Best Scene: Phony backstory.
4. Alastair Sim in An Inspector Calls - Sim delivers the proper vicious incisiveness that so quietly penetrates every scene as this perhaps supernatural crusader.
Best Scene: Argument of prospects.
3. Clint
Eastwood in The Beguiled - Eastwood uses his classic presence in the
point of subversion in his portrayal of a man manipulating for his own
advantage, and his vicious rage when that manipulation backfires upon
him.
Best Scene: Waking up to something missing
2. Vincent
Price in Theater of Blood - Price delivers his greatest turn getting to
play such a wonderfully over the top fiend/actor, while actually
earnestly minding emotional depths within the betrayal of the fiend. If there is any performance that ever could define his lasting impression on cinema, it is this one, but it also stands as simply one of his best acted and most entertaining turns.
Best Scene: Lear's despair. .
1. Uttam Kumar in Nayak - Kumar gives a charismatic, vulnerable and moving portrayal of an actor coming to terms with both who he is and what he has given away to achieve stardom.
Best Scene: Saying goodbye to the "reporter" as himself.
188 comments:
Well, I wouldn't have been able to predict this line up honestly.
Also, I finished season 2 of "Breaking Bad" early this afternoon, and I'm continuing to see why the series was so acclaimed; It's genuinely great from a writing and acting standpoint, and Walter White is one of the most fascinating and layered TV antiheroes I could name.
I additionally watched "Passing" and while I agree with a common criticism of the film - namely that it could've explored it's themes a little harder - it's nevertheless a skillfully directed and composed outing. Ruth Negga deserves all the plaudits that come her way.
Louis: Random question, but what would be your thoughts on the "I have a voice" scene from "The King's Speech?" It's my favourite part of the film, and one I actually think shows the strength of Rush's performance arguably more than Firth's.
I’ve watched Passing three times now and honestly feel like it pretty much explored everything it could within that topic insofar as film is concerned.
Glad to see Kumar winning this lineup and now being #6 in that 1966 lineup.
Louis: Pattinson is in talks to collaborate with Bong for his next project. Everyone salivates!
Bogart going up to 2nd and Price in 11th. Amazing.
Louis: Have you re-watched Passing lately and any upgrades.
Mitchell:
Well another example of the writing versus the directing for me, as I really don't get what Hooper is going for these particular close ups and framing. Seidler's words though sing, and yes, Rush is the standout, though I think this one of Firth's better scenes, in the scene for me as well for his callousness to prompt George, which leads to such earnest support for the man after having mocked his institution. I will say I like the overall scene there, because it does the whole liar idea far better than most screenplays, by not stopping the narrative but rather just having the characters honestly talk about the misunderstanding instead.
Calvin:
Well I'm in...eh who am I kidding I would be in if Quentin Tarantino was announced as the lead.
Luke:
I have not.
Finally saw Licorice Pizza last night, and I was worried I would have a more lukewarm response to it but I'm happy to report that I really loved it. My favorite of 2021.
Hoffman - 5
Haim - 5 (*praying* that she sneaks into Lead Actress at the Oscars)
Penn - 4
Waits - 4
Cooper - 4.5
Safdie - 3.5
Louis: Would've been more fitting if I had asked this around the New Years post, but your current predictions for Best Picture & Best Director?
Louis: Your bottom 15 performances of 2021?
Luke, what are your rating predictions for all of the remaining saves.
And Dinklage/Harrison Jr. in Cyrano.
Kotsur - 4.5
Leung - 4.5/5
Affleck - 5
Wong - 4.5
Spall - 4
Wright - 4.5/5
Holland - 4.5
Dornan - 4
Hinds - 4.5
Bernthal - 4
Smit-McPhee - 5
Leto - 3.5
Pacino - 4
Jenkins - 4.5
LaPaglia - 4.5
Okada - 4.5/5
Lie - 5
Simmons - 4
Morgan - 3.5
Hill - 1.5
Rylance - 1.5
Alvarez - 4.5
Faist - 5
Dafoe - 4.5
Strathairn - 4.5
Penn - 4
Waits - 4
Cooper - 4.5/5
Affleck - 3.5
Harrison Jr. - 4
I expect Alex Hassell to go up as well.
Burnham - 5 (If reviewed)
Patel - 5
Cage - 5
Duke - 4.5
Smith - 4.5
Garfield - 3.5
Cumberbatch - 5
Landry Jones - 5
Phoenix - 5
Graham - 4.5
Norton - 4.5
Nishijima - 5
DiCaprio - 4
Bardem - 3
Kier - 4.5
Cooper - 5
Ali - 4.5
Hoffman - 5
Rex - 5
Nelson - 4.5
Birney - 5
Isaacs - 5
Washington - 5
Dinklage - 4.5/5
Bryan:
Picture:
Belfast
The Power of the Dog
Licorice Pizza
West Side Story
House of Gucci
Don't Look Up
Dune
CODA
Tick Tick...Boom
King Richard
Though I think one of the last two loses out indicating who will win best actor perhaps (though maybe Cumberbatch takes his critical power to the top like Affleck). Outside the ten I think Spider-Man (will get PGA probably and could make it due to the straight ten), Macbeth and Nightmare Alley, both which could get a last minute surge. Also think Being the Ricardos is hanging around somewhere, though hopefully not.
Director:
Jane Campion
Kenneth Branagh
Steven Spielberg
PTA
Adam McKay
I think PTA misses out at DGA in favor of Villeneuve or Scott. Not feeling Hamaguchi yet, as Vinterberg was helped by some contenders falling by the wayside and Sorkin's direction being frequently criticized. I don't see any of the main contenders struggling with that, as even say the crowd-pleaser in Branagh is definitely a film with an emphasis on visual direction (whether or not you like his choices.) Also McKay because one must prepare for the worse when he got in for Vice somehow.
Robert:
Forgetting all former rankings.
1. David Dencik - No Time To Die
2. Maddie Ziegler - Music
3. Kate Hudson - Music
4. Ben Schwartz - Music
5. Garrett Hedlund - The U.S. vs. Billie Holiday
6. Max Martini - The Tender Bar
7. Judy Greer - Halloween Kills
8. Lewis Tan - Mortal Kombat
9. Taika Waititi - Free Guy
10. Fernanda Urrejola - Cry Macho
11. Shailene Woodley - The Mauritanian
12. Tye Sheridan - The Card Counter
13. Daniel Wu - Reminiscence
14. Riley Keough - Zola
15. Tye Sheridan - The Tender Bar
Note: Ben Platt and Rami Malek (No Time to Die) were too entertaining in their badness to make this list.
RIP Hardy Kruger
Louis: Thoughts on Free Guy and the cast.
Louis: ratings for the cast of Free Guy?
I'm predicting Branagh and McKay to miss out and have Hamaguchi and Villeneuve in their place, but that's really just wishful thinking.
Glad you despised Free Guy too Louis, the praise for THAT one baffles me, truly.
your thoughts on Shailene Woodley as an actress?
R.I.P. Hardy Krüger
I'd say Director will be
Campion
Spielberg
Branagh
Anderson
Del Toro
Luke: I liked your list.
Can you make your list of 2021 actresses?
Shaggy: I'll predict a 5 for Penelope Cruz in Parallel Mothers and an upgrade for Negga in Passing.
RIP Hardy Kruger
I also would not count out Joel Coen for a surprise late bloomer Director nod, Macbeth is peaking at just the right time.
Louis: If you do review Burnham, I hope it'll be the last post before covering the 2021 lineups.
What are everyone's predictions for Louis's Director top 5? I'm predicting:
1. PTA - Licorice Pizza
2. Joel Coen - The Tragedy of Macbeth
3. Steven Spielberg - West Side Story
4. Denis Villeneuve - Dune
5. Ryusuke Hamaguchi - Drive My Car
Really hoping Hosoda might make it in for Belle (which I watched today and loved, even with the ending).
