Best Scene: Breakdown.
4. Géza Röhrig in The Son of Saul - Limited by the approach of the film, though he does have some striking moments in his performance in his reaction. What there is though seems somewhat limited by the film's approach.
Best Scene: Opening.
3. Jason Mitchell in Straight Outta Compton - Mitchell delivers a properly intense and charismatic turn that realizes both the gangster and musician in his character.
Best Scene: Learning about his diagnosis.
2. Christopher Plummer in Remember - Plummer is in somewhat shoddy film, however he fills his gimmicky journey with a genuinely moving humanity.
Best Scene: Finding himself on the train.
1. Paul Dano in Love & Mercy - Dano gives a wonderful performance that vividly realizes both the creative energy and troubled mental state of his character.
Best Scene: Creating the album.
Next: Will do a few re-watches and a couple more watches before moving on, but won't be doing supporting. So next will actually be:
1964 Lead
88 comments:
McKellen for the win. :)
Louis: Ratings and thoughts on the rest of the lead performances.
Your 2015 wins.
Your updated Female Lead and Supporting top 25s with 4+ honourable mentions
And thoughts on any Supporting performances with a 3.5 or higher.
Louis: Thoughts on Embrace Of The Servant.
Innokenty Smoktunovsky - Hamlet
James Garner - The Americanization Of Emily
Enrique Irazoqui - The Gospel According To Matthew
Ivan Dixon - Nothing But A Man
Vincent Price - The Masque Of The Red Death
Louis: Your reason why McKellen took the win.
Price is a must for 1964.
If you are looking for any 2015 Supporting performances you might have missed, I heard good things about Ethan Hawke in Ten Thousand Saints.
Honestly Dano getting runner-up is WAY more surprising to me than McKellen getting the overall.
Louis: What are your updated Top 5s for Cinematography, Editing, and both screenplay categories for 2015?
I guess I need to stop ignoring Mr. Holmes' existence now?
*89. Yoo-Ah In in The Throne*
Oh, man. I wonder who kept bringing him up. Haha, couldn't be me...
*deletes older comments*
Luke:
Abbott - 4.5(I mean a most impressive portrayal of someone who is mentally unstable without really emphasizing that in the more expected way. It is remarkable work in terms of creating this as such a natural state and then going further with it in terms of showing how this guy interacts with what is going on around him. Abbott makes every situation tangible by so effectively expressing how this particular guy deals with it. Whether it be just interacting with people, trying to romance someone, or dealing with his dying mother. In each Abbott creates an unusual approach however he makes it feel natural within the unusual state of his character.)
Mortensen - (I mean really hope Falling/Green Book, is a double fluke for him as I'd hate to lose this guy who really was known just for one rock solid turn after another. This is to the point that he makes a performance like this look easy. This with all the natural intelligent presence he brings. The innate empathy of his work, and the nuanced sense of emotional turmoil. It's striking work that he makes seem so simple, yet that achievement just not be hand-waved because of it.)
Driver - 4.5(The film is a touch repetitive however Driver gives a terrific performance in just engaging with such an extreme however on the side of the reactionary. This in both the good times of this as the romance develops, but also as the things turn bad when his wife's behavior becomes increasingly strange. Driver gives such a human face to every element of this, granting a reality to the situation, and the right devastation to the complication of his relationships.)
Song & Yoo - 4.5/2(One rock solid turn that really creates the right sort of stoic distance, with still a sense of paternal complexity and conflict. Song gives a real sense of the weight and pain of duty. Wonderful work. Yoo on the other hand I thought was kind of terrible in portraying every moment with such overcooked and frankly a whiny approach.)
Fiennes - 4.5(I can't say I really cared for the film, that seemed to throw in a Hitchcockian setup at the end for no particular reason. Anyways, Fiennes though is a great actor and it is always interesting to see him take on another kind of role. Here he is incredibly dynamic in portraying the sort of overly showy and talky producer type. Fiennes is terrific in being genuinely charming while also being genuinely too much at the same time. I think he makes it so there's more sympathy for his character then was intended on paper, this as he always shows something genuine within the man even as so much of what he does seems to be a put on.)
