5. Justin Theroux in Mulholland Drive - Theroux gives an enjoyable turn by providing a reality of sorts within the film's mad dream as his hapless director.
Best Scene: Meeting the cowboy.
4. Ian Holm in Lord of the Rings: The Fellowship of the Ring - Holm manages to give a terrific balance between the warm father-figure and the pained man weighed down by a peculiar burden.
Best Scene: Letting go of the ring.
3. James Gandolfini in The Mexican - Gandolfini steals his film wholesale through his humorous, moving and surprisingly nuanced portrayal of an atypical hit man.
Best Scene: Reacting to the suicide.
2. Paul Bettany in A Knight's Tale - Bettany gives a terrific turn that manages to find a proper mix between a classic orator and a barker cutting a wrestling promo.
Best Scene: *Scenes deleted*
1. Anthony Hopkins in Hearts in Atlantis - Hopkins delivers an especially moving turn showing his remarkable range in creating such a quietly warm character while also showing his great ability with child actors through his chemistry with Anton Yelchin.
Best Scene: Helping Carol.
Updated Overall
Next Year: 1952 Lead/Supporting (Not sure I'm going to do a lineup)
249 comments:
1 – 200 of 249 Newer› Newest»Well, Hopkins got the win. That's pretty cool.
No idea who to suggest for 1952.
1952 Lead
Carlo Battisti - Umberto D.
Robert Mitchum - The Lusty Men
Georges Poujouly - Forbidden Games
Shin Saburi - The Flavor Of Green Tea Over Rice
Ralph Richardson - The Sound Barrier/The Holly And The Ivy
1952 Supporting
James Mason - The Prisoner Of Zenda
Louis: Ratings and thoughts on the rest of the leading performances you've seen.
Same again for Luke Wilson, Pellegrino, Spall and Montgomery
And are there any other female performances from 2001 you'd give a 4 or higher.
Ralph Richardson for The Sound Barrier and The Holly and the Ivy for 1952 lead are the only ones that comes to mind for me but I’m fine if you just check them out and put them in the rankings, solid 4s/strong 4.5’s for me.
Glad to see Hopkins nab a win here!
And overjoyed to see an upgrade for my supporting win of Luke Wilson.
Carlo Battisti, Humberto D.
Serge Reggiani, Casque D'or
Danny Kaye, Hans Christian Andersen
Alec Guinness, The Card
Georges Poujouly, Forbidden Games
also
Robert Mitchum & Arthur Kennedy, The Lusty Men
Fernandel, Don Camillo
Alberto Sordi, The White Sheik
Dan Dailey, The Pride of St. Louis
Aldo Ray, The Marrying Kind
Cary Grant, Monkey Business
Ralph Richardson, The Sound Barrier
Supporting
Claude Dauphin, Casque D'or
Raymond Bussiéres, Casque D'or
Duncan Lamont, The Golden Coach
Gunnar Bjornstrand, Secret of Women
Louis: Rating and thoughts on Brando’s final performance?
Louis: what are your lowest 3, 3.5, 4, 4.5 and 5 for this ranking and the alternate 2001 lead one?
*Finds out he voiced a woman in an unreleased animated film shortly before he died*
*Clears throat* His final released performance?
What's everyone's 2019 lineups at this point? For me,
Lead Actor -
1. Willem Dafoe, The Lighthouse
2. Robert Pattinson, The Lighthouse
3. August Diehl, A Hidden Life
4. Aaron Paul, El Camino
5. Taron Egerton, Rocketman
Lead Actress -
1. Lupita Nyong'o, Us
2. Jessie Buckley, Wild Rose
3. Valerie Pächter, A Hidden Life
4. Samara Weaving, Ready or Not
5. Awkwafina, The Farewell
Supporting Actor
1. Al Pacino, The Irishman
2. Tom Hanks, A Beautiful Day in the Neighbourhood
3. Joe Pesci, The Irishman
4. Song Kang-ho, Parasite
5. Chris Evans, Avengers: Endgame
Supporting Actress
1. Zhao Shuzhen, The Farewell
2. Tilda Swinton, The Personal History of David Copperfield
3. Jennifer Lopez, Hustlers
4. Scarlett Johansson, Avengers: Endgame
5. Park So-dam, Parasite
I am very proud of you Louis. Finally recognize that Ian McKellen is superior to Sean Bean and give Anthony Hopkins a deserved victory.
Anonymous: Oh just please shut up for all of our sakes.
Calvin: I’ll give you my Acting wins for now, since I haven’t seen several of the films you mentioned
Actor- Taron Egerton (I’m currently rewatching Breaking Bad before I visit El Camino, so Aaron Paul could’ve been here)
Actress- Lupita N’yongo
Supporting Actor- Song Kang-Ho
Supporting Actress- Scarlett Johansson (Endgame)
Calvin: I desperately need to catch up with so many films. Will do the same as Bryan.
Actor: Phoenix/Paul - Joker/El Camino (need to re-watch both to settle)
Actress: Lupita N'yongo - Us
Supporting Actor: Alessandro Nivola
Supporting Actress: Imogen Poots (Both from the Art of Self-Defense)
Oh, by the way, guys. While on Reddit, I stumbled upon what could potentially be a future Ari Aster film. It's a feature length screenplay based on his own short film "Beau" (Which I found to be..."unique"). I haven't gotten around to read it, but from some of others' reactions, the plot sounds intriguing.
In case any of you are interested, feel free to tell me and I'll e-mail it to you.
Louis: Have you seen Lagaan? If so, could I have your thoughts on the film, and rating and thoughts on Aamir Khan and any other cast members that you felt stood out.
Ralph Richardson - The Sound Barrier
Ralph Richardson - The Holly And The Ivy
Danny Kaye - Hans Christian Andersen or Clifton Webb - Stars and Stripes Forever
Carlo Battisti - Umberto D.
Georges Poujouly - Forbidden Games
Definately a lineup for lead, as for Supporting, Mason for Prisoner of Zenda and maybe Arthur Franz for The Sniper.
Yeah Supporting 1952 is a total head scratcher, one of the few years aside from some of the 30s where I can't think of a supporting lineup.
10 actors and 10 actresses I believe will be in Louis's 2019 lineups (currently unrated):
SUPPORTING ACTRESS
Zhao Shuzhen in The Farewell
Taylor Russell in Waves
Park So-dam in Parasite
Thomasin McKenzie in Jojo Rabbit
Imogen Poots in The Art of Self-Defense
LEAD ACTRESS
Awkwafina in The Farewell
Lupita N’yongo in Us
Lesley Manville in Ordinary Love
Jessie Buckley in Wild Rose
Florence Pugh in Midsommar
SUPPORTING ACTOR
Al Pacino in The Irishman
Joe Pesci in The Irishman
Tom Hanks in A Beautiful Day In The Neighborhood
Song Kang-ho in Parasite
Taika Waititi in Jojo Rabbit
LEAD ACTOR
Willem Dafoe in The Lighthouse
Robert Pattinson in The Lighthouse
Brad Pitt in Ad Astra
Aaron Paul in El Camino
Joaquin Phoenix in Joker
Brazinterma: He's already seen Ad Astra and gave Pitt a 3.5.
Glad that Ben Kingsley got higher.
Also, Louis, i have noticed that you do not have anyone from SAW in both of your 2004 Rankings. Have you not seen it?
Emi: Normally I’d take up an offer like that, but I’m pretty soured on Ari Aster right now tbh. Thanks though.
Bryan: Yeah, I decided to watch Midsommar last night and I'm feeling the same. It's gonna be a while before I actually read the thing now.
Emi: You know, I would be interested, but I actually think Aster's a much better director than he is a writer, so I'll wait to see it on the screen, I think.
Saw Maleficent 2, went along with my sister and I want my 2 hours back.
