Carl Anderson did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Judas Iscariot in Jesus Christ Superstar.
I'll admit any Jesus Christ Superstar adaptation already has the favor of the music in its corner, as it is one of the few musicals where I pretty much like to love every song. I think also the rock opera format is ideal for this story, since you come in likely already knowing it well. This version even in its theoretical "low budget" styling, I actually I like a great deal, as it very much kind of recognizes the format, while in a way kind of directing us straight to the emotion of it. This neither getting caught in sort of the pageantry if it attempted a biblical epic approach, or getting caught too much in the idea of any subversion of the story if it went more towards overt style. I feel here it balances both notions to greater effect, this using the actual landscapes, but as a "troupe production". It recognizes that it is actually a pure realization of that story, just through a unique presentation of it.
A masterstroke of the musical is that while Jesus (played here by Ted Neely) is a lead, he is not a sole lead. This as it grants about equal focus to Judas, his betrayer. Now this version loses no musical power from any other recording given it didn't cast movie stars, rather including Broadway performers, though not all specifically from the original production. Carl Anderson was the replacement Judas, and his vocal abilities for the stage are readily noticeable. To say Anderson delivers on every song is more than any understatement. His mastery of each every note is remarkable, and I can, and have, listened to his specific tracks again and again. His singing just is incredible. Although with that, I think is where we see a risk paid off within the notion of casting from the stage, as sometime stage presence doesn't carry over to screen presence. This as his singing doesn't just merely hit the notes, though he certainly does, but he importantly acts them. Acting them not just in the moment but crafting an entire portrayal of Judas which is immensely fascinating. This as he isn't at all a villain, rather in each song he slowly crafts with it this portrait of a very specific person in relation to Jesus.
This as we open the film with "Heaven on their minds" we get a striking emotion within his work as Anderson reveals Judas's discontent. The discontent is not of hatred though rather frustration within his performance. A frustration that makes particularly powerful because he doesn't present it as coming from a place of hate rather a place of admiration if not love. This as the moments of expressing the past time with Jesus where the emphasis did not appear to be on his divinity, Anderson presents within his performance an anxiety and anguish around the anger of the state. Judas suggesting a man very much believed in the message but with this sense of discontent as though it has been obscured by other things. This sense of admiration making the rendition very much a warning, and not a threat. I love for example how he sings "we are occupied" which is brilliantly almost oxymoronic as he whispers while still singing it with might. In that moment Anderson creating the sense of the fear of the follower, who sees them on the wrong path and with a clear sense of the passion that once defined a loyalty to Jesus. This whole scene though, being I think testament to the strength of Anderson's performance, because it is never about just the singing. His movements express in every sort of weighted step, a man burdened by his perceived knowledge, and his expressions match every word with equal resonance.
The two numbers where we are among Jesus and his followers "What's the Buzz", "Everything's Alright", both feature Anderson basically as the counterpart to each prevailing sentiment. The first time we see Judas decrying Mary Magdalen, a prostitute, being in Jesus's company. I think the way Anderson plays this scene is brilliant, because as much as it still is Judas being a jerk, his approach is less of an attack on Mary, and more so fierce counsel to Jesus. Every word he expresses it is within this sort of familiarity we see in his face, and again that distress as he warns "they need only a small excuse to put us all away". Again Anderson emphasizes so effectively Judas more so as a friend counseling someone he sees going down a wrong path, than a pompous villain, or even overly zealous fool. This is point expressed all the more potently in the second song, where Mary is attempting to comfort Jesus with fine ointment. Anderson's musical decrying of it, as he enters in again with such ferocity, is perhaps my favorite singular line as sung in the film. A reason for this though is in the moment, where Judas notes such extravagance could've been given to the poor, there is such passion and pain in Anderson's voice and eyes. He shows a man who genuinely is heartbroken that he can't do more to help others, and his lashing out is again from a place of technically deep virtue, not a vice. I love the silent followup moment where Jesus asks Judas to appreciate what he has, as in the moment of genuine understanding in both their faces, are we granted a sense of the friends they were at one time.
I think what is representative of the strength of the work of Anderson is in so many of the scenes where he actually doesn't sing a note and is merely among scenes. This as he stands apart and is distinct on his own. This in wonderful moments where his reactions take in the more zealous nature of the other followers or some of Jesus's actions, there is a sense of dread and concern he conveys so powerfully within his work. He doesn't sing a word, but you know exactly what is going on with him. This to the point that there is a build within his performance towards finally returning to a song with "Damned for all time". The song where Judas essentially agrees to betraying Jesus. Anderson is magnificent in the scene as his physical manner of a man barely able to stand, basically in a writing condition of emotional distress creating the sense of a man both unable to deal with betraying Jesus but also unable to feel he can stand behind him either. The moment of the betrayal is fantastic, as the high priests tempt not with the money, but rather the charity money can buy. Anderson's moment of taking it, and giving up Jesus are outstanding as he portrays this internalized kind of detachment, as though Judas himself is wholly living with himself as he makes this decision. Now during the "Last Supper" sequence one can say we get the best of both aspects of Anderson's performance. This as when Jesus starts making accusations of betrayal, Anderson's face of knowing while hiding is great, before finally snapping into direct confrontation with him. Anderson's portrayal of the anger is striking because while it is most directly that here, it still is encased with a sense of frustration, and even shame in the last moment as he runs off. His expression rather heartbreaking as a man seemingly damned by fate. Again Anderson's work doesn't stop as the film shifts closer towards Jesus's trials. The brief glimpses we are granted Anderson doesn't waste as his face carries the weight of a true palatable guilt and grief for the man he loves. This until he finally returns his silver before committing suicide. This sequence Anderson is outstanding in through how quiet and even sentimental he begins it. This as his moments of remembrance along with a sense of despair. This before running to hang himself, where Anderson's vocals echo with such tremendous impact, of a man screaming at seemingly being made to be the betrayer rather truly choosing to be one. Now he does actually have one more scene, in the pseudo four wall break, where Judas donned in white return so to sing the titular song as an MC basically. Although a less emotional scene for him, still amazing because he's still singing. Frankly I'm surprised that Anderson didn't really seemingly get any major opportunities in film after this, because this is a stellar debut. Anderson gives a mesmerizing musical performance, but he also gives a deeply emotional portrayal of Judas both in sound and silence.
