Best Scene: Blood in the sky.
9. Lucas Black in All The Pretty Horses - Brings a moving authenticity that is bluntly missing from the rest of his film.
Best Scene: Being taken off.
8. Stephen Tobolowsky in Memento - Tobolowsky in his brief screentime finds the humanity in his odd state.
Best Scene: Insulin.
7. Sean Connery in Finding Forrester - Connery one last time brings out his actor in delivering a properly charismatic yet also troubled turn as a recluse.
Best Scene: Explaining why he is recluse.
6. Kyle MacLachlan in Hamlet - MacLaclan gives a powerful portrayal that manages to modernize the role of Claudius while also mine the greatness of the character in his traditional form.
Best Scene: Limo phone call.
5. Song Kang-ho in Joint Security Area - Song gives a brilliant portrayal of man who puts on a facade of the cold soldier, and reveals the empathetic human within.
Best Scene: The Event.
4. Joaquin Phoenix in The Yards - Phoenix proves his measure early on here in his remarkable and intense portrayal of a wannabe gangster coming to terms with himself.
Best Scene: Final scene.
3. Emilio Echevarria - Amores Perros - Echevarria gives a terrific portrayal of man struggling with empathy so naturally seguing from a broken animal lover and a callous hitman.
Best Scene: Finding the dogs.
2. Paddy Considine in A Room For Romeo Brass - Considine delivers an absolutely stunning debut turn that manages to be equally every bit of the mess of a man both terrifying yet also heartbreaking.
Best Scene: The threat.
1. Malcolm McDowell in Gangster No.1 - Good predictions Razor, Ytrewq, Shaggy (X2), and Brazinterma. McDowell delivers a proper ferocious portrayal of a vicious gangster, yet is also oddly heartbreaking in his portrayal of a man realizing the meaningless of his life.
Best Scene: "Number one"
Next: 1955 Lead
85 comments:
Note: I'm returning Irons's review to a draft until I make enough posts to get it off the main page.
Louis: Could you add the Hamlet cast to the overall.
Thoughts on the casts of Last Resort and Devils On The Doorstep.
Your thoughts on the rest of the lead performances you've seen.
Updated Female rankings.
Thoughts on the rest of the Supporting performances with a 3.5 or higher.
Since the next year is 1955 and not from 00s decade, Louis, can I have your updated top 10/20 male lead performances of 2000s??
Henrik Malberg - Ordet
Subir Banerjee - Pather Panchali
Orson Welles - Mr. Arkadin
Jean Gabin - French Cancan
Masayuki Mori - Floating Clouds
Happy to see McDowell still at the top.
As for request, I'll go with Mike Myers in 54 for 1998 supporting lineup.
Eh, I don't think I actually won this prediction Louis.
I'm like 90% sure Considine wins for Dead Man's Shoes now.
Nutan in Seema is worth watching for best actress 1955
It's free on youtube
Anonymous: I think so too. He's even better there.
Luke: Your win for 2004?? And your lineup as well...
Sean: Yes. My five are:
Considine
Ganz
Cruise
Mikkelsen
Murray
Since Considine is your win for 2004, is Cruise a win for you for any other year?? Who's your 1999 supporting actor win??
Sean: Robert Carlyle
Cruise is my #2 for 99.
Louis: If McDowell was to ever go into Lead, would he be 1st or 2nd.
Louis: Your thoughts on Snatch as a film, plus ratings & thoughts for the cast.
Also, your updated top ten Joaquin Phoenix performances.
Luke: I don't think anyone is beating Guy Pearce.
Louis, what are Malcolm McDowell’s top 5 performances in your opinion?
I'm not terribly familar with 55' as a film year, so I'll be at a bit of a disadvantage for the next line up.
Also, I do find it funny (in a morbid way, obviously, since I wouldn't wish the following to occur) how Iron's film was apparently so bad it almost threatened to glitch out the blog.
Also, seperate question for everyone: In terms of live action DC film castings, who would you pick to play Raven and Reverse Flash?
