Not sure about Turtletaub or Meyers. I like the other choices though particularly all your Roys, especially Bronson.
Luke:
Yes.
Honestly they seemed in non-big name mood it seems with the nominees overall, particularly since with Phoenix and Colman they went big for their films overall. That does hurt any chance Phoenix and Thompson had, as if they can't get in here where can they get in?
With Colman though there can be those random future Oscar nominee snubs, like Michelle Williams for Manchester and Melissa McCarthy for "Can You Ever For Give Me".
Anyways though now time to get on those Indie nominees and see what's up.
I think it's easy to forget that the Spirits in general don't really coincide with the Oscars that much, last year was one of those very rare years where they did. And yeah, this takes a lot out of Phoenix (who I'm genuinely surprised hasn't shown up anywhere) and Thompson (whose film in general isn't getting the love it deserves) chances but agreed with Louis on those random snubs.
Louis: how would you rank the Succession seasons? Honestly I thought Season 3 was pretty damn close to Season 2, and a lot of actors delivered some of their best work in the series this season.
It is very funny that Adam McKay is still closely associated by some people with the series even though all the few weaknesses in Season 1 stem from his pilot directly and everything is pretty much smooth sailing from then on.
Also could I have your thoughts and rating for Babs Olusanmokun in Dune? Thought he made a lot out of his shirt screentime both in the dream sequences and of course his scenes with Chalamet.
Regarding McKay, I always wonder how much input he had on the pilot script initially as well, because it is pretty clear he wanted us basically just to hate the Roys and be disgusted by everything they do (after all not one but two characters vomit in the episode), and I ponder how one could ever think that would sustain a show. It would be fitting towards his typical disdainful tone. By the way I wish a genuine satirist would make a satire of McKay, as a director who always thinks he's the smartest guy in every room, but might in fact be the complete opposite. Sorry for mini-rant, but thinking more on DLU and McKay in general, just such a tiresome figure in so many ways. Particularly any praise that just will fuel that ego all the more, and every time I hear Strangelove comparisons with DLU (in a positive way) my stomach turns more than a bit.
3.5(Brief indeed though I think he successfully brings two differing presences. This in that you wholly get the mentor who has come to truly take Paul under his wing, with this wizened manner of a true father figure in the flash forwards. This against the present day where we get the putting all his intensity upfront and a man defined by pride to show up the outsider. The sort of dogged and wrongheaded conviction in one's self no matter how foolish)
Matt: If hack means aping the style of superior film makers and having much of his recent work be ego stroking and yet devoid of real substance...then yah, I'd say McKay qualifies.
Louis: Recently I found out that before The Mummy, it was planned for Karloff to play a magician based on 18th-century alchemist Cagliostro, with the film being set in San Francisco.
Other interesting unproduced projects I've read about were a film called The Holy Demon with Paul Muni as Rasputin, with Raoul Walsh directing. A young William Holden was also meant to star in an adaptation of Trumbo's Johnny Got His Gun. James Cagney actually played the lead in a radio adaptation of the novel.
Calvin: Having somewhat spoiled myself already thanks to some unfourtunate youtube clips, I'll say one thing they seem to attempt very much hinges on a balance - a balance that may or may not work, but I guess I'll have to watch the full film to confirm that.
Speaking of Spider Man, and I don't think this will spoil anything since their appearences have been heavily teased - who would everyone here cast as Norman Osbourne and Octo Octavius in a contemporary film?
What would be everyone's thoughts on these following songs?
Face Down - The Red Jumpsuit Apparatus Just One Yesterday - Fall Out Boys I Write Sins Not Tragedies - Panic at the Disco It's Not Living (If It's Not With You) - The 1975
Face Down - the lyrics could have used a bit of reworking, a bit more subtelty in there would not have hurt, but otherwise a really strong song. Nice tempo, good melody, just not one i could hear every week
Just One Yesterday - I'm usualy not a big FOB fan, but this one i really like. Especially the last chorus has bit of a nice kind of gospel vibe which i really dig.
I Write Sins Not Tragedies - Consider this heresy, i never liked this song that much. The chorus i enjoy, but the verses are sung with such low energy, and the mandolin background music seems weirdly out of place
It's Not Living - sounds really nice. Not much else to say really ...
while we're on it, everyone's thoughts on these covers?
Disturbed - Land Of Confusion Seether - Careless Whisper Metallica - Turn The Page Further Seems Forever - Bye Bye Bye Thrice - Send Me An Angel
Face Down - I may actually prefer False Pretense, and a lot of that is merely because it was the most enjoyable part of a very dumb movie (Never Back Down). Nonetheless, Facedown has it's place and is certainly the more sensible of the two tracks, and works on it's own in terms of the lyrics and melody.
Just One Yesterday - I second Tim as not being a big FOB fan, but this one is pretty good. This as the cadance of the singing really complements the upbeat tone of the instrumentals and the subtle depth of the lyrics.
I Write Sins Not Tragedies - Eh, this one didn't do much for me, I'll be honest. It's not terrible, but I probably wouldn't seek it out or remember much of it.