87 comments:
1973 Lead is the gift that just keeps on giving.
As for Anderson, astonishing performance, that I hope will at least go up to #6 or #7 in the overall.
My easy win for the year. Masterful performance and you’re right - even if he couldn’t sing a lick, this would be an amazing reactionary performance, so the fact that he has one of the most amazing voices in cinematic musical history is just incredible. And judging from this review your appreciation for his work has only gone up all the more.
Louis: your top 10 musical performances?
Also do you happen to have seen the John Legend version?
Somewhat related: https://youtu.be/CameSDK-2m8
Robert: LOVE that video.
And damn it, Lin-Manuel is easily the worst amongst all of them.
Louis: Your thoughts on the film's versions of 'Heaven on Their Minds' and 'Gethsemane'.
Robert: There's little doubt that Lin-Manuel has great vocal range and ability.........that is NOT one of his best moments.
Louis: What are some actors that you think should play siblings at some point, or are at least surprised that they haven't already?
I recently had an idea for a film in which Emmy Rossum and Mary Elizabeth Winstead star as sisters, and I strangely can't seem to get that premise out of my head now.
Louis: Any idea why this film only has a 52% score on RT?
Mitchell: Natalie Portman and Keira Knightley should play twins someday
Mitchell: Brian Blessed and Jonathan Rhys-Daviess
Your thoughts on the rest of the cast Louis?
Lolling at the Malcolm & Flop reviews lol knew it was going to be film twitter tiktok flick 🤣🤣🤣
Tim and Robert: I can see both, honestly.
Also, if anyone here is familiar, what would be your thoughts on the following rock songs?
Letters From the Sky - Civil Twilight
I'm Dangerous - Everlove
Zombie - Bad Wolves
It's Not Over - Daughtry
Unbreakable - Fireflight
Mitchell: Being a diehard Rock music fan I can give you thoughts.
Letters From the Sky ( its actually a solid slowburn of a song actually, I think the last minute though is a bit of a mess from an instrumental point of view, I feel it should have stayed within the slow pace rather than go crazy at the end since I quite enjoyed it otherwise.
I'm Dangerous (has a similar kind of vibe that I get from Imagine Dragons or a band that would be described as crowd involved with the surround sound and Whoa oh hos going on in the song almost intending to be a live song, actually a decent crowdpopper to be sure though.
Zombie (Oh boy, I should I say I am not a huge fan of covers in general, especially covers of iconic songs in a similar genre, this song very much reminds me of Disturbed doing the cover of "Sound of Silence" in that it goes for a turn it up to 11 vibe with the heavy handed singing and bombastic instrumental sound, I actually don't mind Bad Wolves as a band but I think this a case of taking a different approach that I don't think works despite this arguably being their signature song. Dolores voice for the original is so mystical and atmospheric and I think it gets a bit lost here.
It's Not Over (Chris Daughtry I have always found to be a decent Rock singer, certainly one of the better Rock singers from talent shows like American Idol and he does a fine job here as well, the lyrics are actually sorta cliché but the music actually does have an easy listen vibe to it, I like it well enough although I don't think its overly memorable.
Unbreakable (An interesting thing with Christian Rock Bands for me is that they are usually make or break depending on the lyrics. Often the lyrics can be preachy from bands like Kutless and Switchfoot which makes them hard to enjoy, fortunately Fireflight aren't really one of those bands from when I listen to them, its an easy listen that you wouldn't really guess was from a Christian band, so its a fine song with some good singing and guitar work.
Watching a screener for Malcolm and Marie, it’s not good but I don’t feel like JDW is a self-insert for Levinson.
RatedRStar: Thanks for the input. I pretty much agree with your observations, although I do differ from your thoughts on "Zombie" and specifically the cover of "Sound of Silence"; This is as I quite like the latter and feel its bombastic-ness only adds to the song's power, even though I credit most of that to David Draiman's vocal presence.
It's also worth noting that "I'm Dangerous" is one of the more popular songs one can see being used for AMV's; I myself was introduced to the track by a tribute to Might Guy from "Naruto". Honestly, its between it and "Iron" of Within Temptation fame for the most notable tracks being heard in those sorts of videos.
And yah, it's interesting that I listen to as many Christian rock bands as I do, despite not having a religous background or at least upbringing. Your absolutely right when you say the song's success hinges on the lyrics, with the particularly zealous groups admittedly not being favourites of mine. The one's I tend to favour most are those that ride that middle ground; Not too soft, but not to forceful, and having a good sense for rhythm and pacing doesn't hurt either. A prime example, in my opinion: "Skillet".
