Tom Hanks did not receive an Oscar nomination for portraying Carl Hanratty in Catch Me If You Can.
Catch Me If You Can works for several reasons, as one of Steven Spielberg's very best later career films. A film I never hesitate to praise, and despite its success in many ways, seems to fly slightly under the radar within Spielberg's filmography. One of the reasons for this success is the star pairing featured through Leonardo DiCaprio as teenage conman Frank Abagnale, and Tom Hanks as the FBI agent trying to catch him Carl Hanratty. Now this pairing is effectively used in direct scenes together, but more often apart as Hanks searches for the elusive and cunning Frank. Now in this, I find that we see how Hanks's performance is very much emblematic of the success of the film. This as half of Hanks's work actually in fact evokes his earliest roles, that of the comic actor. Hanks playing the straight laced Carl among a group of obnoxious other fellow agents. In this Hanks plays a wonderful overly straight man. This as Hanks's work very much seeks to make the investigation entertaining through the specific way he presents Hanratty's kind of overly bookish determination, right down to his "just the right kind of silly" convertible sunglasses. Hanks has a nice elegant touch here even when presenting some general exposition over Frank's crimes, Hanks is little frustrations sneers are ideal in granting a nice humor to the moment just as the scene gets across what is needed.
Hanks creates the right balance in that he doesn't make Carl a joke, but delivers a definite sense of comedy to each of these scenes. His performance makes for the right kind of drive in the investigation for this film, this as he's not trying to find a true monster, rather just finding a kind of thief. Hanks brings a deft timing then even in his first interaction with Frank, who poses as a secret service agent to escape him. Hanks in this scene is wonderful in bringing enough intensity initially as he first confronts Frank, and shows the right sense of confusion and calculation as he gauges the story he takes in. He's equally good though in bringing a real, but also still comic anxiety when he realizes the truth and sees Frank elude him. Hanks's perpetual state of frustration and drive is just wonderfully realized within his performance. He makes highlights every little bit of extra moments so well, such as his extra annoyed delivery of his rather hostile knock knock joke towards his fellow agents, or even in his boredom and disbelief as he just struggles to do his laundry without issue. Hanks's performance makes Carl a particularly enjoyable antagonist and more so foil to Frank. Instead of the guy who seemingly is floating through life, we have the guy struggling with every bit of his investigation. Hanks makes Carl both dogged and haggard in the right kind of equal measure.
Now what is truly emblematic though is as much as the film is a great entertainment, there is more to it than that, and we get that within Hanks's performance just as we get that entertainment value from him. We are granted a sense of a bit more on the second interactions between Frank and Carl, as Frank calls Carl on Christmas. Hanks's delivery of this scene finds just the right balance in the moment. A bit of internalized somberness towards Carl's only seemingly lonely state as he speaks towards covering for other men, a direct bit of anger mixed with pride as he tries to both admonish Frank and explain how Frank barely got the best of him. There's a bit more though, as he speaks there just the smallest bit of understanding in his initial "you had no one else to call" towards Hanks, before switching it towards a bit purposeful direct hectoring towards the man who made him look like a fool. Again though this nagging sense of something more that kind of connects the two men is seen again when Carl visits Frank's father (Christopher Walken). This scene seems straight forward enough as Hanks's eyes glance around showing a man looking for clues, while delivering each word with a kind of perfunctory inquisition. The essential part of the scene though is when Frank's father accuses Carl of not being a family man for thinking he'd give up his son. Hank's reaction is perfection, this as there a bit of surprise within the moment, but again just this perfect glint of sadness suggesting Carl's own loneliness.
The evolution of the Carl and Frank relationship is beautifully done with a substantial part of that being Hanks and DiCaprio's performance. Hanks here playing with DiCaprio never to try to outdo him, but rather to so artfully defer to him in a certain sense, without being overshadowed. This as while Carl's frequent solo perspective makes Hanks border on supporting the nature of the character, as so well realized by Hanks is truly a supporting one in the best of ways. Hanks finds the natural progression in creating a sense of empathy with Carl with Frank. There are still some proper playful moments, such as Hanks's deadpan reaction as Carl unashamed eats an eclair without sharing, but there's a real emotional depth in their work together. This as there second face to face scene, where Carl gets Frank to surrender, Hanks's performance is quiet, yet direct. There is an earnestness within the warning he gives to Frank. Hanks suggesting both a genuine threat but also an as genuine concern for Frank within the situation. When later Carl is the one who has to inform Frank of his father's death, Hank's performance is one of pitch perfect empathy. First his reaction that shows just the glimpse of despair over the idea, then his delivery that is straight forward, but also entirely sincere. Hanks earns the friendship that develops as this really second father figure, as he goes far to bring Frank into the FBI to try to limit his incarceration. Now in this we find the connection between really two lonely people, Carl as the father without a family, as he's estranged from his daughter, and Frank estranged from his whole life. Hanks finds just the right tone here. This as he doesn't over do the warmth, yet it is always so palatable and a certain point quite poignant. When Carl tells Frank the truth of his own isolated personal life, Hanks's direct as man reaching out, but still tempered still as essentially his former opponent of sorts. Hanks grants the sense of a teacher trying to truly connect with him, but also giving him the limits. I love even Hanks's reaction in the final segment of the film as he awaits to see if Frank has changed his ways or not, by whether or not he will be returning to work. Hanks's quite reactions of concerns are genuinely moving though understated still. Especially adore Hanks's final subdued reaction of relief at seeing Frank. Hanks never breaks the nature of the character, but shows his heart in the way that is honest to the character. This in turn making the reveal of it all the more affecting. Hanks's work delivers on both just the pure entertainment of the film, but also that essential heart of it within the idea of loneliness. Hanks does it with such ease, yet so effectively, that I have, while always praising the performance I'll concede before examining it a bit more closely, I might've taken it a little for granted.
273 comments:
1 – 200 of 273 Newer› Newest»Thank you for this! Yeah, on a recent revisit I was really taken aback at how much I took him for granted all these years. Him convincing Frank to surrender in the warehouse very well be my favorite moment of his career, since he has to portray a genuine sense of empathy while Karl is technically just winging it.
Louis: Continue on with whatever thoughts you didn't get around to on the last post.
Is there a possibility you could do a writeup on Ewan McGregor in The Ghost Writer in future. That's a film I think you'd be more than willing to watch again and it's a bit surprising you reviewed Brosnan but not the best performance of McGregor's career.
I always had a bit of a nitpick regarding Hank's accent here; Perhaps it was something I just never fully believed, or felt he may have been better off dropping the Boston dialect all together.
That aside, however, this is of course a very good performance, and offers a nice counterpart to his more against type work from 2002.
Above Gleeson and Serkis? Wow.
Not that I'd disagree; just surprised
Very strong work from him here. Also possibly my favourite ever "one f-word in a PG-13".
Matt: I'd put it in the same league as Hugh Jackman's cameo from "X Men First Class".
Kaluuya and Bakalova for Critics Choice
Louis: your reasoning for putting Jeff Goldblum in Supporting for Independance Day? Because i always thought we kind of experience the film mainly from his perspective. It also feels (for me) like he has more screentime than Smith and Pullman.
Even as a kid i was confused by him being named last of the 3 on the DVD ...
Alan Kim might’ve won the whole evening with that Critics Choice speech.
Okay, I admit, I laughed at Kevin Bacon's presentation. More Kevin Baco in these awards pls thx
Calvin: I'd say he's won the whole season.
Jesus, who ressurected Morgan Freeman?
Wow, finally an original decision, well deserved for Palm Springs (one of the only movies I liked last year). Really thought they'd go sheep and award Borat 2
The presentations aren't that bad, but god, that host SUCKS. At least Fey and Poehle tried to be funny
Poor Justin Hartley
Luke:
Between Public Enemies and Dillinger there is a great film to be made about the man/that period, but still hasn't happened yet. Dillinger, though thankfully doesn't have the bad cinematography of Public Enemies, is a lot more hollow. It isn't at all bad, works as a general shoot-em up, has a good cast, but it doesn't really find a thematic core to the material, the closest it gets is in some of Ben Johnson's scenes.
Oates - 4.5(Extremely well cast to begin with and is superior to Depp in creating the really sense of a live-wire in the form of a man. Oates is terrific here in delivering a unique sort of intense kind of charisma. He finds the charisma within really the brutality that is something special. Oates wields the power and violence of the man that is often if not always captivating. It's a shame the writing really has no "take" on Dillinger as a man other than this generalized bandit. Oates to his credit makes the absolute most out of that idea, but it's a shame he wasn't working with the Depp version in a certain sense. This as there is no build up really within the downfall, or self-reflection at all. We just get a man loving his life as an outlaw, Oates thrives with that, but they should've given him more.)
Johnson - 4(I mean just a great counterpoint/rival to Oates. This as he portrays Purvis with this quiet dignity and intention. Johnson giving a similarly effective performance as he did in the Sugarland Express. This as he finds a real power in the quietude of the law man. Johnson showing the man handling everything with a strict consideration, and just a solemn sense of determination.)
Stanton - 4(Stands the most out of the crew, mainly because he's Harry Dean Stanton. Stanton though, likes Oates, manages to be compelling just with the generalized idea of the character that we see here. He's particularly good in his final scene in portraying the sense of humanity in the wounded outlaw, just as he was good in portraying the blunt intensity of the man.)
