And the Nominees Were Not:
Daniel Auteuil in La Reine Margot
Bokeem Woodbine in Jason's Lyric
Michael Wincott in The Crow
Jean Louis Trintignant in Three Colours: Red
Daniel Auteuil in La Reine Margot
Bokeem Woodbine in Jason's Lyric
Michael Wincott in The Crow
Jean Louis Trintignant in Three Colours: Red
Delroy Lindo in Crooklyn
82 comments:
Having seen all of these I'm going to go with my personal ranking for the predictions.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
A 5 for JLT, 4.5s for Lindo and Woodbine, a 4 for Auteuil and a 3.5 for Wincott.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
(Hope you don’t mind me copying your homework, Calvin)
No problemo.
Incidentally, Louis, I just checked my predictions for the previous lineup again and discovered that I'd ranked Lee above Bacon, so I don't have a request actually.
Anyway, your thoughts on the scene of Gareth producing the 'Not to be shown to the defence' evidence in 'In the Name of the Father'? While I agree that Thompson's role is pretty limited throughout I think she's genuinely amazing throughout that sequence (as are DDL of course, all the other bit players, and of course Sheridan's direction).
And your thoughts on Eat Drink Man Woman.
Louis: Any chance for an upgrade/reevaluation for Petersen and Noonam in Manhunter? I just saw it for the first time recently, and I seemed to like it a lot more than most people.
Robert: I'm pretty sure quite a lot of people adore that movie.
Loved Fargo tonight. Jessie Buckley MVP, but I loved Jack Huston as well.
Matt: I actually put it on the same level as Silence. It’s really an entirely different beast (not even sure you could say it’s in the same exact genre), but it resonated with me far more than I expected. Especially sincere I’m very hit-or-miss on Mann.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Salvatore Esposito was the MVP of this episode for me actually. Also the last moment involving his character may be the most Coen Brothers thing that’s happened this whole season.
1. Trintignant
2. Lindo
3. Woobine
4. Auteuil
5. Wincott
(Seems to be the way to go)
Michael: OK, I think I looked away from the screen briefly, that was an accident, right?
Okay, now you guys definitely have me intrigued as to what's happened.
Matt: I did the exact same thing and had to rewind, but yes.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Louis: Would you consider reviewing Anglade as well when you've seen La Reine Margot as I thought he was quite great.
Louis: And Ratings and thoughts on:
Stephen Rea in Interview With The Vampire
Maximilian Schell in Little Odessa
Aidan Quinn, Anthony Hopkins and Henry Thomas in Legends Of The Fall
Dennis Quaid and Gene Hackman in Wyatt Earp
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Luke, what ratings do you think these performances will get?
Trintignant - 5
Lindo - 4.5
Woodbine - 4.5
Auteuil - 4/4.5
Wincott - 4
Louis: Here's a copy of Mrs. Parker and The Vicious Circle.
https://m.ok.ru/dk?st.cmd=movieLayer&st.discId=1645025102374&st.retLoc=default&st.rtu=%2Fdk%3Fst.cmd%3DuserAllSearch%26st.search%3Dmrs%2Bparker%2Band%2Bthe%2Bvicious%2Bcircle%26st.frwd%3Don%26st.page%3D1%26_prevCmd%3DuserAllSearch%26tkn%3D2770&st.discType=MOVIE&st.mvId=1645025102374&_prevCmd=userAllSearch&tkn=7372#
Anonymous2:
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Louis: What's your rating and thoughts on Rupert Everett in The Madness of King George? I just watched it and I thought he was kind of terrible.
Louis: Rating and thoughts on Christian Bale in Little Women.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
1.Trintignant
2.Lindo
3.Woodbine
4.Auteuil
5.Wincott
I will dare because I believe that Louis will give WTF in the final result of the rank.
1. Trintignant
2. Lindo
3. Wincott
4. Woodbine
5. Auteuil
Delroy Lindo will be Richard E. Grant of 2020. First a performance from the past is analyzed by Louis and then receives an Oscar nomination. And who knows, maybe another name for My Nominations list.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Agreed with you all on the last Fargo episode, terrific throughout and some great sendoffs, actually I think I prefrred it to last week's in terms of how satisfying I found it overall. Huston MVP, though also so much credit to Esposito and of course Buckley amazing as always.