Calvin:
I'll admit I was always pretty ecstatic about this performance, it's one where I kind of put a personal favorite on the back burner more so than I ever should've. Although I should say I HATE ranking 73 lead keeping any of the performances out of the top 10 annoys me.
Never did, probably because I watched the 2000 version and was decidedly, like Herod, unimpressed. Although given the praise for it, I probably should give it a shot.
Musical musicals only...you know what I mean. Also must actually sing, aka why there's no Frank Morgan
1. Carl Anderson - Jesus Christ Superstar
2. Liza Minnelli - Cabaret
3. Gene Wilder - Willy Wonka and the Chocolate Factory
4. Emma Stone - La La Land
5. Isabelle Huppert - 8 Women
6. Bert Lahr - The Wizard of Oz
7. Tim Blake Nelson - The Ballad of Buster Scruggs
8. Ryan Gosling - La La Land
9. Amy Adams - Enchanted
10. Joel Grey - Cabaret
Robert:
The repeat of Miranda is hilarious.
Mitchell:
Jeffrey Dean Morgan and Javier Bardem
Elias Koteas and Christopher Meloni
Tom Hardy and Logan Marshall Green (though I guess they'd just be playing clones).
Tahmeed:
Well love the Heaven on Their Minds, for the reasons explained above, but I actually like the confidence of the ballad of just letting Anderson basically carry it in the landscape. The rendition of the song just has such power in every regard, where Anderson's vocals basically even overpowering the rather striking rock backing, in a beautiful almost seeming like their keeping up with Anderson in the best of ways.
People give Neeley a hard time, but I actually greatly prefer his approach to the part than Ian Gillen's Christ as a rock star version, as I just don't get the emotion out of that one. What I feel we get here, in his highlight scene, and love though the backing here. Particularly the fully instrumental moment, that I love the use of the paintings of the crucifixion.
Anonymous:
I have given those.
Anonymous:
Three reasons.
1. It only has 25 reviews, a lot that are dead links.
2. You can say it is dated, in some regards it is, it obviously a 70's film, though not in ways I mind or even think are bad.
3. The biggest reason ANDREW LLOYD WEBBER. I swear, there is nothing I find more tiresome than the way so many musical theater lovers seem to detest his work so much with pride. Not all his work is great or even good, but the most venomous hatred I feel stems far too much just from the popularity of his works, which just seems petty. I mean personally I do think this work, his breakout, is by far his best, but some will blindly throw all his work in the same pile.
jesus, Koteas and Meloni would be perfect
Louis: You're so right in regards to Andrew Lloyd Webber. Personally, I think Jesus Christ Superstar is the only thing he's done that I'd call truly great (Phantom is mostly boring, Dreamcoat is just kinda meh and Cats just plain sucks) but I think the venom is unwarranted. Especially because there's other musicals that are MUCH worse than what he's doing.
Guess I've lost this prediction.
Louis: In regards to 73 Lead, would you consider seeing Warren Oates in Dillinger at some point in the future.
Mitchell: Agreed on Skillet, quite like them and yes you can't tell they are a Christian band, surprisingly mainstream as well.
Louis: Your thoughts on Life is Sweet's screenplay.
Hey guys, if the supporting actor nominees are Odom Jr., Kaluuya, Cohen, Raci and Boseman, what would be your predictions.
Anonymous:
1. Kaluuya
2. Raci
3. Odom Jr.
4. Cohen
5. Boseman
I'm really torn between Odom Jr. and Cohen because Louis has Chicago 7 at #11 and One Night In Miami didn't make the top 20.
Calvin: In regards to your latest viewing, a film with Joel Kinnaman in it is never a good sign.
Anonymous: If that is the category, I can honestly see Cohen being fifth (Though I still haven't watched "Da 5 Bloods"). Not to discredit the performance because he is quite good, but I think he was built up to be much more of scene stealer than he ultimately was. Like, was I the only one let down that his big scene didn't continue past his "trial for my thoughts" line?
RIP Larry King
R.I.P. Larry King
R.I.P. Larry King
Louis: your top 10 bad moments/scenes in otherwise great performances? Like for example Kevin Costner's "OH NO!" at the beginning of JFK
I just found out that both Carl Anderson and ted Neely lost the golden globe to George segal for the forgettable a touch on class. Would you say this is one of the worst golden globe winners?
Rip Larry king.
Louis: your thoughts on the editing to Boys State? Definitely sold some of the most depressing but also hilarious moments so well.
Luke: duly noted.
Tim:
That is such a rare occurrence it's hard to really give too many examples. Another one though for me is Tilda Swinton in Julia who is way overcooked early on in her performance, but ends up being quite great.
Anonymous:
Well Anderson certainly was robbed, though I think Segal is fine, though Touch of Class's general success is a bit baffling to me (I mean that was a best picture nominee? Really?)
It's certainly among their bad decisions, but they have plenty of those to go around, like giving a cinematography award to an animated film or giving best original song to a preexisting song.
Calvin:
I mean with any good doc. the editing is going to be a major part of it. This one though I thought was particularly streamlined and fantastic in that regard. This as the editing makes it play like a fictional feature, which I mean in a good way in terms of the timing, you note, whether basically a comical response coming from cutting to another interview or interaction, or seeing an underhanded response being prepared. The film's editing is great both in terms of crafting it so cleanly, there's nothing that feels extraneous sort of "threads", and you feel so entrenched within the main players (other than Eddy, where I do think that was probably a more purposeful manipulation to pump up Ben Feinstein even more as this puppet master). I don't count that as a flaw, rather it wholly works in how well the editing crafts this as such an engrossing narrative.
