Thinking about it lately, I actually wouldn't mind 2000 being the next year from the 00s since I'm pretty satisfied with how 04 and 09 are turning out.
1. Another Round 2. Minari 3. The Father 4. Promising Young Woman 5. Nomadland 6. The Personal History Of David Copperfield 7. Hamilton 8. Sound Of Metal 9. Boys State 10. Mangrove
McKay - 4.5(A strong leading turn from him once again, though I do think he gets slightly shafted as I think the last act is where the film falls apart a bit, would've been better if perhaps Hoult stayed more so as a nemesis as it gets a bit aimless once he exits. Still MacKay delivers the proper sort of rocker charisma to the part, that energizes what there is in the climax in kind of bottling up this kind of rebellious energy. It is a good performance particularly because he does balance that with a bit more of a genuine heart in his moments with Davis or any of the moments of really interacting with his family. He makes the most of his role and carries the film even when it is at its least interesting in my view.)
Plemons - 4.5(This is actually a very idiosyncratic performance. This as he's overshadowed by Buckley for most the film, but that is the point, while also it is even more curious because he's actually playing the same part. This as the discussion partner it a discussion with one's self often and Plemons is this kind of more simplistic facilitator against the more complex points of those that the single character has read essentially. Plemons is effective in the certain kind of quietly disturbing quality of his work in shades of darkness even within the manner of the slightly awkward boyfriend. This particularly in his little barn tour where Plemons manages to capture the right can of quietly disturbing qualities. This essentially though as the kind of surface anxiety and lonely qualities of the man, where Buckley is the internalized version. This is rather well done in being the proper counterpart by Plemons, who is as interesting as ever. The one scene outside of this is the ending. This first doing a more admirable Russell Crowe in A Beautiful Mind imitation, before really revealing the truth of the character at his heart by singing "Lonely Room" from Oklahoma. Legitimately it is one of the best renditions of that song, as Plemons captures so much pathos within the man defined by unrequited love resulting in just a man of anxiety, hostility, but mostly loneliness.)
Anonymous:
Welles is always an extremely intelligent and insightful speaker, and this one is no different of course. His breakdown of the nature of the old movie star, is right on the money. He is as right about Cagney, and the difference between hammy and being over the top. Going big isn't going wrong, as obviously the great admirer of Toshiro Mifune, I couldn't agree more. You also do have to admire Welles's obvious passion for the art form, which always makes for a far more engaging conversation.
Luke:
I mean who doesn't love Richard Harris talk show bits, I mean I do, I've probably watched every one currently out there as he's so consistently entertaining. The bloopers themselves are great, but what I love is Harris's enthusiasm in his commentary and explaining them for making sure his sons know he's not so great. I especially enjoy his dewiging in Man in the Wilderness.
Oh I’ve been meaning to say, I watched Rocks shortly after the BAFTA nominees were announced and really enjoyed it. Kudos to them for giving a film like that so much love.
Also, I'm not sure if anyone else is having this problem, but all the images from this blog spot just disappeared - Both the Day-Lewis rankings and the individual photos. I mainly use Chrome, but the same thing happened on Microsoft Edge.
Here's my thoughts, I'll give thoughts on the performances later.
Possessor has a great concept, and the story alone feels like something daddy Cronenberg would've made in his early days. Sadly Jr. Cronenberg's execution, is more like latter day Cronenberg, although not even that. This is one where I feel I wish it had actually been a bit more true to its genre, and frankly a bit more fun, even if very darkly, like how Videodrome, Scanners and even The Fly. I think it mistakes a clinical approach for depth, where you can have depth, while also having that more classic genre tone. I think it would've helped rather than hurt the film, and I can't help but bemoan the sort of automatic art-house choice in aesthetic in order to achieve "respectability" with these kinds of films.
Rocks is a good low key sort of community/character study. It manages to do that sort of naturalistic presentation effectively, in a way that never kind of makes it as an excuse for being inert, and keeps you consistently engaged. This helped greatly by the performances particularly the central lead in Bukky Bakray that wonderfully carries the film. Though I do have to wonder where was this Sarah Gavron when she made Suffragette?
