Friday 3 January 2020

Best Voice Over: Tony Jay in The Hunchback of Notre Dame, Michael Graham Cox in Watership Down and John Hurt & Christopher Benjamin in The Plague Dogs

Tony Jay did not receive an Oscar nomination for portraying Judge Claude Frollo in The Hunchback of Notre Dame.

The nature of a vocal performance is perhaps an under discussed performance art form, with rare the credit given to the accomplishment. This as the vocal turn must do something quite unique in garnering the life and emotion to the images, at its best past even what the often vibrant images entail. The nature of a Disney villain performance may be another form in itself as it is often the source of entertainment for their films. This finding the right combination of a lively menace and just an enjoyable enthusiasm towards evil. Well with that we have Tony Jay as the greatest Disney villain, have no hesitations in that statement, as Judge Claude Frollo. Jay's booming baritone voice was previously used in a minor villainous role in Beauty and the Beast, as the corrupt head of an insane asylum. His work initially is an expansion on this as we see in his introductory scene. Jay quite powerfully carries a menace with such remarkable ease, and even a strange grace that suggests an unquestioned authority. Jay's work though has nuance, even before we are even given more in the introduction of the film where he murders a woman, and almost kills her malformed child if not called upon his faith to stop him. This as his pondering on the future of the "creature" as he puts it, with a manipulative intrigue at the idea of potential. This expanded upon as we see the later years as is teaching the "creature" grown up in the secluded bell tower to be Quasimodo. This as Jay brings a gentler tone, as nearly genuine one, that is rather remarkable in creating an honest sense of manipulation and even close to warmth in his explanations to his strange ward of how he should stay hidden. I particular affection for his introduction to "Out There" as the counterpart to Quasimodo's hopes of the outside world against the fierce condemnation of it by Frollo. This is something that Jay speaks not as a broad evil, but a fearful teaching with a false concern of manipulation.

Now we are given the broader evil, however even this Jay's work leaves a striking impact in specific intensity. This as a careful rage that seems to define the man's hate of the other. Frollo's evil though has far more to it than many a Disney villain, who are usually born evil, connected to the character of the novel, who is actually even more complex, however still notable to see that all complexity was not lost in this technically kid minded version. This is as even at his most evil, Jay delivers this proper conviction of a true zealot feeling his crusade has some divine purpose despite it obviously being to the contrary. This being the calm in his evil so often. This though he undercuts so effectively though as we see Frollo at his worst, with this more emotional venom, alluding to less a servant a God, and more a weak man defined by his own personal demons. The greatest depth though comes within his kept fascination with Esmeralda, and the lust that entails. Jay is outstanding in delivering this element most notably through he all time great song "Hellfire". Jay's singing is already terrific, but his performance of the song goes beyond technical skill. It is amazing the complexity Jay finds in the delivery of just one song. This as he opens with the solemn delivery of a faithful man of prayer. This slowly segues into this brilliant mix of genuine fear of the thoughts, with a desperate need related to them, along with a vindictive hate towards the temptation all the same. The detail and intensity of the emotion is simply incredible, as Jay manages to find, through his voice, a rawness within Frollo's mental state that goes beyond a generalized evil. Jay's work is not just an excellent villainous turn, as much as it is that, as he grants depth even oddly enough a distinctly flawed humanity to the hypocrite.
Michael Graham Cox did not receive an Oscar nomination for portraying Bigwig in Watership Down.

The vocal "responsibility" of the films of Martin Rosen is a little bit different in a way, as the animals, while still expressive to a degree, are a little more realistically depicted than a Disney expectation. This requires than vocal turns that some how both fit this specific tone of frankly a harsher animated film, along with breathing life within the character beyond the animation, which here is purposefully more limited. The films manage to capture this tone though and the cast of both is an essential element of each. Watership Down being a brilliant film that is part horror film, part adventure film in the context of a group of rabbits somehow trying to survive. Despite some valiant efforts of John Hurt here as the crafty leader of the group Hazel, my favorite of the cast and character is that of Bigwig. A larger rabbit, original burrow enforcer, who joins the group. What I love about Cox's performance is beyond granting the needed life to the character, through such devoted work, which is throughout the cast. This being just about every vocal turn delivers the conviction of a drama rather than the broader approach usually found in animated films. The standard here though is that of bringing a strict humanity to the animal characters because the performers treat the material as a seriously as they would any real dramatic piece. This is the same for...

John Hurt who did not receive an Oscar nomination or Christopher Benjamin for portraying Snitter and Rowf respectively in The Plague Dogs.

The Plague Dogs, is the, somehow, darker followup to "Watership", honing in an even more desperate tale of two dogs, who had been brutally experimented on, trying to find some place to live in the English countryside. This is all while the government is trying to kill them. I'll admit The Plague Dogs, does tear one's heart out then show it to you before you die, more so than any animated film that I've seen. An essential part of this being the performances of John Hurt and Christopher Benjamin together. This is again in both grant a given humanity to the dogs, who again have a purposefully limited emotional expression compared to many an animated film, however never seems as such. This partly due to just how careful the animation is but also what Benjamin and Hurt bring through their performances. Each give a complimentary performance to the other that is brilliant in creating the dynamic between Snitter and Rowf. Snitter being this strange optimist against the pessimistic Rowf. Hurt delivering, even within this sense of anguish buried within every line that reflects Snitter's horrible life, there is this hopeful wistfulness that Hurt garners to it. This is against Benjamin's performance that has a more grizzled quality to begin with, and a more immediately heartbreaking quality. This as the very wear of the dog, who was experimented on with forced drownings, is within his more overt anguish that speaks to the burden the life has had on Rowf.

But back to Michael Graham Cox again, who I love in his realization of Bigwig's arc. This as his initial performance carries the sort of inherent strength you'd expect. His voice creating just the since of a force of the rabbit with a tough stiffness. This though with a bit lacking in emotion other than anger towards some of Hazel's decision. Cox suggesting this potential bully even in the sort of force of his voice, but also a sense of confidence as well. Cox suggests Bigwig as a figure to be feared, even as he is on Hazel's side, and the sense of strength in every word he speaks as the larger rabbit. This suddenly changes however as Bigwig is trapped in a snare, a gut wrenching scene if there was ever one, that Cox also adds to in his harrowing haggard voice as he whispers out of his lines of the dying Bigwig. Bigwig manages to survive, and Cox is excellent in creating the sense of change in the rabbit in both in terms of respect for his company as well as general care for others. Cox is terrific in portraying this greater urgency and sense of warmth in his words. There is still this sense of strength, particularly as he takes lead later on in taking on the villainous Rabbit General Woundwort. The sense of determination that Cox delivers creates a sense of real passion that makes Bigwig stand out as this true hero. Cox brings this forcefulness that is remarkable in his voice though as it is underlined by a real care concern of that hero, rather than the seeming bully he might've been mistaken for early on. I in particular adore his vocal work in the final fight with Woundwort, where he brings such powerful sense of righetous distaste and intensity in every word he utters in the fight. This making quite honestly Bigwig was a proper, for the lack of a better word, badass, even as a rabbit. The moment of this that is the greatest in Cox's work is as he seems cornered but refuses to leave the smaller rabbits at the General's mercy. Cox is amazing in his voice manages to capture such desperation, still a striking defiance, and charity all with the same words. It is excellent work and with the best vocal turns it is that ability to create such a fluid and complex emotions, while never seeing the performer's face that is so notable. 

Speaking of, Hurt and Benjamin are particularly unique, and I'm not sure the circumstances of their recordings, but there is a such strong dynamic the two form with their voices. This is as Hurt is no stranger to exasperation, however his hardened voice only keeping that as an underlying factor makes it all the more moving in his portrayal of the consistently optimistic Snitter dreaming of an island paradise and a hope for the future. This is against Benjamin's work that offers an as moving portrayal of the bent nature of the dog, as his voice evokes the years of hardship and the waning belief in any chance at a real life. The two together though craft a warmth in between the two as their words to each other evoke a friendship and concern. A differing concern for each mind you, however Hurt haunting disjointed optimism along with Benjamin's broken resignation creates such a poignancy in each dog, but most importantly their friendship. Hurt's delivery is fascinating as in the optimism there is this bit of an intensity, a randomness at times, alluding to a mind that technically isn't quite right. In Benjamin there is a contrast in a bluntness of despair, but also still a passionate wish for survival with his friend. The ending scene is perhaps the best work from each as the two create a role reversal as they attempt to swim away from the authorities intending to kill them both. In Hurt you have that underlying exasperation brings itself to the surface in his voice that creates this heart wrenching hysteria as his certain madness is noted by despair rather than hope, however this is against Benjamin's work now of encouragement. His encouragement though is as blunt as his former despair, though now pushing his friend to push on. Their consistency though now with a different philosophy in the end, is brilliantly realized by each actor who creates this incredible moment. This of the two keeping part of their nature but changing this outlook. Both John Hurt and Christopher Benjamin's work makes the film as hard to watch as it is, though only because it is as affecting as it is, as they grant not only humanity and personality to the dogs, but a real sense of kinship and love.