Glad to hear it sounds like you took to the film as well.
Louis: apparently they only started getting footage of Eddy later on so I can see how that might've come across inadvertently. While I do agree there was a degree of manipulation, I thought Ben Feinstein was definitely helped pump himself up to that standard as well. Hi reaction to the unfortunate timing of their support for the impeachment instagram account was hilarious.
And yes it was excellent, I was dubious going in since these kinds of documentaries aren't always my 'thing', but it definitely won me over.
Louis: Your thoughts on Life is Sweet's screenplay.
And yeah the 70s trend of acclaiming adultery-centred rom coms is probably one of the weirder trends I'm glad died out.
Calvin:
That's a fair enough claim from them, however they obviously could've gotten more once he was the candidate. I think they did deliberately sort of keep him vague to keep the dynamic to Feinstein as the comical "villain", which yes he did most of the work for himself it seems. A classic doc move though, like how George Foreman wasn't interviewed for "When We Were Kings" (to keep him as this seemingly insurmountable foe for Ali to defeat).
David Jones:
Well asking that question is always different for Leigh, given he crafts the screenplays with the cast. I think the sort of success of those in a way seem to be in part the skill of the actor, given that Spall scenes almost always seem to work in his films for example. This one is more jumbled, often depending on who he seems to working with the said scene. In addition he doesn't lead them here to something truly revelatory it is rather a series of vignettes, some more enjoyable than others.
Calvin:
Agreed.
Louis: agreed. Villains are always honed in and focused a bit more on in documentaries though it is interesting as you say when they do more of the work themselves. Billy Mitchell subsequently proving himself to be a real-life heel in more ways than one is a pretty good example.
Also, your thoughts on this scene from King of Kong? https://youtu.be/oTj7NSHVwSk
Calvin:
The Mitchell example is hilarious given he was even more dastardly than the filmmakers even knew.
Of course, relating to that clip, what's a villain without a sycophantic henchmen, Brian Kuh being one of the best (or worse depending how you look at it), and wholly ideal for a henchmen who works for a boss whose big goal is to help maintain a high score on Donkey Kong. This being example, judging by interviews with Kuh, being where he appeared to depicted quite accurately. This as the guy who only comes off as worse than Mitchell in the doc, if only because there's a certain entertainment value of the shameless confident mastervillain that was Mitchell. Kuh though comes across as the most obnoxious guy in any arcade, the guy leaning over your shoulder and commenting on every single thing, while seemingly propping himself up at every opportunity.
Calvin and Louis: Not to align myself with the man your discussing but...well, I don't believe my name is terribly common, so even seeing it being referenced in conversation is...kind of surreal...
Anyways, on a similar note to my last question, what would be everyone's thoughts on the following tracks?
Mighty:
https://www.youtube.com/watch?v=lmpEABVoqmk
Emerald Heroes:
https://www.youtube.com/watch?v=xTKatLk2TWY
Ikari:
https://www.youtube.com/watch?v=FbZyPJE0pEo
Regarding "Ikari", specifically, I heard that the creators took inspiration from the ending song in "DragonBall Super: Broly". After discovering that, there are some definite similarities in tone and tempo.
Hey Louis and folks!
This is a quiz that I forgot to post on the blog last year. But better late than never ... let's talk about the worst and best Oscar winners in the 2010s.
The award-winning films are valid: since 2010 (with The King's Speech, The Social Network, Inception, etc) until 2019 (with Parasite, Joker, 1917, etc)
OK let's start...
SONG
Worst: "Man or Muppet" – The Muppets
Best: "Skyfall" – Skyfall
SCORE
Worst: Life of Pi
Best: The Social Network
SOUND EDITING
Worst: Bohemian Rhapsody
Best: Arrival
SOUND MIXING
Worst: Bohemian Rhapsody
Best: Dunkirk
EDITING
Worst: Bohemian Rhapsody
Best: Mad Max: Fury Road
VISUAL EFFECTS
Worst: The Jungle Book
Best: Blade Runner 2049
MAKEUP
Worst: The Iron Lady and Suicide Squad (TIE)
Best: Mad Max: Fury Road
COSTUME DESIGN
Worst: Alice in Wonderland
Best: Phantom Thread
PRODUCTION DESIGN
Worst: Alice in Wonderland
Best: The Grand Budapest Hotel
CINEMATOGRAPHY
Worst: Life of Pi
Best: Blade Runner 2049
INTERNATIONAL FILM
Worst: In a Better World
Best: Parasite
ANIMATED FILM
Worst: Big Hero 6
Best: Toy Story 3
ADAPTED SCREENPLAY
Worst: The Imitation Game
Best: The Social Network
ORIGINAL SCREENPLAY
Worst: Green Book
Best: Parasite
SUPPORTING ACTRESS
Worst: Octavia Spencer
Best: Lupita Nyong'o
SUPPORTING ACTOR
Worst: Jared Leto
Best: Sam Rockwell
LEAD ACTRESS
Worst: Jennifer Lawrence
Best: Frances McDormand
LEAD ACTOR
Worst: Eddie Redmayne
Best: Daniel Day Lewis
DIRECTOR
Worst: Tom Hooper
Best: Bong Joon-Ho
PICTURE
Worst: The King's Speech
Best: Parasite
And what are your worst and best winners?
Commit!
