Damn, Ledger’s not in the competitive lineup, probably rules him out of for a 5. I’ve only seen Two Hands and Eyes Wide Shut from this group but I’d confidently rank Ledger above Cruise.
An incredibly intriguing lineup. A Shakespearean performance from Hopkins, A signature abusive figure role for Winstone, Cage and Scorsese, Kubrick's last leading actor, Broadbent's greatest performance, Early Ledger and Ralph Fiennes playing 3 characters.
And with regards to A Christmas Story I’ve never found that scene offensive really, having the restaurant owner definitely helps things a lot though. It’s not my favourite scene from the film but I do like it.
Bryan L: Its definitely winning Best Actor then, I wonder if Brad Pitt is going lead at the Globes, if he is then it could be a close one between him and DiCaprio.
Louis, when you get a chance I recommend watching Tumbleweeds just for Janet McTeer's performance - best female performance of the year, better than Hilary Swank, IMO.
I wonder if Pitt going Lead and winning for it would help his chances more than going Supporting for Globes? I could also see Jojo Rabbit pulling a Grand Budapest and upsetting Once Upon a Time in Hollywood at the Oscars.
Louis: Possibly the most misleading picture for Anthony Hopkins lol, "Titus tells the story of a world class chef attempting to win a Michelin star" =D.
RatedRStar: I mean that’s kind of what Titus is all about, cooking the finest gourmet dish possible ;) I imagine Louis will definitely be making some reference to another Hopkins character in his review.
Hayward - (I was quite impressed with Hayward's performance here, given that it is very much within the typical biopic of the period and hits those beats in a very obvious way. Hayward though delivers an absolutely winning performance, even in the singing scenes she herself does carry them through her physical presentation of them and the emotional undercurrent within them particularly in her later performances. Hayward manages not only to be charming but honestly hit the emotional and physical strain within her own work even if the film doesn't dwell on it too much. It's a terrific turn that very much elevates her film.)
Dahlbeck, Bjork and Nilsson - (Their performances, as to be expected from a Bergman film, are all just such honest and naturalistic turns. There isn't a false moment from any of them although each presents a very different sort of aspect of relationships. This in Bjork we first get the intensity of the strains of lust and love, as she attempts to balance two relationships that of course class. Bjork is moving in portraying the wear in this and really the sense of personal confusion as she herself has no rational way of dealing with the conflict she's helped to compel. It's a compelling turn in the "past" moments, but what I love most is her moment of such sincere self-reflection. Nilsson's performance is often silent in portraying more of the weight of the "consequence" of a relationship in her pregnancy. There Nillson though is great in her largely silent moments of portraying the woman dealing with this certain isolation of her existence in this moments and powerfully the anxiety of such a situation. Her final moment though is her greatest in portraying the sort of sense of confidence as she begins to better understand relationships herself through the experience. Dahlbeck delivers my favorite turn of the three in what is largely this comic portrayal of the relationship through the sequence as she and her husband, Bjornstrand, get caught in a elevator. She brings such a naturalistic humor in their interactions in this scene, with the right sense of really silliness and fun in the moment. She naturally segues though to a moment of deeper understanding and vulnerability as the two speak more openly through the initially amusing situation. She captures the change so beautifully in terms of both the initial heartache but also the warmth of the eventual understanding.)
Saburi - 4(See I think some obscure films from the directors considered masters can occasionally get a little too much of a pass, I think Tea Over Rice, was largely too meandering with kind of below Ozu, comic setups, and the situations didn't have the same honesty that I saw in his other films. That is until the final sequence of the film where the husband and wife finally truly interact with one another. That is also where Saburi gets to do a little more than look bored and be boring. Saburi is terrific though in the chance in not changing the man, but rather finding the chemistry with his co-star in quiet very sweet moments. It is the one scene that truly works in the film, and the two actors are paramount in this as they make the coming together of the two both genuine and very sweet.)
There's a reason it's his most forgotten, it's pretty forgettable outside of Richardson and some of the, for the time, technical merits. I actually found it to be DAVID LEAN's WORST FILM, though his track record is pretty great since it still isn't bad. It is just far too standard of a drama especially within his oeuvre. I suppose though it doesn't help that it's lead by Ann Todd, who just wasn't a great actress. Nigel Patrick also doesn't stand well in comparison to the likes of other Lean leads. The typical Lean directorial flair though just isn't too evident outside of the testing scenes, and just is fairly straight forward, well outside from a few premature character exits.
And yes to Fiennes.
RatedRStar:
Plymouth Adventure is terrible. It turns the potentially interesting voyage of the Mayflower into a lame melodrama. The visual effects also are nothing to write home about with just some very obvious model work on display. I'd put Sound Barrier's work above it, not that it is anything too notable in that department overall either however.
Well Hopkins will win that Michelin star, trust me.
Bryan:
No strange placements, though Uncut Gems doesn't look like a "belly laugh" comedy, though it is apparently darkly funny, which does seem to be the case from the trailer. Although what that really means is Sandler could get another precursor besides the probable indie spirit nom to go along with his Gotham nom.
The HFPA themselves determines placement so it will be interesting to see if they "buy" Pitt in supporting, as I could see them placing him lead like they did Bale for The Big Short.
Luke:
A very surprising moment in a very dumb movie, although even that is pretty dumb thanks to the CGI switch, and not at all scary because of that. I guess one can give it credit, it's led an otherwise forgettable film to leave a lasting impression.
Louis: Speaking of Courtenay roles, are there any directors you'd like to see him work with nowadays? He seems pretty eager for a good role since he's returned to film.