183 comments:

Calvin Law said...

Couldn't agree more on all of these.

Tahmeed Chowdhury said...

Great reviews, Louis, and I'm glad I was right :)

Michael Patison said...

Cool stuff. I really must see Watership Down and Plague Dogs sometime.

Confused, though, because Benjamin seems to be listed in the review as supporting, but is ranked for lead. Where is the error there?

Calvin Law said...

Michael: Supporting is for Michael Graham Cox.

Robert MacFarlane said...

Did anyone else ever see Waves outside of me? I’m still curious about where anyone would land on it.

Calvin Law said...

Won’t be able to see it until 17th January.

Michael McCarthy said...

Oh yeah, I actually saw it almost a month ago and forgot to say anything. I echo a lot of your thoughts Robert, especially regarding Harrison and Russell.

Calvin Law said...

Omar's also seen it, here's his thoughts from a previous post:

I prefer not giving thoughts on the cast of Waves, it’s quite difficult writing about it without getting into spoilers. The movie i think will be quite divisive here, it has a really stylistic direction, in that Shultes utilises very long tracking shots that follow each character and a constant use of the soundtrack (which might turn someone off, but it really worked for me). I won’t lie i had a bit of headache in the first ten minutes following the movie, but once i get used to this style i started really enjoying the movie. The movie approaches different themes, like toxic masculinity and how a family can overcome a tragedy, and i liked how honest and realistic some situations were portrayed, something that i didn’t found in Honey Boy, and the latter is supposed to be a more personal movie than Waves. I’m not sure about the ending, as i would have ended the movie a few shots before.

Brown is terrific, his screen time is limited in the first half but he’s really effective in his interactions with Harrison Jr, as he portrays this paternal figure that want the best for his son, even putting pressure on him and being the tough parent. At the same time Brown shows how much he cares for him, and you can see that in his interactions with other characters. In the second half he has a terrific emotional scene but can’t say much. I’m very surprised about the independent spirits snubs, i was expecting directing, cinematography and Brown nominations at least.

My ratings for the cast:
Harrison Jr.: 4.5
Russell: 4.5 (she’s leading for me)
Brown: 4.5
Goldsberry: 3.5
Hedges: 3.5
Demie: 2.5

Anonymous said...

Louis, are there any films in the past that you think could be a good fit for Christopher Nolan's directorial style?

Bryan L. said...

Louis: Can I have your thoughts on the following pieces from these films?

"Hand Covers Bruise" from The Social Network
"He's a Pirate" from Pirates of the Caribbean
"Moon Walk" and "Home" from First Man

Bryan L. said...

Louis: Oh and "How the West was Really Won" from the Watchmen score?

Tahmeed Chowdhury said...

Louis: Given the ending of the original novel, what's your interpretation of the ending of The Plague Dogs?

Tim said...

What would you say are the best Performances in animated Films of all time?

Anonymous said...

Louis: Thoughts on both of these sub/dub scenes from Berserk and Code Geass.

https://www.youtube.com/watch?v=jrqVo555ggY
https://www.youtube.com/watch?v=0YIN7O-PmWY
https://www.youtube.com/watch?v=Aea-avJuSxM
https://www.youtube.com/watch?v=jZxYnqkN4q8

Anonymous said...

Seeing as the Golden Globes are tomorrow, who do you predict will win?

Calvin Law said...

Louis: can I have your thoughts on the Shoals of Herring scene from ILD and the joke that caps it off?

Calvin Law said...

Anonymous: I expect no big surprises.

Louis Morgan said...

Bryan:

Hand Covers Bruise - (An interesting achievement as it managed to create a melodic quality in what otherwise is positioned as more ambient music, through the combination of the disorienting, almost static, with the simple notes on top. This that segues towards the ambient taking over and deepening to something most striking, in a particularly unique way.)

He's a Pirate - (I mean it might as well be the film, as it delivers such a sense of fun that really should've been more embraced by the series, particularly as it went on. Zimmer's work though is exhilarating with the definitely now iconic melody that is this wonderful sort combination of a new standard though with sort of a sense of a old swashbuckling tone to it all. It is one of the best sort post-2000 action/adventure anthems, and really on it strength alone we should've gotten far better films out of the potential of this piece.)

Moon Walk - (An outstanding more ambient piece though as it captures this certain unmistakable majesty in its combination of beautiful tones, though broken down through the harsh echoing that crafts this curious sense of being, fitting for the walk of achievement on such a technically harsh surface.)

Home - (This is essentially a continuation of Moon Walk, and the gorgeous as brings the solemn strings and piano, that are beautiful evocation of nostalgia and really memory amidst again the atmosphere of Moon Walk.)

How the West Was Really Won - (It sounds like Carpenter's score to Halloween and his supplemental work in The Thing. I mean that as the best compliment though in creating that same sort of anxiety through the use of synth, that creates such a powerful sense of dread through the simplicity of it.)

Tahmeed:

Well after the sound of gun shots, it's "All Dogs Go to Heaven".

Tim:

Elizabeth Hartman - The Secret of NIMH

Anonymous:

Well out of context I have no idea what is going on, but just from that the sub seems to be a lot better than the dub.

Anonymous:

Picture Drama: The Irishman
Picture Musical/Comedy: Once Upon a Time in Hollywood
Actor Drama: Joaquin Phoenix - Joker
Actor Musical/Comedy: DiCaprio - Once Upon a Time in Hollywood
Actress Drama: Zellweger - Judy
Actress Comedy: Awkwafina - The Farewell
Supporting Actor: Joe Pesci - The Irishman (Still NGNG)
Supporting Actress: Laura Dern - Marriage Story
Director: Bong Joon-ho
Screenplay: Marriage Story
Score: 1917
Song: "(I'm Gonna) Love Me Again" - Rocketman
Animated film: Toy Story 4
Foreign Film: Parasite

Only change from original prediction is score, given the amount of support I've heard for Newman's work for 1917, also a way for them to reward that film which they did given a Picture and direction nomination to. Also hoping the excessive amount of praise for the Joker score is hopefully mostly confined to the internet.

I will also note that Musical/Comedy actor still seems the most unpredictable as I could easily see either Egerton or Murphy taking it. I also think this is Lopez's best chance to pick up a win, however I'm feeling a lazy Dern sweep is probably about to happen.

Anonymous said...

Louis: thoughts on the Jessie’s Girl scene in Boogie Nights

Louis Morgan said...

Well finally finished Paranoia Agent, Robert's Twin Peaks comparison certainly was apt. The show itself I will say was more than intriguing particularly since every time I thought I had it nailed down it completely threw me for another loop. This as I thought it was originally going to be basically a series of compelling short character study films with the investigation as the through line, yes then nope, then it was going to be more grand study of the curious influence of media of any kind, yes certainly but there is nothing straight forward in how it approach that, with rather wide ranging and fascinating exploration I must say. Definitely something I've never seen anything quite like, and I really appreciated it for that.

Calvin:

A fantastic moment really, and kind of the brilliance of Isaac's performance and the Coens in a single scene. This as in Isaac's work you see the best of Llewyn in the passion he brings to the song, before that is turned to bitterness at the apparent reaction of it. The same with the Coens as they make it such an earnest moment of him trying to reach his father powerfully so, to be just as effective with the bluntness of the joke that feels so brutal in the moment.

Bryan L. said...

Fun fact: Apparently, Julia Fox isn't the only cast member making their film debut in Uncut Gems; Phil is also Keith Williams Richards' first role ever.

Tahmeed Chowdhury said...

Louis: Really glad you loved Paranoia Agent.

Luke Higham said...

Very happy with the write-ups.

Louis: Do you still intend to review Robby Benson at some point.

Bryan L. said...

Everyone: How would you describe Parasite as a film if you were trying to convince someone to watch it? I’m attempting to do so with my non-film friends, but at the same time, part of the experience is knowing as little as possible, of course.

What I have right now is “It’s a comedy-thriller about how a poor family’s lives change when they work for a rich one.”

Luke Higham said...

Louis: Thoughts on When The Wind Blows and ratings/thoughts on Mills and Ashcroft.

Luke Higham said...

Bryan: Mikkelsen is one of my favourite actors currently and is one of the very best leading men in the industry today. I do hope a director of great significance will offer him an amazing part in the near future.

I'll do a top ten for now.
1. The Hunt
2. Hannibal
3. Pusher II
4. Open Hearts
5. A Royal Affair
6. Casino Royale
7. Flame & Citron
8. After The Wedding
9. Valhalla Rising
10. The Salvation

Bryan L. said...

Luke: Which directors in particular would you like to see work with him? And thanks.

Luke Higham said...

Bryan: Nolan, Lynch, Fincher and The Coens.

Tahmeed Chowdhury said...

Bryan: If anyone just asked to describe the plot of Parasite, I'd just go, 'Yes.'

Louis Morgan said...

