5. Anthony Wong in The Mission - Wong manages to give a particularly impressive turn, as he manages to find depth in a paper thin role.
Best Scene: Relief after confrontation.
4. Gary Cole in Office Space - Gary Cole masters the art of malevolent indifference through his consistently hilarious turn.
Best Scene: Meeting the two Bobs.
3. Harry Lennix in Titus - Lennix gives a terrific turn as he revels in the insanity of his story and makes the most of his villainous part.
Best Scene: The Moor's confession
2. John C. Reilly in Magnolia - Reilly gives a beautiful turn managing
to find such a genuine heart in his portrayal of a caring but lonely
officer of the peace.
Best Scene: The date.
1. Robert Carlyle in Ravenous - Good prediction
Michael McCarthy. Carlyle gives essentially several
different brilliant performances in one. This as a haunted victim, a
rabid scoundrel, a devious fiend or as a most peculiar philosopher.
Best Scene: Calqhoun goes loco.
Updated Overall
Next: Going on semi-hiatus until the Oscar nominations, though as is becoming tradition, I'd appreciation any recommendations for films from this year, years I've already covered or animated, TV films or documentaries from any year.
334 comments:
1 – 200 of 334 Newer› Newest»To respond to your Rise of Skywalker ratings: I'd go lower on Driver. I actually thought he was fairly phoned-in for most of it. Also, was it just me, or did it seem they edited around him a lot? That definitely was a body double in the mask. How many days was he even on set?
To Anonymous's comment on the last post: That consensus is both expected and sad of rotten tomatoes - mostly just sad.
Robert: I haven't even seen the movie, but I wouldn't be to surprised if Driver wasn't that invested this time around. I know that if was him, and had already given committed work in less franchise oriented films, I would be rather frustrated if people still only knew me as Kylo Ren.
Also, I'm debating as to which of Louis's burns were better: The Simpsons one he did for Carrie Fisher in ROS, or the Futurama one he included in his Rami Malek review.
I thought Driver did what he could, I thought Driver and Ridley were the two best performers, Ridley does have one poor scene, her arguing scene with Boyega and Issac at the beginning where all 3 come off as sitcom characters.
Mitchell: The Simpsons one for me, although his burn for The Snowman with Krusty also got a laugh from me.
Hhmmm recommendations...
Tsotsi (2005 Best Foreign Language Winner, Gavin Hood)
Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau (2014)
The Spectacular Now (2013)
Silverado (1985)
Might be too much, but I’m just trying to spread my chips around a bit. Also, the first three are only about 90-95 minutes long.
Can we just give one suggestion total or can I do one movie from this year and one from a previously covered year?
My recommendation:
Sherlock Season 1
Michael: I think we can give multiple suggestions, but Louis will watch everyone's first/top recommendations first, and their second ones provided he has time.
Louis: I don't know you if you've ever watched Roseanne, but could I have your thoughts on this scene and the performances in it?
https://www.youtube.com/watch?v=hvj48pfUo3U
Louis: Elizabeth I (2005)
Louis, Ridley's Game (2003) and if you have the time, Fantastic Mr. Fox (I loved Isle Of Dogs and I'm curious as to what your thoughts are on his first animated film).
I guess my series recommendation is Paranoia Agent.
Louis: Your ratings and thoughts on the rest of the Lead performances you've seen.
Any new thoughts on Weaving.
Ratings and Thoughts on James Woods in The Virgin Suicides and True Crime.
Thoughts on The Iron Giant and The Winslow Boy.
And updated 1999 Female Lead And Supporting Top Tens with ratings and other 4+ performances.
Your thoughts on Fear & Desire and Three Kings.
My recommendation is Emperor Of The North Pole (1973).
My recommendation is Heaven Knows What (2014). I think it's interesting to look back at this film and see how the Safdies have been evolving in style ever since then. Wish Uncut Gems could play anywhere near me.
Emi: That came out in 2015 and Louis is only watching films from years already covered in the bonus rounds, TV, Animated films and Documentaries.
Emi: What Luke said, but hold on to that film though!
My recommendation, I guess, is The Sunset Limited, unless you've seen it, in which case, I don't know.
Luke: Oh, really? Well, in that case I'm switching to this year's Evelyn. It's a documentary.
Bryan: Wait, what do you mean?
Emi: When 2015 comes around, don't forget to mention it because I might forget to include it in the films to watch list.
Luke: Oh, sure thing.
Guys, what are your thoughts on this trailer?
https://www.youtube.com/watch?v=eVVHmw3uH2Q
I definitely see shades of a few recent films in the promo (Arrival, First Man, Ad Astra...etc.) Nevertheless, I'm intrigued enough by the visual presentation, and how it looks like the best role Eva Green's been offered in a great while (about time, honestly).
My recommendation is the animated film When the Wind Blows.
Saw A Beautiful Day in the Neighborhood, which I thought was pretty wonderful. I especially loved Heller's direction which again, as with Can You Ever Forgive Me? creates such a perfect tone for the film, and her way of bringing in the more fantastical elements I thought worked beautifully. My favourite part of the film though is probably the use of that framing device, which I thought was inspired, both as written and particularly as directed.
Rhys-4.5 (Absolutely essential to the film, and not really getting the credit he deserves, I think)
Hanks-5
Watson-3
Cooper-3
Plunkett-3
I guess I'll recommend Le Trou (1960) or Perfect Blue (1998).
Some animated film recommendations:
It's Such a Beautiful Day (2012, Hertzfeldt)
The Night Is Short, Walk on Girl (2017, Yuasa)
Razor: Oh, Perfect Blue, yes!
Louis: Did you watch Introducing Dorothy Dandridge. If so, rating and thoughts on Halle Berry.
Louis: you should watch "How I Ended This Summer" (2010)
*Louis, Ripley's Game (2003)
Thanks to everyone for the recommendations so far.
Robert:
I don't really disagree, as I'm quite impressed by the level "eh whatever" seemed to be going with that movie.
Michael:
Recommend away, but I typically watch whatever everyone lists first.
Anonymous:
Never did, but I have to say that was impressively acted from Metcalf in particular, though the sort of steadfast reactionary work of Goodman and even Barr, was fairly remarkable.
Luke:
Hoskins - 4.5(He's impeccably terrifying here in essentially slowly revealing such a quietly sinister quality in his performance. This in beginning as the slightly off but seemingly genial man. Hoskins's work though slowly reveals these hints of darkness that reveals a truly disturbing mindset. Hoskins peels these powerfully though in both in terms of being genuinely chilling as the man who doesn't rage even potentially murdering someone, but also the intense broken desperation of the man's psyche.)
Northam - 4(Not quite as good as Donat, though he actually has a bigger presence due to the film's approach to the adaptation, however he does manage to achieve a similar strength of personality and the sort of power of the dry wit of the man.)
Eadie - 3.5(It is interesting as I found Ratcatcher easier to watch than most seem to, probably because I had just watched Angela's Ashes, which is so relentlessly bleak in comparison. Anyways, Eadie though technically gives a similar performance to the boys in that film where there is the certain combination, effective combination, between sort of the naivety of a boy, along with this sort of internalized anxiety that evokes the hardships of the life.)
Marienthal - 3.5(Fine emotional voice work to be sure. The right enthusiasm without overdoing it, along with the right degree of anguish without overdoing it either.)
Hawthrone - 3.5(Again not quite as good as Hardwicke, though delivers the same sort of warmth within the strength of the man's convictions that is well handled.)
Foster - 3.5(Interesting to see him so young, but his talent was evident even this early on. Although we don't get any of his trademark intensity here, we instead just get an effectively earnest portrayal of just a young man trying to living his life without too much hardship or trauma.)
Pacino - 3.5(It is extremely PACINO, Pacino however it does work for the part of the boisterous coach however, particularly in his locker room speech that he delivers with the full force it needs. Pacino delivers that force of personality here that work. It is over the top Pacino, but it suits the role. It is also the one of the few tolerable elements in an often unbearable film, particularly its hideous cinematography.)
Eastwood - 3(Eastwood's coasting here a bit too much, but he does deliver still on that coasting through pulling his presence through.)
Brody - 3(He's good as well though just has less to do than Foster overall.)
Woods - Virgin Suicides - 4(Woods is terrific here in portraying the right believable combination of sort of the meekness and enthusiasm of the character. In that he is able to accentuate the good intentions of the man even while suggesting how he is sort of a prisoner of his wife's dominance the same way his daughters are. He's also just properly heartbreaking in portraying the
Woods - True Crime(Easily the best part of his film. This as Woods is quite simply extremely entertaining and hilarious in his bit as an overly enthusiastic and to the point editor. Every scene with him works though as this is just Woods in top energetic form, almost to ensure Eastwood doesn't steal the scene from him, and he doesn't. Woods owns the whole film with just a few scenes in total.)
