Brideshead Revisited (If you have the time) The Bunker (Anthony Hopkins) Mephisto (Re-Watch for Brandauer) Ragtime (Re-Watch for Rollins Jr.) An American Werewolf In London (Re-Watch for Dunne) Time Bandits (Re-Watch for Warner) Pixote The Evil Dead Documenteur One From The Heart Garde À Vue Cutter's Way Southern Comfort Whose Life Is It Anyway? Modern Romance Threshold Outland Coup De Torchon Francisca Mommie Dearest Out Of The Blue The French Lieutenant’s Woman Christiane F. Lola Lili Marleen Marianne And Juliane Raggedy Man In Search Of Famine Ms .45 Polyester The Aviator's Wife They Don't Wear Black Tie Man Of Iron (Wajda) Muddy River Montenegro Three Brothers Station The Postman Always Rings Twice Escape To Victory Dragonslayer Nighthawks The Great Muppet Caper Gregory's Girl Quartet 36 Chowringhee Lane Quest For Fire True Confessions All Night Long Diva Tragedy Of A Ridiculous Man Death Hunt Beau Pere The Skin The Beyond The Four Seasons S.O.B. Zoom Suit Zorro, The Gay Blade Continental Divide Butterfly Sharky's Machine Four Friends They All Laughed
Louis: Your casting choices for these Republicans who opposed Barry Goldwater's nomination in 1964 for a film regarding the 1964 elections.
Nelson Rockefeller George Romney William Scranton Jacob Javits John Keating Thomas Kuchel John Lindsay Henry Cabot Lodge Jr. Milton Eisenhower (a supporter of Scranton) Jackie Robinson (who supported Rockefeller)
(I’m not trying to gloat that I was the only one btw; I’m just glad I finally broke out of my slump. I probably have one of the worst batting averages here lol).
Louis et al: Might be reading into this a bit too much, but does anyone think there might be a thematic reason that Lance was the only one on the boat that survived the mission (besides Willard)?
I just find it a bit curious that he's the least "soldier-like" out of the expedition (basically a surfer "brah") and yet makes it out alive.
It's Coppola we're talking about, so either there really is a reason, or he just thought "Ah screw it, the kid lives".
Better Call Saul's "Waterworks": Holy shit, Carol Burnett and Bob Odenkirk in that final scene. Maybe the best acting I've ever seen from Odenkirk, period. I was only familiar with Burnett's work through reputation, so I was completely unprepared for how powerful she was going to be.
Don't know what else I can add about the episode, except maybe that I'm surprised to be in the minority on Jesse's cameo. Felt like fanfiction to me, and Paul looked/sounded too old for the part. I could roll with it more if it was indicating that Kim is partially responsible for the events of BrBa, but the scene just didn't play that way for me.
To Louis and everyone else who watches BCS: Had Chuck given Jimmy a fair chance and taken him on at HHM, would Jimmy have avoided becoming Saul Goodman?
Thought the first season of What We Do in the Shadows was terrific. Better than the movie, and honestly it feels like it was always meant to be a TV show to begin with.
Cast ranking. 1. Matt Berry 2. Mark Proksch 3. Harvey Guillen 4. Natasia Demetriou 5. Doug Jones 6. Jake McDorman 7. Vanessa Bayer 8. Kristen Schaal 9. Kayvan Novak 10. Beanie Feldstein 11. Nick Kroll
Anonymous: He's quite low on the 72 ranking but I wouldn't rule out an upgrade for The Godfather and I've read really good to great things about Burn! which is Kurtz if he was the lead character.
I do have fond memories of numerous films in which John Heard was a key supporting player, I really do wonder why he never became a proper leading man because, just watching a few scenes of Cutters Why, he really could have been.
But then that would rob you of using the inevitable request when I review him for Mouth of Madness.
8000's:
Nelson Rockefeller: Kyle Chandler George Romney: Robert Knepper William Scranton: Shea Whigham Jacob Javits: Anthony Edwards Kenneth Keating: Holt McCallany Thomas Kuchel: David Harbour John Lindsay: Dan Stevens Henry Cabot Lodge Jr.: Greg Kinnear Milton Eisenhower: Adam Arkin Jackie Robinson: Wesley Snipes
Anonymous:
Given my schedule next week will likely leave me too tired to work on reviews, I was thinking of perhaps devoting next week to doing some 2022 catch up potentially.
ruthiehenshallfan99:
Yes if only because I have heard genuine praise for Dunaway (who I rarely dislike), even if the film itself is pretty much only panned.
Bryan:
Yes, because Lance, fittingly as a surfer, always went with the flow of the situation albeit accidentally. So for example Killgore protected him due to his surfing interest for example, and at the end since he basically embraced the Kurtz compound, he was spared unlike Chef who was still trying to do his duty as a soldier (although maybe Coppola just wanted to spare him since he died in both Last Picture Show and The Outlaw Josey Wales).
