Louis: Ratings and thoughts on David Koechner in Cheap Thrills? And would The Perfect Dictatorship and Wild Tales make into your top 25 films of the year and your top 10 ensembles, and if so where qould they rank in each?
Also your thoughts on the ‘Death’ music scene (the ‘kiss’ scene so to speak) from A Girl Walks Home Alone at Night? I get what you mean about the film having a bit of too slow a buildup but I loved that scene. And the cat, you gotta love the cat.
Louis: I would like to change my request for 2002 Lead from Greg Kinnear in Auto Focus to Bill Paxton in Frailty. The latters film is more interesting to discuss and I want to guarantee him a spot there.
Luke: McConaughey, yes. Kinnear, I’m honestly not sure, because Auto Focus is a “This happened, then this happened” type of biopic, and Kinnear doesn’t get much of a chance to explore Bob Crane. He’s still good enough though.
Calvin: I think Louis has too much affection for Liotta's performance that I just can't see Brody overcoming it. Day-Lewis I wholly expect to finish above Leung and we can't rule out Ejiofor, Gulpilil, Sol and McConaughey either.
Luke: You suggested The Bible: In the Beginning before. I would absolutely love to read Louis' thoughts on that experience. Performance wise, it's definitely all over the place.
Anonymous: 1. Leone 2. Tarkovsky 3. Okamoto 4. Zinnemann (The top 4 in itself is incredibly strong. A Man For All Seasons has many scenes that I love whether it's the opening, Henry's arrival at More's estate or the Trial scene) 5. Frankenheimer
since the older Reviews do not have the "Best Scene:" would you say there is a single best Moment for F. Murray Abraham in Amadeus? As i just rewatched it, i think i would say it's the Scene where he directs an orchestra and Jeffrey Jones Hands him a medal calling it the greatest opera of all time. Just the sheer Energy and Passion he brings to it, mixed with the first relieved, than flattered and ultimately genuinely happy reaction to getting applauded
Films To Watch Seconds (Please watch during Lead) The Big Gundown Le Deuxième Souffle Hawaii The Bible: In The Beginning… (John Huston/Peter O'Toole) The Battle Of Algiers Au Hasard Balthazar (Bresson) Wings Funeral In Berlin (Michael Caine) Gambit (Michael Caine) War And Peace Parts I and II (Bondarchuk) The Hero (Satyajit Ray) King Of Hearts (Alan Bates) Grand Prix (John Frankenheimer) La Grande Vadrouille Torn Curtain Our Man Flint Is Paris Burning? Dracula: Prince Of Darkness Daisies The Taking Of Power By Louis XIV (Roberto Rossellini) For Love And Gold (Mario Monicelli) Closely Watched Trains The War Is Over Kill Baby, Kill (Mario Bava) Woman Of The Lake The Pornographers Masculin Féminin (Leaud/Godard) The Group The Chase (Marlon Brando) 7 Women Red Angel Cathy Come Home You're A Big Boy Now Tokyo Drifter Cairo 30 Black Girl The Interview Silence Has No Wings The Priest And The Girl The Round-Up My Sister, My Love A Fine Madness Violence At Noon Come Drink With Me Father (Istvan Szabo) Carriage To Vienna Time To Die The Shooting
Tahmeed: I think he'll still be in the top 5 but I think Scofield will keep the Oscar win because he was 5th in the overall originally then went up to 3rd.
I really love 1966 as a year for film, its up there for me with 1962 as a very enjoyable year for film.
I actually was happy with the Oscar nominations that year, like its so good to see the likes of Robert Shaw finally recognised, James Mason getting that overdue second nomination as well.
I do wonder who was sixth place for Best Actor that year, since it seems like Scofield, Burton, McQueen, Arkin and Caine seemed like safe bets, I wonder if Max Von Sydow was the sixth pick.
Well, i think i had a better eveninng than Matt. I watched In Cold Blood and Capote yesterday. I enjoyed both of them a lot, and of course i would have liked them both taken on their own, but watching both together just made it ten times better. They complete each other so perfectly that i am only ever going to watch them as a double feature. But overall i think i preferred In Cold Blood. It just has this slight Edge of having higher highs like cinematography so gorgeous it borders to bragging.
In Cold Blood) Blake: 5 Wilson: 5 Forsythe: 2 (Kind of boring, and honestly not really needed for the movie) Corey: 3 Flavin: 3
Capote) Hoffman: 4.5 (a bit too theatrical, but Truman should not be played subtly anyway) Keener: 2.5 (weird Nomination really) Collins: 3.5 Pellegrino: 2.5 Greenwood: 2.5 Cooper: 3.5
Stewart - 4(The best performance I've seen from her. This as the role plays well into her naturally rather introverted screen presence. She does well within using that to create effectively the sense of the character very much within the surface. This initially in just in terms of being defensive and trying to fulfill her duties. She's terrific as she sort of shows the slight change even within that presence in just very quiet and earned moments of either concern or even tenderness in her scenes with Maadi.)
Pei-Pei - (Her performance is interesting in that it is very much built within the delayed reaction as almost all important information is translated to her. She's terrific though in working within this sort of state. This in showing the detachment from it initially, but also sort of the emotional reactions that become stronger throughout the translations. Her performance never feelings handicapped by this but rather she infuses within so well the sense of the person working through what she's working through as funneled through an unusual exercise/position.)
Elkabetz - (The film is essentially if Marriage Story was only the courtroom scene and if Adam Driver's character was a whole lot less sympathetic. Although obviously quite the shame she died so soon afterwards it is a remarkable swan song performance and notable work as a director as well. Her performance though is fantastic in basically throughout the early scenes her reactions are what says so much about her character. This as we are granted the sense of her relationship with every witness but also every aspect of her husband. Her performance has wonderful moments of appreciating a friend for a moment or just having the moment of hearing the same thing she's probably been hearing again and again. She's outstanding though the same in showing throughout her performance is this slow descent from a certain courtroom stoicism towards slowly breaking down in the woman just asking for her freedom again. Her scenes of finally lashing out are both cathartic and heartbreaking as she reveals so well just the weight of the proceedings as they continue to deny her.)
Emi Grant:
1. Birdman 2. Inherent Vice 3. The Grand Budapest Hotel 4. The Drop 5. Wild Tales 6. The Perfect Dictatorship 7. What We Do in the Shadows 8. Calvary 9. Selma 10. Pride
11. Captain America: The Winter Soldier 12. A Most Wanted Man 13. Wild Tales 14. Guardians of the Galaxy 15. Paddington 16. The Perfect Dictatorship 17. What We DO in the Shadows 18. Locke 19. A Most Violent Year 20. Two Days, One Night 21. Gett: The Trial of Viviane Amsalem 22. Charlie's Country 23. Haider 24. Coming Home 25. The One I Love
Koechner - 3.5(I'd say his performance most made the film's tone work as he was the best in bringing the needed degree of dark humor. This with his approach that carries this certain cheekiness that is well used though with an undercurrent of a vicious darkness beneath it. I especially love his reaction in the moment of pointing out his martial arts photo, as he is both in the moment quite menacing but also hilarious. His performance I think actually alluded to greater potential than the film achieves.)