The Iron Giant is a wonderful animated film. I especially loved the overall style of the 50's design of the whole thing that added a great deal to the atmosphere of the piece. This is to the point I wish Bird would return to 2-d animation sometime. It works though mostly as its giant ET with just the appropriate earnestness and emotional depth that makes for a fun and moving film.
Mamet's Winslow Boy is a fine adaptation overall, but it is lesser in every way to the 48 version. This is to the point it is more confined and less cinematic, removing the natural expansion on the source that were realized well in that film. A little strange to make a less cinematic adaptation. Of course it still is a decent film, a fine if more limited adaptation, even if definitely more than a little strange in intention.
No changes to the Actress/Supporting Actress lineups.
Anonymous:
Fear & Desire has an extremely basic plot, pretty terrible dialogue and atrocious acting. It comes off just like any generic TV show from the period, it just happens to be a more technically astute. You can see Kubrick's hand in that, but only in that. The funny thing is in a way you can see the lack of emphasis on actors, though perhaps he noted he needed great actors going forward, because all the technical merit in the world can't make up for the abysmal performances. Of course the script also isn't good either. This falls into another debut where you can see part of the talent, but in no way does it realize itself into a compelling feature, or even a good one.
Since a new decade is coming up, I was thinking it'd be nice to have a few top ten lists for the decade.
Top Ten Films:
1. Silence
2. Drive
3. Mad Max: Fury Road
4. Parasite
5. Your Name
6. Birdman
7. The Hunt
8. The Hateful Eight
9. I Saw the Devil
10. Wolf Children
Mine would be
1. Inside Llewyn Davis
2. Phantom Thread
3. First Man
4. Mad Max: Fury Road
5. Beasts of the Southern Wild
6. Hacksaw Ridge
7. The Hunt
8. Parasite
9. Carol
10. Roma
HM: The Social Network, Get Out, Like Father, Like Son
Also I saw The Two Popes which was alright, though I definitely think it’s out of the running for the Oscars. Funnily enough I think Hopkins has the more Oscar bait role of the two.
Louis: Your thoughts on these Top Gear clips.
youtube.com/watch?v=emL1jTixX_w
youtube.com/watch?v=2xZriFZ_xbI
Calvin:
I wouldn't say it is out of the running simply because it has a strong chance in Adapted Screenplay no matter what, and could easily make the top five there, which is an extremely thin category in Academy terms. It really only needs to get in over A Beautiful Day in the Neighborhood (which doesn't seem to be making an impression besides Hanks) and Joker, which to be perfectly fair I honestly think The Two Popes has a better screenplay than that film. Hopkins I do think has a better chance than Pryce, he did get the Globe nomination (in the more competitive category there) and critics choice, so he is hanging around near the top five for supporting actor. I'd also agree it is the baitier role, so I wouldn't be surprised if Hopkins can still make it, Pryce seems very unlikely at this point however.
Louis: Your thoughts on the screenplay for Argo?
(Note: I think you can guess why I’m requesting those thoughts from that particular film)
Louis: Also, your 70s and 80s cast and director for Uncut Gems?
Louis, you seem to like Hoskins alot more than the ranking suggests.
I’ll take a crack:
1970s directed by Robert Altman
Howard: Jerry Lewis
Kareem Abdul-Jabbar as himself
Dinah: Penelope Allen
Julia: Ronee Blakley
Demany: Yaphet Kotto
Arno: Sterling Hayden
1980s directed by Martin Scorsese
Howard: Gene Wilder
Could go with Kareem again
Dinah: Lily Tomlin
Julia: Rosanna Arquette
Demany: Howard Rollins
Arno: Mel Brooks
Calvin: I was thinking of Kareem for either of those versions as well lol. I think I'd go Rollins as Demany for the 70s actually, and for the 80s, maybe Don Cheadle.
Matt: You are correct in regards to Rhys, because I don't think he's even snabbed a single critics group nom, when he's quite deserving of one.
Whoever recommended Ripley's Game, I think that's a 2002 release.
Matt, It wasn't theatrically released until 2003.
https://www.imdb.com/title/tt0265651/releaseinfo?ref_=tt_ov_inf
The Virgin Suicides is a 2000 film
19 May 1999 (Cannes Film Festival)
September 1999 (San Sebastián Film Festival)
October 1999 (Pusan International Film Festival)
January 2000 (Sundance Film Festival)
31 January 2000 (International Film Festival Rotterdam)
21 April 2000 (Los Angeles, California)
Louis: Could I have your thoughts on this SNL skit about Star Wars?
https://youtu.be/FaOSCASqLsE
Luke:
The first is indeed a hilarious bit, I have particular affection for Winstone's very bad acting as the "launched" car. I would guess that is probably far more entertaining overall than the actual film, though sight unseen, and the sort of automotive nonsense that Top Gear did best.
Anonymous:
I'm forced to agree.
Bryan:
Guess I can, and there is kind of the age old thing that just because someone can write one type of film does not mean they can write everything. Although to be completely fair to Terrio his most recent co-writer has by definition a pretty hackneyed philosophy to storytelling. Of course this also goes to studio nonsense, where "well he won an Oscar" hire him no matter what the project actually is. This all before broaching Argo his only non-blockbuster screenplay, other than Heights, which is his best screenplay, which isn't saying much due to the lack of quality in those blockbusters, particularly in terms of the writing. If one is to take something from his blockbuster work he has no sense of structure, with Argo it has a good structure, but a structure offered by reality. At least he keeps to it I guess, but the three acts were layed out for him, embassy gets captured, CIA comes up with a rescue plan, then the rescue. That's pretty straight forward, though I'd say it seems he lacks the talent to come up with such structure off the fly, since it is painfully lacking otherwise. The question is then what does he do with the properly cinematic template in place. Well Terrio does a few things, such as putting in jokes something that isn't evident in his blockbusters. Of course his "wit" seems to require a lot of swearing, which I won't say is genius, but it gets the job done. Although judging by the lack of wit in his later works, seems it is a bit of crutch. It is interesting as he's probably actually best in terms of his exposition, which here drives the story and is all meaningful. He loves exposition still, but where it is words upon words in a fictional work, this factually based work it is more meaningful by nature. It gets the job done as it is the progression of the story, it is also the function of the majority of the characters, but I'll say he manages to find just enough, not a lot, of character within this exposition. This works though as a plot driven film, and as a plot driven film his weaknesses are less so weaknesses. I still think, which is mainly on him not Affleck, he overplays the fictionalization touch a tad, particularly in the final chase which could've been downplay a bit. It works though as a historical thriller, with some humor, by being relatively minimal in most ways, but still delivering on just telling the compelling true story. So this is a good screenplay, but he had a lot of help.
Anonymous:
Thank you for the heads up, not that it was smashing any of my lineups anyways.
Bryan:
Calvin made some fine choices, though I'd say while Long Goodbye Hayden could fit for Arno, he'd be perfect for Phil, you gotta remember Phil. So alternate 70's Arno, Eli Wallach with Hayden as Phil. Have never seen that gear for Brooks, so I'd say alternate 80's Arno with Tony Curtis, with Harry Dean Stanton as Phil.
Also for Gooey's:
70's: Sam Jaffe
80's: Sheldon Leonard
Finally saw A Beautiful Day in the Neighborhood today, which feels like a movie Mr. Rogers would easily approve of. Its so inventive and down to earth with its message and filmmaking. Really wish it were getting more attention.
Rhys - 4.5
Hanks - 5
Cooper - 3.5
Watson - 3.5/4
Watched The Aeronauts, which I actually rather liked. The on the ground scenes aren't extraordinary, but I found them more than decent, with the flying sequences being genuinely thrilling. Also Felicity Jones might give the most underrated performance of the year.
Also watched Steven Knight's A Christmas Carol. I have to say there are some striking things in it, some great ideas, unfortunately it gets bogged down by its own edginess, some moments being unintentionally hilarious as seems to say "this ain't your grandaddy's Christmas Carol". It goes way too far in some departments, particularly in making Scrooge excessively evil, and also fails to realize the joyful aspects with equal measure with the darker elements of the story. Just as you might say the 38 version takes too light of an approach, this one quite frankly takes too dark of one. It also doesn't at all earn its length.
Louis: Ratings and thoughts on the cast of the former and thoughts on the cast for the latter.
Tahmeed:
The best thing out of the new trilogy and SNL for some time I'd say. What makes it particularly hilarious to me though is Driver's performance because he doesn't try to play for it laughs, at least in the "look at me". I especially love his initial greetings as "Matt a Radar Technician" that he delivers with such intensity.
