Best Scene: Rejecting his girlfriend.
4. Richard Dreyfuss in the Competition - Dreyfuss gives a fine portrayal of a character that asks very much for a typical Dreyfuss turn.
Best Scene: Conducting.
3. Naseeruddin Shah in Sparsh - Shah gives a compelling portrayal of a man struggling for normalcy as he deals with his disability with others.
Best Scene: Dinner breakdown
2. Anthony Quinn in Lion of the Desert - Quinn gives a powerful portrayal of a quiet dignity and determination.
Best Scene: Negotiations.
1. John Savage in Inside Moves - Savage gives a moving portrayal of a man moving from a hollow depression to a quiet understanding of life.
Best Scene: Why he attempted suicide.
Next: 1980 Supporting (though I might just do a couple reviews on a single post).
274 comments:
1 – 200 of 274 Newer› Newest»Louis: Ratings and thoughts on the rest of the lead performances.
Your Female Lead and Supporting top 20s with ratings and other honourable mentions.
Your 1980 wins.
And your thoughts on Heaven's Gate.
Delighted to see Lancaster go up.
What a dull and anticlimactic review by Louis. Not even win the Hurt was thrilled.
Anonymous: Well, there wasn't much more to expect really.
And I’m really hoping Theresa Russell gets a 5.
Anonymous: Nah I thought the reviews were all interesting as per usual.
And I understand if you felt the wait was a drag but we have to let Louis get on with other things that he feels he has to get around too.
Anonymous: Sod off. He doesn’t owe you a damn thing.
Louis, your top 5 in Cinematography.
Louis, please consider the late great actor Om Puri for his best performance in Aakrosh when you do supporting.
I really hope O'Toole gets another five. He's been on 3 for far too long.
Delighted to see Hurt take the win.
Louis: Do you plan on updating Lancaster's review when you get to 1981?
What would you say is the top 10 most surprising best actress wins and top 10 most surprising supporting actress wins?
Luke: If O'Toole gets 5 and wins overall it at least lifts 1980 out of frustration.
While I'd love for O'Toole to finally get another 5, there's no way he'll win over Pesci.
Pesci's keeping the win hands down.
Watched Priscilla, Queen of the Desert. I liked it for the most part.
Stamp-4
Weaving-4
Pearce-4
Hunter-3.5
Cortez-1(What the FUCK?)
So I watched "Army of the Dead" tonight, which might be my first film viewing of 2021...my word, it's been a strange year.
Anyways, I'll say that the setting/characters could make a strong video game (IE "Left for Dead" or "Dead Rising"), but leave a lot to be desired as a feature film. It has some good action scenes, don't get me wrong, and Bautista is a solid lead, but most everything beyond those two aspects is either derivative or substandard.
I watched Bo Burnham: Inside, and honestly it's my #1 so far this year. I'd argue it's more film than comedy special.
Robert: I feel that Bo just went full on Disney villain with that internet song.
It was unironically better than the villain song from home on the range.
Louis: Your thoughts on the cast of Cruella.
Louis: Looks like that Master and Commander sequel with Crowe and Bettany is well and truly dead. They're taking the prequel/reboot route.
Calvin: Your rating and thoughts on Yuya Yagira in Nobody Knows.
Louis: your ratings and thoughts on Garcia in Mon Oncle d'Amerique, Huppert in Loulou and Janda in The Conductor?
Could you also share your thoughts on Palermo or Wolfsburg? I haven’t seen the movie yet and i am a bit hesitant in doing so since i didn’t really like Malina apart from Huppert’s performance.
I also suggest you to check these movies before finishing 1980:
-La Terrazza (one of my favourite from Scola, terrific work from all the cast)
-Confidence (Szabó)
-A Distant Cry From Spring (Yamada + Takakura)
-Spetters (Verhoeven)
Louis: I see you've moved Hopkins up to 4th for The Remains Of The Day. Has he resonated with you even more these last few months.
Louis: The Blue Lagoon haha lol looking for holiday ideas I see.
Louis: And no changes to the top ten films of 1980, I can see why you struggled to get through this year with nothing truly noteworthy plus catching up on recent TV.
Louis: Thoughts on this scene from GWTW?
Always found it quite poignant, especially given Howard's own fate three years after the war.
https://youtu.be/S72nI4Ex_E0
Hey Louis!
Tell me from the year 1980 which are your TOP7 best:
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
- Character of the year (name of character - film)
Louis: what 2000’s and 2010’s roles would you cast Brendan Fraser in as improvements over original casting?
Luke, could Pacino possibly get anymore 5s.
Anonymous: Cut him some slack, it sure wasn't easy for him to go through all these 1980 movies
*any more 5s
He might've watched Shogun and Berlin Alexanderplatz (A massive undertaking) as well.
Glenn: Angels In America and I think he has a decent chance with The Merchant Of Venice.
Luke, thanks.
Louis, would you say you got quite bored doing 1980.
Luke: I wanna hold off on that, both rating and especially thoughts as I'd want everyone to check out the film first, it really is remarkable.
Happy to see Hurt take the win though it's clear over the past month you didn't enjoy revisiting 1980 as much as you would've liked to.
And both pairs of performances from DDL and Hopkins in the 93 top 5. That is remarkable.
Louis: Your thoughts on this scene with John Goodman from Community:
https://youtu.be/D50AIxB68R8
I had totally forgotten about the Bafta TV awards being on tonight lol, I have literally only seen Michael Sheen in Quiz and he was quite entertaining at being Chris Tarrant lol.
Also the Baftas having 6 nominees for acting is so much better than just 4.
If we're only getting 2 reviews in Supporting, aside from Wilson I'm pretty sure it's either Walken or Kotto.
Louis, how do you think Robin Williams would have been as The Riddler if he was cast in the 90s. I think he would have clearly been more darker than Carey's version.
Anonymous: Not necessarily. Especially if Schumacher was still directing. And it was still that same script.
Anonymous: While I'm curious as too how Williams would've been in the role, I'll play devil's advocate here and say Carey (conceptually, at least) was ideal casting. His comic intensity isn't THAT far off from the actual character, and he was at least having fun with his role unlike a certain co-star...
Seriously, the "I can't sanction your buffoonery" line may be the single most hypocritical thing Jones has ever said.
Luke:
Russell - 4(Immensely charming performance from him that makes great use of his comic timing. Honestly this is kind of a bridge performance between his lightweight work with Disney towards his badass reinvention with Carpenter. This as you can see that old Russell through the sort of exuberance he brings to the part here better utilized through actually funny material, but there is also that sort of more dynamic charisma of his that would define his later work in the 80's.)
Garfunkel - 4(Tempted to go higher as the reveal scene is absolutely brilliant acting from him. Everything he does in that scene is amazing and it very much is the key to the entirety of his character. It is just a brutal depiction of essentially the festering qualities of a man's vice revealing itself in this unnerving kind of intensity that Garfunkel brings. The rest of his performance is purposefully more ambiguous as he seems like a more passive kind of lead. Garfunkel is good in portraying this still in creating that ambiguity without being vague, though I'd say he's overshadowed, albeit purposefully, by Russell until that pivotal scene.)
Yes Jones is a 4 for Coal Miner's.
Kristofferson - 4(The best I've seen from him. Although I'll get to more on the film overall in a moment, Kristofferson does well with the stoic intensity needed for the part. He manages to cultivate the right sense of the man even when successfully being a largely minimalist turn.)
Alterio - 4(What a weird, though kind of fascinating, movie. Anyway Alterio's character is that strangeness though he's good in kind of subverting the more traditional mentor old man style role to present it more so as a man kind of having this constant mental breakdown just below that seemingly more passive surface.)
Depardieu (Metro) - 4(A nice charming turn from him even if his role is purposefully kind of this sort simple figure though with a specific purpose in that. He's good though in playing up this kind of knowing quality in the man, and makes a great moment with his romantic scenes with Deneuve where they capture a nice atypical chemistry.)