For the former, you would need someone who could sell the depression and inner torment of being the literal spawn of satan. For the latter, you would need someone who could be the world's cruelest fanboy with the dumbest possible name - seriously writers, EOBARD THAWNE is the best you could come up with?
Just saw Spencer, which is probably my best picture win right now. It’s also a horror movie and no one involved is even pretending it’s not. My god, does Pablo Larrain deserve more love than he gets.
Eh, I got nothing for 55 either.
Louis: While I know that you wanted Ryan to play the other villains in the other Mann/Stewart, what do you think of Richard Widmark for the Kennedy roles? Also, maybe John Carradine for the McIntire role in The Far Country?
Michael: your ratings for the cast?
*Mann/Stewart westerns
Louis: Have you seen (or intend to see) Bloodline for Ben Mendelsohn's Emmy-winning performance?
Matthew:
Stewart-5
Hawkins-3.5
Spall-4
Also quite enjoyed the child actors but I’m not sure there was enough of them for a proper rating.
Louis, please review Dilip Kumar for his performance in Devdas. It is one of the most acclaimed performances of all time in Indian cinema
Louis: Rating and thoughts on Renée Zellweger in Nurse Betty.
Louis: Are there any saves that you're willing to get rid of. I don't really see why Isaac in The Card Counter is being kept at this point.
Henrik Malberg - Ordet
Masayuki Mori - Floating Clouds
Jean Servais - Rififi
Broderick Crawford - The Swindlers
Danny Kaye - The Court Jester
Luke:
Considine - 4(Brings a nice likable energy here and thought not as impressive as his first film performance, shows his natural range here. This in just bringing the right naturalism and just a general low key charm. Bringing this right kind of eagerness to show an honestly good man in a moving low key way.)
Korzun - 4.5(A moving performance to be sure in showing the different shades of the character as she goes through her situation. This in creating the right sense of inherent desperation within the character, though as much also this certain underlying sense persistence even in her difficult situation. It is a moving portrayal of creating this kind of broken state but never overplaying it. Showing really her potential for something even while also showing what seems to be her particular failures as well.)
Jiang - (Anyone watch this yet...no? Come on guys, this one is worth it. Anyway Jiang delivers a likable central lead as this sort of average guy performance that is just right for the material. This in bringing the right low key comedic energy, while also bringing the right inherent moving humanity. What moves his performance up a bit more though are in his final scenes though in showing so naturally this embodiment of dealing with the madness of the way the world will just move on when it really probably should not.)
Kagawa - (A good performance that begins with the expected bluster of the enemy soldier with some hilarious scenes that play off that by utilizing purposeful miss translations. This though also creating a natural sense of the slow changes that are possible within the character through the various treatments they receive. This though in balancing it all in such a moving way in creating the right sort of natural regressions as well. His final moments are particularly well performed in this regard in creating a sense where the character has come but also where he hasn't.)
Ding - (A wonderful performance that's whole point is as a facilitator who though is also always trying to play things towards his particular way. An effective realization in his work that is largely comical, and effectively so.)
Sawada - (Terrific in portraying the unpredictable nature of the specific code of the Japanese Bushido as devised in world war II. This with this sense of tension at all times, but also just creating that sense of extremism making it so you can never be sure what it is that he is going to do.)
Darin & Pauls - 4/3.5(The film itself I think has a great first act, the other acts are decent but I'll admit I liked seeing the two plying their trade more than anything. This as they managed a certain unique chemistry where there is this sense of camaraderie but also competitiveness. Both effective though in showing their own ways off pulling off their cons though in different ways. Daring being particularly good in showing the man basically unable to exist without the con in a way.)
De Pauw - 3.5(A fine performance in showing the sort of over eagerness of a father, though also the sloppiness of his choices throughout.)
Polivka/Kassai - 3.5/3(This film didn't quite work for me as it always felt too distant and not captivating enough in the distance. I think both performers give decent performances however, Polivka portraying the certain conflict decently, though not as potently as one could. Kassai portraying well enough his more basic role as this sort generalized romanticized victim.)
Vaughn - 3(The film is a slog to get through, despite some attempts at interesting images. Vaughn actually I don't think is all that bad in portraying the broken detective, though does come off as a little one note at times.)