Luke:
Jones - 5(I loved this performance quite honestly as I felt she managed to hit every element of the character so effectively. This includes sort of the performer as the aeronaut we meet initially in her performance of the "performance" where she brings such an energetic and endearing quality of a different nature. This essentially bringing the right broadness as the purposeful eccentric to put on a proper show for the crowd. She's terrific though in portraying the more internalized conflict of the woman seemingly out of place and suffering from her own ptsd. I loved that Jones didn't overplay this either in portraying the frustrations in need for independence along with the genuine heartbreak her character is suffering. The greatest element of her work though in every air sequence. This again in portraying a terrific dogged determination that I again love she makes as this assumed strength rather than overplaying it in a more modernist way. Jones shows rather just a person entirely in their element. Jones though goes beyond this though in delivering such a powerful visceral and emotional quality in these scenes. This as she is able to deliver the struggle of the journey brilliantly by portraying just how spent she is by the end of the journey both emotionally and physically, anchoring the entire journey incredibly effectively. She never gets shown up by the effects, rather she grants a reality to them, I especially adore every second of her performance in the fixing the balloon scene.)
Redmayne - 3(Standard Redmayne mumbling and such. It is a mostly harmless version of it, but he is horribly overshadowed by Jones every step of the way.)
Courtenay - 3(Adds a nice bit of gravitas to sort of the prep, unfortunately never given much of a challenge here.)
Patel - 2.5(Standard friend performance, not bad but not much.)
Eh I'll give ratings since I saw on Hulu where it was made into a single feature.
Pearce - 4(Unsurprisingly he struggles a bit in the opening scenes as purely evil Scrooge where as usual he goes too broad, what is it with him and straight villains? Nonetheless once we get to Scrooge with conflict Pearce delivers on really finding the complexity within creating the sense of the character's own anguish along with his guilt and suffering. He adds a great deal in his moments of observation and ends up delivering a rather powerful turn in the end, even though he definitely is shaky at the beginning right down to his sort of "I'm evil" voice he usually does as bad guys. I hate how this Scrooge was written in some aspects, but Pearce did manage to find some of the power of the journey to be sure.)
Serkis - 3.5(Crazy Serkis, however he doesn't over do it here. Serkis rather finds the right sort of magnetic insanity that creates the right intensity with his spirit. I will say I find it a little strange as the really defer the spirits main purpose away from him. Serkis though does add some nice bit of gravitas to it all however.)
Novak - 3.5(The spirit in the more traditional sense. He gives really a wonderful turn in bringing some extremely needed warmth to the proceedings. He offers such a genuine tenderness in his performance, something that is far too absent in the script at times.)
Riley - 3(The choice for her ghost just didn't quite come together for me fully. She gives a fine turn, but quite honestly it seemed like the plot rushed through the second two ghosts.)
Alwyn - 3(Properly fed up style Cratchit I suppose, but what they did with the Cratchit family was probably my most hated aspect of the film.)
Robinson - 3.5(The most important Mary Cratchit, however I hate that they decided to make Scrooge do what Salieri does in that scene from Amadeus that I'm glad is not in the perfect version of that film. It is here though, but hey I'll give credit to Robinson for giving a heartbreaking depiction of compromise to save her family and the devastation that it brings.)
Graham - 4(Easily my favorite part of the film, in fact the whole sort Marley's journey aspect I think is quite frankly what they should've made the whole film about. It isn't the classic carol but as something new, I thought it had potential. Graham's performance in particular, I quite liked in an especially down to earth Marley, but not completely unemotional. Graham though does well in portraying in a way a less ghostly and more pointed man. He brings a nice low key comic energy but within that enough weight of Marley, who is less stuck in hell but more of a troublesome bureaucracy.)
Well I guess Graham's definitely going to be reviewed for This Is England.
Oh wow, a 5 for Jones. Guess this is a pretty great year for Best Actress.
Louis: I'd recommend The Souvenir (brilliant performances from Byrne and Burke) and The Last Black Man in San Francisco (beautiful cinematography and score, great performance from Majors).
Tahmeed: Yeah, I'm definitely not able to do a proper ranking, so here's just my ten that come to mind alphabetically:
- The Adventures of Tintin
- Birdman
- Dunkirk
- The Favourite
- The Hateful Eight
- The Irishman
- La La Land
- The Lighthouse
- Phantom Thread (my #1)
- They Shall Not Grow Old
My first thought when I heard about that new Christmas Carol is that Guy Pearce isn't anywhere near old enough to play Scrooge.
Matt: Albert Finney was more than a decade younger when he played the part.
Matt:
Well as strange as it seems, he's actually older than Alastair Sim was when he played Scrooge.
OK, fair points both. I guess I more meant he doesn't *seem* old enough, if that makes sense.
Matt:
It does, as Pearce really has barely aged since the 90's.
Oh damn, Pearce is 52? That's mental. Him and Sam Rockwell have barely aged.
Your rating for Jones has me thinking, so here’s a question for everyone: What are some surprise 5’s we’ve had this decade? Like, ones we REALLY did not see coming due to limited fanfare or preconceived ideas on the actor or actress.
The biggest ones from me came in 2015. I still stand by my Daisy Ridley win for Actress that year (TROS be damned). I had NO inclination beforehand that she would be such a magnetic, committed screen presence. Then there was Stallone in Creed. I actually figured the praise for him and the movie was overblown before I saw it, only to have the wind knocked out of me by both. I was in denial for a week before I admitted he was my Supporting Actor win and no one was going to dethrone him. Then there was Bateman in The Gift (still my Actor win despite my antipathy to the film). It helps the trailers hid how big and central of a role he’d play, but I never expected him to pull off that cruelty so well. Also, Emory Cohen in Brooklyn, which ended my wariness towards him for good.
Robert: A big one for me, also from 2015 oddly enough, was Billy Crudup in The Stanford Prison Experiment. I didn't hear anybody talk about him as a standout but I thought he was incredible.
Robert:
I'll say at the beginning of the decade, would've never expected Mad Max and The Favourite from Nicholas Hoult.
Robert: Cohen for me as well. I actually thought he was going to break out more after that film, but I guess nice-guy roles get handwaved too much these days.
Off the top of my head
Natalie Portman in Jackie
Robert Pattinson in Good Time (He did show talent previously, but we were all blown away)
Chris Pine in Hell or High Water (He was pretty good in his supporting turns, but he proved here that he can lead without being boring)
Oh yeah, Hoult as well.
Robert:
Daniel Radcliffe, Swiss Army Man
Emory Cohen, Brooklyn
Adam Sandler, Uncut Gems
Robert Pattinson, Good Time
Louis: what were your thoughts on the use of Vin Diesel’s voice in The Iron Giant?
Mitchell: Oh, and before I forget...ehhh...I'm getting a little wary of these types of sci-films honestly, since I didn't really like Ad Astra and I've been putting High Life off for the longest time.
In regards to Cats, I think it's hilarious that they're STILL updating the film with visual effects after it already came out and tanked.
Calvin: I'm not sure who said it first on this blog - because I know someone did - but I'm inclined to agree that Rockwell has one of those "perpetually 25" faces.
Also, you want to talk about actors who've barely aged since the 90s - I still find it hilarious that they wanted to de-age Samuel L Jackson for "Captain Marvel", given how he's looking pretty good for 71! Same goes for Paul Rudd who still seems inexplicably fresh faced, and Will Smith who - again - was given the de-aging treatment despite not having much age to take off.
And with regards to surprise 5's, agreed with all the aforementioned especially Cohen and Hoult.
What's everyone's top 10s for directing btw? For me,
1. Bong Joon-ho, Parasite
2. Robert Eggers, The Lighthouse
3. Martin Scorsese, The Irishman
4. The Safdie Brothers, Uncut Gems
5. Terrence Malick, A Hidden Life
6. Céline Sciamma, Portrait of a Lady on Fire
7. Taika Waititi, Jojo Rabbit
8. Vince Gilligan, El Camino
9. Rian Johnson, Knives Out
10. Todd Douglas Miller, Apollo 11
Calvin:
1. Bong Joon-ho-Parasite
2. Martin Scorsese-The Irishman
3. Robert Eggers-The Lighthouse
4. Taika Waititi-Jojo Rabbit
5. Marielle Heller-A Beautiful Day in the Neighborhood
6. Ari Aster-Midsommar
7. Rian Johnson-Knives Out
8. Jordan Peele-Us
9. Russo Brothers-Avengers: Endgame
10. Vince Gilligan-El Camino
It looks like Uncut Gems won't be playing anywhere near me for a bit, which sucks.
