Well like last year I have less information than usual at this point for predictions, as SAG (the only acting precursor that gives any direct information with actually overlapping voters in terms of nomination) did not readjust their schedule for some reason. Of course last year I did relatively well, only off by one with each lineup, so maybe it is best this way. Anyway, you have the top three of Smith, Cumberbatch and Washington that seem safe. Smith the populist (though his film flopped, however par for course with almost all Oscar contenders) Cumberbatch the critical darling (which has been proved true) and Washington (the academy darling). The latter hasn't been killing it, however his film has yet to hit wide, but he's Washington. He got in for Roman J. Israel, and typically gets in with the right role and reviews. He has both of those, so I'm not going to doubt him, though it has been awhile since a Shakespearean performance made it, however Washington definitely seems like the guy to break that trend. Then there are really I feel only 4 contenders left who are probably vying for the last two spots. The Academy golden boys and the musical golden boys. The former being DiCaprio and Cooper, who the academy loves, however are showing weakness in the meaningless precursors, and the latter being Garfield and Dinklage who have done well so far. I go with DiCaprio now, because sadly I can only hope Don't Look Now will flop with the academy but must prepare for the worst. Also while Cooper's role is very showy actually, it is showier in a subtler way than DiCaprio's. Out of Dinklage and Garfield, Dinklage I'd feel more willing to predict if his Thrones tenure had ended sooner and on better circumstances. It isn't quite Cranston with Trumbo, who I think definitely ensured his nomination through Breaking Bad. Garfield has a banner year, plus I feel there may be some Sondheim indirect goodwill of some sort. I think of the four you could shuffle them several ways however. Maybe Cyrano's late break helps as well. Maybe it is both musicals in favor of the two academy favorites? Or the other way around, we shall see.
Supporting Actor seems "academy" thin, in terms of contenders they'll consider, then again we haven't seen SAG, so this could get seriously shaken up. Smit-McPhee is the critical darling so far, and seems safe enough. He's about equal with Hinds in the right role in the right film. I'd actually go Dornan for the same film next, as the Academy after that 25 year hiatus has decided they're cool with doubling down in supporting actor. After that I think it is Troy Kotsur based on his success so far, and seems likely even if his film flops otherwise. Fifth spot though, hands up, as I could see so many films having above the line goose eggs. Jared Leto, maybe. Jenkins for The Humans, doesn't seem like it, same with Isaacs for Mass, SAG would be a must for all three I'd say. Simmons for Ricardos? Maybe, but he'd seem like someone to get SAG then miss out. Cooper as a long shot (and if you want to say "wishful thinking" fair enough), but he is Cooper and his role definitely makes an impression. If the film is big, and actress is too tight, it ought to get in somewhere in the acting lineups I think. But sadly I have to be putting someone from Don't Look Up in, as it is a legitimate trend of DiCaprio getting in his supporting actors (since it has happened with ALL of his lead nominations), particularly when the corresponding Tom Hardy, Jonah Hill and Alan Alda nominations were all late breaking "dark horses" in those respective years. Given this actually made me considering switching to Cooper or Dinklage for fifth in lead, in order to be able to ignore the trend. However I won't and because Rob Morgan and to a lesser extent Jonah Hill are typically favored in the film by those who dislike the film, therefore I have to go with the man those who love the film love, therefore must predict Mark Rylance's second Oscar nomination.
77 comments:
Found The Tragedy of Macbeth to be a masterful Shakespearean adaptation, worthy of comparison to Throne of Blood as the best adaptation of Macbeth. The technical elements here are simply astonishing. From the minimalist production design and score, to the incredible sound design (robbed on the short list) and the cinematography (I don't usually make statements like this but where what is a great year for cinematography, Delbonnel will be robbed no matter who the alternative choice is). Loved the editing and of course adaptation here. From expanding what Polanski did to Ross, to the streamlining, to so many of the choices in terms of staging, loved all of it. This is how you do Shakespeare, and I guess one Coen is enough to make an amazing film.
McDormand - 5
Hawkins - 4
Gleeson - 3.5
Melling - 3
Carvel - 3
Hassell - 4
Hunter - 5
Root - 3.5
Maybe Mike Faist can make Supporting Actor over Rylance? Please? PLEASE?!