It's Not Living (If it's not with You) - Obviously a song that was inspired by the pop music of the 80s, and I suppose it works on that level. Much like the above song, though, it just didn't do a whole lot for myself.
Land of Confusion - Expected, but solid revamp of an 80s classic (and one of the most unintentionally creepy/hilarious music videos of all time). It really it what you'd expect from a Disturbed cover in it's bombasticness, and while I prefer Sound of Silence in that regard, it's still good.
Careless Whisper - I do think it's a touch too long, but it's still one of my favourite Seether tracks. Compared to some of their other songs, Careless Whisper is far more a typical rock ballad, and it does function quite well with it's strong vocals and guitar riffs.
Turn the Page - Maybe not the first Metallica song I'd recall off the top of my head, but definitely one of their best outings. The song is forceful without being overpowering, and I think that really comes down to the tempered pace and undercurrent of despair in the actual lyrics.
Bye Bye Bye - Starts off fairly strong, but I'm not sure if the rest of the song really picks ups after the opening instruments. Still, there is a certain appeal in the track even though I sort of see it as missed potential.
Send Me an Angel - Kind of similar to "Bye Bye Bye" in my response, but I do think the mid-song solo and ending works a little better here. Not great in my opinion, but hardly bad.
Mitchell: Really like 'False Pretense' as well. Part of the reason I admire 'Face Down' so much is that you wouldn't expect the Christian rock band to write such a visceral critique of domestic abuse, much less in 2006.
Tim:
Land of Confusion: As someone who likes Phil Collins' work a lot, I have to say that Disturbed's cover more than earns the comparison. In fact I think I personally prefer the rougher and more impassioned approach they take with the vocals, especially in the chorus where it just hits as hard as it should. Great cover.
Careless Whisper: Okay I have to give kudos, I didn't even think an alt-rock version of this all-timer was even possible. I really liked the vocals for the most part, maybe the tempo on the chorus is just ever so slightly off, but it still works in context of the specific approach. The bridge is also well done, and is probably my favourite part of this cover.
Bye Bye Bye: More of an 'emulation' style of a cover, which isn't really to its advantage given that I don't hold the original in that high of an esteem. I guess it works in that sense, in that they do sound like NSYNC, but my favourite types of covers are ones that try to take a different spin on the original material, because you avoid the pitfalls of direct comparison which this one falls into.
Turn the Page: Metallica rarely takes a wrong step in my book, and this is no exception. Love the relatively subdued vocals, which builds up to that louder burst that Metallica does so well in delivering time and time again.
Tahmeed: I would say there are a number of christian rock bands who's songs cover issues of failed/abusive relationships, as well as the healing process from those events. You're correct, though, in saying not many of them address the topic so explicity, and certainly not from the bulk of the 2000s decade.
I saw No Way Home, and I enjoyed it, largely in part because I felt it finally delivered the heart to the new Spider-man that I thought had been so missing in the last two films, especially "far". This with Peter finally feeling his own man, rather than Tony Stark hyperactive fanboy. Won't get into more at the moment, but I will say Zendaya greatly benefited here from being able to get off the "too cool for school" note finally.
Anonymous:
Either it will be terrible or hilarious based on that...we'll see.
8000's:
I mean Karloff as any villain has some potential. Not sure abut the other Johnny Got His Gun as I haven't seen the film they did make as of yet. Don't know about any Muni casting post a certain year.
Tahmeed & Luke:
I'm currently in the middle of Squid Game, so let me get you that once I finish with the series.
Luke:
I mean I see everything Tom Hardy stars in, so I planned on seeing it eventually.
Also, in regards to Venom 2, I'll say I'm still hesitant in watching it inspite of Harrelson as Carnage. My main worry (and this is really based on what the first film did) is that they'll try and make Venom/Eddie even more of a "comedic duo" than before. I usually don't mind filmakers trying to change aspects of comics, but in Venom's case, that's just such a wierd direction to take a character so steeped in pain, madness and obsession.
Then again, you could argue making a solo film about a character so intertwined with Spiderman is a perculiar concept to begin with.
Quick question for anyone interested: Do any of you use Musicboard by any chance? It's a very user friendly, Letterboxd-like app, but for music. It'd be cool to follow some of you there.
Hit me up here if any of you already have or eventually decide to create an account: (https://musicboard.app/emithegrant)
I say just give out the ratings for Spider-Man. I haven't seen it or read the synopsis, but I'm assuming [REDACTED 1] and [REDACTED 2] are in it, so use those monikers. (Honestly, I don't even think it's a spoiler if everyone's guessed it already, but I'll be cautious)
Michael: I honest to God don't even know why they bothered. Does it really increase hype if it's the most predictable thing in the world? I guess I'm just tired and bitter.
(Also, I saw West Side Story again and liked it even more the second time. Team Faist!)
Also had seen three of the Indie Spirit Award lead actor nominees.
