Monday 12 September 2022

Alternate Best Actor 1981: John Heard in Cutter's Way

John Heard did not receive an Oscar nomination for portraying Alex Cutter in Cutter's Way. 

Cutter's Way is a bit of a hidden gem that follows two friends Bone (Jeff Bridges) and the titular Cutter as they conduct their own murder investigation, after Bone becomes a suspect. Although don't be fooled into thinking this is your typical murder mystery. 

There are certain performances that one discovers are just fascinating piece of "might've been" or "could've been", however that might not be the right term as oftentimes it simply "was". Take the case of John Heard in this film, an actor unquestionably best known today for his role as the straitlaced dad from Home Alone. Any such notions of that performance are instantly forgotten the moment we see Heard in the film, not just because he's playing a war vet, missing both an eye and an arm, is bearded and speaks with a grizzled cigarette-stained voice, but just the very being is of another type of actor entirely. Heard is instantly fascinating in the natural bravado he delivers as we first meet him as Cutter is "holding court" aka drinking in a bar with an audience. Heard plays the part almost like a smiling wound in this scene as everything about his person is broken it seems in his bent posture, and his sloppy delivery, yet there is such a zest in that smile of his as he names the members of his court, before of course ending his rounds with a racial epithet with the intention seemingly to start a fight. Heard's performance festers with such brilliance as in the scene Heard brings this combination of a man seeking such joy, yet seemingly doing so in a way that is dancing around obvious pain and seemingly attempting to inflict additional. Heard instantly leaves an impression upon the film, that while he doesn't immediately make you like Cutter, he certainly makes you immediately intrigued by whatever exactly he is.  

Although an early 80's film, the vibe feels very much right within the 70s particularly in its leading characters who are not your typical leads, not even leads in a murder mystery. In that '70s vein, Cutter has to be said to be captivating even with his many many flaws and Heard absolutely owns this challenge with his performance that is as daring as the character. Heard, as despicable as Cutter often is, is truly charismatic in the way he wholly performs directly into the man's specific nature. Heard is in this amazing kind of flow state in depicting Cutter who always seems at least slightly deranged and at least slight, if not, very drunk. Heard through performs it as such in showing the way Cutter kind of wields this state to control his surroundings in this strange way. Heard is entertaining, if in a very dark way, in showing the man's lack of hesitation in any word he speaks. He states every line, including having some strange threesome with his wife and friend, or some offensive term, with brashness and real confidence of a man with nothing to lose, which Cutter in many ways is. There is nothing simplistic in this dialogue though in a way though as Heard's energy is such that he is ferocious while strangely casual in demeanor. Heard as broken as he is as Cutter physically has this strange power he exudes through that lack of concern that Heard brandishes in every curse word or really just cursed behavior.

Heard's performance offers a painful window into this man's state of mind, even as he depicts someone who seems to be constantly deflecting things. The state of mind though alludes to this most intense disillusionment with the state of his reality and the state of his world. An absolutely stunning scene for Heard is as Cutter is drunk driving, wrecking his neighbors lawn, while also doing so with an expired license. Again as Cutter is doing it, Heard is amazing in being completely grotesque while also completely convincing. He depicts a man who is seemingly seeking this joy in life even forcing it out of himself, and without a care, yet also still with this internalized weight. We get this, even more, when the cops show up and Cutter is able to talk his way out of it, which is another terrific moment for Heard. Heard shows Cutter as he purposefully plays the vet card as he calmly explains what happened with the "utmost sincerity" that would be convincing to a half-caring cop. Although that alone would be impressive what is more impressive is when Cutter speaks of his knowledge of duty in his explanation. Although Heard you can see emphasizing it on the surface per sympathy there is also this subtle real pain that flashes against his face, showing a sense of the terrible pain that is within the man, the pain that most of his behavior seems to be covering up with all that he does. 