Song)
worst: Writings on the Wall
best: City Of Stars
Score)
worst: Black Panther
best: Gravity
Sound Editing)
worst: no question.
best: Fury Road
Sound Mixing)
worst: Bohemian Rhapsody
best: 1917
Editing)
worst: guess
best: Social Network
Visual Effects)
worst: have not seen Jungle Book, off the others Hugo (i guess ...)
best: Blade Runner and Gravity tie
Make-Up)
worst: Suicide Squad
best: hard to really tell, I'm just saying Dallas Buyers Club based on the budget alone
Costumes)
worst: Alice in Wonderland
best: Grand Budapest Hotel
Production Design)
worst: Alice in Wonderland
best: Shape of Water or Grand Budapest
Cinematography)
worst: Hugo
best: The Revenant
Animated Feature)
worst: Frozen
best: Inside Out
Adapted Screenplay)
worst: Mooonlight (many will not agree with me, but i just really hated Moonlight ...)
best: Social Network
Original Screenplay)
worst: Spotlight
best: Parasite
Supporting Actress)
worst: Patricia Arquette
best: Viola Davis
Supporting Actor) *still not seen Beginners
worst: Mahershala ali (GB)
best: J. K. Simmons
Lead Actress) *not seen Judy
worst: Natalie Portman
best: Emma Stone
Lead Actor)
worst: Colin Firth
best: Matthew McConaughey
Director)
worst: Tom Hooper
best: that is a really tough one and i honestly can't decide
Picture)
worst: Moonlight
best: Birdman/Parasite tie (i love both on pretty much equal levels)
Brazinterma: If its all right, I'll answer to the big categories (acting, direction, picture) since I'm rather foggy on a lot of the technical wins.
Supporting Actress:
Bottom - Arquette
Top - Davis
Supporting Actor:
Bottom - Ali (Green Book)
Top - Waltz
Best Actress:
Bottom - Zellweger, or Portman I guess, even though I seem to be one of the few supporters of her "Black Swan" performance
Top - McDormand
Best Actor:
Bottom - Firth
Top - McConaughey
Director:
Bottom - Hooper
Top - Joon-Ho
Picture:
Bottom - Green Book
Top - Parasite (Talk about a film that really sticks with you)
Brazinterma:
Song
Worst: City of Stars
Best: Remember Me
Score
Worst: The Artist
Best: The Shape of Walter
Sound Editing
Worst: Bohemian Rhapsody
Best: Gravity
Sound Mixing
Worst: Bohemian Rhapsody
Best: Whiplash
Editing
Worst: Bohemian Rhapsody
Best: Whiplash
Visual Efects
Worst: Hugo
Best: First Man
Makeup
Worst: Vice
Best: Mad Max-Fury Road
Costume Design
Worst: Alice in Wonderland
Best: The Great Gatsby
Production Design
Worst: Alice in Wonderland
Best: Lincoln
Cinematography
Worst: Life of Pi
Best: Roma
International Film
Worst: Son of Saul
Best: A Separation
Animated Film
Worst: Brave
Best: Spider Man Into the Spider Verse
Adapted Screenplay
Worst: Call Me By Your Name
Best: The Social Network
Original Screenplay
Worst: The King's Speech
Best: Get Out
Supporting Actress
Worst: Laura Dern
Best: Viola Davis
Supporting Actor
Worst: Brad Pitt
Best: J.K. Simmons
Lead Actress
Worst: Emma Stone
Best: Olivia Colman
Lead Actor
Worst: Gary Oldman
Best: Casey Affleck
Director
Worst: Tom Hooper
Best: Alfonso Cuaron (Gravity)
Picture
Worst: The King's Speech
Best: Parasite
Picture
Worst: Green Book (not even close)
Best: Parasite
Director
Worst: Hooper
Best: Bong
Actor
Worst: DiCaprio
Best: Day-Lewis
Actress
Worst: Zellweger
Best: Blanchett
Supporting Actor
Worst: Leto
Best: Ali (Moonlight)
Supporting Actress
Worst: Vikander
Best: Davis
Original Screenplay
Worst: Green Book
Best: Parasite
Adapted Screenplay
Worst: The Big Short
Best: The Social Network
Animated
Worst: Brave
Best: Toy Story 3
Picture
Worst: Green Book
Best: Parasite
Director
Worst: Tom Hooper
Best: Bong Joon-Ho
Lead Actor
Worst: Rami Malek
Best: Day-Lewis
Lead Actress
Worst: Meryl Streep
Best: Frances McDormand
Supporting Actor
Worst: Jared Leto
Best: Mahershala Ali (Moonlight)
Supporting Actress
Worst: Alicia Vikander
Best: Viola Davis
Original Screenplay
Worst: Green Book
Best: Parasite
Adapted Screenplay
Worst: The Big Short
Best: Moonlight
Animated
Worst: Brave
Best: Spider-Man: Into the Spider-Verse
Cinematography
Worst: Hugo
Best: Blade Runner 2049
Costume Design
Worst: Alice in Wonderland
Best: Phantom Thread
Editing
Worst: Bohemian Rhapsody
Best: The Social Network/Mad Max: Fury Road
International Feature Film
Worst: The Great Beauty
Best: Parasite
Makeup/Hairstyling
Worst: Suicide Squad
Best: Bombshell
Original Score
Worst: All good choices tbf
Best: The Social Network
Original Song
Worst: We Belong Together, Toy Story 3
Best: Remember Me, Coco
Production Design
Worst: Alice in Wonderland
Best: The Grand Budapest Hotel
Sound Editing
Worst: Bohemian Rhapsody
Best: Dunkirk
Sound Mixing
Worst: Les Miserables
Best: 1917
Visual Effects
Worst: not a single bad winner
Best: Ex Machina
Picture
Worst: Green Book
Best: Parasite
Director
Worst: Tom Hooper
Best: Bong Joon-Ho
Lead Actor
Worst: Colin Firth
Best: Day-Lewis
Lead Actress
Worst: Natalie Portman
Best: Frances McDormand
Supporting Actor
Worst: Ali (Green Book)
Best: Christoph Waltz
Supporting Actress
Worst: Patricia Arquette