The Killing of Kenneth Chamberlain is an excruciating and repetitive experience. This is no doubt the intention, however I think the subject matter probably would've been a better fit for a documentary, because as a docudrama it is such a torturous experience, even if again that is the point. However in a certain sense the only point as the approach just depicts rather than really digging deeper other than some very minor bits, where a documentary could've provided both the horror and more context/contemplation.
I might've saved Faison however I have no desire to watch the film again.
Wild Indian, outside of two good performances, feels like a wasted opportunity. It takes a potentially interesting scenario and main theme, and just makes unfortunately a dull and uninspired examination of the subject matter.
Greyeyes - 4.5 Spencer - 4
I imagine Jesse Eisenberg was doing someone a favor.
Swan Song (The Udo Kier one), I thought was a decent character study. and largely for me avoided what could've been something really cliched, however takes a less aggressive more interesting approach I feel.
Faison - (Essentially a purely physical performance given we don't really get to know who Chamberlain is beyond someone with physical and mental distress stuck within a terrible situation. To Faison's credit, and part of the nature of the film, is how spot on he in depicting the consistency of this state of stress. The actually degradation of this is fairly limited though Faison is good in showing the degree of going from paranoid to full blown terrified and despondent. There is no point in which Faison's work doesn't feel on point in creating this state. The scenario is repetitive but Faison feels wholly realistic in his depiction of it.)
Natale - (The only character with any development within the scenario and he is more than decent in portraying the most genuine conflict and attempt at humanity depicted within the police. He has some good moments in showing the frustration and sympathetic attempt to do something other than scream and yell.)
O'Connell & Marten - (It is possible to give compelling depictions of this ilk, Will Poulter for example, but we don't really get this here. Marten in particular feels totally overcooked the whole time, and comes off as more laughable than terrifying which he should've been the latter.)
Greyeyes & Spencer - (Both performances illustrate the weakness of the script by being so on point within whatever it is that they are given. This in Greyeyes portraying the apparently more troubled man putting on the veneer of well to do and confident in himself against Spencer as the man who is instead burdened by his experience and situation. Both are good in setting up these states, and are each compelling on their own sides. Greyeyes in particular in playing the layers of the man putting on the side of the man who is just making his best life seemingly, while underneath there is the sense of the man's troubled existence. Unfortunately the film does not really give them interesting places to go beyond a certain point. They're good though consistently even though both performances are missed opportunities due to their material.)
Luke, my picks are The Caine Mutiny (re-watch and possible upgrade for Bogart, a leftover from last year) and Two-Lane Blacktop (1971, Warren Oates is great and should make the supporting actor top 5).
Also I might as well go ahead with my NWH ratings, I’ll leave off the redacted’s though I liked them both, though one more than the other, but both were good.
Luke: I'm going with a great little spanish Thriller called Sleep Tight from 2011. It's from the Director of REC, has a really effective lead turn by Luis Tosar and maybe the most disturbing ending i have ever seen
First comment in a while. My choices will be a re-watch of Keane (I thought Damian Lewis was exceptional and I hope he gets an upgrade and up to 4th in the Lead '05 ranking) and Stalingrad (1993, a fairly underrated WWII drama with an early performance from Thomas Kretschmann).
Saw Nightmare Alley, which I quite liked, with much to love particularly in the aesthetic and certain other elements. I think Del Toro could've tightened the editing a little bit, I think it is just a little more gradual than it needs to be, however then again some of the slow burn scenes were among my favorites.
I don't think any of the supporting actors will get in based on the academy tastes (their scenes are too isolated a feel within the narrative though I could see an outside chance for Dafoe), however I'm saving Dafoe and Strathairn.
Blanchett - (I know I'm going to be in the minority on this one, as while I definitely thought Blanchett was good, I can't help but feel like something was left on the table. This as the role itself is amazing, and Blanchett in turn is good, but I don't know she was almost too predictable in what should be a more unpredictable role I feel. However I do think that predictability was well performed to be sure in an expected Blanchett way in this kind role. Maybe I'm not entirely fair and taking her for granted to some degree, I'll see how I feel on re-watch since I am going in well versed with Nightmare Alley, so perhaps it was the hope against the reality. However I am not saying she is ever anything less that good. I guess she delivered, but I was hoping for just that something little extra given how devious and dynamic this role is.)
Collette - (Think she wonderfully balances the right degree of lusty and kooky, with a genuine heart in a performance that is in some ways the most similar to her 47 equivalent. Collette brings the right presence here in being this grey figure, who is both filled with life but also the certain pathos of failure still. She brings the right lively quality within the flaws though showing rightly someone more comfortable in her failures.)
Mara - (Again probably will be in the minority as I've heard many say she has a thankless roles, and I suppose she does in that she's not flashy, however I thought she was terrific in being that contrast against Cooper, Blanchett and the rest. Finding the right sense of morality and innate goodness in the role without becoming cloying or too precious about it. She brings the right sense of the hope of dreams but really the distaste with the nightmare that the "dream" becomes. I think she brings the right direct humanity and offers herself as the proper heart to the film that Molly should be in what is in so many ways a rather cruel story.)