1. Trintignant
2. Lindo
3. Woodbine
4. Wincott
5. Auteuil
Louis: Your thoughts on this grouping in a film. Peter O'Toole/Richard Harris/Max Von Sydow/Ian McKellen/Christopher Plummer/Donald Sutherland/Nicol Williamson
Luke, A wizard version of Seven Samurai/The Magnificent Seven. Take my money. :)
Louis: And if you want to up that number to 8 or 9, I'd include Alec Guinness and John Huston.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
1) Trintignant
2) Woodbine
3) Lindo
4) Auteuil
5) Wincott
Louis: Rating and thoughts on Bill Hunter in Muriel's Wedding.
1. Trintignant
2. Lindo
3. Woodbine
4. Auteuil
5. Wincott
Louis: Thoughts on Hal Ashby as a director?
Louis: Can you watch:
Heart Of Darkness
Against The Wall
Romeo Is Bleeding (Gary Oldman)
The Paper (If you haven't already)
Mesmer (Alan Rickman)
Joan The Maid I and II
Manhattan Murder Mystery
And Mrs. Parker and The Vicious Circle.
Luke: Manhattan Murder Mystery is 93.
Matt: Thanks for telling me.
your thoughts on Edward Zwick as a filmmaker?
Loved the episode of Fargo, thought everyone was on point, but loved Buckley the most.
Robert:
Definitely a possibility.
Luke:
Well in the past what do I typically do if there's another performance I like as much or more in a film?
Rea - 4(A relatively brief but absolutely wonderful creepy performance. It really shows more than anything Rea's range going from the quiet introspection of Fergus to the flamboyance of his work here. He's wonderfully absurd in portraying basically a trolling vampire and I love the Rea chews up every moment he has on screen in the right way. I especially love his smug little impish expression when he's enacting his cruelty upon Louie.)
Schell - 4(The film as written is a bit of a mess, though Gray's abilities as a visual director are clearly there in the debut. The film though just is all over the place. It is nice to see late Schell with some actual material to work with, even if sloppy as written. This as he manages to make something slightly cohesive in his portrayal of the father. This that is neither loving nor hateful. He balances it well even if again I don't think the film quite knows what to do with any of its characters.)
Quinn - 3.5(As noted before the best part of the film, even as the character's never seem to give his character a break. Quinn though does his best to work through the often thankless role in portraying genuine grief that informs his character's actions and always portray every moment coming from an honest place within his work. Even though he's intended to be the less charming brother, honestly found him more charismatic than Pitt here, even as he presented it in earnest low key fashion.)
Hopkins - 2.5(He brings the appropriate sort of quiet gravitas in the early scenes but once his character has a stroke his performance falls apart. It does not help by Zwick's over the top way of presenting him, but Hopkins certainly doesn't overcome that. Making him more silly seeming than heartbreaking.)
Thomas - 2.5(His character is lame as the dumbest seeming character around. Thomas just kind of runs with a straight enthusiasm in his work that only makes his character seem all the dumber.)
Quaid - 3.5(His portrayal of Doc with a more darkly infused quality is well done. This along with his Georgian accent that he fashions pretty well bringing a more sinister style to the on the edge gambler and killer. Unfortunately Doc pretty much feels like an afterthought in this version of the story, rather spending long drawn out scenes of Costner's Earp being miserable.)
Hackman - 3(He's not in it much but he does provide the requisite mentor gravitas even if briefly.)
Bale - 3.5(His Laurie is a lot different in general, as just kind of a young man in a very generalized romantic sense, but less specific than Chalamet's rendition. His version does work even in a far more low key way, though I think we could've done without the evil mustache when he's older. Bale though in this straight forward way delivers as just this sort of a standard love interest. This even in his rejection scene that Bale plays extremely quietly particularly compared to Chalamet. It wholly works actually still, and in a way shows how he's less of a fit for Jo within that.)
Hunter - 3.5(Hunter's performance is an interesting far cry from his meek work in "Priscilla" the same year. Hunter's good in being so unabashed in presenting just he crude political type. Hunter though showing the man being woefully inadequate even beyond his lowly position that he still presents as putting on the false pompousness of it all. This though with enough nuance later on in showing glimpses of a man, not a good one, but still a man at least.)
Matt:
Although I remember plenty of the film, Hawthorne/Mirren/Holm, I can't recall his performance in the least.
RatedRStar & Luke:
The first I mean the first is definitely a curious mix of gravitas of different kinds that I'd be interested in seeing.
Only to be out gravitased by that second list, which would be stunning just in hearing that mix of great voices.