If Rylance gets in, it’ll be the worst performance nominated in any category since Penn in I Am Sam.
Happy new year all! The fuck is up with Rylance's fake teeth?
Robert:
I don't usually like to show my cards early, but I sincerely hope I'm wrong with that particular prediction.
Matt:
I've been asking that question since I've seen that garbage dump...I mean movie, no, garbage dump was right.
Is it just me or does Jamie Dornan look a lot like Michael Fassbender there?
Rating predictions for this lineup if both line up with the Academy:
Lead
Cumberbatch - 5
Washington - 5
Smith - 4.5/5
DiCaprio - 4
Garfield - 3.5
Supporting
Smit-McPhee - 5
Hinds - 4.5
Kotsur - 4.5
Dornan - 4
Rylance - 1.5/2
Robert: I'd still say Eddie Redmayne (Danish Girl), Brad Pitt (Benjamin Button) and Glenn Close (Hillbilly Elegy) give him competition, but he's not that far off sadly.
I must admit, DiCaprio and Rylance should be set if "Don't Look Up" performs as Louis predicts. For DiCaprio, I'll at least be glad that it's a good performance (albeit lesser than his last three nominations), and that he's the most successful element in an Adam McKay film - similar to Bale's leading turn in "Vice", actually.
For Rylance, however, my reaction will be far more despondant, mostly for seeing such a talented performer go so wrong. Seriously, I have no idea who he modeled his shrill voice from, but it doesn't work in the least. The only reason I'd give him a 2 over a 1.5 is because of the "I'm not a businessman" scene; In that moment, he's at least trying something beyond the voice and mannerisms, and it almost works...almost.
Matt: I see it too. In fact, I think Fassbender may have actually played that role if Branagh had made the film, say, 5-6 years ago.
Louis: Predictions for the Best Actress nominees as well?
Something else to note: If the best actor prediction lines up, it will be exactly 20 years since Will Smith and Denzel Washington were last nominated in the same year (nominations that age better in the latter's case than the former's, but I do believe Smith has improved with time).
Louis: So glad you loved Macbeth. Any chance for Hassell to go up? Absolutely loved everything he did with his performance.
Also could I have your #11 - 20? Love seeing Drive My Car so high.
Oh and not to spoil anything too much Louis, but would you agree that THAT sequence in Macbeth is evidence that Joel (and probably Ethan for that matter if he was amenable) could probably helm an amazing action film?
Putting aside my own bias, I think Faist could get in. He’s growing in terms of buzz and seems to be the consensus MVP outside of DeBose. Hell, I’ve talked to people who didn’t like the movie who thought he was great. He could be a real sleeper contender.
Calvin: I've always felt that the chase scenes in No Country for Old Men were well-staged (the river, the footchase through town, etc) so I'd love to see both/either of them direct a full-on action film.
I’m predicting Hinds/Smit-McPhee/Kotsur/Cooper/Faist.
And for the other categories:
Washington/Smith/Cumberbatch/Garfield/Nishijima (VERY wishful thinking)
Haim/Gaga/Stewart/Cruz (wishful thinking)/Reinsve (VERY wishful thinking)
DeBose/Dunst/Ellis/Balfe/Negga (sadly at this point also tinged with a bit of wishful thinking)
So pleased to see The Green Knight make the top ten as well as Nightmare Alley, might bode well for Cooper.
Louis: Thoughts on the Macbeth cast.
And McDormand's definitely supporting.
I took a look at Don't Look Up and long story short, I wouldn't say it's unwatchable and I appreciate what McKay was going for, but it's all dragged down by annoying montage, a few filler scenes and some characters I really couldn't give a damn about. It seems as if he was really, really trying to put in as many satire gags as possible to make it obvious and snatch an award or something, but that makes me only appreciate Dr Strangelove more.
Rylance's character summarizes that technique and as a result he becomes the most ridiculous thing in a movie to watch (Elon Musk/Jacobim Mugatu hybrid with an irritating variation of Herbert the Pervert's voice). I hope Academy will ignore him.
Louis: Thoughts on the casts of Candyman, Old Henry and Fuhrman and Forsyth in The Novice.
Happy year Louis and to everyone! May 2022 be a successful year and many great films.
