John Cusack did not receive an Oscar nomination for portraying Rob Gordon in High Fidelity.
High Fidelity marks kind of the last hurrah for John Cusack as a romantic comedy lead, after having made his bones basically through the genre, despite attempts to branch out to the more dramatic lead, which has had mixed results throughout his career. This though is basically Cusack within his bread and better, though slightly different from the young man looking for love in Better Off Dead and Say Anything, and now a less than middle age, though no longer a young man, dealing with the baggage of his relationships. Now I've always actually liked Cusack fairly well in these kinds of roles. This as he delivers on this sort of strange every man kind of charm. This as he's only kind of charming, he's more so hapless and kind of pathetic. We get that again here, but as an older man, slightly. The weird thing here is, that I think Cusack's performance is particularly essential here to the success of the film, but in a way it is a performance that is based on a kind of consistency. The consistency being that of not quite seriousness nor quite comedic in a way. Cusack is kind of this exact in-between mostly working within these kind of there between always with that state of a kind of sad sackness. And in this sense, his performance is wholly successful as I think a too earnest performance would've lost the sort of comic tone within the material, while a too comedic one would've felt too detached within the romance. Cusack some how sits between both in just the way needed for Rob.
This as Cusack portrays Rob in each of his "Top five" breakups in a very similar way, but in that similar way that works in creating the state of this perpetual kind of discontent, while also seeming pathetic, yet there is something remotely charming about him in that manner of his. This though as it is also fashioned through this recollections that Cusack presents as this ongoing narration/fourth wall break, with a lightweight annoyance that is funny, but also suggests the sense of memory of pain eased by reflection in a way. This isn't to say that Cusack is one note, because he isn't, it is rather this wavering note, that stays within a certain key signature I suppose, I mean might as well be musically inclined due to the nature of the film. Cusack though has these moments of passion, most passion is reserved for the little outbursts about music where his delivery is particularly direct and sure of himself. This against speaking of his romantic situations where that is downer, but in a way that wholly works from making the film feel like a downer or self-loathing. Really I can see this character being such a failure given the amount of self-loathing in there, but Cusack doesn't artfully so that makes it a joke, while making it feel honest, while also not piling it on too thickly. He's just right in a way, and through that I find this one of Cusack's most endearing performances honestly.
Again there are variations within his performance as Cusack is hilarious in these switches, particularly the outbursts of anger when at his lowest points of relationships, which Cusack heightens just enough to be both funny while also not making the character too cruel seeming in these moments. Now in the relationships we get Cusack in a way making his chemistry work to the degree it needs to, though in a way by being this man of insecurities more constantly than not. Cusack though just has that enough of an endearing energy, whether the relationship is based only insecurity, a mutual desperation, or something potentially more genuine. The latter being the focal relationship with his most recent breakup in Laura (Iben Hjejle). The two do share a particularly sweet chemistry even though it is in a way in between lines, in a moment of a glance or reflection, which Cusack really so fluidly realizes here. This in that he never exactly shows Rob completely move out of that state of his, yet has these better moments, must as he has his worse moments of frustration. It wonderful rhythm that Cusack achieves and manages to pull off to create the investment in the relationship, as much as Rob consistently makes bad decisions and acts like a real jerk in so many ways. Cusack is what makes the film work actually because he makes Rob work as a character, who should really be an insufferable lead in most hands. Cusack hits that balance, and here I think gives the very best example of Cusack in the form that made him a star in the first place, even if it was for one of the last times.
125 comments:
Ratings and thoughts on the rest of the cast.
And since Lee is coming next, can you review Song as well.
Louis: And would you consider reviewing him for Grosse Pointe Blank.
Let's go! I'm still in this. Glad you enjoyed this, Louis.
Louis: Your thoughts on the film's direction?
Luke: I think Song slightly borders more on supporting, but I wouldn't be opposed to a double review anyway.
They just announced the cat list for the Mario movie and it sounds like a parody Mario movie.
Outside of Chris Pratt I don't have a problem with any of the other casting.
SOOO glad that Cusack got a 4.5 here. Amazing performance!! Hope he ends up second in this lineup. Really looking forward to Lee's review. Also hoping for an upgrade for Hanks and Tony Leung.
Luke, who would you like to see reviewed for Backlog Vol. 3.
Anonymous:
Vincent Price in Theater Of Blood (I really hope he gets a five for this)
Alastair Sim in An Inspector Calls
Kiefer Sutherland in Phone Booth
Uttam Kumar in Nayak
Toshiro Mifune in The Bad Sleep Well
Bonus: Alan Cumming in Josie And The Pussycats
Has anyone decided on their recommendation picks for January. I'm going with Blackadder Goes Forth and Debra Granik's Down To The Bone (2005, Vera Farmiga won LAFCA).
Louis: Would you be able to find out the first theatrical release date for Shotgun Stories. Had it's release in 2008 but IMDB displays a Greek release date in 2007 and have no idea if it is a festival or not.
soooo, i saw Dune today. I had had very high expectations because of the long waiting period and because the first reactions treated it like the second coming.
With those, i ended up overly positive, however i do not call it the great masterpiece so many people are declaring it to be.