Dreyfuss - (Sadly the idea of the character is again underused, but mostly we just see that he's a psychopath compared to the rest. An effective change of pace for Dreyfuss as he carries himself with this effective curious kind of intensity as though the man's basic manner is to kill. His final moment is particularly good as even as he writhes dying he is still dangerous.)
Still Walking is a beautifully observed film. Technically in the ennui filled reunion genre, however told in the way of Mizoguchi mixed in with Ozu. This as it just quietly tells its story of this family with both an elegant simplicity, but also a careful complexity in the amount of history we find in these seemingly minor interactions. These as we build slowly into learning each dynamic and a real poignancy reveals itself as we see both the love and wounds within the family. Kore-eda once again takes the approach of a just honest human interactions off of one strictly melodramatic idea. He does this here, as well as did with Shoplifters and Like Father, Like Son. This is not a critique instead I think it is a rather fascinating way in, I think..
Abe, You, Kiki, Harada - 4.5(I'll say all their performances were wonderful and so natural in realizing each person and their state within the family. Abe is terrific as this center of the film. This as a state of near perpetual uncertainty, as the son who can never please his father and is not sure how to. He doesn't over accentuate this idea rather finds the right grey space of the man who is defined by a kind of uncertainty. You is wonderful as a contrast in her more upbeat but also more sardonic turn. She provides a sweet kind of contrast with her more overt awareness. I think Kiki and Harada though hit something that is so rarely depicted as naturally as it is here. This on the surface each define each character strongly as they are. This as Kiki is the loving and sweet mother and Harada the stern father. They're fantastic though in creating the sense of conflict within those interactions, even as they maintain their sort of expected parental state. It is equally fascinating in the way they maintain this while still revealing certain vulnerabilities. Harada with a sense of shattered pride within his family, and Kiki's anger towards her husband as he in a way failed their son seemingly.)
Robert:
You're welcome.
Tim:
None in particular, I'll admit it isn't a performance I spent a lot of time pondering in general.
Calvin:
Nice get for Bakalova, and anytime Close loses, we win.
Anonymous:
Edward Arnold:
Fletcher
Jack Betrang
Walter Huston:
Marcus Hamilton
Hans Kieslowski
John Carradine:
Christopher Marlowe
Wake
Raymond Massey:
Jeremy Armitage
Dr. John Cawley
Pat O'Brien:
Judge Hoffman
Bill Willoughby
Louis: That is very true in a way, the more different people win the more open the race becomes, and that doesn't benefit Close.
Louis if you saw the rest of Wandavision, what do you think?
Anonymous:
Meh.
I was NOT fond of WandaVision. The biggest case of Emperor-Has-No-Clothes I’ve encountered with pop culture in some time. I feel like I’m done with the MCU outside of maybe Eternals and Thor 4.
Chloé Zhao has just given the best speech of this awards season, she's so winning that Oscar
Robert: It's not Emperor Has No Clothes. It's difference of opinion. That's not the same thing.
Matt: Well for me the Emperor is definitely in his undies.
Okay I got to say Zhao and Fennell for Adapted and Original Screenplay RULES. Let's hope this translates down the road.
Thank fuck, it’s Carey
Calvin:
And Mulligan in actress, all very good things.
Yep, Mulligan back in the front seat now. Honestly can't complain about any of the acting wins.
ANNNNDD Nomadland, good stuff.
No surprises from the critics, which is a good thing honestly. They don't make too much of an impact overall, but thankfully they prevented any kind of bandwagon for Day (though that would've been hard without SAG anyways), hopefully the path for Mulligan will now be clear. Boseman is locked for the win I think, Kaluuya extremely likely, and supporting actress is anyone's guess at this point.
Louis: your thoughts on and ranking of the Sound Editing of The Hurt Locker, Avatar, Inglorious Basterds, Star Trek and Up?
Louis: Your cast ranking for WandaVision?
Louis: Where would you rank You and Kirin Kiki in Still Walking.
I think we can all agree that Mulligan's winning BAFTA with ease and SAG for me is the most important precursor.
Luke: Yeah I suspect that day will be only win globes.
Tim:
There isn't an exact major difference between these, as all the films have good sound editing, though District 9 should've been in the lineup.
1. The Hurt Locker - (Notable just sort of in crafting "dirtier" sound effects for war films)
2. Star Trek - (Effective reinvention of old sound effects towards an updated style.)
3. Inglorious Basterds - (Classic style sound effects well realized with a definite grindhouse edge.)
4. Avatar - (I actually don't say "the technicals are good at least" for this film, as the cinematography is awful for example. Nonetheless the sounds are good in general and fine enough, though not overly memorable for the alien creatures.)
5. Up - (Overall strong animated work, particularly in terms of crafting the later action scenes, and a few unique sounds.)
Luke:
Kiki would be #2, You #4. Both in supporting.
Razor:
1. Paul Bettany
2. Elizabeth Olsen
3. Teyonah Parris
4. Kathryn Hahn
5. ? (though click-bait the character)
6. Julian Hilliard
7. Debra Jo Rupp
8. Fred Melamed
9. Emma Caulfield Ford
10. Jett Klyne
11. David Payton
12. Randy Oglesby
13. Randall Park
14. David Lengel
15. Asif Ali
16. Josh Stamberg
17. Kat Dennings
Louis: Thoughts on Bettany and Olsen.
Louis: Also thoughts on #3-6 and the bottom 3 performances.
Stamberg might be the worst performance in the entire MCU.
I don’t know if I can blame him though; Hayward went from a kinda nuanced villain to just a straight-up Dick Dastardly cartoonishly evil villain who tried to shoot kids for no reason. I mean, Marvel’s villain characters aren’t usually great, but even Redford's character in Captain America 2 didn’t go through this much of a whiplash
Anonymous: To be fair, the villains of the MCU did get progressively better and more interesting with time - to the degree where Thanos was nearly the central figure of "Infinity War".
Although I admit, I found Redford's casting in "Winter Soldier" to be rather inspired.
Mitchell: The Russo brothers have said that redford's casting was a direct spin on his performance in three days of the condor.
My problem with the MCU villains aren’t the main ones, like you said, they’ve been getting better and more complex (well, as complex as the MCU allows it), but the secondary ones. Not only are they (invariably) devoid of personality beyond "I'm doing evil crap because boss told me to do so", but usually are played by well-respected actors (Carrie Coon? Djimon Hounson? Colm Feore? Adewale Akinnuoye-Agbaje?). The only exceptions I can think are the Winter Soldier and Karl Urban’s character in Ragnarok, and both didn’t initially start as henchmen.
Anonymous: The writing doesnt help but he's also just boring and kind of annoying to watch.
Anonymous: Seems legit.
I'd also add that in the case of Thanos, the Russos did more than they needed to in presenting his goals/personality. Especially since, in the comics, Thanos is motivated purely by his self doubt and obsession with Lady Death.
Also, I completely agree with your second point; Heck, I always forget Feore was in "Thor" to begin with.
So I finished The Great and kind of loved it. Can't wait for season 2.
Also, was anyone else aware that Douglas Hodge's voice as Velementov wasn't his normal one? Because, uh: https://www.youtube.com/watch?v=jl07gBI1480
PGA noms:
Borat Subsequent Moviefilm
Judas and the Black Messiah
Ma Rainey’s Black Bottom
Mank
Minari
Nomadland
One Night In Miami
Promising Young Woman
Sound Of Metal
The Trial of the Chicago 7
Da 5 Bloods and News of the World snubbed; Borat and Judas pleasant surprises; Soul's chances in BP are dead in the water. The Father surprisingly snubbed too, might be this year's The Two Popes. Otherwise, expected lineup.
Louis: In reference to a discussion we've had here before, what would be your 10 favorite performances by actors which are "static"/don't have a typical character arc?
Will get to the rest of the thoughts soon. Quick comment on PGA quite glad that "News" didn't make it, a lot of strong choices, even if I would've taken The Father over several particularly Ma Rainey just because I think it is a FAR superior stage adaptation. Biggest miss for Da Five Bloods, which seems like it is going to struggle on nomination day. Usually PGA is the lineup, take away one or two, if the latter maybe replace one. If 9: Borat obviously misses. If 8: Maybe the Sound of Metal, if replaced, I would say The Father, if it does well tomorrow (and given its major plays of Hopkins/Colman haven't shown any weakness). I think this could be the 8/9 minus Borat though, which did get another boost in adapted screenplay however. Look forward to see what BAFTA does in less than a day.
I never bought News of the World making a big splash. All the noms in CC were mostly filler and tech stuff, and the one category it absoulutely should've won (Young Actor) it didn't (though I don't think tha necessarily hurts her chances since Saoirse Ronan lost here in 2007 for Atonement and still got an Oscar nom; although I don't see why CC couldn't put Zengel here and in supporting). There was also an argument I heard that it could be a populist choice with older males like Ford v Ferrari was last year, but just a look at the IMDb scores disproves that: FvF has an 8,1 (somehow even being on the Top 250 movies list) while NotW has a 6,8, being the 2nd lowest-rated BP contender there (behind the VERY divisive Da 5 Bloods). There's no passion behind it.
