Daveed Diggs was nominated for a SAG award for portraying Marquis de Lafayette & Thomas Jefferson in Hamilton.
Now here I go about another set of reviews of performances that I know will not be Oscar nominated, although for different reasons than my previous one. Well it was placed in the TV categories for whatever reason at SAG, though it had an intended theatrical release originally, but that really isn't the main point of conflict. The main conflict is the film is essentially a filmed version of the play, though with specific added cinematic touches, and not just a recording for posterity's sake. Now I have heard the argument since it was presented to an audience on stage, though not the entirety of it, that it should preclude itself from being considered a film. Well I would counter, why can't a filmmaker say "my cinematic version of Hamilton is the stage version, with audience reactions"? If it were static, and only shot for posterity, without any additional touches, I would agree, but as is, the exclusion isn't something I can agree with. Furthermore precedent has been set by the Academy, when they nominated James Whitmore's filmed stage performance for Give 'em Hell Harry!, which frankly had fewer cinematic touches than were added to this rendition of Hamilton. It is finally worth mentioning that I don't think it gives any advantage, rather it is a disadvantage in a way, as stage performances are attuned differently. I only think it is fair though then it look at these performances as I would any film performance, which I guess it makes sense then I'm covering my favorite performances of the musical in the form, which are likely the performances that would be the most similar if they ever do make an entirely cinematic version.
This starting with the very talented Daveed Diggs in the dual roles of French liaison to the colonial army Marquis de Lafayette and founding father, writer of the Declaration of Independence, the third president, Thomas Jefferson. Now no historical character in Hamilton is played entirely straight, George Washington comes pretty close, which makes sense it's a musical so there naturally is going to be some riff. Most of these are slight riffs, particularly with the roles of the Schuyler sisters, Aaron Burr and of course the titular Hamilton. They are largely taken seriously as the historical person even within the modernized lens granted to it by Lin-Manuel Miranda. That is less so for Diggs's performances, in both of his roles. The first being, I'll say from the outset his lesser role, though don't take that as a criticism, as Lafayette. This as early on he is nearly the chorus as just part of the group of revolutionary buddies of Hamilton (Miranda). His most noticeable feature being his fairly over the top, not out of the realm of Clouseauesque (though not quite far), French accent that is obviously not meant to grant any strict reality to the Marquis. Diggs's delivery in that way does make him stand out in little beats in the group scenes, such as his dismissive "you are the worst Burr" when regarding Hamilton's frenemy Aaron Burr (Leslie Odom Jr.) as a bit of a random aside. Lafayette's one highlight moment certainly is not wasted though during the song "Guns and Ships" were Lafayette goes about rapping his endeavors. Diggs's fantastic rapping skills are not to be dismissed and the swift ease of the run down is simply wonderful.
Watching the film the first time though I will say just watching the first half, I was surprised that Diggs was chosen as the supporting actor to win the Tony for the musical, not that he's not good as Lafeyette, but it felt like just a warmup for him....which is the case. This as he comes in to quite the fanfare as Thomas Jefferson in the second half. The most prominent historical figure who is the least like the actual man in any way, the fact that he was played by the ever cold Stephen Dillane in the miniseries John Adams should give a sense of how far from that Diggs is from that. All intended of course, and so brilliantly so. We instantly get a sense of the character, which Diggs plays as a bon vivant celebrity in his outstanding introductory number "What'd I miss". This of course is visually established by his costume, the most over the top out of the main cast, as he wears a purple frilly suit that is sight all on its own. Diggs though does as much visually himself as his whole manner is just pitch perfect in crafting this take on Jefferson, particularly in contrast to the driven Hamilton. Given that Hamilton already has one foil in Burr, we get a new path with Diggs as a man as successful, but who just makes it all look easy. Diggs comes in as THE life of the party. This as the grin on his face is a man who loves how everyone love him, but also just loves his life. Diggs rarely stands up straight, or walks normally. There's almost always a little perk in his step. This just as he brings so much energy that in turn though is perfect though as setting up a guy who just seems to walk on the air of life. The man whose achievements come naturally, and doesn't need to be "Non-stop" he just is.
Naturally then Hamilton and Jefferson then come to blow in two rap battles, which the script say Hamilton wins, and perhaps he does logically, but one has to admit in terms of actual rap precision...there's no question. Diggs runs away with it in both battles. This just his running down with his rap with it as though it is just as though he would indeed speak. I love that Diggs doesn't copy how he rapped as Lafayette either. He does it with as much ease, but seemingly less effort. By that I mean Jefferson just runs out each word without a care in the world, and a complete belief, because how could a man so overflowing with confidence ever be wrong. I think what needs extra mention is Diggs's performance during Miranda's raps, which I have to say kind of steal the moments from the star each time. This as Diggs is absolutely hilarious in every split second of hearing out Hamilton's arguments. This with moments of a kind of respect, but also a bit more annoyance, and little reactions towards the crowd of either indicating that what Hamilton saying isn't true, or trying to react as he doesn't care, even if does. Diggs I suppose makes Jefferson cheat a bit by taking the spotlight even when he's not owning his portion of the rap arguments. Diggs just literally doesn't stop and it again is fantastic, because again isn't in the non-stop Hamilton way, it's in the Jefferson way, where his drive is with a joyful grin and a loose gait. And the greatest trick of it, is Diggs's charisma makes it so you don't hate him for a moment for his shameless grin, there's just something about him that makes you love every minute of it.
Now what that is exactly is part of Diggs's whole demeanor in the role. His energy is indeed endearing but just so is the way Diggs plays up every scene for all its worth, even for how much Jefferson might even feature in a scene. In fact I have to say, Diggs kind of just literally makes something out of every second he's onscreen, as he just keeps that unabashed style of the man. Take after the first cabinet argument where Jefferson laughs at Hamilton for not having the votes. This is a completely childish move, but can't help but love Jefferson because Diggs is just so playful about it. Diggs just moving around the stage is something to behold as he makes this basically cocky slide than even can be described as a walk. Diggs though importantly does strike a balance even in his largely comic performance. This as in the second cabinet rap battle he brings a more directed passion even within that ease still that is impressive. Diggs though conveys that the subject, of the French revolution, is meaningful to him and even his dismissive attitude towards Hamilton has a more genuine anger. Diggs even as he's just being incredibly entertaining does craft the arc of Jefferson from a friendlier rival to Hamilton to a more antagonistic one. This eventually leading to the exceptional scene where Jefferson and his little cabal force Hamilton to admit to a crime, though an affair rather than embezzlement as they believed. Diggs is great in his hectoring manner as he makes his little accusations, but the cherry on top of the scene, is Diggs is hilarious "Whaaaat" when finding out the truth. This perhaps only equaled by his slightly annoyed, still comic and confused "My God" towards Hamilton's confession that wasn't quite what he hoped. This still leading to a partial downfall by Hamilton as he writes and releases his own confession anyways. Leading again to another amazing scene for Diggs. This in the sheer bliss and really gluttony in taking in all the schadenfreude. My personal favorite line delivery in the show being perhaps Diggs "Never gonna president now" as strict jubilation while dancing and making Hamilton's pamphlet "rain". Of course everything Diggs does is a little gem of its own. His reaction to Burr, after Burr runs against him, as a "you kidding me dude", comic gold, even his final line as Jefferson remarking about Hamilton's legacy while still recognizing his attempt to dismantle it, is pure gold. That's the entirety of Diggs's performance. It's comic masterwork of the piece that finds just the right tone and truly runs with it. His Jefferson is broad in the best possible way and works from any perspective. A comically genius performance, that is a proper different kind of foe for Hamilton to be sure, while also just being a joy to behold all on its own.
Jonathan Groff was not nominated for any visual recorded media acting awards for portraying King George III in Hamilton.
Now Jonathan Groff's performance I think owes a debt, fundamental to Lin Manuel Miranda's inspiration for the inclusion of the King, to Tom Hollander's performance as King George in the miniseries John Adams. A one scene wonder to be sure, but here we get Groff as a 3 scene and a eighth wonder as the musical's version of George that skews closely to Hollander's. This as the intention is not a humane portrait of the man a la Nigel Hawthorne in the underrated Madness of King George, like Diggs's performance there is a more than a degree of flamboyance in this representation of a historical figure. George here being a series of interludes as the King's reaction to various going-ons in America, each of these being highlights within the musical. Now of course Groff has a beautiful voice, and delivers "You'll Be Back" and its pseudo reprises wonderfully. What I want to highlight though is the greatness of his work beyond that. This right from the way he enters the scene with his aggressively proper and regal manner of walking. This in specifically aligning every foot step. Each movement though, even just the way he carries his royal baton there is a grace and manner wholly befitting a monarch. That is all fantastic, but there is more. Now it must be said that Groff's comic timing is impeccable of course. From his over the top pouted lip one remarking on the sadness of the colonies, his petulant stomps at accepting his eventual defeat, and of course his glee at hearing John Adams as Washington's successor, Groff is comic gold. Of course as fun as this performance is what I love most about it is how it strongly it does call back to Hollander's performance. This as much as Groff is a comic presence, he's not just a goof. This as he brings those piercing eyes of a mad man that were so prevalent in Hollander's portrayal that gives a sense of the genuine menace within the King's power. I especially love the way that Groff's voice becomes aggressively more threatening in his declarations about how the colonies will be returning his love. Although Groff admits to his spitting while singing, and even perhaps accidental, the burst of spittle at the most threatening part of the song is striking in creating George as a bit of a drooling mad man. This as that only back ups Groff work that has a bit of a vicious psychopath just behind the regal surface. This of a man who is more than willing to use violence to retain the love he believes he deserves. Is he mostly to be taken a joke, yes, but it's fantastic how Groff finds a real sense of something more sinister in George. Although naturally his later appearances, which are essentially encores, and really just comic returns, yet each is most welcome as Groff is a hoot each time....And one must mention the one/eighth moment where George does some free-styling around Hamilton at one of the latter's lowest moments. Now these are completely silly movements from Groff, and utterly hilarious. Small bit, but worth mentioning. Otherwise this just is a delight of a performance, as sheer comic relief, but also with just the right ounce of villainy.
