Saturday 14 September 2019

Alternate Best Actor 2001: Jim Carrey in The Majestic

Jim Carrey did not receive an Oscar nomination for portraying Peter Appleton in The Majestic.

The Majestic is Frank Darabont's attempt to recapture the films of Frank Capra, which is an admirable ambition, if perhaps a bit foolhardy, not unlike the optimistic endeavors of a Capra protagonist, through the story of a Hollywood screenwriter who is mistaken, through a case of amnesia, for a young man lost in the war in a small town.

There's a challenge in attempting to recapture the world of Frank Capra, which was a very specific tone to begin with. The man that was known as Jim Carrey in the 90's probably wouldn't be one's first choice to the play the lead for an attempt to recapture "Capracorn", being best known for his irreverent comedic performances. This took place in his brief period where he seemed to attempt to balance his comic projects with some more dramatic material. While these typically involved comedy in one way or another, whether it be more subtle in the case of The Truman Show and Eternal Sunshine of the Spotless Mind, or more overt in the case of playing a real comedian in Man on the Moon. This is an exception from the period in this is a purely dramatic turn from Carrey without even the most minor crutch when it comes to bringing a bit of humor into the proceedings for almost the entirety of the film. This simply just is Carrey as a straight leading man, and in that there is something one suddenly notices from the opening frames. That despite Carrey's usual elastic face, when tempered to a strict reality, he actually has perhaps more than just a passing resemblance to one of Capra's most noted leading men, Mr. Jimmy Stewart. Of course a man Carrey imitated in his standup acts, but this performance isn't to imitate Stewart, but rather evoke what that man delivered in his Capra performances.

That's no small challenge, and to successful deliver on this would be no small feat, as Stewart in his height with Capra delivered one of the greatest performances ever given. Now I'll admit right away that Carrey isn't able to produce a work equal to Stewart in Capra's greatest film It's a Wonderful Life, however his work does seem to understand some essential elements that were necessary to the greatness of Stewart's work in his Capra collaborations. This is from the outset of the film where we first see the screenwriter Peter listen as studio executives hack away at an idea of his. Carrey just listens on in thought elsewhere, and even in this action establishes that this will not be a typical Carrey turn. There is no attention seeking, no broad manner, but rather just an attempt to be a normal man. This I guess isn't too much in itself, I mean to tone it down, but his work goes beyond that as he establishes Peter as basically an unassuming screenwriter who is just trying to live out the Hollywood dream, to which he currently is at a lower rung of. Carrey's work though emphasizes this earnestness in this presentation of the man, and succeeds in just being so honestly straight forward. This again sounds a little strange as praise, but it is working towards creating a leading man turn of a bygone era.

Peter's world though is thrown into upheaval when he is accused of being a communist and faces a possible federal subpoena to "name names". Before that happens though he gets into a car accident, losing his memory, but being found by a loving small town. Carrey's performance that becomes even more Stewartesque as the man that so many begin to hold their hopes to, when a local man Harry Trimble (Martin Landau) incorrectly believes that Peter is in fact his son Luke, who was lost in the war. Peter's amnesia allowing him to at the very least not reject the claim, though also tentatively accepting it in a certain sense. This leaves Carrey an interesting challenge in very much relying on a charm, he had not really become known for, while also even reducing that to portray the man attempting to figure things out. Carrey's work is remarkable in the sense of creating a convincing state of confusion but also discovery in the moments of being told who he "is". This isn't too bad given that almost everyone loves Luke, even the lovely daughter of the town doctor, Adele (Laurie Holden). This in itself leading to a proper aw shucks romance, for Carrey to evoke the modest romantic manner that made Stewart's so special. This Carrey can do low key affection rather wonderfully, and he strikes up a nice chemistry with Holden, in that quiet yet potent fashion.

Carrey's performance works as he manages to deliver on the promise of being as earnest as the film is in terms of creating a portrait of basically optimism of the human spirit and of a small town whose existence is made simply by the existence of the return of this "Luke". There is no winking, or playing to a modern sensibility. Carrey carries himself with that spirit as well, and offers the essential non-judgement to the material's strictly genuine tone. Carrey more and more begins to appear as a Stewart sort and this transformation for him as a performer is impressive in itself. Carrey becomes this likable man who becomes part of the town, by romancing Adele, making friends with the local, and recreating the local theater back to its former glory with his "father". In all of this Carrey manages to evoke that old spirit fairly impressively, even as the narrative I'll say isn't as cohesive or compelling as the best of Capra, try as it might to be as such. Nonetheless Carrey's work remains consistent in trying to bring this somewhat flawed version of a Capra story to screen. This including when Peter, after having recovered his memories, must tend to the dying Harry knowing he's not his father. Carrey though is outstanding in offer some final comfort to the old man by "pretending" however Carrey is heartbreaking by only giving each reaction and word this strict honesty to support Peter's real love within a lie.