I'm predicting his top 10 to be:
Coen
PTA
Speilberg
Villeneuve
Hamaguchi
Hosoda
Scott (The Last Duel)
Lowery
Del Toro
Huezo
So in regards to this upcoming awards field, something I'll say right now is I think best actor - should all of Louis' choices get in - may be more or less set as the following.
1) Washington
2) Cumberbatch
3) Smith
4) DiCaprio
5) Garfield
Even without having seen 3/5 films, Washington's been getting great word of mouth, so I can see him taking the win since he's seem to be on a performance stride in recent years. Smith has also been getting notable fair, and Garfield I think has the star power and clout to get in - should he find the right support to combat his more divisive movie/turn.
As for the two performances I have seen...DiCaprio is the absolute best thing about his poor film, so that at least makes him stand out. I think Cumberbatch, meanwhile, is getting the praise he deserves, since it's a notably transformative and intensely subtle performance compared to the roles he became known for.
Tahmeed Chowdhury: My predictions
1. Paul Thomas Anderson
2. Joel Coen
3. Steven Spielberg
4. Denis Villenueve
5. Ryusuke Hamaguchi
6. David Lowery
7. Ridley Scott (The Last Duel, obvious)
8. Jane Campion
9. Guillermo Del Toro
10. Joachim Trier
What are everyone's predictions for the TOP 10 of Louis's Supporting Actress and Lead Actress? My predictions:
Supporting Actress
1. Ruth Neega - Passing
2. Toko Miura - Drive My Car
3. Jessie Buckley - The Lost Daughter
4. Kathryn Hunter - The Tragedy of Macbeth
5. Frances McDormand - The Tragedy of Macbeth
6. Ariana DeBose - West Side Story
7. Jayne Houdyshell - The Humans
8. Rita Moreno - West Side Story
9. Cate Blanchett - Nightmare Alley
10. Gaby Hoffmann - C’mon C’mon
Lead Actress
1. Renate Reinsve - The Worst Person in the World
2. Alana Haim - Licorice Pizza
3. Ann Dowd - Mass
4. Martha Plimpton - Mass
5. Olivia Colman - The Lost Daughter
6. Penélope Cruz - Parallel Mothers
7. Jodie Comer - The Last Duel
8. Kristen Stewart - Spencer
9. Thomasin McKenzie - Last Night in Soho
10. Rachel Zegler - West Side Story
Shaggy: Lady Gaga went up to a 5 on reflection.
Louis: What do you think of Kitbag being changed to Napoleon.
Rest In Peace to the one and only Captain Potzdorf, Hardy Krüger.
Well, In reference to my previous comment I watched "Tick, Tick...Boom" this afternoon. And to quote a much different music based film....not quite my tempo. I'm not a musical expert, and I get the general tone Miranda is going for, but this may be an instance where toning down the editing might've helped a number of important scenes.
As for Garfield - I thought he did a fine job. He's perhaps a little much in some scenes, but his dynamics with Shipp and Jesus are strong, and his emotional performance borders on outstanding. Not his best work, but it's still a performance where the good highly outweighs the bad.
Luke:
Free Guy I found pretty lackluster, and un-enjoyable. Found the action forgettable, the jokes found fell largely flat, and the references I found were even thinner than Ready Player One as the depth of "but you know this stuff" as reasons to like it.
Reynolds - 2(Moving towards Robert Downey Jr. territory in limiting himself in the parts he'll play it seems, as now this is just a variation of Deadpool and he can do more. This is Deadpool lite, and far less enjoyable, with far less emotional depth actually. Found him unfortunately pretty grating here, and hope we can have Mississippi Grind or Buried Reynolds back for a role or two.)
Comer - 3.5(Her posh English accent and her American accent are impressive here. And though I found it a little hard to find her the mousy type I'll say she did her best to fashion her presence well both as the overly confident video game character, and the less assured programmer. Really devoted herself her far more than the material sadly really deserves. Still credit where it is due.)
Keery - 3(Found him charming here, and frankly think he might've made a better overall lead as well honestly.)
Howery - 2.5(Found his emotional scene okay, otherwise found his shticky scenes a little to very grating.)
Waititi - 1.5(Yeah so with this and Green Lantern perhaps he should stay away from Ryan Reynolds or perhaps away from studio comedies. This as I found him aggressively unfunny here no matter how hard he tried to riff here, I actually found his riffing here to be the problem, and just was one where it was like "okay stop trying to make it funny". And I'll actually say in this instance I think if someone went for full John Vernon here, this part actually could've been funny I think, as think about a guy going full vicious villain against a video game character, that could've been something I think. Instead we get Waititi being goofy, and at his cinematic worst.)
Tim:
Not good. I think she is alright in a couple of things, but the moment she has to be more than natural, she is extremely unnatural. Whether that is her big blow up in The Mauritanian or her drunk scene in The Descendants. She struggles to be anything other than "average girl" but she can be that, sometimes.
Mitchell:
I would say Tick Tick...Boom is only really divisive here (this coming from someone who did not care for it). It is well liked by the public and critics. I think if Garfield gets one win (Bafta or SAG) he could easily win.
Luke:
Uh, while Napoleon is a bit generic, Kitbag also is probably "huh?" to the average film-goer, so understandable. Would've preferred a middleground of some kind though.
Louis: based on his strenghts as an actor, in what current film roles do you think Mark Wahlberg would have been good in, and how good do you think he would have in Bradley Cooper's role in American Hustle?
Lucas: From a certain angle, I could see Wahlberg working in Cooper's role due to his previous work with Russell. At the very least, it would be a more appropriate use of talent given that Cooper has generally been more praised in drama than broad comedies.
As for current Wahlberg roles, well...I'd mostly assign him action centered characters since he's always been in terrific shape. It's not a stretch, but at the moment I can't really state any specifics, and I do think Wahlberg's physicality a key element to his success thus far.
Just watched The Fountainhead. I think I'm mixed on the movie. A lot of it is good, but just as much is just as bad, and a lot of it has to do with the script.
Holiday Affair I thought was mildly charming in itself, however except for maybe Cary Elwes in Liar Liar, I don't know of a bigger example of the better guy getting the shaft in the end than Wendell Corey here.
Leigh - 3.5
Mitchum - 3.5
Corey - 4
Gebert - 2
Morgan - 3
O'Neill - 3
Tahmeed:
Glad you loved Belle as well, really giving it more time, and actually watching it again only made me adore it all the more, and really my objection in the ending has come down to a minor logical nitpick (I mean someone go with her! An adult maybe) that still totally works on an emotional level for me.
Lucas:
I think there is a possibility he might've hit the right tone by being more goofy in his comedy actually, and more, well, dumb seeming.
Lucas:
Other roles I think he could've worked in:
Ryan - Game Night
Peacemaker - The Suicide Squad
Louis: Thoughts on the Holiday Affair cast and do you think Ryan Reynolds could be a great Safdie protagonist?
Louis: Have you watched The Haunting Of Hill House, Angels In America and Blackadder Goes Forth.
It seems as though Hollywood was really trying to make Shailene Woodley the next J-Law several years ago, since she also led her own YA franchise and landed similar roles that Lawrence played when she was breaking out.
Wendell Corey reminds me a bit of Ralph Bellamy, who almost never is "the one", despite being a charming character haha
Feel like this is the year me and Louis are more or less on the same page movie-wise. At least more than usual.
Managed to watch The Tragedy of Macbeth which I adored beyond words. Extraordinary filmmaking, some of Coen's best, and the adaptation itself is inspired and quite brilliant. The text in the mouths of these actors completely sings. Honestly, this is so good, I would be OK if Coen did nothing but Shakespeare adaptations for the rest of his career.
