I don’t think I’m ever going to understand the Hill praise you guys gave him. He’s not even not even my fifth favorite performance in that movie, extended or otherwise.
Louis: Have you seen any of these. Films To Watch (Re-post) Shackleton (Kenneth Branagh) Path To War (Frankenheimer/Sutherland/Gambon) Live From Baghdad (Michael Keaton) RFK (Linus Roache) Hysterical Blindness (Uma Thurman) Road To Perdition (Upgrade for Paul Newman) About A Boy (Adapted Screenplay/Toni Collette) Morvern Callar (Ramsay/Morton) Dahmer (Jeremy Renner) We Were Soldiers Phone Booth (Colin Farrell) K-19: The Widowmaker (Ford/Neeson) Lilo & Stitch Treasure Planet The Bourne Identity The Ring (Naomi Watts) Irreversible Sweet Sixteen (Ken Loach) The Warrior (Irrfan Khan) Devdas Equilibrium Bend It Like Beckham The Good Girl Igby Goes Down Chi-Hwa-Seon (Choi Min-Sik) The Crime Of Father Amaro (Gael García Bernal) Zus & Zo Man On The Train Blue Gate Crossing Ten Thirteen Conversations About One Thing (Alan Arkin) Ivans XTC. Philanthropy The King Solaris (Soderbergh) Max (Noah Taylor as Adolf Hitler) May Dog Soldiers Heaven (Tom Twyker/Cate Blanchett) Bubba Ho-Tep John Q (Denzel Washington) Femme Fatale (Brian De Palma) Evelyn The Adversary (Daniel Auteuil) Blissfully Yours Atanarjuat: The Fast Runner Dolls Amen. Together Demonlover (Olivier Assayas) The Power Of The Past Personal Velocity: Three Portraits
Wong - 4(It is very much a supporting performance in the purest sense of the term, as in he is mainly there just to support Ejiofor's character as the concerned if far more happy go lucky best friend. Wong excels with this though really bringing that charisma of his, that I wish would be exploited more often, in portraying the earnest if somewhat sardonic nature of the character. Wong making an impact within his scenes in bringing a lot of life even if in a way he's there mostly to facilitate something for Ejiofor's character. Wong makes it more than that through the energy he brings to the part and makes an impact beyond the role I would say.)
Tanaka - 4(Altogether terrific one scene wonder as he portrays sort of just a man completely spent when Sanada first approaches him. Tanaka portraying in a way the wear that might've been Seibei if he had a different approach to life. Tanaka's best though in bringing that nice since of camaraderie in his scene granting the right sense of empathy in his manner as he speaks of his own woes with just a blunt quiet heartbreak then listens to Seibei's. This until the latter says the wrong thing and Tanaka bears the right sort of insanity of a man basically blaring with his pride, being basically the only thing he has left to be angry about.)
Christopher Doyle's cinematography in Hero is downright amazing work. Side note, I have to say I wish the third act hadn't been so unwieldy and sagged so much, as I loved the film entirely before it started doing a twist upon a twist upon a twist, hitting the same beats again and again then randomly resolving itself in a way that more forgot the characters in favor haphazardly introduced nationalism theme. Anyway though one element that remained consistently great, well that and the costumes, and production design as well which would be my wins in most years, is Doyle's visual work. I mean the leaves scene alone should've earned it a nomination. Every shot, including the action movement, is so immaculately realized. This from the dynamic grandiose composition, but also the movements that so effortlessly capture the action in a way that keep them interesting, but never feel gimmicky. That is nothing to the way the lighting realizes the greatness of the production design and costuming, in making the colors and the more vibrant, and the contrasts all the more extraordinary.
Lucas:
Fiennes - 4(Overall I think Tom Noonan's performance is far more interesting as the whole, and his quieter approach is both chilling yet captures more pathos within the character. Having said that in a more straight forward version I do think Fiennes is effective. Although I'm not entirely sure what he's doing with his accent, Fiennes of course can bring the intensity in the moments of the pure insanity of the character. This though in pulling back enough within the moments to show sort of just the deranged broken man that the character is beneath his most repellent moments. Fiennes does realizes the duplicity well if in a more expected and I'd say standard psychopathic sense. Working with a Brett Ratner film though, I'd say he did a fine job.)