I will say where the film sort of falls apart, though not to the extent that I think it becomes a bad film even if it definitely comes short of its inspiration, is its ending. This is as Peter is hauled before congress while also dealing with not being Luke, but having to meet the sort of expectations left behind by the brave figure. Carrey's performance to his own credit remains consistent even as the film cannot quite juggle its various elements to the grand Capra finale that it is looking for. Again an admirable attempt even so that I won't be cynical about as some of the criticism towards this film was. Part of that is Carrey's whose performance gives that truth to the material by staying with it. This in portraying the phase of the Capra hero as he gives up, where I'd say is probably the biggest mistake in the whole film. This is as it is a little timid of the darkness, something Capra was not actually timid of nor was Stewart's performance, one can simply watch the scene where George Bailey lashes out at his family in It's A Wonderful Life, for evidence of that. The film rather treats this dilemma as Peter just going, "why not just make it easy", rather than being offered a real temptation, which sadly leaves Carrey's performance without sort of the real low needed to real bring out the power of the high. The film does have the attempted height in the form of the HUAC testimony where Peter pleads his case by evoking the proper spirit of America through remembering Luke essentially. This doesn't hit as hard as Smith's final words in Mr Smith Goes to Washington, or the ending of It's Wonderful Life. Carrey to his credit delivers on the requisite passion in the moment even the writing doesn't quite support him enough here. I'll also grant credit in the bit of humor here, Carrey doesn't fall upon any old tricks but rather evokes Gary Cooper in Mr. Deeds Goes to Town, in his bit of mocking the bullying committee members. It's a well performed scene, but I have to admit it just doesn't reach the heights of the scenes it would wish to be compared to, although that does not mean it is a failure. Carrey's performance here though deserves admiration as he successfully evokes a classic leading man, the greatest one in fact in Jimmy Stewart, even though he doesn't reach the greatness of those turns. That's a high standard for anyone to match, especially when working with lesser material to be honest, and while Carrey doesn't quite reach it, he comes close enough to deserve comparison, which is a remarkable achievement in itself.

80 comments:

Mitchell Murray said...

Haven't seen this film, but it definitely sounds like an interesting turn from Carrey; He's indeed a fine dramatic actor underneath all the mugging, and this performance in particular sounds like a good example of that.

Robert MacFarlane said...

More or less agree with the review, down to how the movie isn’t THAT bad.

Also, I saw Hustlers and loved it. Wu and Lopez totally deserve any awards they might get for it.

Luke Higham said...

Louis: Ratings and thoughts on the cast.

Tim said...

What did you think of Martin Landau? I think he was rather moving and would have been a very deserving nominee.

Brazilian Cinema said...

4,5 Mifunes? Are you kidding?
Jim Carrey remains superior than Gene Hackman and Tom Wilkinson.

Calvin Law said...

Saw Pain and Glory, which I really liked (and most of my reservations were eradicated by the final scene), and It Chapter Two, which I really didn't like. Both have really strong acting throughout though.

Banderas - 4.5 (unfortunately everything I liked about his performance probably works against his favour for an Oscar nom)
Cruz - 3.5
Sbaraglia - 3.5
Etxeandia - 3.5
Serrano - 3

Chastain - 3.5
McAvoy - 4
Hader - 4.5
Mustafa - 3.5
Ryan - 3.5
Ransone - 4
Bean - 3
Skarsgard - undecided, probably a 3? He did have some great moments but some awful ones too
Grant - 2
Dolan - 3
Hated the excision of Audra, and what they did with Stan rubbed me the wrong way. I didn't mind the most significant addition people have been talking about with regards to character dynamics, I did hate Angel of the Night use, and I thought the cameos were just okay, not great, not terrible.

Lucas Saavedra said...

Louis: what are your thoughts on the season 13 finale of It's Always Sunny in Philadelphia

Matt Mustin said...

Calvin: I thought Skarsgard had one and a half decent scenes but was ridiculous the rest of the time.

Bryan L. said...