Speaking of covering it up, the mystery in a way seems to be a method to do this as Cutter seems to insert himself into Bone's problems, and takes over the "investigation". Cutter makes for a most unlikely detective, but that is where the success of the film lies. The investigation is something else when you have Cutter at the helm and Heard leading us through. Heard speaks a bit differently in these moments, with really a cool cutting of this most assured detective, which Cutter has invented himself for this very purpose. Heard through is so striking in this performance, so unorthodox for such a role, and that is what makes him so compelling in the depiction. For Cutter doesn't show this normal justice seeking rather this is some kind of fantasy seeking in the ease with which he broaches every word of his insight. Cutter absolutely seems to know what he is talking about in Heard's performance, as Heard shows us a man who has convinced himself that is the case. Again though Cutter playing with the truth and the delusion is what makes Cutter so fascinating. This is as the two men seem to find their suspect, a rich man, and Cutter wants to blackmail him rather than turn him in. Cutter's speech is really just an excuse to get Bone in on the blackmail as he speaks about the war and the exploiters. Again though Heard portrays truth doing dishonest work, as much as he delivers the speech as a speech, there is real power in it as the façade but more so in his eyes, there is genuine belief in it all even as Cutter's idea is hardly the pure act of revenge he's claiming it to be. Heard shows cutter to be lying, but the lie isn't all there is to it. 

In Cutter's relationship with his wife Mo (Lisa Eichhorn), we see perhaps Cutter at both his most dishonest and honest. As his wife doesn't buy any claims by him, in turn, Heard presents the most direct frustrations of the man, the man's sense of self-loathing in the man that bubbles to the surface. Heard naturally shows the anxiety of her words cutting through his particular demeanor which typically seems to hide his pain through his false joy. Heard bluntly shows the man's hatred as the man lashes out against the woman he probably feels most deeply for him, basically for telling the truth of his delusions. That is in contrast to the man living his false fantasy in his blackmail. Heard is exceptional in being despicable in the man as he tries to seduce their co-conspirator, the murder victim's sister, with a vulgar, playact that Heard shows as a revolting delusion. When it seems like Bone will go with his blackmail though we see what the fantasy gets him in his moment of jubilation which Heard conveys with such direct jubilation. The jubilation of a man convincing himself of a purpose in his life. Striking then is seeing this shatter when Bone reveals that he wouldn't go through with their scheme after all. Heard's incredible in the intensity he brings as he attacks Bones's lack of "resolve". Heard makes the intensity there more fundamental than simple anger, it is hatred of a man lashing out at something breaking his delusional dream. 

This is extraordinary work because there is so much that shouldn't work because Cutter is despicable, yet so effortlessly dynamic. Heard cultivates a true complexity in the role, and in that earns a strange sympathy as much as it is probably against your best judgment. Take a late scene when there is a terrible loss for Cutter, and Heard is indeed heartbreaking in Cutter's reaction that is a man who can hide his emotion at the moment. The resignation but also deep seeded sadness shows a man who has somehow lost so much, has lost even more. Heard is so dynamic somehow after this point showing the man on the deep end going further off it. Heard becoming more intense in his hatred. Heard is so powerful in delivering the bile from the man, because as hateful as it is there is such gripping pathos within the man's hate that extends seemingly to the person he believes is responsible for his loss, for a betrayal by Bone, but also himself. Heard's outstanding in his moment of the man finally writhing in all his pain, and it is terrible to watch, however, also you can't help but watch. Heard reveals all that hurt the man has been trying to assuage, and it is tremendous. When Cutter decides to seek his "revenge", albeit likely misguided, Heard's performance carries this eerie conviction where his depressed state is now fixated on this revenge as essentially his last desperate anchor to anything at all in terms of holding himself together. Heard delivers a tragic, complex and uncompromising portrayal of this broken man. There is never an "easy" choice with the performance or character, yet in every one of these choices there is such a dynamic exploration of such a difficult figure that is Alex Cutter. To return to my opening of this review, this performance makes me wonder what simply "was" here not what could've been when it comes to John Heard. If you watched this work in microcosm you'd imagine this was the early work of an actor who became one of the premiere performers of tortured souls, not the man who became known for making a slightly confused face while saying "Kevin". Such is the strange fate of some in film. Nonetheless, even with the somewhat baffling development of Heard's career, this stands as a stellar performance that dominates this film in a way few performances dominate films, worthy of any great actor. The question then remains, what did that make John Heard then? Well, a great actor. 

