And the Nominees Were Not:
Dan Aykroyd in Grosse Pointe Blank
Masato Hagiwara in Cure
Cary Elwes in Liar Liar
Bruce Greenwood in The Sweet Hereafter
J.T. Walsh in Breakdown
Nor were they the Boogie Nights All Stars:
Don Cheadle
John C. Reilly
Philip Seymour Hoffman
Thomas Jane
Alfred Molina
Predict the ranking of both sets, if you like.
56 comments:
1. Hagiwara
2. Walsh
3. Aykroyd
4. Greenwood
5. Elwes
1. Cheadle
2. Molina
3. Jane
4. Hoffman
5. Reilly
1. Hagiwara
2. Greenwood
3. Walsh
4. Aykroyd
5. Elwes
Kind of a guess
1. Cheadle
2. Molina
3. Hoffman
4. Jane
5. Reilly
Louis: Thoughts on the female performances
Ratings and thoughts on:
Samuel L. Jackson in Eve's Bayou
Jason Lee in Chasing Amy
Rupert Everett in My Best Friend's Wedding (If you've seen it)
Ray Winstone and Phil Davis in Face
Roxburgh, Wilkinson, Hinds and Rush in Oscar And Lucinda
Frank Langella in Lolita
Louis: Have you read Rum Punch, the source for Jackie Brown?
1. Hagiwara
2. Greenwood
3. Aykroyd
4. Walsh
5. Elwes
1. Cheadle
2. Reilly
3. Molina
4. Hoffman
5. Jane
Louis: With whatever's left on the films to watch list, do the best you can. The Apostle is the main priority for me personally. I need to see Duvall with 5 fives.
I was tempted to predict my own request (Greenwood) as 5th, since that's what happened to my last reviewed performance (Marcel Lures in "Hart's War"). I'll give that spot to Elwes, though, because while he's one of the best parts of "Liar Liar" - and makes for a hilarious yet oddly endearing dweeb - Greenwood covers more range with his work, respectively.
I'll also admit, those two are the only performances I've seen from the line up.
1) Hagiwara
2) Walsh
3) Aykroyd
4) Greenwood
5) Elwes
As for "Boogie Nights"...next to "LA Confidential", it may be the best star studded ensemble of the 97' oscar crop. And for myself, Hoffman and Cheadle always stuck out to me.
1. Hagiwara
2. Greenwood
3. Aykroyd
4. Walsh
5. Elwes
1. Cheadle
2. Molina
3. Jane
4. Reilly
5. Hoffman
Lastly, in keeping with my earlier comments about "Star Wars Rebels"... for those who've watched the show, what are your thoughts on the following episodes?
Brothers of the Broken Horn
A Princess on Lothal
The Honorable Ones
Twilight of the Apprentice Part 2
Also, to go off on a random tangent... When I was young, I was familiar with both "Star Wars" and "Star Trek: The Original Series" - the latter mostly because of my dad, actually. And at the risk of speaking in broad terms, I had this notion of "Star Wars" being the better mainstream entertainment, and "Star Trek" having more interesting themes and cultural ideas.
Really exploring the secondary "Star Wars" media, however, (IE not the films) has greatly challenged that idea; Frankly, there's a lot more to the franchise's world, politics, influences and character development than my younger self ever gave it credit for. I always like it when such a preception can be flipped, so I particularly respect the animated series and the game "Star Wars Jedi: Fallen Order" for giving me that.
Louis: would you still give Joan Allen and Sigourney Weaver 4 for The Ice Storm, and where would you rank them if that's the case?
1. Hagiwara
2. Greenwood
3. Akyroyd
4. Walsh
5. Elwes
1. Cheadle
2. Molina
3. Hoffman
4. Jane
5. Reilly
Luke: Make that six fives, since I have a strong feeling he's getting a 5 for his performance in Tomorrow (1972). He called that one of his favorite performances.