Matt: I'm guessing you're referring to the bleacher scene as the "one"? I thought Skarsgaard was fine there at least.

Bryan L. said...

Louis: Your thoughts on the following scenes from The Wolf of Wall Street?

"Four hundred and thirty thousand dollars Jordy?!"
The yacht scene with Denham
"I'm not leaving!"
The ending

Mitchell Murray said...

So, Ana de Armas is getting singled out quite a bit in the reviews for "Knives Out". Obviously I haven't seen the film yet, but I'm keeping her performance on the radar for the time being.

Louis: Who would you consider to be some of the best "written" action leads of the 1980s? For myself it would be the likes of...

John McClaine
John Rambo (First Blood)
Alex Murphy
Ellen Ripley
Indiana Jones (Raiders/Last Crusade)

Luke Higham said...

Louis: Jojo Rabbit won TIFF People's Choice, any thoughts.

Louis Morgan said...

Luke:

In regards to Jo Jo Rabbit, that is a MAJOR get, and suddenly the film's back in it (the critical score also has risen a bit more as well). I mean the last English language film not to get a picture nom from this was, Eastern Promises, which was pre-expanded picture lineup. In fact it seems in "good" company with previous winners of Green Book, Three Billboards and La La Land. Though I imagine it is going to be rather different from those films, it seems in their company in that it will face an onslaught of "think pieces" and twitter hate, but probably will still find success with the academy. After all not all the think pieces in the world, along with more than a few controversies, could stop Green Book.

Landau - 3.5(Landau offers a moving turn to be sure. This in just portraying the most genuine happiness at finding his son again, and in general portraying the sheer optimism within the character's dreams. It's a warm turn that would indeed be fit in a Capra film.)

Holden - 3.5(Her chemistry works with Carrey which is the most important thing in a way. The character is a missed opportunity though to replicate the Capra heroine, who were typically a little more active than Adele ends up being in the narrative. Still she still manages to give a nice turn, even if the material lets her down a bit.)

The rest of the townsfolk - 3(Everyone is good in their smallest bits in creating that sort of Capra atmosphere particularly David Ogden Stiers, James Whitmore and Gerry Black. Capra at his best likely would've given them a bit more to do however.)

The villains/city types - (Good work from reliable character actors particularly Ron Rifkin, Balaban and Holbrook though do fine work even in excessively limited roles that unfortunately aren't as well written as a Mr. Potter, Senator Paine or Anthony P. Kirby.)

Lucas:

I've given my thoughts on the dance alone somewhere. I will say the episode itself is a weird combo with Frank and Mac, though it does kind of work. What doesn't work for me is the disturbing lack of Dennis.

Bryan:

"Four hundred and thirty thousand dollars Jordy?!" - (Hilarious scene thanks to Reiner who brings such a great dad's disappointment/questioning to the whole scene, with the other guys acting truly like dumb kids along with Jordan.)

The yacht scene with Denham - (One of my favorite scenes in the film through just how the scene breaks down. With Denham acting as though he's doing it just as a routine thing, until that hilarious turn, that is also marked by the great bit of having the partner suddenly so close after before being so far. The best part as always been Chandler's delivery of "Can you say that again", as the "negotiations" breakdown.)

"I'm not leaving!" - (Great performance from DiCaprio of course, but what I love about the scene is highlighting what he did for the mother. In that you can see sort of the initial benefit that leads to this sort insidious corruption of someone, despite perhaps having something noble at the start of it.)

The ending - (A perfect ending as a companion to Goodfellas. This is as Henry is sent to a true exile after the implosion, and in the white collar though we find Jordan has no real exile, but still exist without a true fallout for his "crimes". I love that Scorsese doesn't need to spell it out, but lets it be there so effectively.)

Mitchell:

I'd concur with those five, plus Jack Walsh from Midnight Run.

Bryan L. said...

Louis: Your cast and decade of release for a Capra version of this film?

RatedRStar said...

As I said Jojo Rabbit was always gonna be love or hate, 75% on Rotten Tomatoes, thats certainly more than enough to put it back Oscar contention, although in what categories?? still not sure.

RatedRStar said...

Louis: What you reckon to this brief non-film clip, dont usually see much of this man outside of films but still nice to see eh? =D.

https://www.youtube.com/watch?v=F_6FdZUYxJI

Mitchell Murray said...

RatedRStar: Well as of right now, best picture nominees Bohemian Rhapsody and Vice sit at a 61% and 67%, respectively...I don't think academy voters really care about Rotten Tomatoes scores.