Washington-5
McDormand-5
Hawkins-4
Carvell-3
Gleeson-3
Hassell-4.5(Probably the most brilliant adaptation choice is what's done with him)
Hunter-5(What the FUCK)
Melling-3
Root-3.5
Louis: Your thoughts on Wellman's direction and Trotti's screenplay for The Ox-Bow Incident.
Regarding John Alton as a cinematographer, I'd say that his non-Mann noir flicks are also worth checking out just for his work.
RIP Meat Loaf
Louis: Your ten favorite performances by actors playing actors?
R.I.P. Meat Loaf
his name was Robert Paulson!
it looks like Adam McKay is producing a movie about the capitol raid, but it seems that Billy Ray is directing though
Louis: With Price and Lee having their career-bests in Theatre Of Blood and Jinnah respectively, I'd recommend Peter Cushing in Cash On Demand (1961) for a review. Those who've seen it consider it his best work along with his portrayal of Winston Smith in 1984 (1954).
RIP Meat Loaf
Rest In Piece to Meat Loaf.
R.I.P. Meat Loaf
RIP Louie Anderson
RIP Louie Anderson
RIP Meat Loaf.
R.I.P. Louie Anderson
R.I.P. Meat Loaf
RIP Louie Anderson and Meat Loaf
I watched Nightmare Alley today and really dug it, have to say, and would gladly take it as a BP nominee over a majority of the actual contenders.
RIP Louie Anderson and Meat Loaf
Calvin: your ratings for the cast of Nightmare Alley?
R.I.P. Louie Anderson
Matthew:
Cooper - 5
Blanchett - 4.5
Collette - 4
Dafoe - 3.5
Jenkins - 4
Mara - 4.5
Perlman - 3
Steenburgen - 2.5
Strathairn - 4.5
Also my prediction for Louis’ top 5 (in alphabetical order):
Cooper
Cumberbatch
Isaacs
Nishijima
Washington
Alt: Cage
I’m thinking with Louis it will be (in no order)
Nishijima
Cage
Rex (upgraded)
Washington
Cooper
Alt. Caleb Landry Jones
Oh I would absolutely LOVE to see Rex in that top 5.
Whatever happens, 2021 will be the best year for the category since 2014.
What would be everybody's opinions on these 70s and 90s casts for Midnight Cowboy and also any suggestions for the directors?
70s:
Randy Quaid as Joe Buck
Al Pacino as Ratso Rizzo
Lee Grant as Cass
Carrie Snodgress as Shirley
Rick Moranis as Student (let's play around the idea of Bob Balaban being unknown at the time of the original movie)
90s:
Thomas Haden Church as Joe Buck
Robert Downey Jr. as Ratso Rizzo
Jessica Lange as Cass
Marisa Tomei as Shirley
Jack Black as Student
Louis: in the next few days/weeks could you watch Onoda - 10,000 Nights in the jungle? The movie is in my top 10 of the year so far and I think you will like the movie as well. Here’s the trailer of the movie: https://www.youtube.com/watch?v=oTOHCX5JdiQ
If you can’t find the movie online let me know and I’ll send it to you by mail.
I second Omar on Onoda, it’s terrific.
Louis: The remaining contenders for 2021 that you should check out include Amir Jadidi in A Hero, Franz Rogowski in Great Freedom and Clifton Collins Jr. in Jockey.
Luke, Jadidi will take the 10th spot in the alternate lineup along with the performances you predicted fives for. Not sure if Louis will see Great Freedom before it happens.
R.I.P. Meat Loaf and Louie Anderson.
Just want to announce that my full review of La Dolce Vita is finally out on my blog and my Letterboxd. Put a lot of work into this one, so I would appreciate some feedback.
Anonymous:
Corey - (Brings a great deal of low key charm to the role, emphasizing always this innate decency and the attempts to connect with an understated warmth. I particularly liked how he handled the scenes of portraying his character's jealousy as these very earnest matter of fact manner of trying to still be decent even though he very much earned his distaste of the other man's presence. Aces in his final scene in particular, which I honestly is so open I had thought the scene was going to be the swerve back to Corey since he's so generous and loving in the moment.)
Leigh - (Not exactly her most challenging performance though she brings enough of a natural quality in a lot moments, while also finding enough of a sense of the character's past grief that kind of speaks towards each of her later decisions.)
Mitchum - (Also not his most challenging role but an interesting alternative side from him as just being bluntly charming in his Mitchum way. I think other roles were more suited overall to his best talents, but I enjoyed him here.)
Gebert - (Classic child performance, not a good thing.)
Morgan - (Liked his blunt and rather intelligent delivery actually.)
O'Neill - (Liked his brief but very warm scene.)
I could certainly see him as someone they could use effectively.
Luke:
In the midst of Angels in a America.
Robert:
I know, I think had to make for how frequently I've disagreed with Calvin this year.
8000's:
Well let me start with the screenplay which has some minor and one major change from the novel. A few things are sort of code adjustments, though I don't think they diminish from the novel, like the Sheriff's rage at the end, and a double suicide rather a single one. I think both changes work as is, and you really wouldn't notice the change if you weren't aware of the novel. Further though it is great work in streamlining the story in some ways, but just also streamlining the power of it. What is impressive here is how quickly it gets to the scenario, but in doing so lets us know the posse, from the outsiders like Gill, the decent men like Davies, the different cruel men in it, and the unfortunate "criminals". It is so efficient as really there isn't a wasted line or moment in just crafting this tragedy. The major change here though is honestly a masterstroke that being the reading of the letter. A brilliant moment altogether, and the writing earns the choice by being this moment of sobering humanity within all the inhumanity we saw in the wrongful pursuit of "justice".
Marcus:
1. Martin Landau - Ed Wood
2. Naomi Watts - Mulholland Drive
3. Gloria Swanson - Sunset Boulevard
4. Liza Minnelli - Cabaret
5. Emma Stone - La La Land
6. Michael Keaton - Birdman
7. Jean DuJardin - The Artist
8. Uttam Kumar - Nayak
9. Jean-Louis Berrault - Children of Paradise
10. Robert Downey Jr. - Tropic Thunder
Could be forgetting someone as obviously as not the easiest to recall all.
Calvin:
Glad we seem to agree on Nightmare Alley, and yes I'd certainly take it over many of the actual contenders. Who knows, could have a last minute surge, maybe the BAFTA longlists misses were due to the late release there...though I think the story just might be a little too prickly for some.
Omar:
I certainly would be willing to, don't where to procure though, so that would be appreciated.
Louis: Thoughts on A Hero and the cast.
When you've finished Angels In America, could you give your thoughts on the series and the cast.
Watched two of the remaining best actor contenders in Cyrano (which I was able to see through a sneak preview showing) and A Hero.
A Hero I thought was fantastic. Hit that Farhadi sweet spot for me like A Salesman and A Separation, where he finds this artful combination between naturalism and what is really an extremely plot driven narrative with a distinct forward momentum. Found this extremely compelling in what is this strange unraveling of what seems to be a good deed, yet gets so much more complicated than that, and with that emotional power that builds so palatable yet never really enforces itself.
Goldoost - 4.5
Tanabandeh - 4(Most unpleasant villain of the year)
Orafaei - 3.5
Farhadi - 3.5
Though also really liked basically all the supporting cast, including those where it is a little harder to procure information on the actors.
With Cyrano, I'm closer to Calvin here than Matthew, though I think I'm probably a little more towards the center overall. I liked it, and while I don't think this is the definitive Cyrano film, I liked it more than the others because I actually liked Roxanne and Christian for once. Although I think the ending is a little rushed, and the attempts at musical choreography (especially compared to say West Side Story) fall flat and are a little awkward. I think Wright is better off when he just focuses on his performers. The songs I thought were a little bit of a mixed bag, I hated "When I was Born (Cyrano insulting himself seemed ideal for a song but alas it is poorly done here)" and "What I Deserve", I thought a few were a bit forgettable, I liked "Every Letter" and "Someone to Say - Reprise", and I did love "Wherever I fall (The Glen Hansard cameo didn't hurt things as well there)". Still felt its virtues overcame its shakier moments to be overall a success for me.