Depardieu (Mon Oncle) - 4(Depardieu gives a striking turn here, even if purposefully some what obfuscated by the film's style. He's effective though in showing the slow progression of the pressure within the man. His expressive of this working in showing the breakdown of the man that just seems to take him lower and lower over time.)
Travolta - 3.5(Though his film is way overlong, and certain elements don't work at all, Travolta is in charm mode here, and when he is in charm mode it typically works.)
Matthau - 3.5(A film that never quite finds a reason for its plot, but Matthau certainly brings a nice wry energy. This is helped all the more by his unexpected though rather endearing chemistry with Glenda Jackson, something I wish the film had exploited a whole lot more.)
Sharkey - 3.5(A fine sort of slick manager routine though with this understated quality of the heart and morality of the man that defines his actions. It's a nice charismatic turn for the most part even if I think the film itself gives him fairly repetitive material.)
Mastroianni - 3.5(Like the film itself, feels like a slightly less good, though not bad, re-run of other Fellini material.)
Redford - 3.5(Rock solid leading turn for him, gives particularly good sort of reserved discontent.)
Depardieu - 3.5(The least of his three performances, as I'm not sure he is all that well cast as the wayward punk, but even with that, he's not at all bad in the part in giving the sort atypical energy here.)
Zarbo - 3.5(He's fine but it is one of those performances that you get just kind of this generalized idea of a man mainly there to facilitate the directorial vision around him. He's fine in doing that but doesn't rise above it.)
Seweryn - 3.5(Not to be mean but I swear some festival acting winners they just seem to pull out of nowhere. Swereyn is completely fine, and just that as the husband of the possibly drifting wife. There isn't anything too notable about his work though that I would imagine needed special mention.)
Gere - 3.5(One of his better early performances even if there are moments where his work gets a little iffy at times. He's still though often quite good here particularly in the moments of showing sort of the softer side of the gigolo who earnestly tries to fulfill his clients needs.)
Scott - 3(What a boring movie, so boring, I mean it's called a thriller, but I think they should've just called it tepid the movie. It's so boring, curse the academy for nominating this and the blue lagoon for best cinematography because otherwise I would definitely skipped this. At least with the latter that nomination isn't undeserved, here though it's kind of baffling, and I agree with Siskel & Ebert's potshot about the long tracking shot seeming like someone is going to walk into a wall at some point. Anyway as much as the film is terrible, Scott tries best he can and is a decent element in an otherwise horrible movie.)
Antonutti - 3(100% a director's film even more so than usual.)
Diamond - 1.5(You know his singing scenes, you can see why he was cast. His acting scenes though make it less convincing.)
Atkins - 1(Man is this film bad, with the leads being the worst culprits in just how bland and awkward, not in the way intended, they are through every step of the film.)
Lead Actress:
1. Sissy Spacek - Coal Miner's Daughter
2. Mary Tyler Moore - Ordinary People
3. Theresa Russell - Bad Timing - 5
4. Susan Sarandon - Atlantic City
5. Catherine Deneuve - The Last Metro - 4.5
6. Krystyna Janda - The Orchestra Director - 4.5
7. Shelley Duvall - The Shining
8. Ellen Burstyn - Resurrection - 4.5
9. Shabana Azmi - Sparsh
10. Gena Rowlands - Gloria - 4.5
11. Ana Torrent - El Nido - 4
12. Vera Alentova - Moscow Does Not Believe in Tears - 4
13. Irina Muravyova - Moscow Does Not Believe in Tears
14. Raisa Ryazanova - Moscow Does Not Believe in Tears
15. Isabelle Huppert - Loulou
16. Goldie Hawn - Private Benjamin - 4
17. Nicole Garcia - Mon Oncle d'Amerique
18. Blair Brown - Altered States
19. Julie Harris - Airplane - 3
20. Isabelle Huppert - Heaven's Gate - 3
Supporting Actress:
1. Beverly D'Angelo - Coal Miner's Daughter
2. Carrie Fisher - The Empire Strikes Back
3. Wendy Hiller - The Elephant Man
4. Anne Bancroft - The Elephant Man
5. Cathy Moriarty - Raging Bull
6. Glenda Jackson - Hopscotch - 4
7. Stephane Audran - The Big Red One - 4
8. Mary Steenburgen - Melvin & Howard
9. Pamela Reed - Melvin & Howard
10. Eva Le Gallienne - Resurrection - 4
11. Barbara Hershey - The Stunt Man - 4
12. Amy Wright - Inside Moves
13. Trish Van Devere - The Changeling - 3.5
14. Eileen Brennan - Private Benjamin - 3.5
15. Deborah Harmon - Used Cars - 3.5
16. Olympia Dukakis - The Idolmaker - 3.5
17. Anne Meera - Fame - 3.5
18. Bernice Stegers - City of Women - 3.5
19. Marthe Villalonga - The Big Red One - 3.5
20. Debra Winger - Urban Cowboy - 3.5
Heaven's Gate is neither a complete trainwreck nor a masterpiece in my mind. It is a beautifully shot film, with tremendous atmosphere. Some of the ridiculed moments, like the extended violin player in the roller rink, I felt were honestly inspired, and it does feel like critics wanted to tear Cimino a new one for the behind the scenes woes (which to be fair seemed to be mostly Cimino's fault) rather than the actual film. Having said that, the screenplay isn't particularly good. The characters are too ill-defined, and I always felt like we never got to the heart of them. The conflict itself, as remarkably shot as the massacre scenes are, never does the film fully immerse you within the struggle because of what the screenplay lacks. Still, to throw the film in a trash bin is a mistake, what I like I love, but it is fundamentally flawed because it is underwritten.
Stephen:
1. The Elephant Man
2. Heaven's Gate
3. Raging Bull
4. Kagemusha
5. Alexander the Great
Tahmeed:
I had intended to while doing this year, but I just didn't have the time.
Mitchell: I agree, I did enjoy Carrey in the role. I was unsure if Williams was on board when it was Burton who was originally going to direct Batman Forever. Also agree that Tommy Lee Jones is a Grade A douchebag and quite frankly Carrey should have told him to go F himself. Would have much preferred Billy Dee Williams as Harvey Dent.
Important note to all, I was not bored by 1980, other than watching The Blue Lagoon and especially the Formula (seriously I think watching paint dry would be more captivating), rather I had professional and personal matters that take precedent first, as they always do for me. Happened to be a busy time for me, to the point I only really had a free hour here and there, given I liked to watch a film in one sitting, as intended, I really only had time to watch those TV shows more often than not.
Ira:
I'll speak to only my era, as I can take note of historical mention, but I can't actually speak to if it was truly surprising in the moment, like Loretta Young over Rosalind Russell for example.
Luke:
Eh I gave those who needed commenting on.
Shame, but hope they do it justice if they are redoing it.
Omar:
Garcia - (Having seen a few of Resnais's dramas in this style, I will say I think he perfected the form in Hiroshima Mon Amour, and the following works within the style were diminishing returns in my view...not that they were bad. Garcia's work for me is an example of this in sort of obfuscating the performance through the editing rather than amplifying it. That isn't to say her performance isn't still good, it is certainly on its own. I wish we could kind of spend time with her more, because I did like what she brought when we could appreciate it but Renais so rarely allows us to appreciate it.)
Huppert - (Her far more confident performance that her American turn in the epic. Huppert is always good at managing to make rather extreme, sometimes even inexplicable emotional states both vivid and convincing. That's the case here in creating this sort of sense of the kind thrill but also desperation of sorts found within the central relationship. She makes the strangeness of it resonate in her own way of crafting how it is all very logical to she who is experiencing it.)
Janda - (Absolutely wonderful performance, though quite randomly why the hell did they dub Gielgud just part of the time? Such a strange choice. Anyways though Janda is terrific in her scenes really with Gielgud in creating this nuanced layers within these interactions. These interactions that never quite say one thing, yet are fascinating in the way so much history is alluded to. This as Janda's reactions and interactions create the right degree of interpretation to whether this is a woman seeking affection from a man as a lover, a father, or just as a fan loving an idol. It is a captivating performance.)