Louis: Your thoughts on Masaki Kobayashi's direction in Harakiri and Kwaidan
1.Hagiwara
2.Greenwood
3.Aykroyd
4.Walsh
5.Elwes
1.Cheadle
2.Molina
3.Hoffman
4.Jane
5.Reilly
I have to say I really like Boogie Nights All Stars moniker as well as how you picked the most batshit insane screencaps for Molina and Aykroyd.
Louis: Thoughts on Scream 2 and the cast with ratings if you've seen it.
8000S: You can make it potentially 7 with Lonesome Dove and 8 if his enthusiasm for his work in The Godfather really goes up.
1.Hagiwara
2.Walsh
3.Greenwood
4.Aykroyd
5.Walsh
1.Cheadle
2.Hoffman
3.Molina
4.Reilly
5.Jane
Luke, rating predictions.
Hagiwara - 5
Walsh - 4.5
Aykroyd - 4.5
Greenwood - 4.5
Elwes - 4
Cheadle - 4.5
Molina - 4/4.5
Jane - 4
Hoffman - 4
Reilly - 4
For anyone who doesn’t just want to rely on guesswork, Cure and Breakdown are on YouTube for free to watch.
Louis: Aside from The Apostle, the five films I'd like you to see are:
Green Fish
Rosewood
Regeneration
The Borrowers
Prefontaine
Louis, rating and thoughts on Michael Caine in Blood and Wine.
1. Hagiwara
2. Walsh
3. Greenwood
4. Aykroyd
5. Elwes
1. Cheadle
2. Molina
3. Hoffman
4. Reilly
5. Jane
1. Hagiwara
2. Greenwood
3. Walsh
4. Aykroyd
5. Elwes
Great lineup.
1. Cheadle
2. Molina
3. Reilly
4. Hoffman
5. Jane
Also a great lineup, hoping Cheadle gets a 4.5, maybe even a 5, his story in the film is probably the one which emotionally affected me the most.
1. Hagiwara
2. Greenwood
3. Aykroyd
4. Walsh
5. Elwes
1. Cheadle
2. Molina
3. Hoffman
4. Reilly
5. Jane
1. Masato Hagiwara
2. Bruce Greenwood
3. J.T. Walsh
4. Dan Aykroyd
5. Cary Elwes
1. Don Cheadle
2. Alfred Molina
3. Philip Seymour Hoffman
4. John C. Reilly
5. Thomas Jane
1. Masato Hagiwara
2. Cary Elwes
3. Bruce Greenwood
4. J.T. Walsh
5. Dan Aykroyd
1. Hagiwara
2. Greenwood
3. Walsh
4. Aykroyd
5. Elwes
1. Cheadle
2. Molina
3. Reilly
4. Hoffman
5. Jane
5º Cary Elwes
4º J.T. Walsh
3º Bruce Greenwood
2º Dan Aykroyd
1º Masato Hagiwara
5º Thomas Jane
4º Philip Seymour Hoffman
3º John C. Reilly
2º Alfred Molina
1º Don Cheadle
I love how both screencaps of the lineups each have one guy happily wielding a gun.
Watched Slow Horses, which I mostly rather liked except the villains (who could be boiled down to just "the three racists" who I just found so dull that they did bring the whole thing down any time they appeared. Still found it quite good in the overall portrayal of the spycraft as a more acerbic Le Carre style. Although I will say I think it almost could've gone to the former a bit more to be fully as Iannucci combined with Tinker Tailor Soldier Spy, it doesn't quite achieve that theoretical greatness, but I certainly enjoyed it overall.