355 comments:
1 – 200 of 355 Newer› Newest»This just made my week, thank you Louis :)
Louis: Where would Diggs's performance rank among ylur favourite musical performances? Also, do you have any updated ratings/thoughts on the rest of the cast.
Both performances were the highlight of the show for me, especially Groff's scenes. I still play "You'll Be Back" in my head every now and then.
On another note, I got to see Minari (A24 online screening room). Really loved it. A beautiful film through and through and incredibly endearing. Fingers crossed that this wins that Original Screenplay Oscar.
Yeun - 5
Hari - 5
Kim - 5
Cho - 4
Youn - 5
Patton - 4
Both great performances. One of my favourite line deliveries in the whole show is Groff's gobsmacked "John Adams?!"
Aidan: it has almost zero chance for Original Screenplay unless it manages to leapfrog ahead of Chicago 7 and PYW in terms of hype, but I have hopes for it to be an upset in Supporting Actress. I also dearly hope it gets an upset in SAG Ensemble which would be amazing (and not out of the realm of possibility). Who was your MVP? Mine changes day by day.
Love Diggs here, not as in love with Groff as most but he was great. Don't exactly know how I'd rate their perform aces though.
Tahmeed:
He'd probably be my #8. Everyone is consistent to my last upgrades, though it did remind me a bit that the Globes nominating Miranda over Odom in lead is utterly ridiculous.
Calvin & Aidan:
I think even if Minari were to win best picture (which I think is very unlikely even if it does well with nominations) I think the voters would probably go with the more dialogue heavy scripts of Chicago Seven or the true dark horse, in my view, Promising Young Woman.
Calvin: I actually think I'm leaning towards Han right now (whose name I'm just now realizing I horribly misspelled). I imagine it'll change frequently for me also, though. Just a great and incredibly memorable cast.
Louis: I think Chicago 7 is my prediction at this point too. Their preference for dialogue heavy is also why I don't think Nomadland is going to win Adapted even if it wins Picture. Promising Young Woman is the dark horse I would absolutely love to see.
Aidan: Han is mine on some days, Youn on others, and Yeun has grown on me with each rewatch. Agreed so much on every member of the cast.
Louis: I am actually okay with Miranda as I thought he was really good and at least he was better than James Corden.
Anonymous: Louis did like Miranda, I think it's just that he definitely pales in comparison to Odom Jr.
Also being better than James Corden in The Prom is no mean feet. On the note of the globes anyone thinking of checking out Music just shouldn't. I haven't seen it but nothing about it suggests it's worth watching.
Calvin: I personally think Nathan Lane would have been a better Barry than James Corden.
Calvin:
Agreed regarding Nomadland, even though it is being predicted for the win by most, there are no adapted screenplay wins that are remotely similar. I think in all likelihood One Night in Miami or The Father unseats it, depending on which film they like more.
Agreed. I do think it would be a deserving win though for Zhao if she does pull it off, because even though the film is quite minimalist with its dialogue I do think there's a lot of depth to be found beneath each exchange and interaction. Kind of reminds me a bit of that Jarmusch/Paterson thing where the auteur achieves the perfect balance between the writing and direction.
One Night in Miami would be my prediction on account of awarding Kemp Powers for a banner year.
Louis: What are your ten favourite lines from Hamilton? I love so much of the show, but I think my #1 favourite will always be 'Immigrants, we get the job done.'
Well, the latest Snyder Cut trailer dropped, and the Joker actually says "We live in a society".
Louis: your 2000s and 2010s casts for Gone with the Wind, Casablanca and It's a Wonderful life?
Calvin:
Oh the merits of Zhao's screenplay should not be overlooked, and I do think she can win just by the atypical nature of the year (I mean play adaptations have actually become less popular in the category and this year, in all likelihood, three of the nominees will be such). Interestingly I wonder if Powers's banner year might work against him, as his other potential win is VERY likely (If I was forced to put money down on a category at the moment, it would be Soul taking Animated film), so they might want to spread the love more, if that's the case I think Zeller benefits. We'll see.
Tahmeed:
1. "Let me tell you what I wished I known when I was young and dreamed of glory, you have no control over who lives who dies who tells your story"
2. "Death doesn't discriminate between the sinners and the saints"
3. "Immigrants...we get the job done"
4. "I'll give him this, his financial system is a work of genius I couldn't undo it if I tried...and I tried"
5. "I will...kill your friends and family, to remind you of my love"
6. "John Adams Doesn't Have a Real Job Anyway"
7. "Jefferson has beliefs. Burr has None"
8. "I'm the one who paid for it. I survived but I paid for it"
9. "I wanna be in the room where it happens"
10. "You know we can change that. Because I'm the president"
Tim:
Well let me start with just the 2010's for each.
Gone With the Wind 2010's:
Scarlett O'Hara: Emily Blunt (though Honestly I don't think there is a perfect choice)
Gerald O'Hara: Brendan Gleeson
Ellen O'Hara: Kristin Scott Thomas
Mammy: Alfre Woodard
Ashley Wilkes: Billy Crudup
Dr. Meade: Donald Sutherland
Rhett Butler: Leonardo DiCaprio
Casablanca 2010's:
Rick: Clive Owen
Elsa: Marion Cotillard
Laszlo: Nikolah Coster-Waldau
Captain Renault: Tony Shalhoub (This is directed by the Coens by the way)
Major Strasser: Peter Stormare
Signor Ferrari: Michael Lerner
Signor Ugarte: David Krumholtz
It's a Wonderful Life 2010's:
George Bailey: Ryan Gosling
Mary Hatch: Carey Mulligan
Mr. Potter: Brian Cox
Clarence: Anthony Hopkins
Mrs. Bailey: Laurie Metcalf
Mr. Bailey: Kevin Costner
Bert: Rory Cochran
Ernie: Jimmi Simpson
Violet: Amanda Seyfried
Mr. Gower: Everett McGill
Louis: Melanie for GwTW?
Also, your choice of director for each version.
Bryan:
Sarah Gadon for Melanie. Damien Chazelle for It's a Wonderful Life, no one for GWTW, fun to cast but impossible to make today.
Louis: you forgot to say who you would cast as uncle billy.
Anonymous: Maybe Bill Nighy for Uncle Billy?
Louis: What would be your 90s and 00s casts for "Marraige Story"?
Anonymous:
Perhaps Paul Reiser.
Mitchell:
90's
Nicole: Marisa Tomei
Charlie: Robert Downey Jr.
Nora: Sigourney Weaver
Bert: Gregory Peck
Jay: Bruce Dern
00's:
Nicole: Charlize Theron
Charlie: Joaquin Phoenix
Nora: Allison Janney
Bert: Christopher Plummer
Jay: James Woods
Would look forward to that additional subplot of Uncle Billy selling the family out to the neighbourhood aliens.
Continuing the unexpected Shortlist, The One and Only Ivan, unlike Jingle Jangle, this has enough darkness in that I feel it is fair game for a more ardent critique. Seems most of the time aimed at really little kids, making its segues into the more dramatic not exactly the most natural or earned. This particularly in the whiplash involving Bryan Cranston's character, which isn't all that artfully done to seemingly attempt a message beyond...aren't animals cute. Very much within the brand of mediocre and forgettable family films (the type, despite my typical attitude, that Pixar films tend to be much better than) Also worth noting that Danny DeVito plays Poppins From It's Always Sunny for some reason.
Short List: The visual effects actually are fairly impressive. In fact I think it kind of finds a balance in design that the Lion King remake lacked, this in combining an attempted photo-realism with a sense of emotion within the animals' expressions. Although you do know they're not completely real, the actual work of them interacting with their environment is consistently strong and quite remarkable at times.
Louis: Any particular reason for Phoenix? I suppose if we're using Driver as a template, than he's of course the right kind of idiosyncratic presence, but still with the realism for an every man role.
And I guess the Downey/Tomei pairing would be like the dark version of "Only You"...
Mitchell:
Well...what you just said.
Louis: Honestly that kind of makes me want to watch Ivan if only for the effects (I've been waiting to see a film where it can find the balance between realism and naturalism with CGI animal faces and my visual effects lineup is SO bare anyway).
Calvin:
I mean not a terrible reason to watch it, as a film it's not atrocious, easy enough to get through at any rate, and I would personally nominate it over most of the other films on the VFX shortlist.
i just tend to bite my own ass at some of your choices. I never would have thought about Hopkins as Clarence, but after reading thought that it actually would be one pretty obvious choice.
However, i think Nikolaj Costa-Waldau would be good for Ashley Wilkes
Louis: Thoughts on A Sun and the cast.
What a coincidence, I also watched A Sun today and thought it was excellent - thoroughly deserved Oscar shortlist and hope it makes the final cut.