The technical aspects are absolutely phenomenal as expected. (If this doesn't win Best Sound i will personally burn every copy of Crash in existence). Especially first arrival of the Sandworm and the Attack by the Harkonnen-army are absolutely marvelous to witness. The only part there i was somewhat dissappointed by was the Musik, where i could not really make out any themes really, it is more like constant sounds laid over scenes.
However, it spends a little too much time on outward exposition (and i still know for sure that those unfamiliar with the story will not completely get everything) and it cares more about settinjg up the world and just straight up telling the plot. Example: Josh Brolin does not really get a good enough last moment in this, he just essentially dissappears.
And while i do think turning the book into two films was the right way to go, it in the end feels like just what it is. A first half of a story
Macbeth reviews are out and Washington & McDormand are definite contenders.
Luke:
Hjejle - 4(Really manages that wonderfully sweet chemistry with Cusack that finds the right kind of combination of that sense of frustration in his state, but also the kind of ease that defines their relationship that is "good" more than anything. Throughout I think they find the right naturalism in their work that creates that sense of connection even within the moments of fighting one another. It is just luminous in the right way, but hits the emotions moments, and works particularly well against Cusack.)
Black - 3.5(I mean perfect casting more than anything, as this as much of a typical Jack Black performance as you can get, however it is ideal for the guy who is just constantly abrasive about his musical tastes and lacks any shame for any moment of it.)
Zeta-Jones - 3(One of her better performances honestly in my book, this as she does the vapid superficiality of her character effectively.)
Taylor - 3(Does desperation like few, though this is just brief rendition of it, though well done as per usual.)
Cusack - 3(I mean it is that performance she's given in every other film I've seen her in that isn't Addams Family Values, but she's good nonetheless at ding that particular kind of sorta high strung manner.)
Put it in my veins regarding The Tragedy of Macbeth.
Emi Grant:
Ah Stephen Frears, who pretty much you can't quite pin down as any particular kind of filmmaker. This as I'd never think this would be the guy who would make Dirty Pretty Things 2 years later, or who had made the Hit. This is him in one of the types, he kind of has within his varied filmography, that being this kind of hang out style slightly similar to the more serious minded My Beautiful Laundrette. High Fidelity is Frears just artfully doing a romantic comedy, his actual sort of hand of direction here is largely through general competence in setting up scenes, per comedy, drama, or something in-between. There he is particularly good here in wielding tone. Overall though he's pretty "quiet" particularly where music is such a big part of the film, however it all works for the relaxed tone of the film. Often times Frears though is best the least he seems to be doing, and that is an example here, and that isn't saying he is doing much technical speaking still, however his input is invisible here relying effectively and not wasting the strong script.
Thomas:
The Athens release seems public given the next release in Greece was a DVD release. Furthermore, I'll let you guys know preemptively that Michael Shannon isn't MVP, though he is good, it is Douglas Ligon.
Dear Evan Hansen is the worst movie of 2021 by a landslide. Not much else needs to be said about it aside from everything i mention in my Letterboxd review.
Here it is: https://boxd.it/29XSqd
As for my ratings for the cast:
Dear Evan Hansen:
Ben Platt - 2
Kaityln Dever - 2
Amandla Stenberg - 2
Colton Ryan - 1
Nik Dodani - 1.5
Danny Pino - 2
Julianne Moore - 2
Amy Adams - 2
Matthew: Can’t fucking wait for my next day off. Gonna sneak my old buddy Jacky Daniels into the theater with me.
1. Lee
2. Cusack
3. Sol
4. Lavant
5. Connery
Shaggy: Once again, you can't change predictions after the first review.
Louis: Your top 10 actors that are the best at doing internalized turns and top 10 actors at externalized turns.
Matthew: That sounds so amazingly bad. I almost want to see it for myself.
I'll have to find someone else to pay for it for me, though.
Anonymous: In regards to the Mario movie casting, I'd agree with Matt that Chris Pratt is the only decision I really don't like and am fine enough with the others. As a huge Mario fan, though, I'll admit that I don't have much faith in it being particularly good.
Pratt as Mario... such an uninspired and generic casting choice.
My review of The Long Goodbye is out now for those who want to read that.
Also, I thought Pratt as Mario was a joke when I first heard it.
Honestly, no matter what the response was going to be for Macbeth, I've always pencilled in Washington for a nom. It's been shown he can get in with just about any genre/style of film.
Calvin: I find Denzel to be pretty underrated on this blog. He is very easily a 5 for me for Malcolm X, Hurricane and Glory... Regardless, at least it's great that Denzel's reputation somewhat has grown over the years on this blog with finally getting a 5 and few 4s. But personally, I still don't like how the tendencies, that Denzel gets criticized for going too broad, somehow NEVER get addressed regarding Leonardo DiCaprio in so many of his performances. Like he has literally 5 or 4.5 for such consistently overcompensated performances even though DiCaprio is FAR worse when he goes broad. I at least find Denzel going a little broad genuinely very very compelling and entertaining. There's genuine passion, nuance and power in Denzel's work and monologues even when he gets broad.
Unknown: he's an easy 5 for all of those for me too, and I agree that Denzel is a superior actor to DiCaprio especially when going big.
8000's:
I mean, a one of the signs of a great actor is that they can do both, and wouldn't be any different from my most recent favorite actors list.