Tony:
Not Saul exactly, but I don't think he would've ever been an ideal citizen. I don't think his bitterness towards Chuck is the sole reason for his downward spiral with Ed Begley's law firm, I think he basically would've run into similar troubles with HHM, as Jimmy couldn't avoid cutting corners (and in law that's kind of a major problem) to advance. If Chuck had embraced him (instead of being jealous of his innate likability) I think it would've instead been Chuck putting out fires Jimmy created from his choices at the law firm, until eventually Jimmy would've been fired. Now I think in that scenario everything would've been better for everyone still, but Chuck exacerbated the situation he didn't create it entirely.
Tahmeed:
And because I forgot some posts ago.
Right Hand Man - (I mean as basically this build up for Washington is pretty all out fantastic in just being the hype up for Washington, that that builds up with breaking every verse that is both modern rap and really W.S. Gilbert. Excellent using of the mixing of the styles though in that the song itself kind of exists within the idea of magic by the shifting and sound effects and really altogether amazing work in terms of making a striking song that delivers SO MUCH exposition.)
The Story of Tonight - (I'm going to say purposefully evokes Les Miserables's "Drink With Me", and similarly it is beautiful little simple inspirational yet also somber ode. Not overly long but properly sweet in its simple drinking sort of toast to success back up from simple yet potent melody. This is in contrast to the reprise that takes it an adjusts it beautifully to a sillier toast essentially, and in turn much less dramatic though enjoyably sort of "Soft" instrumental work.)
Real Life - (Slightly repetitive in its overall joke, but enough bits a pretty good in subverting the documentary genre, particularly with Brooks's character going off the deep end at the end.)
Over the Edge - (Felt very "try hard" for me in terms of attempting to capture youthful discontent, I'd Scum did it much better the same year and River's Edge later on. It always feels a bit artificial, particularly the ending, despite trying to seemingly be this cutting edge realty.)
Quadrophenia - (For me I think it has a certain style but the leading turn was just so unlikable it was hard for me to invest in any way. I honestly think just a bit more charisma in the lead I might've gotten much more out of it.)
Moonraker - (The goofiest of all Moore's films and that's saying a lot. I'll say there is a certain entertainment value due to that, but not enough to make up for the slow and boring parts.)
Great lineup but I do think Neill is just a *bit* overshadowed by Adjani, and Irons by Streep, though both match their screen partners well and would be 4.5's for me either way.
Louis: That’s *sort* of what I was thinking as well, though I also feel that Lance going with the flow is also because he is on drugs throughout the entire trip, which meant that the descent into hell didn’t affect him the same way (if at all) as it did the others.
Lastly, to wrap up 1979, your thoughts on the direction for the film?
Well, since this bit of info involves a Carradine, I recently learned that Tarantino originally wanted Warren Beatty as Bill in "Kill Bill: Volume 2". Apparently this version of the character was - in Tarantino's words - more akin to a "bond" role, and that it was actually Beatty who vouched for David Carradine...
I don't know how accurate that whole story is, but I for one think we got the better out of those two casting choices.
One does not simply describe Coppola's direction in that film, an achievement that some days I could put as my number one of all time. Theatrical cut again of course, which I think showed the greater master, as in the edit, he rightfully removed what didn't work (partly in obscuring Willard's journey and also just scenes that didn't quite work). Leaving what was left, in what is a strange journey to begin with as the director himself fell into overt madness, yet somehow in his madness achieved brilliance. You can take any segment and see unfettered genius, and many times creating scenes that I think only could've been created when they were. Take the helicopter attack, which is so expansive and daring, so incredible to watch, and simply something that could be never done again with such distinct reality (as one needs to remind themselves that everything in that scene is real except the death.) Take every touch though in that scene. Every touch. The intensity of it of course, the choice in the Ride of Valkyries, the random commentary by Killgore, or even the specific moments of catching our guys witness the insanity like every time we look at Chef's reactions for example. Even that scene though isn't alone, as you have the moments of Killgore examining his destruction, really admiring it, and there you have what is the great direction, that as much as Coppola allowed us to witness such mesmerizing spectacle, climaxing with the napalm explosion, in such an elegant tapestry, he takes the time to give Duvall his more intimate moments. By leaving the camera on Duvall you get his delivery of the famous line that lets us into Killgore's mind, and again even more so his added final line that speaks volumes. Take even a smaller scene though like the exposition scene where Willard is given the information. So many touches are extraordinary. By having the lingering shots that create this anxiety in the task, but by also framing so carefully the three men giving the info that create very distinct ideas of the forces conspiring to kill Kurtz. The military head regretfully doing it, the junior officer nervously doing it and the strange power broker firmly giving a single instruction. Each though shown Spradlin the pensive man clearly in frame, Ford off to the side stuck in his state of non-importance, and the third man staring right into Willard and our souls it would seem. Here's the problem I've already said a lot, but not nearly enough. I could go into this detail in every scene of the theatrical cut, because every scene of the film is genius and the direction behind them is on a level rarely achieved.