I think Hamilton being filmed was such a great idea, like you actually get to see the proper show with the proper stars that did it, I wish that more Tony award winning musicals/plays would get the same treatment, it would attract so many people who arent usually theatre types to go see them.
Louis: If you haven't written them down already, what would be your top 10 acting moments of Emily Blunt? I don't personally have a list of my own, but some of my favourites would be the following;
Ending - Sicario "My middle name is Gwen" - Edge of Tommorow "You eat carbs for christ sakes" - The Devil Wears Prada Muffled Birth/"You have to protect them" - A Quiet Place "Your not expendable to me" - The Young Victoria
I should also mention that I haven't seen "The Adjustment Bureau" all the way through, and it's been to long since I watched "Into the Woods" to really comment on it.
Well it's definitely the best filmed stage version I've seen of a musical just in terms of itself, though the funny thing is I'd say even in this form it is better than most cinematic musicals in the last few years. It still entirely works as the songs are catchy and engaging, with a particular narrative thrust about them that I loved. Of course being a mark for Revolutionary period to begin with, that probably helped, but honestly I just loved every minute of it, and all the stylistic choices wholly worked in its extremely unique presentation of a biography. I'll say because of the momentum of the songs, I think it would be ideal for a fully cinematic version, however it would need a director with a visual sense to match that momentum, so if it is still in the works they should have a legal restraining order on Bill Condon, Rob Marshall and last and least Tom Hooper from ever approaching it. It deserves someone with a fresh take on the cinematic musical, and I'd love to see that take. However I loved seeing this take as well.
Saving Groff and Diggs (whose characters/performances I'd think would need the least changes for a properly directed fully cinematic version.)
Miranda - 4 Odom - 4 Soo - 3.5 Goldsberry - 4 Jackson - 3.5 Jones - 3 Onaodowan - 3 Ramos - 4
Tahmeed:
The first very much reminded me of a fighting game style opening, Street Fighter in particular, I'd have to say that there must be some overlap there I'd imagine. Song's fine though just kind of a whole lot at the same time, maybe too much.
Had similar feelings with the second, particularly the song that often sounded like a character select screen, though it does segue way into a kind of fun little random dialogue. The animation itself I thought was a little much overall and not exactly in a great way this time.
Anonymous:
The Sword of Doom, didn't quite like how TGTBTU's shot cohered with the other shots around it (though obviously love the shot itself).
Side note I do actually enjoy the absence of John Adams as almost the recognition of having been the main focus of the spiritual predecessor 1776.
Miranda - (His work along with Odom and Soo I think would technically benefit most from a bit more intimacy within the cinematic form. This as all three have emotional moments that are played more grandiose, since you have to see it after all, not poorly but I could definitely see potential there in a more close up orientated format. Anyway though this is still strong work even within that minor reservation, that wouldn't exist out of the format anyways. Miranda though brings a dynamic spirit in his performance which is interesting in that he doesn't do a lot of dancing and his singing technically less dynamic. All that I think works as making him the centerpiece with his work most strongly built around sort of the passion with the cunning that is wrapped together with his performance. Miranda's work finding sort of the sense of spirit of Hamilton which is to be both cutting and earnest, witty yet direct. His greatest moments I'll say come with the literal rap battles of values as they most strongly represent Miranda's talent, and each is a highlight through it. Although again though I think the emotions are attuned a certain way, he still hits them well in crafting a variation within the character quite remarkably.)
Odom - (Amazing singing of course in his role that to me played a large part like Judas in the commentating secondary protagonist and technical antagonist. I think this is the part I think most could really benefit from expansion of allowance of nuance just in the idea of the perpetual political player without purpose though always there. Odom though brings this to life, along with the commentary, though with a certain devious bent. I don't think he overdoes this though finding the right moments of changing this slightly to convey the more emotional moments and the sense of jealousy forming in Burr throughout the musical. Odom though perhaps is the highlight as the commentator where he brings through his vocals such a dynamic intensity.)
Soo - (I'd actually move her up to a 4. Her performance though delivers the right sort of direct earnestness supported up very much by the passion of her performance every time that works in creating the idea of the character. She's wonderful though in bringing to life particularly with the right meekness in contrast to Goldberry's performance. She excels most though in the second half in bringing to life well the moments of overt sadness later on and certain bitterness that feels naturally found within such an otherwise optimistic presence.)
Goldsberry - (One where it is all about really the ferocity of the performance, in which she certainly delivers where the emotion is all in the song, where you get the sense of what is needed as her exceptional presence so to speak.)
Jackson - (Less interesting in the second half I think where he just becomes a ref basically. He's quite good though in his more dramatic first half though in bringing sort of the weight and passion within his performance. In granting the sense of the drive to succeed along with the gravity of the nature of the war.)
Jones & Onaodowan - (Both are fine but I do think they are very much overshadowed within the scheme of the film, although that is entirely in the nature of the characters within the musical.)
Ramos - (I'll say though I think he was good as Philip Hamilton, that is definitely the one major change at least would be needed for an adaptation. Ramos though is fantastic though in Laurens in bringing within his performance sort of this even greater passion where he creates sort of the sense of it more unwieldy compared to Hamilton's specifically restrained passion. He's great in showing the right type of firebrand though in the sense, and in turn creating the right sort of martyr for ideal within that.)
Well, I just finished watching Hamilton myself, and I absolutely loved every single second of it. It's easily my favorite film of the year, without a doubt.
Louis: Your top ten favorite songs from Hamilton, and your thoughts on each of them. My own top ten would be-
1. Satisfied 2. Wait for It 3. Yorktown (The World Turned Upside Down) 4. My Shot 5. Non-Stop 6. You'll Be Back 7. Dear Theodosia 8. Who Lives, Who Dies, Who Tells Your Story 9. It's Quiet Uptown 10. What'd I Miss
Just finished watching Hamilton. Amazing stuff, specifically with how it was shot, directed and acted.