Lassgård - 4(A very expected arc, a little too expected, but I think he brought a nice emotional truth to his portrayal of the curmudgeon learning his way to be loved again. This with some good moments of the flashbacks where we see the better man, and eventually the two basically kind of meet. A sweet if expected kind of turn.)
Jesuthasan - 4(Brings the effective kind of conviction with his performance. This sort of directly driven quality even as he does so in this purposefully kind of messy way. This in portraying the way the man seems to know exactly what he needs to do, while also kind of making it go along. Having this sort of right emotions that last for the moment kind of rush.)
Pacino - 4(Like Lassgard very expected work, but really Pacino is extremely charming here. This is him just having fun with a role, and it completely works here.)
Kateb - 4(A fine companion performance to Mortensen, where Mortensen portrays a more logical man's variety, Kateb is effective in portraying this sort of specific tunnel vision of emotion. Creating the right contrast between the two one as the man analyzing the situation, against the other man just thinking about his singular purpose.)
Schoenaerts's - 4/3.5(Both roles aren't really pushing him in the most interesting directions and don't give him too much to work with. The former he's basically the straight man for most of the film, and I did like his sort of grace he brought through that. He's also very good in selling the last portion of the film as tacked on as it felt in a certain sense. His other role is super basic romantic leading turn, but I did like his presence as a per usual.)
Lau - 4(Touch overshadowed within the scheme of the film, but I did like what he brought particularly in the moments of the character's descent near the end of the film.)
Lindon - 4(The Cannes win seems overkill, often times I just don't get them, but he gives a fine turn in just mainly being sort of realistic in the moment kind of turn.)
Bolivar & Torres - 4(Both really stand in the same space and effectively so. There is no disconnect whatsoever as both create the same vibe of this man with a very specific kind of spiritual grace and detachment however though not completely without emotion. It is an effective balance and both create a striking very atypical lead.)
Asbæk - 3.5(A good performance from him actually, but sort of limited by the film's very subdued approach. I did like what he did in terms of internalizing the conflict within his work quite effectively.)
Chen - 3.5(Sadly found the film interminable where the pacing and approach really didn't make the film any more compelling, actually a lot less. Chen gives a fine turn as basically the target that slowly becomes more humane to the killer.)
Duress - 3.5(Similar off-beat to his later work with the Safdies, more limited here by the nature of the film which is basically a more drifty version of Panic in Needle Park. He gives fine work, but he is overshadowed overall I'd say.)
Jennings - 3(What a weird weird movie. Jennings's performance is part of this really and while I can kind of see the point of his performance it still is strange. It doesn't help with the film's weird choice in the "two" versions of the man that again adds just to the overall, and I'll be honest kind of needless, strangeness of the film.)
Reynolds - 2(Pretty lame star coasting turn from him.)
Ruffalo - 1.5(Yikes didn't know he'd have an even more mannered and overcooked turn than Spotlight. Ruffalo just goes all in terms of making his character as eccentric as possible, and in turn as obnoxious as possible. More so than intended I'd say. What's even worse though is it all feels like a bad acting exercise that results in just a lot of bad acting.)
Haven't updated supporting yet, will in a few days.
