lily Franky - Like Father Like Son
8. Ed Harris - Snowpiercer
9. Matthew McConaughey - The Wolf of Wall Street
10. Eddie Marsan - Filth
Anonymous:
The Terminator's screenplay is not some masterwork, the central idea, which probably was lifted from The Outer Limits, is pretty good though to the point that it fuels a proper thriller. In that the structure of it works, even if the concepts are somewhat underdeveloped at times, such as the vague sense of the future offered. It also sabotages its own time travel ideas with the patronage of John Conner which simply is a paradox, which you can take as the time travel rule of everything has already been set, but it doesn't even adhere to that honestly. The script is functional but it works. It also does have some good lines in there to be sure "I'll be Back" and "Come with me if you want to live". The romance, though not bad, is rather simplistic, which is kind of the Cameron way. The rest is mostly set up for action, which works, but the direction is what makes the film, a film I don't love either way.
Terminator: Judgment Day's script is probably more ambitious and far worse if you examine it too closely. This is as even the structure is wonky a bit with the, I guess we can just hide in Mexico bit, which releases too much tension. The plot also is just technically a standard bigger and better overall, though there is a nice twist in reusing the model and the liquid terminator certainly is a great addition. Then it is a back and forth between the nearly awful, and the more than decent. The Sarah Conner PTSD is easily the best element, but even that has the terribly written narration. The relationship between Terminator and John, has one great final line in there, but also some abysmal ones with Cameron writing for a "Cool teenager" much like a very old man. In fact just writing John terribly in general (although Furlong does not help things there). There are also just a lot of awful bits, some excised from the non-director's cut thankfully, that are completely unneeded, especially the let's have a whole scene reprogramming Arnold, rather than just answering the line "Can you learn?" with a simple "yes". Again the heights of the material, amplified by Cameron's direction, Hamilton, Patrick and yes Schwarzenegger, are what make the film, though not to the point they cover up those festering flaws in the script, which is why I've never loved the film.
Anonymous:
Could easily see his touch for that, also some obvious ones like The Man Who Shot Liberty Valance or A Place in the Sun.
Bryan:
I, Tonya is a fantastic screenplay right from its stated outside that very much states what you will see has to be a form of testimony rather than truth, and even the title alludes nicely to perhaps the titular one isn't as innocent as she tries to describe as such. The film for me works though in that it does not make the story misery, which it was in reality, by offering a sardonic approach as a sports satire. Although like the best satires it doesn't eliminate the human element, but rather carefully uses it. It is a confederacy of dunces throughout, and a hilarious one in revealing the most incompetent men all hatching a horrible plan. This is weaved so effectively within the very atypical, almost villain origin, sports tale, defined by hardship and cruelty, that inspires itself in our "heroine". A character it doesn't fully vilify, allowing the right degree of humanity in her moments of achievement, though does not hide her fatal flaws. It's greatness is its ability to grant a sympathy, while also very much laughing directly at the situation, which it pulls off quite wonderfully by never falling too far into quite honestly the absurd or the dramatic.
Citation for the first three: Calvin, as you can't beat Borgnine as Walter.
The Big Lebowski (1950s directed by Billy Wilder)
The Dude: Lee Marvin
Walter: Ernest Borgnine
Donnie: Elisha Cook Jr
Maude Lebowski: Shirley MacLaine
The Big Lebowski: Ray Collins
Brandt: Jack Lemmon
German Nihilist Leader: Gert Frobe
Jesus: Eli Wallach
Jackie Treehorn: Joe E. Brown
The Stranger: Ray Teal
Razor:
Never Look Away tries very hard to achieve that emotion through kismet, that was so brilliantly achieved in The Lives of Others. Sadly this film just doesn't find it, though the ambition is there, and there are certainly striking moments. This is largely through Caleb Deschanel's work, who was very deserving of that surprise nod of his. Sadly despite the aesthetic elements being there, the ambition again there, it falls largely flat in its repetitive and ultimately disappointing narrative.
Schilling - (He actually might be partially to blame for the lack of success in the film, in that while he isn't bad, his work just doesn't really capture the needed emotion in his largely reaction part. Tricky role to pull off, but sadly only made me appreciate Ulrich Mühe's work all the more which had a similar challenge. Schilling's work is largely bland, where his "looking" in terms of Never Looking Away, needed to be the emotional core. It sadly isn't.)
Koch - (The best performance in the film however he is saddled with a two repetitive notes of an evil doctor and a cold father. I'll give him credit though in nailing the few moments where he gets a bit more and makes the most out of his "facing the guilt" moment. His work is sadly though is underused in the scheme of things.)
Anonymous:
Sure.
Louis: Will the review be up tonight.
Everyone: Your 2019 casts for the Harry Potter series under the assumption it was never adapted before. Hard mode: No reprisals.
Robert: Can we put actors from the original movies in different roles?
Robert: Now, are we casting the young kids too, because that's just on the side of impossible (they were all unknowns).
No one from the originals, even in different roles (with the exception of some who were wasted in cameos, like Michelle Fairly). Kids are optional.
Snape: Benedict Cumberbatch
McGonagall: Judi Dench
Mad Eye Moody: Jonjo O'Neill
Sirius Black: Mark Strong
Hagrid: Kristian Nairn
Gilderoy Lockhart: Richard E. Grant
Voldemort: Simon Russell Beale
Dumbledore: Michael Palin
Lucius Malfoy: Mark Rylance
That's what I got right now. I deliberately didn't put Ian McKellen as Dumbledore.
Robert: I'll take a swing.
