Masato Hagiwara did not receive an Oscar nomination for portraying Mamiya in Cure.
Cure is one of the most honestly unsettling films I've seen about a detective investigating a series of strange murders with similar traits yet done by different people.
Cure isn't about the big scares but rather a certain nightmarish mood that cuts beneath a skin, similar to the way the scenes featuring Robert Blake's Mystery Man from David Lynch's Lost Highway, also from 97. Both films are not about the horror jumping out at you, but rather the horror is just right there reminding you of itself, a horror that is both tangible and ethereal. At the center of the horror of both films is a performance, performances that are very different yet strangely similar. One trait consistent is the way both characters seem to appear out of nowhere to reek a kind of havoc on the living and normal existence around them. Hagiwara suddenly appears in the film, as the film seems to reveal its truth however even then to say the mystery becomes solved probably would be a rush to judgment. Hagiwara's first full appearance comes as a seeming nondescript young man coming to see a doctor.
Hagiwara's performance becomes anything but as he speaks to the woman in dulcet tones that quickly lure her into a trance.
Hagiwara's performance is really quite startling and also remarkable, because really a classic hypnotism scene is about as cheesy as they come in general conception, yet it really is all in the execution.
Hagiwara's work is a key in this in the ease he brings in delivery that makes it unnerving as it is strangely believable as he begins to speak the woman into his sway. More unsettling however is as his suggestions become more sinister in nature, suggesting her desire to perform surgery and Hagiwara's eyes take on this demonic allure. There's a satisfaction in the implanting the suggestion, a smile that Hagiwara reveals in the man enjoying essentially setting up a murder. In a way, the most strangely disconcerting moment is when he snaps his victim/accomplish out of it by throwing water in her face. There is such aggression yet also blithe disregard in Hagiwara's manner as he dispatches her presence away from her simply as though she truly is nothing to him.
Eventually, the police find the mysterious young man as the common factor and arrest him on his peculiar murder incitements, however just because he is caught, the horror of the character does not cease. Rather Hagiwara achieves the unique achievement of making his mere presence in any scene something that is instantly unsettling. Just the way he stares seemingly into everyone's soul, even as it seems like he's been caught, even when he is being physically hit, Hagiwara looks on with an incisive stare that suggests a man with some enigmatic knowledge of the world, but also this withdrawn caustic glee as looks upon the chaos he is creating by his mere existence. Every scene with Hagiwara is a frightening mystery because he seems to know so much while revealing so little. It is with this quietly assured quality within every side-eyed stare and overly comfortable delivery that Hagiwara makes a most unorthodox terror. Hagiwara achieves that particular visceral quality within his performance as just being around him creates this anxiety, and again fascinating against Robert Blake's performance, who both might be playing some form of the devil, as they each craft a creature that is both unknowable yet feels strangely tangible. Every time Hagiwara saunters into a scene he instantly makes the air seemingly grow cold and as the man stares with this fascination towards all as though they are just a victim waiting for his words. There's just that sincerity of the fiendish pleasure in every word. He never raises a fist or twists a knife, rather every word is this strange message of paranoia and a kind of doom. Hagiwara's performance is such that even when it seems he's under control, or disposed of entirely, that he seems to still be haunting the film. His performance is brilliant though as again any choice here slightly off would've instantly removed the horror of the character, yet every line, every stare from Hagiwara is pitch perfect in creating this distressing figure that eases his way unpleasantly beneath your skin, and never leaves.
70 comments:
I should see this. Sounds right up my alley.
Matt: I concur, although with the disturbing violence of "Invincible" still fresh in my mind, maybe I'll wait a bit before watching a film of this sort.
Louis: Based on this performance, what would be some recent film roles (2010s onwards) that you feel Hagiwara could play? Just looking through his filmography, he doesn't seem to have worked in many high profile western films (or at least, not many titles I recognize). The one exception I could note - and this oddly ties into "Invincible" - is that he apparently dubbed Steven Yeun's role in "Burning".
Robert: Seeing as how you've also watched the series, what are your thoughts on season 1 of "Invincible" and it's respective voice cast?
Louis: Considering it's your win, what are your thoughts on the sound mixing for this film?
Louis: Your thoughts on the direction for this film?
Rewatched The Bad Sleep Well. Honestly, I'd rank it higher if I were Louis, but that's just me. Can't wait to see Mifune getting reviewed for his performance there. Some people find the ending anticlimatic, but I love it. The bad guy wins, but loses the love of his children. A masterpiece for me. That opening sequence, brilliant. No wonder Coppola used it as inspiration for The Godfather.