Anonymous:

Wages of Fear, Rashomon, Alien

Anonymous:

Well quite simply one of the best scenes well ever. Every bit of it is a bit of genius. This working as just a hilarious scene in the jovial madness that is Alfred Molina, the madness that is Thomas Jane, the haplessness that is John C. Reilly, and leaderless manner of the leader in Mark Wahlberg. Every choice by Anderson is fantastic in making it hilarious but also properly tense by setting up the situation, adding bit of layer to it like the firecrackers and Jane's sudden explosion. The smallest touches are particularly fantastic, such as the staring Wahlberg moment, basically the clarity of having hit rock bottom, or poor Reilly having to run away. The cheery on top if it is the use of Jessie's Girl, which has no thematic relevance yet is essential in making the scene what it is.

Luke:

Perhaps some day.

Bryan:

"Go see it, it's great". Although I'll admit it foreign language films are always the hardest to recommend, that is in terms of the recommendation being accepted, although without describing anything just emphasize that it is very entertaining.

Aidan Pittman said...

Louis: Your thoughts on The Irishman's cinematography?

Calvin Law said...

Parasite has been surprisingly easy to recommend to people I’ve found just because it’s found such universal praise and is also quite accessible. Agreed on that Boogie Nights scene too, I love Wahlberg in that scene so much.

Aidan: I was just thinking about that the other day, I loved the cinematography in it but it’s not even in my top 5 anymore for cinematography. 2019 has been a super top heavy year.

Matt Mustin said...

Aidan and Calvin: It's weird, because the cinematography is great but it's not one of the elements I immediately think of regarding that film, even though it has one of my favourite shots of the year.

Louis Morgan said...

Aidan:

Well it's easiest to wait until nomination day, for ease of future reference, but I suppose I could copy and paste this then.

Anyway this going to sound overly negative, but it's not. This as I do think this is a considerable step down for Rodrigo Prieto and Scorsese compared to what they did in Silence, though given the nature of that film it does make more sense that it is a bit more impressive, also that was one of the best shot films in recent memory, so a step down isn't THAT major of a statement. To continue the seeming negativity I will say Goodfellas also remains by far Scorsese's best shot gangster film, in its overall grittier approach with the flairs seeming so naturalistic. Still sounding negative though, I'll start with the fully positive in that the composition and framing of shots is brilliant throughout. This in capturing so effectively this incredible crowd scenes, as well as striking individual framing moments. The final shot in particular, is just superb in that regard. The lighting is where I'll be my most negative, in that in a few brightly lit interior scenes, it actually might be a touch over lit, mainly I'm thinking of the reacting to JFK's death scene in particular. This might have something to do with the effects, but that scene and a couple others seemed over saturated. Again not they look terrible, but just going on an extreme standard here. Otherwise than that though the film is interesting, even I technically prefer the Goodfellas aesthetic doing something different shouldn't be besmirched. This as the work is more overtly stylistic in the use of a more vibrant palette, and often very dynamic lighting, that certainly works well, for the most part, in creating a different take, almost as nostalgic memory that suits the nature of how the tale that is told. I don't think it is perfection in this approached due to the aforementioned lighting, but the composition and framing alone makes it rather striking work.

Matt Mustin said...

Louis: I think the production design and costumes are better than the cinematography overall, because when I think of the look of the film, aside from that final shot, I think of the sets and suits more than the shots.

Louis Morgan said...

Matt:

I would agree.

Bryan L. said...

Louis: Your Top Ten Villeneuve directing moments?

Anonymous said...

Louis: Your choice of cast, director and cinematographer for a 70s The Assassination of Jesse James by the Coward Robert Ford?

Louis Morgan said...

Luke:

When the Wind Blows is a brutal watch, as it is intended to be so, and one of the most harrowing animated films one will see. I will say the sort of 80's flair of style is probably what I was most mixed on, as some of them are quite effective, though a few feel dated. Most of the film though is haunting in its effectiveness by crafting such a gentle style that slowly is soured, just as the central affable couple seem to rot before us. Not a film that I would care to re-watch in a hurry, but certainly a strong one.

Mills & Ashcroft - 4(Well each give a wonderful turn by initially just creating this doddery couple so effective. Ashcroft with her sort of more blunt delivery, though in a way even more naive in her words that are always on anything other than what is going on. This is against Mills's work that carries this optimistic delivery consistently as though there is this heartbreaking assurance to every word that if he follows protocol everything will be just fine. After the even then, it is one of the most haunting quality as their performances change as they do. This with Ashcroft slowly losing any of that gentleness to a despairing tone and raw heartbreak within her state. Mills is equally heartbreaking however in keeping that general optimistic tone, but slowly wearing at it essentially, as this slowly weaker and weaker mentality, that it becomes such a weak front by the end of it.)

Bryan:

Villeneuve:

1. Pink Joi - Blade Runner 2049
2. "Go and meet your daughter" - Blade Runner 2049
3. The best memories are her's - Blade Runner 2049
4. Opening - Arrival
5. Night raid - Sicario
6. "I like this song" - Blade Runner 2049
7. Flooded fight - Blade Runner 2049
8. Road stop - Sicario
9. They arrive - Arrival
10. Meeting Sapper - Blade Runner 2049
11. Driving through the city - Sicario
12. Driving to the hospital - Prisoners
13. Bus massacre - Incendies
14. Final meeting with the alien - Arrival
15. Hologram Menage a trois - Blade Runner 2049
16. Opening - Sicario
17. Rachel "recreated" - Blade Runner 2049
18. Aerial Strike - Blade Runner 2049
19. Snakes - Prisoners
20. Roof - Blade Runner 2049

Easy to do a top 20 for him.

Anonymous:

The Assassination of Jesse James by the Coward Robert Ford 1970's directed by Terence Malick, and shot by Haskell Wexler:

Jesse James: Steve McQueen
Robert Ford: Christopher Walken
Frank James: Richard Widmark
Wood Hite: Scott Glenn
Charley Ford: Frederic Forrest
Dick Liddil: Sam Elliott
Ed Miller: Bruce Dern

BRAZINTERMA said...

With a few hours left to start the Golden Globes, I decided to talk about my final winners of the night bets. Let's go ...

TELEVISION
- Supporting Actress: Emily Watson (Chernobyl)
- Supporting Actor: Andrew Scott (Fleabag)
- Actress in Limited Series or a Motion Picture...: Michelle Williams (Fosse/Verdon)
- Actor in Limited Series or a Motion Picture...: Jared Harris (Chernobyl)
- Actress - Musical or Comedy: Phoebe Waller-Bridge (Fleabag)
- Actor - Musical or Comedy: Bill Hader (Barry)
- Actress - Drama: Jodie Comer (Killing Eve)
- Actor - Drama: Rami Malek (Mr. Robot)
- Television Limited Series or a Motion Picture...: Chernobyl
- Serie - Musical or Comedy: Fleabag
- Serie - Drama: Killing Eve

CINEMA
- Original Song: "I'm Gonna Love Me Again, Elton John, Bernie Taupin" - Rocketman
- Score: 1917, but I really wanted Joker
- Foreign Language: Parasite
- Animated: Toy Story 4
- Screenplay: Marriage Story
- Director: Bong Joon Ho, Martin Scorsese as runner up
- Supporting Actress: Jennifer Lopez
- Actress - Comedy or Musical: Awkwafina
- Actress- Drama: Renée Zellweger (she should run for Razzie)
- Supporting Actor: Al Pacino, please!
- Actor - Comedy or Musical: Leonardo DiCaprio
- Actor - Drama: Joaquin Phoenix
- Picture Comedy or Musical: Once Upon a Time...in Hollywood
- Picture Drama: The Irishman

Bryan L. said...

Louis: Your thoughts on #8 from those Villenueve moments? I feel like it's one of the most remembered scenes from the film, if not *the* most.

Mitchell Murray said...

So I just watched "Little Women", having only seen the Winona Ryder version for context, and I really liked it....I really did. I liked the sort of deft yet energetic touch of Gerwig's direction. I liked the changes Gerwig made to the story when compared to the 94' version, especially making Amy closer to Jo's age, thus adding more realism to her eventual marriage to Laurie. The movie has an appealing style in its music, editing and exquisite costumes, but it also has the right emotional weight for the most important elements of the story. It delivers in the books more memorable sequences - namely Laurie's rejection and Beth's death - and goes further in its feminist themes then even the Ryder version seemed willing to do. Having the narrative told in a non-linear fashion was also an interesting choice, and one that payed off for myself, as it allowed the full context of each situation to be understood.

Honestly, having thought on the film more and more, I've come to admire it greatly.

Calvin Law said...

Aren’t #2 and #3 essentially the same scene Louis or am I misinterpreting?

Louis Morgan said...

Bryan:

As I've mentioned before I'm not all that enthusiastic towards Sicario's screenplay, but Villeneuve's direction makes the most out of every scene that makes it a terrific film, mainly upon those merits. This is such a scene as the whole tension is not a car chase, but the waiting for cars to slowly move. This then is Villeneuver's impeccable raising of tension in creating the atmosphere in and around the car, building tension, brilliantly building it around Blunt's Kate as the more innocent observer, before the snap finally happens so brutally and effectively into violence. Just an impeccably paced, bit of thriller film making, making so much of it in waiting for the act as much as the act itself.