Well more really should be trying to snatch him up with a plumb role, as one of all time greats is willing to work in film again, they shouldn't be wasting that.
But to answer your question:
Armando Iannucci Christopher Nolan (though Caine would never allow that to happen) Wes Anderson
I just watched The War Zone and WOW did I hate it. It’s really a celebration of toxicity masked as a condemnation of it. Can’t recommend it at all.
Also I guess Winstone is good, but he’s unambiguously a supporting actor. Louis, if you really want to review him I recommend saving him for the supporting lineup.
Oh yeah and Luke: I definitely thought Tremblay delivered in portraying sheer terror in his brief screentime, but I thought the scenes involving him were overkill to be honest.
Also Louis, while we're on 1999 have you ever seen "A Map of the World"? I mention it as one of the great missed opportunities of the year, as it has within it a strong cast (Sigourney Weaver, David Strathairn, Julianne Moore...) and an intriguing enough story, however the direction and screenplay leave much to be desired in creating a consistent, or even authentic experience.
Not a great film by any means - not even a good one, honestly - but I'd call it an interesting watch if only to see the squandered potential of the picture.
Louis: Do you think The Farewell could be looked at as a companion piece of sorts to Goodbye, Lenin? I got around to the former the other day, and it reminded me of Goodbye, Lenin, although in a very good way.
Louis: Have you settled on Hilary Swank's rating for Boys Don't Cry.
Films To Watch The Limey (Possible Upgrade for Terence Stamp) The Hurricane (Re-watch for Denzel Washington) Girl, Interrupted (Re-Watch) Ravenous (Robert Carlyle/Review) The Talented Mr. Ripley (Possible Upgrade for Jude Law) The Mummy (Possible Upgrade for Rachel Weisz) Introducing Dorothy Dandridge (Halle Berry) Audition Three Kings L'Humanite East Is East (Om Puri) Kikujiro (Takeshi Kitano) The Iron Giant (Brad Bird/Love this film) Jin-Roh: The Wolf Brigade The Blair Witch Project The Girl On The Bridge (Daniel Auteuil) Tumbleweeds The End Of The Affair Music Of The Heart An Ideal Husband (Rupert Everett/Cate Blanchett/Julianne Moore) Onegin (Ralph Fiennes) Mansfield Park (Frances O'Connor) Ride With The Devil (Ang Lee) The War Zone Felicia's Journey Angela's Ashes (Emily Watson/Robert Carlyle) Summer Of Sam (Spike Lee) Not One Less (Zhang Yimou) The Winslow Boy (David Mamet/Nigel Hawthorne) Joan Of Arc: The Messenger (Luc Besson) The Virgin Suicides Snow Falling On Cedars (Hawke/Von Sydow) American Pie Notting Hill Rosetta (Dardenne Brothers) Cruel Intentions All About My Mother Stuart Little Dogma Ratcatcher (Lynne Ramsay) Existenz The Boondock Saints The Ninth Gate (Roman Polanski) A Midsummer Night's Dream Drop Dead Gorgeous Wonderland The Bone Collector (Denzel Washington) Tea With Mussolini Julien Donkey-Boy The Wind Will Carry Us The Haunting (Remake) The Thomas Crown Affair Any Given Sunday Jakob The Liar (Robin Williams) Arlington Road M/Other Solomon & Gaenor East/West Taboo (Takeshi Kitano) True Crime (Clint Eastwood) The Big Kahuna The Color Of Paradise Holy Smoke Anna And The King (Jodie Foster) Flawless (De Niro/PSH) Jesus' Son (Billy Crudup) Cookie's Fortune (Robert Altman) King Of Comedy (Stephen Chow) Charisma The Muse Anywhere But Here
Haven't, I'll place it on the back burner of a maybe watch.
Bryan:
Yes I can see that.
Tahmeed:
Really enjoyed every minute of this episode as well and right now is peak Silicon Valley for me. This as the plot actually is compelling just as it is funny. Whether it be Gavin's unusual request, with the great pairing of the sycophants, Gilfoyle meeting his match in a way, or Jared turning on Richard which was quite hilarious.
1 - Matt Ross 2 - Zach Woods
Anonymous:
Lynch's visual style is of course an essential, unforgettable element of his films. Although this is in several distinct ways. One is to capture visuals that quite simply have never been seen before, and very create the idea of the Lynchian. This is within tandem of a dynamic visual stylist that typically holds closest to that of noir, though certainly curved and rearranged to form something quite new. No Lynch film looks exactly like one another, the one truth being that they are typically inventive in some way. This is even true in his most subtle visual work of Straight Story, offers a distinct and unique perspective. Lynch's work obviously has influences, however he refines it or twists it to something that can be beautiful, disturbing, awe inspiring, or horrifying.
Cronenberg is *mostly* straight forward as a to the point visual stylist. This is as his films usually take sort of the approach of "realistic" though even this is done really with great care in creating a gritty look to his films that typically isn't ugly, and is often cinematic even if that isn't the focus. The quality that isn't straight forward are the imaginative effects featured in his films that are quite daring and rather unforgettable. This offering a particularly gritty and grimy quality to science fiction that fits right into the rest of earthly vision. It creates a unique look actually that is all his own even if in typically a rather subdued way.
Luke:
I have to say I'm quite intrigued. I'll admit I'll give any Christmas Carol take a chance, but Knight looks like he has a unique take that could be something special. Hoping the best out of Pearce as well, who again has trouble with villains, but the complex flawed protagonist that is Scrooge might bring the best out of him.