We've all seen Calm With Horse before, in the sort of sub-genre started by On the Waterfront. This as the "thug" with depth. I wouldn't say it truly elevates itself beyond its competition in the genre, which is quite formidable, it is good on its own. This largely through the performances which really work wonderfully. This is further helped though by the sense of atmosphere that is quite remarkable at times. I will say the conclusion leaves more than a little bit to be desired, not that its terrible even, just a little bit of thud ending. Still, while derivative overall, it's a good kind of derivative for much of the film, and ends up being a fairly moving character study.
On another random note, I didn't mention this at the time but I also watched "RWBY" Volume 2 not too long ago. I'll admit, this was mostly out of convenience as both Volumes 1 and 2 can be found on Youtube, and have a combined run time of less than 5 hours.
That being said, I enjoyed them for what they are; Breezy entertainment, admittedly uneven but still enjoyable in it's action, art style and music. Sadly, I've been told the series eventually goes downhill hard, but at least I had a positive introduction to it.
https://twitter.com/sonyclassics/status/1374405138698231818 Honestly, now I see why The Father was doing so badly with the precursors, Sony really put one of the all-time Oscar campaigns for it. The fact that it still managed to get 6 nods is a testament to the greatness of the film.
Also impressive is how Minari managed to get through this awards season with one single FYC ad: https://www.nextbestpicture.com/a24-fyc-gallery.html
And yeah, that The Father poster is terrible. I will say though, I have a feeling while their publicity campaign wasn't great, I reckon there must have been something they were doing right; there were problems with screeners, but by all accounts they seem to have gotten them to all the right people in time for them to appreciate the film's greatness.
Anonymous: They don’t have any ads singularly dedicated to her, which will make it all the more impressive if she does end up winning since her hype has almost entirely been based on word of mouth and praise.
Hellfire from The Hunchback Of Notre Dame Be Prepared from The Lion King Poor Unfortunate Souls from The Little Mermaid In The Dark Of The Night from Anastasia Gaston/The Mob Song from Beauty And The Beast The Headless Horseman from The Adventures Of Ichabod and Mr. Toad Dentist from Little Shop Of Horrors (I included it because it's one of the few from musicals that successfully transitioned to the screen and Steve Martin is just great in it) A Professional Pirate from Muppet Treasure Island (I like this song mainly due to Tim Curry's performance)
Riseborough - 3.5(I think there is actually slightly too little of her to really properly establish herself as the protagonist to kind of create the change within the two sides of her work. Having said that she is still good at conveying this sort of vague emotional distress within a state of attempted normalcy. She provides some setup even if it didn't quite hook me into the character fully, which I'll admit would've been difficult for any actor with how little material she has at this point.)
Abbott - 4(His performance as strangely the secondary lead while also the primary lead is effective in creating this sense of kind of a strange sort of puppet. This as he provides a certain connection between this kind of distance in the way he observes everyone in a given space while also still providing that same kind of anxiety. I don't think he goes somewhere truly substantial however in creating the literal identity crisis. He's fine in providing this but it never becomes something truly powerful or truly chilling.)
Leigh - (I think she's getting cast a little too often in these kinds of dour exposition entity.)
Rocks:
Bakray - 4.5(Her performance is a wonderful blend as she manages to portray a downtrodden character, however never becomes just this somber note in that sense. There is that of course, and she's moving in quietly conveying those frustrations. What is remarkable is that she delivers so much more life within this. We get a real sense of just who she is as a teenager in these lovely moments of interaction with her friends. She also provides such a convincing sense of dogged determination in creating the moments of trying to take care of her brother despite having circumstances against it. She delivers a terrific turn by being able to craft her character, despite her situation, not as this simplistic victim, but a real person in difficult circumstances.)
Ali - 4(Her performance is a good supporting turn in very much the purest sense of supporting. She crafts the right chemistry with Bakray and really just the sense of community kind of within their interactions. This with the right touches of complexity that it is never easy sentiment but wholly earned in these moments of warmth.)