Calvin:

#3 I was referring to Gosling's solo visit.

Luke Higham said...

Louis: Your thoughts on the Globe winners tonight.

Louis Morgan said...

Finally, a film winner, and Parasite, unsurprisingly, and deservedly wins foreign language film.

Louis Morgan said...

Well Tarantino wins screenplay, not a bad choice, but not the best choice.

Louis Morgan said...

Missing Link wins Animated feature...sure. Although this is what Laika wins for...then again none of the nominees were anything to really require awarding.

Louis Morgan said...

*sigh* Dern's sweeping.

Bryan L. said...

We’re going to have get used to Dern giving speeches aren’t we?

Mitchell Murray said...

I'm not even watching the globes right now, but hearing that does disappoint me a little. I mean she was fine in "Marraige Story", but I prefer her performance in "Little Women" if she had to get nominated.

I'm just hoping the globes make the deserved call, and don't award best actor and actress to anyone other than Driver or Johansson/Ronan.

Louis Morgan said...

Elton John and Bernie Taupin taking the win is alright by me.

Emi Grant said...

Alright, I missed the first hour and a half of the Globes. Aside from Dern's win I'm ok with everything else.

Bryan L. said...

Emi: The first half is mainly the TV awards, so you didn’t miss too much.

Emi Grant said...

Bryan: I'm glad I haven't.

Louis Morgan said...

Wow Mendes, looking forward to see it.

Michael McCarthy said...

Behind maybe Bong, Mendes was the most deserving out of the nominees. Definitely happy with that.

Emi Grant said...

Guess I'm the only one happy with this win...

Louis Morgan said...

Carn sarn it, never change predictions. Joker takes score, though I think Newman probably still takes Oscar.

Bryan L. said...

Emi: I’m cool with it honestly. It’s a good score.

Louis Morgan said...

Pitt wins, have a feeling the HFPA knew Pesci wasn't going to show up, wish I had known that however.

Louis Morgan said...

Egerton wins, that helps him a lot.

Emi Grant said...

This only makes the Best Actor race more confusing for me. Good on Egerton, though.

Louis Morgan said...

I'm starting to feel the Oscar lineup will just be the SAG lineup, or Bale or DiCaprio end up getting bumped.

Louis Morgan said...

Awkwafina takes it, deserving, though would've loved a de Armas spoiler, very important win in terms of potential nomination for her however.

Bryan L. said...

Nice boost for Awkwafina here

Michael McCarthy said...

I figured even if he lost out for the Oscar, Pitt would win here. As for Egerton, I see it more as a hit for DiCaprio than anything else.

Louis Morgan said...

Once Upon a Time in Hollywood takes comedy/musical, unsurprisingly.

Emi Grant said...

Phoenix! Let's goooo

Louis Morgan said...

Phoenix wins here, not surprised think he'll win Critics too, SAG will decide it.

Louis Morgan said...

Zellweger wins, have a feeling she's taking it all.

Bryan L. said...

I just realized both Best Actor and Best Actress races are on almost-opposite trajectories. Supporting too.

Michael McCarthy said...

Okay 1917!

Emi Grant said...

1917...wow...

Louis Morgan said...

1917 wins drama, was very concerned about Joker, given Bohemian Rhapsody last year, so I'm glad that didn't happen.

Mitchell Murray said...

Phoenix I don't mind - I thought he was excellent even though I prefer Driver. But Zellweger - I mean, I never say this, but she already has an oscar. Is there really is great desire to give her a second one?

Also with Egerton's win, if he does get nominated, I just hope the SAG line up is the one we eventually get so as to still include DiCaprio.

Michael McCarthy said...

Considering how late releases usually fare at the Globes, this is excellent for 1917’s Best Picture chances.

Anonymous said...

Does anyone think that The Irishman going out empty-handed will hurt its chances at the Oscars? It might become a “A Star Is Born” situation, being a big frontrunner before the awards, but going out with nothing. They also both have that “been there, seen that” reaction in some corners (even though The Irishman is very different from all of Scorsese's gangster movies)

Anonymous said...

Well, I think we can pretty much say that the Acting wins are done. Phoenix, Zellweger, Dern and Pitt for their Oscars. Lost a lot of confidence in Irishman and Marriage Story wins... Best Picture seems to be a race between 1917 vs. OUATIH with Parasite as a possible dark horse. Still have no idea what's going to happen for Director though.

Aidan Pittman said...

Golden Globe Winners thoughts:

- Really need to see 1917, probably will next weekend.
- Not surprised that Joker won score, but Newman will still probably get the Oscar
- Dern is gonna sweep, isn't she?
- Parasite! And Joon-ho throwing shade on those who hate subtitles was gold.
- Really liked the Once Upon a Time in Hollywood love.
- Missing Link ruined everyone's predictions for sure.
- Really hope this leads Awkwafina to an Oscar nomination, though I'm not banking on it.
- Phoenix is for sure winning the Oscar.

All in all, really surprised by how not terrible most of the wins were.

Calvin Law said...

Awkwafina, Egerton, Parasite, John/Taupin: yes.

Pitt, Dern, Zellweger, all things Joker: meh.

RatedRStar said...

Couldn't see the ceremony sadly, how was Ricky Gervais as host? also Robert said the worst thing about it was Ansel Elgort, what did he do?

Louis Morgan said...

Anonymous:

Well it is a pretty safe bet for Adapted Screenplay no matter what, with Jojo Rabbit seemingly being its only major competition there, which seems like a distant second at the moment.

Aidan Pittman:

Dern will sweep. I don't think the other 3 are a done deal...yet...though Zellweger in particular is very close, particularly not Phoenix, since as evidenced by his speech it isn't exactly his comfort zone to win, and the HFPA loved Joker more than any group so far with Phillips's win, we'll have to see how the Academy responds to Joker overall.

RatedRStar:

Didn't watch his opening but from what I saw Gervais did his usually thing, of saying pretty obvious things ("Cats is bad") though I guess the difference is willing to do it front of a crowd.

Elgort...sang.

Tim said...

BEST ANIMATED FEATURE: Missing Link; well, i certainly did not see that coming
BEST FOREIGN LANGUAGE FEATURE Parasite; well, this was obvious. It really was the only one with an actual Chance of winning with all the other nominations it received, besides maybe Pain And Glory having a bit of a small Chance.
BEST SONG: Love Me Again; frankly, i originally had no idea who was going to win this, so it might as well be Elton
BEST SCORE: Hildur Guonadottir - Joker; now this surprised me, as i thought they would go with the Oscar Winner, which, let's be honest, is going to be 1917.
BEST SUPPORTING ACTOR: Brad Pitt - OUATIH; i think this was between Pitt and Hanks, and since Pitt had already won some Critics Awards, i predicted this one right. I have not yet seen the other Performances, but with Pitt himself i am happy.
BEST SUPPORTING ACTRESS: Laura Dern - Marriage Story; this one was Pretty tough to predict. Many said Jennifer Lopez beforehand, some very few said Kathy Bates, but i honestly had my Money on Margot Robbie. I had figured they may give her the win because she was in two acclaimed movies this year. Annette Bening did not really stand a Chance.
BEST LEAD ACTOR - COMEDY/MUSICAL: Taron Egerton - Rocketman; this is the one win i simply cannot wrap my head around. I yself wanted Leo winning for his imo most impressive Performance of his carrer. But we also had a former Star trying a Comeback, a child perfromance (which don't really win, like, at all) and a dramatic Actor getting his first Nomination for a Comedy Performance. Taron really was the most BORING choice they could have made.
BEST LEAD ACTRESS - COMEDY/MUSICAL: Awkwafine - The Farewell; no surprises here.
BEST LEAD ACTOR - DRAMA: Joaquin Phoenix - Joker; the win only a fool would be surprised by.
BEST LEAD ACTRESS - DRAMA: Renee Zellweger - Judy; i had figured it would be her or Scarlett, but as it seems there are several People who are not really big fans of this Performance.
BEST SCREENPLAY: Quentin Tarantino - OUATIH; now this category was really hard to predict. Part of me believed that they would use this Slot as a consolation Price for Marriage Story, another part of me wanted Parasite to win, while another one simply never rules out the Chances Quentin has whenever nominated. Overall, i again am happy with this win.
BEST DIRECTOR: Sam Mendes - 1917; this was the very hardest category to predict, as all the nominees had some Chance of winning (well, Maybe Todd Philips the least), while i have not seen 1917 yet, i am Looking very much Forward to it, one of the reasons for that would be Sam being one of my favorite Directors. i also would have liked to see Quentin or Bong winning, but i cannot really complain.
BEST PICTURE - COMEDY/MUSICAL: OUATIH; a again am very happy. Just as i predited and had hoped.
BEST PICTURE - DRAMA: 1917; many were surprised by this, i actually was not. I had thought 1917 would pull an Atonement and win Picture and Score, though.

Mike Hannigan said...