My recommendations would be Ghost in the Shell (1995) and Punisher War Zone. The latter is a terrible film, but I'd like you to see just how terrible it is.
Louis: Thoughts on Tsotsi and ratings/thoughts on the cast.
And if you've seen it, thoughts on Sherlock Season 1 and thoughts on the cast.
I haven’t seen it in awhile but I’d definitely go higher than a 3.5 for Chweneyagae.
Since Star Wars I haven't had time to watch anything since family keeps popping over, 24th December will be when I try to catch up, thankfully nearly half of the films I need to see are on Netflix or Amazon Prime now.
Javier Bardem in Skyfall, this was at a time when Bardem was seen as a mostly underwhelming performer aside from NCFOM, so for him to pull that out of the bag.
In the same year I remember expecting that DiCaprio would be an utter disaster in Django. Pleasantly surprised.
Louis: What would some past film roles for Adam Sandler (based on Uncut Gems), Adam Driver and Robert Pattinson be for you?
Louis: Your thoughts on Three Kings and the cast. We didn't get them before.
Calvin:
1. Martin Scorsese, The Irishman
2. Robert Eggers, The Lighthouse
3. Bong Joon-ho. Parasite
4. Quentin Tarantino, Once Upon a Time in Hollywood
5. Marielle Heller, A Beautiful Day in the Neighborhood
6. Rian Johnson, Knives Out
7. Joanna Hogg, The Souvenir
8. Joe Talbot, The Last Black Man in San Francisco
9. Lulu Wang, The Farewell
I'll leave the tenth spot unfilled for now. Want to see more first.
Louis: Your thoughts on the opening credit sequence in Monty Python and the Holy Grail.
Calvin: I’ll wait until I see 1917.
Henry W: That’s “based on Uncut Gems AND Punch-Drunk-Love” for you lol. He gave his past film roles for Drive in Ben Kingsleys review for Shutter Island.
Louis: Your rating and thoughts on Griffin Dunne in Snow Angels?
1. Bong Joon-ho (Parasite)
2. Martin Scorsese (The Irishman)
3. Todd Phillips (Joker)
4. Kleber Mendonça Filho and Juliano Dornelles (Bacurau)
5. The Safdie Brothers (Uncut Gems)
6. Taika Waititi (Jojo Rabbit)
7. Robert Eggers (The Lighthouse)
8. Lulu Wang (The Farewell)
9. Karim Aïnouz (The Invisible Life)
10. Quentin Tarantino (Once Upon Time in Hollywood)
Louis: In your review of Adam Driver's "Force Awakens" performance, you mentioned that you we're most looking forward to seeing a progression of his work and the role....do you regret saying that now, or is it something you more or less accept as a conflict between writer and executive?
Mitchell: I'd guess that it has more to do with the creative decisions at hand rather than Driver himself. Driver isn't really the problem.
Calvin:
Great use of his voice actually, one where his slow baritone absolutely worked in creating the lumbering force of the character, but there's sort of a warmth about the sort of "simplicity' within it, that works extremely well there.
Luke:
Tsotsi I thought was just fine. I honestly wish there had been a little more focused on the gang dynamic, which instead gets sidelined pretty quickly in favor of one gangster and a baby. It is more than decent in this respect, but it didn't do anything truly special with the material in my view.
Chweneyagae - 3.5(I suppose in comparing his work to Lee Byung-hun from the same year in a similar type of performance, he was going to come up a little short in terms of the impact of the transition. This shouldn't hide though that Chweneyagae definitely acquits himself well in the part. This delivering a moving enough portrayal of the slowly growing conscience of the character. I will say though I feel he could've delivered just a bit more charisma in terms of being the gang leader, but he does a fine job overall.)
Nkosi - 3.5(Found he quietly made the greatest impact out of the gang through the sort of innocence, despite being a gang member, in terms of portraying the sort of earnestness in his attachment to his leader, not as a gang, but just as a friend.)
Magano - (Terrific in his earliest scene in portraying his reaction of horror to Butcher going way too far, and effective in his moment of disgust and anguish towards the rest of the gang. I'll say though he unfortunately gets sidelined beyond this, and I think there was far more to explore in this dynamic that is sadly left on the floor.)
Ngqobe - (He's fine in terms of portraying the blunt intensity of the character, unfortunately I don't think he quite makes the impact potentially in the character. This as the extreme wild card should make quite the impact, he makes a little bit of one, but not a truly unforgettable one.)
Three Kings is a better David O. Russell film, though I do think its tone occasionally is a bit wonky as it doesn't quite come together fully as a dark comedy, being technically too earnest, but then again undercuts itself a bit too much to work in trying to be moving. This type of tone is always delicate, and I'll say O. Russell doesn't perfect it. Although he doesn't entirely fail in it. It is at its best when embracing just it as the satire where it excels quite well in its strange treasure hunt, where it is enjoyable. It does get a little bogged down by its serious intentions.
Clooney - 3.5(A leading Clooney that is a good example of him pulling it off actually. He's really just there to be an anchor of the tough soldier, who is also just a bit exasperated. He handles it well and usually does best when he plays just a bit of a comical jerk. Well that is the case here, and Clooney does well with it.)
Wahlberg - 3.5(Honestly Wahlberg probably should work with Russell more as he does better than many in terms of working within his ways. Wahlberg is good here in portraying just the right affable qualities within his soldier who is WAY over his head the whole time. It's an effective turn from him, and plays well within his range.)
Jonze - (Perhaps the performance that most exemplifies the tone in a way, and perhaps makes it work the most. This as his whole turn has a certain ridiculous comic quality to it, however he does manage to slowly ease this away to figure something moving within his character who really has no plans after the army.)
Curtis - 3(Effective completely earnest bit of work from him.)
Ice Cube - 3(Typical shtick from him, but it works for the part even if it is rather limited.)
Kennedy - 2.5(He's kind of a terrible actor, but his over the top routine doesn't do too much disservice to the material at least given his absurd character.)
Tahmeed:
I mean funny little unexpected addition to switch things up a bit.
Bryan:
Dunne - 3(He doesn't have a major role by any means, however he is fairly effective in his one major scene in portraying this naturally awkward combination between overt earnestness while clearly trying to hide something and failing to do so. Not a lot there, but a good performance.)
Henry:
Sandler:
Ratso Rizzo
Sol Nazerman
Harry Stoner
Pattison:
Jett Rink
Pinkie Brown
Tom Ripley or Dickie Greenleaf
Mitchell:
I don't regret it at all, and just goes to show the wasted opportunity of it all. I do think they could've done something special there, Driver really did the best he could with what he had for the most part, it is the writing that failed him.
2000s Midnight Cowboy directed by Ang Lee
Joe Buck: Luke Wilson
Ratso Rizzo: Adam Sandler
Cass: Melissa Leo
Shirley: Julianne Nicholson
2010s The Pawnbroker directed by Paweł Pawlikowski
Sol Nazerman: Adam Sandler
Rodriguez: Brian Tyree Henry
Jesus: Anthony Ramos
2010s The Talented Mr Ripley directed by Thomas Vinterberg
Tom Ripley: Jesse Plemons
Dickie Greenleaf: Robert Pattinson
Marge Sherwood: Juno Temple
Meredith Logue: Alicia Vikander
Freddie Miles: Wyatt Russell
Calvin: Also, 2010s Save the Tiger, directed by Tom McCarthy
Harry Stoner: Adam Sandler
Phil Greene: Richard Jenkins
Myra: Lucy Boynton
I was thinking of McConaughey for Joe Buck, but Luke Wilson does have untapped potential, so I'd be willing to roll the dice on him.
On a different note, I FINALLY was able to sit down and watch "Us". I liked the film, though I feel its a lesser follow up to "Get Out" - which is a movie that even I greatly appreciate more than flat out love. Peele's direction and writing I think are less refined this time around, as not every choice in editing, tone or narrative completely works - some of it came across as a bit obvious, honestly. Also, while "Get Out" was able to balance its horror elements and underlying subtext, here the film's themes aren't quite as developed or evident, and it makes it harder to read into "Us" as much as its predecessor. Now having said all that, the movie is still quite effective much of the time, particularly in its use of music and performance to realize the necessary tension.
Nyongo - 5 (Great performance, and for the moment, a very close second in my best actress line up behind Johansson.)
Duke - 3.5
Moss - 3.5
Joseph - 3/3.5
Alex - 3
Heidecker - 3
Also, I'd like to list my current line ups out of the sag nominations - not only for reference later on but also to show you guys how much catching up I have to do.