Pitt - 3.5(I mean his accent is purposefully kind of all over the place, however his charisma actually comes across here and he makes for the most interesting part of the film as this kind id that can make or break the plan. This as the film I found most came to life in these moments though I'll admit that was limited to a degree.)
James - 3.5(Probably found his antics to be the second most interesting in the film largely because I enjoyed James's hapless energy that was properly endearing in its sloppiness throughout.)
Stoltz - 3.5(Interesting how limited his career is at times, as he certainly can hit different types of roles well. Here being wholly believable as this sort of period lead and doing particularly well in the ending as he reveals the characters more impassioned side.)
Ford - 3.5(Anyone else think in certain angles he looks just like Michael Parks, to the point I thought it was him doing a cockney accent the whole time. Anyway Ford does a fine job in portraying this sort of constant state of a greedy scummy manner with this certain imposing quality in carrying this innate immorality about him.)
Collins - 3.5(Found his little bit moving enough in portraying the guy who pushes himself to a degree more than anything only to become more crazed by the whole thing that anyone. This creating the right sympathy in this sad state of the man both when he is trying and then when he is giving up.)
Farina - 3.5(Stands out basically by being Dennis Farina, but if it works it works.)
Graham/Statham - 3.5/3(Basically serve the same purpose as the generalized lead gangster type, though Graham does it with more character here than Statham who is fairly one note, though that acceptable one note Staham style.)
Sean:
Well I always jump decades, but I won't be giving that ranking at the moment.
Bryan:
1. The Master
2. The Immigrant
3. The Yards
4. Inherent Vice
5. Her
6. Two Lovers
7. The Sisters Brothers
8. We Own the Night
9. Don't Worry He Won't Get Far on Foot
10. I'm Still Here
For me Snatch permanently tells me I just don't like Ritchie's style much, this is where I found it the most tolerable, but still found it a touch grating in its "too cool for school" manner throughout. Again I found that producer Vaughn made the better version of the same type of film Layer Cake, then all the films that take that Ritchie style. Out of the pure Ritchie films, this the best I've seen, but I more of liked bits of it then the whole product.
Anonymous:
1. A Clockwork Orange
2. Gangster No. 1
3. O Lucky Man!
4. If...
5. Superman Animated Series Metallo amnesia episode
HM to a British person from South Park.
8000's:
Definitely, as Widmark honestly could've been Kennedy's brother in terms of appearance and was just a more talented version of him in terms of presence.
Anonymous:
No.
Luke:
Isaac got nominated for the Gotham, that's not much, but he could be contention. Critics went for the film and could push him still, tough road but not impossible.
Luke:
Lead:
1. Björk - Dancer in the Dark - 5
2. Gillian Anderson - House of Mirth - 5
3. Bae Doona - Barking Dogs Never Bite - 4.5
4. Michelle Yeoh - Crouching Tiger Hidden Dragon
5. Maggie Cheung - In The Mood For Love
6. Ellen Burstyn - Requiem for a Dream - 4.5
7. Ziyi Zhang - Crouching Tiger Hidden Dragon
8. Cate Blanchett - The Gift - 4.5
9. Marie-Josee Croze - Maelstrom
10. Laura Linney - You Can Count On Me - 4.5
11. Lee Young-ae - Joint Security Area
12. Renee Zellweger - Nurse Betty - 4
13. Sanaa Lathan - Love & Basketball - 4
14. Julia Sawalha - Chicken Run
15. Monica Belluci - Malena - 3.5
16. Joan Allen - The Contender
17. Juliette Binoche - Chocolat
18. Aki Maeda - Battle Royale
Supporting:
1. Catherine Deneuve - Dancer in the Dark - 5
2. Harriet Sansom Harris - Memento
3. Marcia Gay Harden - Pollock
4. Kou Shibasaki - Battle Royale
5. Goya Toledo - Amores Perros
6. Elaine Jin - Yi Yi - 4
7. Eartha Kitt - The Emperor's New Groove - 4
8. Luminita Gheorghiu - Code Unknown
9. Iben Hjejle - High Fidelity
10. Su-Yun Ko - Yi Yi - 4
11. Jang Min-young - Foul King - 4
12. Carrie-Anne Moss - Memento
13. Tracy Ullman - Panic - 4
14. Juliette Binoche - Code Unknown
15. Holly Hunter - O Brother Where Art Thou
16. Saffron Burrows - Gangster No. 1
17. Miranda Richardson - Chicken Run
18. Jennifer Connolly - Requiem for a Dream - 3.5
19. Catherine McCormack - Shadow of the Vampire
20. Alfre Woodard - Love & Basketball
Zellweger - 4(The film is kind of a complete mess. Zellweger though I did find fairly impressive in trying to create some cohesion to the tonal and storytelling mess of a film that is the film. This in creating her innate desperation palatable but still human. The film wants to examine her in a cruel way but Zellweger always finds something honest in that. This including as she becomes a cartoon of sorts acting in a soap and stuck in a daze. She manages to pull off the act in a way that hits the ridiculous point with an actual believable quality, while also being moving still in her own way.)