Best: Allison Janney
Original Screenplay
Worst: Green Book
Best: Parasite
Adapted Screenplay
Worst: The Descendants
Best: The Social Network
Animated
Worst: Toy Story 4
Best: Spider-Man: Into the Spider-Verse
Cinematography
Worst: Hugo
Best: Blade Runner 2049
Costume Design
Worst: Alice in Wonderland
Best: Phantom Thread
Editing
Worst: Bohemian Rhapsody
Best: Mad Max: Fury Road
International Feature Film
Worst: The Great Beauty
Best: Parasite
Makeup/Hairstyling
Worst: The Iron Lady
Best: Mad Max: Fury Road
Original Score
Least: Joker
Best: La La Land
Original Song
Worst: "We Belong Together"
Best: "Skyfall"
Production Design
Worst: Alice in Wonderland
Best: Mad Max Fury Road
Sound Editing
Worst: Bohemian Rhapsody
Best: Mad Max: Fury Road
Sound Mixing
Worst: Bohemian Rhapsody
Best: 1917
Visual Effects
Least: Hugo
Best: Blade Runner 2049
Brazinterma: Ah yes, long comments about Oscar winners. Let me add to it.
(Skipping those where I'm out of my depth talking about them)
Song)
Worst: Writing's on the Wall
Best: Shallow, I'm very biased to this one.
Score)
Worst: Black Panther
Best: The Social Network
Editing)
Worst: Bohemian Rhapsody
Best: Whiplash
Visual Effects)
Worst: Jungle Book
Best: Blade Runner 2049
Makeup)
Worst: Suicide Squad
Best: Mad Max: Fury Road
Cinematography)
Worst: Hugo (mostly due to not being The Tree of Life)
Best: Blade Runner 2049
Original Screenplay)
Worst: Green Book
Best: Parasite
Adapted Screenplay)
Worst: The Descendants
Best: The Social Network
Best Supporting Actor)
Worst: Mahershala Ali (GB)
Best: Sam Rockwell
Best Supporting Actress)
Worst: Arquette
Best: Janney
Best Actor)
Worst: Firth
Best: Day-Lewis
Best Actress)
Worst: Zellweger
Best: Colman
Director)
Worst: Fucking Tom Hopper, creator of the 90th layer of hell
Best: Bong Joon-Ho
Picture)
Worst: Green Book
Best: Parasite
i definitely see a lot of patterns here
Louis: A little surprised Rockwell isn't your favourite Supporting Actor win from the last decade.
Louis: Your overall thoughts on Jarhead, and your ratings & thoughts for the cast?
Also, thoughts on the cinematography?
Louis: Thoughts on the other recommended films you've seen and ratings/thoughts on the casts?
Man, you saw quite abit yesterday.
Louis: Considering how much of a failure it was, do you think The Black Cauldron should be given another go, perhaps with a Live-Action adaptation.
Louis I agree that John Hurt was best in the cast. A shame he wasn't utilized enough.
Tahmeed:
I've always been a big fan of Waltz's second win, as well, remember they're never ranked together due to Waltz getting sent over to lead.
Bryan:
Jarhead I guess is rare for me in that it is a Mendes that I don't love or hate. I think the film is on to something, but never quite finds that something. The idea of war without fighting and just being stuck in the minutia of it could be fascinating. The film though is just kind of interesting in that exploration. It never quite strikes at something deeper nor does it become wildly entertaining in satire. I think it might have benefited from shortening the overall war sequences, and had a bit more time devoted to the denouement, which has potential left unexplored. I would describe it as not bad, but just that.
Gyllenhaal - 4(Rock solid lead turn from him here. This in just portraying effectively sort of the state of a low key exasperation of a guy who is slowly regretting his decision. This while still trying to be part of the crew and do his technical job. Gyllenhall gives a fine sort of "empathetic" part for us to follow as he creates the proper sense and reaction towards every new sort of situation he finds himself in. This granting a man being "killed" by boredom and separation, but also just kind of having to live his life in a strange boring circumstance.)
Sarsgaard - 4(Good in delivering the sort of a cockiness initially of the guy who wants very much to be a soldier. This with this sort of conviction in his manner as he speaks about the efforts of the war with a strict belief in it. This though then being a play of wavering of that conviction throughout, and a slowly more distressed manner. This showing a man slowly just looking for any kind of purpose until his breakdown that is an effective unleashing of all that distress. Speaking of the denouement, he very much gets short shrift because of its brevity, though he does at least set up what happens to his character even with it being so fast.)
Foxx - 3.5(One of his better performances actually. This as he does a fine job of portraying the hardness of the staff sergeant, but also showing the moments of that cracking. This in emphasizing a guy seemingly as lost as everyone else in the situation.)
Geraghty - 3(Warm up for the Hurt Locker I guess, he's fine)
Cooper - 3(Kind of bordering on more overt satire, though I do think he works in being properly and overly gung ho in both a comical fashion but also some kind of an actual commander, if just barely.)