McConaughey - 4(A performance that more than anything is just a great use of his voice. This bringing the ideal sort of coating of dread but also nostalgia towards the recollection of the dark story. McConaughey though finding the right sort of curious balance between the character. This between a seeming relief in manner just as he seems to be emotional about. This creating the right sort of mystery however still successfully fulfilling the twist of the film.)
Luke:
Henderson - 3.5(It is a good performance in a pretty limited role. This in the slightly off-beat wife though also in a case of near constant disappointment. She does well with this sort manner though limited as it is.)
Stewart - 3(She's more than fine, again the film has a serious depth-less character issue. She at least brings a little bit character just through her presence at least.)
Whitaker - 4(Easily the best part of the film as he runs with the idea of the man's conflict within the circumstances he finds himself in. This in he brings the sense of frustration in dealing in the job through having to deal with idiots and the certain underlying conviction to try to get his money. He balances this well though with a consistent sense of his character's sympathetic manner, and every single reaction of his suggests the honest decency towards not wanting to do anything horrible.)
Leto - 3(I mean he does a fine job at being a complete obnoxious idiot. I would actually say in a sense he might exit to early, though then again I'm not sure I would have wanted too much more of him. Leto though brings the right sort of eager idiocy however.)
Yoakam - 3.5(I would say his character too is underwritten as the evil one. Yoakam though is effective in delivering each line with the no nonsense manner that carries a certain dread towards his ideas. This however changes once he starts to turn into a human pin cushion, however Yoakam is effective in portraying that physical degradation that slowly turns into an overt insanity.)
Phifer - 3.5(In a certain sense he picks up some of the slack for Eminem to carry their more dramatic moments in creating the dynamic of the friendship. He does so well though in combining that sense of honest frustration with his unambitious friend though with a genuine sense of warmth between them.)
Murphy - 3(Again also picks up some slack in a really limited role as the generalized love interest. She does well though in that sort of narrow perspective though bringing something genuine in a somewhat artificial role.)
Basinger - 2.5(I would argue a bit miscast to begin with. She does actually have decent moments in there, some more of her quieter ones. Unfortunately when she goes big, she goes bad and it is a bit of mix throughout.)
Shannon - 3(More than decent bit of sleazy sleaze.)
Branagh - 3.5(Branagh does cold authoritarian well of course. Here though the best touch is the sort of delivery of his as though he speaks with some type of wisdom to which he is speaking, when all he is spouting is hateful terrible things.)
Gulpilil - 3.5(Has a very limited role in terms of dialogue however he once again offers something through his off-beat presence. This honestly just in brief sort of glances and moments in his work that say a lot, even though he isn't say much of anything.)
Anonymous:
Regarding 24 Hour party people, everyone is good, however every is just like a brief little moment for the most part. Sean Harris probably has the biggest impact, and even he's just kind of a moment. All are good with their brief moments, but limited because of that.
Hoffman - 3.5(I honestly think he borders on bad in his scene with Fiennes as there were moments where he just seemed off, not off as a guy petrified in fear either. Although he makes up for that enough in his end of that scene, and the rest of his work where he is probably sleazy yet egotistical every step of the way.)
Luke:
Duff - (Her performance is the most limited of the main women, however she still makes a haunting impact particularly in the opening. This in just expressing so powerfully the state of heartbreak within the character mistreatment, which does particularly potently by so quietly internalizing all the pain within her performance.)
Hopkins - 3.5(Although expanded a bit, it is interesting to see him in a way doing Brian Cox's material. I will say in their relationship with Graham I think Cox's more hectoring approach is more appropriate, whereas Hopkins obviously needs to just continue with what he did in Silence. It is a fine reprise if less complicated, though naturally so, as his portrayal more emphasizes the character's direct evil in his interactions with Norton. It's good working within the confines of his first performance, but again I do like Cox's approach more with that specific material. Although on that same vein I imagine if Hopkins did Red Dragon first, his performance probably would've been a little different as well.)
Louis: Speaking of Manhunter and Silence, an appropriate film/song question this time, what do you reckon to these 2 songs in regards to the films and in general?