Actor:
1) Driver (5)
2) DiCaprio (5)
3) Phoenix (5)
Actress:
1) Johansson (5)
2) Nyongo (5)
Supporting Actor:
1) Pacino (5)
2) Pesci (4.5)
3) Pitt (4.5)
Supporting Actress:
1) Dern (3)
SAG Awards? Sure.
Actress:
1. Nyong’o
2. Johansson
3. Erivo
4. Zellweger
5. Theron
Actor:
1. Driver
2. Phoenix
3. DiCaprio
4. Bale
5. Egerton
Supporting Actress:
1. Johansson
2. Lopez
3. Robbie
4. Kidman
5. Dern
Supporting Actor:
1. Pacino
2. Pesci
3. Hanks
4. Pitt
Just saw Bombshell which was meh (Kidman MVP in my books), so mine would be from what I've seen so far:
1. Nyong'o
2. Johansson
3. Zellweger
4. Theron
1. Driver
2. Egerton
3. DiCaprio/Bale
5. Phoenix
1. Johansson
2. Lopez
3. Kidman
4. Robbie
5. Dern
1. Pacino
2. Pesci
3. Hanks
4. Pitt
Louis: Your thoughts on Marielle Heller as a director?
Finally got a chance to see a film, The Two Popes, found it quite interesting and certainly very well acted, some music choices were very weird though (Dancing Queen by Abba?)
I should say I loved the final scene of them both watching the World Cup final and bickering with each other like actual fans.
Mitchell:
Actor
1. DiCaprio
2. Driver
3. Egerton
4. Bale
5. Phoenix
Actress
1. Johansson
2. Nyong'o
3. Zellweger
Supporting Actor
1. Pesci
2. Hanks
3. Pacino
4. Pitt
Supporting Actress
1. Lopez
2. Johansson
3. Dern
Havent seen every Sag just yet but.
Actor
1. DiCaprio
2. Egerton
3. Phoenix
Actress
1. Nyong'o
2. Erivo
3. Zellweger
Supporting Actor
1. Pesci
2. Pacino
3. Pitt
Supporting Actress
1. Lopez
Mitchell:
Actor:
1. Phoenix
2. DiCaprio
Actress:
1.Nyong'o
Supporting Actor:
1. Pesci
2. Pacino
3. Hanks
4. Pitt
Supporting Actress:
1. Johansson
I'm a little more behind than I thought I were. Like all of these performances quite a bit though. Will probably watch Marriage Story shortly after Christmas
Well Sherlock Season 1 was just a whole lot of fun more than anything. This in doing two things right, that doing a modern take on an old character in a way that actually well modernizes without using the qualities of the source, nor seeming like it is trying to be "cool", it is also just how you do a procedural, although technically it isn't quite that due to the amount of character development. Nonetheless it excels in making for captivating mysteries, the fun of working the case, and importantly developing such an engaging dynamic between Holmes and Watson who make for such a great pairing.
With Elizabeth I, I'm quite sure Tom Hooper was murdered by a talentless hack, who assumed his identity. This because just like John Adams, he does a terrific job in making this historical piece. Once again finding the right touch and avoiding the pitfalls of what I typically see in the telling of this story. This being stodgy as so many are, or going over the top in trying not to be that in the case of Elizabeth. This finds the right balance, and once again makes the story truly come to life, through giving captivating detail to the events, but most importantly remembering the human factor of the characters. This never treating them as ideas, but granting the right leave to explore them as people.
Anonymous:
Well interestingly might be a Yorgos Lanthimos situation as the one film of hers I didn't really care for was the only one written by her. This is though that even in that instance her talents as a filmmaker were still evident. I think Heller's talents so far have been finding something that is often quite difficult to pull off, which is creating a visually arresting intimate drama. Now on one end she does well in terms of staging scenes, allowing the actors the moments and the like, but when she herself sort pushes her hand, particularly in Can You Ever Forgive Me?, her touches are particularly astute. This being flairs of visual panache that genuinely amplify the story rather than detract from or seem like posturing from her. In Diary, she brought to life the ambitions of a cartoonist, in A Beautiful Day, she delivered on the idea of a feature length Mr. Rodgers episode, but Can You Ever Forgive Me was the most subtle, yet most striking in this regard. This in her touches just created so much more atmosphere of the setting and each sequence. Never over the top, but just made the whole scenario all the more lived in, only benefiting the terrific screenplay she was working with.
Louis when are you posting your top ten?
Anonymous:
Probably after I see 1917.
Mitchell
ACTOR
1. Phoenix
2. Dicaprio
3. Driver
4. Egerton
5. Bale
ACTRESS
1. Nyong'o
2. Johansson
3. Erivo
4. Theron
5. Zellweger
SUPPORTING ACTOR
1. Pacino
2. Pesci
3. Hanks
4. Pitt
5. Foxx
SUPPOTYING ACTRESS
1. Johansson
2. Lopez
3. Robbie
4. Kidman
5. Dern
Louis: Glad you liked it. Your thoughts on the cast of Sherlock?
Louis: Your reasons for Sandlers’ past film roles?
For a series I think I’ll recommend Ray Donovan. It’s not perfect, but Liev Schreiber is brilliant throughout the series and the performance he gives in the season 3 finale may damn well be the greatest piece of acting I’ve ever seen on television.
Louis: Ratings and thoughts on the cast of Elizabeth I. I'm glad you loved it. Hooper needs to go back to Television.
Luke: Your ranking and ratings for Tom Hoopers work? (Both TV and film)
Louis: Your thoughts on Ozymandias videotaped speech in Episode 5 of Watchmen? Its a Top Five scene for me. Also, as great as Irons is right there, I think Tim Blake Nelsons silent reaction takes it even further.
Bryan:
1. John Adams
2. Elizabeth I
3. Longford
4. The Damned United
5. Les Miserables
6. The King's Speech
7. The Danish Girl
Louis: Your thoughts on Elizabeth I's Score, Costume Design and Production Design.
And does Mirren give a career-best and where would you rank Irons' work in his career.
Bryan: 5s for 1-2, 4.5 for 3, 4s for 4-5, 3.5 for 6 and a 1.5 for 7.
And if I had a series recommendation right now, then it would be Hannibal with Mads Mikkelsen, Hugh Dancy and Laurence Fishburne.
Bed time for me, just saw The Aeronauts, despite that dog throwing scene at the start, which nearly gave me an actual panic attack, I liked the film a lot and im a bit surprised by its average reviews.
Have a lovely Christmas Day everyone or a lovely day whatever day it is for you tomorrow =D.
Louis: Thoughts on Witness direction?
Happy holidays everyone.
Merry Christmas everyone.
Louis: Thinking on films from this year, I think the one I most recommend you see is Queen & Slim, it’s a very compelling film and Kaluuya really is quite strong in it. Though I also hope you see Booksmart, mostly to see if you like Billie Lourd as much as I did. I think she may have that rare knack for enjoyably over the top performances.
In terms of 2019 films the recommendations I have for Louis that he hasn’t seen yet would be Apollo 11, Love Antosha, Luce, Portrait of a Lady on Fire and Monos.
And Merry Christmas all!
Calvin: What about A Hidden Life.
Luke: I think Calvin meant more under-the-radar films from 2019, where Louis has been anticipating A Hidden Life for awhile now, I think.
And Happy Holidays!
Merry Christmas, guys
Like: That too! But Bryan is right just a few ones I think might slip under the radar more. Although A Hidden Life is probably going to be shut out entirely from the Oscars, its award season performance has unfortunately been very underwhelming.
Also my prediction for Louis' top 10:
1. Parasite
2. The Irishman
3. Uncut Gems
4. The Lighthouse
5. Jojo Rabbit
6. El Camino
7. The Farewell
8. A Beautiful Day in the Neighbourhood
9. Once Upon a Time in Hollywood
10. 1917
Though I expect something like Little Women, a documentary or foreign feature to make for pleasant surprises.
Calvin: I reckon 1917 could place higher honestly, since it sounds like it's Road to Perdition/Skyfall Sam Mendes. But yeah, I too am expecting a surprise like those you mentioned.
Also, some Christmas retro-castings:
2010s Home Alone directed by Marielle Heller
Kevin: Jacob Tremblay
Harry: Tim Blake Nelson
Marv: Stephen Merchant
Kate: Kirsten Wiig
Marley: Bruce Dern
Gus: Paul Walter Hauser
Johnny the Gangster: Joe Mategna
2010s Die Hard directed by Kathryn Bigelow
John McClane: Jon Bernthal
Hans Gruber: Benedict Cumberbatch
Karl: Keith Williams Richards
Bonnie: Jennifer Ehle
Sgt Powell: Jordan Peele
Robinson: David Morse
Argyle: Algee Smith
Thornburg: Brian Geraghty
Ellis: Chris Diamantopoulos
Louis: Your thoughts on Secrets & Lies and Topsy-Turvy screenplay and direction?