As for Jojo rabbit, its hard to say. I could see them going the Wes Anderson route in recognizing the costumes/makeup, score, set design, and perhaps screenplay. It will be harder, of course, for the movie's performances to gain that much traction, given the oscar's consistent bias against broad comedy. Of the principle cast, Johansson really has the most awards friendly role as the supportive mother; for any one else, it will be an even greater struggle.

Bryan L. said...

Mitchell: It's also worth noting that Johansson also has Marriage Story to campaign for, which seems like it'll be the safer and bigger contender during awards season.

Mitchell Murray said...

Ok guys, this just made my day...

In case anyone hasn't seen or heard of it yet, the Youtube channel for Fox Searchlight published a "Hitler Rant" video IE the famous bunker scene from "Downfall", with Hitler reacting to Taika Waititi as himself.

Talk about brilliant.

Anonymous said...

Louis: Your thoughts on the voices of Ving Rhames and Kevin Grevioux.

Louis Morgan said...

Bryan:

50's:

Peter: James Stewart
Adele Stanton: Donna Reed
Elvin Clyde: Edward Arnold
Congressman Doyle: Claude Rains
Harry Trimble: Lionel Barrymore
Doc Stanton: Ward Bond
Stan Keller: Henry Travers
Kevin Bannerman: Thomas Mitchell
Voice of Luke: Henry Fonda

RatedRStar:

Not bad I suppose, his bloopers also make him seem a rather affable fellow.

Bryan:

Well it winning the audience award sort of makes it also a major contender, in that it technically has the biggest "tea leaf" so far as a trend goes (all English language TIFF audience winners have been "top five" contenders for the past ten years). I'd say it only helps Johansson however since she can legitimately position herself for a double nomination given the separate categories.

Anonymous said...

Louis: Thoughts on this clip of a Japanese dub of the Silence of the Lambs?

https://www.youtube.com/watch?v=VprL_-n589U´

If you remember, Gene Hackman wanted to play Hannibal Lecter and while we eventually ended up with Anthony Hopkins, I actually found out that the voice actor who voices Lecter in this clip was actually Hackman's go-to-voice actor for Japanese dubs.

Tahmeed Chowdhury said...

Louis: Your thoughts on the screenplay of The Imitation Game, and your thoughts on Graham Moore's Oscar acceptance speech?

https://youtu.be/xbNJq90t0Wk

Emi Grant said...

Calvin: Glad to hear you liked it. I really wanted to see someone else's reaction to the final scene. What did you think of the film?

Mitchell: That's a great move from Fox Searchlight and a glorious rendition of the Hitler Rant.

Luke Higham said...

Adam McKay/Jeffrey Epstein, that's all we fucking need right now. :(

Mitchell Murray said...

Oh, and for those that don't know, Erik Singer put out another accent video:

https://www.youtube.com/watch?v=_6ohUUzh9kk

Razor said...

Louis: Your thoughts on The Majestic’s cinematography and production design?

Anonymous said...

Louis: your top 20 Pete postlethwaite acting moments

Matt Mustin said...

Louis: What are your thoughts on Bob Newhart's "eulogy" for Krusty the Clown? https://www.youtube.com/watch?v=wTZ7lVT7b-Q

Louis Morgan said...

Side note, just thinking about The Majestic a bit more, Frank Darabont actually FAR more successfully made a Capra film in The Shawshank Redemption. This with the lone hero who makes a huge difference, the community of likable character actors (this time prisoners), vile corrupt men with power (Hadley and Norton), except it contains that real darkness and low, before that powerful height of the escape. Obviously isn't a one to one comparison, but I think there's reason that film has stood the test of time, much like It's Wonderful Life has, despite both also being slightly forgotten in its initial release.

Anonymous:

Rhames - (A proper powerful voice to be sure capable of both a strict menace a la Pulp Fiction, but also a nice warmth in the example of the Mission Impossible series.)

Don't think I've heard his voice much.

Anonymous:

I mean better than English Dubs of some films of Asian cinema that I've seen. In that there seems to be any attempt to actually seem suitable and within the roles. Not that there isn't a certain disconnect still, but as dubs go, not too bad.

Hackman of course decided against playing the part himself, that in a strange way eventually lead I think to playing Little Bill, so we all won at with him as Bill and Hopkins as Hannibal. Though I do think Hackman would've likely made a great, if very different Lecter.