Luke: Ratings for the cast?
Why was there a sequel to Maleficent I mean really, Angelina Jolie, Imelda Stuanton, Chiwetel Ejiofor, Robert Lindsay (who is very talented if one watches him on stage), Michelle Pfeiffer, Lesley Manville, were they forced to star in this lol?
RatedRStar: Don't forget Elle Fanning.
Bryan: To be frank with you, I really can't be bothered to give ratings on this one. Pfeiffer's the only one that stood out to me in any way whereas Jolie gives a carbon copy of her work in the first film.
RatedRStar: To quote good ol’ Larry, “Money, dear boy.”
Luke: Understandable. Also, if you haven’t already, would you mind taking a look at both/either of my blog posts so far?
Bryan: Don't worry, I've seen them already. Dunkirk at #1 brought a huge smile to my face. :)
Luke: Thanks, and glad to hear that :)
By the way, has anyone seen the new trailer for "Marraige Story"? It's only bolstered my anticipation for the film, and both leads look even more promising.
Luke:
Hackman (Heist) - (I'll admit I think Mamet's dialogue fit the world and tone better here than some of his other films. It also helps having Hackman just own a part as per usual, and show his typical giving it his all. This isn't really even quite a great part as it's just a generalized criminal on his part however that doesn't matter as Hackman just controls the part so well. This carrying the precision of personality that matches the man's method. Hackman just dominants as he should as the man who seems to have it all ready no matter. He's as expected particularly in his final moments as the man who doesn't give hair about pomp or ceremony about anything even death.)
Rylance - 4(I mean the film itself didn't quite work for me, as how many times do you want to see Mark Rylance have sex, sometimes not even acting. Having said that Rylance is such a fascinating performer even in his film that is messy in the way its built around those sex scenes. Rylance still is terrific in creating the certain complexity of the man's contemplations and trying to figure out exactly what his place is in his life as well as his relationships.)
Leonard & Hawke - 4(Surprisingly Leonard slightly bests Hawke here actually, however what makes both work is how natural they are in the scenario even as it doesn't entirely work in terms of conception. It does though in the end because of their performances that have the naturalism of two old friends whose "demons" go way back, however what I liked was how effectively they made these interactions as casual. This fitting to two real friends even if they are sharing a bit of an old conflict.)
No Man's Land guys - 3.5(The film itself didn't work for me, as the darkly comic tone is hard to pull it off and the film just doesn't pull it off. Both give fine performances though in a straight forward way as the men who slowly open up to one another even as there remains this underlying intensity all the same.)
Vaughn - 3.5(Redoing his routine from Swingers, however Vaughn is good at that routine once again.)
Khan - 3.5(I can't help but feel this performance could've just been a touch more charismatic. Don't get me wrong, he is good still, and charming enough particularly in the musical scenes. He doesn't quite own the film as I would've expected the lead of the film probably should've but it is a fine straight forward turn to be sure.)
Favreau - 3(A touch overshadowed by Vaughn, though he once again does a fine straight man routine against him, however he's more overshadowed here than he was in Swingers.)
Tielve - 3(Fine, but doesn't leave that much of an impression as child performances go.)
Wilson - (His performance really is unlike anything else he ever has done as it isn't at all like the rest of his work, which is typically as the slightly goofy guy. Wilson though gives a fantastic understated turn here completely ridding himself of his typical presence. This instead emphasizing the withdrawn nature of the character creating a real powerful sense of his inability to express himself. This showing though in the moments where we see this break slightly, such as the flashback to the failed game, then eventually in his major scene. He's then great in his unbearded scenes with Hackman and Paltrow where he is still quiet, yet opens up with this straightforward honesty.)
Pellegrino - 4(A hilarious performance by portraying really sort of the complete failure as this tough badass hitman. This instead stressing the sort of flying by whatever comes at him randomly as this messy affair of a whole lot of nothing, as he makes far more trouble for himself in each setup. Pellegrino's work being essential to the dark humor by keeping that sort of everyday stress to the whole thing.)
Spall - 4(He's good in just bringing this vibrancy within his characters earlier speeches granting such a good sense of who this guy is, even though we don't see much of him outside of these casual conversations with Rylance's character. Spall though then slowly builds this to actually being quite moving then by giving such a genuine quality in his depiction of the man's breakdown as he starts realizing a few things.)
Montgomery - (His performance is a fascinating bit of whatever it is exactly. This is as he's so off-putting yet so effortlessly magnetic as well in creating this unsaid threat, while also just seeming to exist on some other plain of existence.)
Bryan:
Brando - 3(As much as he apparently made life for Frank Oz as hard as possible, Brando actually does manage to come across as though he cared here. This in that his indulgence works as the flamboyant fence, however Brando goes beyond just the indulgence. In some of his moments with De Niro there is a bit of nuance connecting the understanding between the two, that adds more to this work. It isn't some amazing sendoff, but at least he's good here.)
Lucas:
5 - Wilkonson
4.5 - Osment
4 - Hawke (Tape)
3.5 - Khan
3 - Norton
Tahmeed:
I rather liked the film, which I thought really more than anything just a fun entertainment as the sports movie with an epic scale. I'll say unlike most times, I actually thought here the musical scenes actually really worked in invigorating the narrative. More than anything though it was just a fun making the team/underdog story, even though I'll say I thought the game itself was actually the least entertaining and interesting part. It's a bit of a shame as I was loving the rest of the film, not that it gets bad, but just wasn't an amazing climax to me.
Singh & Shelley - 4(I thought both were wonderful in creating the love triangle by giving such charming and luminous performances. Both in different ways with Shelley being more overtly endearing, and Singh doing so nicely with granting this grace within her role. I especially enjoyed their dueling love ballads over Bhuvan.)
Tim:
I have not.
Louis: your thoughts on this deleted Creed 2 https://youtu.be/LHkx2RYFjN8
Louis, Your updated Female Top 10s for 2001.
Louis: Could you switch Bean to Hopkins on the My Wins page.
Louis: I know you don’t care all that much for the film, but what are your thoughts on THE cameo from Spider-Man: Far From Home?
Bryan L: That's my favourite part of the movie easily, outside of the way Gyllenhaal played Mysterio.
Saw Farmageddon: Shaun The Sheep. A return to form for Aardman after the disappointing Early Man and prove once again why they're my personal favourite animation studio. Can't understand why it wasn't submitted for Best Animated Feature.
Matt: Same here. I'll also at least go up to bat for Gyllenhaal, since I quite liked what he was doing as Mysterio, although I understand the lukewarm reception on here for the film.
Luke: If you've seen it, your thoughts on Chicken Run? Because I saw that film many times when I was little, and I thought it was a blast then.
Bryan: Well, It's probably my favourite Aardman film though most do prefer Curse Of The Were-Rabbit. Love the Great Escape references, I think it has a more compelling narrative on the whole than any other from the studio's oeuvre, has a pretty good villian in Mrs. Tweedy and I just love every single minute of it. Also, I'm still amazed to this day that they managed to get Mel Gibson of all people to voice Rocky The Rooster though I did read at one point that he really enjoyed the Wallace and Gromit shorts.
Calvin:
Effective in a microcosm, in that watching the film I didn't think there was anything missing as I didn't feel it was necessary to have closure between the two sides so overtly, as we had their individual moments on opposite ends. It also probably would've thrown off the pacing a bit as it would've definitely slowed down the ending. Having said that it is definitely a nice scene with the very human interactions between the two sons, and the nice silent one between the old enemies finally with a bit of understanding.