90 comments:

Tahmeed Chowdhury said...

I really have to get around to this.

Louis: Ratings and thoughts on the rest of the cast?

Also, could I get your thoughts on Heard's work in The Sopranos?

Luke Higham said...

God I love these kind of reviews. :)

Calvin Law said...

He's absolutely sensational. Glad you loved him as much as I did.

Ytrewq Wertyq said...

RIP Jean-Luc Godard

Ytrewq Wertyq said...

Louis: your past and present roles for John Heard?

Luke Higham said...

RIP Jean-Luc Godard

Not a fan but did leave his mark on film history.

RatedRStar said...

RIP Jean-Luc Godard

Tim said...

R.I.P. Jean-Luc Godard

Aidan Pittman said...

R.I.P. Jean-Luc Godard

Tim said...

thoughts on the Babylon Trailer? Brad Pitt looks like he's having the time of his life in that thing and i for one cannot wait to see that

Razor said...

RIP Jean-Luc Godard

Perfectionist said...

I recently re watched Training Day. I still like it very much!!! It has flaws but it's entertaining and performances are honestly really good. Would give Hawke a 4.5 but Washington is an easy 5 for me personally. To some it might sound weird, but I genuinely buy it as one of the best and most iconic villainous performances of it's generation. Really inspired Oscar win.

Shaggy Rogers said...

RIP Jean-Luc Godard
There goes the last member of the old Cahiers Du Cinéma and Nouvelle vague.

Shaggy Rogers said...

Hey guys
Say your 81 Louis Top 5 Actresses predictions:

Lead Actress
1. Isabelle Adjani, Possession
2. Bernadette Peters, Pennies From Heaven
3. Meryl Streep, The French Lieutenant’s Woman
4. Kathleen Turner, Body Heat
5. Barbara Sukowa, Lola

Supporting Actress
1. Helen Mirren, Excalibur
2. Lisa Eichorn, Cutter's Way
3. Karen Allen, Raiders of the Lost Ark
4. Jessica Harper, Pennies from Heaven
5. Maggie Smith, Quartet

Anonymous said...

Shaggy:

Lead Actress
1. Adjani
2. Manz
3. Streep
4. Peters
5. Mason

Supporting Actress
1. Eichorn
2. Mirren
3. Hackett
4. Harper
5. Allen

Tahmeed Chowdhury said...

Louis: Your top ten Kelvin Harrison Jr. acting moments so far?

Maciej said...

RIP Jean-Luc Godard

Louis Morgan said...

Tahmeed:

Bridges - 4(On his own terms it is a fine straight man performance, but I'd be lying if I didn't say he is completely overshadowed by Heard throughout the film. And for me this is kind of Tim Holt in Sierra Madre type of performance, where it appropriately acts like the facilitator straight man for the great performance it is working with, but doesn't go beyond that. Bridges is fine in basically not being as captivating still by still finding some sense of the way he seems to be equally caring, disgusted and like Cutter in their scenes together. He plays on that note effectively, but I will say I think there was potential perhaps for the actor as Bone staying closer to Cutter, with Heard stealing the film to an even greater extent.)

Eichorn - 4.5(With her one critical win it is a shame that Heard wasn't able to receive similar recognition. Anyway, her performance I think shows where perhaps Bridges could've gone further. Her performance really is all about what is the undercurrents of her performance. Mostly it isn't how she says her lines, there is this consistent sense of personal defeat through the film, yet Eichorn's internalized work is often tremendous as you see so much that is going on through her mind every time she watches Cutter. That too in creating the sense of the relationship so powerfully because there is exasperation to it, there is hatred, but there is also a degree of sorrow and even love for Cutter despite his behavior.)