Unknown & Calvin:
Uhh, DiCaprio is at his best when going broad, comedically, so...not sure I can agree there. I would say though in terms of being just heightened emotional turns though typically Washington is indeed more consistently confident there, and for the record I most certainly have criticized that type of acting in DiCaprio in Shutter Island, Gangs of New York, and Romeo + Juliet.
Louis: Firstly I hope you don't misunderstand me as if I am being aggressive with you to taunt your opinions. I am simply writing to disagree with some of your takes respectfully. So DiCaprio going FULL NUTS and over the top without any subtlety in comedic performances warrants him a 5?? While Denzel's far stronger dramatic performances don't?? That's where I have a problem. By the way, aside from comedic performances, you also have given DiCaprio 5s for both The Departed and The Revenant(something I personally won't even give 3) while 4.5s for The Aviator and Blood Diamond. A higher rating than Denzel's work in Malcolm X and The Hurricane. In fact, a higher rating than pretty much every Denzel performance here besides Fences.
Unknown:
Obviously yes, that is the case for me, and on that point a great comic performance is just as worthy praise as a great dramatic turn. In fact performers frequently say comedy is harder to pull off. For me actually, what typically has always held back Washington's performance is something within the direction of his films, as I've noted in certain reviews of his, as he typically doesn't work with great directors, so in turn I'm excited to see what he does this year, with a great director(Joel Coen).
Louis: I somewhat agree and disagree with you. First my disagreement is that while comedy is indeed very hard to pull, it's mostly when it's a performance like Kevin Kline's nuanced work in A Fish Called Wanda, or Murray in Groundhog Day, not hammy and overcompensated work like DiCaprio's which stems from his usual overacting... As for Denzel, I agree with you on direction flaws, many of his acclaimed films have but they never affected his work that much in my opinion. But apologies, I still don't personally hold DiCaprio's attention seeking, unnecessarily intense, "give me fucking Oscars that my big ass spoiled and naive fandom since Titanic has convinced me into thinking that I deserve like 10 of them" performances in high regards over Denzel's while intense, passionate and immensely powerful work. Regardless, I am hoping to see Denzel being featured here with a 5 stars again for The Tragedy Of Macbeth. Hopefully you don't take offense, I highly respect your blog and most of your opinions and intelligently made reviews and analyses even if I disagree sometimes.
Unknown: A little harsh there LOL, but if it makes you feel better, I am not a fan of DiCaprio's heavy dramatic turns either, nor do I find him always pleasant to watch, HOWEVER, I feel he is genuinely great in Django Unchained, TWOWS and OUATIH. DiCaprio's performances in the latter two are nuanced in my opinion and not as completely over the top as you are implying. While over the top in TWOWS, he is still able to suggest so much more as well... So While I love Denzel more, DiCaprio's not bad although I understand where you are coming from. Considering how overhyped DiCaprio can get, the frustration of that can make it difficult to see a certain level of greatness in some of his actually great work.
Sean: Although, I personally don't see the "nuance" you are talking about. Certain of my frustrations regarding DiCaprio do erupt from how overrated I find him to be. A far less attractive actor with far less attractive history (Titanic and the pathetic hype DiCaprio carries since) with similar acting style as DiCaprio would NEVER get 10% of the praise, that DiCaprio gets for his mediocre Oscar bait showboating and "intense" performances.
DiCaprio is overrated but I do think he's genuinely great in comedies. My main issues with Leo are he simply (in my opinion) is not suited to those intense roles that he craves to undertake like his idols such as De Niro. I blame Scorsese for his casting though plus there's no real subtext to DiCaprio's performances or ambiguity which isn't really his strength anyway. Plus, it would be good to see him in a part where he's not centre of attention all the time. A lot of films he's in do seem manufactured in a way to provide him with ample opportunity to ACT.
Guys, I wanna know if there is there any Philip Seymour Hoffman performance, that is your overall winner for a particular year?? A question that has been intriguing me for a while now. Personally, he is my overall choice for 2007 lead for Before The Devil Knows You're Dead right now. Even though I gotta admit that top 3 for 2007 are just transcendent and to choose an undisputed favorite is a really really hard decision for me to make.
He’s not my win for any year but he comes close for quite a few.
Louis: good point about the broad/comedy distinction.
Louis: Yeah, I remember Mitchum being in that recently updated list of your favorite actors. Do you still believe he is underestimated by a lot of people like he used to be during his lifetime? A lot of the criticisms that he got was that he didn't care about giving a good performance. I mean, he was a very subtle actor.
Is anyone watching The Many Saints Of Newark this week. I've heard really good things about Nivola.
Sean: He’s my 2007 win too.
Michael: Glad to share the same love for that performance.
8000's:
I don't know if he's so much anymore, at least compared to anyone of period that isn't named Marlon Brando, who is slightly after Mitchum in a way. This as Lancaster and Douglas also aren't always given the credit they deserve acting wise these days as well, they're are more often brought up as a great stars instead. Mitchum didn't like to play ball with the press is seemingly why he got that reputation in the past, though the funny thing is if you listen to his interviews, like the one on Ryan's Daughter, there is obviously actually a quiet devotion he has for acting and an articulate understanding of film performances. Of course that shows through, and I'd say what he might be underestimated is really his range beyond that of the tough guy as much as he was that. This as he actually had a surprising degree of character and genre range, and his accent work actually is among the best of the period. The thing is, he always made it look easy, like his Massachusetts accent in Friends of Eddie Coyle, which actually is an accent that trips most up, yet he pulls it off without making any sort of fuss over it.