Here are my cast ratings: Lin-Manuel Miranda - 4.5 Leslie Odom Jr. - 4.5 Phillipa Soo - 4 Daveed Diggs - 5 Renee Elise Goldsberry - 4 Jonathan Groff - 5 Christopher Jackson - 3.5 Okieriete Onaodowan - 3 Jasmine Cephas Jones - 3 Anthony Ramos - 4
As far as what my favorite songs were (in no order): It’s Quiet Uptown (which would be my favorite) The Room Where It Happens My Shot Satisfied Non-Stop Burn I Know Him/What Comes Next (Groff is so good to the point that I cannot choose between these two) Who Lives, Who Dies, Who Tells Your Story Alexander Hamilton Stay Alive
I actually saw Hamilton on stage in Washington D.C. two years ago. I think it was the touring cast. It was a great experience, but it suffered from the guy playing Burr doing this REALLY weird Hans Landa/Littlefinger thing with his voice and mannerisms that threatened to derail the show when it wasn't one of Burrr's showstoppers. He had a shit-eating grin PLASTERED on his face.
Seeing the original cast was very different. I've listened to soundtrack a million times. After seeing it on stage the first time, it just kept bugging me what the original production was like in comparison. In terms of production value, it was entirely the same. But seeing the actors I've heard singing on my car speakers and on my phone playlists so many times actually in action was something special. It's hard for me to put into words.
In terms of MVP, it's hard for me to say. I think I'm leaning Diggs, but Odom, Soo, Groff, Goldsberry, and Jackson were all kind of perfect. (Believe me, if you guys saw the Burr I did, you would be waxing poetic about Odom more).
I'll start with the top ten, I'll get you the thoughts tomorrow.
1. Satisfied 2. You'll Be Back 3. Who Lives, Who Dies, Who Tells Your Story 4. Burn 5. It's Quiet Uptown 6. What'd I Miss 7. Dear Theodosia 8. Non-stop 9. Wait for It 10. My Shot
Matt: He was playing up the conniving aspect to a point where he was entirely charmless. I guess it sort of makes sense the other characters barely tolerate Burr, but it got grating quickly. The facade breaks too easily. I'm sure it seemed like a bold choice and a way not to copy Odom, but it ultimately was counterproductive.
Matt: The weirdest part was the guy's singing voice felt entirely incongruous to the rap-talking portions. Two entirely different pitches. Didn't sound like the same guy. Technically a great singer, though.
I’m looking forward to finding a way of watching Hamilton. I adore the soundtrack, my favourite song in it is weirdly enough Wait for It even though it’s kinda simpler compared to a lot of the other ones? So eager to see how seeing them in performance will be like.
On that note have what are some stage performances you’ve all seen which completely blew you away? Timothy Spall and George MacKay in The Caretaker for me, and the one time I’ve been to see Les Mis pretty much everyone was perfection and it was a matinee, so quite a few of the cast weren’t even the regulars.
1. Wait For It 2. Burn (both productions I saw it tore the house down) 3. The Room Where It Happens 4. Satisfied 5. You'll Be Back (by extension the other two George numbers) 6. What'd I Miss? 7. It's Quiet Uptown 8. Who Lives, Who Dies, Who tells Your Story 9. One Last Time 10. My Shot
And Louis: Odom for Judas in Jesus Christ Superstar? (I know nothing about music to know if he has the right ‘voice’ but considering his range I think he’d handle it)
Calvin: Considering Brandon Victor Dixon (who I believe was the third actor to play Burr in the Broadway show) played Judas in the live show, that doesn’t seem out of the question. Though i haven’t heard Odom do any rock tenor stuff, it doesn’t seem like his typical range but I couldn’t say for sure.
I’ve also been saying for years how cool it would be to do a revival of Amadeus with Miranda as Mozart and Odom as Salieri.
Matt: those all sound great especially Dennehy, I’ve heard many amazing things about his stage work. And if we’re counting filmed stage work then my English teacher at school got us to see a full filmed performance of Mark Rylance in Jerusalem. It was amazing.
Michael: that Amadeus idea sounds brilliant. Both would be PERFECT for the roles.
Out of all the current directors with any sort of cinematic musical bona fides, yes. This as I feel he does have two essentials one being an understanding of comedy (something my aforementioned banned directors might want to foolishly remove), and production design which I think would be absolutely essential to making a cinematic version work.
Satisfied - (I mean just a powerful ballad with a song I'd say was particularly essential as Angelica could've potentially seemed superfluous, though one must immediately perish the thought through the sheer emotion and force of Goldsberry's vocals. It's an excellent example of the sort of "tapestry" songs Miranda does, as the segues within style from the more traditional ballad, to the less so more rap styled, back to the climax back to ballad is brilliantly done.)
You'll Be Back - (I have a feeling I'll be getting back to this song in more detail as I do think a great deal of why I love it comes with the performance. It's brilliant though altogether as musically the most traditionally musical song that is a great touch for George III against the revolutionaries, which is great as that, with exceptional lyrics as the most vicious "love letter" one could imagine.)
Who Lives, Who Dies, Who Tells Your Story - (Amazing instrumentation that so strongly emphasizes it with the beautifully rendered combination of styles that merge beautifully, along with it being such a fantastic sort of finale in terms of checking within each of the characters well commenting on Hamilton.)
Burn - (Well thinking about this song some more probably can raise Soo another .5, as her vocals are so impassioned yet grant the sense of the vulnerability. Love this song though as the most intense and perhaps direct power ballad within the group. Gorgeously rendered with the more traditionally support from the orchestration, that only increases the sheer intensity of the song that is magnificent. How to do a "inner monologue" song honestly.)
It's Quiet Uptown - (A beautifully rendered somber piece, especially love the use of really the blending of the different strings that only amplifies the appropriately downtrodden approach within the vocals that creates such a striking sense of the place of the characters.)
What'D I Miss - (Side note loved the introduction of the "big" characters as these sort of club introductions. This one is just extremely fun and sets the tone so well in terms of what Diggs is going to be doing as Jefferson. The whole song though is just so entertaining in doing it as this big ole's romp of announcement of the next major player.)
Dear Theodosia - (Wonderful gentle sort of lullaby with a particularly with a nice different side of Burr, with just a lovely duet between Miranda and Odom that is so warm and lovely in its relative simplicity.)
Non-Stop - (Great example of the sort of daring within the songs that don't really satisfy as a single approach even to a single song. This is though also excellent in terms of getting across so much exposition while doing so in way that is engaging musically, yet also doesn't lose you in terms of how much is said throughout. It manages to give you the history while checking in with the characters, and particularly excels in creating that duality between Burr and Hamilton.)
Wait For It - (In a way the opposite companion song to Non-Stop in giving the Burr's approach to speak, here given to the character in again a more sort of vulnerable version. Wonderful musically the sort of dance syncopation and the echoing of the sort more tender thoughts of Burr's character.)