Goodbye Horses by Q Lazzarus Strong as I am by The Prime Movers
Anonymous: Plummer. I know he's got two more opportunities after this to get that elusive five rating but as I've said before, given his reputation, he really shouldn't be fiveless.
Keitel - 3(Fine performance as Crawford in a very straight forward depiction. He's good though in providing the right sort of mentor styled support in the part. This in both bringing an innate toughness but also warmth in there.)
Watson - 3.5(I mean she can do innocence of a certain kind exceptionally well. She certainly does that here effectively and is luminous to be sure. She goes further though in bringing just enough of an earthly quality within the ethereal to be believable. It's an effectively moving performance particularly in the final sequence and one aspect I would put on a more even keel with Manhunter.)
The film I think is just fine, and a better companion piece to Lambs than the bits of Hannibal that I've seen at the very least. It suffers in comparison to Manhunter which does more in working in the the thematic ideas regarding Graham's connection to his job so to speak and the darkness it takes. It's fine though as a straight forward adaptation, helped greatly by having the same screenwriter as Lambs that keeps a general consistency. It doesn't touch that film either, but I would qualify it as good.
The direction though is a bit like Brett Ratner said "Well I saw Silence of the Lambs in a bar last night, the sound wasn't on, but I think I got the gist". Now I actually don't think I'd qualify Ratner as a complete hack, I do have affection for Rush Hour after all, but he's a subpar workman. So if there's vision needed he won't find, luckily Demme already set enough of a template for him to do a lesser copy and paste job. The more straight forward the scene the better it works, but there are little hiccups throughout that show a lack of nuance. One being that lesser thematic weight, but also the use of violence and just little cheap moments, like the jump scares. Manhunter is particularly better in this department as Mann clearly has a striking vision there in comparison, but there's enough there for Ratner to skirt by here.
Well in general...I'll stick to my steadfast rule there...but as used in the films:
Well "Goodbye Horses" I'll say is a scene you're not really focusing on the song to say the least. An effectively unconnected song actually as just something anyone would be playing in a way making all the more disturbing when we see what Bill is doing.
"Strong as I am" features a properly chaotic insanity to the sequence fitting of the mind of the character, amplified so well by Noonan's performance that is both disturbing and a bit heartbreaking.
Matt:
1. Rashomon 2. High and Low 3. Ran 4. Seven Samurai 5. Harakiri 6. Grave of the Fireflies 7. Parasite 8. Spirited Away 9. Yojimbo 10. Ikiru
Lucas:
3.5's, Hoechlin gives a good largely naturalistic turn. This in just portraying the sort of sense of the son's conflict initially with his father, and the distance there. Striking up the right chemistry with Hanks that grows as the film goes on building a sense of warmth between them as they continue. Although it is the other "father"/"son" that really hits the emotional catharsis within the film, Hoechlin's good and delivers on technically the main one as well.
R.I.P. Ben Cross, sad to lose both the Coach and his athlete in such short succession, now there are indeed just "two of us" in Nicholas Farrell and Nigel Havers, as was in the opening of that great film.
Man, almost stealth-like, Better Call Saul has been taking Nacho from a character that I didn't care about at all to one of the most complex characters in the show. It's especially surprising to me because I really didn't think Mando was very good in the first season at all.
Leung - 4(The strongest performance within the film, to the point I almost wonder why he wasn't just lead, I guess for the more overt martial arts, but even in the "supporting" role Leung comes off ever the leading man. Although I think Broken Sword's story was given too many twists and turns for its own good overall, Leung is consistently strong throughout. This within his portrayal firstly as the stoic but fiercely emotional version of the character. We then though shift and he is as good as the stoic yet gently contemplative man. Leung in these moments is terrific in realizing every moment within the sort of emotional context in which his character creates certain conflicts. This well also creating a striking often unsaid chemistry with Maggie Cheung, and the two certainly know how to say a lot in the unsaid glances.)
Bryan:
Although I have no affection for the film the score has to be counted as both striking and quite memorable Philip Glass. Although criticism of being overbearing may be fair, though I attach that more so to the film itself, Glass's work in terms of the sort of melodic precision and use of his orchestration is remarkable completely looked at upon itself. Honestly I find it to be the most memorable aspect of the film itself, as much as I can at times struggle to name specifics about the film, I can recall an instance Glass's contribution.