Bennett - 4
Harrison Jr. - 4
Mendelsohn - 2.5
Salahuddin - 3
Louis: Thoughts on the casts.
I really do hope Dinklage gets the 5th spot.
Louis: And what is your category placement for Goldoost.
Updated lead lineup prediction
Smith
Garfield
Cumberbatch
Washington
Dinklage
Patel
Cage
Jones
Phoenix
Nishijima
Cooper
Hoffman
Rex
Birney/Isaacs (Isaacs for the prediction)
Jadidi
I'm pretty confident this will be the 10.
And if seen before the Oscars ceremony, Franz Rogowski in Great Freedom as a bonus.
And hopefully Burnham as a pre-lineup bonus.
Louis: For that 60's Road to Perdition with Mitchum, what do you say to Laughton as director and Cortez as the DP?
It would be fantastic for a 10 lineup to get all 5s for the first time ever.
Luke:
Well let me hold off on A Hero, as how certain character behave is part of the power of seeing how the story unfolds. Goldoost is supporting though.
Bennett - (Certainly delivers in the song, and while Roxanne I think is a tricky role to pull off, she does so. This in first being genuinely charming rather than seeming vapid in her interest in Christian. She creates the right sense of intrigue in her manner towards wanting something special in her relationship and in turn creates the right sort of motivation with her behavior. This though against her scenes with him where there is a simplicity in her reaction, as opposed to her scenes with Dinklage where she has a more genuine chemistry right off the bat in terms of in their actual conversations. She shows well the sort of shallow appreciation against the genuine love, while succeeding in not making Roxanne the former, particularly in her delivery of the final scene.)
Mendelosohn - (Just a waste, particularly given they cut back on De Guiche, in a way I don't think was necessary. Also should've just cut out his song entirely as even with his shaky singing, the song itself just isn't very good, should've transplanted that to the end of the film instead.)
Salahuddin - (Liked his chemistry with Dinklage with the right wholly encouraging manner in their interactions that are rather endearing to the point I wish we got a bit more from him.)
Harrison - (Loved his singing scenes altogether as there is such enthusiasm in his voice that is endearing all on his own. Additionally he's genuinely charming just being himself, and makes your like Christian, which is not the case for any other version where he really is just a face. Here he is a face, but there's actually something in that smile. Additionally he's genuinely moving in portraying the character's own inadequacy in his words as he brings such earnest desire to be able to speak in the way Cyrano can. This leading to his final scene that I found really quite powerful as Harrison portrays it both as Christian taking the lead in the partnership and sense of love for Roxanne by possibly denying that he may be loved. He brings the right passion to it, but also this sense of heartbreak, that really makes Christian so genuinely likable here, that I'll admit I would've been fine if he got a happy ending with Roxanne in this version.)
8000's:
Most definitely.
8000's:
Also Wellman's direction, the script is already there, I think a hack would've still made a decent film, however Wellman's direction is what ensures it achieves true greatness. The first being his aesthetic choices which are of a harsh and isolating western. His cinematography emphasizing the academy ratio, when so many westerns tried to expansive even within that he embraces how it narrows the view. The sets and lighting here, are that of really a bleak place you wouldn't want to visit, and makes me wonder if Ford might've considered this film when Liberty Valance as the two films share a similar vibe. Then there are just so many brilliant touches in terms of making the emotions almost to overwhelming here. Like take really how he shoots Andrews throughout, to make sure he gets everything from what he is doing there in his searing emotional turn. He doesn't waste a second of him, and so many key moments just staying on him deliver the bluntness of the power. The most I think being the vote where you take a look at how Wellman shoots and like the character, we get a brief bit of hope and you see as he looks at the good men taking the step to waiting, against then though the turn where Wellman shoots all the uncaring faces of those just ready to kill. The highlight of his work though is the ending letter reading scene. His choice to cover Fonda's face and just his mouth emphases the words all the more. Even more powerful though is the somberness of the whole scene and the way he captures every frame, that shows these men all frankly finally sobered up and realizing what they've done in such a quiet moment of painful reflection. Although known as this kind of "man's man" director, this film shows such sensitivity in finding the real emotion, heartbreak and cruelty of what a lynching is.
A question for everybody, what are your 5-10 predictions for 2022.
Louis, your thoughts on the cast of The Matrix Resurrections.
I watched Being the Ricardos last night which I thought was pretty bad. Sorkin never really seemed to know what he wanted to do in telling Lucille Ball's story.
Kidman - 4
Bardem - 3
Simmons - 3
Arianda - 4
Also saw The Tragedy of Macbeth again, which still rules. I'll do cast ratings now for those interested.
Washington - 5
McDormand - 5
Hawkins - 4
Hassell - 4.5
Gleeson - 3.5
Melling - 3
Carvel - 3
Hunter - 5
Root - 3.5
Well, I finished season 3 of "Breaking Bad" this afternoon, and once again, I'm finding the series utterly compelling. I think this season was especially good at giving shine to side characters I know audiences like - namely thanks to Esposito, Odenkirk and Banks (although Norris is once again terrific and probably my #3 behind Cranston and Paul).
Having said that, however, I do think I've found the episode Louis said he "didn't really like".
Luke: Are you referring to performances or films?
RatedRStar: Both, could even include anyone having a banner year like Paul Dano (Along with finally seeing War & Peace, this is a huge year for him) for example.
Can predict surprises and flops too if you want.
Luke: 2022 is one where, I don't really know whats happening, there are a lot of mainstream films, most of them will probably be ok to good. 2021 was easy to predict since it is basically 2020 but with plenty of films rather than limited.
Next Goal Wins, that's the big question, is it Fassbenders comeback, Will Arnett has replaced Armie Hammer, that can only be a good thing, I think Next Goal Wins is either an Oscar front runner, or a total disaster. I don't know what it is, but its one of those 2 things.
2022 has very few Oscar contenders at the moment so I can't really predict anything else.
Luke: I really want Louis to see Scream (2022) because I think it is surprisingly good and definitely the best film since the original.
Calvin liked it, I really liked it, I think that Louis will really like some of the acting, which is of a higher calibre than most Scream films.
Louis: could you add Kevin Spacey in Moon to the 2009 Supporting Actors ranking?
Hey guys!
Say which years in each decade would you like to see Louis re-analyses in 2022?
I want the years of: 1929, 1936, 1946, 1958, 1969, 1972, 1989, 1998, 2009 and 2016.
Louis what would be your cast for a 2020's Ox-Bow Incident?
Luke: When it comes to Oscars, I have 2 predictions on my mind.
Potential sweep-Don't Look Up. The importunate satire aspect shown in it would be tasty bite for modern day Academy
Flop-King Richard. I have a feeling they're sorta regretting nominating Smith twice, but never say never with this one.
A also loved A Hero, and completely agree that Louis should hold off further thoughts on any case members until more people get to see the film because how the revelations unravel is the beautiful thing. And looking forward to Jadidi's review.
RatedRStar: I doubt that Shaggy meant upgrades, just which years will get their second alternate lineups this year. Notice how his examples have not yet been covered in the bonus rounds
RatedRStar: Not the highest bar, I would say, in terms of the acting in the "Scream" franchise.
Although I'll admit, "Scream" is a rather interesting horror franchise in that the casts have several lesser known but still decently prominent and talented performers (IE Liev Schrieber, Timothy Olyphant, Laurie Metcalf), as opposed to other franchises like "Halloween" or "Friday the 13th" where you have maybe a handful of recognizable stars over a dozen films.