Anonymous:
Ashby I very much view as the editor turned into director in his love of montages and even the cutting of the scenes that have a curious quality to them. His films to me, are never well...that good. They have good acting typically, there definitely a sense there in his work. His films though for me are always aimless even with a plot. This as there is perhaps too little urgency in his work in a way, at least in my liking. There's also a very dated quality in its specific approach towards portrayals of both the establishment and the counter culture. This is in a way I feel somewhat limiting to which often he goes for easy jokes and jabs to the former, and at the same time seems to love the latter too much to the point that there is a lack insight either. I don't think he's a bad director, but he's definitely not one that's quite my taste. This I don't even dislike his films, I just don't like them that much.
Tim:
Edward Zwick feels kind of seemed to fashion himself as a modern day Stanley Kramer in making socially minded studio films. As an actual director he's a craftsman to a fault. This as he seeks to make these very generalized studio, public pleasing film every time. I'll say he has a grasp on the technical elements of his films. They typically look good, and he knows how to shoot action. His work though never does anything unexpected, ever. It is exactly as you'd expect, and yes I'd categorize him as a workman, though particularly competent in that workmanship. Again though he achieves really only ever one tone in any of his films, one approach, one generalized take. This doesn't make his films bad, in fact most of his films are good if not at least watchable. They don't distinguish themselves though, and in terms of the social statements, they seem almost dishonest in the actioneer approach at times.
Louis: Good thing there is a film that I saw that just happened to have those exact performers I mentioned lol.
My winning request is James Woods - Eyewitness
I'd actually go lower for Bale, I thought it was an early indication of not necessarily his weaknesses, but just where he wouldn't thrive as much as an actor overall. In fact his performance makes me appreciate Chalamet's a lot more.
I really should watch the 1994 version to compare. While I doubt I’ll love it as much as Gerwig’s, I’m curious.
It's nowhere near as good as Gerwig's, it's just pretty safe and traditional. It's good don't get me wrong, but doesn't reinvent anything. It is moving though with certain scenes but no scene in it even touches for example, that scene of Mr Laurence sitting down to listen to Beth playing the piano.
Calvin:
I have to say, while I liked both versions, it quite irked me to hear people, 94 purists in most instances, to claim Beth was underdeveloped in the 2019 version, when actually she has objectively far more to do in comparison between the two versions....also everything involving Mr. Laurence is just one clear upgrade in my mind in the 2019 version.
Watching Bale's take further solidified Chalamet in my top 5 for last year. I liked Bale's take, and I'd give him a 4, but Chalamet fits Laurie perfectly.
Louis: Could I have your thoughts on Gerwig's direction of Little Women?
1. Trintignant
2. Lindo
3. Auteuil
4. Woodbine
5. Wincott
Louis: Can you also watch The Sum Of Us with Russell Crowe and Jack Thompson.
Just in case anyone was thinking of checking out Hillbilly Elegy, I took the hit and here's my ratings for the cast:
Adams: 1.5
Close: 2.5
Basso: 1
Aztalos: 1
Bennett: 3
Hopkins: 2.5
Most of the bit part players range around the 1.5 to 2 range.
You're welcome.
Calvin: Thanks for giving up some of your valuable time to watch that complete utter misfire.
Calvin, thanks for taking the plunge.
Louis: Your thoughts on this scene from The Madness Of King George.
https://m.youtube.com/watch?v=jVAhTa26EFQ
Calvin: Thank you for your service. *Salutes*
Louis: Your rating and thoughts on Tim Roth, Eric Stoltz, Amanda Plummer & Maria de Medeiros in Pulp Fiction?
Also, your thoughts on the editing of the film?
Calvin: that sadly doesn't even disappoint me anymore
Calvin: Eh, I might bite the bullet and still watch it. That worst list won't fill itself, after all.