My Shot - (Just clever choice from the outset though in both being really Hamilton's final fate and his motivation as well, as a most frequently recurring song. Great sort of "fight" song that builds in that sense, while also weaving again so exceptionally the sheer amount of exposition within the rap segues. Again notably in all the songs just how much really there is within every song in terms of the lyrics, which are great, its ability to tell the story which is great, and the mixing in terms of how dynamic the style is realized with the unique orchestrations, which is also great.)
Calvin:
Although not the exact vocal range, in terms of presence yes.
Louis: On your updated Cronenberg ranking, you listed The Fly as your favorite of his, when in a previous list, it was Videodrome. Any specific reasons for the change?
Loved Hamilton, I’d definitely go higher for Odom Jr. though. And honestly watching how they perform onstage adds such another layer of dimension to the music.
I also watched Hamilton. I liked it, and I totally see what all the hype was/is about. Diggs MVP...I think.
I’ll be honest though, I actually didn’t know the musicals’ almost 3 hours long, but given that the music had a nice flow, I didn’t mind much. My #4 of the year.
In reference to Louis' underrated actresses list, who would you guys say are the most "perfectly rated" actors working today; As in, who gets the most consistent praise for their finest work, and who has been properly recognized by the various awards bodies?
Well any director worth a salt best be pretty good with blocking. PTA though does pay particular attention towards the position and moving of his actors. There is a sense of this in almost any scene he directs, whether it be Plainview's increasingly menacing movements against Sunday at the climax of There Will Be Blood, Big Foot juxtapositions against Doc in Inherent Vice, part of the sort emotional movements in Magnolia or the tracking shots of Boogie Nights. Although perhaps one of my favorites is, as minute as they seem, everything he does in John Moore's objections to Dodd, scene from Moore peeking out, from Dodd slightly listening in his position towards fully confrontation.
Anonymous:
Picture, Director, Acting, Sound Mixing, Editing and Cinematography.
123 comments:
1. Oscarsson
2. Pleasence
3. Warner
4. Axberg
5. Solonitsyn (Directors film)
Louis: Do a review of Hudson if he's a 5 for you.
1. Pleasence
2. Oscarsson
3. Axberg
4. Solonitsyn
5. Warner
1. Oscarsson
2. Pleasence
3. Axberg
4. Warner
5. Solonitsyn
Louis: Your rating and thoughts on Kristen Stewart in Camp X-Ray.
1.Oscarsson
2.Axberg
3.Pleasence
4.Warner
5.Solonitsym
And I'm so happy you really enjoyed Green in 600.
I watched Oscarsson today and thought he was pretty great and if Louis likes/loves the film could see him getting a strong 4.5, maybe even a 5.
1. Oscarsson
2. Axberg
3. Pleasance
4. Warner
5. Solonitsym
1. Oscarsson
2. Axberg
3. Pleasence
4. Solonitsyn
5. Warner
It was I who requested Oscarsson and Axberg and I highly recommend them to everyone else.
Also, some movie recommendations for the female categories: The Group, Wings, Red Angel, You're Big Boy Now and 7 Women.
1. Oscarsson
2. Axberg
3. Pleasance
4. Warner
5. Solonitsyn
1) Oscarsson
2) Pleasence
3) Axberg
4) Warner
5) Solonitsyn
1. Oscarsson
2. Pleasence
3. Warner
4. Axberg
5. Solonitsyn
Louis: Your thoughts on Pei-Pei in Lilting.
Luke, your rating predictions for this lineup.
Pleasence - 5
Oscarsson - 5
Axberg - 4.5/5
Solonitsyn - 4/4.5
Warner - 4/4.5
Newman - 4.5 (Have a feeling this maybe one of his signature roles)
Louis: I can't wait to get your thoughts on the 'Bell' scene in Andrei Rublev.
Louis: And your thoughts on Ronit Elkabetz in Gett.
Luke: *Points at Eva Greens rating and thoughts* There. THERE. Are you happy?! :)
Bryan: Yes I Am. :)
Louis: Ratings and thoughts on David Koechner in Cheap Thrills?
And would The Perfect Dictatorship and Wild Tales make into your top 25 films of the year and your top 10 ensembles, and if so where qould they rank in each?
1. Oscarsson
2. Pleasence
3. Axberg
4. Warner
5. Solonitsyn
GM: Thank you so much! All added to my watchlist.
Hunger is on YouTube by the way, y’all, in case you’re trying to find it, under ‘Sult’.
And Louis: Your thoughts on Ronit Elkabetz in Gett: The Trial of Viviane Amsalem? It sounds absolutely fascinating.
1. Oscarsson
2. Pleasence
3. Axberg
4. Warner
5. Solonitsyn
Also your thoughts on the ‘Death’ music scene (the ‘kiss’ scene so to speak) from A Girl Walks Home Alone at Night? I get what you mean about the film having a bit of too slow a buildup but I loved that scene. And the cat, you gotta love the cat.
RatedRStar: Is it Daniel Wu.
Louis: I would like to change my request for 2002 Lead from Greg Kinnear in Auto Focus to Bill Paxton in Frailty. The latters film is more interesting to discuss and I want to guarantee him a spot there.
Please tell me it’s switching from Wu to Tse haha
Bryan: Would you suggest McConaughey for a co-review and still have Kinnear in the lineup.
Because I think Louis always intended to review Paxton in Frailty.
Luke: McConaughey, yes. Kinnear, I’m honestly not sure, because Auto Focus is a “This happened, then this happened” type of biopic, and Kinnear doesn’t get much of a chance to explore Bob Crane. He’s still good enough though.
Bryan: Fair enough. Maybe Jeremy Renner in Dahmer for the 10th spot would be a good one though the film itself isn't good.
1) Pleasence
2) Oscarsson
3) Warner
4) Axberg
5) Solonitsyn
My hopes for 2002 are for Ejiofor and Sananda to get 5’s, Brody to take the overall, and Leung to stay in the top 5.
Calvin: I think Louis has too much affection for Liotta's performance that I just can't see Brody overcoming it. Day-Lewis I wholly expect to finish above Leung and we can't rule out Ejiofor, Gulpilil, Sol and McConaughey either.
1. Per Oscarsson
2. Donald Pleasence
3. David Warner
4. Anatoly Solonitsyn
5. Eddie Axberg
Michael: Your ratings for those 5.
Much as I love Day-Lewis’ performance and the ones I’ve seen it would break my heart to see his best work fall out of it.
In fact ill stick with it for now and come back to it when I have eventually seen the film that I am hiding.
Luke: Oscarsson and Pleasence are on the 4.5/5 border, the rest are 4.5s.
Luke: You suggested The Bible: In the Beginning before. I would absolutely love to read Louis' thoughts on that experience. Performance wise, it's definitely all over the place.