Louis, have you rewatched The Green Knight since your initial viewing.
For the lineups, I predict:
Cumberbatch - 5
Washington - 5
Smith - 4.5
DiCaprio - 4
Garfield - 3.5
Smit-McPhee - 5
Kotsur - 4.5
Hinds - 4.5
Dornan - 4
Rylance - 1.5 (Hurts me to do it)
Bryan:
Actress:
Kristen Stewart - Spencer
Lady Gaga - House of Gucci
Olivia Colman - The Lost Daughter
Alana Haim - Licorice Pizza
Jennifer Lawrence - Don't Look Up
Supporting Actress:
Ariana DeBose - West Side Story
Kirsten Dunst - The Power of the Dog
Aunjanue Ellis - King Richard
Caitriona Balfe - Belfast
Meryl Streep - Don't Look Up
Predicting worst case (American Hustle) scenario with Don't Look Up, where it kills in nominations, though voters get buyers remorse and it gets zero wins).
Calvin:
11. Prayers for the Stolen
12. The Worst Person in the World
13. C'Mon C'Mon
14. Attica
15. I'm Your Man
16. Last Night In Soho
17. Petite Maman
18. Nitram
19. Summer of Soul
20. Pig
Maybe.
Yes, though I would agree with Bryan that No Country For Old Men revealed a similar skill. Those moments though were brilliant, and look forward to commenting more when I get to Washington's review.
Robert:
I certainly wouldn't count out Faist, after all who predicted Stanfield last year?
Luke:
McDormand - (Although this version has the greatest emphasis on Lady Macbeth from any other version due to Coen's particular cut choices, I'd still categorize her as supporting, though this is the closest I'd say a Lady Macbeth comes to lead. McDormand's performance, and the film itself, I think takes in the idea of the age of the central characters here as part of the ambition rather wisely. McDormand portraying the early scenes with this sort of life's determination, though with the sense of it as this kind of last chance and there is a desperate hope about her murderous intent. I think key is her moments with Washington though that suggest a long standing marriage between the two within a settled and unhappy position in so many ways, though there is the thought of tenderness between them. After this McDormand portrays sort of the settled though uneasy state of seemingly their claimed rewards from their crimes, showing this more so concern of her husband who hasn't been able to settle within his crimes, and in her "concern" though it is with this sense of a pushed back guilt. This towards her final moments showing this sense of that guilt pushing through to herself, and is most powerful in creating this state of despondency that has this unnerving sense of resolute acceptance of a terrible plight of her life.)
Hawkins - (Offers the right sort of straight man approach with MacDuff as the good man who just wishes to do good, and so much bad happens to him for it. This in delivering well in the key moments of the emotional devastation but also the resolution to make his stand for it. Capturing well the controlled pain in the man as he brings him to basically use it for his cause in revenge.)
Gleeson - (Duncan is never a substantial role however Gleeson I thought did everything he could with it. This particularly I think in creating such a sense of friendship and trust in his moments of Washington, showing himself to be a true friend to Macbeth not just his king.)
Melling - (Malcolm is of course a limited role, limited here even more so perhaps, though not in a way I object to. I did like Melling's way around Shakespeare however, and hope to see him in more of Coen's endeavors.)
Carvel - (Felt he brought the right sort of curious sense of a more dignified less ambitious man dealing with the witches then later dealing with his friend clearly making some choices. Brings the right kind of earnest simplicity in his manner to be sure.)
Hassell - (I'd consider saving him, but really I'm running out of spots even if I do a 10 lineup. Anyways, Hassell's performance though runs with the brilliant choices Coen makes in terms of expanding Ross the key manipulator, which was explored in Polanski's however taken to the next level here particularly with what the film does with Fleance. Hassell's performance though is an effective work of this sort of extreme minimalism within the manipulation. This as it isn't so much how the man says the lines as he does glance a moment after them. There is such a sense of this calculation between each choice, as Hassell shows a man playing his own ambitious game the whole time, while also conducting himself seemingly as just the modest loyal servant.)
Root - (I mean perfection of casting by having Root be the Porter, it's exactly what you'd expect from him in turn as this sloppy lout making off color jokes, and in turn it is a kind of perfection.)