Two things that go distinctly hand in hand in that film. The production design is brilliant work that so much supports the film that essentially takes this Kabuki style, as an entry point, and in that the production design matches it with an artifice that is extremely stylistic. Brilliant though is the more the film goes on, the more we become invested in the characters, the more tangible the work becomes. Each set becoming that much more immersive, that simply would seem rural Japan of that era, yet the specific choices of it are extraordinary in the way it makes that so much more than that. The final snowy mountain pass specifically is such amazing work. Speaking of extraordinary the cinematography (which between it, Vertigo, Ashes and Diamonds and Touch of Evil, what a year for cinematography) the use of color is amazing. There is such distinct vibrancy that so powerfully inform the mood of every scene, like the mysterious green that baths the scene of informing the two of the ritual or the striking whites of the mountain. The lighting is amazing throughout the film. The framing and composition of the shots is equally awe inspiring, where indeed feels like a painting with the way the figures are placed so dynamically in really every shot of the film.
Ytrewq:
No Grand Prix, where he has a lame role and is overdubbed (where his voice is so distinctly powerfully, you can't overdub him). And I liked him 1941 as limited as his role was and again, as many mistakes as Spielberg made with that film, I have to give him credit for not overdubbing Mifune.
Anonymous:
Well it sounds more like if someone were to seek him out for a role he may do it still, he just isn't going to be actively looking, not to mention we'll see how long "Only Murders" goes on for. Not surprising overall though, as he hasn't been in too many things the last ten years anyways. Would love for someone to write him one truly great film role though.
It is kind of funny that Harrison Ford was a semi-unknown when he filmed his bit part in Apocalypse Now, then was a big star by the time the film finally came out.
Everyone: all this Apocalypse Now talk has me curious. Who here has played the video game, Spec Ops: The Line and if so what’s everyone’s thoughts on the game? Since it’s also based off Heart of Darkness
Rest in peace, Anne Heche. I'm not especially versed with her body of work, I'll admit, but after looking up her filmography and rather frankly distressing personal life, I'll make a point of educating myself further.
On a lighter note, and this is related to Baz Luhrmann's Elvis movie...I just learned that Riley Keough (of "Logan Lucky" and "It Comes at Night" fame) is the daughter of Lisa Marie Presley, and thereby the grandchild of Elvis himself.
And I'm not gonna lie - that blew my mind when I discovered that fact.
Adored Nope. I want to let it sink in even more but I think it might be my favourite Peele - laughed, terrified and found myself extremely moved, cinematography and score brilliant, the sound design is all-timer level. Loved the entire cast.
Perfectionist_ad: It's Mifune with 10, with a possible upgrade for The Bad Sleep Well. Olivier, Hackman, Stewart and Mason are close with at least 7 5 star performances.
Perfectionist: You can find that info on this Google sheet I made: https://docs.google.com/spreadsheets/d/1XmXFvBtMQo65vQj1m6rFpCaB1PtBf-ZrdYj76onFO88/edit#gid=0
Luke: What is Pacino's most likely rating for The Merchant Of Venice if he's potentially getting reviewed??? If he gets a 5, it would bring his tally to 8. Also has Louis ever given a brief summary for Pacino's "Angels In America" performance??? Cause I have seen "You Don't Know Jack" one.
Perfectionist: A 4.5 at the bare minimum but I recall him being great.
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.)
Well I'd rather avoid "political ads thoughts" as a common question in the comment section.
Luke:
By the way, in case anyone had not guessed, I think the film actually shared most with Tremors.
Kaluuya - (Rock solid work in kind of giving a western lead performance though in a bit of a different context. In that there's that same kind of steely eyed manner and low key that isn't entirely not the strong silent type, however fashioned in modern set that makes him seem largely aloof. It works in the early scenes in creating a low key comic manner of his character being a such in crowds that are very much not that, and slowly building towards where this takes the character later on. He also has good chemistry with Palmer, despite I think the sibling dynamic being a bit underwritten in terms of the relationship with a father yes Peele introduces an idea about it but he doesn't explore it. Nonetheless Kaluuya and Palmer have a strong chemistry of her being so high energy against his more stoic manner that works quite well. Additionally he plays the comic moments quite well by always being straight no matter the situation.)
Palmer - (Again all energy against Kaluuya's calm and it certainly works, even if I do think there was just a bit little left in terms of what her dynamic with their father was, I really think the film would've been better off not killing him in the first scene of the film but I digress. Palmer though is effective though in being so outgoing in showing her trying to make an impression regardless and giving an entertaining performance that still brings the right sense of danger later on.)
Yeun - (The biggest missed opportunity for me is leaving so much of his story as just alluded to material, that only really exists in execution in two scenes. Now Yeun is very good in those two scenes but I'd rather have truly gotten the details of the character rather leaving it all for one to notice just the clues, since I prefer character development rather than twist. Maybe less Angel, and listen I got nothing against Angel, but you could've cut him out of the movie after he set up the cameras. Particularly with the amount of time spent on Gordy, we should've really spent more time with Yeun and explored him as a co-lead I think rather than an afterthought. Yeun though is very good in portraying the showman covering up for the intensity of the trauma that lies beneath it all, and his reaction are potent particularly as his delivery is always as such consistency yet his eyes tell a different story.)
Peara - (Speaking of Angel, he is enjoyable in his goofy himbo energy though I still didn't exactly believe him a necessary part of the narrative, would've preferred the time had been used to give more time to Yeun's story or build up Wincott's character more.)