Why do you all mock Laura Dern's performance? For me, this is strong 4. Much better than Margot Robbie's Oscar-begging turn in "Bombshell". I admit, though, I haven't seen Lopez yet.

Mitchell Murray said...

Mike: I think many of us feel that Dern's performance, while effective in it's own right, feels a little out of place for the tone "Marraige Story" tries to convey elsewhere. It's a rather heightened portrayal of the brash, outspoken lawyer type we've seen before, and for me, just felt distracting when compared to the complex and realistic work from the film's leads. Again, Dern is never bad in the role - I would say she's entirely fine - but there are more deserving nominees in the field i.e. Lopez (and from what I hear, Johansson).

Calvin Law said...

Mike: I prefer Dern to Robbie as well, to be honest. But doesn’t change the fact that I don’t think she’s a particularly inspiring choice for a sweep when there’s so many other performances.

Tahmeed Chowdhury said...

Louis: Your thoughts on Phoenix's acceptance speech? As much as I appreciate his sentiment (and for fighting his obvious social anxiety), I'd say he's his own biggest obstacle for the win.

Luke Higham said...

Louis: Thoughts on The New Mutants trailer.

Mitchell Murray said...

Tahmeed: I just watched the speech, and it was more or less what I expected from Phoenix; Somewhat awkward, but certainly a sincere and passionate monologue nonetheless.

Its also funny how in the mostly silent audience, at least his fellow nominee Driver seemed to be enjoying himself.

Calvin Law said...

As someone who really doesn’t want him to win, I didn’t think Phoenix’s speech was bad at all. I’ve definitely seen much worse awkward awards acceptance speeches just in the past few years.

Mitchell Murray said...

Louis: What about Pitt's speech? I thought it was pretty humble and honest myself, and if he gives a similar speech come oscar time, I would say the same thing.

Calvin Law said...

Best speech of the night hands down was Skarsgård.

Tim said...

Mitchell Murray that sounds a bit like Mark Ruffalo in Spotlight

Bryan L. said...

Glad that Chernobyl got two wins btw.

Phoenix doesn’t have much experience giving speeches. Maybe he’ll have ironed things out on the big night.

Mike: Derns not truly bad in the film; it’s just going to be an uninspired win. In fact, she’d be more deserving for her turn in Little Women.

Bryan L. said...

Luke: Your thoughts on the Globes winners?

Mitchell Murray said...

Tim: I'm not sure I understand what you mean.

Luke Higham said...

Bryan: Haven't watched it yet and I'm usually more bothered with deserving snubs than whoever actually wins but Crowe over Harris, GTFOH.

Aidan Pittman said...

WGA Nominees are in

Original:
- 1917
- Booksmart
- Knives Out
- Marriage Story
- Parasite
(Note that Once Upon a Time in Hollywood and The Farewell weren't eligible)

Adapted:
- A Beautiful Day in the Neighborhood
- The Irishman
- Jojo Rabbit
- Joker
- Little Women
(The Two Popes was deemed Original by WGA)

I'm fine with these overall, mainly glad that ABDITN and Little Women got nominated, certainly helps their chances.

Thoughts from everyone else?

Anonymous said...

The Two Popes is getting weaker and weaker.

Tim said...

Mitchell Murray also a Performance that technically did nothing wrong, but it went more for the "dramatically Screaming Reporter" type, whereas the rest of the cast had a more subdued and realistic Approach.

Robert MacFarlane said...

@Tim: I can’t tell you’re trolling, high, or both.

Mitchell Murray said...

Tim: To respond to your comment earnestly, i'm not sure that example really applies here. In the case of "Marraige Story" its not even a matter of Dern sticking out, since the three caricatures are all more distracting than her performance. Now whereas Ruffalo's performance would've probably felt ill fitting in almost any approach for "Spotlight", Dern's portrayal at least feels like something from an competent film, just not "Marraige Story".

I should also point out - I think a few of us feel this way - that between the three lawyers in "Marraige Story" (Alda, Dern and Liotta) I found myself gravitating to Alda the most. Not only was it nice to see him on screen again, the character simply was written/played as the most genuine and fair minded of the lot. That to me was immediately more appealing than Dern's pretty biased character, and even though she technically has more screen time than Alda, I still found his brief performance more effective than her's.

Luke Higham said...

Christian Bale could be the next Thor villain.

Tim said...

Robert Macfarlane Always a Little high. But what comment exactly are you referring to?

Louis Morgan said...

Tahmeed:

He managed to be earnest though his natural awkwardness was obviously very apparent, not surprising that he and Casey Affleck were friends at least at one time in that regard, although definitely rambling I'll say he managed to not completely implode.

Luke:

I mean given a film that appears as though it was never going to come out, it doesn't look atrocious, in fact the plot with a bit more atmospheric direction sounds like it could've had a lot of potential. From it though it looks a bit like a generic horror film, then superhero film jammed together. Hopefully it is more.

Mitchell:

Pitt very much in his comfort zone to be sure, and he pulled it off nicely, particularly the recognition of the other actors that can sometimes be sloppy, especially his Hopkins mention well done.

Calvin:

"No eyebrows" agreed.

Aidan Pittman:

- No sense on the Farewell since it was ineligible.

Original:

- Another show of strength for 1917 given it wasn't expected there, and since it is looking to be a top five contender that could box out either Booksmart or Knives Out.

- Good gets for Booksmart and Knives Out nonetheless.

- Also love that Parasite love.

- Shame Uncut Gems couldn't have gained a little ground here.

- Glad Bombshell missed out.

Adapted:

- No surprise in Joker getting in here (Guardians of the Galaxy, Deadpool and Logan all got in here) and the shallowness of the category probably will get in at Oscar, unless the Academy really does reject the film.

- Good reminder for Little Women and A Beautiful Day in the Neighborhood, this could easily be the Oscar five, again pending if BAFTA ignores Two Popes or not.

Anonymous:

Two Popes's lack of strength will probably be decided tomorrow, as it would've struggled to get into Original screenplay no matter what, could still get in Adapted, but Bafta will decide this.

Luke Higham said...

Louis: If Bafta go the same way as Sag with the Lead Actor lineup, do you think that will be our Oscar Five. To be honest I'm happy for Egerton who definitely needed the win more than DiCaprio, but I'm a litte bit worried for the latter now.

Bryan L. said...

Luke: Have you seen Parasite yet, if you don't mind me asking?

Luke Higham said...

Bryan: Unfortunately no, I want to get around to it soon, but work's a greater priority right now and there have been some TV shows I wanted to see beforehand.

Luke Higham said...

I will be seeing 1917 on Friday, Bryan. So I'll have a few thoughts on that for sure.

Louis Morgan said...

Luke:

I mean yes, but then again who saw Willem Dafoe coming last year?

Luke Higham said...

Louis: Thoughts on this.
https://m.youtube.com/watch?v=JYNDssdsVnM

Bryan L. said...

Luke: Oh I'm definitely going to watch 1917 this weekend as well, maybe as early as Thursday.


Anyways, my new blog post about my Most Anticipated Films for 2020 is now up!

Anonymous said...

Louis, which GoT characters do you think Olivier could've been a great fit for? Either in his younger or older days.

Louis Morgan said...

Luke:

Hilarious geek deep dive, if inaccurate (come on Oswalt! Blackbird not Quin Jet...), seriously though just wonderful grandiose fan fiction that would've been a much better idea than what we got with the Rise of Skywalker.

Anonymous:

Young - (Jaime Lannister)
Middle Age - (Tywin Lannister)
Old - (Maester Aemon)

Anonymous said...

Louis: If DiCaprio somehow gets snubbed, (which is unlikely, but still), would you still review him?

Luke Higham said...

Anonymous: I don't think he'll say because that could possibly give the rating away.

Emi Grant said...

Mike: A little late for your comment, but I'll say there was not a single moment in which I didn't see Dern acting. Her realization of her character's personality is technically serviceable to me, but everything else feels way too calculated and far from genuine. Then again, I think I might be the one who goes the lowest with her, and I also haven't watched Robbie.

Matt Mustin said...

Emi: Yup. She was begging for an Oscar the whole time, which of course means she'll get one.

Anonymous said...

Louis: Your thoughts on Tye Sheridan in The Mountain?

Calvin Law said...

To be fair Dern will be a better winner than Leo, Arquette, Vikander, and (hot take) Janney from this decade, I guess it’s just the competition this time round and the fact that Johansson, Zhao, et all are being ignored for more unassuming yet no less impactful work.

Emi Grant said...

Calvin: I thoroughly disagree in regards to Janney. Her delivery of "You two fucked yet?" is far more memorable than Dern's entire work for me.

Mitchell Murray said...

Also second Emi in regards to Janney. Her's is a brash and loud performance - like Dern's in a way - but one that actually fits the style of her section of the film, and the crudeness of the role.

That said, I agree that Dern would be more deserving than Arquette at least.

Louis Morgan said...