Robert:
Previous episode I thought was always on the brink of twisting its hand towards absurd heavy handedness, and it could fall by the wayside, however I'm hoping for the best. King's great though as the "hero", and found the extreme ambition still compelling though I have trepidation that the series could try to bite off more than can chew.
Loved the most recent episode thanks to Smart owning every second of it, also through the development of expanding the world, and getting away a bit from the Tulsa story line.
Also, although he's in both episode, it currently feels like a different series with the Jeremy Irons show. I've thoroughly enjoyed his madness though, however I'm gonna say it is probably intentional that he seems to exist on another plain.
Oh, before I forget Louis, what are your thoughts on the voices of (If you haven't posted them already) Bryan Cranston, Bill Paxton, Geoffrey Rush, Ben Kingsley, Ian McShane and Ken Watanabe?
Robert: I think both theories are equally possible with the way they're playing those scenes out. I really don't know what to make of Lindelof at this point lol, I always feel like he's a few steps away from either great madness of a mad failure.
1. Ryan Gosling 2. Donald Sutherland 3. Michael J. Fox 4. Jim Carrey 5. Elias Koteas 6. John Candy 7. Barry Pepper 8. Ryan Reynolds 9. Hume Cronyn 10. Christopher Plummer
Matt:
ONE OF US!
Interesting though how everyone's favorite among the ladies seems very divided.
By the way, at the moment, Parasite is easily my win for Picture, Director, Original Screenplay and Production Design, and possibly cinematography, score and editing.
I agree with Matt on Parasite's excellence. My ratings are the same except I'd give Park a 5 and Cho a 4.5.
As for Best Picture, it's really a tossup between Parasite and The Lighthouse right now. I think I'd still give Eggers my Director win, but Parasite for me has had the best screenplay of the year.
Andy Serkis is in talks to play Alfred in The Batman. I don't know, I kinda think that's an awful choice. Maybe it could work, but I don't see him in that role at all.
Matt: Yeah I can’t really see that, although maybe it will be in a bit of a Prestige sort of way where it’ll work? On the other hand Matthew McConaughey as a potential Harvey Dent is VERY intriguing.
Louis: what’s your thoughts on ‘What’s Up Danger’ from Into the Spider-Verse and the scene it accompanies? Just reminded myself today what an amazing scene it is.
Calvin: True, but Scarecrow had already been introduced in Batman Begins. Guess we'll have to wait and find out more later on as to what they have planned here.
Even though I’m landing mostly negative on Joker, I’ll still defend Phoenix’s performance as great at the moment. I think the fact that it’s being handwaved by some is more than anything a testament to how great he is of an actor. I mean...He made me genuinely *afraid* of what Arthur was going to do next.
I would say that I consider the film to contain both some of his greatest scenes (the scene with Murray, the subway scene, with Bruce Wayne), some which I thought were a bit iffy (the confrontation with Thomas Wayne), and some which I don’t really get (the dance scenes).
BTW, having seen the newest trailer for The Two Popes (Pryce as Pope Francis has got to be one of the very best casting choices this year), I'm actually looking forward to it more due to the two main performances.
Michael: I also feel very firm on Phoenix's performance being great and the best thing on the film. I think an aspect we might be overlooking is that a lesser actor on such role could have easily brought the film down or in any case, made it worse than it already is for some.
Not sure on how to feel about The Two Popes knowing it's based on McCarten's own play. I think it might be resting solely on the shoulders of Hopkins, Pryce and Meirelles' direction.
Keep in mind a "4" is not a bad rating. I just can't go higher because there was no character to work with, and honestly, I kinda felt like he was on autopilot for a lot of it, but not all of it. If there were less dance scenes I may actually be kinder to him.
Honestly I’d go maybe as low as 3.5 for Phoenix, the more I think about it. He’s done roles and performances like this before and was much more well-utilized. It’s impressive in a technical sense, but can anyone here say it’s a 5 or even a 4.5 compared to, say, The Master or You Were Never Really Here? Or any of his collabs with James Grey? (which reminds me, Pitt in Ad Astra >>>>>>>> Phoenix in Joker)
What I’m saying is kill your darlings every now and again.
Bryan L: I'm surprised too! He's one of my favourite actors working right now, this just didn't work.
Robert: The biggest thing I remember is I walked out of that movie and thought "You know...there wasn't a second where I didn't see the performance there." I never bought into it, I always saw Joaquin Pheonix just...pretending.
Matt: I see what you mean regarding Phoenix though, because outside of the climactic scene with Murray, I think he’s just...good. But boy, if he doesn’t sell the heck out of that scene...
I agree that Phoenix' work is good, but not on the same level as his greatest performances. Let's be realistic here, we've all seen him in The Master and Two Lovers right?
1. Heath Ledger (5) 2. Anthony Hopkins (4.5/5) 3. Jim Broadbent (4.5/5) 4. Nicolas Cage (Haven’t seen, I’m saving it for a specific time) 5. Tom Cruise (4/4.5)
Emi: Not to mention invasive and downright unethical. Having your image, something so personal to yourself and your body of work, purposely re-edited for a project more than half a century after your death, decades beyond your ability to consent to the film in the first place...
..I don't know, that just rubs me the wrong way, and raises some troubling questions about the current aspects of cinema.
Arquette - 3.5(Probably one of the times I've liked her more, however I do think more could have been done with the role. This is as she is alluring enough however she isn't that alluring so to speak. She also doesn't quite distinguish the two women, although perhaps that's part of the point, however it isn't quite so intriguing as Lynch female leads go.)