Kissiedu - 3.5(I'll be honest I do think that BIFA wins a little too much. This is a good performance though in terms of just providing the appropriate naturalism and chemistry with Bakray. You believe their relationship, which is the most important. I don't think there is too much beyond that, but that is quite good.)
Jarvis - 4.5(As the big lug with the heart of gold he is good in creating the juxtaposition of the two sides. This is portraying the thin simplicity of his thugs scenes of a guy very much just doing what he is told and just following with that. There is a good sense of a lack of thought really. This against when really his violent nature is tested and Jarvis is very moving in providing the genuine anguish of a guy who isn't at all a killer in heart. Afterwards he is terrific in showing the bottled up anxiety of his secret in failing to be a killer, while also finding moments of decency with his son and ex-wife. These scenes are powerfully realized by Jarvis by showing just a strict honesty in these moments and a complete earnestness within the decent man brought down by those he calls his family.)
Keoghan - 4(Keoghan takes on the role that in manys continues the De Niro in Mean Streets, of the harder edged guy of a duo of friends. Keoghan is good in managing to expand his range all the more as he carries the right intensity and visceral edge to the role. Keoghan surprisingly creates a genuine menace. This additionally making a balance between that edge and a genuine sense of camaraderie within his scenes with Jarvis. There is a good sense of his caring for him, even as he coldly pushes him into the dark life of theirs. It is only unfortunate that the film doesn't really give him much of an ending for his character. His moment of divided loyalties is a little rushed, though Keoghan delivers on the moment despite it being quite brief.)
Dennehy & Wilmot - 3.5(Well cast in their roles. This as Dennehy certainly delivers on the cold psychopathy against Wilmot who provides a more balanced manner of a gangster with some delusions of grandeur. Both though in a way show how the film might've actually been expanded a bit as you feel as you just have started to get below skin deep with them by time the film is suddenly wrapped up.)
Algar - 4.5(Her performance is terrific as it really basically breaks down the easy label of the "nag". This way we kind of get that more typical perspective at first as we see her interact in the more typical way. As the film goes on though Algar so artfully shows not only where that frustration naturally comes from, but also the honest and in many ways loving woman beneath it all. It is wonderful work in conveying that even her most intense most of criticizing her ex is with a strong concern that slowly reveals itself. This as she goes from showing the very earned sense of anger towards who her ex chooses to spend time with. A desperation though grows in this not within herself but towards Algar so powerfully conveying the sense of love as she sees him going down the wrong path surrounded by horrible influences.)
Tim:
Well that's an interesting question. Well lets start with most of his films which are big dumb spectacles of different sorts. These which progressively I say got worse the less he used practicals and models for his effects. I think what you can say about Emmerich, just like you can say about Michael Bay, there is a general technical competence. That's about all I can say though. He kind of shows the difference between earnest and corny. He's the latter in all of his writing that is filled with cliches and so often empty themes. He can construct and follow through with a basic plot, but never is there anything remarkable beyond some random tech elements. His scenes aren't always clunky, he can build tension with some ability, he can generally competently shoot a scene, but there is not much he does beyond that. His best film, The Patriot, which is not even a masterpiece or anything,benefits greatly from a script not by him, a John Williams score and Caleb Deschanel cinematography to make it shine. You see essentially better craftsmen pushing him to his greatest heights, which aren't that high.
Tahmeed:
Can't believe it didn't make the final cut, obviously shows Anthony was right, he was a dancer.
Calvin:
I mean the best bit of hair is a wig, though strong subtle work throughout, though mainly with Mulligan. This in helping to craft the different personas with the different hairstyles per scenario. And of course the final one which is an extra display though with her exact makeup across the board helping to craft what could become a bit of an iconic look.
Also glad you loved Bakray and Jarvis, and completely agree that if Keoghan had a bit more of a resolution to his character him and the film could’ve reached higher heights.
And also that you loved Algar. What did you make of the score to Calm With Horses? I thought it was pretty effective in how it was used though it didn’t necessarily stand out on its own.