Luke: Actually here's an opinion rather than a prediction,
I haven't given many opinions on the films of 2021 but
I think Andrew Garfield is being overly criticised in Tick Tick Boom, like what does he do wrong? he literally carries the entire film, the film is a total dumpster fire if it wasn't for him and De Jesus.
I'm also glad you at least liked Cyrano. Agreed that Mendelsohn's musical number is particularly bad, though I did actually like 'When I Was Born'.
Glenn:
Pfff...
Reeve - (I mean once he gets out, he's okay in doing Neo again, but there's so much not going on here. First of all, he and Moss never had that amazing of chemistry in my mind, so the like destiny aspect doesn't quite hit that hard, though I think they're okay together here. Mostly though past a certain point he's just looking around waiting to do his next Hadouken. In the first third, his attempts at being stuck in some existential crisis require subtle nuance that just isn't in his skill set, again I've come to like Reeve, but there's something things he can't do, this is one of them. Worse though are the moments where he has to do more with that, like his first scene with new Morpheus where he fumbles some strange acting choices.)
Moss - (Spending more time not thinking about this film, I actually have less affection even for her work, other than her big moment she at least delivers on the intensity of, and is in that state of strange deja vu better than Reeve. Overall though I don't find her work here all that interesting still.)
Henwick - (The best part of the film, and perhaps who the film should've been about. She's charismatic here, engaging and brings some much needed energy. It is a shame though she is quickly tossed into the back of the scenes, and it ends up being more than a little bit of a shame.)
Abdul-Manteen - (He's kind of interesting in doing his Fishburne riff though again the film doesn't really explore this effectively. It is an interesting idea that, much like all the ideas here, isn't explored at all well. He brings some charisma though, and some sense of Fishburne...unlike.)
Groff - (Yeah, he's not menacing at all here. Also the fact that they really couldn't get Fishburne or Weaving makes it all the more obvious that this is a rather flimsy idea to keep the characters. Worse though is there is no sense of history between him and anyone. He's just kind of trying to play the villain and isn't particularly good at it here. He was more intimidating in Hamilton quite frankly.)
Harris - (I mean playing around with his presence is fine, and I don't think I exactly hated his performance entirely. It doesn't amount to much though and runs into him just talking talking talking until I just don't care. He's certainly not menacing, however a computer nerd trying to control all could be something, but it's not here. Again I do blame the material more so as the problem, however Harris doesn't exactly deliver anything special either.)
Jones - (Why was she in both worlds again? Eh that would be even more explaining. She certainly could say a lot of exposition...but I didn't really care.)
Smith - (I thought she was alright even with the heavy makeup, and as much as I didn't care, she tried very hard to bring some gravitas here.)
Also why was Christina Ricci even in the film?
Mitchell:
Again, it's not Fly, it's Rabid Dog from the last season, which I've never re-watched the series in full, so that episode could easily play better when you can go straight to the next episode rather than the weekly format as when I originally watched it.
RatedRStar:
I mean I'll see it at some point.
Anonymous:
Gil Carter: Adam Driver
Art Croft: Lewis Pullman
Major Tetley: Josh Brolin
Mr. Davies: Keith Carradine
Juan Martinez: Tony Dalton
Alva Hardwicke: Ray McKinnon
Gerard Tetley: Lucas Hedges
Ma Grier: Kathy Bates
Monty Smith: Stephen Root
Donald Martin: Paul Dano
Tim: Fair enough I misread.
Mitchell: I am quite a big Scream fan, I saw all 4 of the previous films before I saw Scream 5, I am assuming in terms of acting you are revering to the original Scream, because Scream 3 is terrible aside from Parker Poseys brilliant impression of Courtney Cox, and Scream 4 has too many characters to make an impact overall.
Scream 2 is a good film but, Timothy Olyphant is the most obvious killer ever, and he is actually entertaining as the killer even though he is barely in the film, Laurie Metcalf is the same problem, shes fine but shes barely in it, and has some really weird line deliveries "good old fashion revengeeee"
I actually have been tempted to request Liev Schrieber in Scream 2, since he seems to get the dialogue the best.
RatedRStar: As someone who watched "Tick, Tick...Boom" pretty recently, I can comment on my response, at least.
The best way I could describe my complaints with Garfield's work is that he's "a bit much" in some scenes - particularly early on when he really goes for it during Miranda's musical numbers. I get that he's being directed to match the exburence and animation of these scenes, but I don't know - I always saw him physically acting in those sequences and it became a bit cloying at points. I credit him for his energy, but it didn't always work for me personally.
Putting that aside, the rest of his performance I actually think is pretty good. The film really gives him some standard "musical genius" material, in that he distances himself from others in the pursuit of his big break, followed by the moments of inspiration, the triumphs, the downfalls and the reconciliations. It's all very routine, but to his credit, Garfield hits those beats well. He has good chemistry with Jesus and Shipp, and I do think his romantic relationship with the latter is earned. I also think the bulk of his emotional portrayal is genuine, particularly in those aformentioned scenes with Shipp, and his final piano number which he plays rather soulfully.
I don't know if I'm alone on this, but I'd give him a 4. I found the performance worked a lot more than it didn't, and while it's a notch below his career defining 2016 output, it's a fine example of his talent nonetheless.
Mitchell, watch a video of the real Larson, and you might think Garfield underplayed him in the musical scenes.
Louis: It's funny you knew the exact episode I was referring to, even though I was incorrect.
RatedRStar: Don't get me wrong, I'm a fan of the "Scream" movies as well - well, the first two anyways. Schrieber and Olyphant have always been the highlights of the second film for me, as the former is honestly very decent as the on edge Cotton, and the latter is just a gleeful bit of smarmy fun.
Anonymous: Perhaps. My strategy with biopics is always to go in blind if I don't know the subject; That way, I'll have a relatively unbias view of the actor's performance, and I can further reflect on their work after researching the person more extensively.
Mitchell:
Well it is literally the only filler episode (the only one that doesn't move the plot forward in any way), that is typically seen as somewhat divisive.
Mitchell: I think the original Scream is still the best film just, because of Cravens direction and because of that 90s nostalgia, the kills are better as well,
I think the performances of the cast in the 2022 film are better overall, because they are given more to do.
RatedRStar: I guess I like the first and second film about the same. Barring some overtly 90s cheese and aged humour here or there, I still think they have a good amount of entertainment value.
Also, going back to "Tick, Tick...Boom" for a second...something that I think cripples Garfield's work is the film's editing.
Take the scene where Jon and Susan first break up. I obviously see the creative decision involved, but jumping between the more serious "in real life" break up and the staged version of it was quite jarring IMO. If it was me directing, I might've stuck with either one or the other; If it's the more dramatic version, than that works as a straight forward depiction of two lovers falling apart. If it's the staged version, it works with the movie's other heightened musical numbers in portaying Jon's creative spirit. By doing both (and more importantly, by doing them at the same time), I do believe Miranda severely hurt the potential of the overall sequence.
I have the same issue with the "Come to Your Senses" scene. Again, if I was Miranda, I would've stayed with Shipp's rendition of the song, and really tapped into the pain and emotional weight of Jon's mental flashback. By intersecting it with the studio version, though, it again lessens the impact the scene could've had if Miranda stuck with one take, or done them independantly.
Mitchell: I noticed you have been asking some Rock song related questions, take it from a die hard Rock fan, go listen to the Scream 5 end credits song, its probably my favorite end credits song from Scream.
Fall Out of Love by Salem
Yah, that song was pretty good, but that isn't to surprising to me since the "Scream" movies always had bangin soundtracks.
Also, final thing I'll say about "Tick, Tick...Boom" for now; Garfield's rendition of "Why" is what cemented him as a 4 on my first viewing, and would be reason enough for me to upgrade him should I watch the film again (which isn't very likely, I'm afraid).