Actress:
1. Charlize Theron - Mad Max: Fury Road
2. Saoirse Ronan - Brooklyn
3. Carey Mulligan - Far From the Madding Crowd
4. Emily Blunt - Sicario
5. Rooney Mara - Carol
6. Brie Larson - Room
7. Laia Costa - Victoria - 4.5
8. Carey Mulligan - Suffragette
9. Alicia Vikander - Testament of Youth
10. Kalieaswari Srinivasan - Dheepan - 4.5
11. Charlotte Rampling - 45 Years
12. Maggie Smith - The Lady in the Van - 4.5
13. Rinko Kikuchi Kumiko The Treasure Hunter - 4.5
14. Regina Case - The Second Mother - 4.5
15. Bel Powley - The Diary of a Teenage Girl
16. Daisy Ridley - Star Wars: The Force Awakens
17. Arielle Holmes - Heaven Knows What
18. Cate Blanchett - Carol
19. Mia Wasikowska - Crimson Peak
20. Rebecca Hall - The Gift
21. Alba Rohrwacher - Hungry Hearts - 4
22. Tilda Swinton - A Bigger Splash
23. Jennifer Lawrence - Joy
24. Kate Winslet - The Dressmaker - 4
25. Maika Monroe - It Follows
Supporting:
1. Jennifer Jason Leigh - The Hateful Eight
2. Alicia Vikander - Ex Machina
3. Marion Cotillard - Macbeth
4. Rebecca Ferguson - Mission Impossible: Ghost Protocol
5. Elizabeth Banks - Love & Mercy
6. Bebe Cave - Tale of Tales - 4.5
7. Elizabeth Debicki - The Man From Uncle
8. Kate Winslet - Steve Jobs
9. Sonoya Mizuno - Ex Machina
10. Hattie Morhan - Mr. Holmes
11. Cate Blanchett - Cinderella
12. Jennifer Jason Leigh - Anomalisa
13. Camila Márdila - The Second Mother - 4
14. Tessa Thompson - Creed
15. Rachel McAdams - Spotlight
16. Riley Keough - Mad Max: Fury Road
17. Judy Davis - The Dressmaker - 4
18. Tuva Novotny - A War - 4
19. Abbey Lee - Mad Max: Fury Road
20. Phyllis Smith - Inside Out
21. Julianne Nicholson - Black Mass
22. Joan Allen - Room
23. Elizabeth Debicki - Macbeth
24. Cynthia Nixon - James White - 4
25. Laura Dern - 99 Homes
Embrace of the Serpent is just brilliant in conception, of taking the explorer story but position it instead from the native's perspective entirely. This crafting just this exploration of a journey of body, mind and soul is rather fascinating, particularly in the way the two timelines play off each other, in terms of the sort of infection between the two, against the seeming constant of Karamakate. It's nothing I've ever really seen before, though some connection to Herzog and Apocalypse Now of course, but never quite in this way. This within though I think in creating the right connection within the interactions between the characters which is very human, even as there is this feeling of something grander throughout. A one of a kind experience, which is very high praise I think...when the film is good, which this one certainly is.
No one performance really stands out as the "best" for me in 2015, they're really on a pretty even keel for me, so I just said to myself, what one gave the scene that has most stood with me on a performance level, and on that, it was McKellen with Holmes turning down Mrs. Kelmot's offer.
Robert:
I'll keep that in mind, sounds like a potentially rough film, but I'll give it a go for Hawke.
For me, It's actually easily Bill Condon's best film, despite Laura Linney's awful performance. Nothing amazing, but I think a fine character study, though helped in large part due to McKellen.
I told you
https://actoroscar.blogspot.com/2021/06/alternate-best-supporting-1980-scott.html
Saro Urzi - Seduced and Abandoned
Aidan:
Cinematography:
1. Mad Max: Fury Road
2. Sicario
3. Embrance of the Serpent
4. It Follows
5. The Revenant
Editing:
1. Mad Max: Fury Road
2. Creed
3. Sicario
4. Mission Impossible: Rogue Nation
5. Embrace of the Serpent
Adapted Screenplay:
1. Embrace of the Serpent
2. The End of the Tour
3. The Martian
4. Creed
5. Steve Jobs
Torn on whether to include Mad Max or not because the actual screenplay is more so a graphic novel than a traditional screenplay.
Original Screenplay:
1. The Hateful Eight
2. Bridge of Spies
3. Spotlight
4. Ex Machina
5. Love & Mercy
Louis: Your thoughts on the direction & cinematography for Embrace of The Serpent.
Fair to say Mad Max broke the record for the most Louis wins for a single film in a given year?
Hello Louis!