As for the cast overall I think Chen Yi-wen was my favourite, his final scenes were incredible, but I liked every cast member a great deal.
Razor & Calvin:
100% agree with Calvin that it should make the nomination list (and if it qualifies for other categories should really be in the lineup for cinematography). What a fantastic hidden gem, right on Netflix that deserves to be seen. What a beautifully shot and scored film, that has such a wonderfully combination of intimacy and grandeur within it. This in treating potential melodrama with such a delicate and honest feeling approach. It is gradual, though not in a way that ever felt it lagged for me, and in turn the potency of the story really was remarkable by the end of it. This as I think it earns the time by spending time with each family member granting a real understanding and eventual poignancy to the fallout of a singular event. I even thought the third act sort of shake up worked for me, in part that the character was wholly setup by the opening, and what happens with him I found genuinely surprising and powerful.
Chen - (His performance is strong in creating the sense of the man basically in this certain state of malaise in much of the film. This offering a father who is very much just going through the motions which he shows only worsens as further grievances occur. His journey then to some recognition is quite moving in portraying such subtle moments of reaction to indicate a man finally sort of recognizing something he had desperately been hiding from. This making then his delivering of the final revelation quite remarkable as he grants it with both a sense of confession of guilt though not towards the actual act but his failures of the past towards his sons.)
Ko - 4(A striking largely reactionary performance. This as her performances evokes effectively what the mother is able to do that the father is fails to do. This as she expresses the sense of grief and frustration still but within the state of a woman pushing through it all to do the right thing. What she is going through is always evident within her work, but subtly within her face as just part of her still dealing with life. This other than the key moments of direct reaction such her listening to her husband's confession, that is earned and heartbreaking work of overt anguish.)
Wu - (A good performance that slowly grew on me as I think the character is meant to. This as he starts out as indeed the angry young man, though even in that you see an earnest sense of the emotional decay in the young man. This then afterwards finding some sense of solace and responsibility. He effectively shifts his presence and is terrific in showing the understated way he shows the man internalizes his sense of doing the right thing quietly and without pride. This even in the later scenes with his old criminal buddy where he conveys just under the surface the sense of anxiety and anger that he attempts to hide in reaction to him. This slowly sort of earning the audience's respect to the part I really cared about him getting away from the criminal life in the end.)
Hsu - (A moving performance that I don't think goes too far in creating someone who is in a way seemingly detached from it all. This as he's effective in presenting a man who on front seeming alright and earnest in his interactions, while still crafting a sense of somberness within him.)
Liu - (Thought he was really a terrific villain with just the perfect face for making you want to punch him right in it. Liu's performance though brings the right bravado to it and creates the sense of a real man who just owns really his criminality. Liu bring the right sort of love it finding an effective combination of a false friendliness with a sense of a real menace within all his smiling suggestions/threats. I particularly like the way he shows the boiling emotion beneath the surface when he mentions the perceived betrayals while still keeping at least a small smile as though he's some "good friend".)
Hello Louis and folks!
A month from now it will be the announcement of Oscar nominees 2021. So it's time for one more of our predictions; lets go...
SONG
"Turntables" - All In: The Fight For Democracy
"Fight for You" - Judas and the Black Messiah
“Io Si (Seen)” - The Life Ahead
“Speak Now” - One Night in Miami
“Hear My Voice” - The Trial of the Chicago 7
SCORE
Mank
Minari
The Midnight Sky
News of the World
Soul
SOUND
Judas and the Black Messiah
Mank
News of the World
Sound of Metal
Tenet
EDITING
The Father
Judas and the Black Messiah
Mank
Nomadland
The Trial of the Chicago 7
VISUAL EFFECTS
Love and Monsters
Mank
The Midnight Sky
Mulan
Tenet
MAKEUP
Birds of Prey
Hillbilly Elegy
The Little Things
Mank
Ma Rainey’s Black Bottom
COSTUME DESIGN
Emma
Mank
Ma Rainey’s Black Bottom
Mulan
News of the World
PRODUCTION DESIGN
Ma Rainey’s Black Bottom
Mank
Mulan
News of the World
Tenet
CINEMATOGRAPHY
Mank
Minari
News of the World
Nomadland
Tenet
INTERNATIONAL FEATURE
Another Round (Denmark)
Collective (Romania)
La Llorona (Guatemala)
Quo Vadis, Aida? (Bosnia and Herzegovina)
Two of Us (France)
ANIMATED FEATURE
Over the Moon
Onward
A Shaun the Sheep Movie: Farmageddon
Soul
Wolfwalkers
ADAPTED SCREENPLAY
The Father
Ma Rainey's Black Bottom
News of the World
Nomadland
One Night in Miami
ORIGINAL SCREENPLAY
Judas and the Black Messiah
Mank
Minari
Promising Young Woman
The Trial of the Chicago 7
SUPPORTING ACTRESS
Maria Bakalova
Glen Close
Olivia Colman
Amanda Seyfried
Yuh-Jung Youn
LEAD ACTRESS
Viola Davis
Andra Day
Vanessa Kirby
Frances McDormand
Carey Mulligan
SUPPORTING ACTOR
Sacha Baron Cohen
Daniel Kaluuya
Bill Murray
Leslie Odom Jr.
Paul Raci (but I believe Boseman or Leto can steal the nomination)
LEAD ACTOR
Riz Ahmed
Chadwick Boseman
Anthony Hopkins
Gary Oldman
Steven Yeun
DIRECTOR
Lee Isaac Chung
David Fincher
Regina King
Aaron Sorkin
Chloe Zhao
PICTURE
The Father
Judas and the Black Messiah
Ma Rainey's Black Bottom
Mank
Minari
News of the World
Nomadland
One Night in Miami
The Trial of the Chicago 7
Promising Young Woman or Soul
What are your predictions?
COMMENT!
Brazinterma: While I do think Gary Oldman did an incredible job I hope that Delroy Lindo gets nominated over him.
I’m not making any more predictions until BAFTA nominations come out. Don’t want to jinx things I hope might happen.
Same here Calvin.
Luke: Do you still have a high interest in Awards Season. You haven't done as many predictions than in previous years.
Anonymous: My interest for Awards Season in general has been on the decline for awhile now. Alot of that has to do with work and not having the time afforded to watch everything like I did in 14 and 15. Of course I do care about who gets nominated in the Acting categories because it does have an effect on the blog in terms of who and who doesn't get reviewed.
Louis: In your opinion, the best actor/director pairings that never happened?
Louis: Thoughts on Eat Sleep Die and the cast.
Luke, who do you think will get 5s once 2004 Lead Actor is updated.
Luke: Your thoughts on John Malkovich in The New Pope
I think my awards excitement will pick up definitely, it sure did when the GGs and the SAGs were announced, it will when the Baftas, especially with 6 nominees, that could be quite interesting, but I would say the final few days before the Oscar nominations and on the day itself will be when I will be hyped up like mad.
Anonymous:
Lock:
Paddy Considine in Dead Man's Shoes
Possibilities:
Kevin Bacon in The Woodsman
Don Cheadle in Hotel Rwanda
Al Pacino in The Merchant Of Venice
Christian Bale in The Machinist
Mads Mikkelsen in Pusher II
Yuya Yagira in Nobody Knows
Bryan:
He's terrific even though for me Jude Law's character arc is more compelling on the whole. I wish Law hadn't been absent for the majority of The New Pope as I would've liked to see more of a power struggle between the two.
Luke, who do you expect to be reviewed for 2004 supporting?
Anonymous:
Peter O'Toole in Troy
Phil Davis in Vera Drake
William Hurt in The Village
Daniel Wu/Nicholas Tse in New Police Story
Rip Torn/Ben Stiller in Dodgeball
I sincerely hope 2004 is the next 00 year on the schedule. I'm dying for Considine's review.
Luke: While I definitely think Phillip Seymour Hoffman is an amazing actor...I hope someone else takes the win (though it would be sad to see him lose his only win).
I can't remember If I've already asked about it before but does anyone have any suggestions for 2015 Supporting. A lineup is very unlikely to me.
Luke: I, for one, would not be opposed for a review of Torn. This is mainly because, with the possible exception of "Men in Black", I'm not sure what other performances of his could be contention.
And O'Toole has to be a shoo in seeing as how he singlehandedly steals the film, even with such a minor part.
Anonymous: O'Toole's the only one I could see taking it. I know most would love to see Louis have more enthusiasm for Carradine but doesn't look at all likely to me.
Luke:
The film itself is a bit of a less intense Dardenne brothers film, in that it is quite similar to Rosetta, if a less brutal in its overall depiction. It is effective enough in this approach though didn't leave too much of an impression on me overall other than a strong central performance.
Lukac - 4.5(A strong central performance just by virtue that her work feels wholly natural throughout. This in every situation she brings just an honesty towards the sense of this young woman dealing with these situations. This isn't even in portraying an overt despair or anything, rather she is moving in portraying with just an earnest quality of someone trying to find their way about it. It works as a performance of just that sort of strict sincerity that carries the film by making the person at the center of it feeling wholly tangible.)
Dragisic - 3.5(Carries a natural chemistry with Lukac that carries much of his work. He is good though in his often reactionary role in creating really a sense of the state of her existence both just as it is, and as it is as a struggle through how her father is.)
Anonymous:
Do you mean theoretical or one's that almost happened?