Michael: Your thoughts on Andrei Rublev.
Luke, your top 5 director prediction.
1. Oscarsson
2. Axberg
3. Pleasence
4. Solonitsyn
5. Warner
1. Donald Pleasence
2. Per Oscarsson
3. Eddie Axberg
4. David Warner
5. Anatoly Solonitsyn
Anonymous:
1. Leone
2. Tarkovsky
3. Okamoto
4. Zinnemann (The top 4 in itself is incredibly strong. A Man For All Seasons has many scenes that I love whether it's the opening, Henry's arrival at More's estate or the Trial scene)
5. Frankenheimer
1. Oscarrson
2. Oxberg
3. Pleasence
4. Warner
5. Solonitsyn
Louis: Haven't asked this in a while, so could I have your thoughts on these two anime openings?
https://www.youtube.com/watch?v=WB9c5avV8uU
https://www.youtube.com/watch?v=75ddHwUbW5w
*2. Axberg
Louis, have you seen The Normal Heart. If so, your thoughts on the film and cast with ratings.
1.Oscarsson
2.Pleasence
3.Axberg
4.Warner
5.Solonitsyn
since the older Reviews do not have the "Best Scene:" would you say there is a single best Moment for F. Murray Abraham in Amadeus? As i just rewatched it, i think i would say it's the Scene where he directs an orchestra and Jeffrey Jones Hands him a medal calling it the greatest opera of all time.
Just the sheer Energy and Passion he brings to it, mixed with the first relieved, than flattered and ultimately genuinely happy reaction to getting applauded
1. Axberg
2. Pleasence
3. Oscarsson
4. Warner
5. Solonitsyn
Tim: Either his last scene with Hulce or explaining his plan to kill Mozart.
Films To Watch
Seconds (Please watch during Lead)
The Big Gundown
Le Deuxième Souffle
Hawaii
The Bible: In The Beginning… (John Huston/Peter O'Toole)
The Battle Of Algiers
Au Hasard Balthazar (Bresson)
Wings
Funeral In Berlin (Michael Caine)
Gambit (Michael Caine)
War And Peace Parts I and II (Bondarchuk)
The Hero (Satyajit Ray)
King Of Hearts (Alan Bates)
Grand Prix (John Frankenheimer)
La Grande Vadrouille
Torn Curtain
Our Man Flint
Is Paris Burning?
Dracula: Prince Of Darkness
Daisies
The Taking Of Power By Louis XIV (Roberto Rossellini)
For Love And Gold (Mario Monicelli)
Closely Watched Trains
The War Is Over
Kill Baby, Kill (Mario Bava)
Woman Of The Lake
The Pornographers
Masculin Féminin (Leaud/Godard)
The Group
The Chase (Marlon Brando)
7 Women
Red Angel
Cathy Come Home
You're A Big Boy Now
Tokyo Drifter
Cairo 30
Black Girl
The Interview
Silence Has No Wings
The Priest And The Girl
The Round-Up
My Sister, My Love
A Fine Madness
Violence At Noon
Come Drink With Me
Father (Istvan Szabo)
Carriage To Vienna
Time To Die
The Shooting
Ride In The Whirlwind is 1968.
Louis: Could you watch the 203 minute cut of Andrei Rublev on the Criterion Channel.
Louis: It's titled 'The Passion According To Andrei'.
Guys, do you think Louis' top ten for 1966 will have the most changes because 6-10 will definitely be pushed out.
Louis, I agree with Luke, there's nothing wrong with a little more Tarkovsky. The man's a bloody genius.
I assume this will be your background image.
https://i.ytimg.com/vi/_cFeXxPOdr0/maxresdefault.jpg
1. Oscarsson
2. Pleasence
3. Warner
4. Axberg
5. Solonitsyn
Luke: The only thing I'm hoping for is for Burton to stay in the top 5, or go above Scofield in the ranking.
Tahmeed: I think he'll still be in the top 5 but I think Scofield will keep the Oscar win because he was 5th in the overall originally then went up to 3rd.
Tahmeed: By the way, I meant films not the lead performances.
Everything below Persona will be pushed out.
Anyway, I utterly love Scofield in AMFAS so I personally hope he keeps the win.
Luke: I love Scofield too, but Burton is one of my favourite film performances ever.
Matt: Mine too, he's a very, very easy win for me for this year.
Luke: I’m not in a place to go super deep into my thoughts about it right now but I thought it was excellent.
Who are y’all hoping gets reviewed first? I’m pretty eager for Axberg for some reason.
I really love 1966 as a year for film, its up there for me with 1962 as a very enjoyable year for film.
I actually was happy with the Oscar nominations that year, like its so good to see the likes of Robert Shaw finally recognised, James Mason getting that overdue second nomination as well.
Michael: Well, seeing that Solonitsyn will probably be the last, either Axberg or Newman then Pleasence.
I do wonder who was sixth place for Best Actor that year, since it seems like Scofield, Burton, McQueen, Arkin and Caine seemed like safe bets, I wonder if Max Von Sydow was the sixth pick.
I watched Amazing Spider-Man 2 because I hate myself.
Garfield-2.5
Stone-3.5(She deserved better)
Foxx-1
DeHaan-1
Field-2
Cooper-1(He looked pissed that he even had to be there)
Csokas-1(LOL)
Giamatti-1
Colm Feore and Campbell Scott are actually OK in pointless roles.
Felicity Jones had scenes cut, I think.
Matt: I’m sorry for your loss.
When it comes to ‘delusions of grandeur’ I think there are few films that come close to the universe building of Amazing Spider-Man.
Matt: Why you gotta do that to yourself, man?
Well, i think i had a better eveninng than Matt. I watched In Cold Blood and Capote yesterday.
I enjoyed both of them a lot, and of course i would have liked them both taken on their own, but watching both together just made it ten times better. They complete each other so perfectly that i am only ever going to watch them as a double feature.
But overall i think i preferred In Cold Blood. It just has this slight Edge of having higher highs like cinematography so gorgeous it borders to bragging.
In Cold Blood)
Blake: 5
Wilson: 5
Forsythe: 2 (Kind of boring, and honestly not really needed for the movie)
Corey: 3
Flavin: 3
Capote)
Hoffman: 4.5 (a bit too theatrical, but Truman should not be played subtly anyway)
Keener: 2.5 (weird Nomination really)
Collins: 3.5
Pellegrino: 2.5
Greenwood: 2.5
Cooper: 3.5
Hamilton is indeed great.
ruthiehenshallfan99:
I've seen it, it is indeed a weird experience.