Also watched Passing, which is one of those films where I wonder if a bit more ambition would have hurt it. This as the story while seeming extremely potent is handled in an extremely low key way, but to first time director Hall's credit, that is clearly in her intention. And hey it is a directorial debut, it is fairly impressive as Hall most certainly crafts a vibrant and specific atmosphere and shows a talent in being able to find the words in silence. Although I think it is fair to say the material may have been able t be mined for more than it is, it is a distinctive piece on its own, and Hall's work suggests a promising career as director if she chooses that path.
I'll save Holland.
Thompson - 4.5
Negga - 4.5
Camp - 3.5
Skarsgard - 2.5
The only reason I haven't watched Devils on the Doorstep yet is because I don't know where to find it.
Matt:
*Looks to see if it's streaming anywhere* damn it! Hate when films are hard to find properly for no discernible reason...well actually unfortunately its release history was burdened by a major obstacle.
It sounds right up my alley too.
Louis: Where would you put Korzun in the 2001 rankng.
And thoughts on the Passing cast. I think Calvin will be a bit gutted that Negga isn't a five.
Matt (and everyone):
https://ok.ru/video/934042274502
Bryan: I knew that site would come in handy.
Luke:
Thompson & Negga - (Considering the latter I actually thought she had a lot less to do than I was expecting in terms of the narrative, but given Hall's directing style here, it is quite possible I'll get more out of her performance on re-watch as so much of the film is in sort of silence. Anyways, I do really like both of these performances which I think compliment and are really essential for each other actually to even work. This as Thompson's work is all sort internalization and kind of stoicism while Negga is extroverted manner in contrast, which is particularly interesting to see her compared to her extremely subdued Oscar nominated turn. Their work is a balance of sorts actually there as you see in Thompsons performance this struggle that is kind of in her eyes in the moments of quiet reflection, while Negga's work it is also in the eyes, however that is within her portrayal that is all about outward vivaciousness. Each showing this essential conflict however as each woman carries the conflict in such distinctly different ways within themselves. Each burdened however each effectively portraying the way the burden reveals itself to be wholly different.)
Camp - (Relies largely on Camp just adding such character by virtue of his presence, which to be fair he's pretty much always good at and excels as such as per usual.)
Skarsgard - (A thankless role, so I won't judge him too harshly.)
Luke: Good ole' ok.ru :)
Louis: Thoughts on Wu Nien-jen in Yi Yi and Vin Diesel in Boiler Room.
Thoughts/rating on Hilary Swank in the Gift
I’m glad you liked Passing anyway Louis, Negga is my favourite performance of the year but a lot is said through silence which I definitely hope you might admire even more on rewatch. Hall is definitely a talent to watch out for.
I also watched Passing yesterday. Good film, but felt underdeveloped in the script department. Rebecca Hall’s direction shows a lot of promise though.
Cast Ratings:
Tessa Thompson - 4/4.5
Ruth Negga - 4.5/5
André Holland - 4/4.5
Alexander Skarsgård - 2.5
Bill Camp - 3.5
Louis: Your top 5 film score tracks of 2000 and also your thoughts on Freeman, Rock & Kinnear in Nurse Betty?