Mitchell: I loved O'Toole's work even more when I saw the Director's cut where he does have quite a few additional scenes. The scene where he pleads for his Son's body is one of his greatest moments.
To be fair though, I thought Bana held his own quite well and he gave my 2nd favourite performance in the film.
Anonymous: Speaking of actors with sole wins, If Nakadai loses his for Kagemusha, he'll be the best actor not to have one.
Louis: Where would you rank Lukac in 2012 Lead Actress.
Luke:
#6
Luke: Certainly one of most disappointing aspects of "Troy", I think, is just the sheer scope and breadth of talented actors wasted in the film.
And to add to your point about Bana, unless it's "Hulk" or the 2009 "Star Trek", he's generally decent.
Mitchell: I wouldn't say that about Orlando Bland. :)
Him and Pitt were easily the weakest links in the cast for me.
Gleeson suffered the most, I hate the way he was treated there when in the Illiad, he had survived.
Luke: Of course, but we can't forget Kruger, Cox, Bean, Gleeson...those four alone is quite the pedigree.
Luke: Thanks.
Granted, the last time I've honestly watched the film from start to finish was in Grade 10 history class...
I remember thinking "why didn't we watch Gladiator instead?"
Louis: I was thinking of theoretical ones, but you can also add ones that almost happened.
Louis, Is there any possibility of Alfred Molina getting reviewed and upgraded for Spider-Man 2.
Continuing the unexpected shortlist:
Pinocchio couldn't be more different for a followup to Dogman for Matteo Garrone, however the tone isn't quite as different as one might assume. Obviously Pinocchio at its core is a dark story, and this version doesn't shy away from many of those elements. Although I wouldn't say it finds something truly extraordinary through embracing those elements, it is often quite fascinating in seeing a passionate approach to the material with this perspective. This as there is quite the striking curiosity factor alone in seeing every different take on the moments of the story with Garrone's perspective. Although, I guess a bit like Return to Oz, didn't completely pull me in emotionally, the unusual visual feast of it kept me most intrigued.
Also was this some legal requirement to be fulfilled by Roberto Benigni to make up for his previous ill-conceived Pinocchio endeavor?
Short List: Um....I'm gonna actually a bit mad if it misses out here. It is by FAR the most impressive makeup work out of any film on the short list, it's honestly not even close. The different creatures and creations here are remarkably crafted through the makeup work.
Anonymous:
Billy Wilder with Laurel and Hardy
Mickey Rourke with Quentin Tarantino (Could still happen but is doubtful)
William Holden with Alfred Hitchcock
Harvey Keitel with Francis Ford Coppola
Denzel Washington with David Fincher
Louis: Would you be interested in doing a write-up of the rest of the Buster Scruggs cast when you get to the 2018 bonus rounds? Just asking because it is one of your favorite ensembles of the 2010s.
Louis: Your thoughts on Benigni.
And thoughts on Hope (2019) and the cast.
Louis: Have you seen Black Mirror? Since I don't know if I'm too late to use a third recommendation, I'd rather just suggest that if Plemons is still a possibility for the Alternate line-up, his performance in USS Callister would be a nice addition to watch prior to a possible review of his.
Same could go for Kaluuya in 15 Million Credits, but I'd rather not ask for more if you have enough in your plate already.
Emi: He's seen USS Callister. Plemons and Simpson are 4.5s.
Luke: Oh, great.
Tahmeed:
Maybe.
Luke:
Benigni - (A fine performance as Gepetto. He's fairly restrained but delivers in general in bringing the sort of fatherly grace and warmth though with just enough of his typical off-beat energy.)
Hope I wouldn't say there is anything truly surprising about it, but it is a moving work and well observed in its straight forwardness. It just quietly yet powerfully depicts the relationship within a state of hardship and is a nice little poignant piece.
Hovig & Skarsgard - 4.5(The two are wonderful together. They just deliver such a real sense of their long relationship and love with one another. It is just a strict given in every sense. This from just even the way they physically interact that carries a beautiful kind of intimacy. Hovig is wonderful in creating really the sense of a perseverance even within a state of strain and physical anguish. Her performance creating a wonderful balance between that sense of anguish while revealing a spirited manner even within that. It is nice to see Skarsgard in this role that is against his usual type as the evil man or even hard man. Here he gets to be genuinely warm at times, and wholly delivers in this regard. It is sweet to see him being sweet at times. This while also too delivering on portraying the sense of really somberness within the situation.)
Your ranking for Hovig.
Luke:
She'd be my #10.
Louis: Thoughts on Dear Comrades and the cast.
Luke:
Well as you might've seen I loved it, I have to say I was even hesitant to watch it, perhaps due to slogging through the current Russian cinema as defined Andrey Zvyagintsev, which is best described as misery misery misery. Not that there's not misery here, it depicts a massacre after all, but old school Russian filmmaker Andrei Konchalovsky (who must have one of the strangest careers of any filmmaker, the man made this film, wrote Andrei Rublev and directed Tango & Cash and Runaway Train) understands that there's nothing wrong with a little balance now and again. This as the film is nearly a comedy, fittingly in the vein of Death of Stalin, as we see the bureaucrats ply their trade by avoiding responsibility and blaming anyone else other than themselves. This depicting a terrible system, but also showing that it is so terrible it becomes comical at a certain point. In the same notion though showing how this can lead to horrors, as it shifts powerfully towards the massacre that is depicted so brutally yet powerfully. This followed by such an emotionally devastating journey as we follow an echo artist for the party line actually having to face those beliefs on a personal level. Was captivated by every minute of it, gorgeous black and white cinematography helps, however what I really loved was the striking sense of place and life by creating such a unique yet striking perspective through that of the initially heartless bureaucrat.
Vysotskaya - 5(Loved this performance as initially she brings such a striking authenticity towards the woman very much going through life through a government mandated malaise. This as we see her just a general kind of exasperated, with little sense of enjoyment or care. The individuality expressed by her father and daughter being sources of slight annoyance towards that malaise. Then her moments within the government being with just a sense of strict adherence towards repeating whatever she believes the party wants her to say. This as she's great in the moment of her saying something she'll regret later, because as she says it is as though casual yet learned statement, of just fulfilling the expectation she has learned. She then though is great in realizing the visceral intensity of the horror in the massacre and provides the needed emotional anchor. This becoming all the more striking though in showing the gradual loss of that malaise towards immediate horror, but also a greater sense of tenderness. This showing a woman becoming more part of her life again in a way, and she is extremely moving in crafting this shifting portrait towards understanding the deaths she so blithely supported earlier. This wholly and powerfully depicting the wreck she becomes, and what I love though is in the sense of loss is there this sense of palatable love and humanity that had been pushed away.)
Erlish - 4(A moving portrayal this as we initially see him as this sort of goofy old man however as the film goes on there is this greater pathos on his apparent silliness. This as though even within the silliness there seems a sense of wisdom and warmth of a man who very much never lost his humanity by remaining on the fringe.)
Burova - 3.5(I think she makes just the right impact in her few scenes to establish sort of a pure earnestness of the girl's spirit and granting a sense of who she is, which is essential given what happens within the narrative.)
Komarov & Gusev - 3.5(I think both are good in providing the sense of sort of systematic state of an almost dis-humanity. There only being slight breaks in this in helping Lyuda which neither show as overt, but rather this thin underlying bit of anything other than an expected coldness coming out.)
Thought all the bit players were good too, a great ensemble.
I liked Dear Comrades but I didn't expect you to love it that much, and certainly did not expect a 5 for Vysotskaya (though she's fantastic and I give her a very strong 4.5), but seeing that comparison with Death of Stalin which is very apt...I should've guessed. Another film I hope makes that Oscar lineup.
Could I have your further thoughts on the cinematography (it's hard to describe off the top of my head but that one shot from within the office with a gunshot through the window is such an incredible bit of direction and cinematography), and also that ending on the roof, and the use of lighting).
Louis: your thoughts on the Judas cast
so, your 2000s casts for GwtW, Casablanca and It's a Wonderful Life?
Louis: your thoughts on the massacre scene in Dear Comarades!?
Since you are catching up some of the foreign language contenders could you also watch My Little Sister? I don’t think the movie is any great but it’s worth watching for Nina Hoss, another terrific performance from her.
Louis: Your updated top 25 animated films list.
Louis, your top 15 performances in animated films.
Folks, i have some amazing news (Calvin already knows btw). I got accepted to Film School!!!
Matthew: Congrats. :)
Matthew: Congratulations =D
Matthew: Congrats.
Louis: If you're seeing it today, thoughts on Barbara and the cast.
Congrats Matthew!
Congrats, Matthew!
Thanks everyone! :)
WGA nominations are in.
Original:
Judas and the Black Messiah
Palm Springs
Promising Young Woman
Sound of Metal
The Trial of the Chicago 7
(Mank, Minari and Soul were ineligible)
Adapted:
Borat Subsequent Moviefilm
Ma Rainey's Black Bottom
News of the World
One Night in Miami
The White Tiger
(The Father and Nomadland were ineligible)
Aidan: Well, da 5 blood's chances in screenplay are officially dead.
Having finally started to catch up on the Oscar contenders, ive seen about 20% of them, I honestly don't understand the screenplay nominations that News of the World keeps receiving, like what is so brilliant about its screenplay????
Lack of contenders I'd guess? Idk, the 4 that are def getting in are Nomadland, One Night, Ma Rainey amd The Father, but the fifth spot is wide open, so I guess they’d go for the most popular (I’m Thinking is pretty divisive and the other contenders are not that popular)
I'm Thinking of Ending Things has no chance.