Deakins's work is probably the highlight of the film, even if I wouldn't put it among his best. The one place where he does pull out all the stops are the oil pits, which is some pretty spectacular work from him. This in the almost apocalyptic, yet still classical Deakins
beautiful, appearance, of the sky almost being blighted. The rest of his work is good, this in actually kind emphasizing the boredom of the desert. This with typical Deakins's artfulness in granting space in the composition to really emphasize the nothingness and the color use limited, but still with this kind of minimalist vibrancy.
Razor:
The Little Shop of Horrors is a dumb movie and quite slapdash. Although I have to say it is enjoyable in its dumbness and aggressively low budget quality. The musical is much better of course, but I did have fun with its even sillier rendition of the story. This though how I could see how the musical producers saw potential in it for something more.
Welles & Haze - (Mushnik being very much co-lead in this version with Welles giving sort of a more overtly comedic performance than anyone, this in terms of sort of playing up the comedy rather than "blindly" doing it. His sort of vaudevillian standup moments though work. Haze is the purposeful over the top and rather ridiculous character. It works though still in this overt silliness.)
Nicholson - 3.5(He's actually quite enjoyable in setting up what Murray would eventually do as well. This in portraying just his deranged masochist with such gleeful nonsense. Nicholson is great for every second he is onscreen, and is wonderfully wacky.)
Joseph - 2.5(Audrey doesn't get to do much in this version of the story, though I thought she was just fine as a rather vague love interest.)
Feels Good Man - (Had already seen this a little bit ago. I think overall it is an interesting examination of how a seemingly innocuous image can be co-opted and effectively illustrates the history of that. I do think though the inclusion of the occultist though sort of though undercuts the overall intent of the narrative, just a little bit, there just as one of his theories feels a little bit like the baseless or outrageous type of things the doc is standing against (that is creating a "curse" to have something happen.)
The Black Cauldron I think does have a certain atmosphere in the animation, unfortunately the actual story is just so meandering with the characters seemingly just kind of oddly almost "hanging out" in different dull rooms of different kinds. It honestly feels like it never bothers to get going.
Bardsley - 2(His voice makes for a more annoying than endearing hero sadly. His voice seeming just wanting to emphasize whiny more than any other quality, making him a bit grating.)
Hurt - 3.5(I mean delivers a proper menace with his voice, every time he gets to say a line, sadly that isn't very often.)
Hawthorne - 3(The much better of the two comic reliefs and he does bring some zest in his delivery.)
Jones - 2.5(Wasted in a boring exposition role.)
Byner - 1(Gurgi annoying, very annoying.)
Luke:
Not that many, you missed my updates about "The" Little Shop of Horrors" on Friday.
I mean I have no faith in any Live Action versions, as Mulan should've been much better (unless just the second half is amazing and I'm missing out), however I think some adaptation not by the current Disney brass could have potential.
Louis: Speaking about Gurgi, do you think Andy Serkis had some inspiration from it with the Gollum/Smeagol voice.
Luke:
Well that would be funny if he did, though really then he would've been taking inspiration on some less likable variation of Donald Duck's voice.
Louis: If you haven't seen them already, what would be your thoughts on the "acting clips/montages" from the 2004 oscar's ceremony? I watched them for the first time last night thanks to this Youtube channel:
Actor:
https://www.youtube.com/watch?v=FFzbpzfAPy4
Actress:
https://www.youtube.com/watch?v=SN_dEHjHVhQ
Supporting Actor:
https://www.youtube.com/watch?v=qFa6bPZwpaU
Supporting Actress:
https://www.youtube.com/watch?v=--AeYka8vyk
Honestly, when it comes to the videos above, I think the oscar's could've done a better job at editing those snippets, or even picking one's that better represented the performances. I also note the following...
- Aghdashloo pretty well steals her moment from Kingsley (And I remember liking his work)
- Despite what I said earlier, at least they drew from my favourite scene in "Whale Rider", and by extension my favourite scene of Hughes' performance
- Theron's make up job as Wuornos is still amazing
- Taken out of context, Mateo comes off really creepy in that scene from "In America"
your thoughts on Steven Price - "Shenzou"?
Louis: What do you think of this song from Oblivion? https://www.youtube.com/watch?v=822P87a773c&feature=youtu.be
Louis: If you're watching Persepolis today, may I have your thoughts on it.
Mitchell:
I mean not too much to comment on those, other than Honsou's was a weird out of context choice, his ET speech would've been a better choice.
Tim:
The highlight piece of his score to Gravity, that essentially is the climax within the film, and without a doubt what granted him the Oscar win there. It's a fantastic piece in terms of illustrating the sequence just within the score, starting with the utmost almost circular intensity, before seguing to something more hopeful in a more quiet interlude, this before building back up to really that proper catharsis made by the build of the full orchestra and most of all the vocals.
Robert:
Perhaps I should've made time for Oblivion, if at least only just hear that song. This as I found this very striking and beautiful to say the least. I'm an easy mark for sort of the neo-80's synth style, and I thought this was a rather powerful rendition of that style, particularly made by the overwhelming vocals. Thought it has kind of that wonderful combination of sort inspiring, while kind of having this undercurrent of a somberness, a dynamic I love.
Luke:
Quick note, 4 Months, 3 Weeks 2 Days made my top ten as soon as I saw it during 08 bonus rounds (thinking it was an 08 release), but just hadn't updated it at the time. And I still won't be giving thoughts on the cast until I get back to 07.