Wincott - (I mean his particularly delivery is always very welcome though I do think there was too little of him to earn his moment at the end which felt contrived to create drama, rather than a natural end to his character. Wincott sells the hell out of it, as he does every moment, but I would've rather seen a proper arc with him rather than a vague allusion to one.)
Louis: Do you think Jordan Peele is headed in the right or wrong direction as a filmmaker? His direction is growing ever more confident, yet his last two scripts have been a bit less…sharp.
Well he's not someone like Alex Garland, who I think made one very good film and two terrible ones (though terrible with some idea of promise), because I think all three of Peele's films are good with Get Out being great short of that poorly placed comedy sketch scene, US getting derailed with the third act that can't successfully explain itself and Nope for me is just distinctly good not great. I appreciate the ambition even, I just don't think the execution has been there fully with the last two. I do ponder if he feels the need to make his films theoretically thematically richer due to expectations set by Get Out, as in Nope I think the notions about the stealing of African American achievements were particularly vague and not well realized. I wouldn't quite say tacked on, but didn't feel like his heart was wholly in exploring the idea. Of course even that wasn't ruinous, just fell short of expectation in its ambition. Maybe he could use a co-writer just to bounce ideas off of, or (and I think this is wholly legit), he's a screenwriter and sometimes screenwriter find greatness with ideas and sometimes just goodness. And that's true for most writer/directors. And just to praise him, on the other hand his direction is only becoming tauter and more visual, so you know maybe #4 will be greatness. We'll see.
Yeah, I don't think three very well received movies in a row is "headed in the wrong direction." Get Out was a masterwork right out the gate, it's hard to top something like that, and honestly, we shouldn't really expect him to.
When it comes to Peele, I think he has become really refined of a filmmaker and writer right now to head in the wrong direction. At least, I don't see him failing any time soon. Get Out is still his best movie by far, but as pointed out, it is simply one of THE best movies of 2010s in it's own right. I would rank it WAY higher than it is on the blog(it's actually not even ranked within top 10, I noticed now). For me personally, it's easily within top 2 for 2017. Probably might become my most favorite from that year soon. While US and Nope are solid in their own right as well.
81 comments:
Brideshead Revisited (If you have the time)
The Bunker (Anthony Hopkins)
Mephisto (Re-Watch for Brandauer)
Ragtime (Re-Watch for Rollins Jr.)
An American Werewolf In London (Re-Watch for Dunne)
Time Bandits (Re-Watch for Warner)
Pixote
The Evil Dead
Documenteur
One From The Heart
Garde À Vue
Cutter's Way
Southern Comfort
Whose Life Is It Anyway?
Modern Romance
Threshold
Outland
Coup De Torchon
Francisca
Mommie Dearest
Out Of The Blue
The French Lieutenant’s Woman
Christiane F.
Lola
Lili Marleen
Marianne And Juliane
Raggedy Man
In Search Of Famine
Ms .45
Polyester
The Aviator's Wife
They Don't Wear Black Tie
Man Of Iron (Wajda)
Muddy River
Montenegro
Three Brothers
Station
The Postman Always Rings Twice
Escape To Victory
Dragonslayer
Nighthawks
The Great Muppet Caper
Gregory's Girl
Quartet
36 Chowringhee Lane
Quest For Fire
True Confessions
All Night Long
Diva
Tragedy Of A Ridiculous Man
Death Hunt
Beau Pere
The Skin
The Beyond
The Four Seasons
S.O.B.
Zoom Suit
Zorro, The Gay Blade
Continental Divide
Butterfly
Sharky's Machine
Four Friends
They All Laughed
No idea but fairly comfortable with the potential for the top 2.
And to add to the list, Kisapmata.
Luke, your rating predictions.
Carradine - 4.5/5
Serrault - 4.5/5
Irons - 4.5
Neill - 4/4.5
Heard - 4/4.5
1. Carradine
2. Serrault
3. Irons
4. Neill
5. Heard
Louis: Your casting choices for these Republicans who opposed Barry Goldwater's nomination in 1964 for a film regarding the 1964 elections.
Nelson Rockefeller
George Romney
William Scranton
Jacob Javits
John Keating
Thomas Kuchel
John Lindsay
Henry Cabot Lodge Jr.
Milton Eisenhower (a supporter of Scranton)
Jackie Robinson (who supported Rockefeller)
1. Serrault
2. Carradine
3. Heard
4. Irons
5. Neill (upgrade him for The Piano, it's been ten years now)
I'll give my predictions once I've seen Heard, Serrault, and Carradine.
1. Carradine
2. Serrault
3. Heard
4. Neill
5. Irons
1. Carradine
2. Serrault
3. Neill
4. Irons
5. Heard
Louis, are you going to watch Spiderhead for Hemsworth any time soon?
Louis: Do you plan to watch Mommie Dearest as well? I'd be very curious to know what you think of it.
Apocalypse Now takes over #1 and I was the only one to win a prediction in either round?
Everythingwentbetterthanexpected.jpg
(I’m not trying to gloat that I was the only one btw; I’m just glad I finally broke out of my slump. I probably have one of the worst batting averages here lol).