I have to say though, it's weird that Kurosawa chose Mori for the main villain instead of Shimura, but hey, I like Mori's performance.
Just decided to hop in here to say that my full review of Dr. Strangelove is finally out after a series of delays. Used a lot of time and motivation on getting this one done, so I would love some feedback.
Also, I really need to check out Cure. Sounds like something I would just love. Hagiwara sounds brilliant.
Louis: Thoughts on Otto Heller's cinematography in Olivier's Richard III.
Also, would Robert Krasker be your choice for an Olivier version of The Tragedy of Macbeth? He just feels the perfect choice.
Louis: Your updated top best-acted emotional breakdown moments in film? I know there's a list you gave from a few years ago, but I was wondering if a few others would make it onto the list for you now.
RIP Fred Ward
Rewatched It's A Wonderful Life, and I have to say, George's lashing out at his family is probably the greatest acting I've ever seen.
Louis: Your thoughts on these scenes if you haven't given them before:
Praying at the bar
Clarence introduces himself
"The richest man in town"
Mitchell:
Well judging by his work in Tokyo Vice, it seems he doesn't quite have the level of comfort with English needed compared to say Ken Watanabe. Japanese films wise, again although my knowledge of modern Japanese cinema may be greater than the average westerner I think, it still is very limited.
Matt:
The sound design is so much of the horror of the film, in that it actually isn't based on orchestra strings and the like, rather it is about the level of immersion, the sense of place that creates this palatable sense of eerie place to every setting. The sound work is careful yet so essential in luring you into each disturbing place or place of mind just through this small choices throughout that adds to the film's disturbed effect.
Oliver:
Kiyoshi Kurosawa's direction is the film's horror, but horror by the way of the often blase circumstances of it. The most horrifying images in the film, the most outright disturbing, are made as such because he'll cut to them without notice, but not as a jump scare. Rather the way he often frames these moments at a distance, or off kilter slightly, makes them in a way strangely more unnerving since you kind of are caught off guard in just how common it feels. You truly never know when something horrible is about to happen, because it just happens in Kurosawa's direction. In turn there is a palatable sense of dread he crafts, particularly again in the immersive work of his direction. Every dirty old place, a grainy video, or even a dark prison cell is oddly tangible, but worse he makes you feel like you're never quite alone in his framing of the shots, in a way that just gets under you skin. It is fascinating series of choices by Kurosawa in so many of them go against typical horror expectations, and often are so much more effective because of that. He crafts his horror so quietly yet so powerfully by making this natural disturbed state.
8000's:
I mean I don't even feel I ranked it low, as even breaking the top 15 in a Kurosawa ranking means it is a terrific film. Although should note one of the few films of his I haven't re-watched, and typically that only benefits the film when it comes to Kurosawa.
RIP Fred Ward, a wonderful character actor.
Louis: what are some roles you could see Show Kasamatsu in?
RIP Fred Ward
Saw On the Count of Three which I absolutely loved, and definitely hope Carmichael and especially Abbott get possibly saved for reviews.
RIP Fred Ward
R.I.P. Fred Ward
R.I.P. Fred Ward
RIP Fred Ward
John Smith aka varun: So i just watched the nothman. Need some time to think. As a swede the accents where really distracting.
Honestly, that opening scene alone in TBSW is enough for me to put Kurosawa in my top 5 best direction of 1960.
Louis: Who are some modern actors/actresses who give great interviews? My favorite is Ethan Hawke.
Robert: Timothee Chalamet has been quite entertaining and well spoken in his interviews - even with a lot of his talk show appearances such as "Graham Norton".
I'd also submit Mark Hamill as a very enthuasiatic and animated interviewee.
Side note... I started watching "The Boys" and it's lived up to it's reputation thus far. Its also interesting having watched "Invincible" just before, and seeing two darker versions of superman concieved in different ways; Omni-man being a calculating, imperialistic being with a hidden cruel streak, and Homelander being a shallow, petty man-child driven by vanity.
I will say, however, that recent news about Antony Starr has made me see the actor differently - perhaps in an ironic fashion, considering the show/character.
Robert: Jude Law is someone i could honestly watch for hours. He just exudes this calm, insanely well-spoken intelligence and charisma that you simply cannot look away from. And that sexy as hell voice of his can also make any straight man weak
Robert:Off top of my head, Stephen Tobolowsky (always has an anecdote ready and never comes off as pompous despite the fact he's one of the busiest actors ever), Willem Dafoe (just seems so friendly all the time during interviews regardless of shady characters he's associated with) and also Jeff Goldblum and John Malkovich (both can be deemed weird in their own, completely opposite ways, but it never bothered me at all).