1. Gary Oldman
2. Jack Lowden
3. Dustin Demri-Burns
4. Rosalind Elezar
5. Kristin Scott Thomas
6. Saskia Reeves
7. Olivia Cooke
8. Freddie Fox
9. Jonathan Pryce
10. Sophie Okonedo
11. Chris Reilly
12. Paul Higgins
13. Steve Waddington
14. Samuel West
15. Antonia Aekeel
16. Paul Hilton
17. Stephen Walters
18. Sam Hazeldine
19. Christopher Chung
20. David Walmsley
21. Brian Vernal
Luke:
Morton - (A rather captivating turn in terms of the intensity of the sexuality of her performance that is most unusual yet never feels obvious or ridiculous in this idea. Rather Morton manages to create this particular sense of a kind of insanity of grieving within that lust that creates for a most naturally intriguing figure. Morton's performance being dynamic within herself, she very much is the reason to watch the film, though certainly not bad on its own, but it is designed around what Morton is doing. What she is doing is making this very atypical process of grieving oddly tangible despite being so unusual, and creates a powerful presence with her work.)
Cartlidge & Steadman - (Both are very good in creating the two sides of their characters as we get their college days and their true adulthood. They differ these quite effectively by in their adult days showing just two fairly well put together people, still dealing with things in life, but now with this innate sense of maturity in themselves and within their now rather affectionate relationship. This is in sharp contrast, but believable contrast, to their performances as their college age selves. Cartlidge bringing such an acerbic quality to her role of someone who is going through life often with the cheap shots to distance herself from really connecting, and Steadman projecting so powerfully a woman just filled with vulnerabilities. In turn they are also terrific in showing the distinction of their early "friendship" which has an innate tension, as opposed to their later scenes that have this greater ease about them, naturally showing the growth without showing the growth.)
Lothar - (Amazing acting in terms of portraying the intense physical and emotional pain. I really think the film would just be a whole lot of nothing without that aspect, and it is that aspect that makes it such an unpleasant affair. And it will be said is Lothar makes this slow torture wholly really just in her performance that never feels as such.)
Christie - (The only performance in the film that really works, as she manages to get on Rudolph's wavelength, again the film needed his usually more off-beat actors here, not the boring ones he mostly found. Christie though is good in creating the sense of this kind of patrician malaise of someone who is essentially stuck in her mistakes and doesn't know really how to get out of them one way or another, and even her eventual attempt doesn't exactly work.)
Smollett - (Gives a convincing turn in portraying well the sense of this naivety that slowly spreads towards a kind of discontent while realizing the truth. She finds the right combination between innocence and more genuine emotional desperation around her image of her father collapsing before her eyes.)
Seddiqi - (Essentially the same thoughts as Farrokh)
Rednikova - (A moving portrayal of this consistent state of a sort of desperation but also need for protection and comfort. She's good in portraying both the basic needs of her as a woman but also as a mother in terms of conveying her greater concerns.)
Blanchett - (Matches Fiennes in creating a nice off-beat energy that creates enough of a swerve within the style of the film that is rather endearing in its own way. She is a little underused honestly within the scheme of the film, but she's quite winning in every scene she's given the chance to be.)
Dunye - (An interesting lead performance to lead her rather interesting film, that I don't think quite fully comes together in terms of its greater intentions, but it so idiosyncratic that it still something special just in that alone. Dunye's performance brings the right naturalistic quality to her work and manages to be low key endearing in creating the sense of her character's needs and also passion to uncover a particular truth it would seem.)
Swain - (I wouldn't say her take is all that different from Lyon, and I'll disagree with this versions screenwriter that Lyon looked so old. Anyway though Lolita is a tough role even beyond the obvious, and I think Swain is entirely decent in managing to portraying this sort of objection of the sinful affection, but with the mischievousness that skids around on her exact choices throughout.)
Adams - (I really wasn't sold on her big emotional moments, but I also wasn't sold on the film at all. If this is Smith's best, I don't think his work was anything special, I mean already visually the film was just atrocious. Anyway I think she's find in the more playful moments but anything beyond that I did not find particularly impressive.)