Hunter - (Well it first has to be said the Witches scenes are some of the best directed moments of Coen's directing career, which is saying a whole lot. Hunter's performance is what takes them to the next level of greatness though from the opening shot of her where indeed, as Michael said, one questions her strict humanity as she opens with a contortionist act that is striking to speak in a great bit of understatement. And that is only the start of her work that is the most transfixing of the year in terms of per second potency. She doesn't have a great deal of screentime however every second of what she is doing is absolutely stunning work. This in delivering her words with such a sense of this sinister doom, but also this eerie playfulness though prodding towards the use of the word. This though with as much as a threat as a come hither in her portrayal that is enigmatic in the best of ways. This as she conducts herself both as this threatening messenger of Satan, but also a co-conspirator prodding Macbeth to his false sense of hope. In it all that Hunter creates this sense of this creature or creatures, expressing this kind of pure joy in this interaction and the palatable pleasure of the game. This not mentioning her additional work there which suggests she probably could've played every part in the play it seems. Truly the definition of "there are no small parts" as this could not be a more captivating performance, and makes the witches so much more than just a device to get the plot going. I think "steals the show" is overused in a general, but let's just say this performance makes the film all the greater by its mere virtues.)
Anonymous:
Manteen - (Again the flaws of the script really make it so this is not as powerful as a transformation as it should be given the film doesn't really commit to the idea. I think he gives a fine portrayal of the weird combination between fear and this certain degree of calmness as he moves towards it. Still though I don't think the film does him favors as it makes it too distant.)
Parris - (Just does a wholly commendable job in terms of portraying the purely human innocent within it all, and creates the most sense of horror in her reactions.)
Domingo - (Again a character more interesting in theory than execution. Domingo though certainly does his best though to make it work and does an effective combination of this gravitas in his exposition though with some suggestion that something else is doing on.)
Williams - (The most attached element to the original film, and in turn I felt the best. This as I think she offered a greater eeriness to the whole idea of the character with such a real sense of power within her depiction. Williams expressing this sort of existential horror of the situation powerfully, to the point it is a shame the film itself couldn't quite realize this.)
Haze - (I think a missed opportunity in that he is largely fine, but the character should seem more unpredictable in performance not just writing. As is Haze's work seems a little too generalized.)
Lewis - (He is fine in some moments with Nelson but overall doesn't leave as strong of a connection or impression as he could.)
Adkins - (Wonderful western style character all the way, and just brings a wonderful idiosyncrasy to the role. The only performer in a certain sense that matches what Nelson is going for.)
Dorff - (Typical Dorff villain work, though effective as far as it goes.)
Fuhrman - (Thought she was actively bad in her big breakdown scene near the end of the film. She's not helped the rest of the time by her character being a little bit too vague, beyond the point of natural ambiguity. Having said that Fuhrman does have good moments of just playing this kind of innate intensity in the intention of the character, and the degree of ferociousness needed. The idea of this sadly though isn't explored well enough by the film itself.)
Forsyth - (Yeah this just felt like High School acting with a whole lot of over emphasizing and sense of performance the whole way through. Never did she feel natural in the role and her big scene felt woefully inadequate.)
On a seperate note, I finished Book 2 of "Legend of Korra" this morning. And if I'm being completely honest, I didn't like it as much as Book 1.
To it's credit, there was an interesting expansion of Avatar lore, specifically with the spirit realm coinciding with a water tribe conflict, and extra detail about the origins of avatars. Where it does fall short, I think, is with a greater number of issues occasionally present in Book 1 (Namely some clunky dialogue and jarring tonal shifts between drama and comedy). Also, Amon's villainous presence is sorely missed here, since the antagonists this time around are an obsessive spirit lover, and an ancient manifestation of darkness. For me anyways, that's just not as interesting as Amon's contradictions and Blum's memorable voice work.
New Cobra Kai season's terrific, Thomas Ian Griffith MVP.
Louis: If You're seeing it tonight, thoughts on Perfect Blue.
Louis: thoughts on Attica and Summer of Soul? Dug them both personally (good year for documentaries!)
Happy new year guys!