Anonymous: well, he did shoot the Bill Paxton scenes, and for that we got the story of him leading a conga line while on Angel Dust, which still brings a smile to my face no matter how often i hear that
Certainly an effective score. This crafting a potently emotional quality within the work, with the artful use of synth. There are some remarkable standout tracks within it particularly "The Devers". The whole work has a nice unusual style to it that manages to work itself well in granting the right style that amplifies the dark elements in the film rather than detracting from them. I would agree though largely an ambient piece that works better within the film than entirely on its own.
Anonymous:
Anyone honestly, he and John Toll don't get enough work for their level of talent. Malick of course, also we be a good fit for Nolan, Refn and Spielberg, who has gotten visually stagnant by basically only working with Kaminiski at this point.
Robert:
The production design is terrific in a fairly low key, but important way in realizing the sort of candy coated vibrant aesthetic. This in small touches like just the seat Cassie's at in the opening, or somewhat bigger like the Pharmacy, the coffee shop or Cassie's room. The colorful choices, another wise choice by Fennell, I think actually helps to maintain the certain style that alleviates the tone from becoming to depressive or oppressive. It provides part of the balance.
88 comments:
Apologies to Jesse Plemons we ran out of slots, we'll get you next time.
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
Louis: Ratings and thoughts on Plemons and MacKay.
Luke: I was referring to his personal overalls. That said, I guess I should wait until the alternate supporting actor results.
1. Mikkelsen (5)
2. Lindo (5)
3. Ben-adir (5)
4. Rylance (5)
5. Patel (4.5)
Included my rating predictions for fun.
Michael: Yeah, best wait till he's completely done with 2020.
And apologies if I jumped quickly into this one, but for me, the lineup has been set in stone basically since Lindo got snubbed by SAG.
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
I must say, Gods it feels so good to finally be back in the predictions-game again ...
5º Dev Patel
4º Mark Rylance
3º Kingsley Ben-Adir
2º Delroy Lindo
1º Mads Mikkelsen
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
1. Delroy Lindo
2. Mads Mikkelsen
3. Kingsley Ben-Adir
4. Mark Rylance
5. Dev Patel
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
*Cries in Meth Damon*
Wait, this means you're reviewing him for his leading turn in JATBM for the Bonus Alternate Rounds, right?
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
Emi:
No, I was making a Matt Damon related humor joke.
1. Mikkelsen
2. Lindo
3. Rylance
4. Ben-Adir
5. Patel
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
Funny enough, because of that joke, it just occurred to me that Plemons has never actually been officially reviewed on here.
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
This is a fantastic lineup. Look forward to Mikkelsen and Lindo in particular.
Matt:
Well someone had to take Timothy Spall's place, as the actor I obviously like, but have yet to review.
1. Mikkelsen
2. Hopkins
3. Boseman
4. Lindo
5. Ahmed
6. Yeun
7. Rylance
8. Ben-Adir
9. Oldman
10. Jackman
1) Mikkelsen
2) Ben-Adir
3) Lindo
4) Rylance
5) Patel
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
You should probably review his USS Callister performance someday, I'd give him a five for it.
1.Mikkelsen
2.Lindo
3.Ben-Adir
4 Rylance
5.Patel
Louis: Thoughts on this clip from Parkinson's interview with Orson Welles.
https://www.youtube.com/watch?v=TfghSj5Y93I
This is the exactly the lineup I was hoping for.
1. Mikkelsen
2. Lindo
3. Rylance
4. Ben-Adir
5. Patel
Louis: Following on from Anonymous' comment. Your thoughts on this clip from a Richard Harris interview.
www.youtube.com/watch?v=TkBRjGN9SBg
Calvin: Agreed. :)
PGA now, let’s see what happens.
Louis: If you've seen them, your thoughts on Possessor, Rocks and Calm With Horses with thoughts on the casts.
Thinking about it lately, I actually wouldn't mind 2000 being the next year from the 00s since I'm pretty satisfied with how 04 and 09 are turning out.
Luke, when are you going to give your Top Ten for the year.