Luke:
I'll be watching it next weekend.
Louis: I love this story how Hawks told Mitchum during filming of El Dorado how he actually worked hard despite pretending that he didn't give a damn.
What roles do you think Hilary Swank would be good for?
Has anyone here seen the remake of The Guilty already?? If so, I am honestly interested in knowing what you all think about Gyllenhaal's performance in that. From the reviews, it seems like the movie is meh(as expected) and I don't think Gyllenhaal is getting more than 4 by any means. Would be lucky to get even a 4. I am seriously getting very very irritated by Gyllenhaal now!! Why he is not looking for better projects or better directors to work with is beyond me!! I was hoping that this would be a good comeback until I read the name Antoine Fuqua, and I knew that the things were fucked. AND TO MAKE MATTERS WORSE, HE IS COLLABORATING WITH MICHAEL BAY NEXT FFS!!
Sean: OK, let's look at this "choose better projects" thing. If someone came to him and said "Jake, I've got a new movie for you. You'll be the only person on screen the entire time. What do you think?" Why WOULDN'T he say yes to that?
The Eyes of Tammy Faye suffers from seemingly having nothing to say in its, I guess, character study. It never dives deep enough as such, nor is it funny or biting enough as a satire of televangelists. It seems kind of timid the whole time and never pushes itself to do more than doing a "then this happens" Wikipedia article adaptation. Having said that, I really liked Jessica Chastain in it, the most I have perhaps since her breakout.
Dear Evan Hansen...has more problems than its central casting, but I don't think I've ever gotten more unintentional laughs from casting than in this film. Well other than proving my point about Armie Bloodsucker Hammer in Call Me By Your Name, where early 20's can be very different from late 20's for some people. This as even comparing it to Platt's Tony performance, though stage is different anyways, there's a world of difference as he's someone who just has aged in that time, where yes someone like Tom Holland more likely could've pulled the part off despite only a 2 years age difference. It is all about maintaining that degree of "baby face". The reason being is the part doesn't just call for a teenager, it calls for a distinct kind of teenage energy and awkwardness that only works if the person looks like a teenager, if the person looks like an adult acting like an awkward teen, it becomes hilarious...which is the case here.
Anonymous:
None, she can be better, but really she's just extremely limited. Her first Oscar win just happened to fit right into the limit. The rest, of her work though is some variation between really bad when she goes broad and some level of awkwardness when she plays it straight.
Louis: Your thoughts on the staged rescue attempt from The Perfect Dictatorship.
Also, can you try and check out Herod’s Law during this round? IMDB says it had its first theatrical release in 2000.
Louis: I keep comparing Platt to Todd from Community, but based on this clip, how close is his actual performance to Todd? (This is from the show’s excellent Law and Order parody) https://youtu.be/MPuisvE3_Ug
Also, ratings and thoughts yada yada
Matt: Not going against your point or anything, but Gyllenhaal was the one who acquired the rights to remake the original, so he was the one who created the opportunity for himself. Again, I'll wait to see the film, I doubt he tops Cedergren but we'll see.
Apparently the film plays out in similar beats to the original so I really, really hope it won't dissuade people from checking out the 2018 film.
Also very looking forward to your Evan Hansen thoughts...unless you're saving anyone from the cast (ha).
Also, glad to hear Chastain is good at the very least.
Louis: Ratings and thoughts on both casts.
Luke, who do you think could get fives in both Lead and Supporting Actor this year.
Glenn: I'll start off with Lead.
Lead Actor:
Likely/Very Likely:
Benedict Cumberbatch in The Power Of The Dog
Denzel Washington in The Tragedy Of Macbeth
Joaquin Phoenix in C'mon C'mon
Dev Patel in The Green Knight
Bo Burnham in Inside (The sheer enthusiasm the majority have for the film plus coming off of Promising Young Woman does give him a really good chance)
Maybe:
Bradley Cooper in Nightmare Alley (Waiting for the reviews)
Clifton Collins Jr. in Jockey (If it does get a release date by the end of the year, don't sleep on him guys because I've heard nothing but raves and I'll predict him for the alternate lineup)
Andrew Garfield in Tick, Tick... Boom!
Simon Rex in Red Rocket
Outside:
Alessandro Nivola in The Many Saints Of Newark
Amir Jadidi in A Hero
No idea:
Will Smith in King Richard (Waiting for Louis' view on it first)
Longshot:
Leonardo DiCaprio in Don't Look Up (The style/genre of the film suits him but McKay is a massive no-no for anyone who tries to give a great performance)
Supporting Actor:
Jason Isaacs and Reed Birney in Mass
Richard Jenkins in The Humans
Bradley Cooper in Licorice Pizza (PTA can get great performances from anyone)
Willem Dafoe in Nightmare Alley
Outside of those five, Tony Leung in Shang-Chi, Benicio Del Toro in The French Dispatch, Reilly/Walken in Licorice Pizza, Delroy Lindo in The Harder They Fall and Adam Driver in The Last Duel (Comer has had more of the plaudits but here's hoping).