If these names that Louis chose were the nominees, the ranking would be
1. Cumberbatch
2. Washington
3. DicCaprio
4. Smith
5. Garfield
1. Smit-McPhee
2. Kotsur
3. Hinds
4. Dornan
5. Rylance
"Meryl Streep - Don't Look Up"
Ahh, I was too focused on who was going to get the Dicaprio-bump in Supporting Actor that I forgot that Streep is also in the film and she has a likely chance of getting in...because she's Streep.
I feel like a Rylance nomination for DLU is probably penance for his inability to make it for Chicago 7 last year.
And yeah, Streep is definitely getting in.
Louis: What's your Adam McKay ranking.
And who are your top ten overrated directors working today.
Louis: Your director and cast for a 60's version of The Tragedy of Macbeth.
Regarding Don't Look Up, does anyone else get the feeling that Dicaprio's character in the film may actually be a stand-in for McKay himself? He has a beard & glasses like McKay does, and is meant to be the "smartest guy in the room", like how I'm pretty sure McKay seems himself as.
Louis: Do you mind posting your #21-25 for the year? I sort of want to see where The French Dispatch lands.
Calvin:
Attica is just a fantastic and detailed retelling of the events. Well told and powerfully told by really, just telling it a straight forward and factual sense.
Summer of Soul is a pretty terrific example of how to do a musical documentary as it finds the right rhythm between letting the acts play and then providing context for each one. Just very well balanced in that sense, and particularly well done.
Luke:
1. Anchorman
2. Talladega Nights: The Ballad of Ricky Bobby
3. The Other Guys
4. Step Brothers
*Gap*
5. The Big Short
6. Don't Look Up
7. Vice
If we're speaking with a bent towards more recent work.
1. Adam McKay
2. J.J. Abrams
3. Andrew Haigh
4. Ken Loach
5. Adam Wingard
6. Steven Soderbergh
7. Noah Baumbach
8. Sofia Coppola
9. Ruben Östlund
10. Ari Aster
8000's:
I mean I'd have to go with the obvious one here.
The Tragedy of Macbeth directed by Laurence Olivier:
Macbeth: Laurence Olivier
Lady Macbeth: Vivien Leigh
Duncan: Cedric Hardwicke
Malcolm: Stanley Baker
Banquo: Anthony Quayle
Ross: Ralph Richardson
MacDuff: Christopher Plummer
Lady MacDuff: Claire Bloom
Porter: Stanley Holloway
The Witches: Gladys Cooper
Michael:
21. The French Dispatch
22. Red Rocket (I'll admit looking back at my earlier thoughts, I accidentally gave the wrong impression of my view)
23. The Suicide Squad
24. House of Gucci
25. The Power of the Dog
I'll admit on re-watch it was brought down as the "manifesto" story-line becomes a little hard to get through as that really has no thrust, and its plot is unbelievably thin. To the point on future re-watches I'll probably just skip it.
Luke, what are your suggestions for the 2021 alternate lineups.
Anonymous:
For Supporting:
Review his 10 favourites
For Lead:
All 5s reviewed (With 2 fives already, this could equal or surpass 73/14 and I'm quite concerned that 1 or 2 5s will miss the 10 cut, I just hope Louis will do some unannounced bonus writeups to cover them entirely. Even if it made the rest of the reviews predictable, most will care more about who wins the overall).
Bryan: In fairness, DiCaprio has been rocking that heavy stubble look for a while now, so it might be coincidence. If it isn't, that would explain why his character isn't treated as a joke like most of his accomplished co-stars.
Mitchell: You say "rocking it" but I'm sorry the guy does not look good with a beard.
Also, to anyone here familar with "Legend of Korra", what would be your thoughts on episode 4 of Book 1?
I'll keep the spoilers light, but it was the first notable time we see Korra breakdown. Admittedly, I was caught off guard by that final scene, and I think it was handled fairly well in terms of a teenager putting on a tough face to mask their true fear. Also, Blum's voice really delivers on the menace needed for Amon.
Matt: Not a longer beard, no, but I do think thick stubble is a good look for him.