I found Palermo or Wolfsburg a bit plodding in its sort of situation study so to speak. It's not bad, but lacks sort of the pull to really bring you within the central characters journey in the way I would wish.
I will try to get to those films.
Louis: Your thoughts on the female performances and is Sarandon a 4.5 or 5.
And I'm pleased Shelley Duvall went up. Now the best Razzie nominated performance of all-time.
Luke:
Yes, it's a performance that has just been nagging at me honestly, and the more I think about it, the more it's definitely one of the great minimalist turns by any actor.
Anonymous:
It's a strong scene for Howard and Gable in showing all the differences between the characters even as they are making the same point, one more philosophically the other more factually. Howard brings the right poignancy by dealing with sort of a poetic thought while Gable being appropriately blunt and brash as Butler spells out harsh truths.
Brazinterma:
Score:
6. Flash Gordon
7. Airplane!
Poster:
1. The Changeling
2. The Empire Strikes Back
3. Friday the 13th
4. Airplane!
5. The Elephant Man
6. Kagemusha
7. American Gigolo
Editing:
1. Raging Bull
2. The Empire Strikes Back
3. Airplane!
4. The Big Red One
5. The Elephant Man
6. Fame
7. The Blues Brothers
Original Screenplay:
1. Kagemusha
2. The Big Red One
3. Melvin & Howard
4. The Last Metro
5. The Orchestra Conductor
6. Le Nido
7. Used Cars
Adapted Screenplay:
1. The Elephant Man
2. Breaker Morant
3. Raging Bull
4. Ordinary People
5. Airplane!
6. The Empire Strikes Back
7. Coal Miner's Daughter
Cast:
1. The Elephant Man
2. Raging Bull
3. Breaker Morant
4. Ordinary People
5. Coal Miner's Daughter
6. The Big Red One
7. Bad Timing
Character:
1. Darth Vader
2. Luke Skywalker
3. Han Solo
4. Jack Torrance
5. Princess Leia
6. Jake Lamotta
7. John Merrick
Tahmeed:
Just a great example I suppose of that in a way to be a great comic actor you kind of have to be a great dramatic one, as the comedy comes from just how dramatic and intense Goodman is throughout the scene of seeming silliness.
Anonymous:
Little difference due to the script.
Louis: Thanks. I forgot to mention the Top 7 best blockbusters.
Louis: Do you think The Underground Railroad would've benefitted more from a weekly release of episodes rather than all at once? (In terms of drawing more attention/buzz to the mini-series)
It seems as though people only really discussed the miniseries for only about a week or so after it came out, then any discourse just seemed to suddenly stop.
Louis: Your thoughts on the direction of The Empire Strikes Back and The Big Red One?
Bryan: 100%. Been very weirdly under discussed for a Barry Jenkins show readily accessible on Amazon Prime.
Louis: So happy Russell has a 5 from you. She's brilliant in it.
I'd like to point out that we don't actually know for sure if Tommy Lee Jones really said that buffoonery line, considering the source is Jim Carrey, a comedian, telling an anecdote.
And what's your thoughts on Bad Timing overall?
Louis: I can't believe you actually sat through The Jazz Singer, how tough was it?
Calvin: I actually haven't seen it (yet), but I get the impression that it's a miniseries you really have to let settle in over a longer period of time instead of just a day or so after binging it.
I mean, I watched an episode a day for it in succession and it worked out really well for me, but I do agree that it really deserves a week apiece to sink in. Releasing it all in one go limited its outreach which really sucks.
Particularly strange since Amazon has never been averse to doing weekly releases.
your thoughts on the cinematography of Heaven's Gate?
Louis: Would you have the time to re-edit O'Toole's review if he does go up to a 5 for The Stunt Man.
Question for everyone here: What would be your thoughts on the following rock songs?
So Cold - Breaking Benjamin
Broken - Seether
Not Strong Enough - Apocalyptica
Not sure if I've mentioned the latter two before, but I like all three tracks.
Louis: Could you watch Babylon, The Fog, Inferno, Stardust Memories and The Long Riders before finishing 1980.
And have you seen Shōgun, Berlin Alexanderplatz, Playing For Time, Little Lord Fauntleroy or From The Life Of The Marionettes.
Mitchell:
So Cold - better than watching the second half of 28 Days Later, but not exactly my favorite BB song
Broken - while it has some good lyrics, i don't think Seether and Amy Lee fit really well together (damn that was metaphorical ...)
Not Strong Enough - Okay, this song is simply awesome and Brent Smith is a gift this world does not deserve
Louis: Given our recent discussions on Collateral, could I have your thoughts on this Lessons from the Screenplay video?
https://youtu.be/S0QMxzEVuDI
Louis, what is your ranking of Meryl Streep's performances?
Luke:
Sarandon is a 4.5.
Russell - (Her performance is a fascinating balancing act of essentially being constantly on the edge, and I think more often than not this type of performance doesn't work. This is why it is impressive that Russell pulls it off as this woman who is on a constant edge of attempting to find some sort of thrill of any kind. This in there is always this sort of ferocious pull within her performance both in creating the lusty qualities of the woman seeming more both sexually and through other more dangerous "pleasures". Her chemistry with Garfunkel being rather remarkable because of how atypical yet convincing it is in this toxic relationship realized. Her performance though I think goes beyond being just this kind of sight of a woman falling of the edge she was barely on to begin with. This as I think she finds an essential humanity in the loss of her connection with others, all who seem to wish to exploit her in some way, and is rather powerful in her scenes of the woman pleading seemingly for some actual connection. Russell never makes this cleaner, in that she is never appealing in a traditional sense, rather effectively shows someone really losing herself to this experience.)
Deneuve - (What an immensely charming performance from her more than anything. She just dominants every scene she is in whether this is dealing with the various random theater types or dealing with those on the outside that present a threat. She has a constant power to her that is notable. This though with this kind of sincerity within her performance even as her character is always kind of lying a certain sense, for a good cause of course. Her performance has more than anything this wonderful grace to it. This as she shows really the one running things still even with her hidden husband, which she also strikes a nice chemistry with both men in very different ways. This in the settled relationship with her husband and the sort of more curious interest in her moments with Depardieu where she shows the thrill as attached to the theatrical inspiration)
Burstyn - (Very much makes the film which I found kind of sloppy as the whole, this as it seemed like it was always wandering around the subject rather than truly realizing it. Having said that Burstyn is wonderful in bringing an actual sense of humanity and understanding to the process that moves towards the supernatural. This in really finding two sides. One being this blunt and honest depiction of a woman coming back from grief and various pains in her life. The other in her portrayal of a woman finding this kind of enigmatic understanding of her own abilities that have begun to appear. She manages to create something interesting a film that doesn't quite work despite those efforts.)
Rowlands - (Didn't care for the film or her abysmal co-star but Rowlands is consistently good here. This in just seeming to try to make anything out of every scene. This as she brings this sort of brassy and charismatic matter, as she creates the whole scenario in her own performance basically in showing the woman basically choosing to do her own thing rather than what anyone else says. I don't think the film works at all, but Rowlands is consistently on point every step of the way.)
Torrent - (A performance that is slightly limited by the perspective of the film. Having said that though Torrent is rather fascinating in creating this character that is both innocent seeming yet also knowing with her dynamic matter. She finds a compelling balance in kind of never exactly stating exactly who the teenage girl is, and successfully creates this enigma.)
Moscow ladies - (All gives wonderful naturalistic turns that each successfully find the life in the scenarios. All which are purposefully straight forward in a sense, and all are terrific in just existing in each.)
Hawn - (The film is a mess as it really is all over the place once she gets out of boot camp. Having said that though Hawn is wonderful. She just gives a terrific energy to her performance while trying to sell every moment of the film. She is incredibly endearing to the point she makes the film worth watching, even as sloppy as it gets.)