Masayuki Mori, Floating Clouds
Curd Jürgens, The Devil's General
Jack Palance, The Big Knife
Orson Welles, Mr. Arkadin
Danny Kaye, The Court Jester
Albin Skoda & Oskar Werner, The Last Act
Ralph Meeker, Kiss Me Deadly
Peter Ustinov, We're No Angels
Masayuki Mori, Kokoro
Raj Kapoor, Shree 420
Humphrey Bogart, We're No Angels
Dirk Bogarde, Cast a Dark Shadow
Jean Servais, Rififi
Jean Gabin, French Cancan
Robert Ryan, House of Bamboo
Louis: Your thoughts on this interview with Robert Duvall.
https://www.youtube.com/watch?v=4kFpSMLPl58
https://www.youtube.com/watch?v=TYZTLN21kIo
https://www.youtube.com/watch?v=ZWAkTFoKcpE
I haven't seen The Big Knife, but I have seen one scene on YouTube. Looks like Steiger was already hamming it up early in his career.
Louis: Any other roles that you think Mitchum's low-key charm would have been suited for aside from Johnny Guitar, which he was considered to play?
Louis: From what you've heard of it, your thoughts on Brian Cox's comments about Johnny Depp and other actors.
Anonymous: This is referencing comments I read on a USA Today article, so take that for what it's worth. Personally, I'd say Cox's remarks about Depp, while having of grain of truth in terms of his later career, are a bit uncalled for nonetheless. I find it particularly rude how he dismissed his Edward Scissorhands work, or brought up his recent legal troubles without honestly needing too. I won't go into here, but that case just gets me more depressed and frustrated the more I read into it.
But at the end of the day, Cox is an old veteran of the film industry, so I suppose we shouldn't be surprised about him having strong opinions.
Louis: what are your ratings and thoughts for Dennis Quaid and Jim Caveziel in Frequency, and Paul Schneider in George Washington?
Anonymous: It's alright for Cox to have his opinions on Depp as a performer, although I do concur that bringing up the case was a low blow.
As for his comments on other individuals- like Edward Norton being a jackass, or Tarantino's films being more style over substance, I think those are fair critiques that many people share. Good ol' Logan Roy doesn't seem like one to ever mince his words.
I accidentally pressed the anonymous button, but the above comment was mine^
Luke:
Can more or less refer to my non Ogata YiYi cast thoughts regarding Wu.
Diesel - (An example showing that he can do more than his stoic Dom routine, as he actually does have charisma here and creates this right sort of likable kind of boss, though with enough of an undercurrent of sleaze still hanging around there.)
Anonymous:
Eh...she's fine.
Razor:
Freeman - (Actually one of his least Freemany performances post-Seven as he brings that gravitas here though we actually get it mixed in with a bit of his Fast Black that is actually fairly compelling. Again the film is a bit too jumbled for its own good, but Freeman is moving onto something interesting in portraying the hitman quietly having his own mental breakdown even if the film itself doesn't make the best use of what he is doing.)
Rock - (Part of the problem with Freeman is he's saddled with Chris Rock, who I'm sorry is just a terrible actor. He's very good at yelling every one of his lines without any real comic sense of chemistry with Freeman. There's a real missed potential there unfortunately as well as the dynamic definitely could've been a lot more if Rock was on Freeman's level.)
Kinnear - (I mean ideal as a soap star type as it is firmly in Kinnear's range. A bit better of a show of his range however here, this in particular his later scenes with Zellweger where he is good in mixing between these areas of the grey in showing the egotistical exploitation also though with moments of seemingly sincere concern.)
8000's:
Duvall's bluntness on Godfather Part III is right on the money, and while I think if he had been in the film it would've been better, however the lack of Tom is a problem among problems, not THE problem.
Duvall otherwise is fascinating to hear to discuss his perspective, even his views on Brando's take on Vito, which he articulates well, this even noting that it is a romanticize that he understands though doesn't agree with specifically. And again you take the great actors, they can always so effectively articulate their sense of their characters and films.