Pretty much have the same 5 for lead actor, though I currently do have Dinklage in also over DiCaprio which I’ll probably go back on as the Academy will probably go for Don’t Look Up at least in terms of nominating it (doubt it will win anything, though), though if Cyrano builds up enough passion when it gets its wide release I could see him sneaking in despite the odds being against him. Right now though I actually think Garfield will win. Smith and King Richard haven’t really gotten the momentum people thought it would build up to lead him to a win and Cumberbatch doesn’t strike me as a winner either, and this being a banner year for Garfield as mentioned and his film being a much more widely seen crowd pleaser I think gives him a definite advantage… assuming that guilds (SAG in Lead Actor and Eddies specifically) back the film. And I agree that Washington is definitely getting nominated too, who I could even see missing SAG this year and still getting in.
In supporting actor, I also have Hinds (who I think will win), Smit McPhee and Kostur (the last of which I am somewhat skeptical of but am now thinking it could land some significant nominations… maybe). Dornan I think will depend on whether he gets in at SAG or not, which I can honestly see him missing, but we’ll see. I do have Faist at the moment who definitely has a lot of passion backing him right now, but again, I’ll see what SAG does. Also have Leto getting in despite it all as I do think SAG will go for him even if Gaga misses in Lead Actress there (I have them both getting in at Oscars right now). So yeah, definitely gonna base my final bets on what SAG does.
Oh, and Happy New Year, everyone!
Louis: could I have your thoughts on the editing of Mass? An underrated element of the film I’d say overall (I know you don’t care for the opening 10 minutes but that feels like more of an overall directorial decision to leave it in).
Also with regards to Cobra Kai, I think this season is Macchio’s best yet.
Calvin: Agreed. I also think several of the younger actors did a better job this time around, especially Tanner Buchanan.
Louis: Is Inside still eligible for your film rankings?
I probably could've picked a better movie for my "first watch of the year" than Phone Booth, but whatever.
Louis: Thoughts on Perfect Blue.
Calvin:
I would agree the opening not being part of the overall editing choices, I feel really that was the one, and only really, place of "first time director" lack of confidence in Kranz's work, that was otherwise very confident. The overall editing though I thought was fantastic, and does what really is what should always be the aim for something dialogue driven, that being the editing felt invisible. Honestly while watching it forgot even the idea of pacing as the film just flew by to me, which is tough with a film that is purely just four characters talking. The editing is key to that, and the fact that everything just feels part of a natural flow of speaking and reaction speaks towards its strengths.
Marcus:
I've been going back and forth, and by my prior to 2020 rules, it would be ineligible, which given the theatrical window was back to relative normalcy, I perhaps should go by that.
Luke:
Perfect Blue I thought was quite fantastic. On the surface just extremely well told psychological horror thriller with so many genuinely jarring moments, and an honestly effective twists within the narrative. I think though Kon tells just a satisfying thriller narrative, he goes much further in terms of the analysis of really the image of a celebrity, and how both it changes and is digested by the public. Fantastic work though as the themes are so naturally threaded through just its compelling narrative at the center of it. Also just some brilliant use of animation here, particularly in the final chase with a most unexpected yet terrifying depiction of a pursuer.
Louis: Rating and thoughts on Bo Burnham in Inside.
Louis: Thoughts on these interviews with Robert Mitchum, Gregory Peck and John Wayne.
https://www.youtube.com/watch?v=IpYjwqpVSt0
https://www.youtube.com/watch?v=KLSwq-OS_i4
https://www.youtube.com/watch?v=r0tCqY9SNLs
Sucks about Inside, was really hoping for a Burnham review. Glad you loved Perfect Blue though.
Louis: Your thoughts on the direction, screenplay, use of soundtrack*, and cinematography for The Suicide Squad.
*Mainly asking for this because the original film implemented its' songs rather...lazily.
i just saw The Grapes of Wrath for the first time, which has many fantastic elements, but is also a bit too slow throughout the entire second act.
Also, what kind of world do we live in that it wasn't nominated for cinematography?
Fonda - 4.5
Darwell - 5
Simpson - 3
Carradine - 5
Bowdon - 3
Qualen - 4.5
Louis: What are the lowest 5 and 4.5 from your top 20 for 2021?
Louis: Your updated ranking of all the Spider-Man films you've seen?
Louis: Your thoughts on Junko Iwao and Rika Matsumoto's voice work in Perfect Blue.