Anonymous:
Lead:
1. Naomi Watts - Mulholland Drive
2. Sissy Spacek - In The Bedroom
3. Nicole Kidman - The Others - 5
4. Isabelle Huppert - The Piano Teacher - 4.5
5. Renee Zellweger - Bridget Jones's Diary - 4.5
6. Tilda Swinton - The Deep End
7. Laura Elena Harring - Mulholland Drive
8. Cate Blanchett - Bandits
9. Thora Birch - Ghost World
10. Judi Dench - Iris
Supporting is unchanged.
Bryan:
The best part of the film for me, as if you have perfect casting might as well keep it. The performer in question doesn't miss a beat in the part, even with a minor, I'd say effective, adjustment to the role.
Louis: Rating and thoughts on Swinton.
Luke: Thanks, and yeah, I’m still amazed Gibson is in the film, although it does work as Rocky is meant to be the “hotshot” of the chickens, and Gibsons starpower back then helps with that.
Louis: Is Blanchett a 4 or 4.5 for Bandits.
Well, I watched The Laundromat today and it was.....a movie. To be exact, it was basically a bunch of bad movies stuffed into one. The editing was bizarre, tone was all over the place, and the writing was super unfocused. Likely my least favorite of the year so far.
Streep - 3
Oldman - 2.5
Banderas - 3
Louis
Have you watched the movie To the Left of the Father? If so, you didn't mention Selton Mello, Raul Cortez, Leonardo Medeiros, Simone Spoladore and Juliana Carneiro da Cunha in the Overall Ranks.
Luke:
Swinton - 4.5(In what is a weirdly straight forward remake of The Reckless Moment, just with some random modern aspects thrown in, we get a very straight forward Swinton performance. If only we could get the perfect version with her and James Mason, but I severely digress. Swinton gives a striking turn though in portraying the emotional conviction of the mother doing what she believes is the right thing. This is with the right hints towards vulnerabilities while still emphasizing the character's strength within that. It is a well balanced turn that carries the film well.)
4
Brazilian Cinema:
I wasn't able to procure a copy of the film.
Louis forgot about Hopkins, Julianne Moore, Ray Liotta, Gary Oldman and Giancarlo Giannini for Hannibal.
Anonymous: I assume he didn't watch the whole thing so he's not gonna rank them.
So I watched the Watchmen pilot, and um... I have no clue what the hell to make of it.
Louis: What are your thoughts on the score for Joker? Everyone seems to love it, but honestly I think it's just kinda good enough.
Speaking of Joker, there's a meme going around with the stair dancing scene, and it's making me realize that's potentially my least favourite piece of directing all year. It's certainly one of them.
Matt: I’m in the “generally positive” camp regarding the film as a whole, but I see what you mean about the score. Its a bit repetitive and indeed just good enough, although I’d consider “Subway” and “Escape from the Train” definite highlights.
Dredd (90's version, directed by Paul Verhoeven)
Judge Dredd: Michael Ironside
Judge Anderson: Neve Campbell
Ma-Ma: Rachel Ticotin
Kay: Keith David
Computer Expert: Anthony Michael Hall
Caleb: Tom Sizemore
Peach Trees Medic: Dorian Harewood
Judge Lex: Mark Rolston
Judge Chan: Nick Chinlund
Judge Alvarez: Ricco Ross
Judge Kaplan: Colette Ferro
Chief Judge: Margaret Avery
"If I had a steak I would fuck it" =D
So, I just watched "Children of a Lesser God" for the first time today..and it was honestly quite decent. You definitely feel the slow pace of the film, and I will echo something Roger Ebert said regarding its choice of perspective, but overall it was an effective enough drama.
Hurt - 4.5
Matlin - 4
Laurie - 3
Bosco - 3
Watchmen pilot was impressive on the technical and acting fronts at the very least, intriguing in its ambition even if I too am not sure what to make of it at this point. Hey, and Irons is already a better Ozymandias than Goode, though that didn't require much. I do wish another cast member had been able to stay around a little longer however.
Matt:
Well I would say how much one appreciates the film will correlate at least a little to the score, given that it definitely isn't subtle at he very least. I think the extremely positive reaction also likely came as there haven't been that many memorable scores this year, so far. The score at least stands out in that point and I will say it well supports that tone/atmosphere the film is going for. The main theme is memorable if definitely overused, however is eventually effectively reworked for the "triumphant" finale piece. The rest of it are for the most part are lesser riffs on that theme and the whole thing does feel like an expansion on Zimmer's Joker theme, though I'll grant that there is definitely a lot of logic in that. The GOAT talk, that I too have legitimately seen is more than a little overblown, but I do think it is a good score, that certainly stands out in this year of scores at the moment.
Mitchell: I really liked "Children of a Lesser God" and think its pretty underrated.
RatedRStar: Well I'd say I liked the movie too, even though it did feel a little slow at points despite its standard 2-hour run time. Also, in Ebert's review he mentions how the film is shown exclusively from the hearing character's perspective, which I would agree with. There definitely could've been more done to explore Sarah's viewpoint in her interactions with James, but that is mostly remedied by the dynamic between Matlin (Good) and Hurt (Very Good).
Louis: Your Top Ten Alfonso Cuaron directing moments?
I think praise for Joker’s score owes a bit to Chernobyl’s success too, it’s a banner year for Guðnadóttir.
Also the score for Joker while good isn’t even in my top 5 anymore. That’d go A Hidden Life, Avengers: Endgame, The Farewell, Parasite, and Us. I’d even rank the likes of Godzilla and Ready or Not over it in that regard.
Bryan:
1. The baby cries - Children of Men
2. Silent escape - Children of Men
3. Opening - Gravity
4. Ending - Gravity
5. Road attack - Children of Men
6. Arriving at the station - Gravity
7. Going into the compound - Children of Men
8. Opening attack - Children of Men
9. Werewolf - Prisoner of Azkaban
10. The beach - Roma
Note: The attack in the store scene from Roma is technically brilliant, but the reveal of the boyfriend is so ridiculously melodramatic it sinks it for me.
Calvin:
I'll admit it probably also helps Joker as a few of your nominees probably will be disqualified by the Academy, given that Endgame and Us's arguably most memorable pieces are preexisting. Endgame being the reworking of the main Avengers theme with "Portals" and "Pas De Deux" being an arrangement of "I Got 5 on It" from US. Parasite also mixes in its preexisting music so well with the score, it likely will suffer the same fate.
I finally watched Parasite. Outside of The Lighthouse or The Irishman I don't think anything will come close to top it for me. Bong Joon-Ho really outdid himself with this one.
Will probably give it another watch before rating the cast, but it's easily one of the best ensembles of this decade. Goddamn, this film floored me.
Louis: Ah darn, main reason I asked is because I wanted to see if the store attack was going to be on there, however I do understand your reservations about the film besides the technicals.
Anyways, your thoughts on #10 from that list? I’m glad at least that one made it.
Emi Grant:
Glad to hear you loved it as well. Still looking forward to many films, but it will be difficult to dethrone for me.
Bryan:
Hmmmm, sorry to say but the more I'm thinking about it, it probably isn't my #10 either. The more I think about the film the more I don't really care for it despite its technical prowess. The problem being the dishonesty of technique for me. This being it presents itself as slice of life realism 90% of the time, yet places its focal points as strictly melodramatic worthy of soap opera music in the punctuation. The beach scene is the same, the visual realization of it is great, but the whole breakdown speech, as written, not performed, just is of a different kind of film.
Louis: Your thoughts on the cinematography and sound design of Eraserhead.
Louis: It's all right.
On the bright side, your thoughts on #1 and #5 from that list?
Louis: Your thoughts on this scene from The Newsroom?
https://youtu.be/VMqcLUqYqrs
Thames: I knew exactly what that scene was before I even copy-pasted it.
So Bale and Damon are officially out of the running for Ford v Ferrari.