Anonymous:
1. Another Round
2. Minari
3. The Father
4. Promising Young Woman
5. Nomadland
6. The Personal History Of David Copperfield
7. Hamilton
8. Sound Of Metal
9. Boys State
10. Mangrove
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
Nomadland wins PGA! I think it’s a lock now.
1. Lindo
2. Rylance
3. Mikkelsen
4. Ben-Adir
5. Patel
Shame I didn't get my request for Charles Dance in.
Luke:
McKay - 4.5(A strong leading turn from him once again, though I do think he gets slightly shafted as I think the last act is where the film falls apart a bit, would've been better if perhaps Hoult stayed more so as a nemesis as it gets a bit aimless once he exits. Still MacKay delivers the proper sort of rocker charisma to the part, that energizes what there is in the climax in kind of bottling up this kind of rebellious energy. It is a good performance particularly because he does balance that with a bit more of a genuine heart in his moments with Davis or any of the moments of really interacting with his family. He makes the most of his role and carries the film even when it is at its least interesting in my view.)
Plemons - 4.5(This is actually a very idiosyncratic performance. This as he's overshadowed by Buckley for most the film, but that is the point, while also it is even more curious because he's actually playing the same part. This as the discussion partner it a discussion with one's self often and Plemons is this kind of more simplistic facilitator against the more complex points of those that the single character has read essentially. Plemons is effective in the certain kind of quietly disturbing quality of his work in shades of darkness even within the manner of the slightly awkward boyfriend. This particularly in his little barn tour where Plemons manages to capture the right can of quietly disturbing qualities. This essentially though as the kind of surface anxiety and lonely qualities of the man, where Buckley is the internalized version. This is rather well done in being the proper counterpart by Plemons, who is as interesting as ever. The one scene outside of this is the ending. This first doing a more admirable Russell Crowe in A Beautiful Mind imitation, before really revealing the truth of the character at his heart by singing "Lonely Room" from Oklahoma. Legitimately it is one of the best renditions of that song, as Plemons captures so much pathos within the man defined by unrequited love resulting in just a man of anxiety, hostility, but mostly loneliness.)
Anonymous:
Welles is always an extremely intelligent and insightful speaker, and this one is no different of course. His breakdown of the nature of the old movie star, is right on the money. He is as right about Cagney, and the difference between hammy and being over the top. Going big isn't going wrong, as obviously the great admirer of Toshiro Mifune, I couldn't agree more. You also do have to admire Welles's obvious passion for the art form, which always makes for a far more engaging conversation.
Luke:
I mean who doesn't love Richard Harris talk show bits, I mean I do, I've probably watched every one currently out there as he's so consistently entertaining. The bloopers themselves are great, but what I love is Harris's enthusiasm in his commentary and explaining them for making sure his sons know he's not so great. I especially enjoy his dewiging in Man in the Wilderness.
Oh I’ve been meaning to say, I watched Rocks shortly after the BAFTA nominees were announced and really enjoyed it. Kudos to them for giving a film like that so much love.
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
1) Mikkelsen
2) Lindo
3) Rylance
4) Ben-Adir
5) Patel
Also, I'm not sure if anyone else is having this problem, but all the images from this blog spot just disappeared - Both the Day-Lewis rankings and the individual photos. I mainly use Chrome, but the same thing happened on Microsoft Edge.
Mitchell: No issues here on my end.
Luke:
Here's my thoughts, I'll give thoughts on the performances later.
Possessor has a great concept, and the story alone feels like something daddy Cronenberg would've made in his early days. Sadly Jr. Cronenberg's execution, is more like latter day Cronenberg, although not even that. This is one where I feel I wish it had actually been a bit more true to its genre, and frankly a bit more fun, even if very darkly, like how Videodrome, Scanners and even The Fly. I think it mistakes a clinical approach for depth, where you can have depth, while also having that more classic genre tone. I think it would've helped rather than hurt the film, and I can't help but bemoan the sort of automatic art-house choice in aesthetic in order to achieve "respectability" with these kinds of films.