Tell me from the year 2015 which are your TOP7 best:
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
- Character of the year
Two suggestions from Brazil: Rodolfo Mayer (Journey to Duilia's Breasts) and José Mojica Marins (At Midnight I’ll Take Your Soul)
Oh wait whatttt McKellen for the win?
Louis, your fruit basket awaits.
Also I did NOT expect Dano to be that high, but good on him.
Bryan:
The direction by Ciro Guerra is very much the film, and in a way Waiting for the Barbarians felt like a step back from the purity of the intention that is Embrace of the Serpent. This as the whole genius of the perspective alone is so stunning. This just in the way we come into the film, and meet each explorer. We are meeting them and in turn the jungle itself is so different from the typical depiction. It's fascinating because to describe as inviting would be wrong, but it is probably the most comforting it has been depicted, particularly in films of this ilk, because it is looking out from within rather than the other way around. The nature of the nature though is different with this rather ethereal often dreamlike approach. This again as Guerra creates this spiritual quality in the experience of the film so naturally interwoven into the story, while still making the story of the two expeditions easy to follow and understandable on its own. It is such an elegant combination this as he literally interweaves the two timelines so we know what is going on within each context, while also so potently creating this more emotional sense of the clash between the civilizations in this way. This as we see bastardization of spirituality while also given moments of it in such a palatable sense. Guerra's work crafts such a striking combination that takes the pivotal idea of the switched perspective and brilliantly runs with it.
The daguerreotype cinematography is a key element in crafting the unique perspective and style of the film. This is as it is this mix of a stylization and a documentary style reality. This as it is historical photograph in style, but pre-photograph makes it not quite reality or fantasy. This in the lighting that is so pristinely shot, so beautifully shot, so impeccably composed, where every shot looks like it is out of an explorer's journal. Again though the exact gradients of the black, white and greys here are so striking in how they are realized, granting this particular detail to the environment that creates such an unusual and different sense of place. Amazing work by David Gallego.
Brazinterma:
Poster:
1. It Follows (Rear view mirror)
2. The Revenant (Lonely Horse)
3. Love and Mercy
4. The Hateful Eight (Blood trail)
5. Krampus
6. Mad Max: Fury Road (Max facing war party)
7. The Gift
Score:
6. It Follows
7. Creed
Editing:
6. Steve Jobs
7. The Martian
Adapted Screenplay:
6. Mr. Holmes
7. Far From the Madding Crowd
Original Screenplay:
6. Bone Tomahawk
7. Inside Out
Ensemble:
1. Mad Max: Fury Road
2. The Hateful Eight
3. The Revenant
4. Brooklyn
5. Spotlight
6. Sicario
7. Macbeth
Character of the Year:
1. Rey
2. Kylo Renn
3. Bing Bong
4. Furiosa
5. Han Solo
6. Fin
7. Immortan Joe
Side note: Telling that Jurassic World lacks any characters that made a lasting impact for being such a money maker.
Calvin:
It's about time!
Seriously though, I honestly don't know why I placed Dano so low back in 2015, I honestly think simply because I had not reviewed him, since I was always enthusiastic about his performance/the film.
Louis: Seen any other animated films from 2015?
It is pretty depressing sometimes to see some directors' visions compromised when they move into English language filmmaking (Meirelles, then it seems Guerra).
Louis, your favorite "Hidden gems in actor's filmography" roles?
I'm very excited for 1964.
Thoughts on new female performances rated 4.5 as well as Winslet(Dressmaker)?
Thoughts on all the other 4+ female performances.
I see it's a request so I'm going to check out Nothing But a Man soon, but as for 1964 films I've seen, I'm going to suggest The Umbrellas of Cherbourg, and have heard many great things about Onibaba, Soy Cuba, Kwaidan, Red Desert, and The Woman in the Dunes, just need to check them out too.
Louis: What's the lowest 4.5 in the lead actress ranking and delighted to see Mulligan get 3rd.
And thoughts on Bel Powley in The Diary Of A Teenage Girl.