If I were Bale and Damon I would be tearing my hair out, first Bale supporting, then Bale lead, now both lead, silly whoever is deciding this, The Two Popes didn't have this problem, straight away it was Pryce lead, Hopkins supporting.
RatedRStar: I know right? To be fair I don’t think either of them would be that fussed but still, what a mess of a campaign, and funny thing is that it’s getting a good reception at festivals so I doubt there’s any real reason for all this switcherooing.
Louis: your thoughts on the final reaction shot in Magnolia.
Tahmeed: Can't speak for Louis, but that is legit one of my least favorite scenes in all of television. Didactic, condescending, meandering, and a clear tract for Sorkin. Sadly, it's probably not the worst that show had to offer. (Looking directly at the episode where they silence a rape survivor. Boy, that aged well.)
Robert: 100% agree with you on that one, actually. I gave up watching the show after the second episode, and its acclaim has always baffled me.
John Smith: Louis, i see you upgraded Ben Kingsley for sexy beast to 4.5. Any new thougts on this brilliant performance?
Louis: Could you also watch:
Europe '51
The Golden Coach
Le Plaisir
Casque D'or
*Tahmeed. Darn autocorrect
Tahmeed and Robert: What annoys me even more is that I see that scene shared at least once a month on my Facebook feed by people who want to look “woke” and then just call it a day. And yes, I find Sorkin being gratuitous there.
Louis: Your top ten Ben Kingsley acting moments.
What’s everyone’s thoughts on Scorsese’s recent comments on comic book films? I actually think it’s a fair enough take, I disagree obviously but I think the internet attacks on both sides are verging on the ridiculous (seems a bit daft to get so worked up about small issues like this).
Going to do a Soderbergh double feature on Netflix of High Flying Bird and The Laundromat tomorrow and might also go see Official Secrets.
Also that Star Wars trailer today seems fine actually. And if what seems like is going to happen halfway through the trailer does happen I will definitely be guaranteed to cry.
Calvin: Regarding the Scorsese thing, I so don't care at all. Regarding Star Wars, once again those people know how to cut a trailer.
Calvin: It’s his opinion, though I think it wouldn’t have been a big deal if he had just said something like “Eh not my thing.”
I watched The Art of Self-Defense last night. I liked it enough actually, and I think it works as a companion piece to Fight Club. I’d give Poots a 4, although I have no clue what to rate Eisenberg and Nivola right now.
Louis
What are the Best Lead Actress and Supporting Actress Rankings of the Years 1971 and 1985?
1971
1. Cloris Leachman - The Last Picture Show
2. Elizabeth Hartman - The Beguiled
3. Eileen Brennan - The Last Picture Show
4. Monica Zetterlund - The Emigrants
1. Liv Ullmann - The Emigrants
2. Vanessa Redgrave - The Devils
3. Jessica Walter - Play Misty For Me
4. Geraldine Page - The Beguiled
5. Glenda Jackson - Mary, Queen Of Scots
6. Julie Christie - McCabe & Mrs. Miller
7. Ruth Gordon - Harold And Maude
8. Glenda Jackson - Sunday Bloody Sunday
9. Susan George - Straw Dogs
1985
1. Madeline Kahn - Clue
2. Lesley Ann Warren - Clue
3. Sonia Braga - Kiss Of The Spider Woman
4. Eileen Brennan - Clue
5. Mieko Harada - Ran
1. Geraldine Page - The Trip To Bountiful
2. Norma Aleandro - The Official Story
3. Cher - Mask
4. Whoopi Goldberg - The Color Purple
5. Mia Farrow - The Purple Rose Of Cairo
Bryan: To be fair he was kind of saying 'Eh not my thing' but I get what you mean. It just seems a bit blown out of proportion.
Matt: They sure do don't they? You know what, I really liked both The Force Awakens and The Last Jedi, and even though I do feel like this has been a pretty haphazardly plotted out series in terms of setting up/making for a cohesive trilogy, I can appreciate it as a sort of Indiana Jones trilogy kind of deal where each film is its own contained entertainment.
Bryan: I'd go with 4.5s for Eisenberg and Nivola, as well as a 4 for Poots. Apparently Poots' role was originally meant for Mary Elizabeth Winstead. Wonder how that would have worked out.
Anonymous:
Eraserhead's cinematography features the ideas of Lynch, which visually he'd take even further in The Elephant Man with the great Freddie Francis. The work here though is a brilliant black and white work, that isn't quite film noir, using what is typically a single light source in crafting an otherworldly expression in the film. The deep focus interestingly makes it all the more alienating by making the strange imagery all the more tangible, and "there" so to speak.
Eraserhead's sound design is an essential part of the film's brilliance as Lynch so carefully uses every sound choice in the film in creating the world of the film. No sound is a simple sound, but every choice creates a further quality that is off-putting or in a way illuminating towards the film's particular form of insanity.
Bryan:
Well technically the whole scene of the tracking shot is included as it builds up to me eventually to the baby crying moment, that is fantastic on a technical scale in the sheer audacity of the camera movement with the amount of elements. What makes so special though is how it manages to realize the simple beauty of the crowd silencing in reaction, here no overplaying the emotion but rather having it so gently realized in the moment of calm amidst a battle as everyone has a moment of mutual humanity.
The road attack again is just impeccable in terms of the sort of moving parts of the scene. It is especially striking though in making it such a visceral scene in its execution. This keeping in the car with Theo and the horror of the death along with the quick reaction of trying to save himself.
Tahmeed:
Well I never watched the series, Sorkin is very talented but it is hard for me take him completely undiluted, I think it is essential for him to have a second voice to temper his extremes. This scene being an example of that. The setup is so ludicrous with the bright eyed straw woman being stuffed full of nothing just for Sorkin's mouthpiece to tear her asunder. This in his indeed, in full agreement with Robert, didactic, condescending and meandering speech. The whole thing that might as well be titled "lemme drop some truth bombs on yah", is extreme artifice and indulgence by Sorkin, as it doesn't play like a character speaking about what he believes, it plays like a long winded letter to the editor.
Luke:
1. "The truth" - Death and the Maiden
2. The lighthouse - Shutter Island
3. Making the list - Schindler's List
4. "YES YES YES YES" - Sexy Beast
5. Time to leave - Gandhi
6. "I've built something here" - Shutter Island
7. "Confession" - Death and the Maiden
8. Meeting with the Schindler outside the camp - Schindler's List
9. "I love you" - Sexy Beast
10. Talking about his films - Hugo
Calvin:
Sheer cinematic closeup perfection in terms of acting, as it says so much in just the oh so natural change from anxiety and insecurity, to a hint of joy and hope.
Regarding Scorsese, it's going overboard in both directions in the reactions to it, and measured responses would always be nice. I mean I don't disagree with his overall sentiment, I too wish a film like Silence could get a much bigger audience than Venom for example. I wouldn't go about it the old "not cinema" way, in that it just sounds like "movie" versus "film" argument. Let the films speak for themselves rather than dismissing them with labels. I mean supposedly Federico Fellini loved superhero comics, he in turn could've loved the Marvel movies. There is no reason dismiss the films in that way, even though I wouldn't want the world to be where we only have Marvel movies.
Emi: I was wondering about that too. Winstead could’ve worked, though Poots has more of that “eager follower” look that works better for the part.
Winstead was probably the original choice until Riley Stearns and her separated.
Luke:
Also finished this season of Peaky Blinders, honestly my favorite season since season 2. This as Knight actually shook things up a bit story wise rather than just making a standard villain for Tommy to defeat, this with a finale that actually shattered my expectations rather than falling short of them as seasons 3 and 4's finales had done.