Huppert - (She seems always a little uncomfortable. She has some good moments in there with her more intimate scenes with Walken in particular, but overall she lacks her typical confidence onscreen.)
Jackson - (Just an immensely charming turn from her. This with great chemistry with Matthau as an unlikely pairing however they make their interactions absolutely sing. This is to the point that I honestly wish the film had made her a true co-lead, as it completely works when they're together. When not, it's fine but it's a bit of a shame.)
Brennan - (She always is good for some comic timing here, and makes for a fine shrewish CO. I think though her character fizzles a bit. Still she's fun though and makes for an enjoyable foil for Hawn. I honestly wish the rivalry was played up a bit more effectively however.)
Harmon - (A nice charming turn, as the romantic interest/straight woman of sorts. Additionally she has a nice chemistry with Russell and the central romance wholly works.)
Dukakis - (A warm supportive mom turn, and makes a good impact every time she appears.)
Meera - (Honestly found the acting all over the place in Fame, though I do think overall it is an intriguing film. Meera's part seems minor honestly, however she's quite good in being absolutely within her moments in creating the frustrations of her character both in a more cruel manner and a more truly emotional way.)
Stegers - (The most effective in terms of all the women who seem slightly vicious in some way.)
Winger - (A good turn in terms of just basically matching Travolta in terms of charisma and they have a good chemistry together.)
Brazinterma:
1. The Empire Strikes Back
2. Ordinary People (#11 of the year, so it has to count.)
3. The Blues Brothers
4. Coal Miner's Daughter
5. Airplane!
6. The Shining
7. Brubaker
Bryan:
100%, for a piece like this, it would've completely benefited from a "soak in" type approach. Furthermore I bet it discouraged some people from approaching it because they might've felt "I don't think I can take this all in so fast" and it might be hard for some to pace it themselves. A weekly release would've offered that pace.
Calvin:
Having watched 5 of Roeg's films now, I'd say Don't Look Now is kind of the film the other 4 were trying to make. This just in terms of his style being used to wholly amplify the material. This in particular his editing style that purposefully keeps the viewer on a kind of edge. With Don't Look Now, I think he showed more restraint in the cuts, and with more purpose, which is why that film is his masterpiece. Bad Timing I think is more akin to Performance, though I probably preferred Bad Timing, where I think the effectiveness of his choices is mixed, though still apparent. I think the film could've been tightened and it would've just been a greater film. Having said that I still thought it was an often compelling and disturbing 2 character study, even if at times unwieldy. Also side note, anyone else really enjoy the visual of Harvey Keitel as Vincent Vega.
Louis: Thoughts on Le Gallienne, and how close do you think she was to winning the Oscar?
Anonymous:
Irvin Kershner's direction of Empire Strikes Back I think is kind of the ideal for a franchise film. This is rather different from Richard Marquand's work which I think very much you see kind of the man wholly sticking towards Lucas's original style of the first film and keeping to that. Kershner's does offer a continuation of what Lucas did in the first film, which should never be hand-waved, but he also provided an essential expansion and I'd say progression (that sadly was the end of that progression.). This isn't just achieving the up in ante over the previous film in terms of the special effects sequences that are no doubt impressive, but more so the use of cinematography and production design to a greater advantage. Compare for example the Luke v Vader against Vader v. Obi-Wan. This in terms of the atmosphere and build up provided in Kershner's work. Every setting though Kershner pays special intention to creating a more vivid sense, whether it is the snows of Hoth, the cold interiors of upper cloud city, the eerie swamps of Dagoba, or noir like bowels of Cloud City. Each has its own personality and sense of place that shows Kershner's greater sense of vision. Additionally there are just so many small choices, most importantly for example taking time with the actors to make something special like the iconic "I Know" moment which was through collaboration between Kershner and Ford.
The Big Red One is kind of the film Sam Fuller seemed to be building to with all his other war films. This by looking at a war at its most personal level and here he was able to do it at in a way its grandest scale, however while maintaining a smaller scale still. Fuller's work then is a fascinating sort of intimate telling of a grand story. This as we just stay within the unit, and as much as we do feel the progression of the war, it is as much about within Fuller's direction about the little moments within the war, like the screaming when the tank passes over, or dealing with the new soldier with a unique injury. Fuller cares as much about those personal moments as the war moments, which he also direct in an atypical way for a war film. This as so much of it has a matter of fact quality to it, and we feel very much as normal men kind of moving through the war.
Matt:
Actually wasn't that bad, well it was that bad, but it was kind of funny in its badness particularly Olivier's over the top performance.
Anonymous:
I imagine Steenburgen ran away with it, particularly since Melvin & Howard also won Screenplay. Furthermore Le Gallienne wasn't Globe nominated, which was THE precursor at the time.
Le Gallienne delivers a fine performance on her own though. This in offering the right degree of warmth within the film when it is needed the most. This with a nice sensitivity in her moments with Burstyn in that you truly get the sense of love and support between them.
Tim:
I mean outstanding work from Zsigmond. Almost every shot feels worthy of a classic Albert Bierstadt painting. This just the detail of the lighting that Zsigmond captures in every frame. It is glorious in terms of the tapestry that exists within the detail he captures that makes every setting feel deeply tangible and vivid. This is only all the greater within the composition and framing of every shot that makes every exterior, and every interior feel so generous in the epic detail expressed. Amazing work that was definitely robbed of a nomination.
Marcus:
That video really hits the nail on the head on why Collateral is a great film, and just any old thriller. This because of how well realized the dynamic is between Max and Vincent. This creating the essential personal arc in Max that is brilliantly realized by having Vincent basically push himself to be the man he aspires to be, by being so relentlessness himself. It also artfully outlines how this is realized, and again you see the greatness of such a screenplay because the different scenes say different things about Max in that progression.
Are there any actresses you considered overrated in the past but appreciate more now as you have seen more of their work?
I really hate the "overrated" questions.
Ira:
Honestly I don't think so, but I should say I also agree with Matt, I really prefer to avoid "overrated" because it frankly feels a touch egotistical to declare anything overrated. You can say your opinion absolutely that you don't think a film is as good as others, but to use overrated makes it seem like you're the only one who is right and all those who like the film are below you in some way for having that perspective.
I meant the comment to kind of be the opposite of "overrated" questions but I can see where you are coming from.
Though I personally don't agree since I always thought calling something overrated came with the implication that it was your own view since it is obviously impossible to have a "correct" rating on subjective things.
With your reasoning I feel like calling something underrated would be just as bad since you would be implying people are below you for not rating something as highly as you do.
Ira:
In general I will say overrated just is too often used in discourse around art and film in particular. I don't have a problem with saying something is bad, or listing flaws in a well liked work, however the term of overrated though just has always had a smugness connected to it for me, perhaps because I've often seen it used by smug people.
I will respectfully disagree on the term underrated, as overrated tends to be framed against popular opinion, where underrated is more often attributed to something overlooked rather than disliked by the general public.
I never thought of it that way because I was referring more to critical reception than audience reception. But your points do make a lot of sense and have made me see the term in a new way
To me it always felt like the term "overrated" was trying to turn success and acclaim itself into a negative trait, regardless of the film
I just find calling something 'overrated' to be a lazy substitute to any actual legitimate criticism of a film.
Louis: Alongside Parasite, what films do you find the best at critiquing capitalism?
What is your top 10 french actresses?
Louis: Like Bergman, Lynch and Kurosawa, which directors would you say consistently got great performances out of the cast in their films.
Louis: your top 10 David Cronenberg films?
Louis: Thoughts on the Eyes Of Tammy Faye trailer.
The trailer for Tammy Faye was OK I guess, for some reason am I the only person who thought this would be more..comedic in some way? like this story seems so wacky that I thought the comedy route was the option but it looks like its going for the inspirational comeback route instead.
Louis: Your Alfred Hitchcock and PTA rankings?
Anonymous: PTA is way up there. Julianne Moore in Magnolia is the sole blip on his record.
your 70s and 80s Cast and Director for The Sixth Sense?