Tahmeed:

The Imitation Game's screenplay is a struggle I think between its plot machinations and its character study, which it struggles to cohere, try as it might. The plot machinations do work, very much Hollywoodized to be sure in the streamlining and simplifications of it. The story of just "breaking the code" though works with our off-beat protagonist, and our group of dogged code breakers of different ilks. This of course simplifying the idea of the homosexual eccentric, into a Hollywood eccentric, whose more off-beat qualities seem perhaps rather outgoing despite the claim of a type of introversion. Still it does work in a basic entertainment, as Moore manages to realize it in a straight forward, sometimes obvious way, particularly in the choices regarding creating the "villain" in Dance's character, the "eureka" moment and even the spy revelations. Still that does work to an extent, even it doesn't reinvent any wheels. Moore doesn't cohere it with the tragic story of the man. Now I'll even grant the young Turing scenes are moving, and do work as the early tragedy that defines the man. Moore can't make the later Turing scenes work, as he attempts to create a purely inspiration tale out a true tragedy. He can't and the scenes, are there wandering in trying to offer some denouement that doesn't ring true. Thankfully someone had the good grace to cut out Turing's suicide, which is present in the original script, but that scene in the script is a testament to Moore's work being underwhelming in realizing the story of the man. He made it a direct inspirational tale for much of it, which doesn't ring true with his overall story, and in turn the tragic elements just lay there sadly as an afterthought.

Having said that Moore's delivered a moving speech, focusing on Turing's tragic end, and powerful bit of inspiration in telling his own story there.

Louis Morgan said...


Razor:

The Majestic's cinematography is some beautiful work by David Tattersall very much going for a too beautiful for this world look of the small town, and effectively so, particularly the lighthouse sequence. Just sort of work that emphasizes those soft glows at every point, and effectively so I will say in fitting just creating a warm glow just by looking at the film. It's composed with a intimate grand scale, which is strange but it works in sort of creating the "town". The idea doesn't quite succeed towards a true greatness as Tattersall isn't Roger Deakins, but it is still certainly strong work.

The Production Design is terrific period work, with a very specific purpose, in creating not just the fifties, well just that in the Hollywood scenes, but really this "perfect" fifties in the small town scenes. It wholly works though as the whole place just seems welcoming at every point particularly the restored Majestic in all its glory.

Anonymous:

Postlethwaite:

1. Fouling the ball - In the Name of the Father
2. "I'm an innocent Man" - In The Name of the Father
3. Rejecting the win - Brassed Off
4. Reacting to a drugged Gerry - In the Name of the Father
5. Reminiscing under the cloth - In the Name of the Father
6. "I'll cut your nuts off" - The Town
7. In the Hospital - Brassed Off
8. Setting Camp - The Lost World: Jurassic Park
9. Looking out to the yard - In The Name of the Father
10. Failure - Romeo + Juliet
11. Unpleasant Dinner - Distant Voices, Still Lives
12. A threat for all - The Usual Suspects
13. His Scene - The Constant Gardener
14. At home - In the Name of the Father
15. After murders - Romeo + Juliet
16. Word on 85 - Alien 3
17. Preparing - A Private Function
18. Inception - Inception
19. Movable Feast - The Lost World: Jurassic Park
20. Christmas - Distant Voices, Still Lives

Louis Morgan said...

Matt:

One of my favorite bits of dry humor, period, quite honestly. This in Newhart's impeccable half-interested, rambling style delivery, of not quite backhanded, but in no way a tribute in any way of Krusty as a pseudo eulogy of near indifference. I especially love his final "whatever" with his "even though many of us we didn't, we didn't watch his show".

Bryan L. said...

Louis: Your present film roles for Ernest Borgnine and Eli Wallach?

Louis Morgan said...

Bryan:

Ernest Borgnine:

Eli Sisters
Chief Willoughby
Albert (Enough Said)

Eli Wallach:

Willie T. Soke
Raoul Silva
The Prospector (The Ballad of Buster Scruggs)

Calvin Law said...

Emi: It was very Bergman-esque in a way I felt. I liked, though wouldn’t say quite loved, it a great deal, and I thought it was a particularly interesting exploration not necessarily of memory but more of experience.

Louis: could you see Bill Hader taking on Jeff Goldblum roles and vice versa? I just had the idea of Goldblum playing Barry and Richie Tozier in the 1980s, and Hader playing Seth Brundle today, and both just seem perfect.