News of the World is just a default lazy choice. To be honest, seeing as how things are panning out I would hope Borat 2 might be able to sneak in over that in Adapted. It’s happened before, no reason it can’t happen again I guess.
Matt: I've come to accept that now and it makes me sad.
Emi: It never did, honestly, despite deserving it.
Actually quite liked Supernova. Both Tucci and Firth were fantastic.
As for the screenplay categories for Adapted if any of Nomadland, One Night in Miami and The Father win I’d be delighted. Less so for Ma Rainey’s even though I liked the film, because I’ve read the original play script and they really didn’t do much in adapting it. I do still think there is the SLIGHTEST of chances Kaufman lovers can get ITOET in or do something else awesome and get First Cow in, but they will most likely be going for the standard ol’ News of the World.
Original Screenplay is gonna be a bloodbath though.
Calvin: your ratings for firth and tucci.
I remember how I thought that Mank would easily win beacuse of Original Screenplay's lack of contenders, but now there are so many that I'm not even sure if it's a lock for a nomination.
Mann’s a lock for Screenplay. That much I am certain of. Promising Young Woman and Chicago 7 too. Want to say Minari is a lock but it could miss out because of less wordiness/language. Then you have Judas, Soul, Sound of Metal (which could potentially go Adapted later on), and Da 5 Bloods all as prospects. I’d make a joke about Malcolm and Marie but best not tempt fate.
Anonymous: 4.5 for both
*Mank’s
Calvin:
Well the film is kind of Death of Stalin if it was directed by Pawel Pawlikowski, so it felt almost designed for me.
Andrey Naydenov's cinematography, which felt inspired by Lukasz Zal's work to at least some extent, is gorgeous black and white work across the board. I love the sort of normalcy even calm it presents within the landscape, as the lighting is very beautiful in a rather matter of fact way. This sort of clarity though makes the violence I feel all the more jarring and striking by making it seem like that of any old day in a way. The clarity of the work, with such immaculate framing and composition further this sense of a state of a place, though later conducts a greater emotional quality, particularly within the final scene, that is the most dimly lit in the film, and so powerfully through how it is done there. Amazing black and white work that I'd love to see pull an Ida or Cold War.
Anonymous:
Plemons - (Again I think the film really spends too much time with him, though he is quite good in his scenes with Stanfield in presenting sort of the cunning in conducting his witness that is both supportive and threatening in equal measure. We don't really need his other scenes, though he is fine in them.)
Fishback - (She would've been higher for me however I found just one delivery of hers (when she's initially telling Fred about her pregnancy) that I found bizarrely stilted. Again just one line though as the rest of the time though she gives a moving portrayal of just straight forward affection for the man, with the right nuance in the fear that comes wrapped around that love.)
Sanders, Smith, Fowler, Britt-Gibson - (I wish they had real characters, rather than basically featured extras in terms of the depth of their dialogue, as they all exhibit a greater potential than they are given.)
Howery - (I thought he actually showed some effective range here in creating a low key menace that sort of subverted his typical presence quite remarkably.)
Thorne - (Although she too I think should've been given a bit more to her part, she's good in creating the right sense of a strong confident presence that is both assuring while also menacing in her one major scene with Stanfield.)
Omar:
I thought just a brilliantly depicted scene, from the way it develops from really inward out, as the sudden impact of the violence seems so sudden, and is brutally effective as the shooting starts off screen leaving us to then follow through Lyuda's perspective of seeing the mayhem and death. The barbershop moment being particularly haunting both from seeing the dying barber, and of course the "second shot" that is particularly horrifying by how matter factly Konchalovsky depicts the moment.
That is one I have put on the sort of "to watch" list given Hoss's presence.
In 2021, after the alternate performances of 2020, the next years updated by Louis that I would like to see in each decade are: 1929, 1936, 1942, 1958, 1964, 1972, 1989, 1998, 2009 and 2016.
PS: this is not order, it is just my wish and that's it.
Luke:
1. The Secret of NIMH
2. Grave of the Fireflies
3. Spirited Away
4. Tower
5. Pinocchio
6. Watership Down
7. Your Name
8. Nausicaä of the Valley of the Wind
9. Persepolis
10. My Neighbor Totoro
11. The Plague Dogs
12. The Wind Rises
13. Only Yesterday
14. Coraline
15. Ethel and Ernest
16. The Iron Giant
17. South Park: Bigger Longer & Uncut
18. Spider-Man: Into the Spider-Verse
19. The Incredibles
20. The Great Mouse Detective
21. Toy Story 2
22. 101 Dalmatians
23. The Hunchback of Notre Dame
24. Beauty and the Beast
25. When the Wind Blows
And preemptively, anything being lower is nothing against that film, but rather very personally what films have stayed most with me.
Anonymous:
1. Elizabeth Hartman - The Secret of NIMH
2. John Hurt - The Plague Dogs
3. Christopher Benjamin - The Plague Dogs
4. Philip Seymour Hoffman - Mary and Max
5. Tony Jay - The Hunchback of Notre Dame
6. John Mills - When the Wind Blows
7. Michael Graham Cox - Watership Down
8. Robby Benson - Beauty and the Beast
9. Peggy Ashcroft - When the Wind Blows
10. John Hurt - Watership Down
11. Jeremy Irons - The Lion King
12. Robin Williams - Aladdin
13. Brenda Blethyn - Ethel & Ernest
14. Teri Hatcher - Coraline
15. Jim Broadbent - Ethel & Ernest
Even though I was never that versed with Japanese animation during my youth, I'm incredibly thankful that "Nausicaa", "Spirited Away" and "Princess Monoke" were the exceptions.
Regarding WGA:
Original:
Quality wise, a fairly strong five in my book (though would've loved an Another Round surprise though probably wasn't eligible). Either Sorkin or Fennell's to lose I think, hopefully the latter's to win.
Prediction wise, MAJOR miss for Da Five Bloods (and another miss for Lindo actually in a way). Imagine Palm Springs and maybe one other will be replaced here by Mank probably, Minari possibly (The latter could do well overall and still miss here).
Adapted:
Quality wise...hey as long as we avoided Hillbilly Elegy. Borat and White Tiger are nice enough surprises, and hope either one replaces News of the World in the final cut, though doubtful.
Prediction Wise: The Father and Nomadland will probably replace Borat and White Tiger. Anything else is even more of a long shot now: (Thinking of Ending Things, First Cow, Personal History of David Copperfield).
Tim:
Gone With the Wind 2000's:
Scarlett O'Hara: Nicole Kidman
Gerald O'Hara: Sam Neill
Ellen O'Hara: Lindsay Duncan
Mammy: Margaret Avery
Ashley Wilkes: Linus Roache
Dr. Meade: Hal Holbrook
Rhett Butler: Russell Crowe
Melanie: Naomi Watts
Casablanca 2000's:
Rick: Viggo Mortensen
Elsa: Diane Lane
Laszlo: Colin Firth
Captain Renault: Alain Delon
Major Strasser: Jurgen Prochnow
Signor Ferrari: John Rhys-Davies
Signor Ugarte: Vincent Cassel
It's a Wonderful Life 2000's:
George Bailey: Guy Pearce
Mary Hatch: Kelly Macdonald
Mr. Potter: Frank Langella
Clarence: Ian Holm
Mrs. Bailey: Sally Field
Mr. Bailey: John Lithgow
Bert: Garret Dillahunt
Ernie: Paul Rudd
Violet: Isla Fisher
Uncle Billy: Stephen Root
Mr. Gower: Tom Skerritt
Louis: Really glad to see that Your Name has stayed with you, and that Persepolis is in the top ten.
Also, could I have your updated top 5 animated film directors? I'm assuming Miyazaki-Takahata are the top 2, but wondering if they've flipped.
Louis: Have both Mills and Ashcroft gone up or is it just Mills.
Thoughts on Teri Hatcher in Coraline.
Louis: Thoughts on the Cruella trailer.
Continuing the Unexpected Short List, Bloodshot is a dumb action movie, which I am not explicitly against. In fact my biggest problem with the film is the action is pretty clunky and poorly edited, also there's just some bizarrely bad ADR at times. The plot being ridiculous I really don't mind, in fact I think structurally this isn't all that terrible, not that it is good mind you. This is a bad action movie, but there are far worse, as there is some minor, if very minor, entertainment value to be found here. Also a bonus is Guy Pearce actually isn't terrible for once as a villain (though I don't think the filmmakers were in fact so clever in this casing intentionally, it is fun to see him on the other side of the memento role), nor is Toby Kebbell...Sam Heughan on the other-hand.
Short List: The smaller scale visual effects actually are okay, once the film goes big with them though they are pretty bad and cartoony looking. There is a final big scale action bit in particular where everyone keeps shifting into obvious and goofy looking CGI versions of themselves.
Tahmeed:
1. Hayao Miyazaki
2. Isao Takahata
3. Don Bluth
4. Martin Rosen
5. Nick Park
Obviously I still need to see more from Shinkai and really should get to Satoshi Kon's films.
Luke:
Just Mills.
I believe I covered Hatcher before.
Regarding Cruella, So the kids friendly version of The Favourite as filtered through Joker (it is co-written by Tony McNamara)? I mean, doesn't make me feel this film should still exist, but eh, maybe some entertainment could be found. Rarely dislike Stone, so best case scenario maybe this will be some vehicle for her to ham it up in safe conditions.