Getty - 3(He's fine for the most part however he always perhaps seems too lost even for his lost young man. His best moment is easily his phone call with the mystery man where his exhibiting of the fear is quite striking and memorable.)
Busey - 3(Strange that he has such a straight forward role of all people in a Lynch film, however he does a fine job in portraying just the concerns and even warmth of a father.)
Loggia - 3.5(In parts he's just good in portraying a nice sleazy bit of menace in most of his screentime. I could go higher for him for his two moments of pure hilarity in the film. The first being his rant, apparently inspired by himself, at the driver that is absolutely a hilarious bit. My favorite moment though is his wholly dishonest "I'm glad you're doing good" and "just wanted to jump here and say I'm glad you're doing good" when sitting with the mystery man. Loggia's nonchalant delivery is priceless.) Calvin:
Well obviously I wasn't the biggest fan of his previous film, not that I disliked it I just didn't quite connect with it, and that does definitely seem in a similar vein. This with though the curve ball of the source material that I'm most intrigued by in the way it is funneled through something quite new, so I'm in at the moment.
Anonymous:
Hmmm. Now that is intriguing, and I'm all for more Mad Cage in a Mad film, with quite the striking color scheme, and that appears to be the case here once again. Looks beautifully bonkers and I'm all for it.
114 comments:
Louis: Thoughts on Hayward and the Secrets Of Women Ladies.
And Shin Saburi.
1. Cruise
2. Cage
3. Broadbent
4. Winstone
5. Hopkins
Louis, your wins for 1952.
Louis: Thoughts on The Sound Barrier as a film? Seems like it’s a forgotten Lean film.
And just from reading your thoughts on Richardson there, Ralph Fiennes for a 2010s version?
Really looking forward to every single one of those reviews.
And I'll post the films to watch list sometime tomorrow.
Damn, Ledger’s not in the competitive lineup, probably rules him out of for a 5. I’ve only seen Two Hands and Eyes Wide Shut from this group but I’d confidently rank Ledger above Cruise.
An incredibly intriguing lineup. A Shakespearean performance from Hopkins, A signature abusive figure role for Winstone, Cage and Scorsese, Kubrick's last leading actor, Broadbent's greatest performance, Early Ledger and Ralph Fiennes playing 3 characters.
I really hope Broadbent gets a five, I've been waiting since Harrelson in Rampart for a request of mine to get one.
1. Broadbent
2. Cage
3. Winstone
4. Cruise
5. Hopkins
And with regards to A Christmas Story I’ve never found that scene offensive really, having the restaurant owner definitely helps things a lot though. It’s not my favourite scene from the film but I do like it.
I've only seen Cruise and the first ten (10) minutes of Cage, nevertheless
1. Broadbent
2. Hopkins
3. Cage
4. Winstone
5. Cruise
Louis: Also, it appears OUATIH will compete in "Musical/Comedy" for the Golden Globes. Here are the other entries if you'd like to take a look
www.hollywoodreporter.com/race/golden-globes-2020-classification-preferences-revealed-1249611
1. Cruise
2. Winstone
3. Broadbent
4. Hopkins
5. Cage
I think Tom Cruise should win in supporting actor.
Bryan L: Its definitely winning Best Actor then, I wonder if Brad Pitt is going lead at the Globes, if he is then it could be a close one between him and DiCaprio.
I've only seen Cage and Cruise and they're both amazing. Looking forward to all of these reviews.
RatedRStar: I think they’ll have Pitt for Supporting, to avoid that exact situation, and help Leo’s chances.
Louis: Your thoughts on SLJ's death scene in Deep Blue Sea.
Louis, when you get a chance I recommend watching Tumbleweeds just for Janet McTeer's performance - best female performance of the year, better than Hilary Swank, IMO.
I think I am alone in this but my favorite film this year so far is Once Upon A Time in Hollywood, I really did love it.
I wonder if Pitt going Lead and winning for it would help his chances more than going Supporting for Globes? I could also see Jojo Rabbit pulling a Grand Budapest and upsetting Once Upon a Time in Hollywood at the Oscars.
Louis: Possibly the most misleading picture for Anthony Hopkins lol, "Titus tells the story of a world class chef attempting to win a Michelin star" =D.
RatedRStar: I mean that’s kind of what Titus is all about, cooking the finest gourmet dish possible ;) I imagine Louis will definitely be making some reference to another Hopkins character in his review.
(Looks up Titus) Well that is interesting lol.
1. Jim Broadbent
2. Anthony Hopkins
3. Ray Winstone
4. Nicolas Cage
5. Tom Cruise
Luke:
Hayward - (I was quite impressed with Hayward's performance here, given that it is very much within the typical biopic of the period and hits those beats in a very obvious way. Hayward though delivers an absolutely winning performance, even in the singing scenes she herself does carry them through her physical presentation of them and the emotional undercurrent within them particularly in her later performances. Hayward manages not only to be charming but honestly hit the emotional and physical strain within her own work even if the film doesn't dwell on it too much. It's a terrific turn that very much elevates her film.)