Rocks is a good low key sort of community/character study. It manages to do that sort of naturalistic presentation effectively, in a way that never kind of makes it as an excuse for being inert, and keeps you consistently engaged. This helped greatly by the performances particularly the central lead in Bukky Bakray that wonderfully carries the film. Though I do have to wonder where was this Sarah Gavron when she made Suffragette?
We've all seen Calm With Horse before, in the sort of sub-genre started by On the Waterfront. This as the "thug" with depth. I wouldn't say it truly elevates itself beyond its competition in the genre, which is quite formidable, it is good on its own. This largely through the performances which really work wonderfully. This is further helped though by the sense of atmosphere that is quite remarkable at times. I will say the conclusion leaves more than a little bit to be desired, not that its terrible even, just a little bit of thud ending. Still, while derivative overall, it's a good kind of derivative for much of the film, and ends up being a fairly moving character study.
Louis: Your cast and decade of release for a Cronenberg (the elder) version of Possessor?
On another random note, I didn't mention this at the time but I also watched "RWBY" Volume 2 not too long ago. I'll admit, this was mostly out of convenience as both Volumes 1 and 2 can be found on Youtube, and have a combined run time of less than 5 hours.
That being said, I enjoyed them for what they are; Breezy entertainment, admittedly uneven but still enjoyable in it's action, art style and music. Sadly, I've been told the series eventually goes downhill hard, but at least I had a positive introduction to it.
1.Mikkelsen
2.Lindo
3.Patel
4.Ben-Adir
5.Rylance
https://twitter.com/sonyclassics/status/1374405138698231818
Honestly, now I see why The Father was doing so badly with the precursors, Sony really put one of the all-time Oscar campaigns for it. The fact that it still managed to get 6 nods is a testament to the greatness of the film.
Also that Parasite poster, OMG
*all-time worst
Anonymous: Wow that trailer could not be more misleading.
Also impressive is how Minari managed to get through this awards season with one single FYC ad: https://www.nextbestpicture.com/a24-fyc-gallery.html
And yeah, that The Father poster is terrible. I will say though, I have a feeling while their publicity campaign wasn't great, I reckon there must have been something they were doing right; there were problems with screeners, but by all accounts they seem to have gotten them to all the right people in time for them to appreciate the film's greatness.
Louis: thoughts on the makeup/hairstyling of Promising Young Woman?
Calvin: I like how that ad doesn't even have Youn a.k.a. Minari's best chance at a win
Anonymous: They don’t have any ads singularly dedicated to her, which will make it all the more impressive if she does end up winning since her hype has almost entirely been based on word of mouth and praise.
your thoughts on Roland Emmerich as a filmmaker?
Louis: Is Anya Taylor-Joy a 5 or 4.5 for Thoroughbreds?
Anonymous: She's a 5 for Thoroughbreds.
1. Mikkelsen
2. Lindo
3. Rylance
4. Ben-Adir
5. Patel
Louis: Ignore my original prediction.
1. Mikkelsen
2. Lindo
3. Rylance (Psifonian having him in 2nd convinced me to make the change)
4. Ben-Adir
5. Patel
1. Mikkelsen
2. Lindo
3. Rylance
4. Ben-Adir
5. Patel
Louis: Your thoughts on this marvelous deleted scene from The Father?
https://youtu.be/N__x4KjMyk8
Louis: Sorry if this has been asked already but what are your top ten Villain songs in movies?
Anonymous: My favourites are:
Hellfire from The Hunchback Of Notre Dame
Be Prepared from The Lion King
Poor Unfortunate Souls from The Little Mermaid
In The Dark Of The Night from Anastasia
Gaston/The Mob Song from Beauty And The Beast
The Headless Horseman from The Adventures Of Ichabod and Mr. Toad
Dentist from Little Shop Of Horrors (I included it because it's one of the few from musicals that successfully transitioned to the screen and Steve Martin is just great in it)
A Professional Pirate from Muppet Treasure Island (I like this song mainly due to Tim Curry's performance)
RIP Jessica Walter. So great on Arrested Development and Archer and basically everything thing she was in.