Luke:
Bettany - (Anything good about his previous depictions as Vision are once again present. He really does deliver well on the idea of the philosophical android. He does go further with it here. This as I felt the strongest sitcom moments, which for me there weren't too many, came from him, particularly his exasperation and realization at the stupidity of sitting down for the mockumentary. His best moments though I think are very in presenting the realization of Vision within the role of the hero in the false reality. Bettany brings a honest intensity, particularly in his confrontation scene with Wanda (even if it unintentionally is hilarious by accidentally referencing What We Do in The Shadows). In all honesty though Bettany was the one who kept me most invested in a show that didn't deliver for me, but nonetheless he created still an often captivating portrayal of the most human character in the form of a robot.)
Olsen - (Quick note the actual accent that is entirely inconsistent without really much logic to when it is present, I don't really care, even if I think the show fails in its attempted lampshade. Nonetheless it was a bad Whedon idea anyways, so I'm fine with Olsen forgetting it whenever possible. Once again the strength of her other performances in the role are present once again. She's great at that sense of emotional desperation that defines the character. She does deliver on the random sitcom roles as well. I think what was new here though was her presentation of a greater kind of menace within the character. This being something I thought was rather well realized with a striking sense of intensity that Olsen could switch to on a dime.)
Razor:
Parris - (Two series in, and I'm fed up with the Disney method of setting up other shows/movies with the show I'm watching. Can't we just fully enjoy one thing without being hectored about another one? This I felt quite aggravating with how we get so much with her setup then she gets basically forgotten about in the final act, because well she's gonna be in Captain Marvel 2. Anyways, having said that, please let her take the role of Captain Marvel asap in my book, since I still find that one of Larson's weakest turns. Parris though here is terrific even with my frustrations in the writing. Parris just brings the right natural charisma and low key strength within the character. This even in effectively portraying the kind of grasping with grief in a place of strength rather than overt vulnerability. She carefully still reveals it even if it is not the dominant feature.)
Hahn - (Again I think there is a lot I don't love with the writing, but I will say Hahn does show an impressive range here. This in the most overt sitcom character which she does do well, though against her other scenes though where she does rather effectively create an entirely different kind of persona.)
? - (Again hate the nature of the casting which was entirely to get views without really earning the decision. I mean theoretically I don't care, but either don't put it in, or own up to it. Anyway ?'s performance though is good in bringing the right kind of chaotic energy and particularly owning the early 2000's style wacky character style performance.)
Hilliard - (Just for me the most impressive in terms of the brief intense emotion of the truth behind the singular veneer of the sitcom character. Really I'll cover most of the townsfolk are all in general good here, both in their quick moments of emotion and their playing of the parts.)
Ali - (Just the least of the townspeople though didn't think he was terrible.)
Stamberg - (An atrocious character as written. I found it hilarious when I heard some people saying "oh I think there is a hex effecting everything that's why Hayward's such an obvious villain" no just bad writing is bad writing. I mean you can even have functional villain characters but don't make it THIS obvious and egregious. Stamberg I don't think helps things either. He very much plays into that trope hard, and without doing it with a hint of style either. He's a dull villain that made every second he was onscreen overly tiresome, predictable and repetitive.)
Dennings - (I just don't like her shtick, and that is all she is doing here. At least with Park, who I like his shtick a little more anyways, there were scenes where he granted at least a hint of reality to Woo, Dennings keeps her Darcy as obvious of a comic relief as ever. Which I guess could be okay if she was funny, but I just don't find her funny.)
Robert:
I did not, wow.
Tahmeed:
Hmm...we'll say leading performances since that is fairly common with supporting roles.
Richard Attenborough - Brighton Rock
Richard Attenborough - 10 Rillington Place
Daniel Day-Lewis - Gangs of New York
Brad Dourif - Wise Blood
Peter Finch - Network
Elliott Gould - The Long Goodbye
Jeremy Irons - Reversal of Fortune
Robert Mitchum - The Night of the Hunter
Al Pacino - The Godfather Part II
Gregory Peck - To Kill a Mockingbird
Watched Boogie Nights, and once again I'm convinced Paul Thomas Anderson makes pretty much nothing but masterpieces, because I loved this as I've loved all of his other films that I've seen.
Wahlberg-4.5(Hit and miss actually, but generally pretty strong, and his silent realization listening to "Jessie's Girl" is the best acting he's ever done by far.)
Reynolds-4.5
Moore-4.5
Graham-4.5
Reilly-3.5
Hoffman-4
Cheadle-4
Molina-4 (I thought about going higher, but I really do think the direction is a big part of what makes him so memorable.)
Jane-3.5
Macy-3.5
Jay-3
Hall-3
Ridgley-3.5
Guzman-3
Gleason-2.5(A little too much, even considering the role)
Tomorrow the nominations for the BAFTA 2021 will be revealed. Then say your final predictions ...
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
Calm with Horses
His House
Limbo
Saint Maud
White Riot
ORIGINAL SCORE
Ma Rainey's Black Bottom
Mank
The Midnight Sky
Soul
Tenet
SOUND
The Invisible Man
Mank
News of the World
Sound of Metal
Tenet
EDITING
The Father
Mank
Nomadland
Sound of Metal
The Trial of the Chicago 7
SPECIAL VISUAL EFFECTS
Greyhound
The Invisible Man
The Midnight Sky
The Secret Garden
Tenet
MAKE UP & HAIR
Ammonite
The Dig
Emma
Hillbilly Elegy
Ma Rainey’s Black Bottom
COSTUME DESIGN
Ammonite
Emma
Mank
Ma Rainey’s Black Bottom
The Secret Garden
PRODUCTION DESIGN
Ammonite
Ma Rainey’s Black Bottom
Mank
News of the World
Tenet
CINEMATOGRAPHY
The Dig
Mank
News of the World
Nomadland
Tenet
FILM NOT IN ENGLISH LANGUAGE
Another Round (Denmark)
Bacurau (Brazil)
The Life Ahead (Italy)
Minari (USA)
Quo Vadis, Aida? (Bosnia and Herzegovina)
ANIMATED FEATURE
The Croods: A New Age
Onward
Over the Moon
Soul
Wolfwalkers
OUTSTANDING BRITISH FILM
Ammonite
The Dig
The Father
The Mauritanian
Promising Young Woman
Saint Maud
ADAPTED SCREENPLAY
The Dig
The Father
The Mauritanian
Nomadland
One Night in Miami
ORIGINAL SCREENPLAY
Another Round
Mank
Minari
Promising Young Woman
The Trial of the Chicago 7
CASTING
Ma Rainey's Black Bottom
The Mauritanian
One Night in Miami
Promising Young Woman
The Trial of the Chicago 7
SUPPORTING ACTRESS
Maria Bakalova
Olivia Colman
Jodie Foster
Saoirse Ronan
Amanda Seyfried
Yuh-Jung Youn
LEAD ACTRESS
Jessie Buckley
Viola Davis
Vanessa Kirby
Frances McDormand
Carey Mulligan
Kate Winslet
SUPPORTING ACTOR
Sacha Baron Cohen
Benedict Cumberbatch
Daniel Kaluuya
Leslie Odom Jr.
Paul Raci
Mark Rylance
LEAD ACTOR
Riz Ahmed
Chadwick Boseman
Anthony Hopkins
Gary Oldman
Tahar Rahim
Steven Yeun
DIRECTOR
Lee Isaac Chung
Emerald Fennell
David Fincher
Aaron Sorkin
Florian Zeller
Chloe Zhao
PICTURE
The Father
Mank
Nomadland
Promising Young Woman
The Trial of the Chicago 7
Matt: The "Jessie's Girl" sequence and Dirk's confrontation with his mom are my favourite moments of Wahlberg's performance. I'll also say that, when I first watched the film several months ago, I was surprised at how much sympathy Walberg was able to elicit in the film's later scenes.
Also, I'd just like to mention that the youtube series "Death Battle" kicked off it's new season today. And the premiere is a rather out-of-the-box match up....Yoda Vs King Mickey (Kingdom Hearts).
https://www.youtube.com/watch?v=eDKUamxUhwM
Louis, which 10 performances undermined films that could've been masterpieces.
Mitchell: Yoda wins in a heartbeat. Mickey may have a keyblade and magic but Yoda has far more years and experience as a blade wielder and the power of the force.
Luke: At the risk of spoiling the video...I'll just say I was very surprised by what they showed about Mickey.
Stephen: Some will disagree but Ryan O'Neal in Barry Lyndon would be my #1 choice.
The next fight their doing, however - Ryuko Vs Shadow - I'm already predicting will be a stomp for the hedgehog, sadly.
If you'll forgive the tangent, I would've preferred Tatsumi (Akame ga Kill) as Ryuko's opponent, but the connections between her and Shadow are quite strong.
Stephen: Zooey Deschanel in 500 Days Of Summer for me
Also, Chalamet in Little Women, but i don't want to go on that rant again ...
Stephen Patterson:
Well, let's say films that could've been great or greater.
Ryan O'Neal - Barry Lyndon
Orlando Bloom - Kingdom of Heaven director's cut
Stephen Lack - Scanners
George Lazenby - On Her Majesty's Secret Service
Leonardo DiCaprio & Cameron Diaz - Gangs of New York (though there are other issues)
Rod Steiger - Waterloo & Duck You Sucker
Christopher Jones - Ryan's Daughter
Michael Beck - The Warriors
Edward Furlong - Terminator 2
Barry Lyndon and Waterloo in particular really hurt since I've always loved that period.