80 comments:
1. Fraser
2. Lures
3. Spall
4. Plummer
5. Firmino
1. Spall
2. Firmino
3. Fraser
4. Lures
5. Plummer
1. Spall
2. Fraser
3. Firmino
4. Plummer
5. Lures
Thoughts on Wong and Tanaka?
Also, your thoughts on the cinematography of Hero.
5º Plummer
4º Lures
3º Fraser
2º Spall
1º Leandro Firmino ("Brasilllll!")
Also, reading your thoughts on Akinshina reminded me how much I loved her performance so I’m a convert now.
1. Spall
2. Firmino (although I'd love it if he took the line up)
3. Fraser
4. Plummer
5. Lures
Yay! The first of my requests is being reviewed! Hope he does well with you, Louis.
1) Firmino
2) Spall
3) Plummer
4) Lures
5) Fraser
Also, if I might add two things:
1) I remember Fraser being decent enough, but only decent enough, so perhaps I need to revisit his performance.
2) Even though she's my favourite of the actual best actress field, I still wouldn't have expected Louis to love Lane as much as he does.
1. Firmino
2. Spall
3. Fraser
4. Lures
5. Plummer
Louis: Ratings and thoughts on Fiennes in Red Dragon, McConaughey in Frailty and your ratings for Wong and Tanaka?
I’m probably in the minority but I thought Seu Jorge was the highlight, acting-wise, of City of God.
Calvin: I really liked his performance and Haagensen's too, I'd give them both 4's.
So pleased you're reviewing Plummer.
1. Timothy Spall
2. Leandro Firmino
3. Marcel Iures
4. Christopher Plummer
5. Brendan Fraser
1. Firmino
2. Plummer
3. Spall
4. Fraser
5. Lures
Tough to predict from #1 to #4.
Rating and thoughts on:
Shirley Henderson in 24 Hour Party People
The casts of Panic Room, Hero, 8 Mile and Rabbit-Proof Fence
Rating predictions
Firmino - 5
Plummer - 4.5/5 (Could definitely surprise here, his character is more tragic than you would expect)
Spall - 4.5
Fraser - 4.5
Lures - 4
1. Spall
2. Plummer
3. Firmino
4. Lures
5. Fraser
The top 5 is almost certainly going to be Day-Lewis, Newman, Hill, Walken and Williams.
Also just noticed that both my requests made the lead top 5, so I guess the box of chocolates made it to Louis in the end. Apologies about the fruit.
Calvin: Not taking the lineup into account.
1. Day-Lewis
2. Hill
3. Newman
4. Walken (#3 and #4 are interchangable)
5. Williams
I don’t think I’m ever going to understand the Hill praise you guys gave him. He’s not even not even my fifth favorite performance in that movie, extended or otherwise.
1. Firmino
2. Plummer
3. Spall
4. Fraser
5. Lures
1. Plummer
2. Spall
3. Firmino
4. Fraser
5. Lures
Louis, ratings and thoughts on the 24 Hour Party People cast and PSH im Red Dragon.
1.Spall
2.Firmino
3.Plummer
4.Lures
5.Fraser
1.Firmino
2.Plummer
3.Spall
4.Plummer
5.Fraser
Louis: Rating and thoughts on Hopkins in Red Dragon and Duff in The Magdalene Sisters.
Louis: Have you seen any of these.
Films To Watch (Re-post)
Shackleton (Kenneth Branagh)
Path To War (Frankenheimer/Sutherland/Gambon)
Live From Baghdad (Michael Keaton)
RFK (Linus Roache)
Hysterical Blindness (Uma Thurman)
Road To Perdition (Upgrade for Paul Newman)
About A Boy (Adapted Screenplay/Toni Collette)
Morvern Callar (Ramsay/Morton)
Dahmer (Jeremy Renner)
We Were Soldiers
Phone Booth (Colin Farrell)
K-19: The Widowmaker (Ford/Neeson)
Lilo & Stitch
Treasure Planet
The Bourne Identity
The Ring (Naomi Watts)
Irreversible
Sweet Sixteen (Ken Loach)
The Warrior (Irrfan Khan)
Devdas
Equilibrium
Bend It Like Beckham
The Good Girl
Igby Goes Down
Chi-Hwa-Seon (Choi Min-Sik)
The Crime Of Father Amaro (Gael García Bernal)
Zus & Zo
Man On The Train
Blue Gate Crossing
Ten
Thirteen Conversations About One Thing (Alan Arkin)
Ivans XTC.