Luke: I don't know about Dafoe. His character was a small role in both the book and original movie.
Anonymous: I can see Dafoe making a major impact even with only 10-15 minutes of screen time and it seems to me from the trailer that his role has been extended to some degree.
I'd like to very strongly second Bryan's suggestion for Herod's Law. Out of the three Estrada films I've watched, I think that one might be his best one.
Bryan:
An excellent scene in showing the over the top narrative as displayed by the media in portraying it as some specific way that creates the right level of phoniness of it all.
I'll definitely watch it given I liked both of Estrada's other films.
Robert:
I'm kind of eerily close at times, particularly in that clip where Todd gets emotional.
Platt - 2(Well he certainly is earnest in the role, but maybe that is part of the problem. When he gets emotional, which Platt puts it all on the line to be sure, he becomes comical in seeing this adult in teenage clothes. Of course this is made worse that the film's direction kind of intensifies rather than deflects the sort of Tom Ripley vibes the plot has naturally, which I think more than anything the direction needed to find a way to make that seem less sinister. When you have Platt already pretending to be a teenager, pretending to being the good friend makes him seem more and more this grotesque kind of pretender. From this I actually don't think he is at all untalented, but if he wanted to be in the film, maybe find a new part there, I think the musical needed some reworking to work on film anyways. Maybe he could've been the psychiatrist we never see? Anyways, as is we get Platt trying his best and in turn being this hilarious misguided portrayal of a man child to make everyone believe he is really this teen.)
Adams - 2(Man, I think she needs to get away from something overly earnest at least for a bit, as this just isn't working out right now. Her performance here just is her worst tendencies here on display, in just creating this odd artifice in a manner, in a part that is supposed to be a little bit of that, but there should be something genuine, though that is never found.)
Moore - 2.5(Feels her part was cut down, which from reading about the film, that sounds like it was the case. I actually didn't mind her, but again Platt's miscasting strikes again, as they just never are believable together as mother and teenage son that is. This to the point where he goes in to kiss her at some point, it came off as the wrong kind of kiss so to speak. On her own terms, she tries, but can't overcome the weaknesses of the film.)
Dever - 3(First of all, she still pulls off the teenage look, and was appropriately cast. Although everyone is struggling with Chbosky's misguided direction, I did feel she kept herself above water for the most part to at least deliver something decent even within the film.)
Stenberg - 2.5(Like Dever also can still pull off the high school look, but Stenberg I found here a little dull unfortunately. It doesn't help that her added material, while promising on its own, again becomes mixed just by execution.)
Dodani - 2(Don't know what film he was in, but it was far more comedic, not that his version of the film works either.)
Pino - 2(Basically the same as Adams.)
Ryan - 2(Microcosm version of Platt's performance unfortunately, as he too sticks out like a sore thumb, and again, why they have the parts that most needed a teenage energy look the most adult, I'm not sure.)
Luke:
Chastain - 4.5(Although she's working with a not great script, I was impressed by her transformation here that is entirely consistent and believable. This is to the point, as extreme as her voice and mannerisms are, I found that I just completely accepted them shortly within the performance, and found she just was captivating in creating the sense of the woman. Now dealing with her emotional journey there are limitations within the script, however Chastain does everything she can to articulate what there is. This in portraying the joy in trying to help others with all this really heartwarming energy about it to every point. This again the quiet sense of frustration and anxiety in the overall world that she becomes part of.It is a performance that I found consistently compelling in itself, even as the film didn't do enough with it, she's good enough to make up for some it.)
Garfield - 3.5(I actually think his work here is effective in portraying this sort of phony earnest and a man constantly on the verge of some kind of break to something else. The character though is so limited by perspective there is only so much Garfield can do with this. This as the embezzlement angle, his homosexual leanings, and so forth, are at such a distance, that Garfield really can't mine any depth from it.)
D'Onofrio - 1.5(Not sure why he's doing his Kingpin voice here, but he's just ridiculous here. Not in the way as intended either I would say.)
Louis: I don't know if you want to keep the Garfield comments on ATM, since if he gets placed in supporting, I wouldn't rule out a nomination just yet especially if Chastain becomes a frontrunner.
The best part of Dear Evan Hansen (on stage) was always the music, it sucks the movie didn't even seem to recapture that. Then again, would've been a challenge for most filmmakers to make the plot more...less problematic in conception.
Louis: Your thoughts on 'Waving through a Window' from the original Broadway recording?
Seems like all the praise the film is getting in general is being directed towards Chastain, and less so the film itself/Garfield. Outside of Chastain, I reckon it’s only going to get a Makeup/Hairstyling nod.
I’d go lower for Garfield myself, I never felt like he found his footing with the role. I was also pleasantly surprised by Chastain though, the trailer made it seem like she might be a disaster but I found her performance totally honest all the way through.
Luke, who do you think could get fives in both Lead and Supporting Actress this year.
Shaggy: He already gave his answers for Lead.
I can't remember if I did but I'll give an update tomorrow.
Anonymous: I asked about the ACTRESSES
Shaggy: Oops sorry.
I wonder what the reviews will be like for No Time to Die? I really could see it being brilliant or a disaster.