Luke:
Stewart - 4(The best performance I've seen from her. This as the role plays well into her naturally rather introverted screen presence. She does well within using that to create effectively the sense of the character very much within the surface. This initially in just in terms of being defensive and trying to fulfill her duties. She's terrific as she sort of shows the slight change even within that presence in just very quiet and earned moments of either concern or even tenderness in her scenes with Maadi.)
Pei-Pei - (Her performance is interesting in that it is very much built within the delayed reaction as almost all important information is translated to her. She's terrific though in working within this sort of state. This in showing the detachment from it initially, but also sort of the emotional reactions that become stronger throughout the translations. Her performance never feelings handicapped by this but rather she infuses within so well the sense of the person working through what she's working through as funneled through an unusual exercise/position.)
Elkabetz - (The film is essentially if Marriage Story was only the courtroom scene and if Adam Driver's character was a whole lot less sympathetic. Although obviously quite the shame she died so soon afterwards it is a remarkable swan song performance and notable work as a director as well. Her performance though is fantastic in basically throughout the early scenes her reactions are what says so much about her character. This as we are granted the sense of her relationship with every witness but also every aspect of her husband. Her performance has wonderful moments of appreciating a friend for a moment or just having the moment of hearing the same thing she's probably been hearing again and again. She's outstanding though the same in showing throughout her performance is this slow descent from a certain courtroom stoicism towards slowly breaking down in the woman just asking for her freedom again. Her scenes of finally lashing out are both cathartic and heartbreaking as she reveals so well just the weight of the proceedings as they continue to deny her.)
Emi Grant:
1. Birdman
2. Inherent Vice
3. The Grand Budapest Hotel
4. The Drop
5. Wild Tales
6. The Perfect Dictatorship
7. What We Do in the Shadows
8. Calvary
9. Selma
10. Pride
11. Captain America: The Winter Soldier
12. A Most Wanted Man
13. Wild Tales
14. Guardians of the Galaxy
15. Paddington
16. The Perfect Dictatorship
17. What We DO in the Shadows
18. Locke
19. A Most Violent Year
20. Two Days, One Night
21. Gett: The Trial of Viviane Amsalem
22. Charlie's Country
23. Haider
24. Coming Home
25. The One I Love
Koechner - 3.5(I'd say his performance most made the film's tone work as he was the best in bringing the needed degree of dark humor. This with his approach that carries this certain cheekiness that is well used though with an undercurrent of a vicious darkness beneath it. I especially love his reaction in the moment of pointing out his martial arts photo, as he is both in the moment quite menacing but also hilarious. His performance I think actually alluded to greater potential than the film achieves.)
Louis: Your thoughts on the whole experience and cast with ratings if possible.
Louis: I meant Hamilton. I'm sure you'll save Huston's biblical epic for the results.
I think Hamilton being filmed was such a great idea, like you actually get to see the proper show with the proper stars that did it, I wish that more Tony award winning musicals/plays would get the same treatment, it would attract so many people who arent usually theatre types to go see them.
Hadestown for example, I would love to see the Tony cast do that.
Louis: Bryan switched his request for Kinnear to Paxton.
Louis: If you haven't written them down already, what would be your top 10 acting moments of Emily Blunt? I don't personally have a list of my own, but some of my favourites would be the following;
Ending - Sicario
"My middle name is Gwen" - Edge of Tommorow
"You eat carbs for christ sakes" - The Devil Wears Prada
Muffled Birth/"You have to protect them" - A Quiet Place
"Your not expendable to me" - The Young Victoria
I should also mention that I haven't seen "The Adjustment Bureau" all the way through, and it's been to long since I watched "Into the Woods" to really comment on it.
Louis, what background image did you use for 66.
Luke:
Well it's definitely the best filmed stage version I've seen of a musical just in terms of itself, though the funny thing is I'd say even in this form it is better than most cinematic musicals in the last few years. It still entirely works as the songs are catchy and engaging, with a particular narrative thrust about them that I loved. Of course being a mark for Revolutionary period to begin with, that probably helped, but honestly I just loved every minute of it, and all the stylistic choices wholly worked in its extremely unique presentation of a biography. I'll say because of the momentum of the songs, I think it would be ideal for a fully cinematic version, however it would need a director with a visual sense to match that momentum, so if it is still in the works they should have a legal restraining order on Bill Condon, Rob Marshall and last and least Tom Hooper from ever approaching it. It deserves someone with a fresh take on the cinematic musical, and I'd love to see that take. However I loved seeing this take as well.
Saving Groff and Diggs (whose characters/performances I'd think would need the least changes for a properly directed fully cinematic version.)
Miranda - 4
Odom - 4
Soo - 3.5
Goldsberry - 4
Jackson - 3.5
Jones - 3
Onaodowan - 3
Ramos - 4
Tahmeed:
The first very much reminded me of a fighting game style opening, Street Fighter in particular, I'd have to say that there must be some overlap there I'd imagine. Song's fine though just kind of a whole lot at the same time, maybe too much.
Had similar feelings with the second, particularly the song that often sounded like a character select screen, though it does segue way into a kind of fun little random dialogue. The animation itself I thought was a little much overall and not exactly in a great way this time.
Anonymous:
The Sword of Doom, didn't quite like how TGTBTU's shot cohered with the other shots around it (though obviously love the shot itself).
Louis: Your thoughts on the cast. Very happy to see Groff and Diggs saved.
Luke:
Side note I do actually enjoy the absence of John Adams as almost the recognition of having been the main focus of the spiritual predecessor 1776.
Miranda - (His work along with Odom and Soo I think would technically benefit most from a bit more intimacy within the cinematic form. This as all three have emotional moments that are played more grandiose, since you have to see it after all, not poorly but I could definitely see potential there in a more close up orientated format. Anyway though this is still strong work even within that minor reservation, that wouldn't exist out of the format anyways. Miranda though brings a dynamic spirit in his performance which is interesting in that he doesn't do a lot of dancing and his singing technically less dynamic. All that I think works as making him the centerpiece with his work most strongly built around sort of the passion with the cunning that is wrapped together with his performance. Miranda's work finding sort of the sense of spirit of Hamilton which is to be both cutting and earnest, witty yet direct. His greatest moments I'll say come with the literal rap battles of values as they most strongly represent Miranda's talent, and each is a highlight through it. Although again though I think the emotions are attuned a certain way, he still hits them well in crafting a variation within the character quite remarkably.)
Odom - (Amazing singing of course in his role that to me played a large part like Judas in the commentating secondary protagonist and technical antagonist. I think this is the part I think most could really benefit from expansion of allowance of nuance just in the idea of the perpetual political player without purpose though always there. Odom though brings this to life, along with the commentary, though with a certain devious bent. I don't think he overdoes this though finding the right moments of changing this slightly to convey the more emotional moments and the sense of jealousy forming in Burr throughout the musical. Odom though perhaps is the highlight as the commentator where he brings through his vocals such a dynamic intensity.)