Also to a lesser extent, that guy from Animal Kingdom.
The more I think about it, the "Sister Christian" sequence in Boogie Nights is in the running for my favourite thing Anderson's ever done, and that's an accomplishment, believe me.
So I checked out Amy Poehler's new film Moxie, which I found to be a perfectly solid film with some interesting points. As far as teenage dramas go, it's not groundbreaking, but it certainly is decent.
Robinson-3.5
Poehler-3
Schwarzenegger-3.5 (Terminator Jr. can definitely act)
Pascual-Peña- 4
Hiraga- 4
Tsai-3
Louis: Thoughts on the cinematography for The Sword of Doom? I remember you making a list of the best shot films of the 60's where you ranked it above the cinematography of TGTBTU, before the 1966 bonus rounds of course. Also, your updated list of the top 20 best shot films of the 60's, since you have seen Seconds, The Leopard and Andrei Rublev.
No Mulligan, FUCK.
Happy for Mikkelsen but that Mulligan snub really shocked me.
Vinterberg really is setting up for a Pawlikowski next week.
Okay what the celestial fuck is going on with these BAFTA noms. I appreciate the diversity but I have NO IDEA what to make of what this means for the race.
Shannon Murphy for Best Director is one of the CRAZIEST things I have ever seen.
Keep in mind this year's BAFTA's are going by a weird 7 to 12 person jury system
I didn't know that since the day before yesterday, via a goldderby video, but the BAFTA voting system changed drastically this year, in order to diversify the nominees. So, in each of the acting categories, the final nominees were chosen by a panel of seven to ten people (BAFTA members and outsiders). That was a sign that the nominations would be very different. So, I looked at the BIFA nominations and wins to have an ideia of who to predict - but I have to say that even doing it, I would never predict SUCH nominations.
I LOVED it, to be fair - it's so nice to see different films, especially independent ones, get this attention. But I don't think it'll have a bigger impact in Oscar race.
Robert: Also very true, the system is just so weird so it doesn't mean much overall.
Still, Sacha Baron Cohen, Carey Mulligan, Viola Davis, and so many more missing out is pretty wild.
Jasmila Žbanić, Sarah Gavron and Thomas Vinterberg for Best Director is so inspired too.
*to twelve people
They snubbed the hometown girl? What the heck...
Technically the Baftas did do a good job of recognising British films and diversity and stuff, in terms of Oscars, SAG is gonna be huge for Best Actress now.
Louis, Luke & Calvin: Your pick for the 2020 BAFTA Rising Star Award.
So, the survivers in the acting categories (nominated at every single precursor) are:
- ACTOR: Ahmed, Boseman, Hopkins. By the way, I do think it's a farewell to Lindo's chances at the Oscars.
- ACTRESS: Kirby, McDormand.
- SUPPORTING ACTRESS: Bakalova.
- SUPPORTING ACTOR: Kaluuya, Odom Jr.
Well, at least a lot of of the more surprising and less well known nominees are on Netflix so I can check them out for myself.
RatedRStar: Probably Ben-Adir because I assume most in Britain would know him from Vera I suppose
I don't know about anyone else, but having a smaller panel to be more diverse seems a little counterintuitive.
Huh, no Colman for Supporting Actress either. The Father still had a solid showing here, but I thought Colman was a cert.
I now pray SAG give Mulligan the win.
RatedRStar: For who should win, Ben-Adir or Clark.
Only logical explanation for Mulligans snub: she nailed her American accent in PYW so well, they forgot she was a Brit.
I am still hoping that mulligan gets nominated at the Oscars. Also I am pretty sure that 4 out of the 6 nominated for best actress will be like Imelda Staunton in pride in only being bafta nominated.
Anonymous: She will, I'm seeing it as nothing more than a blip.
The only thing I can think of since Promising Young Woman did OK at the Baftas aside from Mulligan, Mulligan might have split some votes with herself for The Dig which did quite well in the nominations as well.
I don't think the snubs mean anything at all, can't imagine a Best Actress category without Mulligan and Davis in it, or Supporting Actress without Seyfried and Colman.
Highly recommend everyone check out Rocks by the way, watched it the other day and it’s very very good. Hopefully this will help promote it more.
And honestly even though the system is flaws I love the diversity here. I imagine Louis will be delighted to see Mikkelsen and Vinterberg make it.
Luke: Bakray, Ben-Adir or Clark all have strong arguments for me.
Honestly kind of delighted how chaotic this season has been. For once I’m not bored into complacency (or in the case of 2018’s, quivering with unyielding rage). I think Mulligan can still win at the Oscars, but I sadly and reluctantly agree with Gus that Lindo looks dead in the water. What a shame.
But hey, Mads and Raci got a boost.
TIL Carey Mulligan is British.
These Bafta nominations do not help AT ALL.
I actually think Tahar Rahim could be our fifth spot in Lead Actor now - although also taking into account how both of his most notable nominations so far have been from relatively small bodies, but it’s worth keeping in mind.
It’s also nice to not see every awards organisation act as a footstep to the Oscars, and the UK has an awful problem with diversity especially with black performers (see: how basically every black UK actor has to go to the States to become a big name). This is huge for recognising them.
Looking at the director nomination for Babyteeth: How HAS Mendelsohn been so thoroughly fucked over this awards season? Even the minor critics awards ignored him. You’d think at least one would go for him.
Calvin: Not to mention the BAFTAS seem to actively hate Denzel Washington for some strange reason.
I do think it’s a nice change of pace here at the BAFTAs for the record. They threw us a better curveball than the Globes did with Leto/Music at least...
Just surprised that Mulligan/Colman/Oldman didn’t get in here, that’s all.
Matt: Ah yes, the classic Denzel perennial snubbing.
(seriously when that bullshit was STILL happening with Fences that year, my god)
Calvin: Worth pointing out in regards to Rahim, last year Pryce only had to make it to the Globes and Baftas to take the fifth spot too.
Still convinced Denzel pissed on the Queen's rug or something.
How did Clarke Peters get in and not Delroy Lindo?
Matt: I know right? I would’ve figured Boseman would be the one to show up in Supporting, if someone from the ensemble had to make it in that group.
(Not a knock on Peters btw, but Boseman & Lindo have been the ones getting noticed.)
Emi: that’s exactly what I’m thinking too. Boseman-Hopkins-Ahmed-Rahim-Yeun would be my most ideal lineup right now given all the precursors so far, but Oldman has simply been hitting all of the precursors too much for me to deny that he’s probably getting in.
Dga predictions:
Fincher.
Zhao.
Sorkin.
Chung.
Fennell.
If that lines up, I’m hoping Sorkin is the Martin McDonagh of this year.
I'd be elated if Vinterberg makes it ahead of Sorkin, and it just might happen.
*if someone from the ensemble was going to make it in.
Yep my dga predictions were accurate.
Chung, Fenell, Fincher, Sorkin and Zhao are the DGA line-up, indeed.
Regina King, Darius Marder & Florian Zeller got nominated for First-Time Feature Film. I actually didn't even know that Sound of Metal and The Father were their first films.
So regarding BAFTA...
having not been aware of the Jury system until today, I think it does mean this will be a far weaker predictor. I for one am fine with them returning to the BAFTA of 20 years ago, as I don't mind completely different lineups per awards bodies rather than the sheepish behavior we've gotten in the past few years.
The jury system though is clearly the jury system, given there's a lack of internal logic (Promising Woman in picture, but no Mulligan) (Alan Kim but no Steven Yeun), or they are purposefully spreading the wealth around. Either way, I actually VERY much appreciated that we got to see a Thomas Vinterberg nomination for example, so I actually don't mind that they just completely did their own thing.
The one thing that does stick in my craw is Mulligan's snub, which with six choices is inexcusable, though mainly because it hurts her winning chances a little bit. Although possibly not too much given McDormand doesn't seem to have the momentum for win three, despite all her nominations, and Kirby's film doesn't have the passion. One thing I will predict though is Actress and Supporting Actress, probably won't be decided until Oscar night.
Now DGA...
I think will be far more useful for predictions. In fact that could be the five. Major get for Fennell (and actually Mulligan in a way), and Chung/Minari. Sorkin I do think is potentially vulnerable, as the Director's branch usually has their passion pick, not sure who it'd be though.
Louis: Which directors do you feel are the possible contenders for the Pawlikowski/Bennett Miller slot? (Hypothetically)
The Mulligan snub was frankly bizarre however we shouldn't worry too much about it.
Louis: What are your final Oscar Nomination predictions.
Mine are:
Picture
Nomadland
Minari
Mank
Promising Young Woman
The Trial Of The Chicago 7
One Night In Miami
The Father
Sound Of Metal
Director
Zhao
Fincher
Fennell
Chung
Zeller
Lead Actor
Hopkins
Boseman
Oldman
Ahmed
Yeun
Lead Actress
Mulligan
McDormand
Kirby
Davis
Day
Supporting Actor
Kaluuya
Odom Jr.