Louis et al: Might be reading into this a bit too much, but does anyone think there might be a thematic reason that Lance was the only one on the boat that survived the mission (besides Willard)?
I just find it a bit curious that he's the least "soldier-like" out of the expedition (basically a surfer "brah") and yet makes it out alive.
It's Coppola we're talking about, so either there really is a reason, or he just thought "Ah screw it, the kid lives".
Better Call Saul's "Waterworks": Holy shit, Carol Burnett and Bob Odenkirk in that final scene. Maybe the best acting I've ever seen from Odenkirk, period. I was only familiar with Burnett's work through reputation, so I was completely unprepared for how powerful she was going to be.
Don't know what else I can add about the episode, except maybe that I'm surprised to be in the minority on Jesse's cameo. Felt like fanfiction to me, and Paul looked/sounded too old for the part. I could roll with it more if it was indicating that Kim is partially responsible for the events of BrBa, but the scene just didn't play that way for me.
To Louis and everyone else who watches BCS: Had Chuck given Jimmy a fair chance and taken him on at HHM, would Jimmy have avoided becoming Saul Goodman?
Tony Kim: I'm with you on the Jesse scene.
The whole thing about Chuck is that, unfortunately, he was actually right about EVERYTHING.
Thought the first season of What We Do in the Shadows was terrific. Better than the movie, and honestly it feels like it was always meant to be a TV show to begin with.
Cast ranking.
1. Matt Berry
2. Mark Proksch
3. Harvey Guillen
4. Natasia Demetriou
5. Doug Jones
6. Jake McDorman
7. Vanessa Bayer
8. Kristen Schaal
9. Kayvan Novak
10. Beanie Feldstein
11. Nick Kroll
RIP Raymond Briggs, One of the very best Children's authors. His books as well as the screen adaptations were a great part of my childhood.
RIP Raymond Briggs
1.Carradine
2.Serrault
3.Irons
4.Neill
5.Heard
Does anybody believe Marlon Brando will get another 5 on the blog.
Anonymous: He's quite low on the 72 ranking but I wouldn't rule out an upgrade for The Godfather and I've read really good to great things about Burn! which is Kurtz if he was the lead character.
Anonymous:He could potentially get an upgrade for Julius Caesar considering he's the highest 4.5 on the 1953 Supporting list.
Great to see Apocalypse Now take #1. As far as this line-up goes, I have to rewatch Possession before making a prediction
1. Heard
2. Serrault
3. Carradine
4. Neill
5. Irons
Louis: Thoughts on Real Life, Over the Edge, Quadrophenia and Moonraker?
Yeah, I'm definitely switching to Heard after Calvin's review.
5º John Heard
4º Sam Neill
3º Jeremy Irons
2º Keith Carradine
1º Michel Serrault
Louis: will there be no update on the 1979 lead and supporting actress rankings?
Anonymous: Check the lead results page. The only change after that was Eggar in The Brood who came 3rd in Supporting Actress.
Louis: Have you officially settled on Kinski's rating for Nosferatu The Vampyre.
Yes, I'm that guy who predicted Mckellen's victory in the 2015 overall.
And I'm here to tell you that Williamson will win supporting.
PS: I really wanted Ford to win, just for an actor to reach #1 overall lead in a Spielberg movie.
1. Heard
2. Serrault
3. Carradine
4. Irons
5. Neill
1. Serrault
2. Heard
3. Carradine
4. Irons
5. Neill
I do have fond memories of numerous films in which John Heard was a key supporting player, I really do wonder why he never became a proper leading man because, just watching a few scenes of Cutters Why, he really could have been.
Robert:
But then that would rob you of using the inevitable request when I review him for Mouth of Madness.
8000's:
Nelson Rockefeller: Kyle Chandler
George Romney: Robert Knepper
William Scranton: Shea Whigham
Jacob Javits: Anthony Edwards
Kenneth Keating: Holt McCallany
Thomas Kuchel: David Harbour
John Lindsay: Dan Stevens
Henry Cabot Lodge Jr.: Greg Kinnear
Milton Eisenhower: Adam Arkin
Jackie Robinson: Wesley Snipes
Anonymous:
Given my schedule next week will likely leave me too tired to work on reviews, I was thinking of perhaps devoting next week to doing some 2022 catch up potentially.
ruthiehenshallfan99:
Yes if only because I have heard genuine praise for Dunaway (who I rarely dislike), even if the film itself is pretty much only panned.
Bryan:
Yes, because Lance, fittingly as a surfer, always went with the flow of the situation albeit accidentally. So for example Killgore protected him due to his surfing interest for example, and at the end since he basically embraced the Kurtz compound, he was spared unlike Chef who was still trying to do his duty as a soldier (although maybe Coppola just wanted to spare him since he died in both Last Picture Show and The Outlaw Josey Wales).
Tony:
Not Saul exactly, but I don't think he would've ever been an ideal citizen. I don't think his bitterness towards Chuck is the sole reason for his downward spiral with Ed Begley's law firm, I think he basically would've run into similar troubles with HHM, as Jimmy couldn't avoid cutting corners (and in law that's kind of a major problem) to advance. If Chuck had embraced him (instead of being jealous of his innate likability) I think it would've instead been Chuck putting out fires Jimmy created from his choices at the law firm, until eventually Jimmy would've been fired. Now I think in that scenario everything would've been better for everyone still, but Chuck exacerbated the situation he didn't create it entirely.