Lucas:
Schneider - (Schneider brings a terrific naturalism while actually playing a fairly mannered part however does it in such a low key way that it wholly works. This in bringing this combination of an attempt at an aged wisdom but also at the same time this certain vulnerability. His main monologue was the my favorite scene of the film, as Schneider delivers it well as this kind of honest contradiction.)
Still did not rewatch Frequency.
8000's:
I mean, I think Mitchum was someone who when his range was tested he thrived, so that could be any number of roles honestly.
Anonymous:
I mean Cox is entitled to his opinion on Depp, who was a bit overblown for the longest time, and he's not the first guy to poke at Depp's personal troubles, which is not like he really dug in on it or anything.
And no one is going to disagree with him on Steven Seagal, watch Stephen Tobolowsky's story on Seagal for some great entertainment.
Cox also isn't wrong about Norton, whose career has been noted as sputtering a bit because of his micromanaging. And if Tarantino isn't his thing that's okay.
Also imagine everything he says in full fuming Logan Roy mode...most of it is kind of funny.
Razor:
1. "Barbarian Horde" - Gladiator
2. "The Patriot" - The Patriot
3. "Lux Aeterna" - Requiem for A Dream
4. "Yumeji's Theme" - In the Mood For Love
5. "The Third Man" - Battle Royale
Louis: A Mitchum performance you missed from 1949 was his performance in Holiday Affair. I saw the movie a few days ago and it's a great example of his ability to be charming. Another film you may also want to check out from 1949 is Colorado Territory by Raoul Walsh, a remake of High Sierra with McCrea in the Bogart role.
I’ve seen Holiday Affair, I actually think Janet Leigh is the MVP.
Louis: Have you completely settled on Crowe in Gladiator and Isaacs in The Patriot.
Saw Tick, Tick...Boom! today and did no care for it in he slightest. I get the appeal, just not for me, and found LMM's direction actively bad.
Calvin: Judging by some of the reviews, It's disappointing to see. I don't doubt that Garfield is good though I've heard Jesus is the MVP of the film. With 2021 Alternate Lead Actor, I had him as a possibility. I guess someone had to fall by the wayside because it's going to be very difficult to make it in this year.
Luke: Garfield could very well get a nomination, it's that kind of role, and I think most people will like it more than I did. Jesus was my favourite part of the film for sure.
Calvin: Globe nomination certainly, but I have doubts about him getting in over an Academy favourite role in Cyrano and If Nightmare Alley does deliver the goods, I can't see Cooper missing out.
Calvin: ratings for the cast of Tick Tick Boom?
Garfield: 4
Shipp: 3.5
de Jesus: 4
Light: 3
Hudgens: 3.5
Whitford: 2.5
Louis: Thoughts on this.
www.indiewire.com/2021/11/paul-thomas-anderson-reunite-joaquin-phoenix-1234678702/amp/
Luke: Who do you think will make up the Official lineup of 5 and the alternate lineup of 5/10 for best actor.
On Garfield, I forgot that the Globes might not even go ahead this year.
Anonymous:
Well, first and foremost, if the alternate lineup is really stacked as it possibly could be then Bo Burnham in Inside might get the Jackman/Hamilton treatment as it was nominated for and won Emmys.
Official lineup
Cumberbatch
Washington
Smith
Cooper
Dinklage
Alternate
Phoenix/Norman (C'mon C'mon)
Isaacs/Birney (Mass, in the event that neither get nominated in Supporting)
Patel
Driver
Rogowski (Great Freedom)
Collins Jr. (Jockey)
Rex (Red Rocket)
Hoffman (Licorice Pizza)
Chalamet (Dune)
Nelson (Old Henry)
If Isaacs/Birney do get into Supporting then Nicolas Cage in Pig.
Luke: what about your official lineup of top 5 and the alternate lineup of 5/10 for supporting actor?
Matthew: I'll make a prediction on that later in the year as Supporting is much harder to determine.
Louis: Are you going to watch the Rocky IV director's cut.