Morgan - (A terrific performance in portraying the very off-beat energy that she manages to create in a way that has a certain comic element of it almost, though there is also something more in that as well. There's a sense of the real connection her character has to what she sees in this power. She plays this well in blending moments between moments where she makes you believe it, and others where she just seems wholly mentally ill. She's fantastic in creating the strange enigmatic state of the woman, and is consistently compelling within the narrative.)
Whitfield - (Is effective in being straight forward in her moment of the loving mother though effectively with the sense of the struggle to hide her knowledge of the truth of the situation. She creates the right subtle sense of her character's choices, and her sense of what is really going on though chooses to attempt to ignore it best she can.)
Carroll - (Found her side bits quite striking even rather fun in her own way in portraying the other shade to Morgan's character though one who is much more direct in her methods to put it quite lightly.)
Edwards - (Although I'm sure this performance would be blasted these days, I actually think she managed to handle the character's deaf vocal delivery in a way that didn't feel forced nor disrespectful. In turn she sets herself up in creating the film as unpleasant as it is by portraying her with an earnest innocence making the abuse of her then quite unpleasant to say the least.)
Torres - (Brings the right innate toughness in her early scenes then just slowly peels it away. She naturally does this in a way that wholly does work in terms of unlocking the character in a way that is more than just a rebel idea, and effectively becomes a person.)
Cusack - (She's most fun in her early scenes in portraying all the various moments of being taken aback by Kline's various choices and plays off him rather wonderfully. I thought it became more overly shticky later on as she's paired with Dillon, though she's not bad or anything, but the comedy doesn't work as nearly well as it does with Kline.)
Jackson - 3.5(Even though his character is one of the most important within the film, he's actually not used all that much as the character is much more used in terms of crafting the perspective of the man from how his daughter sees him. In turn Jackson is charming and warm in moments, lusty and cruel in others. He is the proper mix but switches depending on the scene, as he should be however as again that is the nature of the perspective.)
Lee - 4(He is the best part of the film, and is someone who seems to be keenly aware that you kind of have to act within a scene even beyond just big acting moments. He has those and actually does deliver them well with the right intensity that alludes to his character's frustrations, creating some of the few moments of comedy that actually worked for me. He's also genuinely pretty great in the climactic scene, that is rather dumb in my mind, but Lee's reactions throughout are actually rather potent in creating a sense of what his character is going through in the moment.)
I have not, I'll try at some point, but I don't know if you guys no this, but I'm not the biggest Roberts fan.
Winstone - 4(Mostly for much of the film he's just good in bringing his typical tough personality which is much appreciated in the right role. He though successfully switches things up in his final scene to portray such extreme emotional rot so suddenly. He is wholly convincing in portraying the sense of guilt but also desperation as his character tries to explain and cover everything all at once. Winstone knocks the moments out even if I think the lead up doesn't wholly work.)
Davis - 4(He's a proper lunatic here. I like though that he shows the man calm at most times but this innate intensity about him as someone who you can tell is holding too much inside at all times. When he gets set off Davis is properly bloody insane and hits that extreme in a way that does wholly work. It is the right type of wild card performance, and he does feel properly driven as a man just filled with this distinct type of greed that drives him crazier than he already is.)
Oscar and Lucinda cast are all fine, but no one really stands out.
Langella - 3(Again writer is wrong, and Quilty was not overused and I think really essential in coloring the piece by having this specter who bluntly shows how creepy and wrong the behavior is. There's far less Quilty though Langella is properly creepy in his own way, but doesn't leave the impression Sellers does, particularly in the last scene of the film.)
Lucas:
Some how the 97 films list didn't have the film listed. They'd be 8 & 9.
Matt:
Yes.
Thoughts on the Slow Horses cast? Specifically #1-7, Pryce, Reilly, West, Aakeel and Chung.