Cast Ranking:
1. One scene wonder "ghost"
2. Cillian Murphy
3. Paul Anderson
4. Brian Gleeson (I know he's gotten a ton of guff for his accent, but I loved his bravado)
5. Sam Claflin
6. Kate Phillips
7. Sophie Rundle
8. Aidan Gillen
10. Cosmo Jarvis
11. Finn Cole
12. Ned Dennehy
13. Natasha O'Keeffe
14. Kingsley Ben-Adir
15. Helen McCrory
16. Ghost 1
17. Charlie Murphy
18. Anya Taylor-Joy (Strangely miscast)
19. Harry Kirton
Louis: I'm pretty sure your #1 has a surname beginning with H.
Luke:
You're probably onto something there. Shame Blinders has absolutely no sway with any television awards body, the fact that it hasn't gotten even a single tech Emmy nomination is ludicrous, as it would be hard to best that "guest spot".
I’ve seen a clip of Gleeson’s Glasgewian accent. It does sound fucking dreadful but if he gives a good performance I’m willing to give benefit of the doubt. I’m gonna try and get into the series as a whole ASAP. Glad to see you liked Sam Claflin too.
Louis: Your 11 - 20 Ben Kingsley acting moments
In reference to Luke's and Lucas' comments, I'm just really pleased to "the truth" from "Death and the Maiden" as Louis' favourite Kingsley moment. It's such a striking monologue on his part, and easily the best sequence of the film.
Louis: Could I have your thoughts on the 'Someday my dream will come' scene from Collateral?
Louis: Your thoughts on the Lady in the Radiator scene from Eraserhead.
Also, having just watched "Copycat" today, I'd like to offer my updated top 10 Sigourney Weaver performances.
1) Aliens
2) Gorillas in the Mist
3) Alien
4) Alien 3
5) Copycat
6) Ghostbusters
7) Galaxy Quest
8) Working Girl
9) The Ice Storm
10 The Year of Living Dangerously
Louis: Your thoughts on A Streetcar Named Desire's screenplay and direction?
Louis: Speaking of Weaver, are there any roles in the MCU that you think she could’ve been a good fit for back in her prime?
Bryan L: Maria Hill.
Matt: I second that, although Black Widow wouldn't be out of the question either.
Louis: your thoughts on the entire two ferry boat sequence in The Dark Knight?
I think Weaver as Maria Hill would make more sense *now* instead of 80s/90s Weaver, if Marvel had decided to go for a "veteran" option.
I could kind of see her as Black Widow, although either Kathleen Turner or Linda Hamilton would be the choice in my mind. Maybe Captain Marvel?
General question for you all. What do you guys think of Diana Ross in "Lady Sings the Blues." Horribly messy movie, but I am not sure what I think of her just yet. Leaning positive, but with reservations.
ruthiehenshallfan99: Your right about the film, its awful, as for Ross, its a wild mixed bag, shes definitely the worst of the 5 nominees that year, I think shes best in her reactionary scenes, like when she sees the hanged man or the scenes when she encounters racial abuse, her scenes when she turns full drug addict are pretty poor and manage to be both underplayed and overplayed imo.
Louis: Could I have your thoughts on this video by Lessons from the Screenplay on The Social Network? I think it rather perfectly pinpoints the strengths and weaknesses of Aaron Sorkin's writing.
https://youtu.be/8IAGH6k17nw
Louis, what are your updated top ten performances of the 2000s?
Lucas:
11. Offering the job - Sexy Beast
12. Trying to get his wife to clean - Gandhi
13. Ending - Sexy Beast
14. Final reaction - Shutter Island
15. Meeting with Baron Irwin - Gandhi
16. Being tied up - Death and the Maiden
17. Airplane claim - Sexy Beast
18. During the liquidation - Schindler's List
19. Claiming his alibi - Death and the Maiden
20. Meeting with Bourke-White - Gandhi
Tahmeed:
One of the best scenes in the film and Cruise's performance. I love that the scene feels particularly honest in terms of the interactions as written despite the situation, they are two men discussing this, not a hitman and his cabbie he's abusing. Cruise is fantastic though in that he doesn't overemphasize the cruelty of Vincent, rather he plays as more this genuine disappointment in what he sees in this weakness in Max's failure in life. Cruise plays such a sincere reality in conveying Vincent's cynicism, that just brushes a strange sympathy of a man who lost his humanity, but might've had a bit of it at one time. That moment itself is an essential element in taking above just a good thriller.
Anonymous:
Such a striking surreal idea to begin with, that truly expands film in its Lynchian brilliance, even as it can be seen as quite the twisted homage to almost a classic Hollywood number, this though as a living nightmare, such an imaginative nightmare.
Emi Grant:
The screenplay there isn't too much to talk about honestly, as it is mostly about what isn't kept from the play. This being the bits of censorship here and there, the most noticeable being the ending that definitely rings a little false, even if it isn't terrible. Luckily it is a stage work that has more than enough cinematic potential to begin with in order to thrive, though with some minor adjustments, that are effective if indeed minor to make the transitions for example more cinematic.
What really makes the film cinematic is Elia Kazan's direction where he's keenly aware that simply plugging in what he did on stage to screen wouldn't have worked. Kazan's work here is remarkable in terms of showing what can be done with a piece that isn't fundamentally changed. There isn't a major expansion in terms of sets or anything else. The drama is still within a certain context, however Kazan brilliantly expands through the use of what cinema can do. This particularly in terms of creating a sense of the mind of Blanche by offering her point of view either through manipulations or through careful, and powerful use of closeups. Kazan though allows scenes to play in a manner that would only have been capable in film. This including the walking down the stairs lust/disgust moment, where he can linger the camera on Hunter's portrayal of this for a long time, before she comes to Stanley. Kazan insists on the perspective of the emotion of the characters using the cinematic form that essentially retains the emotions of the play, while also removing any sense that the material is of the stage.
Well I hadn't seen that video before, and I'll say it hit Sorkin right on the head. That being both his great skill, but also his excesses. I'd say that clip of Fincher working with him on the screenplay says it all, as you can see him tempering though excesses, quite literally as he says reducing the use of a line from 3 times to 1. One can see Fincher being that needed second voice to really tell Sorkin when he's going too far, or just to tone down the idea into a more subtle form.
Bryan:
A much better written Carol Danvers.
Calvin:
I would say is actually one of my least favorite parts of the film, aside from the Russian dinner date, not that it is a bad scene, however as an action set piece the "attacking the police convey" is far superior, and as a morality piece the "Kill Reese/Blow up the Hospital" is more effective overall. The scene still works in both senses, but I would say it is functional where most of the film is beyond that. The one aspect that is more than that is Ledger's moments at the end of the sequence, his reaction to the ships not blowing up, his final speech, and especially his "laughing to his demise" moment.
Anonymous:
1. Naomi Watts - Mulholland Drive
2. Charlize Theron - Monster
3. Viggo Mortensen - The Road
4. Brendan Gleeson - In Bruges
5. Heath Ledger - The Dark Knight
6. Casey Affleck - The Assassination of Jesse James
7. Daniel Day-Lewis - There Will be Blood
8. Colin Farrell - In Bruges
9. Marion Cotillard - La Vie En Rose
10. Ralph Fiennes - In Bruges
My bets for 2019 Gotham Awards are ...
- BREAKTHROUGH SERIES – LONG FORM: Chernobyl
- BREAKTHROUGH ACTOR: Taylor Russell in Waves
- BINGHAM RAY BREAKTHROUGH DIRECTOR AWARD: Olivia Wilde in Booksmart
- BEST SCREENPLAY: Marriage Story
- BEST ACTRESS: Alfre Woodard in Clemency
- BEST ACTOR: Willem Dafoe in The Lighthouse
- BEST DOCUMENTARY: The Edge of Democracy
- BEST FEATURE: Marriage Story
My bets for 2019 Gotham Awards are ...