Cohen
Boseman
Raci
Supporting Actress
Colman
Youn
Bakalova
Seyfried
Foster
Anonymous:
I believe I've given my thoughts on "Doom"'s cinematography before. Let's hold off on that list for the moment.
Bryan:
Well Morfydd Clark would be my personal choice quite easily, but I think the actual winner probably will be Bukky Bakray.
I mean I think it is probably between Shaka King, Regina King, FLorian Zeller, Darius Marder and Thomas Vinterberg.
Regina King does feel right for that placement however because actors turned directors aren't usually the surprise nominee.
Shaka King, Zeller and Marder, could be the fifth spot if their films over-perform. Vinterberg would be the true passion pick if he were to happen.
Also important to note, Oscar nomination voting ends tomorrow, so it is unlikely there can be too many last minute changes with voters.
Luke:
Let's wait a few hours for ASC, as that is one of the best bellwethers around.
I honestly wouldn't be surprised if Regina King misses out on director in the end, the Academy is really weird about actors turned directors sometimes.
Louis: Wouldn’t worry too much about Mulligan, I’m very certain they’re not going to give the BAFTA to McDormand or Kirby, I’m almost certain it’s going to Bakray, it would kind of defeat the purpose of their crazy lineups if they just went for the normal choices.
Was also delighted to see Minari technically overperform even in the non-jury categories at BAFTA (Best Score!!) and super pleased at Lee Isaac Chung getting in. Hopefully he won’t be the one to miss out.
Calvin:
I kind of wonder, because the jury pools were so small, if there might be any kind of backlash against the obvious jury choices given the full voting body will vote on the winners. If that is the case it helps McDormand and Kirby. Honestly I think actress comes down to SAG though. If Mulligan wins there, then I think she's got it.
Louis: agreed on SAG.
Would you say that Alan Kim has been the MVP for Minari’s awards campaign? Either that or A24 have finally turned a corner.
Calvin:
He's certainly putting in the good fight. I think A24 in general was also helped by the year, I have a feeling their "on the field" campaigning game might've been what was off.
Louis: What would be your thoughts on the "Boardwalk" scene from "The Wrestler", and Sarah Polley's cover of "Courage" in "The Sweet Hereafter"?
I think the former is one of the most purely moving monologues of any recent film, and cemented Rourke as my favourite of 2008's best actor field.
The latter, meanwhile, is a very good cover of a very good song, and only added to the lingering atmosphere of the movie.
Louis: Your thoughts on this anime ending song? https://www.youtube.com/watch?v=Ewod0ugXd80
Louis: agreed as well, social distancing means a lot of the money-centric campaigning stuff is off the books and studios have to rely on online presence.
Louis: thoughts on Jermaine Fowler in Sorry to Bother You?
Have any of you seen His House? I saw it yesterday on Netflix and it’s honestly what Hereditary should’ve been. Also, both of the leads are great (Mosaku’s BAFTA nom is very well deserved). Really recommend it.
Anonymous: Agreed, it’s very good and well worth watching, thought the way the immigrant experience was weaved into the horror was particularly effective.
Louis: Are there any great films that you love, but hesitate to rewatch because of how emotionally draining they can be?
Anonymous: Come And See comes to mind.
Calvin: I was honestly more scared of what the immigration guys would do to Bol and Rial than I was of the apeth. It's rare to see a horror movie that can scare with normal and paranormal.
Louis: With the ASC nominees officially announced, your final Oscar predictions and your reasons as to why.
Mitchell:
As a film, The Wrestler I don't love. Rourke's acting is indeed fantastic in the scene, though I think Aronofsky's apparent hatred for humanity undercuts it a bit with how everything resolves itself making the scene meaningless, more so than perhaps even intended.
A properly soulful rendition to be sure, that grants an appropriate pathos that goes beyond itself.
Unknown:
Not 100% sure on the actual mix, instrumentation I think should be a touch quieter. Otherwise a rather wonderfully spirited ballad I will say, and always appreciate an effective segue towards a chorus.
Calvin:
Fowler - (Well much better than his bland work in Coming 2 America, though I'll be fair and say also a even blander role. Here though he makes for an appropriately endearing best friend character. This bringing the right sort of irreverent enthusiasm against Stanfield's more dour manner.)
Anonymous:
I have, I'll say it is pretty effective, though I do think the horror of the "entity" has slightly diminishing returns once they begin to reveal it more. Still manages to socially minded horror rather well.
Anonymous:
I mean to a certain extent my re-watch of The Father that will be upcoming, I am looking forward to, but also I'm not looking forward to being wrecked by it again. Another one that I wouldn't quite call a great film, though I certainly like it, is The Diary of Anne Frank, which leaves me quite depressed every time, and think mainly just by how blunt and matter of fact all the deaths are listed by Otto in the end.
Luke:
Picture:
Nomadland
The Trial of Chicago Seven
Minari
Promising Young Woman
Mank
Judas and the Black Messiah
Ma Rainey's Black Bottom
One Night in Miami
The Father
10. Sound of Metal
So since BAFTA best picture was apparently decided without jury(Makes sense given 4 of the 5 are major Oscar players), if that is the case, there's the love for the Father I was looking for.
Director:
Chloe Zhao - Nomadland
Lee Isaac Chung - Minari
Emerald Fennell - Promising Young Woman
David Fincher - Mank
Aaron Sorkin - The Trial of the Chicago Seven
Playing it safe.
Actress:
Carey Mulligan - Promising Young Woman
Vanessa Kirby - Pieces of a Woman
Frances McDormand - Nomadland
Viola Davis - Ma Rainey's Black Bottom
Andra Day - The United States Vs. Billie Holliday
I think the globe win came with enough time to get Day the fifth spot.
Actor:
Chadwick Boseman - Ma Rainey's Black Bottom
Anthony Hopkins - The Father
Riz Ahmed - Sound of Metal
Gary Oldman - Mank
Steven Yeun - Minari
Just going by film strength at this point, and Da Five Bloods has almost none.
Supporting Actress:
Yuh-Jung Young - Minari
Olivia Colman - The Father
Maria Bakalova - Borat
Amanda Seyfried - Mank
Dominique Fishback - Judas and the Black Messiah
Decided to believe in humanity with Bakalova and Seyfried making it in over Close. I wish we had a clearer picture on the Mauritanian overall, but it hasn't shown any U.S. strength so far. Going with Fishback for a late surge for "Judas" instead.
Supporting Actor:
Daniel Kaluuya - Judas and the Black Messiah
Sacha Baron Cohen - The Trail of the Chicago Seven
Leslie Odom Jr. - One Night in Miami
Chadwick Boseman - Da Five Bloods
Paul Raci - Sound of Metal
I wouldn't say the bottom two are guarantees by any measure, however there's many reasons to not predict most alternatives.
Adapted Screenplay:
One Night in Miami
Nomadland
The Father
Ma Rainey's Black Bottom
Borat
Borat is showing strength, News is not.
Original Screenplay:
Promising Young Woman
Trial of the Chicago Seven
Mank
Minari
Judas and the Black Messiah
Fifth goes to either Judas or Sound of Metal I imagine, whatever they like more.
Costume:
Emma
Ma Rainey's Black Bottom
Mulan
Mank
Personal History of David Copperfield
Sometimes there's an inspired nod in there, hoping it's there for Copperfield.
Editing:
Trial of the Chicago Seven
Nomadland
The Father
Mank
Promising Young Woman
Makeup and Hair Styling:
Ma Rainey's Black Bottom
Birds of Prey
Mank
Emma
Pinocchio
Here's hoping for Pinocchio, which should win this with ease rather than the bad Ma Rainey makeup, but I digress.
Production Design:
Mank
Ma Rainey's Black Bottom
Tenet
Emma
Mulan
Score:
Soul
Minari
Mank
News of the World
The Midnight Sky
Sound:
Sound of Metal
News of the World
Soul
Tenet
Ma Rainey's Black Bottom
Song:
"Speak Now" - One Night in Miami
"Hear My Voice" - Trial of the Chicago Seven
"Io Si" - The Life Ahead
"Turntables" - All in: The Fight For Democracy
"Fight For You" - Judas and the Black Messiah
VFX:
Tenet
The Midnight Sky
Mulan
The One and Only Ivan
Mank
Going with wildcard "Ivan", as they are actually impressive, also got the BAFTA nom, again I think in a non jury category.
Animated:
Soul
Wolfwalkers
Onward
Over the Moon
The Croods: A New Age
Documentary:
Time
Dick Johnson is Dead
Collective
Crip Camp
Welcome to Chechnya
Foreign Film:
Another Round
Dear Comrades!
A Sun
Collective
Quo Vadis, Aida?
I'll admit I mostly went by what I'd like to see happen.
Cinematography:
Nomadland
Mank
Trial of the Chicago Seven
News of the World
Dear, Comrades!
Well that Cherry nom threw me off slightly guess I'll watch it, though I'll ask Calvin, "Is it that good looking?". I ask genuinely as if the cinematography is that good, it could get in as a sole nod. Chicago 7's nod was also surprising, which feels like part of the branch voting for their favorite film rather than the best cinematography (common in the guilds). Still it could easily get in, sorry to not see Minari, PYM or Judas over Trial for the possible major Oscar contenders in contention. Usually ASC is 4 for 5, I'm guessing the ASC Spotlight moves up again like Ida and the Lighthouse.