Jenkins - (I really like what he brings here even in his brief and scattered screentime. This as I think he finds the right sort of combination between desperation and menace. There is the right sense of this lost despondency however that of a powerful man that Jenkins still depicts. This as there is this sense of dangerous entitlement he brings just as he brings the sense of loss. Honestly I kind of wish we had gotten to dive even deeper with his role here, just as I found a lot of Jenkins was alluding to as rather fascinating.)
Perlman - (I mean does his typical thing, which is good for the role of Bruno, which this film makes way clearer what his relationship with Molly actually is.)
Steenburgen - (Effectively haunting in just very screentime in portraying this certain kind of emotional mania and desperation in such a short snippet.)
Nelson - (Brings the right sort presence that contrasts initially against Dafoe, then slowly reveals itself to be of similar manner.)
Hi Louis, long time reader, first time commenter. Do you happen to have a full list of the films shown in the blog's layout? I recognize quite a few but there are several unknown to me that I find intriguing - namely: the woman on the dock overlooking the sea, the man riding through the jungle/forest, and the man standing in the snowy field.
Matt: Wouldn't surprise me. I will say, when it comes to his original performance, he is the cast member who best embodies the campy tone employed by Raimi (Only Simmons gives him competition, in my mind). This is mainly because he's so animated and purposefully hammy, and while it's not great acting in the strictest sense, there is some enjoyment in how much he's clearly enjoying himself.
Saw No Way Home. Felt like a satisfying conclusion for sure and I wish they would cease to make SM movies from that point on (even though that's just wishful thinking knowing the industry)
Proceed with caution, spoilers down:
Holland-4 Cumberbatch-3 Zendaya-3 Cumberbatch-3 Batalon-2.5/3 Dafoe-3.5 Molina-3 Church and Ifans-2.5 Foxx-3 Simmons-3 Favreau-3 [REDACTED 1 and 2]-3.5
I believe Tahmeed asked for that not long ago, I believe.
Tony:
Thanks for commenting.
In order from top to bottom left to right.
Skyfall 2001 Memories of Murder Unforgiven The Godfather Part II Valhalla Rising Doctor Zhivago Blade Runner 2049 The Dark Knight Bridge on the River Kwai Barton Fink Barry Lyndon The Last Emperor The Ballad of Buster Scruggs The Immigrant LOTR: The Fellowship of the Ring The Talented Mr. Ripley Parasite 1917 Fargo Days of Heaven The Right Stuff Mr. Turner The Sword of Doom Road To Perdition The Shawshank Redemption The Conformist Another Round The Elephant Man Mad Max: Fury Road High and Low A Fistful of Dollars In the Mood for Love The Night of the Hunter
272 comments:
«Oldest ‹Older 201 – 272 of 272Louis: Will you be able to see Nightmare Alley this weekend.
Colman and Thompson got snubbed by the Indie Spirit awards.
And Phoenix too.
Tim:
Not sure about Turtletaub or Meyers. I like the other choices though particularly all your Roys, especially Bronson.
Luke:
Yes.
Honestly they seemed in non-big name mood it seems with the nominees overall, particularly since with Phoenix and Colman they went big for their films overall. That does hurt any chance Phoenix and Thompson had, as if they can't get in here where can they get in?
With Colman though there can be those random future Oscar nominee snubs, like Michelle Williams for Manchester and Melissa McCarthy for "Can You Ever For Give Me".
Anyways though now time to get on those Indie nominees and see what's up.
I think it's easy to forget that the Spirits in general don't really coincide with the Oscars that much, last year was one of those very rare years where they did. And yeah, this takes a lot out of Phoenix (who I'm genuinely surprised hasn't shown up anywhere) and Thompson (whose film in general isn't getting the love it deserves) chances but agreed with Louis on those random snubs.
Louis: So far, who are are your fives in Leading and Supporting Actress.
Anonymous: As far as I know, his fives are:
Lead
Comer
McKenzie
Stewart
Gaga
Supporting
Houdyshell
Davis
Miura
Louis: how would you rank the Succession seasons? Honestly I thought Season 3 was pretty damn close to Season 2, and a lot of actors delivered some of their best work in the series this season.
Calvin:
I'd go:
2
3
1
however between 2 and 3 is a razor thin margin.
It is very funny that Adam McKay is still closely associated by some people with the series even though all the few weaknesses in Season 1 stem from his pilot directly and everything is pretty much smooth sailing from then on.
Also could I have your thoughts and rating for Babs Olusanmokun in Dune? Thought he made a lot out of his shirt screentime both in the dream sequences and of course his scenes with Chalamet.
Calvin:
Regarding McKay, I always wonder how much input he had on the pilot script initially as well, because it is pretty clear he wanted us basically just to hate the Roys and be disgusted by everything they do (after all not one but two characters vomit in the episode), and I ponder how one could ever think that would sustain a show. It would be fitting towards his typical disdainful tone. By the way I wish a genuine satirist would make a satire of McKay, as a director who always thinks he's the smartest guy in every room, but might in fact be the complete opposite. Sorry for mini-rant, but thinking more on DLU and McKay in general, just such a tiresome figure in so many ways. Particularly any praise that just will fuel that ego all the more, and every time I hear Strangelove comparisons with DLU (in a positive way) my stomach turns more than a bit.