- BREAKTHROUGH SERIES – LONG FORM: Chernobyl
- BREAKTHROUGH ACTOR: Jonathan Majors (The Last Black Man in San Francisco)
- BINGHAM RAY BREAKTHROUGH DIRECTOR AWARD: Olivia Wilde (Booksmart)
- BEST SCREENPLAY: Marriage Story
- BEST ACTRESS: Awkwafina (The Farewell)
- BEST ACTOR: Adam Driver (Marriage Story)
- BEST DOCUMENTARY: American Factory
- BEST FEATURE: Marriage Story
Louis: Glad to see Colin Farrell's performance in that updated list. Although kind of surprised that Mortensen is #3.
Tahmeed: I'm over the moon with DDL at #7 but I knew Watts would come in first place and I actually thought Viggo would be in 2nd.
Saw Dolemite Is My Name. Standard biopic in many ways, very slight and peters out a bit towards the end but I liked it.
Murphy - 4
Key - 3
Epps - 3
Robinson - 3
Burgess - 3
Randolph - 4
Snipes - 3.5
Little Women is getting raves.
Calvin: No surprise there...A well known story, great cast, recently nominated director....I mean, the formula was there the whole time.
Me, I'm just hoping i'll enjoy the film on its own merits. I like the 94' version well enough, so hopefully this one will be on a similar level.
I also saw Dolemite is My Name. I agree with Calvin on the ratings. It’s more The Disaster Artist than Ed Wood in terms of quality, however it’s an enjoyable watch, and it’s nice to see Murphy in a high-profile film again.
Also, I wonder if Pugh is now in play for a Best Supporting Actress nod for Little Women, although Streep’s also in the film. Ronan could be a lock for a nomination now, however.
Bryan: In regards to Pugh, definitely, although I'm not sure what affect her co star (Streep) would have, given that "The Laundromat" has been under performing thus far. Maybe that will make both their campaigns difficult as it could split votes, but then again, if the academy loves "Little Women" enough they could just nominate them both like they did last year with "The Favourite".
Supporting actress is still up in the air as no one has really made an undeniable claim for themselves. We have Bening, we have Dern, and we might have Lopez, but anyone else is a bit harder to pin down. I will say this, though; If I end up liking her as much as I expect, given what clips we've been offered so far, I would probably be backing Johansson for a nod as her role in "Jojo Rabbit" just seems so refreshing and warm, and almost suggests a different stage in her career all together.
I saw Parasite and The Lighthouse today. The former is my favorite of the year, and I have no clue what the fuck to make of the latter.
Pugh has been getting just as many raves as Ronan so I think both are pretty strong contenders.
Robert: Looks like it’s pretty much unanimous love for Parasite across the board so far...
Speaking of, here are my quick thoughts on Parasite. Calvin, I hope you don't mind that I borrowed your format for OUATIH here haha
https://bryansfilmandetcblog.blogspot.com/2019/10/parasite-spoiler-free-review.html
Saw three of the potential lead actor contenders myself.
Pain and Glory which, I thought was fine.
Dolemite Is My Name, which I thought was enjoyable.
And The Lighthouse which I loved in all its madness (though I would've preferred if it had ended a few shots earlier)
Louis: I'm so glad you loved The Lighthouse. :)
Your thoughts on the films and ratings and thoughts on the casts of the first two that you mentioned.
Louis: Do you intend on seeing Doctor Sleep and The King in the next few weeks.
Louis, Have you seen any other 2019 films in the past month.
Louis: Is The Lighthouse your #2 of the year so far.
I must say I will be VERY surprised if Murphy gets nominated. He’s definitely good in the role but it wasn’t a very baity performance (which I actually liked but it doesn’t lend itself to much potential awards consideration).
Calvin: I agree. I think he’ll only get as far as a Golden Globe Comedy/Musical nod.
Also I really hope either Pattinson or Dafoe get #1 over Phoenix.
Just....fine, Louis? *quietly sobs on a corner*
Anyway, could I have your thoughts on Pain and Glory's score? It's still one of my favorites.
To everyone who saw Parasite: Am I alone in thinking Cho Yeo-jeong and Park So-dam were the standouts? I thought they were both hilarious.
Robert: Park’s incredible and makes my lineup so far. I wasn’t sure about Cho initially but she grew on me a lot on re-watch.
Robert: Park So-dam might just be my win for Supporting Actress right now and Cho certainly had some hilarious reactions.
Luke:
Pain and Glory I thought was one of those films that just didn't push itself enough, or perhaps didn't focus itself enough. In that I felt while each strand of the story was interesting enough, it didn't spend enough time with any part to really delve as deep as I would've liked. Whether that be who Salvador is a filmmaker, as a son, as a "friend" to his leading man and so on. I think I probably would've liked the film more if it just stayed in the present, and expanded on that, though the childhood scenes aren't bad.
Cruz - 2.5(She's fine, but just is a pretty standard mother character across the board. She does her job, but doesn't add much more than that.)
Exteandia - 3.5(He's fine as the sort of annoyed actor, in playing down the frustrations while also presenting the pseudo connection with Banderas's Salvador. Really though what moves his performance up a little for me is his portrayal of the monologue by Salvador, where he indeed captures the emotion of that moment.)
Dolemite is My Name is indeed more Disaster Artist than Ed Wood, as it really just works mostly as a fun romp, delving enough not to be flat, but really just remaining as mostly an entertainment. It has the right fun though with the concept of making the film, but does give enough development to Rudy's struggle to create enough stakes for the whole affair.
Key, Epps, Robinson, Burgess, Smit-McPhee - 3(Although do a fine job as sort of the loyal crew, adding nice bits of humor here and there, and enough character in the short moments they do have.)
Snipes - 3.5(Rather entertaining in his portrayal of the different kind of ego against Rudy's warmer presence. Snipes is enjoyable in portraying the phony ego as he emphasizes Martin's sniffy attitude at every venture, particularly in his leaving the set. I do wish he had gotten one more scene though.)
Randolph - 4(Effective in bringing home the sort of more dramatic intentions weaved within Rudy's story, regarding being one's self and representation of those rather unlikely stars. Randolph delivers on that emotionally effectively, bringing together some nice poignant moments in her scenes with Murphy.)
First, criminal that The Lighthouse probably will not win Oscars for sound editing and sound mixing, probably won't even be nominated. Just the sort of transcendent mad experience I was looking for. Eggers once again crafts such a vivid time and place, well also skewing it towards a definite madness. I love though the certain beauty he finds, even in such a grim and isolating atmosphere that is so palatable. His storytelling I think was considerably better here however by putting us right into the mind of Pattinson's character. Although that is also that madness, that are leaving some viewers a bit mad, however I love that this time he doesn't put us ahead of his characters, leaving that essential sense of discovery (even if we're discovering some rather unpleasant things for the most part). I loved that, but what really made the film was the dynamic between the two central characters, which is I'll say about that for the time being.
I'll see Doctor Sleep if it gets decent reviews, and I'll watch the King when it comes out on Netflix.
Yes, though Parasite still has a nice tight grip on #1.
Calvin:
I don't think he probably will be nominated, however he is a contender. In that he'll get at least one precursor. I could see him even winning the Globe, if Sony is dumb enough to run OUATIH drama. I wouldn't say SAG is even out of the question, after all Franco got nominated there for Wiseau. I'd say the biggest thing against him is Netflix already has three contenders in Pryce, Driver and De Niro, who seem like better bets for a nomination. Murphy may be one too many, however I wouldn't say he has zero chances.
Robert:
Well I will say both were terrific to be sure. I especially think Cho's work has been taken a bit for granted by some as she does so much with a role that in the wrong hands could've been mostly just kind of in the background a lot of the time.