RatedRStar:
Well, a WHOLE lot of contenders would need to fall by the wayside for me to envision Garfield as a possible nominee, even if I feel Chastain will definitely be contending. I don't think the film will have any muster besides her and the makeup/hair-styling (which could win that category).
Tahmeed:
Yeah, I think it would have needed probably a tonal rearrangement, and not be portrayed a direct serious high school movie that we got. Which in turn also prevented even a hint of the pageantry you'd expect from a musical (Chbosky's most frequent "technique" to bring energy to the songs visually is to quick cut to nothing).
I do like Waving Through a Window, the Broadway version is superior as well, is a good passionate ballad to be sure on its own terms and there is an inherent emotion within it.
Louis: Your thoughts on these two Ted Lasso scenes?
https://youtu.be/3ytFB_w3BLk
https://youtu.be/emGzPmmMA3o
Louis: Your thoughts on Ziegler's editing and Burks' cinematography in Strangers on a Train.
I actually am curious about Gyllenhaal's performance in The Guilty remake, since he's been iffy lately when he uses his intensity in an externalized way.
Maybe going for a more internalized approach this time around could result in something better.
We'll see in regards to Gyllenhaal, but he looked very standard in the trailer.
Louis: your Cast, Writer and Director for The Boondock Saints if it were even remotely good? (keeping in the late 90s/early 2000s)
Why do you think Olivia de Havilland and especially her sister's film careers faded in comparison to some of their peers at their prime( Bette Davis, Ingrid Bergman, Katharine Hepburn)?
Regarding that The Guilty remake, I just can't see Gyllenhaal topping Cedergren, not to mention that a remake is so unnecessary.
8000s: I mean, no one can see Gyllenhaal topping Cedergren either. Cedergren was other worldly giving an excellent performance, while Gyllenhaal was kind of made to look too basic in trailer and to certain extent, he probably is in the movie. Doesn't help that he is working with Fuqua. I am just expecting a good performance at best. It seems like his passion to work with better directors in more complex movies, has been lost since Nightcrawler. Shame.
Louis: Thoughts on the Licorice Pizza trailer (unless you're avoiding trailers for this one)?
The Licorice Pizza trailer’s vibe feels a lot closer to Boogie Nights than anything else PTA’s done, and I am more than fine with that.
Luke: (again) who do you think could get fives in both Lead and Supporting Actress 2021.
Shaggy:
Leading Actress:
Likely:
Kristen Stewart in Spencer
Lady Gaga in House Of Gucci
Maybe:
Olivia Colman in The Lost Daughter
Tessa Thompson in Passing
Penelope Cruz in Parallel Mothers
Jodie Comer in The Last Duel
Virginie Efira in Benedetta
Supporting Actress:
Ann Dowd in Mass
Cate Blanchett in Nightmare Alley
Kirsten Dunst in The Power Of The Dog
Frances McDormand in The Tragedy Of Macbeth
Ruth Negga in Passing (Not sure if she and Thompson are Co-Leads)
Outside of that, Rebecca Ferguson in Dune, Toni Collette in Nightmare Alley, Jayne Houdyshell in The Humans, Kathryn Hunter in The Tragedy Of Macbeth (Been getting really strong notices) and Anya Taylor-Joy in Last Night In Soho.
Tahmeed:
Well perhaps I should get around to it, as I certainly enjoyed the whole set up, of the "prickish" strategy breakdown across the board, including the calmer mediation though between the two.
8000's:
The editing is one of Hitchcock's tautest in terms of just ratcheting tension both in terms of creating the moments of overt tension, like the whole murder sequence which is just brilliant work altogether. Even though in the conversations between the strangers though the editing crafts the tension of the situation, or take the party scene Bruno crashes that is all about key reactions and moments. Just fantastic work and some of the best editing associated with Hitchcock, right down to the building climax which is excellent work in cross cutting to build towards the push together for the final end.
Burks deserves the win just via the murder shot alone, which is just fascinating in every respect of that unique composition that obscures while also amplifying the violence of the moment. The work is incredibly slick but also stylish here. This in the creativity of the compositions that so amplify Bruno as this constant unwelcome party, through the accentuation of his shoes, to just him in the corner of the frame in the stalking scene, or him framed right in the middle as the one man who doesn't follow the tennis game. The framing and composition is just stellar. This with the light that is slight and precise, but also emphasizing the dynamic sinister edge of the film. Just altogether amazing work.
Tim:
Well part of what makes the film terrible is the whole conceit and the stupid characters.
Anonymous:
Well I would argue that is only to a degree of relativity. This as Bergman, Hepburn and Davis didn't have THAT many films of note past that point the sisters' career faded. I think really it came down to prominence/the amount of good roles for women of a certain age. Similar to really Streep getting most of the good roles for women her age, leaving many of her contemporaries with less, you could argue that the roles Hepburn, Davis and Bergman got were basically the only ones available for the most part.
Aidan:
As much as I didn't need to in terms of getting me to watch the film, I will always watch the first PTA trailer, just because they are art in themselves, and again that is the case, as frankly I think you could submit this trailer alone for best short film. I loved everything about it, and liked the look of everyone in this trailer (Sean Penn included), and Hoffman the younger looks most promising. I will concur with Michael that it looks Boogie Nightsesque, which I don't know if that will be the case, but I'm up for any kind of Anderson whether it be a return to early period Anderson, or it is in fact later Anderson, or maybe merging of the Anderson. Anything he does on film I've approved of so far, so just give it to me!