3.5(Brief indeed though I think he successfully brings two differing presences. This in that you wholly get the mentor who has come to truly take Paul under his wing, with this wizened manner of a true father figure in the flash forwards. This against the present day where we get the putting all his intensity upfront and a man defined by pride to show up the outsider. The sort of dogged and wrongheaded conviction in one's self no matter how foolish)
Is if safe to call Adam McKay a straight up hack?
I don’t get the Strangelove comparisons at all. Baffling especially since the film’s comedy is what is awful!
Matt: If hack means aping the style of superior film makers and having much of his recent work be ego stroking and yet devoid of real substance...then yah, I'd say McKay qualifies.
Random question: Has anyone watched a performance and thought "Oh, Robert is going to love this."? Extra points if you ended up being wrong.
I mean recently, Hidetoshi Nishijima in Drive My Car just because of your love for Banderas in Pain and Glory.
Matt:
Yes.
Robert:
I mean had it not long ago when watching C'Mon C'Mon.
Louis: Recently I found out that before The Mummy, it was planned for Karloff to play a magician based on 18th-century alchemist Cagliostro, with the film being set in San Francisco.
Other interesting unproduced projects I've read about were a film called The Holy Demon with Paul Muni as Rasputin, with Raoul Walsh directing. A young William Holden was also meant to star in an adaptation of Trumbo's Johnny Got His Gun. James Cagney actually played the lead in a radio adaptation of the novel.
Thoughts?
Watched No Way Home, didn’t care much for it overall though it’s not without merit and appeal to its ‘here’s what you all wanted’ approach.
Louis: thoughts on the trailer for The Unbearable Weight of Massive Talent?
Calvin: ratings for the cast of No Way Home?
Louis: When will the 1942 results come?
Matthew: Eh I’ll leave them to later don’t wanna spoil anything for anyone.
Also The Hand if God is out today everyone, a strong International Film contender and it’s on Netflix.
Shaggy: It'll probably be up this weekend so please be patient.
Calvin: Having somewhat spoiled myself already thanks to some unfourtunate youtube clips, I'll say one thing they seem to attempt very much hinges on a balance - a balance that may or may not work, but I guess I'll have to watch the full film to confirm that.
Speaking of Spider Man, and I don't think this will spoil anything since their appearences have been heavily teased - who would everyone here cast as Norman Osbourne and Octo Octavius in a contemporary film?
Mitchell:
Osborne: Jon Hamm, I've been saying that for years.
Otto Octavius: Nikolaj Coster-Waldau
Louis: Your TV top 5's for series and the acting categories so far for 2021.
Louis: Could you do top 10s with the acting categories.
What would be everyone's thoughts on these following songs?
Face Down - The Red Jumpsuit Apparatus
Just One Yesterday - Fall Out Boys
I Write Sins Not Tragedies - Panic at the Disco
It's Not Living (If It's Not With You) - The 1975
Tahmeed:
Face Down - the lyrics could have used a bit of reworking, a bit more subtelty in there would not have hurt, but otherwise a really strong song. Nice tempo, good melody, just not one i could hear every week
Just One Yesterday - I'm usualy not a big FOB fan, but this one i really like. Especially the last chorus has bit of a nice kind of gospel vibe which i really dig.
I Write Sins Not Tragedies - Consider this heresy, i never liked this song that much. The chorus i enjoy, but the verses are sung with such low energy, and the mandolin background music seems weirdly out of place
It's Not Living - sounds really nice. Not much else to say really ...
while we're on it, everyone's thoughts on these covers?
Disturbed - Land Of Confusion
Seether - Careless Whisper
Metallica - Turn The Page
Further Seems Forever - Bye Bye Bye
Thrice - Send Me An Angel
Tahmeed:
Face Down - I may actually prefer False Pretense, and a lot of that is merely because it was the most enjoyable part of a very dumb movie (Never Back Down). Nonetheless, Facedown has it's place and is certainly the more sensible of the two tracks, and works on it's own in terms of the lyrics and melody.
Just One Yesterday - I second Tim as not being a big FOB fan, but this one is pretty good. This as the cadance of the singing really complements the upbeat tone of the instrumentals and the subtle depth of the lyrics.
I Write Sins Not Tragedies - Eh, this one didn't do much for me, I'll be honest. It's not terrible, but I probably wouldn't seek it out or remember much of it.
It's Not Living (If it's not with You) - Obviously a song that was inspired by the pop music of the 80s, and I suppose it works on that level. Much like the above song, though, it just didn't do a whole lot for myself.
Tim:
Land of Confusion - Expected, but solid revamp of an 80s classic (and one of the most unintentionally creepy/hilarious music videos of all time). It really it what you'd expect from a Disturbed cover in it's bombasticness, and while I prefer Sound of Silence in that regard, it's still good.