My review of Godard's Breathless is out now for those who want to read that!
Louis: where would you rank Diane Venora in Hamlet?
What do you do think about the casting controversy of Kidman as Lucille Ball?
your thoughts on the credits sequence of Raging Bull?
So...Belfast I think is probably primed to be the most hated film by film twitter, and frankly I think its reputation would be best served by avoiding an awards run. Having said that, for me it worked as a trifle, a sweet trifle, which even includes its technical serious notes, however those are well in simple terms, however I won't fault a film for being clearly its intention...although I did occasionally think "Okay Branagh let's not lay it on too thick" which he does a few times both in terms of sentiment and even visual flair. Not enough times though for me not to be charmed by the film overall as basically a nostalgic fantasy.
Hill - 3
Balfe - 4.5
Dench - 3.5
Louis: Your category placements for Balfe and Dornan.
And thoughts on the cast.
8000's:
I'll certainly check those out at some point.
Luke:
I mean I too would love to see PTA work with Washington and Colman for the first time, and Phoenix and DDL again, so I'm glad he feels the same way.
I mean why touch Rocky IV, it's already the greatest film of all time.
Lucas:
#9
Anonymous:
I'll hold judgment until I see the actual performance, she's been fairly consistent as of late so I'm willing to give her the benefit of the doubt.
Tim:
I'm fairly sure I've covered it before...but eh why not. So masterstroke of direction from Scorsese, which is one of the reasons why I don't mind someone thinking it is his best film even I don't agree, as it instantly establishes a mood and a central idea. This as we have the beautiful cinematography, evocative of old fight footage, but more evocative of films like Champion and the Set-Up films also about a fighter's struggle with himself rather than his opponents. Then the choice of song that couldn't be more perfect in creating this idea of the glory of the ring, and really the one place LaMotta has any glory, however here realized as the man who will be more than anything fighting himself throughout the film.
Luke:
As much as Balfe and Dornan are in many ways more important, it is Hill's perspective that we rarely leave, so I did feel they were supporting despite that dynamic.
Hill - (He's a sweet kid is what I will say. Branagh largely uses him for shots than really presses his performance too much on its own. He largely frames ideas around his most consistent performance than really emphasizing changes in his own work. I think this largely works though given Branagh's approach, though there is occasional moments where I think he probably could have brought a bit more than his endearing kid energy.)
Balfe - (Her performance I think more than anything serves incredibly well the tone and managing it often times with her work. This in a way being able to play with the idea of tension with both intensity and levity, and she manages to make this a natural juxtaposition between the two. This finding though the right dramatic tensions which she does realize with the right moments of heartbreak but also warmth in this same kind of elegant stride. Her work is luminous for the lack of a better word here, however I don't think she ever is just an idea of this ideal kind of mother who fights for her kids. She finds the depth within this in the moments of frustration, just as she so beautifully realizes the moments of maternal concern.)
Dench - (I mean it is interesting that this is now the second time that Branagh has paired her with a much younger man, just a random thing to note. Anyways, Dench doesn't do anything truly surprising, but I didn't feel this was true coasting Dench by any means. She mixes up her presence just a little here, but largely here is to deliver her typical presence with some carefully delivered one liners. She does this as to be expected.)
I’m glad you liked Belfast, looking forward to seeing it when I get the chance. I got Minari vibes from it initially but it seems like the way the perspective is structured seems to be a bit different.
Louis: Your thoughts on this Andrew Garfield interview?
https://youtu.be/fi3V4OzrkaA
Calvin:
The dynamic actually is very similar in terms of depicting family (in that the kid is the observer/avenue to learn about the adults), and Balfe is definitely on the border through that, however where we get to see what Yeun's Jacob is up to away from David, that is almost never the case for Dornan's Pa.
Marcus:
Not actually the biggest fan of Colbert as a straight interviewer, tend to find he struggles to find a rhythm with his guests, here, in a topic he obviously care about it, it does work in giving Garfield the chance to express his ideas. That which he does quite eloquently, and again no surprise on that given the strength of his work in Silence, which suggests an actor with a strong understanding of his material.
Post a Comment