Matt Mustin said...

Brad Pitt is not gonna campaign for an Oscar this year. Don't think it'll have much effect, he'll be nominated anyway.

Anonymous said...

Louis: Rating and thoughts on Michael Biehn and Ed Harris in The Rock, Bill Duke, Carl Weathers and Jesse Ventura in Predator.

Matt Mustin said...

Is Mulholland Drive and original or adapted screenplay? Technically, it was a television pilot originally but there is a lot of grey area there.

Bryan L. said...

Anonymous: I love how Mac goes crazy after Blain dies in Predator, and I like to think his performance there led to Cosmatos casting Duke in Mandy, as a subtle nod to Mac and 80s films.

Bryan L. said...

Matt: Darn, I can't believe I've never thought of that, and they even filmed the pilot as well. Hhmmm...

Bryan L. said...

Louis: Your thoughts on the voices of Steven Spielberg, Ridley Scott, Ron Howard, and the Coen bros?

Matt Mustin said...

I watched The Fellowship of the Ring from beginning to end for the first time and it is indeed amazing.

Luke Higham said...

Matt: Did you see the extended edition and your ratings for the cast.

Tahmeed Chowdhury said...

Louis: Have you seen Spirited Away yet? If so, could I have your thoughts on it?

Calvin Law said...

Saw Ad Astra. Technically immaculate, apart from one device I really did not like which relates directly to the story and its aspirations as sort of what I felt was an Apocalypse Now in space. Now Gray doesn’t entirely fail in his attempt, particularly in the technical regards he does succeeds, but I will say a lot of the writing I have massive reservations about. There were many things I liked about the film but also many things I disliked.

Luke Higham said...

Calvin: Your ratings for the cast.

Calvin Law said...

Luke:

Pitt - 4/4.5
Negga - 3.5
Sutherland- 3
Jones - 3
Tyler - 2.5

Calvin Law said...

I should note I do expect to be a bit of a curmudgeon on this board about this since I’m not huge on Gray in general and I can also definitely see how this will work for some.

Bryan L. said...

Fellowship of the Ring is my second favorite film of the trilogy.

Calvin: Glad to hear Pitt is solid in the film at least.

Matt Mustin said...

Luke: Pretty sure it was just the regular version.

Wood-4
McKellen-5(This is really a flawless performance, when you think about it)
Astin-4
Mortensen-4
Bean-4.5
Holm-4/4.5
Lee-4
Weaving-3
Tyler-3
Blanchett-3/3.5
Rhys-Davies-3.5
Bloom-3
Monaghan and Boyd-2(I just don't think they're that funny)

RatedRStar said...

Speaking of Jim Carrey, what does everyone reckon to the Dumb and Dumber licensed soundtrack? It might be my favourite ever, every song seems like it fits perfectly.

Emi Grant said...

Louis: Your thoughts one Rocky IV's Hearts on Fire? (a.k.a. The greatest song of all time)

Robert MacFarlane said...

So I’ve now seen all three Lord of the Rings Extended, and I have some stray thoughts:

1. David Wenham got REALLY fucked over in the theatrical cuts. At least more than half of his scenes are were cut. To add insult to injury, they all seemed to be his best scenes.

2. By extension, I’m willing to cut Noble more slack. His scenes in the extended cut of ROTK play better. Still broad, but I’m willing to raise him to a 2.5 at least.

3. Ian Holm really stood out for me the most on the Fellowship rewatch. Really had such a balancing act to go through for such a short amount of time. He’s my 2001 win now.

4. Sorry to say Louis, I still don’t get why you love Hill in Two Towers. In fact, I think he’s better in Return of the King.

5. So since the extended cuts didn’t really explain anything extra, does all of the elf stuff make more sense in the books? I’ve seen the original cuts over and over for the past decade and have not once made sense of the Arwen subplot.

Calvin Law said...

Robert: agreed on Wenham though to be honest, I’ve always found him pretty good in the role. But yeah some of those deleted scenes are fantastic aren’t they?

And eh a lot of the Arwen stuff is in the footnotes of the novel. Tolkein’s writing has so much subtext sometimes it’s hard to get through if you try to cover everything, but I think the films do a great job and conveying everything important and leaving or cutting out/minimising the more background details unless it’s essential. But no Arwen isn’t actually all that more fleshed out in the novels from what I remember.

Anonymous said...