Tahmeed:
And because I forgot some posts ago.
Right Hand Man - (I mean as basically this build up for Washington is pretty all out fantastic in just being the hype up for Washington, that that builds up with breaking every verse that is both modern rap and really W.S. Gilbert. Excellent using of the mixing of the styles though in that the song itself kind of exists within the idea of magic by the shifting and sound effects and really altogether amazing work in terms of making a striking song that delivers SO MUCH exposition.)
The Story of Tonight - (I'm going to say purposefully evokes Les Miserables's "Drink With Me", and similarly it is beautiful little simple inspirational yet also somber ode. Not overly long but properly sweet in its simple drinking sort of toast to success back up from simple yet potent melody. This is in contrast to the reprise that takes it an adjusts it beautifully to a sillier toast essentially, and in turn much less dramatic though enjoyably sort of "Soft" instrumental work.)
RIP Raymond Briggs
Razor:
Real Life - (Slightly repetitive in its overall joke, but enough bits a pretty good in subverting the documentary genre, particularly with Brooks's character going off the deep end at the end.)
Over the Edge - (Felt very "try hard" for me in terms of attempting to capture youthful discontent, I'd Scum did it much better the same year and River's Edge later on. It always feels a bit artificial, particularly the ending, despite trying to seemingly be this cutting edge realty.)
Quadrophenia - (For me I think it has a certain style but the leading turn was just so unlikable it was hard for me to invest in any way. I honestly think just a bit more charisma in the lead I might've gotten much more out of it.)
Moonraker - (The goofiest of all Moore's films and that's saying a lot. I'll say there is a certain entertainment value due to that, but not enough to make up for the slow and boring parts.)
Louis: Could you update the 79 Lead Top Ten on your nominations page during this week.
Louis:Would 1941 be the instance of you least enjoying Toshiro Mifune in a movie ever?
Ytrewq Wertyq: I'm pretty sure it's Grand Prix, he was completely dubbed.
Right, let's see how this goes:
1. Heard
2. Serrault
3. Carradine
4. Irons
5. Neill
Great lineup but I do think Neill is just a *bit* overshadowed by Adjani, and Irons by Streep, though both match their screen partners well and would be 4.5's for me either way.
Calvin: What did you think of Ward and James in Southern Comfort.
1 Serrault
2 Heard
3 Carradine
4 Irons
5 Neill
Louis: That’s *sort* of what I was thinking as well, though I also feel that Lance going with the flow is also because he is on drugs throughout the entire trip, which meant that the descent into hell didn’t affect him the same way (if at all) as it did the others.
Lastly, to wrap up 1979, your thoughts on the direction for the film?
Louis: Your thoughts on the production design and cinematography of the 1958 The Ballad of Narayama.
1.Heard
2.Serrault
3.Carradine
4.Irons
5.Neill
Louis: your thoughts on Steve Martin's retirement
Well, since this bit of info involves a Carradine, I recently learned that Tarantino originally wanted Warren Beatty as Bill in "Kill Bill: Volume 2". Apparently this version of the character was - in Tarantino's words - more akin to a "bond" role, and that it was actually Beatty who vouched for David Carradine...
I don't know how accurate that whole story is, but I for one think we got the better out of those two casting choices.
Bryan:
One does not simply describe Coppola's direction in that film, an achievement that some days I could put as my number one of all time. Theatrical cut again of course, which I think showed the greater master, as in the edit, he rightfully removed what didn't work (partly in obscuring Willard's journey and also just scenes that didn't quite work). Leaving what was left, in what is a strange journey to begin with as the director himself fell into overt madness, yet somehow in his madness achieved brilliance. You can take any segment and see unfettered genius, and many times creating scenes that I think only could've been created when they were. Take the helicopter attack, which is so expansive and daring, so incredible to watch, and simply something that could be never done again with such distinct reality (as one needs to remind themselves that everything in that scene is real except the death.) Take every touch though in that scene. Every touch. The intensity of it of course, the choice in the Ride of Valkyries, the random commentary by Killgore, or even the specific moments of catching our guys witness the insanity like every time we look at Chef's reactions for example. Even that scene though isn't alone, as you have the moments of Killgore examining his destruction, really admiring it, and there you have what is the great direction, that as much as Coppola allowed us to witness such mesmerizing spectacle, climaxing with the napalm explosion, in such an elegant tapestry, he takes the time to give Duvall his more intimate moments. By leaving the camera on Duvall you get his delivery of the famous line that lets us into Killgore's mind, and again even more so his added final line that speaks volumes. Take even a smaller scene though like the exposition scene where Willard is given the information. So many touches are extraordinary. By having the lingering shots that create this anxiety in the task, but by also framing so carefully the three men giving the info that create very distinct ideas of the forces conspiring to kill Kurtz. The military head regretfully doing it, the junior officer nervously doing it and the strange power broker firmly giving a single instruction. Each though shown Spradlin the pensive man clearly in frame, Ford off to the side stuck in his state of non-importance, and the third man staring right into Willard and our souls it would seem. Here's the problem I've already said a lot, but not nearly enough. I could go into this detail in every scene of the theatrical cut, because every scene of the film is genius and the direction behind them is on a level rarely achieved.