Louis thoughts on this clip.
https://www.youtube.com/watch?v=Op_v2PHDn-0
So I just saw The Guilty. 95% o go it is the exact same as the original, apart from one change toward the end that I definitely took issue with (obviously I won’t spoil what it is). Gyllenhaal doesn’t top Cedergren but I’d still call him good, I’d have to think a bit more before ranking him though.
Anonymous:
The opposite of Licorice Pizza, in fact that might one of the most obnoxious clips I've seen. I mean really bad, I mean I just can't stand anything of it all. The acting, the editing, the music, the tone, the dialogue, the smugness, the shaky cam, the DiCaprio beard, I can't abide a second of it.
Well there goes any chance of DiCaprio doing well. I predict a massive uproar on the blog if Phoenix falls victim to him come February.
Luke:
I mean I'll keep an open mind, who knows the rest of the film could be amazing, this is just one out of context clip...not bloody likely.
Every day I am thankful McKay isn't involved with Succession for the most part.
I actually think DiCaprio looks fine in that clip. Hill and Streep on the other hand...yikes!
Anyone else hyped to see Benny Safdie in Licorice Pizza?
Well, ripped off the band-aid and saw Dear Evan Hansen. I have a lot of thoughts on it, not all of them just glib dismissals. It's bad, though in ways that need to be dissected. Platt alone will take up paragraphs (I honestly wish Louis saved him for a review, it's too interesting of a bad performance to leave to abbreviated thoughts). I plan on writing a full review soon.
One thing I will say is that I would have gone higher than Louis on Dever. For me she rose WELL above what was required and the material itself. Biggest gap between good performance/bad movie I've seen in quite some time.
Louis: Your thoughts on Olivier's rendition of the "Now is the winter of our discontent" monologue. I always love how whenever he wants to be intimate, he moves close to the camera, and rhetorical when he's away from it.
Louis: Also, when you get to 1945, put Karloff in Supporting since he is not really the lead in The Body Snatcher. Even still, he's the best part of the film and I only wish he was more in it.
The trailers for Don’t Look Up, Licorice Pizza and Nightmare Alley reminded me of a fact: 2021 was the year DiCaprio made the wrong choice to choose Adam McKay over working with Paul Thomas Anderson or Guillermo del Toro; lucky for Bradley Cooper.
Louis: Thoughts on Last Resort and the cast.
Louis: Thoughts on The Harder They Fall trailer.
Luke: He already gave his thoughts on the trailer that came out 3 months ago.
Anonymous: Nevermind, I had forgotten about it.
So, I just started reading Shakespeare's Hamlet, and I love it. Kurosawa's Ran, which is adapted from King Lear, has always been one of my favorite films, so I expected that reading Hamlet would be pretty great, but I could never have expected that I'd love it so much. I have just started watching Branagh's film adaptation of Hamlet, which I really love. I think I just realized that I have entered my Shakespeare fase. So I'm gonna ask, can anyone recommend me some Shakespeare films?
HTT: Ian McKellen's Richard III.
R.I.P. Jon Gregory and Melissa Yandell Smith
Calvin:
I'll admit part of my concern comes from the combination of that scene and the trailer, where it seems his character is going to be a one note flustered anxiety. Agreed regarding the other two, and again maybe in context it works, but seems like the scene could maybe work if that reaction to DiCaprio's news was played absolutely straight, then it could actually be funny being so seriously playing the absurdity rather just hamming it up to no end.
Anonymous:
Looking forward to every performance in that film.
Robert:
We'll we're agreed that she's the best part, and I could higher actually, given that she manages to maintain her dignity even in her romantic scenes with Platt, which is impressive.
8000's:
As far as I can tell in his version of the speech, he made the original villain who makes the audience a co-conspirator, that is in his speech, Olivier invites you into it, he's not just recounting his thoughts to the world, he's letting you specifically in on his treacherous nature.
Razor:
Even though it ended up being 2001, save it for the results.
Htt:
Chimes At Midnight
Olivier's Henry V & Richard III
All Kurosawa adaptations
McKellen's Richard III
Branagh's Much Ado About Nothing and Henry V
53's Julius Caesar
Kozintsev's Hamlet
Dieterle's A Midsummer Night's Dream
Zeffirelli's Romeo & Juliet & The Taming of the Shrew
To name a few.
Louis: Mustn't forget about Branagh's version of Hamlet. :)
Luke:
Well HTT said he was currently watching that one.
My review of La Haine is out now!
Also, done with Branagh's Hamlet, really loved it. It's my first time I have ever experienced Hamlet, and I really do think Shakespeare's play is the greatest thing ever written. The film it self had some minor flaws, but the writing was flawless. Gonna be checking out more Shakespeare without any doubt.
Louis: What are your thoughts on Charles Lang's Oscar-nominated work in The Uninvited and The Ghost and Mrs. Muir?
Strange to use this term in association with him, but I think Olivier's skill as a film director is actually somewhat underrated.