Anonymous:

Sheridan - (His attempts at the transition to the adult roles still isn't quite working, however I ponder if he's someone like Jennifer Lawrence who really is best in naturalistic roles, which there is nothing wrong with. Sheridan though struggles to make an impact in the film's constrictive tone, which then again when notably eccentric performers of Lavant and Goldblum are pretty muted it is going be difficult. Sheridan though just can't really much out of the man, tiresome scenes, of purposeful staring and solemn deliveries. I'll admit the character and direction do him no favors, but he isn't able to find anything at all within what is there for him. He becomes as bland as his film unfortunately.)

Emi Grant:

Agreed, I think Janney is one if her work wasn't in Oscar contention I think it would've been strangely enough more appreciated.

Mitchell Murray said...

Also Louis, since this post involves animated films, what would be your thoughts on the following sequences:

The actual "I'll make a man out of you" - Mulan
Dr. Facilier's demise - The Princess and the Frog
Bridge Battle - Kung Fu Panda
Pyrotechnic dodgeball i.e. Final fight with Shen - Kung Fu Panda 2

Calvin Law said...

Emi et all: I dunno, I still love the film but honestly Janney’s performance just didn’t quite do it for me. My feelings toward it are a bit like Joaquin this year: showy piece of work with lots of bombast but ultimately a tried and tested routine that despite being so ‘daring’ was quite safe. Or maybe I’m still smarting from her beating Metcalf.

Matt Mustin said...

Calvin: I don't remember anybody positioning Janney's performance as especially daring.

Louis Morgan said...

Regarding Bafta nominations:

Picture: Well top five then does seem to be Irishman, Hollywood, Parasite, 1917...Joker...not so much Jojo or Marriage Story (though clearly still well liked)

Director: Phillips's really? Tarantino, Scorsese, Bong and Mendes now seem extremely safe. Hopefully the Academy will do something creative with the fifth spot, or at least give it to anyone other than Phillips.

Actor: Major miss for Bale here but there be Pryce for the fifth spot. Then again they were destined to like The Two Popes the most it seemed, still more than anything shows that Bale is fifth I suppose. No De Niro once again, and no indicator here for a passion pick, though Dafoe didn't get in here either last year.

Actress: BUCKLEY!!!! Don't care about anything else because they got that right (though definitely feels like a BAFTA only nod). Major miss for Erivo though as one would've imagine home field advantage would've helped her. Great for Ronan to make her play as well. Awkwafina will need a last minute push to get in now. Interesting to see who the five will be for Oscar.

Supporting Actress: Really Robbie twice...No Lopez, again could pull a Hugh Grant, makes things even safer than they already were for Dern. Love to see Pugh making her play now though, and glad Johansson is probably in her for Jojo.

Supporting Actor: Three P's and Hanks, and now Hanks seem very safe. Hopkins made sense to get in here, so anyone's game for the fifth spot.

Louis Morgan said...

Quickly glancing over the techs, looks primed for a 1917 domination (though it missed out in editing though I'd say in a Birdman like fashion), though also Joker's plays seems to indicate that if Driver doesn't win SAG, lead actor is done since they clearly loved Joker.

Also sadly seems Parasite is under performing in that sense, since it really should be an editing and cinematography contender at least, and hasn't been.

Also The Lighthouse got into cinematography, outstanding!

Calvin Law said...

Matt: fair, probably didn't word that the best, maybe it just was a showy performance that didn't work for me.

HATE that Joker love, especially for Phillips, screenplay and editing. Please have someone knock Phillips and his 'edgy' antics out of the Oscars.

Not a fan of the double nomination for Robbie.

But Jessie Buckley was a great choice so you gotta take what you get I suppose, right?

Luke Higham said...

Louis: Thoughts on any other 2019 films you've seen lately with ratings/thoughts on the casts.

And your top 25 all-time favourite animated scenes. (You can include Shorts as well because Walking In The Air from The Snowman would easily make my 25)

On the Bafta nominations, So happy for Buckley. Happy to see Hopkins get some momentum. Pleased for Pryce however I do think Bale's performance was greater and will still make the Oscar five.
I do agree that outside of Phoenix, Joker shouldn't have the amount of love it's been getting. (McKay was bad enough but Todd Phillips 'Oscar Nominee', the horror)

Calvin Law said...

Philips may technically be a bit more competent as a director. But he comes off as far more insufferable, David O’Russell levels I’d say, and with every interview with him I see this awards season it pains me more and more to see his obnoxious work getting acclaim.

Calvin Law said...

Sorry if I sound excessive, but Phillips’ comments about how he’s supposedly unable to make comedy in this current ‘climate’ just left such a bad taste in my mouth that’s continued to sour.

RatedRStar said...

I will have to see Wild Rose, parents are on holiday, so I will be watching film after film in hopes that I can see every single Oscar contender before the nominations.

Is Wild Rose any good?, it probably won't be nominated at Oscar but you never know so I will have to see it.

Luke Higham said...

It's a good film led by a brilliant performance from Jessie Buckley who's been on a tear since War & Peace.

RatedRStar said...

Luke: Nice, I've got Frozen II, Marriage Story, Little Women, 1917, Wild Rose, Missing Link, Portrait of a Lady on Fire and Pain & Glory left to see.

Anonymous said...

Banderas missed as well, he only has critics choice and Globe noms.

Tahmeed Chowdhury said...

Louis: Your thoughts on the direction and screenplay of Braveheart?

Mitchell Murray said...

Well with the bafta nominations now announced, I'll make my final predictions for the oscars.

Actor:

Banderas (If anyone is a passion pick in this field, its him.)
DiCaprio
Driver
Egerton
Phoenix

Actress:

Erivo (She missed out here, but has gotten in enough elsewhere to still be a viable choice.)
Johansson
Ronan
Theron
Zellweger

Supporting Actor:

Dafoe (He's missed on most of the precursors, yes, but then so did Michael Shannon for "Nocturnal Animals" and Tom Hardy for "The Revenant". Also he still has several critical citations for the performance, the passionate following of the film and has beaten these kinds of odds before. This might be wishful thinking, but its warranted I think.)
Hanks
Pacino
Pesci
Pitt

Supporting Actress:

Dern
Johansson (The superior double nod in the baftas).
Lopez
Pugh
Robbie (Bombshell)

Luke Higham said...

Actor
Bale
DiCaprio
Driver
Egerton
Phoenix

Actress
Erivo
Johansson
Ronan
Theron
Zellweger

Supporting Actor
Hanks
Hopkins
Pacino
Pesci
Pitt

Supporting Actress
Dern
Johansson
Lopez
Pugh
Robbie

Anonymous said...

Louis: Could I have your thoughts on U2's 'Ordinary Love' from Mandela: Long Walk to Freedom?

RatedRStar said...

I am starting to quite excited about the Oscar nominations now, so many surprises could happen, most of them all good surprises.

Bryan L. said...

11 noms for Joker? Look, I like the film well enough, but...that’s just too much.

Tahmeed: Gibson earned that Directing Oscar just on the strength of those battle scenes.

Robert MacFarlane said...

I suppose it’s not really surprising given their history (they’ve never even nominated Denzel), but maaaaan the racial optics on the BAFTA nominations looks bad. Especially in a year where a lot of women of color gave so many great performances in both categories.

Calvin Law said...

Robert: Agreed. And on the directors and writers fronts too.

Bryan L. said...

Luke: Your Ingmar Bergman ranking? Ratings as well.

Luke Higham said...

Louis: Thoughts on Chalamet playing Bob Dylan.

Luke Higham said...

Bryan: I'll do a top ten for now.

5
1. Fanny & Alexander (His finest achievement)
2. The Seventh Seal
3. Scenes From A Marriage
4. Persona
5. Shame
6. Wild Strawberries
7. Winter Light
4.5
8. Cries And Whispers
9. Autumn Sonata
10. The Virgin Spring

Bryan L. said...

Luke: Thanks.

Chalamet has talent, but I’d say the issue here is Mangold doing another music biopic.

Michael McCarthy said...

As far as the BAFTA nominees, I think this means we're getting the SAG five for the Best Actor lineup. I suppose it could be the Two Popes men, but I'm not sure how keen the Academy will be to embrace that film, which leaves us with either Bale or (less likely) Banderas in that fifth spot, and one wild card in supporting (fingers crossed for Dafoe or Song).

Best Actress I think will be Zellweger, Johansson, Theron, Ronan, and Awkwafina. Without BAFTA Nyong'o seems to be out, Erivo could make it in over Awkwafina but The Farewell has more support than Harriet so I'm leaning against that. Of course we might also get both Awkwafina and Erivo and lose Ronan, but I have a strong feeling Pugh will make it in supporting and it doesn't seem likely she'd get in and not Ronan.

On paper supporting actress looks quite open-ended now, but for some reason Dern, Lopez, Robbie, Johansson, and Pugh just seem right as the lineup. Too bad Zhao can't get a break though.