Louis: The reason why I asked you about that whole "a leader can't sound like one if he doesn't have a deep voice" is because a friend of mine said that one of his problems with a Captain America voice for an Avengers cartoon is because he sounds like in his 20's and not in his 30's aside from not having a deep voice, but wasn't Captain America in his 20's when he fought in WW2 in the comics? As far as I'm concerned, he was.

Anonymous said...

Louis: And besides, could you see Michael Bell (the voice for Duke, Cyclops and Prowl) as a voice for Captain America? Sure, his voice isn't deep, but I could see him being authoritative as Cap since you can sound authoritative without a deep voice.

Tahmeed Chowdhury said...

Louis: Could I have some extended thoughts on John Hurt in 1984? I can't seem to find them anywhere.

Bryan L. said...

I wrote another article if anyone wants to take a look at it (:

https://bryansfilmandetcblog.blogspot.com/2019/09/the-films-of-christopher-nolan-ranked.html

Calvin Law said...

Saw The Farewell. Loved it, although I admit it hit me particularly hard with how many of the cultural and familial dynamics I related to.

Awkwafina - 4.5
Ma - 3.5
Lin - 4/4.5
Zhao - 5
Lu - 3.5
Jiang - 4
Chen - 3

Louis Morgan said...

Also saw Ad Astra, sadly I won't be dissenting from the opinions so far. Good aesthetic, Pitt is decent (though not ideal for the role), but sadly Gray seemed to have written a plot outline, a protagonist then seemed to have called it a day. It's Apocalypse Now however in this version you have Willard, barely a Kurtz, barely a mission, barely any interesting stops, no Clean, no Chief, no Lance, no Chef, no photojournalist, certainly no Killgore. I mean I would've even taken a weird french plantation.

Pitt - 3.5
Jones - 2.5/3
Negga - 2.5/3
Sutherland - 2.5/3
Minor players are all kind of terrible.

Luke Higham said...

Louis: Is the next review coming by the end of the week.

Matt Mustin said...

Louis: Who would you have cast instead of Pitt?

Bryan L. said...

Eh, I'll give it a look anyways. I must support James Gray.

And hey, at least it appears this isn't War Machine/Fury/Allied Pitt. Although I suppose this'll be the b-side of his 2019 performances.

Calvin Law said...

Matt: Pitt really isn’t the problem but I’d have liked to see Joaquin Phoenix in this sort of role (though obviously better written).

Calvin Law said...

Louis: your thoughts on that initial SpaceComm briefing scene? I know it’s not a big deal in the grand scheme of things but watching that actually made me appreciate the equivalent scene in Apocalypse Now a LOT more (and actually those kinds of scenes in The Martian as well). The dialogue and acting there was just so...stilted.

Louis Morgan said...

Calvin:

I could actually.

Anonymous:

It's been so long since I've seen the Rock I forgot Biehn was in it. Harris's work though did stick we me in that he managed to grant a real gravitas to his character's sort of demand, creating enough of a sense of a conflict within the man with a hopeful deed, yet no real ill intent.

Bryan:

Speilberg - (Normal guy's voice)

Scott - (Proper English and more affable than his pictures would imply.

Howard - (The voice of the Bluths's narration is interesting as it just borders on grating, in that it has the features of a typically grating voice, yet it isn't)

Coen - (Normal, though a little dry, as you'd expect.)

Emi Grant:

I mean who doesn't want to climb a mountain and call out the name of their sworn enemy when listening to this. This being a pretty magnificent piece of a 80's ridiculousness and well awesomeness. I'll admit the central verses more of suit their purpose, with lyrics that are a little hard to make out honestly, but who cares. That chorus is everything one needs, amplified by pure synth again of 80's, and those nearly random musical interludes are an icy of magnificent that could only exist with a film like Rocky IV that defies the logic of traditional film making to achieve a strange nirvana.

Matt:

Regarding Mulholland's Drive's screenplay placement, in general I think if the work is unpublished/unproduced and by the same author, it should still count as original. For example I consider the Third Man original, though Greene wrote a novel first, he used it as a way to help write the screenplay without publishing the novel until after the film was made. In the same way Lynch's pilot eventually morphed into the film without having ever released it in its unfinished pilot form.

Gray's boy Phoenix would've made the most sense.

Anonymous:

Yes and yes. A good example of that actually regarding Bell.

Louis Morgan said...