Looks like No Time To Die has a 92% based on 24 reviews on Rotten Tomatoes. Looks like we have another winner here, people.
Matthew Montada:
Casino Royale-Great
Quantum of Solace-Bad
Skyfall-Great
Spectre-Ehhhh
The math checks out.
Louis: Your cast and director for a Karl Marx biopic?
Luke: for actress, don’t forget Renate Reinsve in The Worst Person in the World and Anamaria Vartolomei for Happening as strong possibilities for 5’s.
Calvin: I'll keep that in mind.
Apparently this maybe Craig's strongest turn in the role since Casino Royale.
So Craig is the first bond since Lazenby to bow out on a great film.
Louis, what are your thoughts on Hank Azaria as an actor and how do you think he would've fared as Andy Kaufman in Man On The Moon?
8000's:
"Ghost" is terrific moody work from him, as he shoots the film like a horror film, even though it is in fact a charming romance. It shoots though Harrison's character as the specter he is with the emphasis on the lighting and the composition of shots of him leaning in. Wonderful work as it grants a certain seriousness to visuals that suite the nature of the character, while not subverting the tone of the film.
The Uninvited is simply fantastic work. This again with lighting that alone gives the film such a striking mod and a real sense of horror just from that alone. This though with notable composition of shots, where Lang kind of almost pulls off a wider shot than you are typically custom to in the academy ratio. He does it marvelously, and again, creates a sense of space and through that the idea of kind of a living presence of the house.
Anonymous:
Christoph Waltz directed by Terry Gilliam.
Ytrewq:
I think he's a great voice actor, does some fantastic mix of voices to be sure, all distinct and unique. As a live action actor, I think he's largely terrible. This in that his voice is pretty much his emphasis there and the rest of his acting is HAM with all three capitals needed. This is often whether or not the part calls for it, and even when you might argue it does, he still over does it in my view. Occasionally his ridiculousness works for a part (Dodgeball Cameo) or he does tone it down, Shattered Glass is fine if unsubstantial work. For the most part though, he's just WAY too much. I don't really see him pulling off a leading turn as Andy Kaufman, from what I've seen, this as Carrey, as big as he can be, knows when to modulate, can't say the same for Azaria.
Azaria is great in Ray Donovan, for the record. He’s maybe one of the more broader performances (especially later on) but definitely not too broad for the tone of the series.
Your top 10 child actors/actresses( in terms of output when they were children)?
Louis: Your thoughts on the following scenes from The Dark Knight
The opening heist
"Why so serious?"
The attack on the police convoy
Game of chicken
The ending
Louis: Your thoughts on Asa Butterfield as a performer?
Louis: Thoughts on the trailer for Wolf.
your thoughts on the Editing for each 3 of the PotC trilogy?
Anonymous:
1. Jacob Tremblay
2. Haley Joel Osment
3. Tatum O'Neal
4. Pamela Franklin
5. Ana Torrent
6. Tye Sheridan
7. Saoirse Ronan
8. River Phoenix
9. Martin Stephens
10. Christina Ricci
Left off actors I've only seen one child performance from.
Bryan:
The Opening Heist really is how you open a film. And such a brilliant and captivating way to introduce a villain. This as you get to know everything you need to know about the Joker throughout the scene, with great physical acting from Ledger even before the amazing reveal of his full introduction. This though with just a genuinely captivating heist sequence shown throughout, particularly with the Joker added ingredient of the crooks killing each other. I also love, and perhaps is an underrated feature of the film, the overly crookish sounding crook who almost gets the best of the Joker.
Why So Serious I think is the scene where we get entirely that Ledger isn't fooling around in terms of the level darkness of his character, and also with Nolan is going. A bloodless though entirely disturbing scene thanks to Ledger's aggressively lurid delivery, and captivating manner in the way he variate from his scariest in the titular delivery there, and then though his more casual final one that he denotes before actually going in for the kill. This though with that extra moment that is pure Joker of the joke of "try outs".
Attack on the police convoy is just a great action scene, and the only flaw of it I'd say is that it is much better than then the final skyscraper scene in terms of the action. This as we get such fantastic use of the batmobile at first, then later the batpod. This though with also just great Joker moments, from his brutal first kill in the scene, but then just everything he does with his Circus truck of terrors. This particularly with a very minor, but perfect thing, which is Ledger's reaction to shooting the bazooka, which actually is something that completely sold me on him from the first trailer.
Game of Chicken is again great in the level of intensity there, particularly through Ledger's performance where we see the derangement in that final "Hit me" where he wholly wants him to do it, and the disappointment in his face basically when he wins the game, almost having hoped to have been killed.
The ending is probably the only thing tarnished by Rises in my mind, just because they so bungle that plot point, both by having Batman retire after the moment, but also having it get so swiftly revealed in such a dumb way (I mean how long was Gordon holding onto that speech?). Having said that it really is a triumphant ending in the film itself in thematically creating the idea of the purpose of Batman in this universe particularly through Oldman's delivery and that great final shot.
Marcus:
Not much really, I think he's fine in Hugo. Everything else I've seen him, I've found him to be very stiff if not entirely awkward as a performance. This as someone who always seems to be struggling just to come off as a natural. Of course I've only seen a few other films besides Hugo, but those films were not good signs.
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