Louis: Have you ever seen NYPD Blue, or Homicide: Life on the Street? If so, could I have your brief thoughts on Dennis Franz and Jimmy Smits's performances in the former, and Andre Braugher's work in the latter?
Happy Holidays everyone!
Louis: My recommandation is Giovanna's Father (2008), if you can't find a copy of it i would go with Blindness (2008).
If you still have time could you watch a Visconti movie you have skipped during the bonus round? I noticed you haven't watched La Terra Trema (1948), Bellissima (1951, i think Magnani could get a 5 here), Senso (1954), Ludwig (1973) and Conversation Piece (1974).
Merry Christmas everyone. Little Women just dethroned Parasite for me.
I cannot wait for Little Women, can’t believe I have to wait until January. What did you think of Ronan, Pugh and Chalamet? Are they as perfectly cast as they seemed in the trailer.
Robert: Ratings and thoughts on the cast?
Will get to all requested thoughts soon, however a touch busy at the moment, but Merry Christmas to all.
Tahmeed:
Cumberbatch - (Well this appears to be the role he was born to play, and the role in which you see most of his roles are threads from, or at least his most successful role. The simple truth is though he excels with ego and that is the case here. This taking the step further though in creating this sort of detached egomania that is funneled through the driven intensity of the genius. Cumberbatch may be at his very best here though as he wields that to such an entertaining and magnetic performance. Just as Holmes is in his element solving a case, Cumberbatch is in his element in making long exposition just sing and the sort of Sherlockian sleuthing so much fun to watch. It is a marvelous performance from him as he manages to reinvent Holmes, while also playing into the ideas that help define the most successful version of the character.)
Freeman - (Freeman has seemed to have made his career on the somewhat hapless but typically affable every man, which we certainly get to here in his interactions with Cumberbatch. Freeman though strikes up a wonderful chemistry by taking his sort of bright energy against Cumberbatch's specific intensity. In this way we get a proper Holmes/Watson, that is actually quite a bit different than other versions though rooted in the best versions still as well. Where Freeman most impressed though was portraying the sense of the character's past that helped to define him beyond the typical Watson as just the less assured observer/helper. There Freeman excels in making a more complicated Watson that delivers a greater emotional stakes along with that more inherently personable style to the sidekick.)
Gatiss - (Wonderful smaller turn within the film though does well in sort of portraying the same shades as Cumberbatch though more modest and measured in that sense. Gatiss brings the right degree of sort of a cheekiness with it that wonderfully realizes Mycroft's alternating methods though on the same sort of process of sorts as Sherlock.)
Scott - (Okay, I thought this was one of the worst performances I've ever seen. Okay maybe slight hyperbole, however in a budgeted show that is otherwise terrific, it's not far off for me. This as everything did was so over the top and ridiculous as though it seemed the powers that be told Scott, do whatever you want. Unfortunately I did not find Scott talented enough here to pull that off, instead just found a high school level ham here. Just awful, though I guess the saving grace for me was that he was in two scenes.)
Anonymous:
Sandler, whether it is dramatic or comedic, is a performer defined by his intensity. Although I'll also say he is a performer who should always be cast closer to the modern age, as he does have that sort of inherent sensibility about him, I mean 50's and on for him. Anyway though you'd get intensity of personality with Rizzo, internalized haunted intensity of Sol, and the growing intensity of a man spiraling out of control in Harry. All three I'd think play to his strengths.
Luke:
Mirren - (Her best work, along with the best Elizabeth that I've seen. This as I found Mirren managed to make the most remarkable combination and realization of the features of the monarch. This in that she does deliver on that supreme power of personality within the character. This though that she finds so much nuance within in the idea of trying to work in a system that is against her in many ways, but also just the moments of sheer brandishing it with force. A force though that she manages to portray both in moments as the inspiration leader towards her people, but also the moments of the menace who will not be bested. Mirren though also excels within the idea of the human within all that. This particular in the complexity of the push pull with her interests of the man, that Mirren manages to create such powerful moments of desperation and need, this though of also with moments of incisiveness of attempting to discover the truth of the men's nature, or also remarkable moments simply of a strict sincerity. Notable too though is Mirren's ability to convey the aging of Elizabeth throughout the series and in that sense of the hardening of her in each aspect. This creating the sense of a seasoned person both in a good and bad way in a sense, of creating greater sense of one's self and isolating herself. It is a tremendous work from her.)
Irons - (Well one of his best performances that easily creates the most interesting Dudley in any telling of the story. Irons though is excellent here in so many ways. This in one portraying the almost heroic standings of the man who intends to be a knight in shining armor in many ways, and Irons is great though in balancing this with a certain sense of knowing that effectively undercuts that just in the right fashion. His work helps to craft the complexity of the relationship with Elizabeth particularly effectively. This in portraying sort of the overtures of a love at times, though that are as shown deflected through a natural realizations of frustrations. What I think Irons does well though is amidst all the difficulties that he does portray the man's affections as genuine at the deepest point, both in a moment of great frustration at his place of being unable to marry the queen, and the final moment of the sincerity of his love for her.)
Dancy - (He's also terrific though in portraying sort of the same performance as Irons, though with a different truth in the middle. This is where Irons portrayed his Earl's love as truthful deep down, Dancy portrays it as a manipulation of sorts deep down. I do like that Dancy doesn't make him a full villain, rather is able to show shades of concern however is careful to show never a full truth within this as true love for the queen. He delivers well the sort of moments of hesitation and or over done statements that border on sincerity however struggle to maintain there long. Dancy's work does well though to bring genuine emotion within the man who does have some positive qualities within his manner, however the greater weaknesses of his ambitions paint his downfall. It is an effective turn though by showing where Irons in the end revealed the better man, Dancy slowly reveals the worse one.)
Jones - (Terrific work from him as to be expected as the sort of ambitious counselor. I love that Jones manages to portray the slow growth of his character really on the sidelines for so long. This as he portrays the slow sort of gain in agency, however an agency that he brandishes with a calmness that is shown through an assurance that slowly builds to show a more powerful figure.)
Malahide & McDiarmid - (Both are effective in balancing a certain coldness in portraying the strict demeanor of a men though with a quiet sense of genuine concern there somewhere for their monarch.)
Oh damn. Couldn’t disagree more on Scott but I guess it’s different strokes. If I could possibly make a suggestion for 2019 series at some point, you might find him better in Fleabag where he’s an absolute delight.
2 fives for Irons in such a short time. :)
And so glad to see Mirren get her first.
Louis: I do wonder whether you'll love Glenda Jackson's work in Elizabeth R even more.
And mustn't forget Cumberbatch getting his 2nd after Patrick Melrose.
Louis: Have you watched Paranoia Agent yet?
Calvin: I need to gather my thoughts a little more to give a clearer response, but I'll say that I thought all three were perfect.
Anonymous:
Ronan - 5
Pugh - 5
Chalamet - 5
Watson - 3.5
Scanlen - 3.5
Dern - 4
Cooper - 4
Streep - 3.5
Letts - 3
Garrel - 3
Norton - 2.5
Odenkirk - 2.5
Bryan:
It's a great moment that fashions itself directly related to the comic, and we sort of see a good bit of Irons as "prime" Ozymandias wielding his "victory" with such pride. Love that against Nelson's honest distraught performance very much reflecting a true victim of the plan that Ozymandias looks upon with such glowing admiration.
Luke:
Its score was occasionally a little too luscious, in that it bordered a bit on something more befitting a Braveheart, though not at all bad in that lusciousness to be fair. Overall though it is a nice bit of work very much within the typically expected style of sort of modernization of the period music. I wouldn't say it was the series's most distinctive feature, but added nicely to it.
Exceptional costuming to be sure, this is as it is easy enough to fall in with the bunch, however it manages to find that wonderful combination between creating the period aesthetic but also by offering enough of a distinct personalization in terms of the use within the characters.
The production design work might be the most baffling thing when thinking of Hooper's film work, this is as in television budget he thrives in creating such a vivid wold that is beautiful to look at, however never pristine to a fault. I have to say I found it particularly comical almost that his barricade used here is considerably better than the one he used in Les Miserables. Although there are limitations to be sure, what is used, is used so well, and in itself is incredibly impressive.
It's my 4th favorite Irons turn.