Soo - (I'd actually move her up to a 4. Her performance though delivers the right sort of direct earnestness supported up very much by the passion of her performance every time that works in creating the idea of the character. She's wonderful though in bringing to life particularly with the right meekness in contrast to Goldberry's performance. She excels most though in the second half in bringing to life well the moments of overt sadness later on and certain bitterness that feels naturally found within such an otherwise optimistic presence.)
Goldsberry - (One where it is all about really the ferocity of the performance, in which she certainly delivers where the emotion is all in the song, where you get the sense of what is needed as her exceptional presence so to speak.)
Jackson - (Less interesting in the second half I think where he just becomes a ref basically. He's quite good though in his more dramatic first half though in bringing sort of the weight and passion within his performance. In granting the sense of the drive to succeed along with the gravity of the nature of the war.)
Jones & Onaodowan - (Both are fine but I do think they are very much overshadowed within the scheme of the film, although that is entirely in the nature of the characters within the musical.)
Ramos - (I'll say though I think he was good as Philip Hamilton, that is definitely the one major change at least would be needed for an adaptation. Ramos though is fantastic though in Laurens in bringing within his performance sort of this even greater passion where he creates sort of the sense of it more unwieldy compared to Hamilton's specifically restrained passion. He's great in showing the right type of firebrand though in the sense, and in turn creating the right sort of martyr for ideal within that.)
Well, I just finished watching Hamilton myself, and I absolutely loved every single second of it. It's easily my favorite film of the year, without a doubt.
Miranda- 4.5
Odom Jr- 4.5
Soo-4
Goldsberry-5
Diggs- 5 (MVP for me)
Ramos-4
Groff- 4.5
Jackson- 4
Onandwan-3
Jones- 3.5
Louis: Your top ten favorite songs from Hamilton, and your thoughts on each of them. My own top ten would be-
1. Satisfied
2. Wait for It
3. Yorktown (The World Turned Upside Down)
4. My Shot
5. Non-Stop
6. You'll Be Back
7. Dear Theodosia
8. Who Lives, Who Dies, Who Tells Your Story
9. It's Quiet Uptown
10. What'd I Miss
Just finished watching Hamilton. Amazing stuff, specifically with how it was shot, directed and acted.
Here are my cast ratings:
Lin-Manuel Miranda - 4.5
Leslie Odom Jr. - 4.5
Phillipa Soo - 4
Daveed Diggs - 5
Renee Elise Goldsberry - 4
Jonathan Groff - 5
Christopher Jackson - 3.5
Okieriete Onaodowan - 3
Jasmine Cephas Jones - 3
Anthony Ramos - 4
As far as what my favorite songs were (in no order):
It’s Quiet Uptown (which would be my favorite)
The Room Where It Happens
My Shot
Satisfied
Non-Stop
Burn
I Know Him/What Comes Next (Groff is so good to the point that I cannot choose between these two)
Who Lives, Who Dies, Who Tells Your Story
Alexander Hamilton
Stay Alive
Yes, definitely save your thoughts and ratings on The Bible (1966) for supporting results, since no one is really the lead.
I actually saw Hamilton on stage in Washington D.C. two years ago. I think it was the touring cast. It was a great experience, but it suffered from the guy playing Burr doing this REALLY weird Hans Landa/Littlefinger thing with his voice and mannerisms that threatened to derail the show when it wasn't one of Burrr's showstoppers. He had a shit-eating grin PLASTERED on his face.
Seeing the original cast was very different. I've listened to soundtrack a million times. After seeing it on stage the first time, it just kept bugging me what the original production was like in comparison. In terms of production value, it was entirely the same. But seeing the actors I've heard singing on my car speakers and on my phone playlists so many times actually in action was something special. It's hard for me to put into words.
In terms of MVP, it's hard for me to say. I think I'm leaning Diggs, but Odom, Soo, Groff, Goldsberry, and Jackson were all kind of perfect. (Believe me, if you guys saw the Burr I did, you would be waxing poetic about Odom more).
Robert: So he thought Burr was like just a straight villain? Wow.
Tahmeed:
I'll start with the top ten, I'll get you the thoughts tomorrow.
1. Satisfied
2. You'll Be Back
3. Who Lives, Who Dies, Who Tells Your Story
4. Burn
5. It's Quiet Uptown
6. What'd I Miss
7. Dear Theodosia
8. Non-stop
9. Wait for It
10. My Shot
Matt: He was playing up the conniving aspect to a point where he was entirely charmless. I guess it sort of makes sense the other characters barely tolerate Burr, but it got grating quickly. The facade breaks too easily. I'm sure it seemed like a bold choice and a way not to copy Odom, but it ultimately was counterproductive.
Robert: OK, well I can see the logic there at least, I guess.
Matt: The weirdest part was the guy's singing voice felt entirely incongruous to the rap-talking portions. Two entirely different pitches. Didn't sound like the same guy. Technically a great singer, though.
Robert: Do you remember his name or would you rather not say?
Matt: Too lazy to check. I'm not talking about it publicly on Twitter because I saw the guy on there once where he ADMITTED the Hans Landa connection.
I’m looking forward to finding a way of watching Hamilton. I adore the soundtrack, my favourite song in it is weirdly enough Wait for It even though it’s kinda simpler compared to a lot of the other ones? So eager to see how seeing them in performance will be like.
On that note have what are some stage performances you’ve all seen which completely blew you away? Timothy Spall and George MacKay in The Caretaker for me, and the one time I’ve been to see Les Mis pretty much everyone was perfection and it was a matinee, so quite a few of the cast weren’t even the regulars.
My top 10:
1. Wait For It
2. Burn (both productions I saw it tore the house down)
3. The Room Where It Happens
4. Satisfied
5. You'll Be Back (by extension the other two George numbers)
6. What'd I Miss?
7. It's Quiet Uptown
8. Who Lives, Who Dies, Who tells Your Story
9. One Last Time
10. My Shot
And Louis: Odom for Judas in Jesus Christ Superstar? (I know nothing about music to know if he has the right ‘voice’ but considering his range I think he’d handle it)
Calvin: If we're limiting it to just shows we've seen live, Corrine Koslo, a Canadian actress, was one of the best Mrs. Lovett's I've ever seen.
If we're including filmed performances than my answer without any doubt is Christopher Plummer in The Tempest.
Calvin: Considering Brandon Victor Dixon (who I believe was the third actor to play Burr in the Broadway show) played Judas in the live show, that doesn’t seem out of the question. Though i haven’t heard Odom do any rock tenor stuff, it doesn’t seem like his typical range but I couldn’t say for sure.