Persepolis I thought was a fantastic animated film, and again shows further that too often it is limited by the view of it as "kiddie" medium in film. This is great in actually I think is the animation is really what kind of makes its tone, which is balance of comedy with technically some very hard drama. It balances itself essentially I feel the animation which itself is a nice balance between humanizing and styling. The film itself though just works as primarily this coming of age story, but just jam packed so naturally with the history of modern Iran, told so powerfully, and specifically the nature of dealing with such a history while trying to live a normal life.
Ratings and thoughts on the Persepolis cast. And glad to see There Will Be Blood up to #5.
So glad you took to Persepolis. One of my all-time favourite animated films, and one which I only happened to discover because I read the graphic novel for my IB English class, which I highly recommend by the way Louis.
Louis: Your thoughts on the direction of the film.
Louis: Did you happen to see it in its original French, or in English?
Louis, will you be reviewing Jack Nicholson in The King of Marvin Gardens?
2007 was such an incredible year, just hate that it's gonna be done last from the 00s.
Louis: Will you be rewatching 4 months, 3 weeks and 2 days during 2007.
Persepolis is fantastic, knew you’d take to it. Also one of the best adaptations of any source material in terms of staying true to the source - definitely helps that the author was a central facet to the creative process.
Must say it's especially satisfying to see it make the top ten in the year of the masterpieces.
Louis: thoughts on the direction and screenplay to Good Night Good Luck? In retrospect I think it should’ve been the film nabbing the major awards that year. And if they’d given Clooney the Oscar for directing instead of acting all would be good.
Louis: Is your opinion on Strathairn in Good Night And Good Luck final?
Calvin and Luke: Although I like the movie a great deal, I do think Lee's directing win for "Brokeback Mountain" was fully deserved. Likewise, a 3.5 is more than fair for Strathairn given the film's rather "at arm's length" treatment of Murrow.
To anyone who’s seen Private Life: What would be your rating for Kayli Carter? I just watched it yesterday and she dethroned Debicki as my 2018 Supporting Actress win.
Haven’t seen it yet but added to the watchlist after seeing your Twitter review.
Robert: Thoughts on Giamatti and Hahn? I haven't seen the film either, and I wouldn't be able to see your review since I'm not on twitter...which is a choice that I - if I may be so frank - regret less and less with each passing day.
Robert: A solid 4.
Luke:
Mastroianni - 4(Wonderful work from her actually. This as I think her performance manages to convey the age of her character throughout the later years effectively. Her performance though does wonders to help to balance the tone. This as she gives such a lively performance at times in her more comic and lively remembrances of the times of a greater normalcy. This against her scenes of more direct anger, frustration or outright heartbreak and depression, are equally vibrant. It is a deeply emotional work she gives just as she gives honestly comical work as well.)
Deneuve - 3.5(Mother like Daughter, she too gives vibrant work here. This though in hitting the moments of just a genuine warmth, but this combined with a more intense frustration and despair. She probably says a lot less total, but the moments she does have really hit powerfully well.)
Darrieux - 3.5(Lovely work in that her performance embodies a natural sort of grandmotherly affection and grace, though with a wonderful balance though with an innate sort of toughness within her performance as well.)
Abkarian - 3(Didn't make as much of an impact but for me, but certainly solid work.)
Tahmeed:
The direction is impressive, this as it so artfully realizes the slightly different styles, that each represent a different phase of life, and each are represented through that effective alternative perspective. That as the sort of more of abstract art used for some the past, or recollections of the war, have a real power. As does the silence used in those moments. This compared to the normalcy where there is a playfulness at times, and a vibrancy in so many elements. The film, even with the seemingly minimalist, style has so much life to it. I'd say that with the actual execution of the storytelling it is so effectively articulate in creating those different moments of pacing and emotion. It devotes the right attention to each, to allow both the historical tragedy and the less severe personal story to thrive.
French
Anonymous:
Possibly.
Calvin:
Agreed, would've loved a directing win for Clooney there.
The direction by Clooney, which despite his own presence I can't believe it is directed by the same guy of Suburbicon and the Midnight Sky, is this excellent combination of All the President's Men and Sweet Smell of Success. This as his focus is on efficiency, and so effectively there. It has just the right moment of stakes, but more than anything he cultivates the personal tension so well, particularly in the use of archival footage of McCarthy for his replies to Murrow. Clooney knows his story and just goes with it through a direct efficiency. This though drawn within such a careful, but pointed style in its black and white style. This crafting both a period piece, but also seemingly bringing us into the world of the broadcast at the time. What I find most impressive is his restraint actually, he makes his points here, but he doesn't draw them out. He shows them, and leaves them with you to contemplate, rather than hitting you over the head with them.
Well speaking of efficiency the screenplay is just that. This as it grants properly the core is the fight between Murrow and McCarthy.
He and Heslov then just essentially build carefully around that to accentuate points. They seem to know the conflict and climax is there and that is well realized. They then have the little story of the secret married couple, that fleshes out the supporting players enough while also giving kind of a counterpart to the secret life of the supposed communists, the tragic story of Ray Wise's character showing the stakes to an extent, and the scenes with Langella showing the path of television in context with real journalism. They don't waste time, but they also make sure there is enough.
Luke:
Close to final.
I actually do think Lee's win was deserved but considering he won a few years after for Life of Pi (which I do think is the stronger directorial achievement after all) I would've bought a Clooney win assuredly.
One does wonder how Crash ended up winning Best Picture.
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