Luke: That trailer was...odd, to say the least. I sort of get the tone their going for, but unless the film's smarter and more grounded then what's being marketed, I'll probably pass.
Also, I'm not sure about everyone else here, but I tend to like makeup/hairstyling the most when it's the least obvious; Take Ruffalo/Tatum in "Foxcatcher" or Theron in "Bombshell", where even though they've clearly had something added, it's hard to specifically pinpoint it.
Trying to age Garfield up like that definitely is.... a choice. I just hope he and Chastain deliver with their work.
On a different note, I just finished the Chapter Black Saga of "Yu Yu Hakusho", which means I have 18 episodes left to complete the show.
Mitchell: Jujutsu Kaisen is on Netflix now, have a feeling it'd be up your lane. One of the strongest debut seasons out there, if you ask me.
As for my own watches, I recently
finished Beastars, which is just something else altogether in its realization of mental health, redemption, and realizing such vivid characters.
Tahmeed: I've heard good things about both series, so I see no real reason why I wouldn't seek them out in the future.
Also, I remember you mentioning the OPs of "Fairy Tail" before, so I assume you've thereby seen show. If that's the case, what are your thoughts on this animated match up between Gray and Esdeath (Akame ga Kill)? For a 2D sprite fight, I think its pretty solid effort in regards to the backgrounds, voice acting and soundtrack.
https://www.youtube.com/watch?v=zq_V0XT-i1E
Anonymous:
Modern Times
The Grapes of Wrath
Spirited Away
Anonymous:
1. Marion Cotillard
2. Juliette Binoche
3. Simone Signoret
4. Isabelle Huppert
5. Jeanne Moreau
6. Emmanuelle Riva
7. Fanny Ardant
8. Catherine Deneuve
9. Annie Girardot
10. Isabelle Adjani
Anonymous:
I previously have given list on the top ten actor directors.
Matthew:
John Cusack - Map to the Stars
Luke:
Interesting that this will be coming out the same year as Nightmare Alley. Anyway, Chastain seems to be going for it, but we'll definitely have to wait and see on that one. Film itself seemed kind of Big Eyes to me, just in the tonal whiplash suggested and kind of the general aesthetic, hopefully it is better than that film.
Marcus:
Important to note both PTA and Hitchcock, their top tier for me can change any given day, as I just think they're all great. PTA in particular as he's yet to fail to crack into a 10 list for a given year for me.
PTA:
1. Phantom Thread
2. The Master
3. Magnolia
4. Boogie Nights
5. There Will Be Blood
Top Tier (though honestly Punch Drunk Love could jump into that with another re-watch for me)
6. Punch Drunk Love
7. Inherent Vice
8. Hard Eight
Hitchcock:
1. Rebecca
2. Vertigo
3. Psycho
4. Rear Window
5. Shadow of a Doubt
6. Strangers on a Train
7. North By Northwest
Top Tier
8. The 39 Steps
9. Saboteur
10. Notorious
11. Lifeboat
12. The Lady Vanishes
13. The Birds
14. Foreign Correspondent
15. Dial M For Murder
16. The Wrong Man
17. Family Plot
18. Frenzy
19. Stage Fright
20. Rope
21. The Trouble With Harry
22. Secret Agent
23. Suspicion
24. The Man Who Knew Too Much (1934)
25. Spellbound
26. I Confess
27. Marnie
28. Torn Curtain
29. The Man Who Knew Too Much (1956)
30. To Catch a Thief
31. Sabotage
32. The Paradine Case
33. Under Capricorn
Tim:
70's The Sixth Sense directed by Nicolas Roeg:
Malcolm: Donald Sutherland
Cole Sear: Jackie Earle Haley
Lynn Sear: Christine Lahti
Anna: Charlotte Rampling
Vincent Grey: Jeff Goldblum
80's The Sixth Sense directed by John Carpenter:
Malcolm: Jeff Bridges
Cole Sear: River Phoenix
Lynn Sear: Jamie Lee Curtis
Anna: Joanne Whalley
Vincent Grey: Elias Koteas
Your top 15 British actresses?
Mitchell: I'm far more familiar with the Fairy Tail soundtrack than the show itself, where I've only seen the first season. I'm usually reluctant to watch anime with hundreds of episodes, which is why stuff like One Piece or Naruto is a no-go for me.
That match up itself is pretty well done though, the voice acting for Gray was particularly spot-on.
Louis: Your ratings and thoughts for anyone else you'd like to comment on in Private Benjamin, Gloria & American Gigolo.
Also, expanded thoughts on the latter two films. I'm glad with the 4.5 for Rowlands, though mainly curious as to why the film didn't work for you.
Tahmeed: Right there with you when it comes to One Piece and shows of similar run times.
And as someone whose seen "Akame ga Kill", I'll say they nailed Esdeath whose pretty hardcore in the show (Even more so in the manga, supposedly).
Louis, your cast and director for 1930s Batman, 1940s Fargo and 1970s Big Lebowski?
Luke, if 2015 is up next, who do you think could get fives.
Glenn: Plummer, Rohrig and Mortensen. I doubt we'll get any upgrades.
Your thoughts on Sound Editing and Sound Mixing of War Of The Worlds and King Kong (both 2005)?
Watched In the Heights, which I found rather entertaining. Falls into a little bit of the "too long for such a simple story" syndrome common to musicals (which I didn't feel about Hamilton) however I think that's more due to my "guy who doesn't like musicals" taste then anything with the film actually. And besides I still found it rather delightful throughout with a great energy to it.
Ramos - 4
Hawkins - 3.5
Grace - 3.5
Barrera - 3.5
Merediz - 3.5
Rubin-Vega - 3
Smits - 3.5
Diaz - 3.5
Miranda - 3
Anonymous:
Olivia Colman
Joan Fontaine
Olivia De Havilland
Wendy Hiller
Angela Lansbury
Vivien Leigh
Lesley Manville
Carey Mulligan
Glenda Jackson
Deborah Kerr
Jean Simmons
Maggie Smith
Tilda Swinton
Naomi Watts
Emily Watson
Bryan:
Gloria sabotaged by an all time bad performance by Rowlands's co-star in my mind, it's hard to get invested in the kid or what happens to him if he is that poorly portrayed. American Gigolo is kind of interesting. It though doesn't entirely invest itself as a thriller or as a character study of a gigolo however. This in turn I think makes the film suffer a bit as you kind of wish it would either be a tauter thriller or a bit more insightful as a character study.
What would be your 16-20 British actresses?
Glenn: I really hope that Louis' next year of review is 2016. I want to see if Ben Foster loses the rank because I believe Sam Neill, Issey Ogata or Wood Harrelson can win.
Louis: Thoughts on the cast of In the Heights.
Tahmeed: Follow up inquiry, since I also know your a fan of "My Hero Academia - What are your thoughts on this match up between Shoto Todoroki and Zuko? Much like my previous link, I also find this segment to be well scripted and animated.
https://www.youtube.com/watch?v=PA-3iWJZ_Q4
Additionally, between their abusive dads, facial scars, fire abilities and social awkwardness, I'm frankly surprised the creators didn't do this fight until just last year.
What is your top 10 broadway composers?
Anyone see the teaser for Tick...Tick...Boom? That one’s kinda close to my heart, so I’m excited.
Louis: What rating would you give Stephanie Beatriz?
I finished rewatching Community for the first time since I saw the finale in 2015, and thought I'd give an updated cast ranking:
1. Gillian Jacobs (Robert was right)
2. Joel McHale
3. Donald Glover
4. Jim Rash
5. Alison Brie
6. Danny Pudi
7. Yvette Nicole Brown
8. Chevy Chase
9. Jonathan Banks
10. Paget Brewster
11. John Oliver
12. Keith David
13. Ken Jeong
14. Michael K. Williams
15. John Goodman
16. Erik Charles Nielsen
17. Richard Erdman
18. Kevin Corrigan
19. Dino Stamatopoulos
20. David Neher
“Robert was right”
I’m sorry, could you say that again? Maybe three more times? Four, perhaps?