Louis: Thoughts and ratings on Mosaku, Dirisu and Smith.
A Sun should be sweeping in cinematography, really.
Jesus Christ, Cherry. It’s...not really Louis. In fact it’s kind of ugly. There’s like a few good shots but overall...YIKES. Not huge on Chicago 7 being in there either...like really, what’s amazing about the cinematography there? Judas should’ve been in there instead, or indeed Minari or PYW. I’m not too mad though cause Dear Comrades! is inspired.
Anonymous:
Mosaku - 4(I'll be blunt I thought she was good, but I guess I must be missing something, as I can't see giving her a win over Bukky Bakray or especially Morfydd Clark (which with all the similarities between BAFTA and BIFA, she couldn't get in? I'm sorry but the more I think about the actress lineup the more it does grind my gears a bit). The latter being a great comparison in terms of portraying a psychological breakdown as connected to horror. This also in that I thought she was honestly overshadowed by Dirisu. I certainly thought she did deliver though overall in granting a sense of the emotional decay and closed off quality. Though compared to Dirisu her work is largely static, even almost supporting to a certain degree other than he major scene near the end. Again she is good in an understated way of portraying a mix of the horror with the haunted emotional distress, but again, I didn't think was anything revelatory.)
Dirisu - 4.5(A terrific horror lead performance. This in creating so much of the horror in his performance. This in the moments of exploration within the house, where he shows so powerfully the fully petrified qualities that grip the man, while also just really selling the scares through a potently empathetic turn. This though in effectively providing contrast in his scenes with the immigration service. This in playing well even a very low key humor in his attempting to dance around the issue of the supernatural. This though while keeping a strong sense of the haunting the man suffered in the past that is ever present in his work, as this sort of festering wound that keeps him in this certain state of anxiety.)
Smith - 3(I thought he was fine in bringing the right smug jerk quality, without overdoing it to becoming full blown caricature. Measured well enough without going fully overboard.)
Calvin:
I guess it was some strange extra dig at the Da Five Bloods I guess, as they managed to nominate that film's cinematographer but not its cinematography. As I can't explain it even in the Trial way. A bizarre nomination then.
100% agree about Trial's cinematography. Looks like a HBO movie, which isn't bad, but is wholly unspectacular. Although worth noting Phedon Papmichael was nominated for ASC (not Oscar) for Ford V. Ferrari, so hopefully they'll pass him up again for something a bit more inspired (you know Minari, PYW or Judas).
Louis: Da 5 Bloods is INFINITELY more deserving of a cinematography nomination than Cherry, and honestly I think you're right. On the note of the possible upset, I do think Judas could br the upset because it is very strange that Sean Bobbitt has still not received a single Oscar nomination.
And funnily enough even though the film has only fallen lower and lower in my esteem over time I'm entirely cool with a News of the World cinematography nod, it is probably the best part of the film.
Lastly, I fear Dear Comrades is either not eligible for this year's cinematography lineup at the Academy (the whole foreign film/technicals thing might still apply), or just that people don't have it on their radar at all in terms of technical categories, since you can't even predict it on Gold Derby. Very unfortunate if either is the case.
Calvin:
Dear Comrades should be eligible as it had a proper USA release within the Academy's eligibility window.
Louis: That's good, let's hope they don't miss out on it then, would be one of their more inspired nominations.
Louis: Have you finished watching Maniac yet? If so, could I have your thoughts on Stone, Hill and where it would rank among both of their best performances.
Louis: I was remembering how you chose Mitchum in Pattinson's role for a 50's version of The Lighthouse, and considering how critics have compared Pattinson's performance to DDL's Daniel Plainview, how do you think Mitchum would have fared as Plainview, or even Bill the Butcher, another DDL role?
Hold on, people compared Pattinson's work in The Lighthouse to DDL's in There Will Be Blood? I might be missing something, but I just don't see what those two performances have in common at all, other than being great performances of course.
Anonymous:
Always trust in Mitchum in my view. Plainview in particular I could see with each, in that he has that presence, that intensity, but also that vulnerability he bring. Butcher, easily as well though, with his kind of Max Cady nefariousness, easy to see. Based on his work in Eddie Coyle, could even see him successfully going for the accent.
Tahmeed:
I have, although quick note regarding the series liked the "short film" aspect a lot and Stone and Hill's story-lines...far less so about Justin Theroux and his mommy issues.
Stone & Hill - (For me the former was expected to give a strong performance, and again that is the case. Ever since War Dogs strangely enough, I have come to appreciate the latter actually a lot more in general and would say this is perhaps proof that just in terms of raw acting talent, he probably is the best out of the sort of "Apatow group". Even his final "other" performance as a very foreign alien, which I thought might've been a bit much at first ended up working for me. All of Stone's other performances as well are delightful little comic riffs that she does quite well in each instance. While Hill's, other than the final, tend to be a little more low key but still effective, particularly in his conveying the sense of sort of underlying connection that is a constant. Both of their best work though is as the two "maniacs" at the center of the story. Stone is very good in balancing the two sides of the role in showing sort of the sort of intensity that is always a little below the surface that something isn't quite right. This while also bringing a degree of eccentricity that balances it, particularly as a contrast to Hill. Hill though I think is perhaps even greater in these scenes in portraying the quiet mental issues of the man. This as Hill shows a man so powerfully of a someone always on the edge of some extreme emotional breakdown that he is in a state of constantly trying to close himself off however failing. This in showing the painful nature of the man just trying to get by while being in this constant anxiety. Both have standout moments in this regard, Stone in her final scene dealing with her character's specific loss, and Hill's trial scene where he is outstanding in delivering this natural cathartic release within character.)
Stone I'd put behind La La Land and The Favourite, it's Hill's best work.
Regarding Pattinson they both have mustaches...obviously. Seriously though, I guess because they're both intense "period" performances, but I agree I don't really see the immediate comparison in terms of the roles.
Louis: Is Stone still a 5 for Battle Of The Sexes.
So on a random note, I just finished the first season of "Fate/stay night: Unlimited Blade Works". And while I'd should probably hold off until season two before doing this, here is my updated top 10 Anime series...
1) Mob Psycho 100 (2 Seasons)
2) FullMetal Alchemist (1 Season)
3) Fate/Zero (2 Seasons)
4) Demon Slayer (1 Season)
5) Jojo's Bizarre Adventures (2 Seasons)
6) Yu Yu Hakusho (1 Season)
7) Hunter X Hunter (4 Seasons)
8) Fate/stay night: Unlimited Blood Works (1 Season)
9) One Punch Man (2 Seasons)
10) My Hero Academia (1 Season)
Luke:
Why wouldn't she be?
Louis: I wholeheartedly agree with you, I wasn't sure whether she was a five equivalent for Maniac.
Thoughts on sally field in maniac?
Louis: Your thoughts on Maniac's score and Cary Joji Fukunaga's direction?
Louis: Your top ten Emma Stone performances, and your updated top twenty acting moments for her.
And maybe your top fifteen Jonah Hill moments too.
your thoughts on the cinematography of American Beauty?
Tim: You can find his thoughts on that here (actoroscar.blogspot.com/2018/05/alternate-best-supporting-actor-1991)
ACE EDDIE NOMINATIONS
BEST EDITED FEATURE FILM (DRAMATIC)
Mank
Minari
Nomadland
Sound of Metal
The Trial of the Chicago 7
BEST EDITED FEATURE FILM (COMEDY)
Borat Subsequent Moviefilm
I Care a Lot
On The Rocks
Palm Springs
Promising Young Woman
SO happy to see Minari make it here.
The Father missing out is less than ideal though.
Calvin: Your ratings for Niels Arestrup in A Prophet, Paul Schneider in Bright Star and Won Bin in Mother.
Arestrup: 4
Schneider: 4 (could go up)
Need a rewatch for Won but I remember him being more of a cog in Bong’s vision.
Louis: Harry Brown, who co-wrote A Place in the Sun along with Michael Wilson, wrote a script for a Chesty Puller biopic and his exploits in the Korean War and it was meant to be directed by Allan Dwan, who directed Sands of Iwo Jima, with Warner Bros producing the film. Thoughts on this abandoned project and who would have you chosen as Puller?
Luke, your 97 Lead suggestions.
Ray Winstone - Nil By Mouth
Stellan Skarsgård - Insomnia
John Cusack - Grosse Pointe Blank
Takeshi Kitano - Hana-Bi
Aaron Eckhart - In The Company Of Men
Bonus: Tony Leung Chiu-Wai - Happy Together (I think Louis likes this performance alot more than the ranking suggests)
Louis: Would you ever consider doing your own version of AFI's 100 Years, 100 films lists alongside their other top ten lists (while including more films outside the US of course).
Anonymous:
Field - (Her performance is good though in the least interesting aspect of the series to me, other than Sonoya Mizuno's performance that I rather liked. She's more than effective though in portraying this sort of overbearing mother than combines a certain blend of seemingly just being a typical mom though with this kind of menace to it all the same. This importantly though with a certain degree of almost bafflement towards her son's actions throughout. She's also good, if the focus really isn't too much on her, in playing the different forms of the mother albeit briefly typically.)