Anonymous:
Taking a look at Peter Weir's direction of Witness is rather important I think as an example of amplifying with direction, as in the worst hands Witness could be a super generic thriller with just a gimmick of the Amish setting. I mean this in just some ways of making a tauter film, such as he removed a "let's explain" things to the audience ending, and instead left it purely visual leaving a stronger impression overall. Weir's hand though is felt throughout though in giving so much more to this thriller. Now in one way it is giving life to the Amish setting, in creating such detail, such atmosphere, and really appreciation. This in the way he gives a certain grandeur to the setting, but more than anything a calm appreciative observers vibe. It never feels exploitative rather it wants you to genuinely sort of visit the setting, which gives so much more life to the film on that alone. That is essential in that it is anything but a gimmick due to Weir's work. In terms of the thriller though, Weir's work again cannot be overlooked. Take any given scene, the murder in the bathroom, finding the killer's picture, or even the final showdown, Weir finds such unique and striking ways to realize what could be relatively rote scenes. They way he uses the child's perspective in the first two scenes gives a such more gripping and tense quality to those scenes, or the final scene where it is taut work, but also unique in how he handles the scene. For example the final hostage moment, where he honestly has the two characters just yelling at each other like two desperate people would be apt to do, rather than the more typical villain showdown. Honestly a great example of how a great director can make a screenplay with potential, but also with potential to fail, something fairly unique in its genre.
Had a feeling the expanded perspective for Laurie and Amy would pay dividends. And seems like ol’ Mr Laurence is sure to make the tears flow again...
I actually rewatched the 1994 version a few weeks ago and here are my ratings for that:
Ryder - 4.5
Alvarado - 3
Danes - 4
Dunst/Mathis - 3.5/3
Bale - 4
Byrne - 3
Stoltz - 2.5
Neville - 3.5
Wickes - 3
Walker - 2.5
Sarandon - 3.5
Louis: maybe what needs to be done is start cutting Hooper’s budgets. Perhaps less is more with regards to his set designs and technical elements. Look at how much money they’re throwing around with those damn Cats!
Louis, if you're seeing Ripley's Game today, could I have thoughts on the film and your ratings and thoughts on the cast.
Louis: I really hope you find some time next year to watch at least season 2 and 3 of Sherlock. The final episode of season 2 has what I consider, all time great performances from Cumberbatch and Freeman.
The first two episodes of Season 2 I’d say aren’t my favourites, though they’re still decent episodes in their own right, but the finale is magnificent indeed.
Season 3 is largely pretty strong and The Abominable Bride is fun, Season 4 really drops the ball though. Season 1 remains king in my books.
I think Cumberbatch's personal best acting moment is his vision in the season 3 finale (His Last Vow).
I’m all the way with Calvin on Andrew Scott in Sherlock, although I understand Louis’s point of view as any performance that goes that far out on a limb is going to have detractors.
One thing I love about Scott’s performance is how the show implements his character’s reveal. In the first episode, Mark Gatiss essentially serves as a red herring for the character ultimately played by Scott, which would be fitting due to how his restrained, calculated performance contrasts with Cumberbatch’s turn. The best part of Scott’s character’s reveal is that it contrasts with Cumberbatch on the opposite end of the spectrum, giving us a genius who is so out of everyone else’s league he must deliberately act insane at all times in a desperate effort to keep himself amused. It’s not everyone’s cup of tea, but I personally love how refreshingly unpredictable it is.
Louis: I will say something in defence of Andrew Scott in Sherlock, because I have seen every series of Sherlock, the first 2 series are great, the third is decent, the fourth is bad.
Andrew Scott takes a very daring approach, which is that of mayhem and madness, I really did like his performance, it is a performance that seems amateurish because he goes so over the top and almost seems cartoonish with his facial expressions and voice, but I actually felt that he was essentially trying to get under Holmes skin, trying to put him off, because all of his line readings like "No kill you, gonna kill you obviously someday" these always came off as him trying to push Sherlocks buttons, playing with him, toying with him.
For me they always came off as surprisingly creepy like, "wow this guy is really nuts"
Louis: I do understand your criticism though, he does go so far with his portrayal in terms just doing what he wants.
One thing I did love about Scott in the first series, is when just when you think he has left, he then reappears " SORRY BOYS, I AM SO CHANGEABLE" that caught me off guard.
I think the first series of Sherlock has one of the best cliffhangers ever, to think I was waiting 2 years for the second series.
I totally knew Louis was either going to completely hate or love Scott's performance. I fall into the latter camp, due to the reasons Michael and RatedRStar gave, particularly the fact that he's essentially trying to get under Holmes's skin at all times. It's a performance that to me, encapsulates what someone with that level of intellect would do out of sheer boredom.
I guess Andrew Scotts' performance in Sherlock is like the TV version of the climactic rap scene of Blindspotting on here lol
Louis: Ok if I am to recommend something, how about another well known UK series that received Bafta recognition.
From what I’ve seen of Sherlock (mostly out of context YouTube clips and parts of episodes while channel surfing), I’m kind of with Louis on Scott.
Robert: Guess what I got for Christmas, Edelgard > Dimitri and Claude xD.
RatedRStar: Okay, fascist. Enjoy burning King’s Landing. #BlueLionsRule #TeamGoldenDeer #BlackEaglesAreFineOutsideOfTheirNutsoLeader.
Robert: Remember I can get rid of certain members and recruit some of the Lions and Deers, #NewBlackEagles.
Louis: John Simm, you might be unfamiliar with him, he is one of British TVs best and most underrated leading men.
I would recommend one of his 2 Bafta nominated performances, either as Sam Tyler in Life on Mars or his performance as Tom Ronstadt in Exile, starring alongside Olivia Colman and Jim Broadbent.
Louis: Your updated ranking of all the portrayals of Sherlock Holmes.
Thank you all for the additional recommendations.
Regarding Scott, I don't have a problem with his approach in theory, I mean I'm sure I'd love a Raul Julia rendition of it for example, he just didn't pull it off for me.
Anonymous:
Secret & Lies's screenplay and direction are directly interlinked, this as the film's existence, as in the case of the majority of Leigh's work, exists through specified improvisation. This in creating scenarios for actors to flesh out and realize through his conducting. I will say this perhaps why his films of this nature can be inconsistent as improvisation is unwieldy, however Secrets & Lies is perhaps his best example of this style. Leigh's approach then is to fashion reality, where it is particularly powerful for this film as takes a potentially melodramatic scenario but just quietly infuses such life into. His approach typically here though is keeping that careful eye within the scene, and often taking the view of the quiet observer. His direction though again is that of knowing how to maneuver around the drama, and in this case wholly creating by "directing" that improvisation to such heights that this film does achieve.
Topsy-Turvy is an extreme shift, and though I could not confirm it (I do prefer to read screenplays before commenting on them), it seems likely that Leigh wrote the screenplay as the film has a specific momentum with the plot, scenes from historical record and far too many essential notes related to the real people to be improvised. Anyways, what we have though as written is a sublime piece in so many ways. This in one it just gives such a wonderfully entertaining, and vivid realization of an artistic piece. This in getting within each nitty gritty detail from the music, the writing to the costumes, the money, the acting, everything in such an enjoyable way. Not since Amadeus had a film made the artistic endeavor as tangible, and well fun. It also though manages to find the idea of artistic passions through the contrasting personalities of the two men, and how each compels them in their unique ways. It also though works as just so many character studies, from the top two, but every single actor. It also then works as this critique and examination in Victorian society through such brilliant examination, particularly through the strange state of Gilbert's life. It tries several routes, and succeeds in each, creating such a wondrous tapestry of all, wound up in just what is a true entertainment.
Leigh's direction is also a shift away from him to be a more active player in a certain sense, and it is always fascinating to see a typically low key director do this. Leigh though proves himself more than capable in stretching himself. This isn't even being visually rich, something he'd also do most notably in Mr. Turner, which certainly is well used in creating such a splendid visual sense to truly appreciate the musical performances. The direction of such that reminded me of Forman's work of the same in Amadeus, which again is the heights praise from me for that, in giving the sense of watching a stage performance while making it anything but stagy through careful camerawork, rich production design, costumes and dynamic editing. Leigh though expands within in general a more directly emotional pull in his work, such as his remarkable realization of the inspiration of Gilbert sequence. This again where Leigh pushes a little more than he traditionally does, and excels in doing so to make a more actively emotional piece in terms of direction, and brilliantly so. Leigh here making more about what he does say, and less so on the unsaid of his more traditional work. That is brilliant mind you at its best, but what he does in Topsy-Turvy is also brilliant.
Calvin:
From what I can tell, it seems like he might've been someone swollen by his own ego.
Robert:
Just started it.
Tahmeed:
I'll say I do intend to carry on with the series considering how much I enjoyed it, though I'll keep in mind the recommendations on when to drop off.