Also The Caretaker is officially '64, right?
Just for the sake of my own rankings.
Matt: It is 64.
Some notable female performances of 1964:
Jeanne Moreau- Diary of a Chambermaid
Monica Vitti- Red Desert
Shima Iwashita- The Scarlet Camellia
Machiko Kyō- Sweet Sweat
Geraldine Page- Dear Heart
Sophia Loren- Marriage Italian Style
Barbara Barrie-One Potato, Two Potato
Rita Tushingham-Girl with Green Eyes
Harriet Andersson- To Love
Madhabi Mukherjee-Charulata
Giovanna Ralli- La Fuga
Michèle Mercier-Angelique, Marquise des Anges
your thoughts and rating on Tilda Swinton and Dakota Johnson in A Bigger Splash?
Really pleased with McKellen and Dano taking the top spots, although I definitely wasn't expecting the latter.
As for 1964, can't wait for you to see Charulata. It's Ray's personal favourite amongst his films, and Mukherjee should be a strong contender for the win.
Louis: Can you check out Sunset Song and A Second Chance before you finish.
Innokenty Smoktunovsky - Hamlet
Ivan Dixon - Nothing But a Man
Eiji Okada - Woman in the Dunes
Peter Sellers - The World of Henry Orient
James Garner - The Americanization Of Emily
Louis: For you Charlie Kauffman's Anomalisa is an original screenplay or an adaptation?
I really wanted Louis to step out of his American film debut and put Rod Steiger in The Pawnbroker at 64. If he did, would Steiger win overall?
Shaggy: Louis isn't going to change his rules for one performance. And even if he did, I don't think Steiger would dethrone one of Attenborough's best performances.
Shaggy: Please let it go.
Louis: Could I have your extended thoughts on the screenplay to All the President's Men? I looked up your earlier thoughts, so I was wondering if there was more you wanted to elaborate on perhaps the greatest screenplay ever written.
Razor:
No I did not favor them.
Ytrewq:
If we're speaking strictly very popular actors:
Alec Guinness: The Detective, The Horse's Mouth
Orson Welles: Chimes At Midnight
James Stewart: The Naked Spur
Laurence Olivier: The Devil's Disciple
Max von Sydow: Hamsun
Richard Harris: Juggernaut
Sean Connery: The Hill
Clint Eastwood: The Beguiled
Gene Hackman: Scarecrow, French Connection II
Jack Nicholson: Missouri Breaks
Al Pacino: Scarecrow
Daniel Day-Lewis: My Beautiful Laundrette
Anonymous:
Costa - (In a way her performance very much emphasizes the sort of unwieldy nature of the story, and the energy of the actual one shot take. Her performance very much goes with the flow and effectively so. This in creating moments of discovery, fun and investment, just as she creates the real sense of terror and anxiety in the different turns of the story. She manages to make sense of the one night of aggressive change by highlighting every moment so honestly her performance that never skips or cheapens a moment. She rather a part of every scene with such sincere honesty.)
Srinivasan - (Her performance I found to be the most effective part of the film. This in delivering the very human quality within it all and the most earnestly empathetic element within the film's narrative. This in showing so expressively the real weight of the choices made by the other characters. This in consistently creating the stakes of it by showing her character as this very honest and real person within it all.)
Smith - (I wish the film actually felt like it was every actually about her character as she is the most interesting element, however it is very frustrating how it seems to keep her at such arm length. Having said that Smith is expected effective as curmudgeon, this curmudgeon with a less regal grace than her more recent curmudgeon work. This in creating a real sense of pathos within the more aggressive streak of the character. As much as the character always feel too enigmatic, what we are given is given by Smith's performance which expresses a real sense of someone who has gone through a great deal and is permanently in a frustrated state. She is compelling even as the film drifts away from her at every point.)
Kikuchi - (A striking performance also limited by a film that just fashions its interesting protagonist through repetitive scenarios until basically it ends. Kikuchi though gives a compelling turn though in creating the ever constant state of a delusional kind of depression. Kikuchi is moving in making sense of the senseless state of the woman that always seems somewhat lost in her emotional place and distant towards all others as she's in her own world.)