8000's:
Two things that go distinctly hand in hand in that film. The production design is brilliant work that so much supports the film that essentially takes this Kabuki style, as an entry point, and in that the production design matches it with an artifice that is extremely stylistic. Brilliant though is the more the film goes on, the more we become invested in the characters, the more tangible the work becomes. Each set becoming that much more immersive, that simply would seem rural Japan of that era, yet the specific choices of it are extraordinary in the way it makes that so much more than that. The final snowy mountain pass specifically is such amazing work. Speaking of extraordinary the cinematography (which between it, Vertigo, Ashes and Diamonds and Touch of Evil, what a year for cinematography) the use of color is amazing. There is such distinct vibrancy that so powerfully inform the mood of every scene, like the mysterious green that baths the scene of informing the two of the ritual or the striking whites of the mountain. The lighting is amazing throughout the film. The framing and composition of the shots is equally awe inspiring, where indeed feels like a painting with the way the figures are placed so dynamically in really every shot of the film.
Ytrewq:
No Grand Prix, where he has a lame role and is overdubbed (where his voice is so distinctly powerfully, you can't overdub him). And I liked him 1941 as limited as his role was and again, as many mistakes as Spielberg made with that film, I have to give him credit for not overdubbing Mifune.
Anonymous:
Well it sounds more like if someone were to seek him out for a role he may do it still, he just isn't going to be actively looking, not to mention we'll see how long "Only Murders" goes on for. Not surprising overall though, as he hasn't been in too many things the last ten years anyways. Would love for someone to write him one truly great film role though.
Louis: What are your ranked top 20 directorial efforts of all time? (you can give a top 10 if 20 is too difficult)
Louis: Could you check out Ethan Hawke's performance in The Black Phone.
1. Heard
2. Serrault
3. Carradine
4. Neill
5. Irons
Louis: I haven't had any luck finding the Telugu version of RRR online aside from an Indian subscription website called Zee5.
It is kind of funny that Harrison Ford was a semi-unknown when he filmed his bit part in Apocalypse Now, then was a big star by the time the film finally came out.
Everyone: all this Apocalypse Now talk has me curious. Who here has played the video game, Spec Ops: The Line and if so what’s everyone’s thoughts on the game? Since it’s also based off Heart of Darkness
Anonymous: I didn't play it but watched the storyline on YouTube, it was very effective.
Louis: Your thoughts on these ads from the LBJ presidential campaign for 1964.
https://www.youtube.com/watch?v=2cwqHB6QeUw
https://www.youtube.com/watch?v=jnWCQakuJT0
https://www.youtube.com/watch?v=DyP_hWvqchU
https://www.youtube.com/watch?v=LiG0AE8zdTU
https://www.youtube.com/watch?v=xM0CbjJPbpo
You have to give LBJ credit, his campaign ads were extremely effective.
RIP Anne Heche (she won the NBR in 97 for Wag the Dog and Donnie Brasco, for those who didn't know)
Rest in peace, Anne Heche. I'm not especially versed with her body of work, I'll admit, but after looking up her filmography and rather frankly distressing personal life, I'll make a point of educating myself further.
On a lighter note, and this is related to Baz Luhrmann's Elvis movie...I just learned that Riley Keough (of "Logan Lucky" and "It Comes at Night" fame) is the daughter of Lisa Marie Presley, and thereby the grandchild of Elvis himself.
And I'm not gonna lie - that blew my mind when I discovered that fact.
Adored Nope. I want to let it sink in even more but I think it might be my favourite Peele - laughed, terrified and found myself extremely moved, cinematography and score brilliant, the sound design is all-timer level. Loved the entire cast.
Calvin: Ratings for the cast of Nope?
Louis: Thoughts on the cast of Nope.
Matthew:
Kaluuya - 5
Palmer - 4.5 (could go up)
Yeun - 4.5 (could go up)
Perera - 4
Wincott - 3.5 (could go up)
I haven't seen Nope yet, but I have to say that it's cool to see Wincott in something again.
Can anyone tell me who has the most number of 5s on this blog???
Perfectionist_ad: It's Mifune with 10, with a possible upgrade for The Bad Sleep Well. Olivier, Hackman, Stewart and Mason are close with at least 7 5 star performances.
Perfectionist: You can find that info on this Google sheet I made: https://docs.google.com/spreadsheets/d/1XmXFvBtMQo65vQj1m6rFpCaB1PtBf-ZrdYj76onFO88/edit#gid=0
Mifune-10
Olivier & Day-Lewis-9
Mason, Shaw, & Oldman-8
Stewart, Nakadai, Courtenay, Nicholson, Hackman, & De Niro-7
Counting his TV work, I think Pacino's on 7 or 8 5's as well.
Guys: I've got a list of that with the TV 5 equivalents if anyone wants it emailed.