1. Ian McKellen
2. Benedict Cumberbatch
3. Basil Rathbone
4. Barrie Ingham (He should count)
5. Robert Downey Jr.
6. Nicholas Rowe
7. Peter Cushing
Louis: Your thoughts on the sound mixing for Berberian Sound Studio?
Louis: your thoughts on these retro castings for Leigh films if he did them in the 2010s?
2010s Naked
Johnny Fletcher: Alfie Allen
Louise Clancy: Emily Beecham
Sophie: Sara Vickers
Jeremy: Leo Bill
2010s Secrets & Lies
Hortense: Gugu Mbatha-Raw
Cynthia: Olivia Colman
Maurice: Stephen Graham
Monica: Helen McCrory
As "Little Women" might actually be the next film I'll see in theatres, I must say reading Robert's comments about it intrigues me all the more. At the very least, it gives me assurance that Chalamet is better than he was in either "Beautiful Boy" and "The King".
Everyone: Have any of you seen/heard of a show called "Letterkenny"? Its a Canadian sitcom about a small Ontario town, and I'd definitely recommend it as a comedic series. It's humour is rather silly and broad much of time, but it generally hits that tone quite well thanks to its writing and characters. Also, as a Canadian, I think its nice to see a mainstream show embrace all the stereotypes and quirks of the country, and I can attest that a lot of its cultural observations are strangely accurate (Exaggerated, obviously, but accurate).
Mitchell: Nein. Although, any thoughts on Sarah Gadon? She’s the only one from the cast I’m familiar with.
Bryan: She only appears in one season, if I remember correctly, and its a pretty small, deadpan role. She does fine with it, but there are certainly more memorable and entertaining performances from the show.
Also bear in mind that the show is purely comedy. Any time there's hint of drama or emotional conflict, every actor reacts to it as per "their" character, and not so much as a genuine human reaction. For myself, this approach is completely fine and there are definitely many other sitcoms that use this approach, that I still like.
Louis: When will you get a chance to watch Little Women and 1917? Also, if you've happened to watch one or both of them already, could I have your thoughts on the film(s) and your ratings and thoughts on the respective casts.
Louis, your thoughts on the sex scene from Midsommar? Someone walked out in the theater I saw it in.
Anonymous: I wanted to do the same too.
Anonymous: By that time in the film I was bored out of my mind.
Louis: It just occurred to me now, but do you think Patrick McGoohan would have been a great Hugo Strange? Take his look from Scanners and that voice of his, and he would have been excellent in the part.
Having mentioned McGoohan, your thoughts on Nolan's The Prisoner as a missed opportunity? I think you added that project as one of the top 10 missed opportunities of the 00's.
I hope everyone had a lovely Christmas =D
The 2019 Oscar season is looking very interesting, a first I think, in that all 4 categories are up in the air, with only a few nominees locked in for nominations.
Will Bafta be somewhat important? especially for the likes of Banderas and Pryce.
Bryan:
I mean its sound editing and sound mixing is the essential element of the film, in creating basically the world of the Foley artist. Its mixing though specifically is one where it uses its tremendous effects along with the key distortions and changes that are specific in creating the isolating and strange world of its protagonist. It creates that isolation in the viewer, while doing so in granting such a vivid detail just through the sound.
Calvin:
Excellent choices, particularly Colman, Graham and Allen.
Tahmeed:
Not sure on 1917, but asap. Will be watching Little Women very soon.
Anonymous:
He would have been perfect for the role in both appearance voice and style.
The Prisoner I think could've been just the right sort of project for Nolan as the mindbending spy thriller, though it seems like he might be broaching that matter now with the Tenet, however I'd still say that was a missed chance nonetheless.
RatedRStar:
Extremely important, BAFTA, since the SAG/AFTRA merger, has actually become the better bellwether in some ways. This is as BAFTA only nods, usually mean a lot, unless they are overly BAFTAish, e.g. Julie Walters (Brooklyn), Jamie Bell (Film Stars Don't Die in Liverpool), Hugh Grant (Paddington 2), which are usually extremely easy to pick out.
Louis: Have you seen any of the other recommendations like Ripley's Game or Emperor Of The North.
Finally got around to watching Marriage Story. Didn't love it and found most of the supporting cast to be pretty unimpressive, but Driver and Johansson were really great and scenes purely between them were the highlights of the film.
Driver - 4.5/5
Johansson - 5
Dern - 3
Alda - 3.5
Liotta - 3.5
Everyone else I don't really think are worth mentioning, but it was nice to see Wallace Shawn in a movie again.
Louis if you watched the rest of the Mandalorian can I have your thoughts on the show, and a cast ranking?
RIP Sue Lyon
Anonymous:
Ripley's Game I think on its own terms is a fine adaptation. Well shot, well scored, decently acted, the story is executed well, but it just falls short when compared to The American Friend at every turn. That is an absolutely fascinating and daring film, this is the straight forward and safer version of it. It isn't bad on its own, but it isn't the brilliance that is that film.
Malkovich - 4(I have to say as well cast as he is as Ripley, I kind of wish we saw early Malkovich play Ripley as I think we could've seen something truly special there. Later Malkovich is so confident in his persona that we get a more expected turn I would say, which while good on its own, it too just isn't anywhere near the brilliant unpredictable nature of Dennis Hopper's performance. Malkovich though is definitely effective here in portraying the sort of sociopathic charisma of the character to be sure and balancing the sort of menace of the man with this strangely benevolent quality later on in the story. It sadly isn't nearly as emotionally remarkable as Hopper's work, but Malkovich does certainly deliver on a more straight forward approach to the character. This capturing the power of the presence, and the act of sort of this man so strangely living his "best" life.)
Scott - 3(To sound like a broken record, if Malkovich didn't quite reach Hopper, Scott doesn't come close to Ganz. Scott has some very iffy moments particularly in the most emotionally extreme moments where he goes a little too broad. Scott does have some fine moments in there in portraying the sort of quieter desperation, as well as also managing to create this certain strange sense of appreciation and camaraderie towards Ripley.)
Headey - 3.5(A simpler role to be sure, however she does deliver well on the straight humanity of the character in creating the sense of growing concerns, set by warmth, that grow towards distance and horror as she seems to discover the truth.)
Winstone - 3(Fine bit of sleaze from him, though extremely straight forward in that regard.)
Anonymous:
Like so many things in that film gratuitous for the sake and shock of it. I'll admit I was quite checked out with the film at that point, though found it as excessive as anything else in the film, particularly as it just went on and on, in a scene, like so many things, has this bizarrely passive quality where the characters seem so detached, why should one care what is happening at any point other than it is EXTREME. Honestly I hated it.
Anonymous:
I will say, while as it is it is far better than The Rise of Skywalker, I will say it could've been a great 2 hour film, as I loved the finale (Taika Waititi's direction helping things greatly) and rather liked about an hour and change of other material. Too much of it was excessively rote for me in terms of everything else I will admit my TV standard is pretty strict, with really the hope of more Werner Herzog being the only thing that kept me till that finale, but at least it did deliver in the end. I just found too much of it too standard, but then again I think most of it just honestly isn't my *kind* of television, so to speak, though I'll say even if I was more into "mission of the week" style, there was a lot to be desired there still at times.
Werner Herzog
Nick Nolte
Taika Waititi
Carl Weathers
Pedro Pascal
Richard Ayoade
Giancarlo Esposito (Even if he's just star wars Gus)
Julia Jones
Bill Burr
Clancy Brown
Mark Boone Junior
Omid Abtahi
Emily Swallow
Ming-na Wen
Gina Carano
Asif Ali
Eugene Cordero
Horatio Sanz
Natalia Tena
Jake Cannavale
Ida Darvish
Amy Sedaris
*END OF RANKING*
RIP Sue Lyon
Daammmnnnn, I saw Lolita for the first time recently too
RIP Sue Lyon
Where’s Baby Yoda on that ranking Louis? And what’re your thoughts on Richard Ayoade, I had no idea he was in it.
Calvin: I too would like to know the whereabouts of breakout star Baby “The Child” Yoda on that ranking lol
And Waititi and Nolte’s voice work.
Louis and everyone who's seen the show: Your thoughts on James Wolk in Watchmen? I myself thought he was actually pretty good in the middle episodes, but I'm a bit surprised you guys have him that low in your respective rankings.
Bryan: I agree he was good in the middle episodes, he just went WAY overboard in the finale, hee haw routine and all. Although I guess that does make what happens all the more satisfying? I don't know.
Louis: your thoughts on Don Johnson, Tom Mison, Sara Vickers, Jovan Adepo and Louis Gossett jr in Watchmen
RIP Sue Lyon
RIP Sue Lyon
Louis: Are you by any chance ready to give thoughts on TROS and the cast.
RIP Sue Lyon
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