Emi Grant:
The score is beautiful work by Dan Romer. This as there is this an elegant combination between a playfulness and a soulfulness to it. This in this kind of overarching syncopation, though that is usually underlayed with almost a kind of an elegy. The score finds itself is own character in this sense, as it kind of blends between itself two different tones so wonderfully through this juxtaposition that defines most of the tracks. This making it neither dour nor overly upbeat. Instead kind of finding a beauty with something broken in their that goes hand and hand thematically. The finale of Annie and Owen in particular is just fantastic work.
I haven't watched Sin Nombre, but judging from the rest of his work, perhaps Fukunaga should focus on television, as I'll take another True Detective and Maniac any day over Jane Eyre or Beasts of No Nation. Not that either of those films are bad, but it seems like Fukunaga benefits from being able to stretch himself within what television grants, in addition something likely positive (for us) anyways comes from the collaboration between him and the writer showrunner. In this instance I loved actually the fact that he doesn't lay it on too thick with the two borderline protagonists. It isn't overly dour, though we get a sense of their plight. This as well with the future world which isn't overdo, but rather oddly manageable. This while also just successfully making a off-beat romantic comedy film, a fantasy film, a high class heist film, an over the top alien film, each one Fukunaga manages so artfully, I kind of wish we might've gotten a bit more of each. I think essential for his work though is within all that he grants the moments to the characters and the performers, and allowing them to play out without fanfare but rather letting the emotion take hold so beautifully like Hill's and Stone's big emotional moments, he lets those moments really just play out and steps back. Now I do think he made one mistake with Theroux's casting, I actually don't even think he's terrible or anything just severely miscast. The role needed someone who is more naturally endearing and empathetic, to have fashioned more so a third protagonist.
Anonymous:
1. The Favourite
2. La La Land
3. Maniac
4. Battle of the Sexes
5. Birdman
6. Easy A
Top 6, as the other performances are an obvious notch below her best.
Stone:
1. "Audition" - La La Land
2. Dancing with the Queen - The Favourite
3. Dinner Fight - La La Land
4. Goodbye to her sister - Maniac
5. Making a deal with Harley - The Favourite
6. Sarah returns - The Favourite
7. Speaking on her experiences - Maniac
8. Ponderous handjob - The Favourite
9. Last Look - La La Land
10. Cruel step/cruel punishment - The Favourite
11. Night with Marilyn - Battle of the Sexes
12. Failed Audition - La La Land
13. Escape - Maniac
14. After the Match - Battle of the Sexes
15. Waste of a lovely night - La La Land
16. To rape or seduce - The Favourite
17. Seeing her father - Maniac
18. Asking for a job - The Favourite
19. Confrontation with Kramer - Battle of the Sexes
20. Unusual heist - Maniac
Hill:
1. Testimony - Maniac
2. Scarface wasn't even on last night - War Dogs
3. Too attached - Maniac
4. The escape - Maniac
5. Marrying his cousin - The Wolf of Wall Street
6. Class 3 firearms license - War Dogs
7. Unusual heist - Maniac
8. With Jordan on the Plane - The Wolf of Wall Street
9. Trying to reunite - Maniac
10. Contract negotiation - War Dogs
11. Cafe meet cute - Maniac
12. An offer that can be refused - War Dogs
13. Fish eating - The Wolf of Wall Street
14. Leaving - Maniac
15. Not really my brother - 21 Jump Street
Calvin:
I think I'll keep with my editing predictions, as The Father got in at BAFTA, and there's a lot of different ways the academy could go, as best editing, is often the other major indicator of the "top five".
Anonymous:
For the time, even with those writers, I think it likely would've been a fairly standard, if potentially good, biopic given how most war films were of that period. If say William Wellman was the choice, then probably could've been something more interesting.
Tahmeed:
Yeah, most certainly.
Louis: your thoughts on Mizuno then? I heartily agree, I thought she managed to make every scene she was in somewhat compelling even when Theroux was being just...annoying.
Calvin:
Mizuno - (Wonderful performance, to the point she not only got me through that part of the series, she even made me care about that romance to some extent due to her marvelous performance. I just love her whole manner, that is so different from her Ex Machina turn or even her La La Land turn (who with Jessica Rothe I guess were a rather talented apartment). This in believable creating, without overdoing, the nerdy qualities of her character. She manages to really realize in such an honest way in that she's both idiosyncratic yet introverted. This in she brings this certain awkwardness around Theroux where she manages to project a shyness even with her kind of put upon manner of trying to defer and focus on the project at hand. This though in slowly earning her confrontation moment and making it so very striking by again still maintaining an awkwardness even in her confidence. Love her work all the more in the end, as she is so endearing in her final moments, because even in the blissful romance she's so off-beat still but in a way that always feels true to her character.)
Louis and folks
Before talking about my final Oscar predictions, let's discuss your relative bastard: Razzie Awards and nominees ...
WORST PREQUEL, REMAKE, RIP-OFF OR SEQUEL
365 Days
Dolittle
Fantasy Island
Mulan
The Wrong Missy
WORST SCREEN COMBO (open your imagination because here anything and everything can come)
365 Days - sadomasochistic couple and their sexual objects
Artemis Fowl - Artemis Fowl and the magical creatures
Dolittle - Doctor Dolittle and and the talking animals made in CGI
The Prom - cast and the bad songs
The Wrong Missy - David Spade and Lauren Lapkus
WORST SCREENPLAY
365 Days
Dolittle
Hillbilly Elegy
Music
The Wrong Missy
WORST SUPPORTING ACTRESS
Glenn Close - Hillbilly Elegy
Judi Dench - Artemis Fowl
Lucy Hale - Fantasy Island
Salma Hayek - Like a Boss
Maddie Ziegler – Music
WORST SUPPORTING ACTOR
Chevy Chase – The Very Excellent Mr. Dundee
Rudy Giuliani - Borat Subsequent Moviefilm
Kevin James – Hubie Halloween
Shia LaBeouf - The Tax Collector
Nick Swardson – The Wrong Missy
WORST LEAD ACTRESS
Anne Hathaway - The Last Thing He Wanted and The Witches
Kate Hudson – MusicLauren Lapkus – The Wrong Missy
Lauren Lapkus – The Wrong Missy
Maggie Q. – The Death of Me
Anna Maria Sieklucka - 365 Days
WORST LEAD ACTOR
Robert Downey Jr. - Dolittle
Tom Hardy – Capone
Michele Morrone - 365 Days
David Spade – The Wrong Missy
John Turturro – The Jesus Rolls
WORST DIRECTOR
Barbara Bialowas and Tomasz Mandes - 365 Days
Stephen Gaghan - Dolittle
Ron Howard - Hillbilly Elegy
Sia - Music
Tyler Spindel – The Wrong Missy
WORST PICTURE
365 Days
Dolittle
Hillbilly Elegy
Music
The Wrong Missy
I still can't get over Adams getting snubbed at the Razzies...
Glenn Close has been nominated for a Razzie. :)
Luke: Lets hope she wins. :)
So Cherry is awful. I mean, I'll say ambition is admirable, I like filmmakers trying to make a great film, but at the same time, when you see such an attempt and they fail it makes for a most spectacular failure. The Russo family is trying to make something special here, however its philosophy feels phony, its scenario contrived, and its dialogue about as stilted and unnatural as it comes. I knew I was in trouble the moment Holland's titular Cherry started to wax on the beauty of tress. You could just feel the filmmakers feeling they've made some masterful idea, yet have in fact failed so miserable to seem even vaguely insightful.
What is remarkable here is the writing and directing are bad in the same way and in equal measure. The Russos really think they are reinventing the wheel, but end up just are making rhombus. So many attempted ideas that are just terribly realized. The idea, I think, of only have the future lovers in focus, okay maybe, but instead it just makes the shot look like an amateur mistake. Having the heartless bank teller deep in shadow, maybe, but the bit of noir lighting is all there is in the frame making it just look ridiculous. These choices are throughout, and honestly some could work, but the execution every time is shoddy at best.
Speaking of, that has to be one of the worst ASC nominations in a long time for Newton Thomas Sigel. Again, well Sigel might've been put on the wrong track, the lighting is most often just flat and kind of ugly. Whenever their is stylistic flair though, the execution is just sloppy. The aforementioned attempts at dynamic lighting, the lovers meeting scene, or even just brief moments like a black and white moment, that looks just like a quick filter change. I guess it was nominated for all the different attempts at style, but the attempts are all failures.
Luke:
A well deserved nomination, although it can't get in the way of a potential Oscar nomination (the ballots are already in), hopefully it will help to deter from win.
Louis: Your rating and thoughts on Holland.
Louis: Your thoughts on Summer Interlude & Theatre Of Blood and the casts with ratings.
Where would you rank the Summer Interlude ladies.
And are you saving Vincent Price for a future review.
Louis, did you re-watch The Caine Mutiny or would it be best If I make that a recommendation for next year.
Price not listed. That must be a good omen.
Luke:
Holland - 4(I really hope he does not become the go to guy to carry overlong dirges. As with Devil All the Time, Holland does his best to carry everything on his shoulders. Although where he was playing against a string of odd ball turns, here he's playing a rather consistently bad supporting cast. Although I will say Holland has a couple of iffy moments portraying the character's PTSD, where he becomes as overwrought as the film but overall this is a strong turn from him. This as he carries himself with that sort of energy here, but now basically going through every emotional ringer that one can come up with. To Holland's credit he manages to rather artfully realize each of these variations in a cohesive whole. He even has the occasional genuinely powerful moment such as his phone call home at war. Although I can't say Holland saves the film, his attempt to do so is by far the one good thing about the film. I do have to give him credit in that he does avoid the film's badness almost entirely, and maintaining a good performance in a bad film, with a bad ensemble, is fairly remarkable. Hopefully Holland will find a good script soon.)