Louis: Ratings and thoughts on Diesel, Pearce, Kebbell and Heughan (I've only ever seen him in Outlander).
Louis:
Thoughts on:
Don Bluth
Nick Park
Martin Rosen
Hayao Miyazaki
Isao Takahata
Henry Selick
Ron Clements/John Musker
Kirk Wise/Gary Trousdale
Dammit, I was hoping Heughan’s first major Outlander role wouldn’t suck.
Louis: And Brad Bird.
Luke:
Diesel - 2.5(Diesel is better actually when he's not overly stoic so there are patches of this performance where he gets a bit dull. His more emotional scenes though he's actually more than decent in, particularly when his character figures out the truth about his situation, Diesel in general delivers. Unfortunately most of the time he's set as this killing machine and there he's less effective overall, though you can certainly sense his conviction to deliver even in the weakest parts of the film.)
Pearce - 3(Pearce's role is limited by the fact that his more nefarious actions are defined by the fact that he's evil, I guess. Pearce though doesn't overplay the role actually though instead playing though whole thing as just this seemingly slightly concerned CEO type. This to the point as even presenting his technical evil as just kind of a means to an end attitude. There was a lot of areas for ham that he typically brings in roles like this but he thankfully avoided here.)
Kebbell - 3(His first scene he basically does a reprise of his Rock N Rolla performance, which is over the top but it intended to be so. Kebbell though is genuinely good in his other scene in portraying very honest sense of fear and potential that his character might be a decent guy after all.)
Heughan - 1(This is one of those performances that I'm not sure even what he was going for exactly. I guess he's going for obvious jerk, but he's just so broad with it. Overplaying every second of it coming off as ridiculous and not in the way intended. There's no real menace to his performance, just a lot of silliness that sadly isn't even entertaining in that sense.)
Well let's start with Martin Rosen, who has one of the least prolific of any filmmaker to make a notable film, although manages to even best Charles Laughton in that regard by delivering two great films....and that's it. I guess a flop with an animated feature is particularly damning and difficult to get back without the resources, perhaps that's why. Although I think his career could also be defined as "Guess you're not ready for that" given some of the reactions to Watership Down and even more so for The Plague Dogs. Many seemed confused by the films while Rosen himself isn't at all confused. This in his clear development of both films with the animated style that is a careful balance between humanizing and a reality (Hard disagree with Roger Ebert on that one). Each though finding a different tone per film, so remarkably. This in the world of Watership Down is mythical in tone, both in the moments of horror and adventure that grants the film's particularly effective style. Plague Dogs is a spiritual successor in some ways, however Rosen's work adjusted fitting to the material. This to something quiet, even more stark, and oh so haunting. This in his own work, forgetting the original ending, to honestly offer something that is more truthful towards the tone of the rest of the story. Rosen's work finds a balance that is unmerciful, but not unrelenting. This as he grants moments that give the needed life and well humanity to the characters. There is happiness, even within Rosen's work that presents bluntly the harsh life an animal can live.
Louis: What's the order for the remaining film recs.
Louis: Have you ever been interested in watching Bojack Horseman? If so, I might make its first season my TV series recommendation for next year.
Tahmeed: I've already thought about my recommendation next year. A re-watch of Legend (1985).
*for next year
For everyone's sanity however, I hope we don't end up in a similar situation next year.
Louis: Did you ever browse Little Golden Guy. Before I knew of this blog when it was in its infancy, that was the site (aside from Wikipedia) I often went to when it came to Films/Oscars.
Louis: Your cast, director, writer and cinematographer for a 1950's 1917?
Luke: I just checked out that website and it has not been updated in seven years.
Anonymous: I checked it out recently and I couldn't believe it to be honest. It brought back quite abit of nostalgia to me.
Louis, what was your favourite poster from the Star Wars Sequel trilogy.
Anonymous: The teaser poster from The Last Jedi is by far the best.
To anyone familiar with either "Jojo" or "Fist of the North Star", what would be your thoughts on this:
https://www.youtube.com/watch?v=I4N0peX-DEw
Couple of suggestions if you do 1942 again - George Sanders and Steven Geray in 'The Moon and Sixpence'.
On another note, I started watching "Fate/Zero" tonight. And after episode 2, I may have found my new sleep paralysis demon...
Luke:
Well let's talk about Nick Park, who should be as noted for his shorts as his features, though it is impressive he was able to really deliver his style within the feature form and not fall flat, or seem to stretch his work. His direction is very strictly noted by that unique style, but what I think really notes his work is animated comedy. Obviously Disney and especially Looney Toones had plenty of animated comedy, but I think what Park said "we can take it further". This specifically with what animation can do with comedy. This as the animation itself is a creature itself, to the point I'd say he more than anything makes action movies with animation, the thing is they are always comedies. His work though is defined by movement and detail in that movement. This is all built around impeccable comic timing, aided by plenty of verbal humor that shows he can do both, but the key of his work is making animation both funny and extremely imaginative.
I did a long time ago.
I mean the order they were recommended, though for those who recommended two, which is the total I'm taking. I will consider those third recommendations, but no promises. I'd like to attempt some of the series recommends in the interim.
Anonymous:
Lean, Bolt, Young naturally.
Schofield: Peter O'Toole
Tom Blake: Albert Finney
Captain Smith: Alec Guinness
General Erinmore: Charles Laughton
Lt. Leslie: Donald Pleasence
Colonel Mackenzie: Trevor Howard
Joseph Blake: Robert Shaw
Tahmeed:
I mean I haven't not been.
Anonymous:
Luke is correct.
Louis: Your thoughts on the Moses/Seti scene from The Prince Of Egypt.
Watched The Mauritanian, which falls into a bit of the trying to cover too much to the point it becomes a bit repetitive and sloppy at a certain point. There are certainly good things within its scatter shot approach, however it would've benefited from a far more concise narrative than we are given. Although I did like it more than The Report, so a little bit of step up I guess while covering the same subject matter. A great film on the subject though has yet to be made.
Foster - 3.5
Cumberbatch - 2.5 (The real problem being he's almost automatically miscast as an American ESPECIALLY a southerner.)
Levi - 1.5
Woodley - 2
Luke:
I think a rather fundamental scene missing from the 10 Commandments with the realization by Moses of what his father did beyond just who he is, making for a powerful moment. As much as the film doesn't take too much time to rest so to speak, it is an effective quick sort of realization that moment.
Thoughts on The Mauritanian cast and what do you think of Joaquin Phoenix working with Ari Aster.
Louis, your top 20 actors of all-time.
Stephen: He gave his most recent Top 20 in Harry Dean Stantons’ review for Lucky......though that was three years ago.
Louis: Thoughts on:
Don Bluth
Ron Clements/John Musker
Kirk Wise/Gary Trousdale
Louis: Scorsese announced that Jesse Plemons will co-star with Leonardo DiCaprio and Robert de Niro in his movie "killers of the flower moon". Thoughts on this?
Luke:
Foster - (Her performance is a perfectly respectable turn as the quietly hard-bitten crusading lawyer. It is pretty much exactly as you'd expect though. This with just a general confidence and toughness though with enough of an emotional connection of her work. It isn't anything revelatory within the standard nor does she do anything unique or unexpected with it. She's entirely fine, though I wouldn't say as good as Emma Thompson in the equivalent role in In the Name of the Father (the great version of this movie). There are far more deserving candidates this year in her category, though...I'd take her over Close.)
Cumberbatch - (It has to be said, Cumberbatch just doesn't look the part to begin with something about his features somehow are distinctly English. Of course it doesn't help that his American accent is stilted as ever as it seems like he is trying to conduct his mouth to do something that is entirely unnatural for him to speak in that way. Having said that, some of his silent acting is entirely fine even if his casting keeps you always at an arm length from his arc, that could've been more interesting with a more suitable actor.)
Levi - (Horribly miscast, though in a different way from Cumberbatch, and entirely unconvincing as secret interrogator.)
Woodley - (She's mostly just kind of there, seeming honestly a little out of place in the part. Still mostly fine, however in her big blowup moment I found her performance overwrought yet underwhelming.)
I mean Phoenix seems an ideal fit, and we will probably get a great performance out it. I have little patience left for Aster however, and if the film opens with a death in a family of any kind...I'm walking out of the theater.
Anonymous:
All for more Plemons, one of the most interesting actors of his age group, so look forward to seeing him work with Scorsese again, hope he has a bigger part this time.
Louis: I have enjoyed everything Plemons has done except vice (did they really even need a narrator? And if they did they could have played him seriously but no they use him for a cheap laugh).
Plemons is a great choice for that part.
Luke:
Well let's talk about Bluth, although the less said about his post-80's work the better. There he seemed to fall into truly becoming Alt-Disney rather than doing his own thing. Not to say his best work doesn't share elements of where he cut his teeth, however Bluth found his own way through attempting more overtly atmospheric, grand and even intimating qualities within his first films. This particularly with his first film, where in a way he seemed to give all he could in the detail he granted to that work. There was an intention to truly make an animated film with a kind of depth within the animation itself that had not been seen before. This as the action scenes, while using the power of animation, are not cartoony in the traditional more slapsticky way. There is a notable intensity of his work, aided by the painted backgrounds of course that grant a kind of strange reality, but also just the tone he sets. The moments of quiet in a way, as he doesn't fill it with noise, but balances it to craft such a poignant and potent experience...for his first few films. Then he got sloppy, or no longer passionate in the same way. I don't know, Dragon's Lair is also a remarkable achievement of its own, if very specific. Either way he seemed later on just to be truly aping Disney to very mixed results.