Careless Whisper - I do think it's a touch too long, but it's still one of my favourite Seether tracks. Compared to some of their other songs, Careless Whisper is far more a typical rock ballad, and it does function quite well with it's strong vocals and guitar riffs.
Turn the Page - Maybe not the first Metallica song I'd recall off the top of my head, but definitely one of their best outings. The song is forceful without being overpowering, and I think that really comes down to the tempered pace and undercurrent of despair in the actual lyrics.
Bye Bye Bye - Starts off fairly strong, but I'm not sure if the rest of the song really picks ups after the opening instruments. Still, there is a certain appeal in the track even though I sort of see it as missed potential.
Send Me an Angel - Kind of similar to "Bye Bye Bye" in my response, but I do think the mid-song solo and ending works a little better here. Not great in my opinion, but hardly bad.
Mitchell: Really like 'False Pretense' as well. Part of the reason I admire 'Face Down' so much is that you wouldn't expect the Christian rock band to write such a visceral critique of domestic abuse, much less in 2006.
Tim:
Land of Confusion: As someone who likes Phil Collins' work a lot, I have to say that Disturbed's cover more than earns the comparison. In fact I think I personally prefer the rougher and more impassioned approach they take with the vocals, especially in the chorus where it just hits as hard as it should. Great cover.
Careless Whisper: Okay I have to give kudos, I didn't even think an alt-rock version of this all-timer was even possible. I really liked the vocals for the most part, maybe the tempo on the chorus is just ever so slightly off, but it still works in context of the specific approach. The bridge is also well done, and is probably my favourite part of this cover.
Bye Bye Bye: More of an 'emulation' style of a cover, which isn't really to its advantage given that I don't hold the original in that high of an esteem. I guess it works in that sense, in that they do sound like NSYNC, but my favourite types of covers are ones that try to take a different spin on the original material, because you avoid the pitfalls of direct comparison which this one falls into.
Turn the Page: Metallica rarely takes a wrong step in my book, and this is no exception. Love the relatively subdued vocals, which builds up to that louder burst that Metallica does so well in delivering time and time again.
Tahmeed: I would say there are a number of christian rock bands who's songs cover issues of failed/abusive relationships, as well as the healing process from those events. You're correct, though, in saying not many of them address the topic so explicity, and certainly not from the bulk of the 2000s decade.
Louis: You might want to add Venom 2 to the watchlist. Calvin gave it 4 stars.
I saw No Way Home, and I enjoyed it, largely in part because I felt it finally delivered the heart to the new Spider-man that I thought had been so missing in the last two films, especially "far". This with Peter finally feeling his own man, rather than Tony Stark hyperactive fanboy. Won't get into more at the moment, but I will say Zendaya greatly benefited here from being able to get off the "too cool for school" note finally.
Anonymous:
Either it will be terrible or hilarious based on that...we'll see.
8000's:
I mean Karloff as any villain has some potential. Not sure abut the other Johnny Got His Gun as I haven't seen the film they did make as of yet. Don't know about any Muni casting post a certain year.
Tahmeed & Luke:
I'm currently in the middle of Squid Game, so let me get you that once I finish with the series.
Luke:
I mean I see everything Tom Hardy stars in, so I planned on seeing it eventually.
Louis: Not naming any names but is anyone getting saved for the moment.
Luke:
No but I liked basically all the performances.
I guess your MVP starts with W.
Jumping onto Tim's and Tahmeed's questions, what would be everyone's thoughts on the following rock tracks?
The River - Good Charlotte
Just Like You - Three Days Grace
My Demons - Starset
Heartless - Hinder
Also, in regards to Venom 2, I'll say I'm still hesitant in watching it inspite of Harrelson as Carnage. My main worry (and this is really based on what the first film did) is that they'll try and make Venom/Eddie even more of a "comedic duo" than before. I usually don't mind filmakers trying to change aspects of comics, but in Venom's case, that's just such a wierd direction to take a character so steeped in pain, madness and obsession.
Then again, you could argue making a solo film about a character so intertwined with Spiderman is a perculiar concept to begin with.
Quick question for anyone interested: Do any of you use Musicboard by any chance? It's a very user friendly, Letterboxd-like app, but for music. It'd be cool to follow some of you there.
Hit me up here if any of you already have or eventually decide to create an account: (https://musicboard.app/emithegrant)
I say just give out the ratings for Spider-Man. I haven't seen it or read the synopsis, but I'm assuming [REDACTED 1] and [REDACTED 2] are in it, so use those monikers. (Honestly, I don't even think it's a spoiler if everyone's guessed it already, but I'll be cautious)
Robert: It’s truly the worst kept secret in Hollywood.
Yes it's true Chris Tucker and Jackie Chan are in the film. As the film secretly was the Rush Hour/Spider-Man crossover film we were all waiting for.
Michael: I honest to God don't even know why they bothered. Does it really increase hype if it's the most predictable thing in the world? I guess I'm just tired and bitter.
(Also, I saw West Side Story again and liked it even more the second time. Team Faist!)
Also had seen three of the Indie Spirit Award lead actor nominees.