Dahlbeck, Bjork and Nilsson - (Their performances, as to be expected from a Bergman film, are all just such honest and naturalistic turns. There isn't a false moment from any of them although each presents a very different sort of aspect of relationships. This in Bjork we first get the intensity of the strains of lust and love, as she attempts to balance two relationships that of course class. Bjork is moving in portraying the wear in this and really the sense of personal confusion as she herself has no rational way of dealing with the conflict she's helped to compel. It's a compelling turn in the "past" moments, but what I love most is her moment of such sincere self-reflection. Nilsson's performance is often silent in portraying more of the weight of the "consequence" of a relationship in her pregnancy. There Nillson though is great in her largely silent moments of portraying the woman dealing with this certain isolation of her existence in this moments and powerfully the anxiety of such a situation. Her final moment though is her greatest in portraying the sort of sense of confidence as she begins to better understand relationships herself through the experience. Dahlbeck delivers my favorite turn of the three in what is largely this comic portrayal of the relationship through the sequence as she and her husband, Bjornstrand, get caught in a elevator. She brings such a naturalistic humor in their interactions in this scene, with the right sense of really silliness and fun in the moment. She naturally segues though to a moment of deeper understanding and vulnerability as the two speak more openly through the initially amusing situation. She captures the change so beautifully in terms of both the initial heartache but also the warmth of the eventual understanding.)
Saburi - 4(See I think some obscure films from the directors considered masters can occasionally get a little too much of a pass, I think Tea Over Rice, was largely too meandering with kind of below Ozu, comic setups, and the situations didn't have the same honesty that I saw in his other films. That is until the final sequence of the film where the husband and wife finally truly interact with one another. That is also where Saburi gets to do a little more than look bored and be boring. Saburi is terrific though in the chance in not changing the man, but rather finding the chemistry with his co-star in quiet very sweet moments. It is the one scene that truly works in the film, and the two actors are paramount in this as they make the coming together of the two both genuine and very sweet.)
Bryan:
There's a reason it's his most forgotten, it's pretty forgettable outside of Richardson and some of the, for the time, technical merits. I actually found it to be DAVID LEAN's WORST FILM, though his track record is pretty great since it still isn't bad. It is just far too standard of a drama especially within his oeuvre. I suppose though it doesn't help that it's lead by Ann Todd, who just wasn't a great actress. Nigel Patrick also doesn't stand well in comparison to the likes of other Lean leads. The typical Lean directorial flair though just isn't too evident outside of the testing scenes, and just is fairly straight forward, well outside from a few premature character exits.
And yes to Fiennes.
RatedRStar:
Plymouth Adventure is terrible. It turns the potentially interesting voyage of the Mayflower into a lame melodrama. The visual effects also are nothing to write home about with just some very obvious model work on display. I'd put Sound Barrier's work above it, not that it is anything too notable in that department overall either however.
Well Hopkins will win that Michelin star, trust me.
Bryan:
No strange placements, though Uncut Gems doesn't look like a "belly laugh" comedy, though it is apparently darkly funny, which does seem to be the case from the trailer. Although what that really means is Sandler could get another precursor besides the probable indie spirit nom to go along with his Gotham nom.
The HFPA themselves determines placement so it will be interesting to see if they "buy" Pitt in supporting, as I could see them placing him lead like they did Bale for The Big Short.
Luke:
A very surprising moment in a very dumb movie, although even that is pretty dumb thanks to the CGI switch, and not at all scary because of that. I guess one can give it credit, it's led an otherwise forgettable film to leave a lasting impression.
Loui: some modern day roles for Ralph Richardson?
Calvin:
Godolphin (Old Richardson) or Harley (Young Richardson) - The Favourite
Gandalf
Geoff Mercer
Louis: Speaking of Courtenay roles, are there any directors you'd like to see him work with nowadays? He seems pretty eager for a good role since he's returned to film.
Bryan:
Well more really should be trying to snatch him up with a plumb role, as one of all time greats is willing to work in film again, they shouldn't be wasting that.
But to answer your question:
Armando Iannucci
Christopher Nolan (though Caine would never allow that to happen)
Wes Anderson
God DAMN, Jean Smart is fucking great on Watchmen.
Robert:
Indeed.
I just watched The War Zone and WOW did I hate it. It’s really a celebration of toxicity masked as a condemnation of it. Can’t recommend it at all.
Also I guess Winstone is good, but he’s unambiguously a supporting actor. Louis, if you really want to review him I recommend saving him for the supporting lineup.
Michael: Haven't seen it, but he kind of does sound supporting just from reading the film description on Google.
Also, I thought The War Zone was going to be about Winstone playing a grizzled colonel or something in an actual war...until I Googled it...
Oh yeah and Luke: I definitely thought Tremblay delivered in portraying sheer terror in his brief screentime, but I thought the scenes involving him were overkill to be honest.
Louis; If you decide to put Winstone in Supporting, could you review Denis Lavant in Beau Travail as a replacement.
Louis: Your thoughts on the second episode of Silicon Valley's 6th season, and your MVPs for both episode 1 and episode 2?
As for my own thoughts on the episode, all I can say is this: seeing Zach Woods play an unhinged Jared is everything I wanted to see.
New Predictions everyone
1. Broadbent
2. Cage
3. Hopkins
4. Lavant
5. Cruise
Louis: Thanks
1. Broadbent
2. Cage
3. Lavant
4. Hopkins
5. Cruise
1) Broadbent
2) Cage
3) Hopkins
4) Lavant
5) Cruise
Also Louis, while we're on 1999 have you ever seen "A Map of the World"? I mention it as one of the great missed opportunities of the year, as it has within it a strong cast (Sigourney Weaver, David Strathairn, Julianne Moore...) and an intriguing enough story, however the direction and screenplay leave much to be desired in creating a consistent, or even authentic experience.
Not a great film by any means - not even a good one, honestly - but I'd call it an interesting watch if only to see the squandered potential of the picture.
Isn't Beau travail 2000 by the rules?