Yeah, Dafoe is a delight in every interview I've seen of him. The complete opposite of the characters he plays on screen.
8000's:
Well it is a well lit film with some striking vibrancy in terms of making the colors pop, and I do love how Heller, along with Olivier's choices, realized the moments of Richard monologues being not inner thoughts but rather treating you as the co conspirator, again as weird as it is seems Olivier doesn't get enough credit sometimes. Anyways, otherwise the lighting usually is straight forward but there are some more dynamic moments that are well realized, and some beautiful grander shots.
I might lean Stanley Cortez there.
Marcus:
Do you have where I put original list, so I can even remind myself to see if I would just repeating myself or not?
Tahmeed:
Praying at the Bar - (Again such an insult when people act as though there wasn't great acting to Brando, when you see such intense vulnerability from Stewart with such a powerful sense of emotional nuance, and that power of the desperation in the moment. Stewart plays it so meekly so internally, yet so earnestly, just so heartbreaking in every way particularly as it is instantly met with such hostility.)
I have given my thoughts on Clarence introducing himself before but to restate which is wonderful comic scene though particular as it provides just the right relief after just how painful the scenes were just before it and is such great introduction to Clarence, that you instantly love his style, but also wholly believe him as this angel that had only been a voice before.
The Richest Man in town is proof that ambiguity isn't required for a great ending, nor tragedy, because it is one of the greatest endings of all time, in fact if you want to call THE greatest, I'm not going to argue with you. It is everything the movie was working to into one moment of pure catharsis that is so heartwarming and hits you in the deepest of the "feels". This is because you've seen so much struggle with George throughout, and all his sacrifices for others, and it is the purest of payoffs of everyone coming for their friend, a moment so powerful I'm getting a little emotional right now just writing about it. True cinematic beauty in the purest form, represented with the most straight forward line, that shows no revenge was needed for Potter, because in the end it was George who was the richest man in true wealth, not Potter.
Calvin:
Well I'd certainly like to see him in many roles, as he is quite the charismatic chap from Tokyo Vice, and displayed quite the emotional range.
So just like how he probably should've been lead in Tokyo Vice purely, make him Baby in Baby Driver.
Robert:
Hawke's eccentricity is indeed a delight.
And disregarding comedians since they tend to be "on" anyways:
Tobolowsky of course.
Jeff Goldblum
Timothy Olyphant
Sylvester Stallone
Hugh Jackman
Louis: your thoughts on your top 10 performances from Winning Time and Jason Segel? Sorry if that's a lot, I just really liked the show and I'd be interested to see what you thought about them. You had posted your ranking on your review of JT Walsh
Louis: Thoughts on these retro casts?
Angel Heart (1940's, directed by Jacques Torneur)
Harry Angel: Robert Mitchum
Louis Cyphre: John Carradine
Margaret Krusemark: Claire Trevor
Ethan Krusermark: Edward Arnold
Leon the Professional (1950's, directed by John Sturges)
Leon: Jean Gabin
Norman Stansfield: Richard Widmark
Mathilda: Natalie Wood
Tony: Edward G. Robinson
L.A. Confidential (Japanese version, 1960's, directed by Akira Kurosawa)
Ed Exley: Tsutomu Yamazaki
Bud White: Tatsuya Nakadai
Jack Vincennes: Toshiro Mifune
Captain Dudley Smith: Takashi Shimura
Lynn Bracken: Machiko Kyo
Sid Hudgens: Daisuke Kato
Pierce Patchett: Masayuki Mori
D.A. Ellis Loew: Ko Nishimura
Blood on the Moon (1980's, directed by John Carpenter)
Jim Garry: Kurt Russell
Amy Lufton: Jamie Lee Curtis
Tate Rilling: James Woods
John Lufton: Wilford Brimley
Kris Barden: Harry Dean Stanton
Carol Lufton: Kim Cattrall
Jake Pindalest: Richard Masur
Louis: your cast and director for 1930s Wait Until Dark and 1930s Terminator 2:Judgement Day.