Heard is good in the Sopranos but it is one of the characters in The Sopranos who feels like a wasted opportunity, especially after watching this film, because we only get bits of him before he rather rapidly departs. Still Heard owns the sleaze of the role, which in some ways I think is connected to the way he was frequently typecast as the "jerk" so often later on. He plays the sleaze well though in bringing this combination between this casual manner with Tony that manages to be both overly familiar yet still underwhelming when attempting to act as his equal. Although as quick as it is, he is also quite effective in his final scene of just a quiet resignation of a man who just suddenly has had enough.

1. Failing Texts - Waves
2. Final scene - Cyrano
3. Going to the party - Waves
4. Night terror - It Comes At Night
5. Abortion clinic - Waves
6. Change of expression - Luce
7. Something to say - Cyrano
8. Everything falls apart - It Comes At Night
9. Lashing out at the family - Waves
10. A threat? - Luce

Ytrewq:

Interesting question given he basically became pigeonholed as either the jerk who the same slightly befuddled meek guy (something he did do well by the way in Trip to the Bountiful and After Hours in particular), but this performance shows he was really a case of untapped potential. So in the vein of untapped potential:

Wake or Winslow
John du Pont
Hank Mitchell
Tim:

The cocaine of the opening suggests that it indeed will perhaps provide the anti-Empire of Light/The Fabelmans quality, though is more Wolf of Wall Street in its approach than I expected it to be. Intrigued by the insanity of it, including the performances, at the same time certainly could a tricky act to pull off, but looking forward to see if Chazelle does so.











RIP Jean-Luc Godard

8000S said...

Louis: Your thoughts on the scene from The Ballad of Buster Scruggs where the prospector leaves the valley while singing Mother Machree.

I think Waits should at some point release a full version of the song.

Luke Higham said...

Calvin: Can I have your thoughts on Control (2007).

Shaggy Rogers said...

Hey guys
Since Louis cited the most famous film of Heard's career, let us know your ratings to the cast of Home Alone 1 and 2.

Culkin - 4
Pesci - 4
Stern - 3.5
Heard - 3
O'Hara - 3
Blossom - 3.5
Candy - 3
Curry - 3.5
Fricker - 3.5
Bracken - 2.5
Rest of the McCallister family - 2

Tahmeed Chowdhury said...

Shaggy:

Culkin - 4
Pesci - 3.5
O'Hara - 4
Stern - 3.5
Heard - 3
Foody - 4
Blossom - 4.5
Candy - 3.5
Fricker - 3
Bracken - 3

Ytrewq Wertyq said...

So I've watched Con Man from 2018 about life and times of a certain crook named Barry Minkow. Well, for a movie that took 7 years to complete, most of it is very mediocre and uninspired, while its last 40 minutes are... jaw-dropping in the most frustrating way possible, to put it mildly. I want to rant a bit, so...


Baldoni-3.5 (I could somewhat understand calling him bad, but I liked that high school jock attitude and self-absorption he brought he infused the role with and I thought it fit his character)

Minkow-0 (Holy schnikes...during those last 40 minutes he actually decides to play the older version of himself, which may be the most narcisstic move to ever pull off in a movie and it breaks the idea of a biopic altogether. Worst thing of all, he does absolutely nothing that calls back to Baldoni's much more charismatic turn and if this is how he approached his victims during his scheming days, then no wonder he eventually ended up in prison. They should've at least gotten someone like Thomas Jane or Vincent Pastore to play him, anyone other than the real life guy, who comes off as an absolute sap rather than the titular con man he was, amusingly enough. In the end he simply outsmarted himself with this role.)

Hamill-2.5 (The only reason I've watched this mess, as I'm interested in anything with Hamill in it, especially if it's not just Luke Skywalker or Joker. He has a very short and thankless part, but still manages to portray a sad sack well, especially when contrasted with Baldoni himself)

Shire-3 (Does her outburst well, even if she has rather crappy lines)

Berris-3 (Conveys the exasperation with Minkow's behavior just fine)

Caan-2 (Seriously, what is he doing here? He talks to BM, then listens a bit during interrogation and that's all)

Russo-2.5 (Typical mobster routine from Carlo Rizzi himself)

Röhm-2 (Eh she is there)

Assante-2 (Another mobster routine, but his Vito-like voice threw me off)

Rhames-2.5 (Discount Red from Shawshank Redemption, yet Rhames does whatever he can with it)

Tim said...

how do you think Jude Law would be as Rupert Cadell in a modern version of Rope?