Philanthropy
The King
Solaris (Soderbergh)
Max (Noah Taylor as Adolf Hitler)
May
Dog Soldiers
Heaven (Tom Twyker/Cate Blanchett)
Bubba Ho-Tep
John Q (Denzel Washington)
Femme Fatale (Brian De Palma)
Evelyn
The Adversary (Daniel Auteuil)
Blissfully Yours
Atanarjuat: The Fast Runner
Dolls
Amen.
Together
Demonlover (Olivier Assayas)
The Power Of The Past
Personal Velocity: Three Portraits
1. Firmino
2. Spall
3. Iures
4. Fraser
5. Plummer
1. Spall
2. Plummer
3. Firmino
4. Lures
5. Fraser
Calvin:
Wong - 4(It is very much a supporting performance in the purest sense of the term, as in he is mainly there just to support Ejiofor's character as the concerned if far more happy go lucky best friend. Wong excels with this though really bringing that charisma of his, that I wish would be exploited more often, in portraying the earnest if somewhat sardonic nature of the character. Wong making an impact within his scenes in bringing a lot of life even if in a way he's there mostly to facilitate something for Ejiofor's character. Wong makes it more than that through the energy he brings to the part and makes an impact beyond the role I would say.)
Tanaka - 4(Altogether terrific one scene wonder as he portrays sort of just a man completely spent when Sanada first approaches him. Tanaka portraying in a way the wear that might've been Seibei if he had a different approach to life. Tanaka's best though in bringing that nice since of camaraderie in his scene granting the right sense of empathy in his manner as he speaks of his own woes with just a blunt quiet heartbreak then listens to Seibei's. This until the latter says the wrong thing and Tanaka bears the right sort of insanity of a man basically blaring with his pride, being basically the only thing he has left to be angry about.)
Christopher Doyle's cinematography in Hero is downright amazing work. Side note, I have to say I wish the third act hadn't been so unwieldy and sagged so much, as I loved the film entirely before it started doing a twist upon a twist upon a twist, hitting the same beats again and again then randomly resolving itself in a way that more forgot the characters in favor haphazardly introduced nationalism theme. Anyway though one element that remained consistently great, well that and the costumes, and production design as well which would be my wins in most years, is Doyle's visual work. I mean the leaves scene alone should've earned it a nomination. Every shot, including the action movement, is so immaculately realized. This from the dynamic grandiose composition, but also the movements that so effortlessly capture the action in a way that keep them interesting, but never feel gimmicky. That is nothing to the way the lighting realizes the greatness of the production design and costuming, in making the colors and the more vibrant, and the contrasts all the more extraordinary.
Lucas:
Fiennes - 4(Overall I think Tom Noonan's performance is far more interesting as the whole, and his quieter approach is both chilling yet captures more pathos within the character. Having said that in a more straight forward version I do think Fiennes is effective. Although I'm not entirely sure what he's doing with his accent, Fiennes of course can bring the intensity in the moments of the pure insanity of the character. This though in pulling back enough within the moments to show sort of just the deranged broken man that the character is beneath his most repellent moments. Fiennes does realizes the duplicity well if in a more expected and I'd say standard psychopathic sense. Working with a Brett Ratner film though, I'd say he did a fine job.)
McConaughey - 4(A performance that more than anything is just a great use of his voice. This bringing the ideal sort of coating of dread but also nostalgia towards the recollection of the dark story. McConaughey though finding the right sort of curious balance between the character. This between a seeming relief in manner just as he seems to be emotional about. This creating the right sort of mystery however still successfully fulfilling the twist of the film.)
Luke:
Henderson - 3.5(It is a good performance in a pretty limited role. This in the slightly off-beat wife though also in a case of near constant disappointment. She does well with this sort manner though limited as it is.)