Louis, could you watch the first couple episodes of Yellowjackets and tell me what you think?
Louis: What shows do you think play better on binge watch compared to a weekly schedule and why?
Louis: How do you think Heath Ledger would’ve fared in the following roles if he was still around today?
Mr. O’Brien
Dr. Mann (Interstellar)
Johnny Wilcox (Okja)
Charlie Sisters
Jacques le Gris
Louis: Your opinion on these specific scenes
(https://m.youtube.com/playlist?list=PLuxnSsY6OBXd9qm2jlmO3u2p_QWA0WwUx)
being chosen for the "best acting of all time" compilation, as the title implies?
Ytrewq Wertyq: I've seen those videos a while back, and obviously the title "best acting of all time" is pretty loaded and dependant on the person saying it.
What I can add, though, is that those compilations have a great number of powerful scenes and career defining moments for the actors involved - as well as some that are a little curious (how many times do you see "Anchorman" being mentioned in these conversations?)
Louis: Listen to this song, and tell me which L.A. based movies spring to mind. https://youtu.be/ixhWUXZJsDw
Tony:
Possibly, if I can find the time.
Ytrewq:
Hey anyone who includes Lee's breakdown from I Saw The Devil will always have my respect for their opinion, don't agree with every choice, but a lot of them I do.
Anonymous:
I typically don't "binge", in that even when I have a whole series I typically will space them out at least a little bit, like when I watched the Sopranos during Covid lockdown, I watched one at most two episodes per day. I will say though that show probably benefited from not have spaces, as I might've been more frustrated by the plots typically sputtering out in at least some way, rather than just enjoying it for the character developments and dynamics. I think shows with forward momentum work great both ways really, and the non-binge I think is more interesting as a fan sometimes to give time to discuss and speculate on a given episode, but occasionally if there is a lull, the binge is better.
I think contemplative shows though should only be watched with gaps, like Twin Peaks the Return I think definitely should not be binged, same with Underground Railroad, each episode should be given some time to marinate.
Bryan:
Given Malick's ways with actors anyways, I think he would've been amazing as Mr. O'Brien, and maybe would've been even more powerful than Pitt was.
Dr. Mann was a poorly conceived role, but I think he would've been likely better there. Personally I think the role would've been better served as by a character actor.
With Wilcox the one time we got to see him go way over the top flamboyant he gave a goat performance, so I'd love to have seen it, and could've been something special.
Charlie Sisters is interesting, as I don't know if he would've necessarily been as good as Phoenix there a bit more unpredictable, then again, we got sadly so little of what Ledger could do.
I think he could've been an amazing le Gris, as a twisted version of his Knight's Tale performance.
Robert:
Stylistically Drive, contextually Mulholland Drive.
Louis: They actually wrote a song inspired by Drive: https://youtu.be/zM0O1Pqjvuw
Finally got around to Judas and the Black Messiah. I thought it was mostly great. A tighter edit (I.e, cut out the sublots and the FBI stuff) probably could have made it a masterpiece.
Kaluuya-5
Stanfield-5(MVP)
Plemons-3(He'd be slightly higher without the "let's check in on the FBI" detours)
Fishback-4
Sheen-2.5
Howery-3.5
Butley I don't have much to say about, as Pinter doesn't really direct beyond pointing the camera at Bates and having him recite. Much like Little Malcolm from the same year, really just a performance only type film, and with having said that I can revisit Bates next bonus round.
Angels in America I thought was largely great. Although I think some of Nichol's flairs don't really work, particularly those reliant on visual effects, however when he just focuses on delivering the material from the play to the screen it succeeds rather remarkably and often quite powerfully. Kirk, Streep, Wright and Pacino are all great. Shenkman and Thompson good, wasn't really crazy about Wilson's or Parker's performances though for the most part.
I'm delighted you've saved Bates, another 5 incoming.
Thoughts on the cast of Angels In America (Where would it rank in Wright, Streep and Pacino's careers).
Louis: If you decide to do a write up on Burnham's work in Inside, could you use his final smile for his review screencap?
Nightmare Alley made it into ASC (yay!) but West Side Story missed out (yikes). Macbeth, Dune and The Power of the Dog making it in much to my delight. Belfast getting in is my Joker origin story.
As for the sound guilds, CAS (sound mixing) and MPSE (sound editing) both nommed Dune (great), No Time to Die (good), and No Way Home (eh fine but feels like blockbuster defaulting). WSS and TPOTD for mixing as well (both deserved), Belfast, Matrix, Nightmare Alley and A Quiet Place II rounding up editing. Big miss for Tick Tick Boom.
So my current predictions for cinematography are the ASC five, switch in WSS for Nightmare Alley (though hopefully it will be Belfast that gets the push).
Sound prediction for me is Dune, No Time to Die, A Quiet Place II, West Side Story and The Power of the Dog.
Regarding ASC, I think this could easily be the Oscar five. Glad Delbonnel is genuinely in the race, as I had my concerns there despite his obvious achievement. Nightmare Alley needed that, and its surge with the guilds for the moment makes me ponder if it might get a resurgence at the right time, we'll see. Dune as expected is getting in with the techs. Potential best picture rivals in Belfast and the Power of the Dog are both showing their strength. I think West Side Story could easily show up, it depends on how it does overall in the end, but again this seems like an easy five to predict as there isn't an obvious outlier here like Cherry last year.
There are many deserving contenders as well that missed, but this is a stacked year for the category. And as the default Best Picture nominee choice, Belfast is a better choice than Trial of Chicago 7 was last year.
Luke:
Kirk - (I mean this is in a way such a remarkable role in itself, however as remarkable as it is, I think there is such a great challenge within the role given not only the inherent flamboyance of the character, but also the equal drama he must get into, the sort inspiration in it, and the ridiculous fantastical elements related to the character. Kirk is amazing in the role though and watching him you wouldn't think it would be any kind of challenge. He wields the flamboyance in a way here that is incredible because he makes it such an inherent aspect of Prior that it never seems forced or a put on by the actor. It is just part of him, what helps with this is Kirk shows sort of a slight purposeful play early on of Prior playing into his flamboyance that he eases back on, though part of it is also just who he is making it a natural realization of a mostly flamboyant person though who occasionally plays into a bit. His performance often needs to carry some of the trickiest moments in terms of the stylistic leaps that are involved with the ghosts and the angels. Kirk makes them completely work for me because he brings the right degree of humor and astonishment to cultivate the moments as something serious, while at the same time making fun of them. He balances the two sides well to make the scenes actually work, despite being so clearly born out of the stage, Kirk manages to find the right tone largely through his reactions that are pitch perfect. This is also while just carrying some of the most emotional moments in showing the man going through the ravages of the disease. Kirk being excellent in presenting the sorrow, the physical pain, but also this strange kind of resourcefulness throughout it all that makes his performance so special. Kirk, even when Prior is at his most desperate, has this kind of optimistic streak in his performance that is so wonderful, and makes you consistently root for him as a character who becomes so much more than the intended victim of the disease. Kirk very much earns his final monologue, which again very much is a play type device, but I really loved it here because Kirk earns it through his pitch perfect delivery which acknowledges the strangeness of breaking the fourth wall while still so earnestly speaking his words of hope.)