So I saw The Northman in the theater a week ago but watched it again online to figure out my exact cast ratings. Quite easily my favorite movie of the year so far and it's not going to be easy to dethrone it. Another incredible atmosphere created by Eggers that puts you right into the time and place. No other working director does it better than him. This film has all the absurdity and brilliance you'd want to see in a Viking epic directed by Eggers. Dafoe being Dafoe, an insane amount of violence, Skarsgård on a hot tub date with Anya Taylor-Joy. 5 stars.
Skarsgård - 5
Taylor-Joy - 5
Kidman - 4.5
Bang - 4
Hawke - 3.5
Novak - 3.5
Björk - 3.5
Dafoe - 4
Louis: Have you rewatched The Batman yet.
Louis: I only remember O'Toole's 'They'll come for me', and Hopper's 'In Dreams' breakdown as part of that list, but I can't find the whole thing.
Louis: Since you’ve watched Dune and Maelstrom since then, would there be any updates to your Top 20 Villenueve directing moments? The list is in the Best Voiceover reviews.
Lucas:
Reilly - (Although McKay and Ferrell both come off as rather childish that their friendship and partnership ended from the machinations behind this partnership, I have to say the right choice was made because Reilly simply has that ideal blend of comedic and dramatic chops needed for the role, which very much carries the tone of the series in many ways. Reilly naturally excels then in being everything the series needs to be. This from being the orator of the series, which he puts all the lameness of other McKay fourth wall breakers to shame (also helped by MUCH better writing), but Reilly brings the right zest and comic edge, and most importantly eases away on the smug. I also like how much more dynamic that is, as I actually loved the one major fourth wall break where Buss lashes out at the audience when he's upset, partially because of how good Reilly's performance was in the moment. He's great though also in showing all the different sides of Buss throughout the series. As he has the moments of just being the most lovable and generous man that you do just want to see succeed, but he also is equally good at being a demanding and even sometime sleazy man. Neither side subverts the other in Reilly's work rather he makes it naturally part of the same complicated figure. He also just is a whole lot of fun to watch here and brings just the right power of personality that helps to properly define Buss as a transforming figure).
Brody - (Brody is terrific here in bringing very much the right sense of the man basically trying to find some new conviction with his life in his early scenes. He effectively shows so well the low key sense of frustrations stuck first being a retired player then being just a voice in-between another voice. Articulating each moment with the right humanity that he doesn't labor on. He's then great as he progresses as the assistant coach in showing so much passion and emotion in creating the power of the man motivating Segel's Westhead, but also taking charge as the man who wants it for all that its worth.)
Letts - (Great as per usual. Loved his innate forcefulness and command, with kind of a machine like precision that I thought he articulated just right without overdoing it, so you saw the right sense of who this man is in terms of his philosophy towards the game. His second phase I thought was great in portraying really the way you kind of like his hard attitude early on comes into play as he becomes less pleasant as he tries to hold onto what he wants. Letts though is also fantastic in articulating the different sides of the moments of the man being a bit petty to the moments of just being genuinely disorienting, or his great final genuine moment with Segel.)
Harris - (Wonderful at being both this ideal sort of man of conviction, and also just a complete mess of a man. He rides the rail so well in his performance of going from the guy who has that hard determination of someone who has been through a lot, but also the anxiety of the man who has been through too much. He creates the right sympathy for the man, but also in doing so shows how in the end it is the right choice to cut him.)
Clarke - (One of the most overtly comedic roles, that I'll admit I wasn't sure about at first, but I ended up really enjoying his quick tempered and always anxiety ridden performance. I especially loved everything he did in the first Boston game performance. Clarke is too much in the right way I feel, and is just on that razor's edge of just sheer insanity that I felt managed to hit the right comedic beat, while just missing being TOO much.)
Robinson - (Really liked what she brought to the role without overplaying the dogged spunk of the character, which I think could've been very easy to do. She though finds the right pathway there and shows the right quiet sense of growth of confidence throughout. She brings the right energy to match Reilly's sense in a way that is rather terrific. Also loved her chemistry with him that is filled with both questions, care and a bit of distaste. Finding the right sense of a good but very complicated father/daughter relationship.)
Isaiah - (AMAZING physical casting I must say, and Isaiah brings that right sense of charisma that is essential for Magic. I will say much of his performance is mainly bringing that charisma and it fits for someone who's main mode of attach, both on court, and in life, is just trying to smile his way through it. There are some moments that challenge that and I thought Isaiah was more than decent in these moments as well, though the highlight of his work is just delivering on the vibe of Magic so effectively.)