Stewart - 3(She's more than fine, again the film has a serious depth-less character issue. She at least brings a little bit character just through her presence at least.)
Whitaker - 4(Easily the best part of the film as he runs with the idea of the man's conflict within the circumstances he finds himself in. This in he brings the sense of frustration in dealing in the job through having to deal with idiots and the certain underlying conviction to try to get his money. He balances this well though with a consistent sense of his character's sympathetic manner, and every single reaction of his suggests the honest decency towards not wanting to do anything horrible.)
Leto - 3(I mean he does a fine job at being a complete obnoxious idiot. I would actually say in a sense he might exit to early, though then again I'm not sure I would have wanted too much more of him. Leto though brings the right sort of eager idiocy however.)
Yoakam - 3.5(I would say his character too is underwritten as the evil one. Yoakam though is effective in delivering each line with the no nonsense manner that carries a certain dread towards his ideas. This however changes once he starts to turn into a human pin cushion, however Yoakam is effective in portraying that physical degradation that slowly turns into an overt insanity.)
Phifer - 3.5(In a certain sense he picks up some of the slack for Eminem to carry their more dramatic moments in creating the dynamic of the friendship. He does so well though in combining that sense of honest frustration with his unambitious friend though with a genuine sense of warmth between them.)
Murphy - 3(Again also picks up some slack in a really limited role as the generalized love interest. She does well though in that sort of narrow perspective though bringing something genuine in a somewhat artificial role.)
Basinger - 2.5(I would argue a bit miscast to begin with. She does actually have decent moments in there, some more of her quieter ones. Unfortunately when she goes big, she goes bad and it is a bit of mix throughout.)
Mackie - 3(More than decent bit of smug sleaze.)
Shannon - 3(More than decent bit of sleazy sleaze.)
Branagh - 3.5(Branagh does cold authoritarian well of course. Here though the best touch is the sort of delivery of his as though he speaks with some type of wisdom to which he is speaking, when all he is spouting is hateful terrible things.)
Gulpilil - 3.5(Has a very limited role in terms of dialogue however he once again offers something through his off-beat presence. This honestly just in brief sort of glances and moments in his work that say a lot, even though he isn't say much of anything.)
Anonymous:
Regarding 24 Hour party people, everyone is good, however every is just like a brief little moment for the most part. Sean Harris probably has the biggest impact, and even he's just kind of a moment. All are good with their brief moments, but limited because of that.
Hoffman - 3.5(I honestly think he borders on bad in his scene with Fiennes as there were moments where he just seemed off, not off as a guy petrified in fear either. Although he makes up for that enough in his end of that scene, and the rest of his work where he is probably sleazy yet egotistical every step of the way.)
Luke:
Duff - (Her performance is the most limited of the main women, however she still makes a haunting impact particularly in the opening. This in just expressing so powerfully the state of heartbreak within the character mistreatment, which does particularly potently by so quietly internalizing all the pain within her performance.)
Hopkins - 3.5(Although expanded a bit, it is interesting to see him in a way doing Brian Cox's material. I will say in their relationship with Graham I think Cox's more hectoring approach is more appropriate, whereas Hopkins obviously needs to just continue with what he did in Silence. It is a fine reprise if less complicated, though naturally so, as his portrayal more emphasizes the character's direct evil in his interactions with Norton. It's good working within the confines of his first performance, but again I do like Cox's approach more with that specific material. Although on that same vein I imagine if Hopkins did Red Dragon first, his performance probably would've been a little different as well.)
Louis: Ratings and thoughts on the Red Dragon cast and thoughts on the movie and its direction.
Louis: Speaking of Manhunter and Silence, an appropriate film/song question this time, what do you reckon to these 2 songs in regards to the films and in general?
Goodbye Horses by Q Lazzarus
Strong as I am by The Prime Movers
Louis and Calvin: Your top 10 Asian films of all time?
Changing up my predictions a bit...
1. Firmino
2. Spall
3. Plummer
4. Fraser
5. Lures
Just curious: What would be everybody's ranking of the actual supporting actor line up? Mine would be as followed:
1) Newman (5)
2) Walken (5)
3) Cooper (4)
4) Reilly (3.5)
5) Harris (2.5)
Mitchell: Well, based on what I've seen...