Louis: Are there any examples of the 'liar revealed' plotline that you like or found successful.
Michael: I think it looks VERY promising too.
In the Heights was wonderful although yeah bit overlong and the framing device was a bit weird, I think I’d go higher on most of the cast than Louis but overall agree with the thouhits.
Calvin: your ratings on the cast of In The Heights?
Ramos: 4.5
Hawkins - 3.5
Grace - 4
Barrera - 4
Merediz - 4.5
Rubin-Vega - 3
Smits - 3.5
Diaz - 4
Miranda - 2.5
Louis: What would you say are some of the most inspired winners of the "best original song" oscar?
I keep forgetting that "Lose Yourself" won in 2003, despite it obviously being one of the great rap tracks from the early 2000s.
I just saw In the Heights and yeah, definitely my favorite movie of the year so far. I’ve always been a fan of the show and I thought it translated much better to the screen than a lot of recent musicals have, I particularly loved the direction in “No Me Diga” and the pool-ography in “96,000.” The themes of the film are also very relevant to my life right now so it hit quite hard in spots.
Michael: I was very impressed with Jon M. Chi’s direction of ‘96,000’. CHILLS.
Calvin: Chu was probably the MVP for me. He really proved a handle on the movie musical here.
Tim:
War of the Worlds's best features are perhaps the editing and sound mixing. This as much of the horror that Spielberg creates is through the immersive nature of the experience. This as the sheer terror of the attacks is built through the sound. This is particularly founded within the editing of the sound of the aliens. That is the roar of the tripods in particularly though the later creepy sounds of the individual aliens are too also excellent.
King Kong is an example of a whole lot of sounds and they're great. Whether that is creating the size of them, or just the sheer variety in the different creatures, the created sounds deliver on that needed scope and creativity. The mixing is equally impressive in producing the proper sense of the every sequence within Skull island and even out of it. Although I have reservations about the film, the technical elements is not one of them.
Anonymous:
Margaret Leighton
Rachel Roberts
Emma Thompson
Susannah York
Note: I had forgotten Celia Johnson for the previous list, curse all search engines for not including her on "list of British actresses".
Anonymous:
Ramos, Hawkins, Grace, Barrera - (As the romantic "leads" in very much traditional, even if fashioned through a modern lens, musical sense, they are all splendid. This just bringing the energy and charisma you want, particularly just the sense fun. The notions of the slightly more dramatic they all carry well, but I'll say that really isn't the main intention. In that sense, Ramos is MVP as while he's tasked for the most of that, he also delivers best on it in my view. It is most just to shine on screen which they all do wonderfully here.)
Merediz - (Can't quite jump on the effusive praise as some have granted this performance, don't get me wrong she's entirely wonderful here in terms of bringing the warmth needed for the part and lighting up the scenes like the rest of the cast. She additionally does make the most out of her solo number. Having said that, I don't think she stands beyond the rest of the cast, except what is there as written for the character. I think the impact that is more so within the reaction honestly than her performance. Again not trying to be negative, as I do think she's splendid, like the rest of the cast.)
Smits - (Enjoyed his work here in terms of balancing the sort of fatherly love as a given, while also presenting this sort weight of his manner to depict the sense responsibility that creates the right underlying sense of exasperation.)
Miranda, Jackson, Beatriz - (All fun in their little bits.)
Diaz - (Kind of two halves that didn't entirely cohere for me, but it didn't really matter. This his sort of passionate crusader and charming cousin routines almost felt too different. I didn't mind too much though because he was entirely charming in the latter and brought the right degree of heart in the former.)
Rubin-Vega - (Fun little over the top on purpose performance. She
throws the right sort of zest into it to be sure.)
Anonymous:
I respectfully decline, given I tend to only get around to Broadway scores, after they're made into a film.
Anonymous:
GALAXY QUEST
Mitchell:
"Lost Yourself", which also makes the later rap winners less inspired by virtue of its win. "Theme From Shaft" Otherwise I wouldn't say many truly were off the expected beaten path of what expected to win.
Michael & Calvin:
Agreed regarding Chu's work being the standout element of the film, which I really enjoyed that it wasn't trying to hide the fact it was a musical as is too often the approach these days.
Ytrewq:
1930's Batman directed by W.S. Van Dyke:
Bruce Wayne/Batman: Fredric March
Joker: Claude Rains
Alfred: C. Aubrey Smith
Vicki Vale: Olivia De Havilland
1940's Fargo Directed by Alfred Hitchcock:
Marge Gunderson: Myrna Loy
Jerry Lundegaard: Melvyn Douglas
Carl Showalter: Elisha Cook Jr.
Gaear Grimsrud: Boris Karloff
Wade Gustafson: Charles Coburn
Norm Gunderson: Hume Cronyn
The Big Lebowski (1970s directed by Robert Altman)
The Dude: Gene Hackman
Walter: Robert Duvall
Donnie: John Cazale
Maude Lebowski: Natalie Wood
The Big Lebowski: Lee J. Cobb
Brandt: John Lithgow
German Nihilist Leader: Hardy Kruger
Jesus: David Carradine
Jackie Treehorn: Gig Young
The Stranger: Lee Van Cleef
Louis: Once you're finished with Succession, could I have a cast ranking and your thoughts on your top 5 performances? Started it myself recently, and it's a lot more compelling than I thought given the premise.
Louis: Thoughts on these posters of reimagined films?
https://twitter.com/MoreMovies4U/status/1379404749519388672
Thoughts on Kate Winslet,Judi Dench,Helen Mirren,and Vanessa Redgrave as actresses?
Louis: When will the new post come?
So. who do you think should have won (out of the two i've mentioned)? I think i would have given War Of The Worlds Sound Editing (for the sound of the tripods alone) and Mixing to Kong.
Also, your modern day cast for The Colour Purple? I'm sure i would pick Cynthia Erivo as Shug Avery, but otherwise i just can't come to a conclusion on any of the cast ...
Just finished In the Heights. Absolutely terrific. Fun, affecting, and wonderful. Not a weak link in sight. I know it’s been said, but the music is a better version of Hamilton. Everybody would get between a 3 and a 4 for me. I think the main weakness (if it can be called that) is that there’s arguably too many characters for anybody to get fleshed out enough to deserve over a 4. Jon M. Chu MVP.
Louis: If you've seen the 2005 adaptation, could I have your thoughts on 'Seasons of Love' from Rent.
Tahmeed:
Well I'll start with season 2 cast ranking.
1. Matthew Macfadyen
2. Brian Cox (One shouldn't take his performance for granted)
3. Jeremy Strong
4. Sarah Snook
5. Kieran Culkin
6. Nicholas Braun
7. Holly Hunter
8. Alan Ruck
9. James Cromwell
10. J. Smith-Cameron
11. David Rasche
12. Eric Bogosian
13. Harriet Walter
14. Jeannie Berlin
15. Peter Friedman
16. Cherry Jones
17. Justine Lupe
18. Hiam Abbass
19. Danny Huston
20. Annabelle Dexter-Jones
21. Fisher Stevens
22. Arian Moayed
23. Caitlin FitzGerald
24. Rob Yang
Tim:
Mixing for Kong, Editing for WOTW.
Celie: Thuso Mbedu
Mister: Sterling K. Brown
Sofia: Gabourey Sidibe
Old Mister: Delroy Lindo
8000's:
Mitchum as Logan is perfection, that Kill Bill is terrible on both fronts, Seven would be a great pairing, Mad Max The General is the most nonsensical but would be a sight to see I suppose.
Michael:
"But the music is a better version of Hamilton"...Not sure I'd go THAT far.
Marcus:
Haven't seen it.
Louis: Since he apparently took elements of James Dean's performance in Giant for Minari, could you see Steven Yeun pulling off Rett (obviously an alternative adaptation of sorts)? Obviously no clue about the second half of the performance but I feel like he would be an interesting choice for that kind of role.