1. Hagiwara
2. Greenwood
3. Walsh
4. Aykroyd
5. Elwes
1. Cheadle
2. Molina
3. Hoffman
4. Reilly
5. Jane
1. Hagiwara
2. Greenwood
3. Walsh
4. Aykroyd
5. Elwes
1. Cheadle
2. Molina
3. Jane
4. Hoffman
5. Reilly
I've been marathoning the Fast and Furious movies, and the difference in quality between the first one (which I hate) and the sixth one (which I just finished and LOVED) is absolutely nuts.
On a seperate viewing note, I also finished season 3 of the "Sopranos" today. I'm not surprised that the show is continuing to impress me, but I definitely wasn't expecting such a beautiful rendition of "Core ngrato" by Dominic Chianese.
1. Hagiwara
2. Walsh
3. Aykroyd
4. Greenwood
5. Elwes
1. Cheadle
2. Molina
3. Jane
4. Hoffman
5. Reilly
1) Hagiwara
2) Greenwood
3) Aykroyd
4) Walsh
5) Elwes
1) Cheadle
2) Molina
3) Jane
4) Hoffman
5) Reilly
Random question - is anyone here watching the new series "Outer Range"?
I'm 6 episodes into it (with the final 2 premiering soon), and it's honestly decent; The acting is almost always solid, and the core premise is rather intriuging. My main hope is that they stick the landing, because there's a lot of oppertunities for the show's story to fall right on it's face.
Does anyone have any leads on how to watch Compartment No. 6? I’m more than happy to rent it.
Another great Barry episode, Hader was particularly incredible in this one.
Mitchell: I watched the first episode and I was intrigued by Imogen Poots more than anything else.
Louis: thoughts on Ken Watanabe, Hideaki Ito, Show Kasamatsu, and Rachel Keller on Tokyo Vice?
Matt: Yah, she's definitely been one of the more interesting parts of the show. Although as someone who doesn't know much of Poots' work, when they introduced her, I immediately thought she bore a strong resemblance to a young Kate Winslet.
Louis: Thoughts on the Don't Worry Darling trailer.
Louis: Oldman was perfect, but how do you think Cranston would have done as Commissioner Gordon in TDK trilogy?
8000's:
Kobayashi's direction of Harakiri is among the greatest direction, end of the sentence, it is only a testament to the greatness of David Lean's direction of Lawrence of Arabia that it is not my winner that year. Kobayashi's work here if incredible and like many of the all-time great directing pieces, it is almost the breadth and depth of it all the same. Kobayashi within his singular piece tells an almost supernatural tale of seemingly a ghost coming to exact vengeance, he tells also a very human piece of a father seeking revenge against those who wronged his family, it is a classic piece of the lone hero against society as a captivating action samurai film, and it is a wholly biting view against the unjust structures of society. None of these ideas, as disparate as some elements could seem within them, never clash but rather work off each other to make the film as effortlessly potent as it is. Kobayashi, who came a little after Kurosawa but is unquestionably a contemporary, differs from Kurosawa, who while didn't always seem the biggest fan of Japanese societal structures, Kobayashi's works are far more intense in their hatred for them. And I think there was the potential pitfall to make the film just a screed which it never is, and it is through that variation within the tale that Kobayashi prevents that and makes the film as compelling as it is. The essential element is that Kobayashi cares as much about every facet of the story, doesn't glide over an element, and finds variations within his vision to make you keenly feel every aspect of this particular journey. Kobayashi grants the opening that mysterious air and the whole setup of the overriding tale within the tale is so potent, by presenting our central figure basically as this ghost recounting the tale in order to exact vengeance. He also though gives a real deeply human intimacy in the flashback home scenes and contrasts the brutal horror of the torturous harakiri that sets off the plot. Contrasting again though are the cathartic singular duels, then the supreme chaos of the final battle. Every singular set-piece is brilliantly executed by Kobayashi yet they are all very much of the piece in creating this tapestry of wrath against the injustice of the society.