The Killing of Kenneth Chamberlain is an excruciating and repetitive experience. This is no doubt the intention, however I think the subject matter probably would've been a better fit for a documentary, because as a docudrama it is such a torturous experience, even if again that is the point. However in a certain sense the only point as the approach just depicts rather than really digging deeper other than some very minor bits, where a documentary could've provided both the horror and more context/contemplation.
I might've saved Faison however I have no desire to watch the film again.
Faison - 4.5
Natale - 4
O'Connell - 2.5
Marten - 1.5
Wild Indian, outside of two good performances, feels like a wasted opportunity. It takes a potentially interesting scenario and main theme, and just makes unfortunately a dull and uninspired examination of the subject matter.
Greyeyes - 4.5
Spencer - 4
I imagine Jesse Eisenberg was doing someone a favor.
Swan Song (The Udo Kier one), I thought was a decent character study. and largely for me avoided what could've been something really cliched, however takes a less aggressive more interesting approach I feel.
Saving Kier.
Louis: Thoughts on the performances.
Luke:
Faison - (Essentially a purely physical performance given we don't really get to know who Chamberlain is beyond someone with physical and mental distress stuck within a terrible situation. To Faison's credit, and part of the nature of the film, is how spot on he in depicting the consistency of this state of stress. The actually degradation of this is fairly limited though Faison is good in showing the degree of going from paranoid to full blown terrified and despondent. There is no point in which Faison's work doesn't feel on point in creating this state. The scenario is repetitive but Faison feels wholly realistic in his depiction of it.)
Natale - (The only character with any development within the scenario and he is more than decent in portraying the most genuine conflict and attempt at humanity depicted within the police. He has some good moments in showing the frustration and sympathetic attempt to do something other than scream and yell.)
O'Connell & Marten - (It is possible to give compelling depictions of this ilk, Will Poulter for example, but we don't really get this here. Marten in particular feels totally overcooked the whole time, and comes off as more laughable than terrifying which he should've been the latter.)
Greyeyes & Spencer - (Both performances illustrate the weakness of the script by being so on point within whatever it is that they are given. This in Greyeyes portraying the apparently more troubled man putting on the veneer of well to do and confident in himself against Spencer as the man who is instead burdened by his experience and situation. Both are good in setting up these states, and are each compelling on their own sides. Greyeyes in particular in playing the layers of the man putting on the side of the man who is just making his best life seemingly, while underneath there is the sense of the man's troubled existence. Unfortunately the film does not really give them interesting places to go beyond a certain point. They're good though consistently even though both performances are missed opportunities due to their material.)
Has anyone thought about their recommendations during the interim. I'm going with Blackadder Goes Forth and Down To The Bone (2005).
Luke: I'm picking Angels In America (2003) and maybe a Raoul Walsh film that Louis didn't get to see from the previous rounds.
Louis: Will you be watching The Hand of God this weekend?
Also agreed pretty much on Wild Indian, down to the performances. Glad Kier is being saved.
Luke: I think I'll recommend Holiday Affair, His Kind of a Woman and Man with a Gun, all with Mitchum.
Luke, my picks are The Caine Mutiny (re-watch and possible upgrade for Bogart, a leftover from last year) and Two-Lane Blacktop (1971, Warren Oates is great and should make the supporting actor top 5).
Also I might as well go ahead with my NWH ratings, I’ll leave off the redacted’s though I liked them both, though one more than the other, but both were good.
Holland: 4 (probably his best outing)
Zendaya: 3.5
Cumberbatch: 2.5
Batalon: 2.5
Favreau: 3
Dafoe: 4 (MVP)
Molina: 3
Tomei: 3
Foxx: 3
Mitchell:
The River - So far the only Good Charlotte song i genuinely like, and even then i prefer the collab version with Sinister Gates and m Shadows
Just Like You - normally i really like TDG, but this on is a bit too repetitive for my taste
My Demons - their most famous song of course, and with good reason. Really epic tone and a fantastic chorus
Heartless - Fantastic voice work, insanely coll melody, great lyrics. Damn this is great
I knew the MVP would begin with W. :)
Luke: I'm going with a great little spanish Thriller called Sleep Tight from 2011. It's from the Director of REC, has a really effective lead turn by Luis Tosar and maybe the most disturbing ending i have ever seen
First comment in a while. My choices will be a re-watch of Keane (I thought Damian Lewis was exceptional and I hope he gets an upgrade and up to 4th in the Lead '05 ranking) and Stalingrad (1993, a fairly underrated WWII drama with an early performance from Thomas Kretschmann).
Saw Nightmare Alley, which I quite liked, with much to love particularly in the aesthetic and certain other elements. I think Del Toro could've tightened the editing a little bit, I think it is just a little more gradual than it needs to be, however then again some of the slow burn scenes were among my favorites.
I don't think any of the supporting actors will get in based on the academy tastes (their scenes are too isolated a feel within the narrative though I could see an outside chance for Dafoe), however I'm saving Dafoe and Strathairn.