Also I do actually prefer the music of In the Heights more overall, BUT I do also think they're not really comparable in terms of style. 'Wait for It' is definitely my favourite song of either musical though.
I prefer Hamilton musically, (and overall) but In the Heights is terrific as well.
Louis: Your thoughts on the rest of your top ten Succession performances alongside Hunter, Cameron and Abbass.
https://www.youtube.com/watch?v=jSrU-mm3Wyk
your thoughts on this? It's a longer video, but definitely worth it
Calvin:
100% could see him as Jett honestly as a merging of his Burning and Minari performances. I think you could do a great "justified" antagonist as a man whose bitterness is defined by his mistreatment in prejudice, but lets that hate destroy himself in the end.
Tahmeed:
Macfadyen - (Man he is so good here, and I would put him as overall MVP. I will say I think it is interesting that Mackay's pilot seemed to emphasize only the flaws of the character, which could've never sustained a series, and the rest of the series has explored the complexities of the characters, the negatives of course, but with some virtues. Anyways, with Macfadyen he's great as on the surface he is great as this goofy sort of wannabe snob at first. And he is downright hilarious in portraying that awkwardness in family functions as someone who is trying to be in the inner circle but never can quite make it. I also LOVE his chemistry with Braun, where the two are downright fantastic comedy duo in so many different ways. Every one of their interactions is a little gem. But having said that, what really makes this performance amazing is really the small moments, the nuanced ones where he suggests the real vulnerabilities of the character. There are so many little reactions that Macfadyen brings that are extraordinary moments in showing the man's real pain at being dismissed or forgotten, creating this surprising poignancy to his work. This only all the more impactful when there are moments that focus upon that as Macfadyen brings such a power in the way the character has to forcefully push off his "it's okay" demeanor, to show the man who really does love his wife, and just doesn't want to be betrayed and mistreated.)
Cox - (Again I think this performance is easy to take for granted because Cox is always good, and he is good once again. I think in season 1 we get a bit more of expected Cox, and I think he is great as expected. He brings that power of self that is tremendous and creates that source of the "great man" in so many ways. Season 2 though I think is probably Cox's best performance period. This as it really pushes Cox to deliver on so much more, in part because his character is allowed tinges of humanity, that Cox runs with. This as he has such terrific moments in finding a blend of moments where he genuinely seems to have a connection with his kids...at times if always imperfect. He's also though so good in showing this man being thrown off his game by being backed into the corner. He's amazing in showing the different shades of compromise but also vulnerability of the man trying to maintain his power. Special mention in particular must be made to his final reaction of season 2 that is sheer perfection. His performance though overall is this power hungry tyrant with all that command you want, but he also shows us so much of the man, and what it takes out of him to be that tyrant.)
Strong - (Strong's performance is a bit hard to take, just because of how terrible I usually find him, compared to just how consistently brilliant he is here. The thing is too, this isn't at all a safe performance by any means. This as season one we have the guy with the sense of powerful ambition but also intensity of vulnerability due to his place below his father. Strong excels with both and most of all surprisingly makes you emphasize and even root for Kendall in his attempt. Strong is dynamite throughout and just has so many standout moments in season 1 of the guy trying so hard to balance himself on the edge and trying to find a way. In season 2 though he turns that entirely on its head in creating this man who seems this strange sort of puppet of sorts, almost walking corpse. What is fascinating here is Strong pulls this off entirely as well, both creating the real sense of the man's mental decay that is both potent, but also even hilarious at times, namely (the L to the OG) a moment that one should ruin, and make sure that everyone enjoy for themselves. Amazing work.)
Snook - (For season 1 she was a little lower for me, though not in a way that had anything to do with her performance rather her scenes without her family or Tom just happened to typically be the least interesting material (though not bad), where every story is great in season 2. Snook though is good in creating this sort of detached kind of determination and manner where she seems both above her family while also very much one of them. This explored in all the greater way when season 2 thrusts them into the game, and she is amazing in this. This creating the sense of a different kind of cutthroat conviction and manner to get things done. Her sort of crowing viciousness while maintaining that kind of veneer of the proper campaign manager type.)
Culkin - (More so in his expected wheelhouse in a certain sense, but he's terrific in that wheelhouse nonetheless. Culkin realizes well the more overt spoiled brat vibe, though with this kind of underlying intensity about it that suggests more so a cover for just in many ways a broken kid trying to prove something or anything to someone. Culking delivers the right sort of careless cutting to the character while also being messy in his own way as an obvious jerk in every way. I think the strength of his performance is the constant duplicity in a certain sense. This as Culkin manages to be the surface of just the spoiled obvious jerk, while also still conveying all the complexities that really define Roman.)
Anonymous:
Braun - (Alright this is one of the greatest "one note" performances in quite awhile. Although I think it takes a couple of episodes for him to hit his stride, again blame the hack MacKay, as once he becomes this goofy Barry Lyndon type in a way. The genius of Braun's performance is that there is only a certain degree of variation in his work, but in that he manages to do so much, while being consistently hilarious by keeping to that variation.)
Hunter - (An excellent addition to season 2, and delivers a great sort of slowly revealing portrayal of a different kind of power seeker. Hunter's performance is this wonderful sort of kind of image of one thing that she slowly shows is a false facade. Her working through this is wonderfully done, and a testament to her ability at kind of an unassuming power that becomes quite assuming when you least expect it.)
Ruck - (Love me some Ruck, and here I just found him consistently hilarious as just a guy who is completely out of it, while being completely in something. Loved every one of his asides, especially his later fish pump moments, or his attempt at being the sacrificial lamb. Ruck is great though because as funny as he is, he does underlie it with enough of a genuine sense of this guy broken and lost in this state, even if he is mostly there to be funny.)
Cromwell - (Terrific counterpart to Cox, and like Cox is pretty much always good. Cromwell's purpose is limited, yet he runs with as this man in a state or perpetual moral indignation and provides that contrast to Cox. This by showing the same kind of ferocity of personality, but through a different means essentially.)
Smith-Cameron - (Actually rather like much of the "background" players of the company though I think she makes the most out of this. This in managing to bring the right combination of the sense of the corporate competencies as a employee while also finding at times the right humor in the interactions as both an insider and outsider in her dynamics with the family. This in bringing moments of a curious attachment and detachment.)
Abbass - (I think she's fine though serves a fairly limited role as the "current wife". This as mostly she just this graceful presence among the family who isn't always that way. This though in delivering on her few moments of suggesting a more incisive quality that she brings out in a still measured way, though with the right kind of surprising intensity.)
Louis: What differences do you find between Strongs’ work in Succession vs the bulk of his film output?
Or do you think he might be an actor who needs more time to sink into a character (that TV allows and film doesn’t)?
On a random note, I finally finished "Yu Yu Hakusho" this evening, and it's become my favourite "traditional" Shonen that I've fully watched; It's simply a very good show in almost every way.
R.I.P. Ned Beatty
RIP Ned Beatty. Legend.
R.I.P. Ned Beatty
There goes one more of the 4 friends who came down from the Cahulawassee River (Deliverance).
R.I.P Ned Beatty, off to Otisburg to pay my deepest respects.
Bryan:
Well I do think television is the actor's friend, as it gives time to refine a character where a film you have to knock it out the first time round. I think though instead of going for one aggressive over the top or at the very least an "all in" note, which I think is the problem with most of his film work, here he seemed to take a nuanced approach for the first time. His film performances after all that I do like (The Big Short, Chicago 7) aren't antithetical in approach, the approach just happened to work those times.
R.I.P. Ned Beatty
RIP Ned Beatty
I saw In the Heights. Outside of the atrociously twee framing device, I thought it was great. Definitely feel it needs to be seen in a theater.
RIP Ned Beatty
Louis: You said once that Viggo Mortensen is not how you pictured Aragorn when reading the LOTR books originally. Obviously he ended up being great (and iconic) in his own right, but who would you have envisioned instead?