Hughes - (Okay, so maybe they can cast anyone if they try hard enough because they managed to pull this off. I will also admit I wasn't sure about Hughes early on in that he seemed to be literally giving the comically stiff performance of Abdul-Jabber from Airplane, but it ended up working in establishing the man as kind of closed off and aimless at first. Hughes proved this to be properly part of the performance, by so genuinely bringing the later moments of Kareem as he finds joy for basketball again, and found his final moments of reacting to the kind of betrayal very moving in his subtle sense of confusion and disappointment.)
Hoffmann - (Functional type of performance but well delivered as such in bringing the right combination of this comedic sort of conviction and exasperation that seem to go back and forth between one another quite efficiently and effectively throughout)
Nixon - (Falls kind of by the wayside at a certain point, I suppose fittingly, but I certainly did like his early scenes of focus in portraying the right sense of the shattered and troubled ego of the man as he tries to fend off his seeming replacement in Magic.)
Segel - (Thought he WAY overplayed the character in moments of anxiety, it was just a bit too much there and he went to that note I feel too often at times. Having said that I did like his moments between Letts and Brody that were more earnest, and liked his chemistry with the latter a whole lot. An imperfect performance in just setting the bar at too far of an extreme, but I certainly didn't hate his work. Only really hated Max E. Williams...as really that was the best Jack Nicholson impersonation they could get?)
8000's:
Angel Heart:
All great choices, though I might lean Sydney Greenstreet for Ethan Krusemark.
Leon:
I think you'd have to employ Sam Fuller for that particular content at that time, but otherwise yes yes yes to all choices, particularly Widmark as Stansfield.
Tokyo Confidential:
I mean all great choices, though I'd probably go 50's as Mifune is just too perfect for Bud White.
Blood on the Moon: Most definitely, and would love to see that off-beat film.
Ytrewq:
T2 directed by Fritz Lang:
The Terminator: Boris Karloff
Sarah Connor: Olivia De Havilland
John Connor: Donald O'Connor
Miles Dyson: Rex Ingram
T-1000: John Carradine
Errol Flynn as Kyle Reese in deleted Cameo.
Wait Until Dark Directed by Alfred Hitchcock:
Susy: Greta Garbo
Roat: James Cagney
Mike: Wallace Ford
Sam: Herbert Marshall
Carlino: Gene Lockhart
Rewatched Jackie Brown, which seems to be a film I appreciate more and more with each watch. Forster is now my Supporting win. This time I also really appreciated Robert De Niro, who I just never gave enough credit too, and Michael Keaton who brings a lot of character to a role who's really just a plot device.
Thomas:
I have not.
Bryan:
1. Pink Joi - Blade Runner 2049
2. "Go and meet your daughter" - Blade Runner 2049
3. The best memories are her's - Blade Runner 2049
4. Opening - Arrival
5. Night raid - Sicario
6. "I like this song" - Blade Runner 2049
7. Flooded fight - Blade Runner 2049
8. Harkonnen attack - Dune
9. Road stop - Sicario
10. They arrive - Arrival
11. Meeting Sapper - Blade Runner 2049
12. Paul and Lady Jessica escape the Harkonnens
13. Driving through the city - Sicario
14. Driving to the hospital - Prisoners
15. Bus massacre - Incendies
16. Final meeting with the alien - Arrival
17. Sardukar attack - Dune
18. Hologram Menage a trois - Blade Runner 2049
19. Opening - Sicario
20. Rescuing the Spice Miner - Dune
17. Rachel "recreated" - Blade Runner 2049
18. Aerial Strike - Blade Runner 2049
19. Snakes - Prisoners
20. Roof - Blade Runner 2049
Marcus:
Well here's ten more from the last 10 years:
Ending - The Father (Anthony Hopkins)
First processing scene - The Master (Joaquin Phoenix)
The Church - The Hunt (Mads Mikkelsen)
Ending - Nightmare Alley (Bradley Cooper)
Preparing - I, Tonya (Margot Robbie)
Confessional - The Immigrant (Marion Cotillard)
Shattered House - Drive My Car (Hidetoshi Nishijima)
Memory Bank - Blade Runner 2049 (Ryan Gosling)
Drowning - Silence (Andrew Garfield)
I used to be a good person - Filth (James McAvoy)
Louis what would you say are the most cathartic moments in film of all time?