It'd be easy to predict the BAFTA five for directing, but I'm anticipating a Gerwig upset to prevent the narrative that the Academy doesn't appreciate female directors. Hopefully she'll get in over Phillips, which could make for an amazing lineup, but she could also knock out Tarantino (because of his overall persona and his reputation as primarily a writer) or Scorsese (either as a been there done that or an assumption he'll be safe. Bong and Mendes seem to have strong enough narratives to be counted totally safe.

RatedRStar said...

I always think of Bafta being either a strength builder, making sure that those front runners stay locks, or they help struggling performers and films get more Oscar buzz like Pugh, Pryce and Hopkins.

RatedRStar said...

Michael McCarthy: Its quite tricky this year, anyone in Best Actor bar Phoenix and Driver could miss, anyone in Actress bar Zellweger, Johansson and Theron could miss.

RatedRStar said...

Best Actor is the one that is most up in the air I think, Leonardo DiCaprio lost the Globe, but then he gets in at Bafta, and he hasn't missed anywhere else, critics circles haven't nominated him often but, most of them arent in the Academy. Egerton has a huge chance of getting an Oscar Nomination, but again its not a guarantee, Veterans usually get in ahead of newcomers (Dafoe over Washington for example).

Banderas and Bale are literally fighting each over for a spot, the problem is, both missed Bafta which I am surprised by, I expected Leo to miss Bafta but he didn't.

RatedRStar said...

Pain and Glory is guaranteed a foreign language nomination, Ford V Ferrari is guaranteed some technical nominations.

Antonio Banderas has that overdue card, the overdue first nominee, Bale has the fact that he has never been snubbed before when he is in contention, but there is always a first time.

Emi Grant said...

I think the only nod I do have a problem with (aside from the Joker noms that might have been too much) is Booksmart still getting in Original Screenplay, but that's just me.

Calvin Law said...

I didn’t love Booksmart but I’m completely fine if it goes to the Oscars, I think.

RatedRStar said...

I thought Booksmart was good enough, I think it was entertaining certainly, I dont think it will get nominated, I see Knifes Out being the original screenplay nominee.

RatedRStar said...

I think this will be Original Screenplay

Knifes Out
Marriage Story
Parasite
Once Upon A Time in Hollywood
The Two Popes

Calvin Law said...

RatedRStar: Two Popes is Adapted.

Louis Morgan said...

Regarding PGA:

1917
Ford V. Ferrari
The Irishman
Jojo Rabbit
Joker
Marriage Story
Once Upon a Time in Hollywood
Parasite

I'd say are the safe ones, and the Oscar nominees. If the usual arithmetic of take 2 out move one in, I'd say Knives Out and Little Women don't make it, in favor of...I mean the Farewell should've made it here...The Two Popes? I think #9 if there is a 9 probably will be Little Women. Although I will say besides Joker, this is a terrific lineup.

Regarding DGA:

Bong
Mendes
Scorsese
Tarantino
Waititi

Mendes sight unseen that is a lineup easy to live with, I'll take Waititi a million times over Phillips (who I hope is Nocturnal Animals situation there, although I will say Joker is much better than that film). Maybe it's between the two, though I'd be all fine with a complete out of left field pick of The Safdies (not gonna happen), Eggers (Never gonna happen), Celine Sciamma (I think could happen), Gerwig (which could happen and I'd be all for it), or even Baumbach.

Mitchell:

The actual "I'll make a man out of you" - Mulan - (The moment of that film with just a great tune to carry the sequence, which is a great montage, proper Rocky montage style montage in every way. Although again it is that glorious fist pump of a song that makes it work so well.)

Bridge Battle - Kung Fu Panda - (Just an extremely creative sequence that basis itself in Kung Fu style action of those films, but expands so well by utilizing what only animation can really do all the same.)

Haven't seen the other two.

Louis Morgan said...

Luke:

Start with films with ratings:

Portrait of a Lady on Fire - (Quite good, aesthetically great. I appreciated most though that the film went beyond that of the suggestive glances, though those were aplenty, however I thought the actual conversation between the two were the best moments in the film and elevated it the most. Also benefits from both leads really conveying the chemistry, particularly in the growth of it, rather than just a sudden instant style love struck)

Merlant - 4.5
Haenel - 4
Golino - 3

Honeyland - (I think I just can't lie, perhaps I just don't like Cinéma vérité . Although again some beautifully shot moments to be sure, and the general material is there for something special. The choice in presentation though left me cold.)

Just Mercy - (A just "fine" freeing an innocent man film. In the Name of the Father is easily the best in the subgenre, but this was on the whole decent. Really the best moments were those examining the men within the prison system, and less so the crusade. Though the depiction of that was fine too.)

Jordan - 3.5
Larson - 3
Morgan - 3.5
Nelson - 3.5
Spall - 1
Jackson Jr. - 3

The Vanishing I thought was a decent, if not great, sort of Treasure of the Sierra Madre film. I'm surprised by its extremely low imdb score, as though it's no Lighthouse, it is an interesting, less mind bending companion piece of sorts of a somewhat similar film. This with some tense sequence and some striking moments between the characters. I think though more time needed to be spent on the mental descent of one of the characters.

Saving Mullan.

Butler - 3.5
Swindells - 3

Watched the Lion King for the sake of Oscar nominations: https://www.youtube.com/watch?v=C29bpit807M

Ejiofor - 3
Everyone else 2.5 to 2

Harriet - (Has more in common with Braveheart than 12 Years a Slave, as fashioning the historical figure in very action centric tones. I will say in this regard, despite some wonky directorial choices at times, it wasn't terrible at making this sort of standard crowd pleaser biopic. I will say though they should've used her Civil War exploits as the action climax rather than the extremely silly showdown with Alwyn, who if they wanted a specific villain in her former master, make him a confederate soldier in her battle but I digress. Really more than anything is carried by Erivo, who needs excuses to sing in every film from now on, and I have to say "Stand Up" is a pretty good song and hopefully earns Erivo an Oscar nomination even if she isn't nominated in lead.)

Erivo - 4.5
Odom - 3
Alwyn - 2 (Made me appreciate Fassbender, Dano and Giamatti in "12 years" all the more)
Monae - 2
Nettles - 1
Peters - 3
Momoh - 3

Let me work on the latter.

Eh...Chalamet has been best in naturalistic turns so I'm concerned with the EXTREMELY mannered Dylan, but hope he can surprise. I'm more concerned however with Mangold doing another musical biopic, as his last one was extremely by the numbers.

Robert:

I mean I'd love to think it was Theron's needless nomination over a Nyong'o, Erivo (who I think will pull a Blunt for Mary Poppins now since, she is English.) or Awkwafina, but I know it was Buckley.

There's no excuse in Supporting Actress though, two needless Robbie nominations in favor of Zhao Shuzhen or the Parasite ladies is a bit hard to stomach.

RatedRStar said...

Calvin: Did it get changed? I thought it was placed in original?

Mitchell Murray said...

Louis: In regards to the Bridge Battle, something else that makes the scene so memorable for me is the score! It's one of Zimmer's more underappreciated tracks, honestly.

Luke Higham said...

Louis: Thoughts on Merlant, Haenel, Jordan, Morgan, Nelson, Spall, Butler, Ejiofor and Erivo.

Calvin Law said...

Interesting, Haenel is a 5 for me and Merlant a 4.5.

Michael McCarthy said...

Louis: Any ratings and thoughts for Henry Hunter Hall and Omar J. Dorsey in Harriet? I thought they were the supporting MVPs and brought a lot to the film in their limited capacities.

Louis Morgan said...

Tahmeed:

Well I will begin with the direction by Gibson, which I believe is influential past even the attempted Braveheart wannabees, most obviously like The Patriot and 300, but which technically includes even say Gladiator, in terms of bringing a more visceral sword and "sandals" style action to the film. This with Gibson bringing a distinct grit to the whole film, particularly the violence though, and grants that intense edge to something that really hadn't been explored in that way. I'd say Game of Thrones and even LOTR hold a debt to what Gibson did with the battles in that film, which is make every one this incredible set pieces. Past that though it is a beautiful film in terms of realization of aesthetic that Gibson grants to it all, something he always excels at and I'd say even the detractors would find it difficult to deny. This being here a combination of that visual beauty of Scotland with the harsh reality granted to put it bluntly, dirt in the finger nails look. Gibson though is a consummate storyteller and as a filmmaker his work emphasizes the emotional. This making him ideal for the grandiose, and mythic, which this film is. Gibson's lack of hesitation is to me what grant such heights within the film, even as it is parodied endlessly, the sort of vigor he captures in his speech or his final utterance of freedom, or the ending is someone who knows how to capture this extreme hit of emotions like few others. He does skew a populist style to be sure, but effectively so I would argue without hesitation. Though I'll also grant credit in knowing how to lay the foundations of the Bruce element more quietly, yet as poignantly, with more complexity against the story of Wallace he present bluntly, and effectively as this tragic hero's journey.

Anonymous:

Ordinary Love - (Well for such a perfunctory, dull film, this is indeed a song in the film. I'll admit I'm not really all that much of a U2 fan overall. This song honestly sounds from a different era in that respect in some choice, particularly in the segue from the intro to the verse with the light percussion line. The chorus is fine of Ordinary love, is fine, the verses get a little stale though, and all admit its attachment towards the film gets a little lost.)