Summer Interlude is an expectedly beautiful film from Bergman. This just a well observed film in terms of creating such a vivid sense of joys and sorrows within a series of calm remembrances. As usual the artful qualities within a technically potentially melodramatic story, are so invigorating and also particularly dynamic. I especially enjoyed his rather effective and rather surprising animated sequence, that is perhaps a highlight of the film's dreamy atmosphere. Again like so many though, at the center of it is a performance that is so honest and empathetic that carries the true emotional weight of the story in both its sorrows and inspiration.
Nilsson - 5(Just incredible work from her. This as usual there is so much emotion within a simple closeup in a Bergman film, that expresses such a sense of the emotional state like few images on film can. Nilsson's work here is often rather mesmerizing in the way she so articulately and powerfully realizes the changing state of the woman through her summer romance and loss. This as we really get just such beautiful moments in her work where she so effectively grants the sense of happiness that is detailed in such a way, that is fascinating in itself. This as there is nothing simple about it, but rather the measure of bliss is found within her work. This though is striking against we see the closed off woman after the events of the past. This as Nilsson is equally incredible in presenting this palatable depression that segues towards a cold distance. This until it is challenged within the film scene, which is almost purely silent work and just sheer brilliance from Nilsson in essentially bridging the sides of the woman's emotional state to something new. Unsurprisingly another amazing Bergman actress turn.)
The rest of the cast is fine, but it is truly Nilsson's show, and she'd be my #2 in lead.
Theatre of Blood is a lot of kitschy and grotesque fun. It really is just having a ball with the idea of Shakespeare murders and has the right dark sense of humor throughout the whole thing. It isn't anything revelatory but it doesn't need to be. I'll honestly say it's one where I'd love to see the central idea used again.
Rigg - 4(Rigg is quite good in being appropriately innocence, bonkers and sultry in about equal measure. I actually wish she just a had a few more truly juicy moments to bite into. This is as she's a whole lot of fun in portraying the overly innocent manner of the daughter of the mad man, and particularly entertaining though as well in presenting the rather eager co-conspirator.)
Hendry - 3.5(A fine straight man performance to be sure, though very much overshadowed by Price. I will say though he brings enough into it to not be just a complete afterthought which is important. He at least finds enough of a general likability, and sense of personality, even if you're never really watching the film for him.)
Would not have minded a bit more from the eccentric critics, though they are all well performed particularly Robert Morley, doing his usual Robert Morley thing.
Can't wait for Price's review. :)
Louis: You didn't put Summer Interlude beside Georg Funkquist in the 51 supporting ranking.
Louis: Could I have your rating and thoughts on Anthony Hopkins in The Bounty? I can't find your thoughts on him in that film.
Also, your thoughts on these scene from the film? https://youtu.be/ZFM-OxDGrkg
So tonight, I finished the second season of "Fate/stay night: Unlimited Blade Works", and it's just as strong as the first. I must say, when it comes to the variety of Anime I've been sampling, the "Fate" series definitely seems to be my kind of thing; Not only in terms of pacing and structure, of course, but also with it being a story/character centric series, as opposed to a lot of Shonen's which are more action centric. It's a nice deviation, and for as convoluted as the series apparently gets, I wouldn't mind checking out the rest of it's entries.
Also, what would everyone's thoughts be on the series' second OP?
https://www.youtube.com/watch?v=WofLTwSi0uo
Tahmeed:
Hopkins - 4(It has been awhile since I've watched the film, but this is a good performance by Hopkins portraying a very different Bligh. This as he's not the egotist that is Laughton or the sadist that is Howard, rather he is an introvert who struggles with some of the finer elements of command. Hopkins is good though in portraying not a really weakness rather there is a steadfastness he conveys though overly internalized to the point that Bligh seems distant. Not a criticism of his performance, rather he shows why Bligh fails as Captain despite being a capable and brave man in many regards. I particularly like his scenes where he leads the remaining men to safety. This as Hopkins shows the measure of the man in presenting both the sense of physical examination, but still that consistency of a man who intends to lead his men to live. Hopkins is entirely game to the idea here of not a villain, but rather a man with a fundamental flaw in his interpersonal skills that creates the central conflict.)
Well first of all, what a cast, with Gibson, Hopkins, Neeson and Day-Lewis there. I will say though I think this shows the major flaw of the film, a film I still would qualify as good, however not great. Now I don't think this is the screenplay, Robert Bolt (naturally) I think effectively creates the alternative view of the situation with clear dynamics between the characters. The script I do think is there, and I understand David Lean's enthusiasm for it, sadly it didn't have David Lean, which I think could've given us one more masterpiece if he had directed it. This as Roger Donaldson is very much a workman, the success of his films is always on the script. Take this scene, where the actors are working far harder on creating the sense of chaos in the mutiny than he is. He shoots it really a little too flatly, and frankly too orderly, we should've felt the chaos within the direction along with the performances but we don't. I still think the scene works by virtue of the performances, even Gibson in playing Fletcher basically having a full mental breakdown (supposedly the historical account of his behavior), but it is easy to see how there could've been more...especially with that cast.
Louis: It seems like Bergman had in mind casting Garbo in The Silence and there's a rumor that he also had her in mind for Ingrid Bergman's role in Autumn Sonata. Thoughts on this missed opportunity?
Louis: Present films you could see Charles Laughton direct, The Lighthouse being an obvious one. Also films that he would have been perfect to direct for if Night of the Hunter had been a commercial hit.
Anonymous:
Well I wouldn't call either missed opportunities because Thulin and Bergman were both outstanding. It would've been interesting to see Garbo work with Bergman however.
Anonymous:
I mean any stylistic horror film of late, as obviously the "gametape" on Laughton's direction while remarkable is also limited.
OK now that I already spoke about Razzie, here are my final bets to the Oscar nominees 2021 who are ...
DOCUMENTARY
All In: The Fight For Democracy
Boys State
Collective
Dick Johnson is Dead
Time
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
TRILHA SONORA
Mank
Minari
The Midnight Sky
News of the World
Soul
SOUND
Judas and the Black Messiah
Greyhound
Mank
News of the World
Sound of Metal
EDITING
The Father
Mank
Nomadland
Promising Young Woman
The Trial of the Chicago 7
VISUAL EFFECTS
Mank
The Midnight Sky
Mulan
The One and Only Ivan
Tenet
MAKEUP
Birds of Prey
Hillbilly Elegy
Ma Rainey's Black Bottom
Mank
Pinocchio
COSTUME
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
Dear, Comrades!
Mank
News of the World
Nomadland
Tenet
INTERNACIONAL FEATURE
Druk / Another Round (Denmark)
Collective (Romania)
Dear, Comrades! (Russia)
La Llorona (Guatemala)
Quo Vadis, Aida? (Bosnia and Herzegovina)
ANIMATED FEATURE
The Croods 2
Over the Moon
Onward
Soul
Wolfwalkers
ADAPTED SCREENPLAY
Borat 2
The Father
Ma Rainey's Black Bottom
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
Olivia Colman
Jodie Foster
Amanda Seyfried
Yuh-Jung Youn
LEAD ACTRESS
Viola Davis
Andra Day
Vanessa Kirby
Frances McDormand
Carey Mulligan
SUPPORTING ACTOR
Sacha Baron Cohen
Daniel Kaluuya
Jared Leto
Leslie Odom Jr.
Paul Raci
LEAD ACTOR
Riz Ahmed
Chadwick Boseman
Anthony Hopkins
Gary Oldman
Steven Yeun
DIRECTOR
Lee Isaac Chung
David Fincher
Emerald Fennell
Aaron Sorkin
Chloe Zhao
PICTURE
The Father
Judas and the Black Messiah
Ma Rainey's Black Bottom
Mank
Minari
Nomadland
One Noite em Miami
Promising Young Woman
Sound of Metal
The Trial of the Chicago 7
Too nervous to make any predictions but these certainly largely look spot on.
As someone who has yet to see "The Little Things"... if Leto gets in instead of Boseman, not only would be I surprised, I would honestly be quite disheartened. I'm not even as passionate about Boseman's "Da 5 Bloods" work as many here, but it would still be a terrible shame on the academy's part.
Mitchell: I saw The Little Things and Leto is the best thing in the movie, but I also think giving the nomination to him would be disheartening. With each day that passes Da 5 Bloods is distant from the Oscars, but I hope that the film has the same luck as Phantom Thread.
I really wanted Alan Kim, Aldis Hodge, Glynn Turman or Orion Lee to be nominated than Leto and Boseman.
Anonymous: Your thoughts on these two conflicting but similar scenes from True Detective Season 2 and It's Always Sunny?
https://www.youtube.com/watch?v=JHOGs5x90PU
https://www.youtube.com/watch?v=XIcUgyLxNBA&ab_channel=ColeJ
For fuck's sake, Avatar is #1 again. :(
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