Luke:
I've more or less seen Scream 2 in the early 2000s and don't really feel I need to go through the re-watch.
Anonymous:
Caine - 2.5(Definitely a "miss" performance for Caine. I think the part had potential as well, but his performance just feels a bit forced here. He can do menace a la Mortwell, but here he just feels more awkward than anything, unfortunately. There was something here to create a dangerous man fueled by desperation. Unfortunately, though his desperation is not particularly well conveyed by Caine here who kind of just does a one-note kind of scummy here that is more boring than anything. He's not horrible but he's quite uninspired here.)
Razor:
Oldman - (Basically an anti-Smiley performance in a way, though the character may be as brilliant when it comes to spycraft, his personal style couldn't be more different as instead of quiet reserve he's all about acerbic wit and general denigration of just about everything. Oldman though is terrific here in playing this other side of a spy quite magnificently. He brings all the expected cutting though with the right sort of particularly vicious touches about the man who seems to have a poor view of all, but especially just about everyone he works closely with. This is of course the surface presentation that Oldman portrays well but effectively layers that in the moments of showing just how good his character is actually. Oldman is fantastic in these moments in showing the real intensity of the killer spy in his eyes and gives the right shade of Smiley there while still doing his own thing. Oldman though brings the right playfulness in that he always manages to show it as a bit of subterfuge in the moment of seeming not to care, and manages to weaponize the comic callousness of his character. Of course, this is without mentioning the moments that ask for Oldman to bring out the big guns in moments of more overt emotional intensity where Oldman is downright amazing as to be expected.)
Lowden - (Rock solid leading turn from him, and glad I spotted him Dunkirk honestly because since then he has shown again and again proper leading man potential. That is the case here in just portraying the most straightforward spy of the bunch and doing so in a way that is effective. This is in that he is appropriately dashing but brings the right degree of haplessness at times that shows just the right sense of hesitation and a bit of self-doubt. Lowden makes for the proper hero who has the right confidence to be the hero that you believe in but with the degree of weakness that makes him inherently likable all the same.)
Demri-Burns & Elezar - (They make for a rather endearing duo throughout. This in creating rather unexpected chemistry but believable chemistry. The two have the right sort of back and forth between Demri-Burns bringing these stumbling qualities, while Elezar embodies a more straightforward attempt at being confident. Within that, though the two find just the right dynamic and back and forth where the two seem to meet in moments of mutual vulnerabilities. This to the point in reaching moments of proper comedy in the moments of not quite meeting in their intentions, but also some honest heart in the moments where it seems like they are actually connecting.)
Scott Thomas - (I mean right in her wheelhouse of cold control and power, nothing new in that regard, but she delivers in that regard quite expertly.)
Reeves - (I mean quite different from the last time I've seen some performances from hers like in Close My Eyes. She's quite good though in bringing sort of the "housekeeper" type biddy presence though with this certain understated edge about it that alludes effectively to a more substantial backstory within her. She's also though terrific in her moments with Oldman in creating a fascinating kind of dynamic in that she is both exasperated by him but also quietly suspicious of him. Mostly her work stays within the type, though effectively so, although her moment near the end after dealing with Scott-Thomas is particularly good in playing well the comedy in the attempt to try to stand her ground more confidently.)
Pryce - (We only get some brief moments from him, and expectedly confident in that Pryce way. He does allude to a bit more going on with his character however again just skimming the surface, but he alludes to that more quite naturally.)
Reilly - (Very straightforward performance though he delivers in projecting the right kind of innate confidence that stands in contrast to our more struggling characters that represent sort of our main figures so to speak.)
West - (Generally just kind of brings a low key spiteful hate towards his role. He delivers on it well enough, though I think just well enough.)
Akeel - (I mean most of his performance is just looking terrified, which he certainly does well enough. He has a bit more later on that I didn't quite fully buy as it didn't quite convey the fear with the moments of anger, and it feels like too big of a gear shift to be fully believable.)