Oldman has 9 with Slow Horses recently added
Pacino (Angels In America/You Don't Know Jack), Guinness (Tinker Tailor Soldier Spy), Ullmann (Scenes From A Marriage), Hopkins (Westworld), Buckley (Taboo/Chernobyl/Fargo), Rockwell (Fosse/Verdon) and Hardy (Peaky Blinders) have 7.
Louis, could you rewatch The Batman soon.
Luke: What is Pacino's most likely rating for The Merchant Of Venice if he's potentially getting reviewed??? If he gets a 5, it would bring his tally to 8. Also has Louis ever given a brief summary for Pacino's "Angels In America" performance??? Cause I have seen "You Don't Know Jack" one.
Perfectionist: A 4.5 at the bare minimum but I recall him being great.
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.)
Marcus:
I'd rather not at this time.
Luke:
At some point, yes.
8000's:
Well I'd rather avoid "political ads thoughts" as a common question in the comment section.
Luke:
By the way, in case anyone had not guessed, I think the film actually shared most with Tremors.
Kaluuya - (Rock solid work in kind of giving a western lead performance though in a bit of a different context. In that there's that same kind of steely eyed manner and low key that isn't entirely not the strong silent type, however fashioned in modern set that makes him seem largely aloof. It works in the early scenes in creating a low key comic manner of his character being a such in crowds that are very much not that, and slowly building towards where this takes the character later on. He also has good chemistry with Palmer, despite I think the sibling dynamic being a bit underwritten in terms of the relationship with a father yes Peele introduces an idea about it but he doesn't explore it. Nonetheless Kaluuya and Palmer have a strong chemistry of her being so high energy against his more stoic manner that works quite well. Additionally he plays the comic moments quite well by always being straight no matter the situation.)
Palmer - (Again all energy against Kaluuya's calm and it certainly works, even if I do think there was just a bit little left in terms of what her dynamic with their father was, I really think the film would've been better off not killing him in the first scene of the film but I digress. Palmer though is effective though in being so outgoing in showing her trying to make an impression regardless and giving an entertaining performance that still brings the right sense of danger later on.)
Yeun - (The biggest missed opportunity for me is leaving so much of his story as just alluded to material, that only really exists in execution in two scenes. Now Yeun is very good in those two scenes but I'd rather have truly gotten the details of the character rather leaving it all for one to notice just the clues, since I prefer character development rather than twist. Maybe less Angel, and listen I got nothing against Angel, but you could've cut him out of the movie after he set up the cameras. Particularly with the amount of time spent on Gordy, we should've really spent more time with Yeun and explored him as a co-lead I think rather than an afterthought. Yeun though is very good in portraying the showman covering up for the intensity of the trauma that lies beneath it all, and his reaction are potent particularly as his delivery is always as such consistency yet his eyes tell a different story.)
Peara - (Speaking of Angel, he is enjoyable in his goofy himbo energy though I still didn't exactly believe him a necessary part of the narrative, would've preferred the time had been used to give more time to Yeun's story or build up Wincott's character more.)
Wincott - (I mean his particularly delivery is always very welcome though I do think there was too little of him to earn his moment at the end which felt contrived to create drama, rather than a natural end to his character. Wincott sells the hell out of it, as he does every moment, but I would've rather seen a proper arc with him rather than a vague allusion to one.)
Louis: Do you think Jordan Peele is headed in the right or wrong direction as a filmmaker? His direction is growing ever more confident, yet his last two scripts have been a bit less…sharp.
Bryan:
Well he's not someone like Alex Garland, who I think made one very good film and two terrible ones (though terrible with some idea of promise), because I think all three of Peele's films are good with Get Out being great short of that poorly placed comedy sketch scene, US getting derailed with the third act that can't successfully explain itself and Nope for me is just distinctly good not great. I appreciate the ambition even, I just don't think the execution has been there fully with the last two. I do ponder if he feels the need to make his films theoretically thematically richer due to expectations set by Get Out, as in Nope I think the notions about the stealing of African American achievements were particularly vague and not well realized. I wouldn't quite say tacked on, but didn't feel like his heart was wholly in exploring the idea. Of course even that wasn't ruinous, just fell short of expectation in its ambition. Maybe he could use a co-writer just to bounce ideas off of, or (and I think this is wholly legit), he's a screenwriter and sometimes screenwriter find greatness with ideas and sometimes just goodness. And that's true for most writer/directors. And just to praise him, on the other hand his direction is only becoming tauter and more visual, so you know maybe #4 will be greatness. We'll see.
Yeah, I don't think three very well received movies in a row is "headed in the wrong direction." Get Out was a masterwork right out the gate, it's hard to top something like that, and honestly, we shouldn't really expect him to.
Louis what category would you say is usually the easiest to choose the winner for?
When it comes to Peele, I think he has become really refined of a filmmaker and writer right now to head in the wrong direction. At least, I don't see him failing any time soon. Get Out is still his best movie by far, but as pointed out, it is simply one of THE best movies of 2010s in it's own right. I would rank it WAY higher than it is on the blog(it's actually not even ranked within top 10, I noticed now). For me personally, it's easily within top 2 for 2017. Probably might become my most favorite from that year soon. While US and Nope are solid in their own right as well.
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