Louis: Do you think The Farewell could be looked at as a companion piece of sorts to Goodbye, Lenin? I got around to the former the other day, and it reminded me of Goodbye, Lenin, although in a very good way.
Louis: It is 2000, absolutely pissed right now. Just put Ledger in the five then.
Luke: By any chance, do you look up release dates for films on IMDb? That's where I usually find them.
Louis: Your thoughts on the visual styles of David Lynch and David Cronenberg.
1. Broadbent
2. Cage
3. Ledger
4. Hopkins
5. Cruise
Bryan: Yes, I might've misread the release dates for it while making the suggestion lists.
Louis: Your thoughts on Steven Knight's A Christmas Carol teaser with Guy Pearce.
Um
1. Broadbent
2. Cage
3. Lavant/Ledger/whoever
4. Hopkins
5. Cruise
Also, Louis: Your thoughts on the last two episodes of Watchmen?
1. Broadbent
2. Cage
3. Hopkins
4. Lavant/Ledger/whoever
5. Cruise
1. Cruise
2. Cage
3. Broadbent
4. Lavant
5. Hopkins
Louis: Have you settled on Hilary Swank's rating for Boys Don't Cry.
Films To Watch
The Limey (Possible Upgrade for Terence Stamp)
The Hurricane (Re-watch for Denzel Washington)
Girl, Interrupted (Re-Watch)
Ravenous (Robert Carlyle/Review)
The Talented Mr. Ripley (Possible Upgrade for Jude Law)
The Mummy (Possible Upgrade for Rachel Weisz)
Introducing Dorothy Dandridge (Halle Berry)
Audition
Three Kings
L'Humanite
East Is East (Om Puri)
Kikujiro (Takeshi Kitano)
The Iron Giant (Brad Bird/Love this film)
Jin-Roh: The Wolf Brigade
The Blair Witch Project
The Girl On The Bridge (Daniel Auteuil)
Tumbleweeds
The End Of The Affair
Music Of The Heart
An Ideal Husband (Rupert Everett/Cate Blanchett/Julianne Moore)
Onegin (Ralph Fiennes)
Mansfield Park (Frances O'Connor)
Ride With The Devil (Ang Lee)
The War Zone
Felicia's Journey
Angela's Ashes (Emily Watson/Robert Carlyle)
Summer Of Sam (Spike Lee)
Not One Less (Zhang Yimou)
The Winslow Boy (David Mamet/Nigel Hawthorne)
Joan Of Arc: The Messenger (Luc Besson)
The Virgin Suicides
Snow Falling On Cedars (Hawke/Von Sydow)
American Pie
Notting Hill
Rosetta (Dardenne Brothers)
Cruel Intentions
All About My Mother
Stuart Little
Dogma
Ratcatcher (Lynne Ramsay)
Existenz
The Boondock Saints
The Ninth Gate (Roman Polanski)
A Midsummer Night's Dream
Drop Dead Gorgeous
Wonderland
The Bone Collector (Denzel Washington)
Tea With Mussolini
Julien Donkey-Boy
The Wind Will Carry Us
The Haunting (Remake)
The Thomas Crown Affair
Any Given Sunday
Jakob The Liar (Robin Williams)
Arlington Road
M/Other
Solomon & Gaenor
East/West
Taboo (Takeshi Kitano)
True Crime (Clint Eastwood)
The Big Kahuna
The Color Of Paradise
Holy Smoke
Anna And The King (Jodie Foster)
Flawless (De Niro/PSH)
Jesus' Son (Billy Crudup)
Cookie's Fortune (Robert Altman)
King Of Comedy (Stephen Chow)
Charisma
The Muse
Anywhere But Here
And Limbo with David Strathairn.
Nevermind...
1. Broadbent
2. Cage
3. Hopkins
4. Lavant/Ledger/whoever
5. Cruise
Louis: You might as well just review, to quote Gary Oldman, EEEVEERRYYONNEEE!
Carn sarn it.
Louis: Hate to be that guy right now but don't forget to remove Lavant from the labels.
Mitchell:
Haven't, I'll place it on the back burner of a maybe watch.
Bryan:
Yes I can see that.
Tahmeed:
Really enjoyed every minute of this episode as well and right now is peak Silicon Valley for me. This as the plot actually is compelling just as it is funny. Whether it be Gavin's unusual request, with the great pairing of the sycophants, Gilfoyle meeting his match in a way, or Jared turning on Richard which was quite hilarious.
1 - Matt Ross
2 - Zach Woods
Anonymous:
Lynch's visual style is of course an essential, unforgettable element of his films. Although this is in several distinct ways. One is to capture visuals that quite simply have never been seen before, and very create the idea of the Lynchian. This is within tandem of a dynamic visual stylist that typically holds closest to that of noir, though certainly curved and rearranged to form something quite new. No Lynch film looks exactly like one another, the one truth being that they are typically inventive in some way. This is even true in his most subtle visual work of Straight Story, offers a distinct and unique perspective. Lynch's work obviously has influences, however he refines it or twists it to something that can be beautiful, disturbing, awe inspiring, or horrifying.
Cronenberg is *mostly* straight forward as a to the point visual stylist. This is as his films usually take sort of the approach of "realistic" though even this is done really with great care in creating a gritty look to his films that typically isn't ugly, and is often cinematic even if that isn't the focus. The quality that isn't straight forward are the imaginative effects featured in his films that are quite daring and rather unforgettable. This offering a particularly gritty and grimy quality to science fiction that fits right into the rest of earthly vision. It creates a unique look actually that is all his own even if in typically a rather subdued way.