Emi:
Certainly a good score from Iglesias, crafting sort of internalized jumbled mind fitting to the protagonist, but with sort of the flights of fancy, as the strings sort of find themselves in moment, when not taken over by other "thoughts". Appropriately emotional to be sure.
Louis: Your thoughts on The Lighthouse's Cinematography.
Well, it sounds like Pattinson and Dafoe are currently Louis's top two for the year. Can't wait to see the film, and for their inevitable reviews.
Tahmeed: Me too. :)
Louis: your thoughts on these alternate Lighthouse castings
1960s directed by Jack Clayton
Wake: Trevor Howard
Winslow: Tom Courtenay
1970s directed by Nicolas Roeg
Wake: Ossie Davis
Winslow: Oliver Reed
1980s directed by Alan Parker
Wake: Harry Dean Stanton
Winslow: Mickey Rourke
1990s directed by Zhang Yimou
Wake: Anthony Wong
Winslow: Tony Leung Chiu-Wai
2000s directed by Paul Thomas Anderson
Wake: Daniel Day-Lewis
Winslow: Paul Dano
Luke:
Jarin Blaschke's cinematography is outstanding, and a particularly unique achievement in the art. That starting with Eggers's choice to not even use the Academy Ratio, but rather go back slightly to a less "refined" narrow screen. This both evokes the earliest horror films, but also manages to capture something so striking as the shots manage to still capture a grander scale in the vertical capture, particularly the shots of the titular lighthouse, while still creating the more expected isolating view of the characters. The work here though has that almost seemingly insane refinement of only the very best silent/early sound films. This in every shot is so striking in terms of the strict fascinating composition of every structure or either person. This all amplified with the lighting that evokes such a haunting atmosphere within every frame of it. A lighting that is so powerfully dynamic, that does seem closer to a truly classic horror film, however Blaschke's work doesn't feel like it is copying that, or just trying to replicate it. Instead his work feels like he was making a film in the period, but was a pioneer in the field.
Calvin:
All good, your 60's one is sheer perfection.
Louis what would be your current score and cinematography nominees?
Anonymous:
Score:
Joker
The Lighthouse
Pain and Glory
Parasite
Us
Cinematography:
John Wick Chapter 3
Joker
The Lighthouse
Midsommar
Parasite
Wow, was I the only one who hated Joker’s score? It’s probably my least favorite of the year.
Also, now that I’ve had time to think about The Lighthouse: It was fine, but I don’t think it also felt like empty posturing with little thematic depth.
Robert:
To quote the Uncut Gems trailer, "I disagree Gary, I disagree". Far more so regarding the Lighthouse. Although obviously I didn't hate the Joker score, it's mostly a placeholder for me at the moment.
Also note to any "What about Endgame?" regarding score, it was hard for me to consider it for best *original* when its best pieces are reworkings of previous themes, as good as those reworkings are, and I would actually say it is the best marvel score.
What about El Camino for cinematography? That's easily my win at the moment.
Matt:
The list of 2019 movies I was looking at didn't have it listed, but yeah, that would make my top five over John Wick 3.
Eh I’d easily place Endgame’s score over Joker which while good is definitely just that. Speaking of which Louis what’re your thoughts on the score to Chernobyl?
I’ve listened to “Portals” and “Main in End” many times now. And I think Jokers’ cinematography was aces.
Louis: Your 30s cast and director for The Lighthouse?
Louis: Also, could you see Dafoe himself being a good fit for Pattinsons role back in the 80s?
Lastly, your 2010s choice for Agent Alan Ward?
I’d suggest John Carradine as Winslow and Walter Brennan as Wake.
Louis: Could you possibly do the voice acting lineup or review some of the fives or potential fives that you missed after 1952 because I can't see you finishing 94 or 99 Lead and Supporting at your current pace before you begin the Oscar reviews.
I saw The Lighthouse, Judy, Dolemite is my Name, Rocketman and Hustlers, I had to really catch up on Oscar season because I saw so few films early on.
I thought The Lighthouse was brilliant, but I tell you what, I thought it was funnier, than scary, thats I why I mentioned the "Steak comment" before.
RatedRStar: Your ratings for the casts of those films.
John Smith: Louis thoughts on Ian Colles performance in Preacher?
Luke: My ratings
The Lighthouse
Pattinson (5)
Defoe (5)
Judy
Zellweger (4)
Wittrock (2.5)
Sewell (2)
Gay Couple, cant remember their names (2.5)
Gambon (N/A, he has like 3 lines)
Buckley (2.5)
Cordery (3)
Dolemite is My Name
Murphy (4)
Snipes (4)
Rudolph (4)
Everyone else (3)
Rocketman
Egerton (4.5)
Bell (3.5)
Madden (2.5)
Howard (1.5)
Macintosh (2.5)
Graham (3)
Hustlers
Wu (4.5)
Lopez (4.5)
Palmer and Reinhart (3)
Lizzo (2.5)
Cardi B (1.5) I guess there has to be one constantly angry character.
Ruehl (2.5)
Brewer (3)
I actually didn't have too much of a problem with Cardi B, thought she served the purpose of the role pretty well.
Calvin: She is only in the opening strip club scenes, which I think are the worst scenes in the film, but I always got the impression with some first timers or singer performers of trying to stand out far too much to a point where it distracted me or made me think she would have more of a purpose , I didn't get that with Lizzo who is playing like a supportive stripper type, I felt I got that with Cardi B.
Renee Zellweger seems to be the favorite to win Best Actress ATM, has anyone else seen her in "Judy" because I think a lot of people are going to have differing opinions towards her work.
RatedRStar: I saw Judy while away in Edinburgh and I thought she was terrific.
Luke: I will say that I did believe her as Judy Garland, I always wondered if, because a lot of talk in the past has been about Zellweger and her supposed surgery that she had. If I didnt know before hand that it was Zellweger I wouldnt have guessed it was her.
I think the film hurts her because it is constantly repeating itself, it is constantly, Garland is ill, has arguments with someone, performs on stage, rinse and repeat. I actually did like the film well enough purely because of Zellweger though.
I thought she was great but out of the genuine contenders I've seen so far, much preferred Awkwafina.
By the way, I watched The Sixth Sense for the first time the other night, which I'm really only mentioning here because there's a one-scene wonder no one talks about who I thought was amazing, and no, it's not Donnie Wahlberg, although he's good too.
Matt: The dad watching the videotape?
And yeah it's weird how good Shaymalan used to be with actors.
Calvin: YES!
Matt: He's fantastic. I always forget how powerful that scene is.
Bryan:
Yes.
The Lighthouse 1930's directed by James Whale:
Wake: Boris Karloff
Winslow: John Carradine
Jesse Plemons
Calvin:
Again, Endgame is more of disqualified for me, as I do technically prefer the score over Joker's.
Chernobyl's score is a powerful atmospheric work to be sure, as it combines the sense of this sort of decay, fitting to an apocalypse, with a quality befitting a requiem mass. It balances these two qualities to really overwhelm both in terms of the creating both a sense of despair and unease. Nothing sounds quite normal in it, the instrumental work being slightly off, effectively so, and always infused with such a melancholy.
RatedRStar:
For me The Lighthouse was one of the funniest films of the year, don't be criticizing a man's cooking after all.
Matt: I watched it for the first time a couple of weeks ago and that scene completely took me by surprise.
Louis: that's fair enough. I can't wait till you see A Hidden Life, that has an amazing score (though you can already hear quite a bit of it in the trailer).
Like everyone else here, I too have seen The Lighthouse now which I LOVED. A total masterwork, and I agree with Louis that its probable ignorance in sound categories for the Oscars is criminal. That clock...