Calvin:

Oh, the film is chocked filled with missed opportunities and just underwhelming approaches to scenes. That scene included, which is so bland and creates no sense of urgency within the mission. Honestly the more I'm thinking about the film the less I'm liking it, despite the noble efforts of the behind the scenes crew, they're let down by Gray's uncharacteristically lifeless screenplay.

Michael McCarthy said...

I watched Spirited Away for the first time today and...wow. Totally lives up to the hype. I wouldn’t be surprised or bothered if it took over the best picture slot for 2001.

Anonymous said...

Louis: Your thoughts on the Brazil office theme.

Bryan L. said...

Louis: Your thoughts on the direction and editing for Black Hawk Down? It genuinely feels that Ridley Scott simply puts you right in the middle of the action.


Calvin Law said...

I'd be very down for a review of Ed Harris in The Rock. It's one of his best performances in my opinion.

Calvin Law said...

Saw Hustlers. A bit uneven in tone but maybe that was the intention - anyway, I really liked it.

Wu: 4/4.5
Lopez: 4.5
Stiles: 3
Palmer: 3.5
Reinhart: 3
Lizzo: 3
Cardi B: 3

Anonymous said...

Luke, Are there any potential Oscar snubs that you won't feel too bothered about.

Luke Higham said...

Anonymous: To be completely honest, Willem Dafoe in The Lighthouse, as much as I would love to see him win, he's the biggest category fraud in Supporting this year along with Hopkins, the only difference is that he's a sure thing to be reviewed regardless whereas I'm not really sure if Hopkins would make the alternate 10 for Lead. And I'd much rather see Dafoe and Pattinson reviewed together than separately.

Luke Higham said...

Louis: Is Ad Astra the most disappointing film of the year so far for you.

Luke Higham said...

Louis: Are you re-editing Washington's review for Training Day because it's not on the 2001 page anymore.

Anonymous said...

Luke, if that is indeed the case, he must be going up to a 4 at the very least.

Anonymous said...

Louis, Have you seen any other 2019 releases in the past month.

Luke Higham said...

Louis: Could I have your top ten Carey Mulligan moments.

Louis Morgan said...

Tahmeed:

Hurt's work there by deserve a bit more substantial of an examination.

Anonymous:

Wonderful cover of sorts to Brazil, in one of his versions featured within the film, this creating sort of this strictness blended with what is sort of relaxing spirited song, an effective combination then of the ordered repressed world of the "reality" of the film, against those dreams of freedom.

Bryan:

Not sure if I included it in a film with an imbalance between direction and screenplay, but I probably should've, not that the film has a truly bad screenplay exactly. Scott's direction though is the film as he uses every single technical aspect of the film to immersive you so deeply within the action. He creates such a powerful experience by the sheer force of will featured in his work that creates such a vivid state. It works where he hits every mark whether it be the cinematography, the sound design, and of course the editing to place within the disastrous cluster that was that mission. It's a work that has quite honestly be attempted repeatedly, and ineffectively by others like Michael Bay and Peter Berg, however they fall short. This is Scott in masterful form, even as the screenplay could've given more enrichment to the characters, however he does everything in his power to override those short comings by his mastery of creating the experience of the battle within the film.

As I mentioned before an essential part of that being Pietro Scalia's editing, who does his best work there since his all-time great teamwork for JFK. The film's editing is fantastic in managing to make the madness make sense, and not only make sense but pack that essential punch. This in having those moments of chaos, hit with even confusion being realized, however never becoming truly confusing to the audiences. An essential part that is often lost, however the grasp on this is brilliant here, finding such a elegant and careful balance to creating that sense of a mess of a mission, however never being a mess at any point. This requiring the most careful refinement that is always evident in the film's editing.

Luke:

Hmmm....I suppose though Midsommar is right there, which was a worse film to me, however I anticipated Ad Astra more.

Mulligan:

1. Let No Man Steal Your Thyme - Far From the Madding Crowd
2. Confronting her parents - An Education
3. The Elevator - Drive
4. Seeing the wife - An Education
5. Offer to Boldwood - Far From the Madding Crowd
6. Final talk with Llewyn - Inside Llewyn Davis
7. Ending - Far From the Madding Crowd
8. Meeting David - An Education
9. Confrontation with the inspector - Suffragette
10. Troy's rejection - Far From the Madding Crowd

Anonymous:

Late Night, which sadly I thought bordered on terrible. Then again it is within that realm of sort of MOVIE movies (where it isn't a broad comedy yet everything is so falsely heightened), that I have a low tolerance for to begin with.