Louis: the news stories I have read are saying that Plemons is playing the lead.
I think he made the right choice going with Scorsese instead of Peele.
Anonymous:
Well a fine choice for the lead then.
So I finished the first season of "Fate/Zero" this afternoon, and its one of my favourite Animes that I've sought out: Squarely between "FullMetal Alchemist" and "Jojo", if I we're to update my ranking. It was more dialogue heavy than expected, to be honest, but that only became an issue with the first episode since it was basically all exposition. Afterwards, it becomes an intriguing and well crafted story, with strong animation, pacing and characters.
Louis: while I agree that there was potential for Cumberbatch's arc, would you agree that maybe the film would've been better off which less of his character? The best scenes of the film were all between Rahim and Foster, and Rahim and the mysterious fellow prisoner, in my opinion, which funnily enough are also the scenes which hearkened a bit to In the Name of the Father; as you said, not nearly as great, but one does see the potential there for more. I'd also go lower for Woodley honestly, that breakdown scene is the worst bit of acting I've seen so far this year.
Louis: thoughts on the trailer for Mortal Kombat?
Anonymous: I'm not going to lie - Hiroyuki Sanada as Scorpion is actually pretty badass.
As for the movie, though...I think we all know the track record of films trying to made from video games. Even "Assassin's Creed" looked cool from the trailer, so I would naturally have doubts about this as well.
Calvin:
I agree you could've excised his character, which could have been another movie that I'll say could've been potentially compelling (like a modern day version of Elia Kazan's Boomerang) but made this one overstuffed and unfocused. He also could've been reduced to just the essentials.
I think the film would've been better if honestly it had just lifted its structure just from In the Name of the Father, that's stay largely within the accused perspective for the majority of the film with just a few needed to cutaways to Foster, the same way Thompson's character was used in that earlier film.
That's fair regarding Woodley, that was pretty bad.
Anonymous:
Um, looks dumb, but potentially dumb fun. Really just the action needs to be good, and it could work as a Martial Arts movie, and from here that doesn't look too bad. At the very least Hiroyuki Sanada looks pretty cool as Scorpion....although I do question why we need some random guy as our "entryway" character...just make Liu Kang or Kung Lao the average Joe.
Louis: I mean, that was literally Johnny Cage's role in MK9, so why didn't they do it here as well?
Mitchell: I assume Lewis Tan's character could end up being Johnny Cage, I don't know.
But agreed with Louis, might as well have made Liu Kang the average joe fella.
Calvin: Well the film's cast list has him mentioned as "Cole Young", so who knows?
Either way, I agree that Liu Kang would've been a fitting choice (and I like Cage).
Catching up with some David Lynch, I watched Lost Highway, which I liked quite a bit.
Pullman-4
Getty-3
Arquette-4
Blake-5
Loggia-4
Basically everyone else-3
I am sadly one of those who simply just can't see the appeal of Lost Highway, not even crazy on Blake like most seem to be. Cool Richard Pryor cameo though.
Calvin: I mean, it's not anywhere close to Blue Velvet or Mulholland Drive but I thought it was compelling in it's own way. The rating for Blake might be *slightly* too high, but you know what...considering how little he's in it, the impact he makes is amazing.
Matt: I for one feel your rating is *just* right. Lost Highway is one where actually my appreciation for it has only grown over time, Blake's first scene with Pullman honestly is one of my all time favorite scenes.
Louis: Any chance on going lower for Terrence Howard in hustle and flow?
Louis: your thoughts on Barbara (2012) and your ratings and thoughts on the cast?
Louis: How do you think Bronson would have fared in these roles he turned down:
The Driver
Dutch Engstrom
Popeye Doyle
Major General Sosabowski
He was also supposed to work with Peckinpah in a project called "The Insurance Company", which was about a right-wing conspiracy by a group of police officers, but he refused due to Peckinpah's drug and alcohol-induced shenanigans. Give also thoughts on that.
Anonymous:
No.
Lucas:
Barbara is another beautifully understated film from Petzold, even if it doesn't quite achieve the heights of Phoenix, it carries a similar emotional honesty within its quietly duplicitous narrative at times, and a real simple beauty to the images. This in which it finds such an ease in the complications of the plot, while making the emotional crux behind it so very genuine, helped of course by the central performance. This again crafting such a fascinating character piece, while also doing so in such a vividly crafted world, he in communist Germany.
Hoss - 5(A great performance by her here if not as overtly complex as her Phoenix turn, though once again her work shows really the brilliance within the moments of silence. This as so much of her work is within that. Hoss though is never vague within this creating such a powerful sense of the woman guarding herself due to being mistreated by the regime that destroys independence. This though while still having these potent moments of humanity in looking upon her patients as a doctor or in her interactions with Zehrfeld here, which again strikes a fascinating chemistry once again. This one a bit more positive, though in many ways just as complex as Hoss conveys the way she seems to be wagering different things in her mind in every interaction. Hoss importantly shows in her major scenes with her liaisons we see her as more open woman revealing that her experience is very much dictated by the dictatorial society she lives in. Hoss though always finds this immaculate balance between the sort of independent caring spirit and the cold distance required to try to fly below the radar. Exceptional work once again.)
Zehrfeld - 4(Although his character is still complicated and perhaps not entirely a good man, Zehrfeld overall gets to play less despicable of one overall. He is quite good in his moments with Hoss in conveying both his interest but also the more sort of noble manner in sort of prodding elements of playful humanity and the humanitarian treatment of the poor. Zehrfeld though finds that with the right underlying qualities of a man who is observing, perhaps just a woman he's interested in, or perhaps for other secret duties.)
Bauer - 3.5(Straight forward but moving portrayal of just a victim of the regime. She paints it well as this straight forward anxiety of the state, and brings the right sympathy towards the character.)
Anonymous:
The Driver I think is better off without someone who is clearly a badass as Bronson's presence was, though he certainly knew how to work with silences.
Seems ideal for Dutch honestly, and I think he could've been a great pair with Holden there.
Definitely can see him as Doyle, though he might've had less of that loose wire quality Hackman brings needed really for where the character goes.
On the contrary I think he would've actually been a better fit for Sosabowski than Hackman was.
Well sounds like a potentially interesting project and think in terms of presence he would've been a good fit for Peckinpah. I think his reasons for refusal are quite fair though, nothing wrong with wanting a bit of professionalism.
Louis: Where would Hoss rank in your top ten for 2012?
Anonymous: She's more than likely his runner-up for the year because Cotillard was the only five until now.
Anonymous:
Luke is correct.
Louis: Your retro directorial choices for Christian Petzold, Celine Sciamma, and Thomas Vinterberg.
Bryan:
Christian Petzold:
The Dead
Marius
A Patch of Blue
Celine Sciamma:
Brief Encounter
Persona
L'Avventura
Thomas Vinterberg:
The New Land/The Emigrants
The Heart Is a Lonely Hunter
The Small Back Room
Louis I see you also watched La Llorona and Better Days how many of the short list foreign language contenders have you seen?
Anonymous:
All of them, except the “The Man Who Sold His Skin”.
Louis: Thoughts on La Llorona and Better Days. Thoughts on any cast members that stood out to you.
Luke:
La Llorona I thought had a striking atmosphere, but it never grabbed me. As a slow burn pseudo horror film, this is a problem. It purposefully doesn't delve too deep on character it seems, focusing more so on that atmosphere, which is there, but was not enough to carry me through its meandering approach, as brief as the film actually is. Not bad, but a "not my tempo" film to be sure.
Kind of hated Better Days. It has noble intentions, but I really disliked its overwrought, almost Heathersesque approach to basically the same subject matter. Now I do prefer it to that film, but that's not saying much for me. The film is just extremely repetitive in its storytelling, hitting the same beats without much variation. The central relationship I particularly found underwhelming, as despite the length of the film, I never really felt like I saw the connection between the two, therefore what happens lacked an emotional impact for me. Instead the film just is drawn out, with a succession of scenes that all mean the same thing, directed with an overarching tone that everything you are seeing is of great importance. I don't actually theoretically mind that per se, but the film just doesn't earn it. I think more than anything it needed a greater intimacy with the characters, which I think could've made its "big" moments resonate the way they should've.
There weren't any cast members that stood out to me. Although with La Llorona the acting really isn't the focus.
Louis: interestingly, I feel that all three directors you've mentioned could bring something special to The Heart Is a Lonely Hunter, but Vinterberg could be something special in particular. One would wonder if he would go far Mikkelsen, even though he might not fit the conventional profile of the role, since he's show his ability to emote within silence in Valhalla Rising.
Calvin:
I would agree, honestly I'd like to see all three versions.
And while Mikkelsen is perhaps too distinct looking for Singer as intended, I do think he'd be amazing in the role anyways. I also could very easily see Thomas Bo Larsen working as Spiros.
Everyone: What would be your thoughts on this GQ video discussing mental illness in film/tv?
https://www.youtube.com/watch?v=Sbp_EeBk-As
I found it to be very informative and interesting myself, especially in the guy's analysis' of "Lars and the Real Girl", "Girl, Interrupted", and "Silver Linings Playbook".