Case - (A strong performance in very much making the conflict within the margins of the turn, in overall portraying the effective kind of warm kind of "help" turn though in that showing the very real person within that. This in adjusting out of those moments to express her very real concerns and exasperation are particularly well done. This as Case basically unleashes these in specific yet very pointed moments.)
Holmes - (A powerful performance that makes kind of the leap from amateur just to purely authentic feeling. This in creating quite the dynamic and daring portrayal of seemingly herself in such raw emotive state. Holmes effectively creating the sense of the complete mess of emotions within the world of constant upheaval of a certain sort. This with her bouncing from one place to another and one state to another, and Holmes crafting the needed core of emotional distress that defines her constant movement as attempting to cope with it all.)
Rohrwacher - (Purposefully enigmatic to an extent I would say in that it never spells out her slowly worsening demented state. Rohrwacher's performance though is effective in alluding this within her off-beat energy even before she starts to aggressively attempt to starve her own child. Rohwacher's performance though makes the state tangible just in the manner in which she portrays kind of this aggressive clarity in her manner of someone fixated in her insane choice.)
Swinton - (Limited obviously due to her required whisper of course, but also in terms of the character who is more so reactionary to the two odd balls come along. Swinton though is effective in creating the sense of history with Fiennes this with a certain attraction and bitterness as well. She effortlessly creates a real sense of that relationship, just as she does the current one with Schoenaerts. Swinton creating an authenticity in these moments even when the storyline goes a bit more over the top. Swinton offers the right humanity particularly her reaction to a key moment that is particularly well done, especially in terms of conveying the moment within the disability.)
Winslet - (A weird weird movie from top to bottom, and I'm not really sure why it needed to be so strange in a woman seeking wrath for judgmental town through dressmaking....actually perhaps that juts explained it. Anyway, I did like Winslet here though in that she managed to not go over board in the moments of portraying the sort of vengeful spirit with a particularly odd method, this was largely though through tempering this in her moments outside of this role particularly those with Davis and Weaving. She brings a nice understated quality balancing to a degree the oddball nature of the film.)
Cave - (The film overall I found more intriguing than wholly effective. Even with that though Cave's bit I found the most effective in mixing a largely comic idea with a bit of emotion. This was helped by Cave's performance that brings this sort of hilarious darkly comic quality within the princess's reactions towards her father's most unfortunate choices, while maintaining this sort of expected kind of style as a princess. This though slowly breaking down this illusion later on and revealing the distress of the strange situation quite powerfully actually. Her performance making the style of the film work and I think finding the path the rest of the film should've taken that is a bit too clinical at times. Cave finds the style but also the emotion within it.)
Mardila - (Effective a basically a wild card performance within the scheme of the film. This as her interactions lack the sort of false layer of adhering to expectation. This as her delivery and manner is properly blunt as someone not being caught up within the expectations of class.)
Davis - (A bit of a wacky mother turn from her but I thought she delivered it well. This particularly due to her scenes with Winslet where they develop a natural chemistry together that I think manages to override the more over the top elements of her character.)
Novotny - (Manages to give a moving and honest portrayal of the supportive wife. She doesn't have a major role to speak of, but the film works best when she is onscreen due to the genuine feeling of her work.)
Nixon - (Though Abbott's show through and through, I like the chemistry she developed with him. This in creating the sense of sort of understanding her son's particular issues in their early interactions and later creating the effective mental and physical descent of her character.)
Luke:
I'm pretty sure I gave thoughts on Powley before.
Tim:
Johnson - 2.5(She didn't do much for me here, and honestly at this point I'd say she rarely does. Her performance here I felt was filled with far too much of a knowing artifice even beyond the intention of the characters. This in every scene I felt her trying to act a certain eccentricity rather simply being the eccentricity. This making her feel like just kind of a construct within the film, where Swinton,Schoenaerts and Fiennes all felt like people, she never did.)