Louis: Given how acclaimed her Lady Macbeth was on stage, it is an incredible shame Vivien Leigh was never able to immortalize the role on film. I'm sure that success on stage would have translated over.
Well, I completed Book 3 of "Legend of Korra" this afternoon...and it thankfully surpasses the dip in quality shown by Book 2, and approaches the response I had to Book 1. It gets back to what I feel is one of Avatars' strengths: Namely, giving a tempered yet digestable take on real world politics, opposed by human threats with elemental powers. In Book 3's case, that includes a genuine sense of danger from the Red Lotus anarchy group, and the well spoken Zaheer (decent voice job from Henry Rollins). It also has some of the best animated fights of the series thus far.
could you rank the Adapted Screenplay lineups of the 2000s?
Louis: Your thoughts on Miyagi's last letter scene from Cobra Kai season 3? Coupled with Macchio's excellent reactions and how you can feel Morita's presence throughout, it's one of my favourite scenes of the show.
https://youtu.be/KheSDa8RJ8E
Louis: Somewhat similar to Tahmeed's question - what would be your thoughts on the voice acting in the following animated scenes?
Lex Luthor's Speech to Amazo - Justice League Unlimited, The Return
https://www.youtube.com/watch?v=K4TC1xMyZDI
Amon's threat to Korra - Legend of Korra, Book 1, Episode 4, approx. 21 minutes
https://www.youtube.com/watch?v=bTueuCTNJb4
Final duel of Darth Maul and Obi Wan - Star Wars Rebels, Season 3
https://www.youtube.com/watch?v=jeG215-yu-k
Mitchell: Who's your MVP from Rebels.
Luke: I have yet to see Rebels (It's on my immedate watch list), but I know of that scene and it's one of my favourite light saber fights OAT. It works as a reflection of each character's history, as a homage to the slow building western standoffs which inspired some of the original movies, and as a practical example of how many sword fights would go down.
Louis, I'd you have seen Season 4 of Cobra Kai, how would you rank the performances?
Luke:
Well hold, like I said I'm going back and forth.
8000's:
Mitchum is interesting in that his reputation is the accidental actor, he is so articulate in speaking about the filmmaking actually despite his low key manner as a person, which I think in a way maybe created a mistaken view of him. I think rather you see he takes a practical kind of view. Also consistent mention that one will find of David Lean as finding his path with the films most literally, though it suggests why his films tended to go over budget and over schedule. And his mention of Deborah Kerr is interesting given how different their presumed style is, however their chemistry was indeed obvious.
Can't say I love the interviewer in any of these, and I'd say with Wayne you could tell he was annoyed by forgetting Raoul Walsh (and rightfully so). Wayne in general has kind of a timidness interestingly in interviews, as kind of a man who almost seems surprised by his gratitude and when speaking of his directors it is with clearly a whole lot of gratitude. In it though you get the different views of Hawks and Ford in very blunt terms.
Peck I think makes a good point in the nature of exposition delivery, and that an actor is particularly important in making it flow. Peck though also commenting on his acting style, though he had method training, speaks towards detached technique opposed to feeling within the performance. Which always in my mind just speaks to, whatever method works best per actor. It is interesting to see him comment on his critical failures about precious moments.
Bryan:
Gunn I think in general I'd call a comic, and sometimes visual direction. The latter I think he can struggle with it, but finds it from time to time. Here we get his strengths though in comedy, and character building in and around comedy. Much of the comedy here being in interactions of timing, where he is astute here once again, and through some visual humor, largely through violence, which again though is well done. I think here, unlike Guardians 2, shows the restraint in his directorial pacing choices in not laboring the jokes, and knowing when to move on here. His finding of moments of visual splendor, though I would say aren't truly consistent, but still occur. Most of all though he manages tone very well here knowing really how to ease into moments of genuine drama and moments of comedy without there being a conflict of nature.