Rip Jessica Walter. :(
RIP Jessica Walter
R.I.P Jessica Walter
RIP Jessica Walter
As for my predictions:
1. Mikkelsen
2. Lindo
3. Ben-Adir
4. Rylance
5. Patel
R.I.P. Jessica Walter
RIP Jessica Walter
1. Mads
2. Lindo
3. Rylance
4. Ben-Adir
5. Patel
R.I.P. Jessica Walter
Possessor:
Riseborough - 3.5(I think there is actually slightly too little of her to really properly establish herself as the protagonist to kind of create the change within the two sides of her work. Having said that she is still good at conveying this sort of vague emotional distress within a state of attempted normalcy. She provides some setup even if it didn't quite hook me into the character fully, which I'll admit would've been difficult for any actor with how little material she has at this point.)
Abbott - 4(His performance as strangely the secondary lead while also the primary lead is effective in creating this sense of kind of a strange sort of puppet. This as he provides a certain connection between this kind of distance in the way he observes everyone in a given space while also still providing that same kind of anxiety. I don't think he goes somewhere truly substantial however in creating the literal identity crisis. He's fine in providing this but it never becomes something truly powerful or truly chilling.)
Leigh - (I think she's getting cast a little too often in these kinds of dour exposition entity.)
Rocks:
Bakray - 4.5(Her performance is a wonderful blend as she manages to portray a downtrodden
character, however never becomes just this somber note in that sense. There is that of course, and she's moving in quietly conveying those frustrations. What is remarkable is that she delivers so much more life within this. We get a real sense of just who she is as a teenager in these lovely moments of interaction with her friends. She also provides such a convincing sense of dogged determination in creating the moments of trying to take care of her brother despite having circumstances against it. She delivers a terrific turn by being able to craft her character, despite her situation, not as this simplistic victim, but a real person in difficult circumstances.)
Ali - 4(Her performance is a good supporting turn in very much the purest sense of supporting. She crafts the right chemistry with Bakray and really just the sense of community kind of within their interactions. This with the right touches of complexity that it is never easy sentiment but wholly earned in these moments of warmth.)
Kissiedu - 3.5(I'll be honest I do think that BIFA wins a little too much. This is a good performance though in terms of just providing the appropriate naturalism and chemistry with Bakray. You believe their relationship, which is the most important. I don't think there is too much beyond that, but that is quite good.)
Calm With Horses:
Jarvis - 4.5(As the big lug with the heart of gold he is good in creating the juxtaposition of the two sides. This is portraying the thin simplicity of his thugs scenes of a guy very much just doing what he is told and just following with that. There is a good sense of a lack of thought really. This against when really his violent nature is tested and Jarvis is very moving in providing the genuine anguish of a guy who isn't at all a killer in heart. Afterwards he is terrific in showing the bottled up anxiety of his secret in failing to be a killer, while also finding moments of decency with his son and ex-wife. These scenes are powerfully realized by Jarvis by showing just a strict honesty in these moments and a complete earnestness within the decent man brought down by those he calls his family.)
Keoghan - 4(Keoghan takes on the role that in manys continues the De Niro in Mean Streets, of the harder edged guy of a duo of friends. Keoghan is good in managing to expand his range all the more as he carries the right intensity and visceral edge to the role. Keoghan surprisingly creates a genuine menace. This additionally making a balance between that edge and a genuine sense of camaraderie within his scenes with Jarvis. There is a good sense of his caring for him, even as he coldly pushes him into the dark life of theirs. It is only unfortunate that the film doesn't really give him much of an ending for his character. His moment of divided loyalties is a little rushed, though Keoghan delivers on the moment despite it being quite brief.)
Dennehy & Wilmot - 3.5(Well cast in their roles. This as Dennehy certainly delivers on
the cold psychopathy against Wilmot who provides a more balanced manner of a gangster with some delusions of grandeur. Both though in a way show how the film might've actually been expanded a bit as you feel as you just have started to get below skin deep with them by time the film is suddenly wrapped up.)