Shaggy:
Anomalisa is adapted, but I actively dislike the film so it wouldn't be contending in either category for me.
Yeah I would never make a random exception, I also don't go by the American Film Debut, I go by first non-festival release. Pawnbroker was never given a public release in 64.
Louis: I read a theory that Next Goal Wins was delayed so they could edit Armie Hammer out just like they edited Chris D'Elia out of Army Of The Dead. Do you think this is true or not?
Anonymous:
That could be the case, particularly as it doesn't sound like he had THAT major of role to begin with.
Louis: Your lowest 4.5 in the Lead Actress ranking.
Louis: I forgot to ask your TOP 7 of the best blockbuster movies of 2015?
your thoughts on the cinematography of Victoria?
Louis: where would you rank Catch Me If You Can in your top 10 Tom Hank's performances which you gave here: https://actoroscar.blogspot.com/2021/01/alternate-best-actor-1947-james-mason.html?m=1
because you upgraded him after that
And were would you rank The Dressmaker in your Kate Winslet's performances which you gave here: https://actoroscar.blogspot.com/2021/05/alternate-best-actor-1980-anthony-quinn.html?commentPage=2&m=1
And what is your rating for Alicia Vikander in The Danish Girl because you had given her a 4 before.
Innokentiy Smoktunovskiy, Hamlet
Saro Urzi, Seduced and Abandoned
Robert Shaw, The Luck of Ginger Coffey
Eija Okada, Woman in the Dunes
Ivan Dixon, Nothing But a Man
Kô Nishimura, Intetions of Murder
Alan Bates, Nothing But the Best
Stephen Boyd, The Third Secret
Marcello Mastroianni, Marriage Italian Style
Victor Buono, The Strangler
Louis: Thoughts on the King Richard trailer.
Brazinterma:
We'll say 100 million plus
1. Mad Max: Fury Road
2. Mission Impossible: Rogue Nation
3. The Martian
4. Inside Out
5. Star Wars: The Force Awakens
6. Furious 7
7. Cinderella
Tim:
Victoria's cinematography I wouldn't say is always the smoothest though logically so in that it is literally one shot and moves around a whole lot unlike Russian Ark which while not static was more straight forward in its movement. Here it is capturing a whole lot of movement and it impressive they were able to maintain an actual degree of consistency and even some beauty in some of the shots. Not an amazing looking film, however impressive given the circumstances.
Lucas:
#5 for Hanks
Just below Jude for Winslet.
Luke:
Looks pretty straight forward and I was quite concerned by Smith's affectation in his speaking voice, however as the trailer went on it became less glaring so hopefully that will be the case with the actual film. Looks potentially decent as a straight forward feel good, I don't think Smith looks like he will have the potential to be amazing, but it looks like a role that might play to his strengths.
Louis: Is Blanchett a 4 or 4.5 for Carol.
Louis: Rating and thoughts on Helen Mirren in Woman in Gold and Salma Hayek in Tale Of Tales.
And did you see Tangerine and Land Of Mine.
Louis: To be frank, I don't think Will Smith has the potential to ever be amazing.
Louis, Can Gyllenhaal get a higher ranking for Prisoners?? It's equally as fascinating as his work in Nightcrawler imo, if not better and by far his best performance alongside Nightcrawler for the past decade and to see him as low as number 13 for 2013 while topping for 2014 which is a stronger year than 2013 is kind of weird.
Blonde delayed again, now to 2022. I do want to be optimistic about it but this is kinda concerning now...
Actually really liked Smith in that trailer but I think I’m most generous on biopics in general.
In terms of Festival news I feel like Power of the Dog is solidifying itself as a massive player, Wolf could surprise people. And Blonde moving to 2022 is just a meme at this point.
So many movies being put out for 2022 that I think we can already start making predictions for Oscar 2023.