Mitchell:

I would agree.

Luke:

Merlant & Haenel - (Haenel actually could go up as both are terrific most importantly in crafting the chemistry between them. This again what is best is the way they build on it from scene to scene, rather than just have it a given fact. I especially love how each plays the scene in which they describe each other, as there is this beautiful combination each realize as this detached observation that builds towards passion. Both though are effective most of all in crafting two separate portraits of a sort of repression. Merlant as this sort of repression circumstance where her eyes always tell the truth of her believes and feelings even as she maintains this emotional reserve. This against Haenal that is this emotional repression of a different sort of this pent up breaking of her mental space in terms of attempting to be herself. This making her final scene in particular, rather effective in portraying these sort emotional releases that still create the sense of a repression of self.)

Jordan - (A fine leading turn from him once again. There isn't too much to the role however he manages to balance sort of the passion with just a genuine portrait of a man. This as even as his role is just of a good guy, he brings the right nuance to this presenting a man doing every point, and hitting the emotional moments quite well.)

Louis Morgan said...

Morgan - (A moving portrayal of a different sort of emotional despair. This in portraying this sort of rot internalized of a man broken by his guilt and past trauma. Morgan finds a real power in his deliveries that are so raw and anguished as a man suffering both from what he has done but also what happened to him.)

Nelson - (Interesting as he sort of slowly unravels his character as sort of this stereotype to slowly reveal more of a man, if a very bad one, himself. This portraying a certain comic energy even in portraying the duplicitous man, however carefully and effectively revealing the anxieties of the man that went along with supporting the creation of a false guilt.)

Spall - (Yeahhh, he's not his dad. This as the character I think had potential not to deliver a terrible performance as man stuck in a circumstance and expectation. Spall just overacts these beats far too harshly playing towards caricature at every point, that didn't serve the role well.)

Butler - (Pulling out some of that talent he did show in Coriolanus once again. This in portraying something genuine in the emotional desperation and despair of the character. Although I think he needed a lot more time to flesh out this aspect of the character. Of course this isn't a case where I think it left him too limited, instead I think we unfortunately leave him just about as Butler starts to really get interesting in his performance and then rush through it.)

Ejiofor - (I mean he's the only person who didn't just seem like middling or inferior vocal turn, in that he was something different, though Irons is still better, but at least there was anything else to him. Although given that Ejiofor can sing, why did we get that stupid version of "Be Prepared' I'd really like to know, since somehow this animated film was considerably longer than the better animated film.)

Erivo - (She just turns in a rock solid leading turn in every respect here, and once again excels particularly whenever she needs to sing out a few tunes. Erivo though manages to capture the initial weight of the story beautiful and says a whole lot early on just by a few looks. As the story continues though she makes a natural sense of the progression of strength within the role while never becoming just an over the top idea either. I think she excels in particular in her more personal confrontation scene with her scene where she's terrific in showing natural vulnerabilities. Throughout though she plays the scenes so naturally, even with the broadest lines, to portray a real sense of potential fear, though in turn making the sense of determination of her work all the more powerful. I'll say it's a shame they couldn't have made a tighter film as Erivo really absolutely delivers on her end.)

Michael:

Hall - 3(I mean both I'd say are the most Bravehearty in a way, as Hall was tailored made to have a "My island" type line at some point. Hall gives a good performance though with this more stylistic bent, something I'd say Erivo manages to the best, however I don't think Hall goes over the top in this regard. This certainly giving more bravado however does make it work in context with his character.)

Dorsey - 3(I mean very much an I'm "evil" character however does at least do it far better than Nettles and Alwyn here, though it's pretty one note, I'll admit his intensity at least brought some genuine menace compared to the other villain performances.)

Bryan L. said...

Louis: Thoughts on Larson & Jackson Jr in Just Mercy?

Louis Morgan said...

Bryan:

Larson - (Larson manages her accent well while also just providing a straight forward supporting turn. She brings a nice warmth in her performance however her character really needed more development.)

Jackson - (He's good in his portrayal of the same anguish, however less intense in his own way, and portraying the discontent with it. There just isn't that much of him to really make an impact however.)

Anonymous said...

Louis: If you haven't given your thoughts on it yet, your thoughts on Parasite's cinematography.

Calvin Law said...

Was going to see Little Women and 1917 double bill tomorrow but change of plans so probably the former on Friday and the latter on Saturday.

Luke Higham said...

Louis: Are you still working on the animated scenes list.

Anonymous said...

Guys, how much are you looking forward to the 2019 reviews.

Luke Higham said...

Anonymous: Looking forward to it more than last year because we all know both nominee lineups will be far stronger, it's the last year of the decade and I look forward to tally up the amount of fives for the decade (not final with the remaining bonus rounds but there's over 200 given thus far).

Bryan L. said...

Luke: Who were your acting wins from last year & 2017?

Luke Higham said...

2017:
Gosling
Krieps
Stewart
Manville

2018:
Hawke
Colman
Yeun
Debicki

Bryan L. said...

Luke: Would Nolan be your Director win for 2017? And who for 2018?

Luke Higham said...

Bryan: Yes and Chazelle for 2018.

Luke Higham said...

So pleased the Oscars are going hostless again.

Louis Morgan said...

Tahmeed:

Wallace's screenplay honestly I think only would've worked with Gibson's direction in tandem. Now to be fair it is well structured in creating Wallace's heroic yet tragic journey, with excellent touches such as the flower and piece of cloth as emotional symbols. It also has some fantastic lines "Not every man really lives", the speech and a vibrancy in the characters, though occasionally too far in turns of the more operatic sense, as though Longshanks works brilliantly as the devil himself, not so much for Edward II, which actually was toned down. It is also worth noting that as the most complex character of Robert, seemed to have been beefed up at some point as some pivotal moments/lines are not apparent in the original script, and seem likely requested by Gibson. Although it is in no way faultless, and again only would've worked with very assured direction, it very works as the historical/mythical epic, which itself wields purposefully with its opening lines. This explaining itself not as a document but truly a tale.

Luke:

I decided not to include shorts for the sake of my own sanity.

1. Ending - The Grave of the Fireflies
2. Climax - The Secret of NIMH
3. Flying - Spirited Away
4. Opening - UP
5. Monstro - Pinocchio
6. "Hellfire" - The Hunchback of Notre Dame
7. Saving the refugees - Watership Down
8. The Great Owl - The Secret of NIMH
9. Ending - The Plague Dogs
10. The horseman appears - The Adventures of Ichabod and Mr. Toad
11. Dying fire flies - The Grave of the Fireflies
12. Bigwig in a snare - Watership Down
13. Clocktower - The Great Mouse Detective
14. "The Bells of Notre Dame" - The Hunchback of Notre Dame
15. Final confrontation - Nasucaa of the Valley of the Wind
16. Night on Bald Mountain - Fantasia
17. Stopping the tractor - The Secret of NIMH
18. Final Plague - The Prince of Egypt
19. Finding the Totoro's - My Neighbor Totoro
20. Bathing - Spirited Away
21. Meeting - Your Name
22. A day in destroyed Earth - Wall-e
23. I'm Superman - The Iron Giant
24. Fire - Bambi
25. Escaping the other mother - Coraline

Speaking of animated also had seen How to Train Your Dragon 3, put another animated film in the...eh column.

Luke Higham said...

Louis: Your ratings for the cast of How To Train Your Dragon 3 and thoughts on Abraham who I thought was utterly wasted.

Louis Morgan said...

Luke:

I mean no reason to separate as no one was really pressed. Baruchel is still at his best not being seen I suppose, and is just fine there again. No one really was used in any way beyond sort of their single trait, and there were no chances, or clever ideas to really let the vocal work soar. Abraham, I will agree, in particular was absolutely misused as just generic "I'm a bad guy". He himself isn't bad, but it's just such lackluster material to work with.

Anonymous:

Hong Gyeong Pyo's cinematography for Parasite is outstanding, and I really hate that it has been snubbed so far, as it is easily among the five best of the year. I hope the film over performs to get Hong his due. Anyways though Bong's films are always well shot by virtue of his own eye, though then it comes to the cinematography to raise that quality all the more. Hong does this through unassuming yet brilliant work. This is it never brings overt attention to itself (though I'll say that really isn't a negative unless truly overdone or misplaced)yet it consistently gorgeous. It is above what I would say is slick work in the ease that it amplifies sequences. This in such smooth camerawork, that are so notable in how effectively they capture movement, and every character with such remarkable composition and framing of the shots. It's a large cast, and Hong and Bong's ability to really not forgot any character within the cinematography is exceptional. The lighting though is particularly brilliant in its touches of style that it covertly dynamic, and so fantastic in how suits itself to given sequence, just to add a little more to it. This for example the perfection of the beauty of the interior lighting in the home, compared to the "ugly" harsher hues, in such a beautiful way however, of the basement particularly in the flooding sequence. Amazing work that deserves to recognized along with the film.