Dafoe and Pattinson - What Everyone Else Here is Giving Them
Louis: While we have gotten great movies about the American, the British and Australian military, I can't think of any great movies about the Canadian military. What would you think of a movie about the Devil's Brigade, a special force team composed of both American and Canadian soldiers? You could have Ryan Reynolds as a leader of a small unit of the team. And yeah, there was a film about the brigade made in the 60's, but apparently it's not that good.
Anonymous: As possibly the only Cannuck on this blogspot, I too see the strange lack of focus in cinema for the Canadian military. It's a complex subject to explore, though, because for so long our armed forces fought for the British flag (Boer War, WW1, etc..), so we don't have as grand of a military history - at least post independence - as the United States or the United Kingdom. That said, I certainly wouldn't mind having certain highlights receiving the big screen treatment.
I'll be especially frank: I think we should've gotten a mainstream film about Vimy Ridge by now.
Louis: Your updated top 10 Anthony Hopkins performances, and his top 20 acting moments.
Louis: Can I have your thoughts on this James Dean "What If..." commercial? https://www.youtube.com/watch?v=0fbiO5N_NNc
I guess you could say it's similar to the life that Newman had, although Dean still could've lived it
Anonymous:
A subject that would be worthy of a film I'd say, particularly as it could offer at least a slightly different perspective regarding the war.
Tahmeed:
1. Westworld
2. Shadowlands
3. Silence of the Lambs
4. Hearts in Atlantis
5. The Lion In Winter
6. The Elephant Man
7. Magic
8. The Hunchback of Notre Dame
9. A Bridge Too Far
10. The World's Fastest Indian
Moments:
1. "The human intelligence is like peacock feathers" - Westworld
2. Lewis pledges his love - Shadowlands
3. "Who they might be" - Westworld
4. Private moment with Philip - The Lion in Winter
5. Meeting Lecter - Silence of the Lambs
6. Helping Carol - Hearts in Atlantis
7. Seeing the Elephant Man - The Elephant Man
8. Corky tries not to use Fats - Magic
9. "Piano doesn't murder the player" - Westworld
10. Lecture breakdown - Shadowlands
11. Seeing the low men - Hearts in Atlantis
12. "Never like to drink alone" - Westworld
13. Final meeting - Silence of the Lambs
14. Missing her - Shadowlands
15. Confronting the bully - Hearts in Atlantis
16. "Why Me?" - The Hunchback of Notre Dame
17. Escape - Silence of the Lambs
18. Date trick - Magic
19. "We'll Meet Again" - Westworld
20. "Surrender" - A Bridge Too Far
Note: I have not seen his version of Hunchback in 20 years.
Bryan:
I mean striking just in the sense of the idea of it, and there's no way to imagine exactly where his career would've gone. Paul Newman's likely would've suffered for it but there's no way to say where Dean would've gone as an actor or a man given the impression he managed to make in the couple of years he was truly in the scene.
Louis, will 1952 be posted sometime this week coming.
Louis: Speaking of Westworld, what would be your ratings for both Season 1 & 2? And the same for each season of Better Call Saul so far?
Although I wouldn't mind waiting if they're on the docket for Film Thoughts.
Anonymous:
As I wrote in this post, I was not sure I was going to do a lineup, as doing 37 alternate for example was one of the few times I was really bored doing this, as just writing about "fine" performances are honestly the hardest and least interesting to do since there isn't much to write about. Right now, going through some of the suggested contenders, that's mostly what I'm feeling towards them, so if I do a review, it will be one post, of maybe one or two performances.
Bryan:
Well I do really need to get back onto that, and I should be able to soon.
Louis: Thoughts on The Lighthouse's production design.
And if you're doing a 90s year next, then please do 1999.
My prediction for Louis' top 6 of the year.
1. The Irishman
2. Parasite
3. The Lighthouse
4. A Hidden Life
5. Jojo Rabbit
6. The Personal History Of David Copperfield
Louis: Your thoughts on the Silicon Valley season 6 premiere.
Louis: I think with certain years, it might be less about the performances and more about the films, especially if they are director heavy films like The Sound Barrier and Forbidden Games.
Louis: Your thoughts on this scene from Breaking Bad?
https://www.youtube.com/watch?v=n_GiCz7nPsU
The comments section on the video is hilarious, to say the least.
Luke: If any film has a chance at dethroning Parasite, it’s The Irishman, although it won’t be easy. I’ve seen one of the reviews say it’s Goodfellas filtered through Silence.
I’d switch JoJo Rabbit and A Hidden Life however.
Louis: To hop on Tahmeeds’ question, your thoughts on Christopher Cousins’ performance on the show? I rewatched the series recently and I think that in any other show, his role probably would’ve been as one-dimensional as possible, maybe even a little cartoonish. Kudos to the writers and Cousins there.
I’d also like to say that one thing I like about the show is that you’re meant to think “Oh he’s definitely going to make a move on Skylar soon” when he’s first introduced. And then...
Luke:
I mean its production design is pretty unbelievably great, and not just because they made the lighthouse, though doesn't hurt matters. The work manages to tread between two lines brilliantly, and so effectively in terms of creating the film's lurid atmosphere. This between creating Gothic horror evoking early sound and silent horror, yet still adhering to a certain historical realty. It manages to find originality within this, crafting distinct looking never merely being say Nosferatu, nor say Tim Burton film. In creating this modern silent/early sound horror film it does something so powerfully distinct, as it in a way can take itself further through both those types of immersive sets and also something that actually existed. Every bit of the interior, particularly the lighthouse glass, every single prop, particularly the wooden siren, successfully become that sort of "third" character. The exterior work though is stunning though in that you almost imagine some of the shots must be sets, or absolutely brilliantly decorated somehow, since they are as striking like the "exterior" of a 1930's horror films, yet still seem to be true exteriors.
Tahmeed:
I thought it was quite the hilarious start. Whether that be Gavin Belson's attempts to stay relevant, along with Hoover's attempts to menace every five seconds, fake Gilfoyle with Fake Dinesh, or Jared attempting to stay relevant with Richard. Loved every strand of it.
Although some of those comments are indeed hilarious, I will say I wouldn't say the scene was likely intended not to be more than a little awkward in more ways than one.
Bryan:
Cousins gives a good lighter turn in the series as he doesn't overplay into the character excesses that I think could've been easily the case. Cousins actually attempts to give Ted a bit of charisma, not that he makes him likable per se, but he doesn't overdo the sleaze. Later on he manages to also be rather funny as he attempts to argue himself out his situation with Skyler, with such a hopeless confidence befitting a man completely out of his depth. He's also great in his final moment in just a state of this deadly fear and disbelief in his final talk.
Louis: Could I have your thoughts on Richard's opening monologue in the season 6 premiere? I thought Middleditch knocked it out of the park.
The Game Of Thrones prequel with Naomi Watts has been cancelled.
Tahmeed:
Oh, that was also great, particularly taking the whole stand with him in attempting to walk back and forth his philosophy. Middleditch finding a great combination between passion and extreme awkwardness.
Luke:
Well that didn't take long. I wonder if the pilot was really that bad, or if they just saw the extreme disinterest brought upon creators abandoning a series before they had finished.
Louis: Thoughts on the cinematography of The Day of the Locust?
Louis: thoughts on the Mandalorian trailer?
Well, I finally ate my Oscar season vegetables and saw Judy. Without a doubt the most boring movie I’ve seen this year. Wasn’t crazy about Zellwegger either. I’m so fucking tired of biopics.
Louis: Could I have your thoughts on the cast of El Camino now, alongside updated ratings (if any)?
Robert: I dont think I disliked it as much but I think Zellweger is hurt by the film itself which constantly repeats the same trick over again, sad scene with kids/husband/assistant, flashback, forced on stage to perform and then repeat about 4 times.
Louis: thoughts on this scene from Coming to America? https://youtu.be/r5WBLaWU1sw Love John Amos here.
Post a Comment