I know it's too early to start talking about this, but damn it, say your favorites for 2022
Picture: Killers of the Flower Moon
Director: Martin Scorsese - Killers of the Flower Moon
Lead Actor: Jesse Plemons - Killers of the Flower Moon
Lead Actress: Ana de Armas - Blonde
Supporting Actor: Leonardo DiCaprio - Killers of the Flower Moon
Supporting Actress: Elisabeth Moss - Next Goal Wins
Original Screenplay: Babylon
Adapted Screenplay: Killers of the Flower Moon
Shaggy: Fuck it, how about predictions for Oscars 2027? You can start with yours if you'd like.
Anonymous: I wish I had the almanac about 100 years of Oscars and do the same thing as Biff Tannen
Shaggy: Steven Yeun for Supporting Actor for Nope.
Is it now a certainty that Killers of the Flower Moon will be 2022?
Luke:
Mirren - 4(A really expected kind of performance in terms of being the eccentric tough older woman who is both likable and fierce. Mirren though delivers it well and what does work in the film is because of her.)
Hayek - 2.5(As typical for Hayek, for me anyways, she really didn't make much of an impact for me. I didn't think was bad nor did I think she was good. I felt really she was just kind of there.)
I've seen Land of Mine which is a pure ensemble in my view.
Matt:
Probably true.
Aidan:
Really hope it's just being misunderstood by the distributor and early viewers (which was the case for Jesse James which was delayed twice, without COVID, and was only lauded by those with adequate vision for masterpieces, only had a 77% on rottentomatoes). Though my faith in this is quite thin at this point.
Perfectionist:
No. I'd also disagree that 2013 is all that much weaker than 2014, or that Prisoners is parallel with Nightcrawler in terms of performance. The latter for me is definitively his best work, even though I think the former is a great performance.
Jack Chung: I have a feeling it will be 2022 after all. They’re still filming, and Scorsese also likes to take his time in the post stage as well.
Jack Chung:
Yeah, Scorsese's films tend to come out over year after filming wraps, so it is pretty doubtful it will be released this year.
Louis: When deciding your Adapted Screenplay winner for a year, do you usually check out the original source material?
Tahmeed:
Typically to at least some extent, particularly for close calls.
Louis: Right, was just wondering if you'd check out the original graphic novel that inspired Persepolis when you cover 2007.
Louis: where would you rank Hungry Hearts in your top 5 Adam Driver performances, which you gave in your review of him in Marriage Story
And what are your expanded thoughts on Michael Angarano in The Stanford Prison Experiment, since you seemed to like him more after the initial thoughts you gave.
Tahmeed:
I've read it.
Lucas:
#3.
I don't recall my exact original thoughts but from what I can remember I recall being fairly positive.
any chance for an upgrade of Michael Gambon in The Half-Blood Prince?
Tim:
It's possible, I've only scene the film once.
Louis: Could I have your thoughts on the novel? I love it immensely, and Satrapi did such a great job of adapting her own work.
Louis: Do you intend to see The Green Knight by the end of the week.
Louis: And one last viewing, Queen Of Earth with Elisabeth Moss.
Did you see Nightingale with David Oyelowo.
Louis, rating and thoughts on Kate Winslet in A Little Chaos.
And Shu Qi in The Assassin.
Tahmeed:
Eh, don't quite want to open the flood gates of "book thoughts", but it is safe to say I thought it was great.
Luke:
Yes, very soon.
Eh, based on my experience with Her Smell, I'll pass for now.
No.
Glenn:
Winslet - 3.5(A fine performance from her in really a limited role. In a film that seems to have more potential than is ever realized in its really needlessly messy storytelling, with Rickman giving far too little Rickman. Winslet though is a fine, if very standard romantic lead. Nothing too notable, but she has enough of a charm and grace about it.)
Shu Qi - 3(Perhaps her performance is why I didn't really respond well to the film, at least in part. This as it is very quiet minimalist turn, that came off as overly stoic and staid to me. Again such performances really are an art into themselves, and this is not example of that art. She's not bad, but she doesn't carry the experience of the protagonists story within her performance.)
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