Chung - (Yeah not sure he needed to go full cockney here as he gets grating very quickly, and he's not even in it that much. He's supposed to be annoying to some extent but there's a way to do that and still be funny or endearing, which he really isn't. He's just rather intolerable in a way that doesn't really work in my mind.)
Calvin:
Watanabe - (I mean expectedly great, but one should not be penalized for meeting expectations. Watanabe excels in the way you would expect. This as he absolutely has such a strong presence in bringing this sort of stoic power to the role. He finds nuance though even in this in his moments of attempting to provide this mentoring council towards Elgort's Jake, while also conveying the innate intensity that feels honest to the character dealing with such tense situations as a basic constant. Watanabe conveys the right sense of the weight of the man as someone who is constantly going through such dramatic situations at all times. In that, though I love the moments of quiet concern such as in his delivery of telling Jake to avoid dealing with the Yakuza where he brings such a palatable sense of wisdom and a careful intelligence. Watanabe though really cements the strength of the work that moves past the seasoned detective moments, where he is consistently great, and I love the sweet simple moments where the detective is with his daughters. He's also great with everything he does in the last episode as his character is pushed out of his comfort zone.)
Ito - (His performance works particularly well as a contrast to Watanabe's performance, showing someone who also seems seasoned but with far less maturity from that. He brings the right slick energy to the part that is good in being 2 parts genuine but also 1 part too much boisterousness. He balances it well to seem maybe too much but also maybe the real thing as well. He's terrific in the later episodes as we learn about his character's more hidden side, and is particularly moving in his later scenes with Watanabe. The two are great together and provide a real power in their moment of confrontation.)
Kasamatsu - (Should be a breakout from the show as the more the show gave him to do the better he was. Kasamatsu is excellent in bringing just the initially slick, if somewhat naive seeming in this manner., having really honestly endearing chemistry with Elgort in their earlier scenes together. He's terrific then as we see his ascent, or more accurately descent, in terms of dealing with the fallout of truly becoming part of the life but also in terms of getting to become more intensely driven within the situation. Kasamatsu is effortlessly compelling and captivating in creating the real emotional connection within these moments showing the difficulty the man is going through to do it, just as he's showing the right sort of ferocity to be the killer he needs to be. Every one of the key moments he delivers on, particularly in terms of managing to make his character potently sympathetic even as he commits extreme acts of violence.)
Keller - (I liked her in both Fargo and Legion, though in the latter I did think it was a little bit diminishing returns at a certain point. Here though I thought she was honestly just terrible, unfortunately. It doesn't help that her character is so extremely unlikable as an embezzling manipulator, but I think there are ways to play that. She does not succeed in this and I think in part because she's just not very appealing here even in the moments where she is supposed to be playing appealing. She always comes off as almost strangely caustic in these moments, and again in the moments where she's not supposed to be directly that. Outside of those scenes though she is just incredibly off-putting but not in an effective way when portraying the character as being actively determined as herself so to speak. But I think what is really the problem is she's just not good at portraying whatever the emotion of the scene should be. She either seems off from the intention or just doesn't really deliver on the attempt.)
Marcus:
Well I have to admit I wasn't really crazy about his vocal work as Gordon in Batman: Year One, though I think whoever was doing the directing of the vocal performances seemed particularly off given Ben McKenzie's truly atrocious performance. Having said, I do think he likely would've been good, though I don't think as good as Oldman was.
Luke:
Well certainly looks intriguing as almost seemingly a kind proper remake, or remix of the original Stepford Wives. Given it is such a huge departure from Wilde's first film in terms of material and genre, it could go either way I think.
Louis: Well, Ben McZenzie is also just a horrible actor, cause he's next-level awful on Gotham as well.
Matt:
Well I can certainly believe that as he was also pretty bad in Junebug.
I thought McKenzie was good in Junebug. A convincing asshole performance.
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