Pacino - (Every one of Pacino's scenes is a highlight within the series as he is just fantastic every time he steps on screen, and helps to support the notion of Pacino being one of the all time greats even past what is considered his prime. Pacino is amazing here by essentially playing Cohn as someone who owns up to both his hypocrisy and horrible nature. Pacino thrives by showing someone who knows exactly who he is, right down to knowing exactly that he is someone who constantly deceives. His first scene of taking calls Pacino presents this sort of machine of politics, that is as dirty as they come, but also unreserved in his manner. He's spectacular in his scene of the diagnosis there as Pacino's creation of his lie of his diagnosis, is of a threat, and a denial, but not actually denying what he has done or exactly who he is. In fact he owns who he is with such a despicable type of power as the threat is natural, just as is crafting the lie in his head, and fashioning how the issue will be treated. Pacino's performance is as someone whose evil is so tangible as someone who knows that he'll do whatever he wants for power, and just lives with it. When he describes what politics is to him, Pacino brings this blithe amorality and his only anger comes from the attempt from someone else to act like morality should be a thing in politics. Pacino is great in the sequences of the deteriorating health as Pacino portrays Cohn basically as an honest crook, who while still living this lie, right down to claiming he has liver cancer and not AIDS, is a man who actively knows he's doing this. Pacino fashions the right reality in this combative way he portrays these scenes, while still showing the moments of genuine exhaustion rather physical or the perfectly played vaguest hints of the man realizing his own demise is forthcoming. He's great with both Wright and Streep, where he shows the vile he can spew, but there is this kind of sense of respect when they will stand up to them in their own way. Pacino is just magnificent bastard in every sense of the word, right down to his final scene, where Cohn goes through so much just for some final, nonsensical, gloat, that Pacino portrays with all the desperate glee of a dying man holding onto his ill deeds with all his might.)
Streep - (Given I've rather liked all her performances with Nichols, he seemed to bring the best out of Streep. Streep here is one where the multiple roles come most into play, with three especially distinct characters to play. The first being her rabbi which she is convincing as even beyond the makeup, and I liked that she really didn't try to show off with it as you might not even realize it's her given how Streep plays it very much to the point of the character. The other stylistic turn being Ethel Rosenberg, where going big honestly would make sense given that the character is a literal ghost. Streep fashions the character as a Jewish woman of the period, though with the right sort of ghoulish manner in her cold stare, and her delivery which is of this calm cutting. This as she pesters with the work and accentuates this kind of purposeful hope that she is torturing Cohn in some way. Although this is even balanced in her scene of trying to sooth him when it seems he's completely lost, and Streep naturally segues towards this more mothering state of one soul comforting another. Speaking of mothers, her third performance is the quietest one, however terrific in that state of portraying someone not quite sure of her place or how to deal within her situation. Streep portrays well the nuance of the woman trying to come to terms with her own disconnect while also finding these connections. I especially love the natural timidness she brought in the latter scenes showing that even as she's becoming friendly with the type of people she wouldn't typically have experienced, there is this potent growth within the interactions. Streep finds the right subtle expressions of that growth, that is never all at once, or a eureka moment, but rather slowly finding comfort while also providing comfort.)
Wright - (Great in both roles though in a way he kind of plays four roles. His role as the fantastical tour guide is just an effective bit of intense pseudo joyful manner that has the right sort of hysterical madness to him just as Wright delivers with such a controlled ease. The second two roles are in the same character of the male nurse, however in that Wright portrays two sides of the same character particularly effectively. This as we have the scenes where he is with his gay friends, and Wright puts on a greater flamboyance. He shows the man being more so himself in a lot of ways, and more willing to just be casually expressive. Wright is terrific with every line he has though in that you get that particular incisiveness of Wright even when he is carrying himself with that more casual vibe. His juiciest scenes though are as the male nurse, and pulls back the flamboyance to show something maintaining really his professionalism, even though he is still himself, he is himself within the confines of the job. Wright is terrific in these scenes in playing this hostility on the surface, but also this empathy at the same time. He is amazing in every one of his scenes with Pacino by portraying this potent mix of this hatred for the man, but also still an innate empathy that forces the man to still try his best to help the man despite his feelings. Every one of their interactions are absolutely stellar with Wright often the quiet reactionary one, but also incisive in his own way, with that intense stare and blunt words. Wright though so naturally segues to the caregiver still showing as much passion when advising Cohn's health, as when standing up to the man's innately terrible nature.)
Thompson - (Good overall, her heavy makeup homeless person is well done as just a quick piece of intense distant acting. Her performance as the nurse just shows Thompson being more capable of Jewish American than later shown in the Meyerowitz Stories. She delivers though beyond that in creating this careful sense of empathy as the nurse who clearly cares, but is also doing her job. Then there are her VERY big scenes as the literal angel, which are scenes that are a whole lot, though I actually did like them, though I actually think Kirk's performance is more essential to making them work. Thompson delivers on her end though in really just embracing the performance as one would in basically a biblical epic, to which Kirk plays off of. Thompson plays them straight, but that is the right way to facilitate what Kirk is doing on his end of things.)
Shenkman - (His performance is a little bit of a mixed bag though largely good. A challenging role though as the judgmental hypocrite, who is also complaining all the time while struggling to own up to his own flaws, makes the character particularly unlikable. Having said that, Shenkman is largely good. There are moments that are the most heightened where I think he struggles a little bit. Most of the time he is effective though in playing into the hypocrisy of the character who always has an opinion about everything while also failing to at all live up to the standards he's espousing. He brings the right kind of gear to the moments of him just spewing out his message without hesitation, against the moments that eventually come of any kind of reflection. In those moments he brings it down into the displays of self-pity and self-hatred that are different from his moments of constant unrepentant speech.)
Wilson - (Wilson's an actor who I think can be good or can be very bland. You get a bit of both here, though I think largely the latter. Yes his role as the closeted gay man is supposed to be stiff anyways, but knowing some other Wilson turns from the period it falls into that same kind of blandness when he doesn't quite have the part. There are the occasional moments where you get the more capable actor, however too often he just seems stiff altogether. The ideas of the man having conflict within himself and struggling in his relationships just stays pretty thin. There are many moments that should have a great deal of desperation that we get very little from Wilson, and not in a stoic man holding it together sort of way.)
Parker - (I'll admit playing the role of the bored housewife is a very challenging role, as it is very easy just to seem, well, bored. Parker's performance falls largely into this trap as she fashions largely this same vapid stare of slightly troubled near indifference. The idea of an internalized chaos being held in by the state of a drugged out state, never quite came to life for me in this performance. She occasionally suggests the idea, but never is consistent in terms of realizing it. The character's struggle should really be felt as this nearly volcanic state of anxiety and unease that eventually realizes itself. I never really felt that from her, instead I felt she just kind of seems detached and well bored.)
Wright would be #2 behind Westworld season 1, though it would be #1 if I put all of Westworld in one package. Pacino I'd put just under the Godfathers and Dog Day. Streep I'd say career best.
Tahmeed:
I mean, sure.
Louis will there be one more post before the list of Oscar nominees comes out?
Louis: do you think John Lone could’ve been a great Stanton in an 80s Nightmare Alley?
Calvin:
YES
Louis: Do I have any left over requests?
Louis: your 10 best Bruce Campbell and Randy Quaid moments.
Louis: Your thoughts on this Robert Mitchum documentary.
https://www.youtube.com/watch?v=n4StZDdMrZU
Robert:
Yes, I got partially disgruntled/slow downed when the copy of Admiral: Roaring Currents I rented was of a trash dub.
Ytrewq:
Uh for Campbell his Ash work kind of fades together for me, which is also the best work from him that I've seen.
Quaid:
1. Clearing the room - The Paper
2. Freak out - The Last Detail
3. Bingo - Christmas Vacation
4. Unexpected arrival - Christmas Vacation
5. Supporting his brother's beatdown - The Long Riders
6. Enjoying the catfood - Christmas Vacation
7. First Time - The Last Detail
8. Kidnapping charges - Christmas Vacation
9. Dressing down - Brokeback Mountain
10. Helping investigate - The Paper
Dealing with Marion - The Paper
Spencer even misses the costumes guild (where there was extra room for it)...not a good sign for Stewart.