Louis: Regarding Bruce Willis' lack of effort in the last ten years, do you think it's because he just doesn't really care anymore, poor quality scripts or a combination of both?
Louis: I recall you saying how you felt that "We Were Soldiers" suffered from having too much stuff. Any improvements that in your opinion would have made it a better film?
Also, your cast and director for an 80's version of the film.
Mitchell: Unsurprisingly, Bojack Horseman does a masterful job with it. So, I'm glad it was very openly praised there. I do like some of the insight Bender gives, always being careful to never be too specific or general with stuff.
Also, you guys weren't kidding. Me and Earl and the Dying Girl is actually god-awful. I'm only 20 minutes in and I don't know if I'll make it.
Emi: Considering I don't know anyone on this website who enjoyed it I am surprised by its high rotten tomatoes and imdb score.
So, I've finally powered through it. I've watched the entire film amidst pauses and literally trying to find anything better to do in the middle of the night, and I wholeheartedly regret it.
I'm almost genuinely seething with rage at how much I hate this film. Never in my life have I experienced such a disgustingly written, repulsively manipulative mess of a story. Words cannot fully express how much I detest every interaction, almost every single piece of dialogue, every grotesque attempt at being qUiRkY for the sake of it thrown at every corner.
I genuinely want to go back to a time I hadn't watched this film. I can't fathom that every time I'll have to listen to "Remember Me as a Time of Day" I'll have to think of this film. GOD, I HATE IT.
Anonymous: Reading "It received positive reviews from critics, who praised the screenplay and cast." makes me think it's a cruel joke of sorts.
Emi: That is pretty much the main reason that this blog tends to be my primary source for determining whether a film is worth watching or not. I'm usually astonished by how wrong critics can get it at times with terrible films.
Louis can I get at least brief thoughts on Quo Vadis, Aida?, The Mole Agent, Charlatan, Two of Us, Sun Children, Night of Kings, I'm No Longer Here, and Collective? And what would be your personal five to make the Oscar nomination list?
And have you seen any of the doc shortlist films other than Truffle hunters, Collective, Boys State and The Mole Agent?
What would be you guy's thoughts on this? It was a very first exposure to "Yu Yu Hakusho" and is partly why I wish to look into the series now.
https://www.youtube.com/watch?v=fbkIltRgX6E
Watched Music as curiosity got the better of me, and just like the curiosity of watching CATS, it is rather painful. This being my reaction to the first musical number:
https://www.youtube.com/watch?v=QhrPNp1yod4
Of course the very poorly portrayed autism angle is the tip of the iceberg of a film of a series of horrendous cliches all put together in one candy coated package that is sure to cause severe tooth decay to anyone who dare approach it. Also Sia gave herself perhaps the most self-aggrandizing cameo of all time.
Hudson - 1.5
Ziegler - 1
Odom - 2
Elizondo - 3 (Artfully maintains his dignity)
Schwartz - 1
Re-watched Nomadland as a palette cleanser, and still a beautiful, soulful film.
Anonymous:
Mainly he doesn't care, and falls into the "lacking heart" actors, who if they view the material as below them they just don't try, which is always unfortunate to see. This as you can see, he did try in Looper and Moonrise Kingdom. Perhaps Anderson and Johnson got it out of him, or he saw them worthy of his effort, either way that's not a good thing.
Anonymous:
I mean just in general streamlined, really it would've benefited from Gibson in the director's chair who probably would've forced Wallace to streamline the script a bit.
We Were Soldiers directed by Clint Eastwood:
Hal Moore: Clint Eastwood
Julia Moore: Shirley Knight
Bruce Candall: James Brolin
Basil Plumley: Harry Dean Stanton
Lt. Jack Geoghegan: Viggo Mortensen
Barbara Geoghegan: Rosanna Arquette
Anonymous:
Quo Vadis, Aida? - (Best film of 2021 so far. Powerfully told story of the progression of a genocide surrounded by a seeming indifference of a protecting force. Told powerfully through the singular human story of the translator trying to save her own family. A striking film that feels very much a companion piece to something like The Killing Fields. Minor side note, I'm a little surprised it was qualified as there is a lot of English in it.)
The Mole Agent - (Begins as a hilarious detective movie, that features just classic comedy of the PI trying to prepare his elderly operative for his task. It naturally segues though to a tender and moving look at the elderly. Unfussy but very powerfully observed in a very low key way.)
Charlatan - (Found it to be a dull film with a potentially fascinating central story. It just sort of trudged along though for me, as I never found it bothered to take the time for us to really become invested in the central man's story. Instead we get fairly repetitive and expected scenes of a theoretical pariah.)
Two of Us - (Begins too slow and I wish we had gotten a bit more establishment of the central relationship. Once it gets going though it eventually becomes fairly moving portrayal of a devotion within a hardship in a relationship, similar to Hope in a way, though I think preferred that film overall.)
Sun Children - (Found it entirely respectable in creating its particular world, especially the later tunnel scenes, but overall never found it to be all that gripping. Not one where I think there are obvious flaws, other than the characters could've just been developed a bit more. Overall a fine film though.)
Night of Kings - (Perhaps the most inconsistent of the potential nominees in that it has some truly bad CGI and the film feels like 60% of a film. This as it feels like there could've been more of a setup of the prison and more of a fallout from what happens. Having said that, that 60% is a terrific and unique portrayal of a most unorthodox kind of storytelling within the world of a prison. Also never hurts to have a random Denis Lavant appearance. Side Note: A 2020 release because I saw it in an official release in 2020.)
I'm No Longer Here - (In general liked it as this unique kind of character study. I don't think it builds towards anything of note, it does just kind of end, but it works in just the exploration of this guy trying to do his own thing in difficult circumstances.)
Collective - (Kind of an "out of competition" doc for me, this as its approach is just to bluntly show you a real life traumatic issue, no frills in presentation just direct. These types of films I don't really like to review in a traditional sense as it can be kind of like one saying "hey your really life suffering wasn't compelling enough for me". I'll just say though that it does work in exploring its subject.)
My choices would be:
Another Round
A Sun
Dear Comrades!
The Mole Agent
Quo Vadis, Aida?
I've seen all the Docs.
Louis: How do you rank the films in the documentary shortlist?
Louis: Could I have your thoughts on the 'In Denmark I Was Born' choir singing scene from Another Round? Rewatched the film, and it more than holds up for me.
Aidan:
1. "Boys State"
2. "The Painter and the Thief"
3. "The Mole Agent"
4. "The Truffle Hunters"
5. "Dick Johnson is Dead"
6. "MLK/FBI"
7. "Crip Camp"
8. "My Octopus Teacher"
9. "Time"
10. "All In: The Fight For Democracy"
11. "Gunda"
12. "Notturno"
"Out of Competition": "76 Days", "Welcome to Chechnya", "Collective"
Tahmeed:
Just a beautifully realized scene by Vinterberg, and really shows how remarkably he uses music. This in the way his camera movements within the scenes, and the way he actually has the song realized, puts you very much within the experience of the song that makes the scenes something truly special. I mean theoretically its just "choir practice" but by how Vinterberg expresses the moment changes everything about it, aided also by the enthusiasm expressed by Ranthe's performance.
Louis: *sigh* May as well rip off the band-aid. Thoughts on the cast of Music?
Louis: The golden globes nominating music might be the stupidest decision they ever made...and that is saying a lot.
The globes only nominated music because it is directed by sia. a famous person. If it was a directional debut it would receive no nominations.
Robert:
Fine...
Hudson - (Now I think the character is more baffling than Hudson's performance really. This as she's a drug dealer, recovering addict, with her shaven head who wears yoga clothes all the time, except when hanging around a pool when she wears more for some reason, but at the same time we never really get to now what the deal is with all this. Having said that she's also pretty bad. This in playing into the cloying parts as much as possible, while also seeming completely phony in the moments of portraying her character's greed and irresponsibility. This "highlighting" with a drunken scene that is naturally quite atrociously performed.)
Ziegler - (Okay, well...um...yes...um...hmm. At a minor lost for words, as this character defies typical expectation, this as she's not really a character. She's Sia's version of having watched Rain Man a long time ago...I think. Anyways Ziegler's not convincing as a person with Autism, in fact she seems to interpret it as gluing the same vacant expression upon her fact the entire film. Really the type of performance that is rightfully mocked all the time, although I would say worse than even some of those performances, Sean Penn in I Am Sam or Rob Lowe in Square Dance.)
Odom - (Okay, well he's not helped either by having such a cliched and precious character. This as the pure and sensitive immigrant, who will do anything for the other characters, because he's too poorly written to have his own purpose or needs. Odom I do think gets the least egg on his face, but he can't escape the horrible qualities of the writing, and does get pulled down into being just the cliche himself. He'd probably slightly higher, but he's part of the musical scenes where everyone has the same terrifying matching grin as though they were gassed by the Joker.)
Elizondo - (Just a genuine earnest bit from him, and shows I suppose just how phony everything else feels by comparison.)
Schwartz - (I don't know what he's trying to do here exactly. I mean it just baffles looking upon his work that I think is supposed to be funny, but it lacks what one refers to as comic timing or even comic sense.)
Louis: Worse than Sean Penn in I am Sam? That is a a big failure.
My God, Music is truly awful, just watched it. Also, Kate Hudson getting a nom over Millotti is the real blight of the GGs, truly horrible decision (c'mon, she hasn’t been in a good movie for 20 years now, did they really think of their reputation when voting on her?)
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