Sirius Black- Martin Freeman
Professor Minerva- Lindsay Duncan
Snape- Richard E. Grant
Sybill Trelawney- Olivia Colman
Bellatrix- Emily Blunt
Dumbledore- I think Broadbent could be great here, but to keep to your rule, Charles Dance
Gilderoy- Ewan McGregor
Pettigrew- Simon Russell Beale
Cedric- Jack Lowden
Voldemort- Damian Lewis
Bryan L: Actually, yeah, Ewan McGregor as Lockhart is the correct choice.
Matt: Cumberbatch was my first choice for Snape as well.
For Lucius, I'll go with Paul Bettany.
Also, that's much harder than I thought it would be, because most of the actors I wanted to use were already in the series somewhere.
Matt: I actually wanted to cast Rylance somewhere too, but I wasn't too sure where he'd fit. And I think McGregor could bring the same charm that Hugh Grant would've if the filmmakers had gotten their first choice. Branagh was good though.
Bryan L: McGregor and Bettany are perfect choices for those roles, they just completely slipped my mind. I've seen snippets of Rylance's stage work, so I know the hugely impressive range of characters he can play, so I kinda just figured he'd work pretty much anywhere.
Albus Dumbledore- Anthony Hopkins
Sirius Black- Christian Bale
Remus Lupin- Paddy Considine
Severus Snape- James McAvoy
Peter Pettigrew- Martin Freeman (Stolen from Robert)
Minerva McGonagall- Judy Davis
Mad-Eye Moody- Robert Carlyle
Bellatrix Lestrange- Elizabeth Debicki
Gilderoy Lockhart- Tom Bennett
Nymphadora Tonks- Karen Gillan
Sybil Trelawney- Andrea Riseborough
Mundungus Fletcher- Russell Brand
Dolores Umbridge- Emily Mortimer
Voldemort- Iain Glen
Michael: Actually, I like Iain Glen as Voldemort too. Considine as Remus sounds great.
I think he might give Foster the win for Ain't Them Bodies Saints instead.
Louis, are there any GOT characers, you think Paddy Considine would've been a good fit for.
Anonymous: Benjen Stark, maybe Beric Dondarrion as well.
Albus Dumbledore- Tom Courtenay
Sirius Black - Noah Taylor
Remus Lupin - Damian Lewis
Severus Snape- Richard E. Grant
Peter Pettigrew- Martin Freeman
Minerva McGonagall- Joanna Lumley
Mad-Eye Moody- Brendan Coyle
Bellatrix Lestrange- Emily Blunt
Gilderoy Lockhart- Tom Hiddleston
Nymphadora Tonks- Charlotte Riley
Sybil Trelawney - Phoebe Waller-Bridge
Mundungus Fletcher- Burn Gorman
Dolores Umbridge - Brenda Blethyn
Voldemort- Tobias Menzies
OMG more Siskel and Ebert reviews on that page, worst films of 1981, Heavens gate review, Cruising review lol so many xD.
Louis: Your top 5 two thumbs down Siskel & Ebert reviews.
Louis: Could I have your thoughts on the screenplay and CGI and effects of Galaxy Quest? Rewatched it the other day, and it holds up really well.
Dumbledore: Christopher Plummer
McGonaggal: Michelle Fairly
Snape: Tom Hiddleston
Sirius: Christian Bale
Lupin: Daniel Kaluuya (there’s subtext to be had casting Lupin with a minority actor)
Lucius: Tobias Menzies
Pettigrew: Martin Freeman
Voldemort: Sean Harris
Lockhart: Tom Bennett
Umbridge: Ann Dowd (she could probably pull off the accent)
Bellatrix: Florence Pugh
Tonks: Rose Leslie
Quirrell: Ewan McGregor
Trelawney: Archie Panjabi
Hagrid: Mark Addy
Mad-Eye: Peter Mullan
Scrimgeur: Michael McElhatton
Used too many GoT actors, but whatevs
Robert: I wanted to cast Plummer as Dumbledore, but I wanted to stick with only British actors.
Matt: I’ll be honest, I always forget he isn’t British despite having little reason to believe so in the first place.
Robert: Understandable.
Anonymous:
LITTLE FINGER, I don't hate Gillen's performance, but his work never lived up to the full potential of the character. Considine I think could've soared.
Luke:
1. Frozen Assets
2. The Guardian
3. Highlander 2: The Quickening (What a title!)
4. Blown Away
5. 3 Men and A Little Lady
Tahmeed:
The wonderful screenplay, along with acting, is what carries the film, though as unremarkable as his career is overall Dean Parisot's work occasionally does more than not getting in the way of things, despite taking a fairly basic aesthetic. The screenplay is great though as the best type of parody, in that it is successfully a good star trek film through the overall plot and narrative. It though has the right fun with its twist on that by having it be "star trek" actors, and makes fun, or plays into the tropes so hilariously, whether it be a light touch like the removal of a shirt during a fight or a more overt one like the whole character of Guy. It has a lot of great fun there, but it works beyond that. That is in creating such an effective narrative in the idea of embracing one's past and really one's self. Whether that being the story of Jason facing his own shattered ego by recognizing his faults, Guy learning he can be more than just crewman #6, or my personal favorite of Alexander Dane coming to term through Grapthar's hammer. A highlight in the film being the arc realized through that phrase as it begins so hilariously as one of exasperation of wasted potential, to the end of heartbreaking meaning. I kind of love the film because it works as a Star Trek film, as a parody of one, and just quite practically as a film which is evident in its screenplay.
The visual effects hold up remarkably well, partially as they don't overuse them with the abundance of practicals throughout. I'd say really say the Miners, not minors, probably hold up the least, though most of the CGI is more than decent. This again is through the intelligent use of not stretching the use of the time, by using for all artificial not overly detailed things, like the rock monsters and the ships, which are well designed that they work in this way.
Fun fact: Tom Hollander almost played Littlefinger
Fun fact??? I hate knowing that now.
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