Tahmeed: he gave his thoughts on Nicol Williamson's review for The Bofors Gun:
https://actoroscar.blogspot.com/2020/02/alternate-best-actor-1968-nicol.html?m=1
I'll assume you're referring to Little Women 2019. Gerwig's direction is largely aesthetic choices, as the major sort of dramatic choice is evident in the script in terms of the changes to the story, the structure of it, and the ambiguity in the ending. The sort of philosophy I suppose is the noted quote of Alcott's in the opening, about pleasant stories against the hardship, and what Gerwig does is fashion basically sumptuous feast of film aesthetically, though with hardship in there. This as her choices regarding costumes, cinematography, production design, the score, are all inherently pleasant and teeter on near fantasy, though I don't think she goes overboard in that regard. It rather the surface of it all is to make a sweet film, though she allows for honest pathos essentially through the performances, and manages to pull of this juxtaposition. One mounted once again with competence, as with Ladybird, she shows a sense of rhythm of scenes, particularly humorous ones, and knows frankly knows how to cut a scene. The one take it or leave it choice, I suppose is the letter reading, which was trying to present an old type of scene in a new way, wasn't my favorite choice in the film, but I do appreciate the effort there (note: not that I actively disliked the choice either). Overall though she creates sort of the wonderful joy that thrives around in a world seeded hardship, as a purposeful treat to the viewer, even with the awareness still of that hardship.
I did read a review that said Bennet was by far the best thing about the movie and Hopkins was underutilized. Glad to see Close is not as bad as she looked to be
Louis: your thoughts on the Hans Zimmer theme "Tennessee"?
(it sounds a lot like "Journey To The Line", like a lot a lot)
Also, how do you think Walter Matthau would have done as Richard Nixon, like in a contemporary Frost/Nixon?
Well I did also watch likely SAG nominee Hillbilly Elegy (they're usually the slowest to get the memo). Now I knew this film would be terrible before I saw a single image or knew even what it was about. Just the name and directed by Ron Howard ensured that fact, a director mind you who can direct non-tricky material, but tricky material, well that is a problem. That is what you have here, material that was going to be difficult to make work no matter what, but Howard doesn't help. This as he makes it both cloyingly precious and condescending somehow at the same time. Very much a film that feels particularly like "Dress up" with a complete lack of reality in all its "feelings" of the "truth".
Adams - 1
Close - 1
Basso - 1
Asztalos - 1
Bennett - 3
Also watched Greyhoud, that was a film that exists.
Hanks - 3.5
Louis: Your thoughts on the cast and Hanks. Can't wait for your thoughts on Adams and Close.
Louis: Do you intend to watch the Small Axe films anytime soon.
Four consecutive 1’s in a single film! That’s a new record, someone write this down.
I’ll defend Close to an extent, I thought she had one or two good moments and wasn’t actively awful apart from a few dreadfully OTT reaction shots. But still not good. And yeah might have been generous with Adam’s. Honestly though the fellas playing J.D. Vance were so incredibly bad. Maybe the intention was to show them as dumb as hell? Eh I doubt it.
And yeah, Bennett was by far the best thing about the film, which is wild when you think about it.
I watched Greyhound months ago and didn’t mention it here because my thoughts were the exact same. If that movie were a spice it would be flour.
Sorry for your loss of about two hours, Calvin and Lewis.
Hanks - (Gives a credible job as a Captain who wants to perform his duties. Am I trying to sound neutral on purpose...yes. Hanks though offers his typical presence though if purposefully tempered, and works well for the only human on screen that can even be described as a character.)
Basso & Asztalos - (Both are not good in a traditional bad actor sort of way. This just they exude a certain awkwardness and blandness. They're worse than that however. Asztalos plays almost every scene with this slightly confused face seemingly thinking that will get him out of every scene, and Basso plays almost every scene with a slightly frustrated face. Both have little to no variation. When there is variation, called GETTING EMOTIONAL, saying they're bad is an understatement. They both become instantly ridiculous, and I contemplated Wiseaus as I burst out laughing at Asztalos's big emotional moment.)
Adams - (Okay with the other 1's, I will say only actors who can be great could give performances this bad. I'll admit Adams just comes off poorly to begin with as every bit of makeup just makes her work seem all the more absurd and artificial from the outset. I'll admit Wiseau worthy again frankly, as I did get a few chuckles from her performance with how overwrought he plays the extreme personality disorder. This in both her moments of crazy addict mother, where Adams just yells at the top of her longs and makes wacky faces, or her "warm mother" moments that she plays with a similarly goofy face, though now with a certain vacant quality to it. Adams goes as big as possible at every turn, and at every turn she falls right on her face, sometimes literally. There is no sense of a real desperate person, just a desperate performance, from an actor I often like a great deal.)