1. Newman
2. Cooper
3. Reilly
Haven't seen Catch Me if You Can or The Hours.
Louis: what are your ratings for Tyler Hoechlin in Road to Perdition and Song Kang-Ho in Sympathy for Mr. Vengeance, and your thoughts on Hoechlin?
I just watched 8 Women, need to think more about the ending but I thought it was great largely and completely agree on Huppert.
Season 3 of Better Call Saul is the first season I'd call great from beginning to end. Michael McKean MVP, but Odenkirk is right there with him.
Luke, which review from this lineup are you most anticipating.
Anonymous: Plummer. I know he's got two more opportunities after this to get that elusive five rating but as I've said before, given his reputation, he really shouldn't be fiveless.
Luke: "Remember" and what's the other opportunity?
Matt: The Fall Of The Roman Empire. Gladiator is loosely related and Plummer played Commodus.
RatedRStar: I do have him as an alternative and it's been an awfully long time since I've seen Waterloo.
Steiger was incredibly well cast but he was overwrought in certain moments such as the opening scene where he refuses to abdicate.
Sadly had to go AFK for some time, but it doesn't seem as if i missed something major.
1) Spall
2) Firmino
3) Fraser
4) Plummer
5) Iures
Mitchell: have not seen The Hours yet.
1) Walken - 5
2) Newman - 5
3) Cooper - 4.5
4) Reilly - 3
Mitchell: Same as yours.
Mitchell:
1. Walken (5)
2. Newman (3.5)
3. Cooper (3.5)
4. Reilly (3)
5. Harris (1.5)
Not exactly my favorite lineup. Newman and Cooper could go up, but I have no real drive to revisit either film that much.
1. Walken (5)
2. Newman (4.5)
3. Cooper (4.5)
Haven't seen all of Chicago (but I have seen Reilly's big scene) or any of The Hours.
Good shout including Plummer, very overlooked performance.
R.I.P. Ben Cross
RIP Ben Cross
1. Firmino
2. Spall
3. Fraser
4. Iures
5. Plummer
I also believe that Newman grows to 5. My top 10 of supporting:
1. Day-Lewis
2. Newman
3. Hill
4. Walken
5. Williams
6. Firmino
7. Spall
8. Gleeson (28 DL)
9. Fraser
10. Serkis
For my personal 5:
1. Williams
2. Fraser
3. Serkis
4. Walken
5. Quaid
Anonymous:
Keitel - 3(Fine performance as Crawford in a very straight forward depiction. He's good though in providing the right sort of mentor styled support in the part. This in both bringing an innate toughness but also warmth in there.)
Watson - 3.5(I mean she can do innocence of a certain kind exceptionally well. She certainly does that here effectively and is luminous to be sure. She goes further though in bringing just enough of an earthly quality within the ethereal to be believable. It's an effectively moving performance particularly in the final sequence and one aspect I would put on a more even keel with Manhunter.)
The film I think is just fine, and a better companion piece to Lambs than the bits of Hannibal that I've seen at the very least. It suffers in comparison to Manhunter which does more in working in the the thematic ideas regarding Graham's connection to his job so to speak and the darkness it takes. It's fine though as a straight forward adaptation, helped greatly by having the same screenwriter as Lambs that keeps a general consistency. It doesn't touch that film either, but I would qualify it as good.
The direction though is a bit like Brett Ratner said "Well I saw Silence of the Lambs in a bar last night, the sound wasn't on, but I think I got the gist". Now I actually don't think I'd qualify Ratner as a complete hack, I do have affection for Rush Hour after all, but he's a subpar workman. So if there's vision needed he won't find, luckily Demme already set enough of a template for him to do a lesser copy and paste job. The more straight forward the scene the better it works, but there are little hiccups throughout that show a lack of nuance. One being that lesser thematic weight, but also the use of violence and just little cheap moments, like the jump scares. Manhunter is particularly better in this department as Mann clearly has a striking vision there in comparison, but there's enough there for Ratner to skirt by here.