I’ve also been saying for years how cool it would be to do a revival of Amadeus with Miranda as Mozart and Odom as Salieri.
Calvin: Also regarding stage performances, the two times I saw Brian Dennehy he was pretty amazing.
Matt: those all sound great especially Dennehy, I’ve heard many amazing things about his stage work. And if we’re counting filmed stage work then my English teacher at school got us to see a full filmed performance of Mark Rylance in Jerusalem. It was amazing.
Michael: that Amadeus idea sounds brilliant. Both would be PERFECT for the roles.
Louis: Would you say Damien Chazelle would be a good choice to direct a proper cinematic adaptation of Hamilton?
Tahmeed:
Out of all the current directors with any sort of cinematic musical bona fides, yes. This as I feel he does have two essentials one being an understanding of comedy (something my aforementioned banned directors might want to foolishly remove), and production design which I think would be absolutely essential to making a cinematic version work.
Satisfied - (I mean just a powerful ballad with a song I'd say was particularly essential as Angelica could've potentially seemed superfluous, though one must immediately perish the thought through the sheer emotion and force of Goldsberry's vocals. It's an excellent example of the sort of "tapestry" songs Miranda does, as the segues within style from the more traditional ballad, to the less so more rap styled, back to the climax back to ballad is brilliantly done.)
You'll Be Back - (I have a feeling I'll be getting back to this song in more detail as I do think a great deal of why I love it comes with the performance. It's brilliant though altogether as musically the most traditionally musical song that is a great touch for George III against the revolutionaries, which is great as that, with exceptional lyrics as the most vicious "love letter" one could imagine.)
Who Lives, Who Dies, Who Tells Your Story - (Amazing instrumentation that so strongly emphasizes it with the beautifully rendered combination of styles that merge beautifully, along with it being such a fantastic sort of finale in terms of checking within each of the characters well commenting on Hamilton.)
Burn - (Well thinking about this song some more probably can raise Soo another .5, as her vocals are so impassioned yet grant the sense of the vulnerability. Love this song though as the most intense and perhaps direct power ballad within the group. Gorgeously rendered with the more traditionally support from the orchestration, that only increases the sheer intensity of the song that is magnificent. How to do a "inner monologue" song honestly.)
It's Quiet Uptown - (A beautifully rendered somber piece, especially love the use of really the blending of the different strings that only amplifies the appropriately downtrodden approach within the vocals that creates such a striking sense of the place of the characters.)
What'D I Miss - (Side note loved the introduction of the "big" characters as these sort of club introductions. This one is just extremely fun and sets the tone so well in terms of what Diggs is going to be doing as Jefferson. The whole song though is just so entertaining in doing it as this big ole's romp of announcement of the next major player.)
Dear Theodosia - (Wonderful gentle sort of lullaby with a particularly with a nice different side of Burr, with just a lovely duet between Miranda and Odom that is so warm and lovely in its relative simplicity.)
Non-Stop - (Great example of the sort of daring within the songs that don't really satisfy as a single approach even to a single song. This is though also excellent in terms of getting across so much exposition while doing so in way that is engaging musically, yet also doesn't lose you in terms of how much is said throughout. It manages to give you the history while checking in with the characters, and particularly excels in creating that duality between Burr and Hamilton.)
Wait For It - (In a way the opposite companion song to Non-Stop in giving the Burr's approach to speak, here given to the character in again a more sort of vulnerable version. Wonderful musically the sort of dance syncopation and the echoing of the sort more tender thoughts of Burr's character.)
My Shot - (Just clever choice from the outset though in both being really Hamilton's final fate and his motivation as well, as a most frequently recurring song. Great sort of "fight" song that builds in that sense, while also weaving again so exceptionally the sheer amount of exposition within the rap segues. Again notably in all the songs just how much really there is within every song in terms of the lyrics, which are great, its ability to tell the story which is great, and the mixing in terms of how dynamic the style is realized with the unique orchestrations, which is also great.)
Calvin:
Although not the exact vocal range, in terms of presence yes.
Louis: Who are your ten most underrated actresses currently working.
Louis: On your updated Cronenberg ranking, you listed The Fly as your favorite of his, when in a previous list, it was Videodrome. Any specific reasons for the change?
Loved Hamilton, I’d definitely go higher for Odom Jr. though. And honestly watching how they perform onstage adds such another layer of dimension to the music.
I also watched Hamilton. I liked it, and I totally see what all the hype was/is about. Diggs MVP...I think.
I’ll be honest though, I actually didn’t know the musicals’ almost 3 hours long, but given that the music had a nice flow, I didn’t mind much. My #4 of the year.
Louis: Your interpretation of Eliza's gasp towards the audience at the end of Hamilton, and where would it rank in your top ten for the year so far.
Louis: Also, out of curiosity, what’s your “lowest” 5-star rated film on the Top Tens for the following years?
1971
1987
1996
2005
2008
Bryan: Wake In Fright is a 5 and I think he gave The Devils a five as well when viewing his Film Thoughts blog.
Luke:
1. Kirsten Dunst
2. Jessie Buckley
3. Elizabeth Debicki
4. Hong Chau
5. Linsay Dunacan
6. Lesley Manville
7. Elle Fanning
8. Mary Elizabeth Winstead
9. Mia Wasikowska
10. Amanda Seyfried
Tahmeed:
It's my #1 pretty easily at the moment.
I took it as essentially her reaction to seeing what is beyond.
Bryan:
They're interchangeable so they naturally switch back and forth for me.
87 - The Last Emperor
96 - Breaking the Waves
05 - Cache
08 - Synecdoche, New York
Louis: Would you put Paul Thomas Anderson as among the best at using blocking? If so, why?
1. Oscarsson
2. Axberg
3. Pleasence
4. Solonitsyn
5. Warner
In reference to Louis' underrated actresses list, who would you guys say are the most "perfectly rated" actors working today; As in, who gets the most consistent praise for their finest work, and who has been properly recognized by the various awards bodies?
Louis what of your personal awards is Hamilton eligible for?
Anonymous:
Well any director worth a salt best be pretty good with blocking. PTA though does pay particular attention towards the position and moving of his actors. There is a sense of this in almost any scene he directs, whether it be Plainview's increasingly menacing movements against Sunday at the climax of There Will Be Blood, Big Foot juxtapositions against Doc in Inherent Vice, part of the sort emotional movements in Magnolia or the tracking shots of Boogie Nights. Although perhaps one of my favorites is, as minute as they seem, everything he does in John Moore's objections to Dodd, scene from Moore peeking out, from Dodd slightly listening in his position towards fully confrontation.
Anonymous:
Picture, Director, Acting, Sound Mixing, Editing and Cinematography.
Post a Comment