Close - (Wiseau worthy again, because I did laugh out loud, more than a chuckle at her reaction to the death of one of the character. Her expression is so over the top, that I could not help it. I don't think she's ever good here actually. This as her whole creation is of such artifice. This in her walk and her constant grimace felt so brutally calculated while being wholly ridiculous. Never bought her as a character, just Close doing some heavy pandering for plaudits. The mannerisms never felt real, just put on, especially in her "triumphant" out of the hospital walk. Now she does have moments where technically she delivers emotional intensity in a way that only someone talented could do, however it is positioned in a way that it still came off as absurd in how she brings it out. These moments just felt like overwrought posturing. I'll say though, I preferred her purely over the top moments, because at least they were entertaining for the wrong reasons.)
Bennett - (I actually think her performance helped to convince me all the more about my feelings towards the rest. This showing that it didn't have to be this way. This as she doesn't over do the accent, she doesn't over do the emotion. Every scene isn't the most important acting of her life, she finds a balance and the right naturalism. She allows the emotions to come to the scene rather than enforcing them. She actually seems to have a sense for the material, and convinced me of the person she was playing...unlike the rest.)
Luke:
A wonderful scene that it built beautifully on Holm's and Hawthorne (who I feel is underrated in the film despite being Oscar nominated)'s performances.It's great in realizing sort of the conflict of the words, that becomes a conflict of wills between the two. Holm playing at more than just a determined doctor, rather fashioning a defiance, against Hawthorne who slowly loses his sort of kingly grace and power. Love particularly the moment upon seeing the chair, which is also a lovely directing moment in bringing in the music, and Hawthorne's heartbroken reaction.
Calvin:
I think it is a great scene, and probably the one that secured Thompson the nomination, where she does bring the right sort of tempered ferocity that slowly pours over. This in realizing it as this real cathartic moment in that ferocity but amplified beautifully by Day-Lewis's heartbreaking work (which I think shows just how nonsensical the notion is by the claim of some that he never "supports:, this outstanding work in that regard). Everyone is good though, Wilkinson in portraying just a general frustration of a the man's position, and the judge's certain curiosity. I also do like the "witness"'s expression that is kind of both ashamed and shameless at the same time.
I liked Eat Drink Man Woman, but I didn't love it. Something about the pacing just kind of kept it a little too languid in spots, never to the point of being bad, but I just kind of felt it didn't move as smoothly as it could have. The film though still works at its core for its understated, yet still moving, examination of the daughter's different relationships and how they relate to their master chef father.
Tim:
Unless my memory is deceiving me I think I gave those thoughts not long ago.
Matthau I think was a better actor when he wasn't transforming himself, so not so sure.
Bryan:
Let me examine the "files" for the rest.
The editing I think shows the sort of precision of Sally Menke's work that I think was an essential collaboration, as his work sense hasn't had quite the same tempo since her untimely death. Pulp Fiction is the apex though of it in that regard. This as so much of the dialogue bits are further emphasized in the cutting of either a Tarantino moment (of a random object or action) or pinpoint kind of reaction. There's a timing of it here that is particularly on point and remarkable in creating the momentum of the film. A film, by the way that I think I most loved this time I watched it for whatever reason (which is saying something since I've always liked the film). This tempo though is in every action, reaction and transition. Just impeccable work.
I still can’t get over the fact that Bennett is literally Jennifer Lawrence every time I see her onscreen. I kept forgetting that a few times when I was watching it. And glad we agree on those big moments of Close, actually the more I think about it. That hospital walkout might be some of the worst direction I’ve ever seen from Howard.
And thoughts on the editing to the film Louis? I thought it was hilarious at some points especially in the choice of shots for simple dialogue scenes putting so much distance between us and the characters. Though I guess they didn’t have that much worth hearing.
see, i was just very unsure about Tennessee, so i figured i might just ask
Louis: Is there any possibility of Hawthorne going up.
Louis, what are your top 10 Jeanne Moreau performances? I’ve been meaning to explore her filmography recently.
Louis: Would you say enduring the runtime of Hilbilly Elegy is worth those potentially unintentional laughs or should I not do that to myself?
Oops, meant to say top 5.
Calvin:
Floaty is how I think I would describe it. This just how it goes in and out of scenes, how it juxtaposes, how it even handles what should be interpersonal scenes is done in such a frankly sloppy and always distant fashion. Although it's isn't really hiding anything from us worthwhile, it isn't helping matters.
Emi Grant:
A strong no on that, I got about five hearty laughs from it, but it induces far more eye rolls and groans.
Michael:
1. Bay of Angels
2. Mademoiselle
3. The Bride Wore Black
4. La Notte
5. Jules et Jim
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