Luke:
I have to say I'm quite intrigued. I'll admit I'll give any Christmas Carol take a chance, but Knight looks like he has a unique take that could be something special. Hoping the best out of Pearce as well, who again has trouble with villains, but the complex flawed protagonist that is Scrooge might bring the best out of him.
Robert:
Previous episode I thought was always on the brink of twisting its hand towards absurd heavy handedness, and it could fall by the wayside, however I'm hoping for the best. King's great though as the "hero", and found the extreme ambition still compelling though I have trepidation that the series could try to bite off more than can chew.
Loved the most recent episode thanks to Smart owning every second of it, also through the development of expanding the world, and getting away a bit from the Tulsa story line.
Also, although he's in both episode, it currently feels like a different series with the Jeremy Irons show. I've thoroughly enjoyed his madness though, however I'm gonna say it is probably intentional that he seems to exist on another plain.
It should at least be better for Pearce and his career rather than, say, a villain role in a non-F&F Vin Diesel action vehicle.
Oh, before I forget Louis, what are your thoughts on the voices of (If you haven't posted them already) Bryan Cranston, Bill Paxton, Geoffrey Rush, Ben Kingsley, Ian McShane and Ken Watanabe?
I got two theories on the Irons scenes (SPOILER WARNING TO EVERYONE ELSE):
1. Veidt is a failed clone like his multiple servants and the warden is the real Veidt keeping him under observation.
2. Veidt is being held prisoner by Dr. Manhattan on Mars and has gone mad. (This one was someone else I know’s theory)
Robert: I think both theories are equally possible with the way they're playing those scenes out. I really don't know what to make of Lindelof at this point lol, I always feel like he's a few steps away from either great madness of a mad failure.
1. Hopkins
2. Broadbent
3. Cage
4. Ledger
5. Cruise
1. Broadbent
2. Cage
3. Ledger
4. Hopkins
5. Cruise
1. Broadbent
2. Cage
3. Hopkins
4. Ledger
5. Cruise
1. Broadbent
2. Cage
3. Ledger
4. Hopkins
5. Cruise
Tomorrow Heath Ledger will be replaced by Ralph Fiennes
Louis: Your top 10 British and Canadian actors.
Parasite is a masterpiece.
Song Kang-ho-5
Choi Woo-shik-4.5
Jang Hye-jin-4
Park So-dam-4
Lee Sun-kyun-4
Cho Yeo-jong-4
Jung Ji-so-3
Jung Hyun-joon-3
Lee Jung-eun-4.5
Anonymous:
Well here are the Canadians:
1. Ryan Gosling
2. Donald Sutherland
3. Michael J. Fox
4. Jim Carrey
5. Elias Koteas
6. John Candy
7. Barry Pepper
8. Ryan Reynolds
9. Hume Cronyn
10. Christopher Plummer
Matt:
ONE OF US!
Interesting though how everyone's favorite among the ladies seems very divided.
Louis: The ratings for almost everyone could go up, especially the ladies.
I think all of the ladies are equally great actually. Good enough reason for a rewatch!
Anyways, before awards seasons starts and we start hearing OUATIHs' name called, here's my ranking for QTs' films (I hope you don't mind Louis)
bryansfilmandetcblog.blogspot.com/2019/11/quentin-tarantino-ranking.html
By the way, at the moment, Parasite is easily my win for Picture, Director, Original Screenplay and Production Design, and possibly cinematography, score and editing.
I agree with Matt on Parasite's excellence. My ratings are the same except I'd give Park a 5 and Cho a 4.5.
As for Best Picture, it's really a tossup between Parasite and The Lighthouse right now. I think I'd still give Eggers my Director win, but Parasite for me has had the best screenplay of the year.
I'd give Parasite Best Screenplay as well.
Louis: What would be your ratings and thoughts for the rest of the cast for Lost Highway? Besides Robert Blake, I was only able to Find Pullmans'.
Side note: I wonder what Gary Busey would've done with a more substantial role in a Lynch film/Twin Peaks.
Michael McCarthy: Could you post ratings with your prediction please.
1. Broadbent
2. Cage
3. Hopkins
4. Ledger
5. Cruise
Andy Serkis is in talks to play Alfred in The Batman. I don't know, I kinda think that's an awful choice. Maybe it could work, but I don't see him in that role at all.
Matt: Yeah I can’t really see that, although maybe it will be in a bit of a Prestige sort of way where it’ll work? On the other hand Matthew McConaughey as a potential Harvey Dent is VERY intriguing.
Louis: what’s your thoughts on ‘What’s Up Danger’ from Into the Spider-Verse and the scene it accompanies? Just reminded myself today what an amazing scene it is.
And Colin Farrell potentially as Penguin lol
Guess they still haven't learned what happens when you have three villains in a superhero film...
I mean The Dark Knight made it work, but that was one major villain, one hero-turned-villain and one cameo. So very different I suspect.
Calvin: True, but Scarecrow had already been introduced in Batman Begins. Guess we'll have to wait and find out more later on as to what they have planned here.
Thinking more about Joker...my 4.5 for Phoenix is ridiculous, I'll say he's a 4 at best, probably even lower.
Even though I’m landing mostly negative on Joker, I’ll still defend Phoenix’s performance as great at the moment. I think the fact that it’s being handwaved by some is more than anything a testament to how great he is of an actor. I mean...He made me genuinely *afraid* of what Arthur was going to do next.