RatedRStar:
Well in general...I'll stick to my steadfast rule there...but as used in the films:
Well "Goodbye Horses" I'll say is a scene you're not really focusing on the song to say the least. An effectively unconnected song actually as just something anyone would be playing in a way making all the more disturbing when we see what Bill is doing.
"Strong as I am" features a properly chaotic insanity to the sequence fitting of the mind of the character, amplified so well by Noonan's performance that is both disturbing and a bit heartbreaking.
Matt:
1. Rashomon
2. High and Low
3. Ran
4. Seven Samurai
5. Harakiri
6. Grave of the Fireflies
7. Parasite
8. Spirited Away
9. Yojimbo
10. Ikiru
Lucas:
3.5's, Hoechlin gives a good largely naturalistic turn. This in just portraying the sort of sense of the son's conflict initially with his father, and the distance there. Striking up the right chemistry with Hanks that grows as the film goes on building a sense of warmth between them as they continue. Although it is the other "father"/"son" that really hits the emotional catharsis within the film, Hoechlin's good and delivers on technically the main one as well.
Calvin:
Glad we concur there.
R.I.P. Ben Cross, sad to lose both the Coach and his athlete in such short succession, now there are indeed just "two of us" in Nicholas Farrell and Nigel Havers, as was in the opening of that great film.
"They shall mount up, with wings as eagles"
Rest in peace, Ben Cross.
RIP Ben Cross. Legend.
Matthew Montada:
1. High and Low
2. Ikiru
3. Yojimbo
4. Parasite
5. Seven Samurai
6. Ran
7. Memories of Murder
8. In the Mood for Love
9. Ugetsu
10. Yi Yi
Man, almost stealth-like, Better Call Saul has been taking Nacho from a character that I didn't care about at all to one of the most complex characters in the show. It's especially surprising to me because I really didn't think Mando was very good in the first season at all.
Louis: your thoughts on Leung in Hero?
RIP Ben Cross
RIP Ben Cross
If Brendan Fraser manages to enter the TOP 10 I will post a very cool list to be debated.
Wait
RIP Ben Cross
Louis: Your thoughts on the score for The Hours?
Louis: Your top five or ten most talented acting Parent/Child pairings.
For example, The Gleesons, Hustons (Walter and John) and Harrises (Richard and Jared).
Luke: Well, you just gave him 3 out of 5.
Bruce Dern, Diane Ladd and Laura Dern are a good shout too.
I might add the Douglas' (Kirk and Michael) to that list also.
Louis: Thoughts on the voices of Ted Levine, William Forsythe and Robert Patrick?
Calvin:
Leung - 4(The strongest performance within the film, to the point I almost wonder why he wasn't just lead, I guess for the more overt martial arts, but even in the "supporting" role Leung comes off ever the leading man. Although I think Broken Sword's story was given too many twists and turns for its own good overall, Leung is consistently strong throughout. This within his portrayal firstly as the stoic but fiercely emotional version of the character. We then though shift and he is as good as the stoic yet gently contemplative man. Leung in these moments is terrific in realizing every moment within the sort of emotional context in which his character creates certain conflicts. This well also creating a striking often unsaid chemistry with Maggie Cheung, and the two certainly know how to say a lot in the unsaid glances.)
Bryan:
Although I have no affection for the film the score has to be counted as both striking and quite memorable Philip Glass. Although criticism of being overbearing may be fair, though I attach that more so to the film itself, Glass's work in terms of the sort of melodic precision and use of his orchestration is remarkable completely looked at upon itself. Honestly I find it to be the most memorable aspect of the film itself, as much as I can at times struggle to name specifics about the film, I can recall an instance Glass's contribution.
Luke:
1. Douglas's
2. Huston's
3. Harris's
4. Dern's
5. Gleeson's
6. Kinski's
7. Bridges's
8. Fonda's
9. Skarsgardians
10. Washington's (Great potential for upward momentum)
Anonymous:
Ted Levine - (One of the strangest most fascinating voices around honestly. I'm not sure how to even describe but it is something all in itself.)
William Forsythe - (Slightly distinctive voice, though just that I think. Ideal though in playing sort of vicious or authority figures in that sense.)
Robert Patrick - (As the T-1000 his voice distinctive in just how average it is, normally just average sort of voice.)
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