8000's:
Can when I have time.
Louis: Sorry about the Admiral dub, Louis. Also stumbled upon a trash dub when I first watched it.
Louis: Josie and the Pussycats.
I thought Anonymous was pretty bad, really the whole Shakespeare question doesn't matter as the film is just about some truly tepid intrigue attempting to mask itself through its controversial, and really rather stupid, claim. I have nothing to note about the cast almost everyone is stuck seeming this near mockery of the period piece with the slightly heightened yet never convincing approach to the playing the parts.
Louis: Your rating for Ifans.
Watched The Power of the Dog. Liked it quite a bit and I suspect it will grow on me as I think about it more, because of the nature of how it plays out and the fact that *so* much of it is unspoken subtext.
Cumberbatch-5
Smit-McPhee-5(Wasn't sure about him for the longest time, but his last couple scenes are where his performance clicked for me.)
Dunst-4.5
Plemons-4
ALWAYS great to see Keith Carradine. Waste of Thomasin McKenzie.
Matt: It was when Smit-McPhee started rolling the cigarette I was like "Ah, now I see what he's doing."
Robert: Yup.
Power of the dog was boring crap. Dunst deserves a razzie
I don't understand people's problems with Dunst's performance at all. Like, not even a tiny bit.
With Matt 100% on this. Cumberbatch and Smit-McPhee are the highlights but I thought Dunst was excellent too.
Louis: I watched Anonymous again for the first time since it's release and I'm not surprised on how you felt with it, reminded me alot of Kapur's Elizabeth films, only difference is that the first had a great lead performance.
In regards to Dunst in "Power of Dog"...I think there are definitely moments where she's very effective, such as most of her scenes with Plemons (no surprise there). I do think she's a bit uneven in her reaction shots, though, in that some of them land, and others don't really convey enough. At times there's also an artifice to her performance that whenever I noticed it, took me out of the film/character slightly.
As for McPhee, I was always engaged with his performance since it was a constant puzzle figuring Peter out; It wasn't his final scenes for me (though they definitely solidified it), but actually the moment when he callously slaughtered and dissected the rabbit that I first realized "hey...this kid's intentions aren't exactly pure".
Hi guys! How are you?
I'm the guy who came from the future and predicted Mckellen's overall victory.
Today I came to tell you that Byung-hun Lee in A Bittersweet Life wins the Overall. To say he was superior to Winstone and Mortensen is everyone's opinion, but the thing is, sit back and wait and see.
Louis: Rating and thoughts on Dana Andrews and Farley Granger in The North Star.
8000S: https://actoroscar.blogspot.com/2020/04/alternate-best-actor-leadsupporting.html
PGA Nominees for this year:
Being the Ricardos
Belfast
CODA
Don't Look Up
Dune
King Richard
Licorice Pizza
The Power of the Dog
tick, tick... BOOM!
West Side Story
*sigh* this is one year I really don’t agree with any of these awards, makes it easier to root for The Power of the Dog I guess. Such a shame Nightmare Alley missed here.
All those movies are superbly dull or just bad, save for Pizza and Dune. Maybe next year...
Watched the last two episodes of The Six Wives of Henry VIII. Have issues with the Catherine Howard episode, but I loved it on the whole. As for performances:
Keith Michell: 5
Annette Crosbie: 4.5
Dorothy Tutin: 4.5/5
Anne Stallybrass: 4.5/5
Elvi Hale: 4.5
Angela Pleasence: 3.5
Rosalie Crutchley: 4.5
Wolfe Morris: 5
Patrick Torughton: 4/4.5
Sheila Burrell: 4
Bernard Hampton: 4
Eh, that's a pretty rough lineup. I'll accept that McKay has hypnotized half the population when it comes to Don't Look Up, but Being the Ricardo's? Really. It's so mediocre.
Though to look on the bright side, I should be happy that Licorice Pizza, Dune and West Side Story are actual contenders, even if I personally would scrap more than half of this lineup.
West Side Story snubbed by ACE which is outrageous. I'm thinking it can still get in for the Oscars though. My current prediction after looking at them is:
Belfast
The Power of the Dog
Don't Look Up
Licorice Pizza
Tick Tick Boom (though I think West Side Story could replace it easily)
And sadly a likely scenario that DLU wins in this context for the 'most editing'.
I think at the end of the day, Don't Look Up loses all of its Oscar Nominations regardless where it goes, in fact I think it might be the big loser, a film that gets 5/6 nominations and loses all of them.
Those PGA nominees are giving me 2018 flashbacks. Calling it, 2022 will be our year.
A surprising yet baffling snub for West Side Story. I think No Time to Die could get the Oscar nomination actually at this point as there is occasionally the non Best picture nominee for editing, when it's an action movie.
Calvin:
A terrible possibility, though they resisted that for both The Big Short and Vice (though that got Bohemian Rhapsody the win...).
Louis: The fact they resisted for The Big Short and Vice is what worries me...the 'overdue' narrative for Corwin?
Oh wait, just realised I forgot to put Dune into my predictions, that makes way more sense, Dune it is then. *phew*
WGA Nominees are in:
Original:
- Being the Ricardos
- Don't Look Up
- The French Dispatch
- King Richard
- Licorice Pizza
(Belfast and Parallel Mothers were ineligible)
Adapted:
- CODA
- Dune
- Nightmare Alley
- tick, tick... BOOM!
- West Side Story
(The Power of the Dog, The Lost Daughter, Drive My Car and Passing were all ineligible)
Mass was also ineligible. I believe the only snub out of the "expected" contenders was The Tragedy of Macbeth.
And maybe C'mon C'mon.
Louis: Maybe House of Gucci could be listed as a possible contender too, but C'mon C'mon and The Tragedy of Macbeth were probably the most notable eligible snubs here. Especially bad for C'mon C'mon which has pretty much no shot at being the "sole screenplay nominee" this year.
Why was Power of the Dog ineligible for Adapted Screenplay?
Matt: I don't think Campion is a WGA member and only films written by members are eligible (hence why Tarantino is always absent from WGA when he's up for awards).
Actually, that does make sense, OK.
It's interesting that if Nightmare Alley ends up getting in for Screenplay (not likely by the way), it will be Del Toro's third Oscar nomination for that category. Interesting in that it's easily the best screenplay he's had (granted he has a great source material to work with but the more I think about it the more I love the adaptation of it).
Calvin:
Agreed on it being Del Toro's best screenplay.
I do think it has more than a chance for the nomination (though we're getting mixed messages regarding its industry reception), as the Academy might not embrace The Lost Daughter (it's really not the Academy's type of film to be honest) or say something like CODA pulls a Ma Rainey, where it seems strong at first but putters out in many ways in the nominations, it definitely could happen.
DGA is Branagh, Campion, PTA, Speilberg and Villeneuve. This is probably the Oscar 5.
I can live with those quite easily.
Particularly when it seemed like Sorkin and McKay were waiting in the wings.
Who do we have winning Best Original Score, by the way? I honestly think it might be Greenwood's year.
Between Zimmer and Greenwood and I'd say it might come to the one who isn't double nominated.
Fingers crossed for Greenwood personally.
Just watched Hive, I definitely see what you mean about how it could've been a little longer but I did find it pretty excellent anyway, Gashi really was superb.
I was pondering awhile ago as to whether C’mon C’mon had a shot at an Original Screenplay nom, since Mike Mills received one for 20th Century Women (which was also its sole nod).
Bryan:
I think it still has a chance as Mills missed WGA as well for 20th Century Women.
Here's one I've been thinking: I got the feeling The Lost Daughter will be a lone Screenplay nomination and Colman will miss out.
Robert: I was actually thinking the opposite with Colman getting in and the screenplay missing out, although what you've been thinking is probably more likely with the way the Adapted Screenplay race is looking.
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