Algar - 4.5(Her performance is terrific as it really basically breaks down the easy label of the "nag". This way we kind of get that more typical perspective at first as we see her interact in the more typical way. As the film goes on though Algar so artfully shows not only where that frustration naturally comes from, but also the honest and in many ways loving woman beneath it all. It is wonderful work in conveying that even her most intense most of criticizing her ex is with a strong concern that slowly reveals itself. This as she goes from showing the very earned sense of anger towards who her ex chooses to spend time with. A desperation though grows in this not within herself but towards Algar so powerfully conveying the sense of love as she sees him going down the wrong path surrounded by horrible influences.)
Tim:
Well that's an interesting question. Well lets start with most of his films which are big dumb spectacles of different sorts. These which progressively I say got worse the less he used practicals and models for his effects. I think what you can say about Emmerich, just like you can say about Michael Bay, there is a general technical competence. That's about all I can say though. He kind of shows the difference between earnest and corny. He's the latter in all of his writing that is filled with cliches and so often empty themes. He can construct and follow through with a basic plot, but never is there anything remarkable beyond some random tech elements. His scenes aren't always clunky, he can build tension with some ability, he can generally competently shoot a scene, but there is not much he does beyond that. His best film, The Patriot, which is not even a masterpiece or anything,benefits greatly from a script not by him, a John Williams score and Caleb Deschanel cinematography to make it shine. You see essentially better craftsmen pushing him to his greatest heights, which aren't that high.
Tahmeed:
Can't believe it didn't make the final cut, obviously shows Anthony was right, he was a dancer.
Calvin:
I mean the best bit of hair is a wig, though strong subtle work throughout, though mainly with Mulligan. This in helping to craft the different personas with the different hairstyles per scenario. And of course the final one which is an extra display though with her exact makeup across the board helping to craft what could become a bit of an iconic look.
RIP Jessica Walter
Oh my god that is heartbreaking. RIP Jessica Walter. Legendary actress.
Also glad you loved Bakray and Jarvis, and completely agree that if Keoghan had a bit more of a resolution to his character him and the film could’ve reached higher heights.
And also that you loved Algar. What did you make of the score to Calm With Horses? I thought it was pretty effective in how it was used though it didn’t necessarily stand out on its own.
RIP Jessica Walter & Bertrand Tavernier
Louis: Any directors that you would like to see Deschanel work with? I think he'd make a great partnership with Terrence Malick.
I've read that he was the original DP for Titanic, but after creative differences with Cameron, he was replaced by Russell Carpenter.
Louis: Your thoughts on the costume and production design of Promising Young Woman?
RIP Jessica Walter
Anonymous: well, he did shoot the Bill Paxton scenes, and for that we got the story of him leading a conga line while on Angel Dust, which still brings a smile to my face no matter how often i hear that
Ignore my original prediction
1. Mikkelsen
2. Rylance
3. Lindo
4. Ben-Adir
5. Patel
Robert: You can find his thoughts on PYWs’ costumes in Alec Guinness’s review for Cromwell.
Calvin:
Certainly an effective score. This crafting a potently emotional quality within the work, with the artful use of synth. There are some remarkable standout tracks within it particularly "The Devers". The whole work has a nice unusual style to it that manages to work itself well in granting the right style that amplifies the dark elements in the film rather than detracting from them. I would agree though largely an ambient piece that works better within the film than entirely on its own.
Anonymous:
Anyone honestly, he and John Toll don't get enough work for their level of talent. Malick of course, also we be a good fit for Nolan, Refn and Spielberg, who has gotten visually stagnant by basically only working with Kaminiski at this point.
Robert:
The production design is terrific in a fairly low key, but important way in realizing the sort of candy coated vibrant aesthetic. This in small touches like just the seat Cassie's at in the opening, or somewhat bigger like the Pharmacy, the coffee shop or Cassie's room. The colorful choices, another wise choice by Fennell, I think actually helps to maintain the certain style that alleviates the tone from becoming to depressive or oppressive. It provides part of the balance.
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