Gunn's screenplay I will say does have a notable flaw, to the point I'd kind of like to see the original screenplay, since Harley Quinn seems entirely studio manted tacked on given how little anything she does really has to do with the rest of the plot (you could've just had the general be the villain the whole time, the prison break is purposefully pointless as written, and could've just had ratcatcher kill Starro alone). I don't think her scenes are even bad, just everything else is a whole lot better. Having said this here Gunn succeeds in the promise of the premise of the suicide squad, both in the sudden deaths of characters and getting to have fun with such a strange bunch of characters. He plays into the weirdness beautifully. He also plays here with comedy in character, unlike something like Guardians 2 where he bought into himself so much that he had his characters laugh at his own jokes and barely came up with a plot. Here he actually has a compelling plot, and the guidance within the screenplay to realize through the ragtime group that is well realized as written with the right character moments throughout but for comedy and heart.
I mean you have with the soundtrack versus the first film, it isn't anything, as you have the sloppy editing attempt to really ape Gunn's style found in Guardians. The difference being Gunn clearly put thought into the songs, and built the scenes with the song in mind rather than just overlaying them over scenes rather randomly. I do appreciate Suicide Squad (without the the) Because it showed that picking a good song does not make a scene good, you need to make the scene good and actually earn the song.
I would say the cinematography of the film isn't its strongest point, though a gigantic improvement over the actively ugly looking earlier film. Again like Gunn's own visual ability, there's an inconsistency though it goes from fine to some good moments. Like the rain scene, or just some moments of genuine color vibrancy, to some nice dynamic compositions. Where it probably excels most honestly though is cohesively filming the action and giving a nice dramatic look. Never perfection, but on the whole more than decent.
Aidan:
Drive, My Car is the lowest 5, Attica the lowest 4.5.
Tahmeed:
Spider-Man 2
Spider-Man: Into the Spider-Verse
Spider-Man
Spider-Man: No Way Home
Spider-Man: Homecoming
Spider-Man 3
The Amazing Spider-Man
Spider-Man: Far From Home
The Amazing Spider-Man 2
Anonymous:
Iwao's vocal performance I think brings the right straight forward sweetness and earnestness to the role. Creating the right sense of a person you don't really want to see anything bad happen to. Matsumoto's work I think is appropriately straight forward up until the end, as I think it is rightfully plain in order not to telegraph the revelations in any way.
Tim:
2000:
1. O Brother Where Art Thou
2. Wonder Boys
3. Crouching Tiger, Hidden Dragon
4. Traffic
5. Chocolat
2001:
1. The Lord of the Rings: The Fellowship of the Ring
2. In the Bedroom
3. Ghost World
4. A Beautiful Mind
5. Shrek
2002:
1. Adaptation
2. The Pianist
3. About a Boy
4. The Hours
5. Chicago
2003:
1. The Lord of the Rings: The Return of the King
2. City of God
3. American Splendor
4. Mystic River
5. Seabiscuit
2004:
1. Sideways
2. Before Sunset
3. Finding Neverland
4. Million Dollar Baby
2005:
1. A History of Violence
2. Munich
3. Capote
4. Brokeback Mountain
5. The Constant Gardener
2006:
1. Children of Men
2. The Departed
3. Little Children
4. Notes on a Scandal
2007:
1. There Will Be Blood
2. No Country For Old Men
3. Away From her
4. Atonement
2008:
1. Frost/Nixon
2. Doubt
3. Slumdog Millionaire
4. The Curious Case of Benjamin Button
5. The Reader
2009:
1. In the Loop
2. District 9
3. An Education
4. Precious
5. Up In the Air
Tahmeed:
I mean anything involving Miyagi seems to bring out the best in Macchio as his reactions seem honestly seem to be touching to reality, and it is hard not to watch it without getting a real sense of the care to Morita himself. Agreed as well written in speaking the voice of Miyagi and sensing the character in the words, and beautifully evoking the loving yet comic nature of Miyagi.
Anonymous:
Not all, but almost.
Mitchell:
I mean Brown's voice always has a force to it, that clip no different and particularly well used in literal philosophizing with purpose.
Can't see that clip.
I mean both strong imitations of the original performers, with some emotional nuance to it actually, particularly in the end there.
Louis: Is the video blocked for you? To clarify, I was specifically referring to Amon's monologue between 21:22 and 22:05.
To give you some idea, though, Amon is voiced by Steve Blum, who's probably most known for playing Wolverine and Sub Zero in a number of projects. As such, I find his gravelly tone well suited for a villain like Amon, and honestly very chilling at points.
Mitchell:
Yes.
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