Anonymous:
Richest Man in Town - It's a Wonderful Life (All time)
Andy Escapes/Norton's demise - The Shawshank Redemption
End of Fight - Rocky I, II, IV
Earth Angel/George Punches out Biff - Back to the Future
Smile you son of a bitch - Jaws
"I want my father back you son of a bitch" - The Princess Bride
Chief escapes - One Flew Over the Cuckoos Nest
You Bow to No One - LOTR: The Return of the King
Familiar Harmonica - Once Upon a Time in the West
"Indiana, Indiana, let it go" - Indiana Jones and the Last Crusade
Terrific episode of Barry once again, since the tables set from last week are now really kicking into gear. For episode MVP, I’d go with Sarah Goldberg, though honorable mention to Fred Melamed as Cousineaus’ agent. Loved the surreal bit with Barry and the bomb/detonation app as well.
That episode of Barry was a knockout. Goldberg easy MVP, and I thought both cameos were terrific as well.
Duvall is a 5, thank you Louis. :)
And he's runner-up, that's an incredibly strong top 7 for Lead Actor.
Great to see Duvall at #2 for the year.
Louis: Any chance at all of Pacino going up for Donnie Brasco on rewatch?
Nice to see another 5 for Duvall.
Louis: Have you seen George Wallace and Don King: Only In America. If you have, thoughts on both and the casts.
And ratings if either one is eligible.
Huh, didn't know there was a George Wallace biopic.
Hey guys!
Did you know that the movie Living with Bill Nighy is the remake of Ikiru? I'm SHOCKED
Shaggy: What are you shocked by? Kurosawa has been remade or adapted countless times, why is this different?
Shaggy: Thank you Captain Obvious for this important information. :/
Great episode of Barry, and yes Goldberg MVP.
Tahmeed:
Probably not.
Luke:
I have not.
Goldberg was sensational. Agreed on the cameos, also loved the ending resolutions but also the way it's carving Fuches into the plot.
Excellent Better Call Saul tonight. MVP for me might just be Jonathan Banks, but Tony Dalton makes a play for it too.
Louis, Tahmeed & Calvin: Did you guys get any shades of “ronny/lily” during the bomb/detonation app sequence? I mean that in a good way.
Bryan: It's only in the Barry universe that a girl like Lily, and an app for detonating bombs could exist without me questioning it.
I actually have a feeling that the next episode could be tonally similar to 'ronny/lily', given what the final scenes set up this week.
Louis: Your thoughts on this interview with Martin Scorsese.
https://www.youtube.com/watch?v=7GItFNbLVCs
Louis: Also, for a 30's Legend, what do you think of Whale directing it with Flynn and De Havilland in the Cruise and Sara roles, and Karloff as Satan?
Louis: your 20 best John Lithgow moments?
Well, I finished season 1 of "The Boys" just now, and I have to say it exceeded my expectations. I was predicting the show would be bloody, outlandish and darkly comedic, and it delivers on all those fronts. I was not expecting it to be so character driven, however, or attempt to cover so much thematic ground (including celebrity culture, capitalism and even religion). It probably helped that I knew very little of the series beforehand, but either way, I found it to be a worthy investment of my time that I look forward to continuing.
Also, since it's one of the few live action series I've delved into recently, I can offer ratings for the principle cast.
Urban - 4.5
Starr - 4.5
Kapon - 4
Quaid - 4
Shue - 4
Moriarty- 4
Alonso - 4
Crawford - 3.5
Fukuhara - 3.5
Usher - 3.5
McElligott - 3.5
Louis: Do you think the part of Ewan Roy could be more complex than the way Cromwell plays him on Succession? I love the way Cromwell performs the moral grandstanding of the character, but I get the feeling there should be more duplicity, given that Ewan still financially benefits from Waystar.
There's also the fact that Cromwell requested that the character be written that way, so there's that.
Louis: Where would Winning Time rank in Reilly's Career.
Louis: Thoughts on The Northman cast.
8000's:
It is always fun to hear Scorsese talk about any film as you really get such a sense for his passion in every description even in times of criticism of a given film. Although I also wonder if anything more ever came out of the Goodfellas prequel that Kermode is referring to. Otherwise it also shows Scorsese's other great gift to cinema, other than his films, that being his endeavors for restoration.
That certainly works as a cast.
Tahmeed:
Ah, I think he provides what he should within the fact that I think if he was more complex than you'd like him more, but his grandstanding instead makes it, despite seeming like his personal actions are probably better. He's not this "good guy" because of it against the family, rather so much of it still feels like a sibling dispute, and through it all I'd imagine most viewers probably like Logan more than him, which I think provides an interesting challenge to think about the why there.
Luke:
Probably #4 behind, The Sister Brothers, Magnolia and Stan & Ollie.
Post a Comment