Blanchett - 4
Collette - 4
Mara - 4.5
Jenkins - 4
Perlman - 3
Steenburgen - 3.5
Nelson - 3
Ratings wise on Spider-man I'd go:
Holland - 4.5
Zendaya - 3.5
Cumberbatch - 3.5
Batalon - 2.5
Favreau - 3
Dafoe - 4
Molina - 3.5
Foxx - 3
Tomei - 3
Chan - 3.5
Tucker - 3.5/4
Calvin:
Yes.
thoughts on the Nightmare Alley Cast?
Surprised Mara is a 4.5 and Blanchett is a 4. Glad to hear Strathairn is being saved, I’ve been hearing he’s a highlight.
Tim & Calvin:
Blanchett - (I know I'm going to be in the minority on this one, as while I definitely thought Blanchett was good, I can't help but feel like something was left on the table. This as the role itself is amazing, and Blanchett in turn is good, but I don't know she was almost too predictable in what should be a more unpredictable role I feel. However I do think that predictability was well performed to be sure in an expected Blanchett way in this kind role. Maybe I'm not entirely fair and taking her for granted to some degree, I'll see how I feel on re-watch since I am going in well versed with Nightmare Alley, so perhaps it was the hope against the reality. However I am not saying she is ever anything less that good. I guess she delivered, but I was hoping for just that something little extra given how devious and dynamic this role is.)
Collette - (Think she wonderfully balances the right degree of lusty and kooky, with a genuine heart in a performance that is in some ways the most similar to her 47 equivalent. Collette brings the right presence here in being this grey figure, who is both filled with life but also the certain pathos of failure still. She brings the right lively quality within the flaws though showing rightly someone more comfortable in her failures.)
Mara - (Again probably will be in the minority as I've heard many say she has a thankless roles, and I suppose she does in that she's not flashy, however I thought she was terrific in being that contrast against Cooper, Blanchett and the rest. Finding the right sense of morality and innate goodness in the role without becoming cloying or too precious about it. She brings the right sense of the hope of dreams but really the distaste with the nightmare that the "dream" becomes. I think she brings the right direct humanity and offers herself as the proper heart to the film that Molly should be in what is in so many ways a rather cruel story.)
Jenkins - (I really like what he brings here even in his brief and scattered screentime. This as I think he finds the right sort of combination between desperation and menace. There is the right sense of this lost despondency however that of a powerful man that Jenkins still depicts. This as there is this sense of dangerous entitlement he brings just as he brings the sense of loss. Honestly I kind of wish we had gotten to dive even deeper with his role here, just as I found a lot of Jenkins was alluding to as rather fascinating.)
Perlman - (I mean does his typical thing, which is good for the role of Bruno, which this film makes way clearer what his relationship with Molly actually is.)
Steenburgen - (Effectively haunting in just very screentime in portraying this certain kind of emotional mania and desperation in such a short snippet.)
Nelson - (Brings the right sort presence that contrasts initially against Dafoe, then slowly reveals itself to be of similar manner.)
Louis: Your top ten animated film screenplays.
So wait, does that mean this is actually Dafoe's best performance as the Goblin?
It helps that he has the mask off for the most part.
Hi Louis, long time reader, first time commenter. Do you happen to have a full list of the films shown in the blog's layout? I recognize quite a few but there are several unknown to me that I find intriguing - namely: the woman on the dock overlooking the sea, the man riding through the jungle/forest, and the man standing in the snowy field.
Matt: Wouldn't surprise me. I will say, when it comes to his original performance, he is the cast member who best embodies the campy tone employed by Raimi (Only Simmons gives him competition, in my mind). This is mainly because he's so animated and purposefully hammy, and while it's not great acting in the strictest sense, there is some enjoyment in how much he's clearly enjoying himself.
Saw No Way Home. Felt like a satisfying conclusion for sure and I wish they would cease to make SM movies from that point on (even though that's just wishful thinking knowing the industry)
Proceed with caution, spoilers down:
Holland-4
Cumberbatch-3
Zendaya-3
Cumberbatch-3
Batalon-2.5/3
Dafoe-3.5
Molina-3
Church and Ifans-2.5
Foxx-3
Simmons-3
Favreau-3
[REDACTED 1 and 2]-3.5
Marcus:
I believe Tahmeed asked for that not long ago, I believe.
Tony:
Thanks for commenting.
In order from top to bottom left to right.
Skyfall
2001
Memories of Murder
Unforgiven
The Godfather Part II
Valhalla Rising
Doctor Zhivago
Blade Runner 2049
The Dark Knight
Bridge on the River Kwai
Barton Fink
Barry Lyndon
The Last Emperor
The Ballad of Buster Scruggs
The Immigrant
LOTR: The Fellowship of the Ring
The Talented Mr. Ripley
Parasite
1917
Fargo
Days of Heaven
The Right Stuff
Mr. Turner
The Sword of Doom
Road To Perdition
The Shawshank Redemption
The Conformist
Another Round
The Elephant Man
Mad Max: Fury Road
High and Low
A Fistful of Dollars
In the Mood for Love
The Night of the Hunter
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