I would say that I consider the film to contain both some of his greatest scenes (the scene with Murray, the subway scene, with Bruce Wayne), some which I thought were a bit iffy (the confrontation with Thomas Wayne), and some which I don’t really get (the dance scenes).
I think he’ll make Louis’ top 5 but my money for the winner at this point is on Pattinson.
Calvin: Dafoe or Pattinson for the win.
BTW, having seen the newest trailer for The Two Popes (Pryce as Pope Francis has got to be one of the very best casting choices this year), I'm actually looking forward to it more due to the two main performances.
Michael: I also feel very firm on Phoenix's performance being great and the best thing on the film. I think an aspect we might be overlooking is that a lesser actor on such role could have easily brought the film down or in any case, made it worse than it already is for some.
Not sure on how to feel about The Two Popes knowing it's based on McCarten's own play. I think it might be resting solely on the shoulders of Hopkins, Pryce and Meirelles' direction.
Keep in mind a "4" is not a bad rating. I just can't go higher because there was no character to work with, and honestly, I kinda felt like he was on autopilot for a lot of it, but not all of it. If there were less dance scenes I may actually be kinder to him.
And actually I did like his scene on the talk show. I thought it was horribly written, but he did a good job playing it despite that.
Honestly I’d go maybe as low as 3.5 for Phoenix, the more I think about it. He’s done roles and performances like this before and was much more well-utilized. It’s impressive in a technical sense, but can anyone here say it’s a 5 or even a 4.5 compared to, say, The Master or You Were Never Really Here? Or any of his collabs with James Grey? (which reminds me, Pitt in Ad Astra >>>>>>>> Phoenix in Joker)
What I’m saying is kill your darlings every now and again.
I didn't anticipate Joker and Phoenix getting THIS reaction on here lol
Bryan L: I'm surprised too! He's one of my favourite actors working right now, this just didn't work.
Robert: The biggest thing I remember is I walked out of that movie and thought "You know...there wasn't a second where I didn't see the performance there." I never bought into it, I always saw Joaquin Pheonix just...pretending.
I’ll stick with a 4.5 for Phoenix but I wouldn’t be surprised if he doesn’t make my top 10 in the end. This year is panning our pretty strongly.
Matt: I see what you mean regarding Phoenix though, because outside of the climactic scene with Murray, I think he’s just...good. But boy, if he doesn’t sell the heck out of that scene...
1. Nicolas Cage
2. Tom Cruise
3. Jim Broadbent
4. Anthony Hopkins
5. Heath Ledger
I agree that Phoenix' work is good, but not on the same level as his greatest performances. Let's be realistic here, we've all seen him in The Master and Two Lovers right?
Rating Predictions
Hopkins - 4.5
Ledger - 4.5
Cage - 4.5/5
Cruise - 4
Broadbent - 5
Fiennes - 4/4.5
Louis: thoughts on the Wendy trailer. I think I've found my new most anticipated 2020 release.
Against all reason, here are my predictions:
1. Heath Ledger (5)
2. Anthony Hopkins (4.5/5)
3. Jim Broadbent (4.5/5)
4. Nicolas Cage (Haven’t seen, I’m saving it for a specific time)
5. Tom Cruise (4/4.5)
I reckon Pryce is probably the favorite to win the official Oscar rankings, maybe DiCaprio, unless he really likes Phoenix, we'll see.
James Dean is getting digitally resurrected for a film.
This might just be the most unnecessary thing since...hell, I don't know
Emi: Not to mention invasive and downright unethical. Having your image, something so personal to yourself and your body of work, purposely re-edited for a project more than half a century after your death, decades beyond your ability to consent to the film in the first place...
..I don't know, that just rubs me the wrong way, and raises some troubling questions about the current aspects of cinema.
Have any of you seen Eyes Wide Shut, because I think Cruise is amazing in it.
Mitchell: Precisely.
Matt: I might soon.
Matt: I saw it about three years ago. I think Cruise is pretty good. I'd give him a 4.5, though I recall being more impressed by Kidman.
Louis: your thoughts on the trailer for Color out of Space?
Bryan:
Arquette - 3.5(Probably one of the times I've liked her more, however I do think more could have been done with the role. This is as she is alluring enough however she isn't that alluring so to speak. She also doesn't quite distinguish the two women, although perhaps that's part of the point, however it isn't quite so intriguing as Lynch female leads go.)
Getty - 3(He's fine for the most part however he always perhaps seems too lost even for his lost young man. His best moment is easily his phone call with the mystery man where his exhibiting of the fear is quite striking and memorable.)
Busey - 3(Strange that he has such a straight forward role of all people in a Lynch film, however he does a fine job in portraying just the concerns and even warmth of a father.)
Loggia - 3.5(In parts he's just good in portraying a nice sleazy bit of menace in most of his screentime. I could go higher for him for his two moments of pure hilarity in the film. The first being his rant, apparently inspired by himself, at the driver that is absolutely a hilarious bit. My favorite moment though is his wholly dishonest "I'm glad you're doing good" and "just wanted to jump here and say I'm glad you're doing good" when sitting with the mystery man. Loggia's nonchalant delivery is priceless.)
Calvin:
Well obviously I wasn't the biggest fan of his previous film, not that I disliked it I just didn't quite connect with it, and that does definitely seem in a similar vein. This with though the curve ball of the source material that I'm most intrigued by in the way it is funneled through something quite new, so I'm in at the moment.
Anonymous:
Hmmm. Now that is intriguing, and I'm all for more Mad Cage in a Mad film, with quite the striking color scheme, and that appears to be the case here once again. Looks beautifully bonkers and I'm all for it.
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