RIP Ned Beatty. Never not good.
What is your top 10 characters that have won the best actress award?
Confession: when younger I always just assumed Otis and Eve Teschmacher were existing characters and not ones created for the film.
Robert: I honestly didn't mind the framing device too much, although it felt it was easily the weakest element and should've been left out. It's definitely a bit saccharine, but I didn't feel it clashed really with the hopeful and aspirational tone of the film. It did, however, feel unnecessary and momentum-killing. Just when the story was getting going, there was a framing scene and it took me right out of the experience.
The framing device 100% could've been taken out and the film would be better for it. But I do kind of get why they were doing it at points, and Ramos is certainly great in those scenes even if the whole execution leaves something to be desired.
Louis, your top 10 episodes of succesion as well as your thoughts on the episodes Mckay directed. Would you say succesion is a saving grace when it comes to mckays work or is he just a finger in a pot filled with other hands
Louis: What are your top 25 favourite actors in no particular order.
Louis: Any roles from the 2000s or 2010s that you think the other Culkin brother could have played?
R.I.P. Ned Beatty
Louis: Your thoughts on "Austerlitz" from Succession, and the confrontation between Kendall, Logan and Siobhan?
RIP Ned Beatty
R.I.P. Ned Beatty
Louis: If he was in more mainstream stuff, which roles could you see Tony Todd in?
Also for a 40s Kill Bill, how about Claire Trevor as the Bride?
Louis, your thoughts on the the fantastic dare i say iconic score that succession has?
Luke, who do you predict for Supporting Actor top 5.
Louis: Your rating and thoughts on Oliver Reed in Lion Of The Desert.
Glenn:
1. Pesci
2. Wilson
3. Yamazaki
4. Walken
5. O'Toole
Louis: And if you're not reviewing them, Keitel and Elliott in Bad Timing and Yaphet Kotto in Brubaker.
Matt:
Honestly more of a Russell Crowe type, who was offered the part, so glad Mortensen got it, particularly since it expanded his prominence more than a bit.
Anonymous:
Alice Aisgill
Queen Anne
Jean Brodie
Blanche DuBois
Eleanor of Aquitaine
Marge Gunderson
Mildred Hayes
Scarlett O'Hara
Clarice Starling
Annie Wilkes
John Smith:
1. DC
2. This Is Not For Tears
3. Dundee
4. Tern Haven
5. Which Side are you On?
6. Hunting
7. Safe Room
8. The Summer Palace
9. Nobody is Ever Missing
10. I Went to Market
Though I'd categorize every episode, other than the first three of season 1, as great.
MacKay, if anything might've gotten in the way of the success of the series. This as I think bluntly the pilot episode is the worst episode of the series. This as I don't think he inspired anything particularly notable in terms of aesthetic, except perhaps the title sequence if he had anything to do with that, but more so I think he actually set a tone that the series slowly purged towards a far better series.
I mean let's really look at the pilot, I'm pretty sure MacKay envisioned the series as basically the "rot of the rich" with a kind of dreadful tone. This as the series got so much funnier and more entertaining once you get away from his stink. I think he wanted to make a show of just "look at how bad these people are". This as we get multiple vomiting scenes in the first episode just to emphasize "look at their grossness" and everyone has the jerk factor turned up to a 11 in the first episode, emphasized by the final scene with the million dollar bet at the baseball game. Once MacKay left, humanity was given to the characters, and humor. They're negative traits were still there, but in a way that was actually compelling and complex. I actually ponder if MacKay wanted a completely different path given the that Rob Yang is credited in the opening even though his character has barely an impact, and perhaps the series was more just about "taking down the Roys". Where instead we got something far better.
Tahmeed:
I we referring to the formally more famed one? I couldn't say as I haven't seen what he really has "in the tank". Honestly, like Haley Joel Osment, I think they're sort of adult physical presence probably unfortunately conflicted with what were their original strengths.
Luke:
Richard Attenborough
James Cagney
Tom Courtenay
Willem Dafoe
Daniel Day-Lewis
Robert Duvall
Ben Foster
Alec Guinness
Gene Hackman
Anthony Hopkins
Philip Seymour Hoffman
Charles Laughton
James Mason
Toshiro Mifune
Robert Mitchum
Tatsuya Nakadai
Paul Newman
Gary Oldman
Laurence Olivier
Al Pacino
Joe Pesci
Claude Rains
Robert Shaw
Harry Dean Stanton
James Stewart
8000s:
Not sure honestly, I've only ever seen him work as the "killer type" so not sure what he has in him past that.
Definitely regarding Trevor.
Tahmeed:
Even though it doesn't even make my top ten, I love the episode. Partly as we get even more Connor as I think the writers started to fully see the potential that was in his character as the comic foil to the more intensely driven family. The episode though is a great combination of how you see the series succeeds so well dramatically and comedically. This as you do get the latter in the goofy doctor, and the phony nature of the PR family therapy. There's a real power though in seeing the family trying to deal with these things even as Logan is always using it just as a power play even though there is something there in him. That as that great confrontation reveals bluntly the truth in Logan as he spells it out for his kids once again, that of the cruel father, even after putting on the phony act of nobility.
John Smith:
Money and power in song form? One of the greatest show tunes of all time? Yes and yes. I love the song so much, to the point I never ever skip the intro, besting even Game of Thrones in that regard. This as it has such a potent and dramatic realization in this combination of such a powerful orchestral swell and even almost a hip hop beat below it all. Love it so much. My favorite piece from all of Britell (which is slowly becoming very impressive).
Louis: Has Hardy's recent inconsistent run kept him off the list.
Glad to see Pacino in that list.
Luke:
Yeah his Peaky Blinders work was not enough to keep his stock price up with the one/two of Venom and Capone. I do think he'll rebound though. I should note Ryan Gosling's really close for me to fully making up for his little bit of shaky work in the early 2010's.
Louis: Your ranking of all the HBO shows you've seen.
https://www.youtube.com/watch?v=jSrU-mm3Wyk
your thoughts on this analyses?
Anonymous:
1. Chernobyl
2. John Adams
3. The Sopranos
4. Watchmen
5. Band of Brothers
6. Elizabeth I
7. The Night Of
8. Mare of Easttown
9. Silicon Valley
10. Flight of the Conchords
11. Curb Your Enthusiasm
12. Extras
13. True Detective
14. Show Me A Hero
15. Deadwood
16. Game of Thrones
17. Westworld
18. Olive Kitteridge
19. The Outsider
20. McMillions
GOT and Westworld really suffer from their drop, also why I left off Barry and Succession (both would be very high at the moment) as sealing the deal is essential.
Tim:
Not to stroke with too broad a brush, but I hear most things from "Channel Awesome" aren't worth my time.
Ouch!
i say this one is actually, but you do you
RIP Ned Beatty
Happy Birthday Daniel
*snaps pen in half at the mention of Doug Walker*
What would your next top 10 best actress characters be?
Also your top 10 supporting actress characters?
Happy birthday Luke and Daniel!
Congrats, Luke and Daniel. Have a nice B-day.
Happy birthday, Luke and Daniel. Hope both of you have a great year ahead!
Louis: Your thoughts on this version of succession theme? https://youtu.be/e-6K2CjJ6dk
Happy Birthday, Luke and Daniel!
Robert: not really actually, it's not a Doug Walker video. He's not seen, not heard, and only mentioned like once
Louis: Your thoughts on John Hughes as a screenwriter and director?
Thank you guys. :)
Luke & Daniel:
Happy birthday gentlemen.
Thank you Louis. :)
Happy Birthday Luke =D
Thank you all very much for your wishes =D.
I'll be honest I really wasn't looking forward to turning 29, the last 8/9 years haven't been particularly good from a career/life point of view and turning 30 is quite scary to me.
You know that.. best days are behind me kind of feeling lol.
Louis, your top 10 best voiceover movie performances?
Luke: Happy Birthday mate.
Post a Comment