Tahmeed Chowdhury said...

Figured I'd give Abbott Elementary a chance, and I really liked its first season. Not the biggest fan of network sitcoms, but this one won me over completely.

Cast ranking:

1. Sheryl Lee Ralph (fully deserved her Emmy, and what a great speech)
2. Tyler James Williams
3. Janelle James
4. Quinta Brunson
5. Lisa Ann Walter
6. William Stanford Davis
7. Chris Perfetti
8. Larry Owens
9. Reggie Hayes
10. Iyana Halley
11. Zack Fox

Tony Kim said...

Louis - could I get your thoughts on this video essay about Akira Kurosawa?

RIP Godard.

Tony Kim said...

Shit, obviously I meant to post the link: https://www.youtube.com/watch?v=doaQC-S8de8

Calvin Law said...

Louis: could you see Benedict Cumberbatch as a modern day Cutter...and likewise, Heard as an 80s Phil Burbank?

Luke Higham said...

Calvin: What did you think of Control (2007).

Calvin Law said...

Luke: Good, not great film. Riley is very strong but MVP for me was honestly Samantha Morton.

BRAZINTERMA said...

Hello Louis and folks.
Recently I managed to finish another Oscar category, best international film or foreign film for older ones. So... let's go to another mega-ranking:

74º Black and White in Color
73º Moscow Does Not Believe in Tears
72º Indochine
71º Belle Époque
70º Nowhere in Africa
69º The Counterfeiters
68º Character
67º Mediterraneo
66º Get Out Your Handkerchiefs
65º Life Is Beautiful
64º Son of Saul
63º Gate of Hell
62º Pelle the Conqueror
61º Tsotsi
60º The Walls of Malapaga
59º Antonia’s Line
58º Madame Rosa
57º Journey of Hope
56º In a Better World
55º The Great Beauty
54º No Man’s Land
53º War and Peace
52º The Garden of the Finzi-Continis
51º Kolya
50º The Sea Inside
49º Burnt by the Sun
48º Sundays and Cybele
47º The Tin Drum
46º Amarcord
45º Yesterday, Today and Tomorrow
44º The Assault
43º Dangerous Moves
42º Babette’s Feast
41º Forbidden Games
40º To Begin Again
39º A Fantastic Woman
38º A Man and a Woman
37º Monsieur Vincent
36º Departures
35º The Shop on Main Street
34º Closely Watched Trains
33º The Secret in Their Eyes
32º Mephisto
31º Shoeshine
30º Mon Oncle
29º The Barbarian Invasions
28º Dersu Uzala
27º Fanny and Alexander
26º Investigation of a Citizen Above Suspicion
25º The Official Story
24º Samurai I: Musashi Miyamoto
23º The Virgin Spring
22º Black Orpheus
21º All About My Mother
20º Nights of Cabiria
19º Day for Night
18º Through a Glass Darkly
17º La Strada
16º Ida
15º The Salesman
14º The Discreet Charm of the Bourgeoisie
13º 8½
12º Roma
11º Amour
10º Another Round
9º Cinema Paradiso
8º Crouching Tiger, Hidden Dragon
7º Bicycle Thieves
6º Drive My Car
5º The Lives of Others
4º The Separation
3º Z
2º Parasite
1º Rashomon

Luke Higham said...

Louis: Thoughts on the I Wanna Dance With Somebody trailer.

Luke Higham said...

At long last, Next Goal Wins has a confirmed release date.

Anonymous said...

Luke: That date doesn't exactly transmit confidence if I am honest.

Mitchell Murray said...

So in a TV related note, I finished the newly released Hulu show "The Bear" tonight.

For anyone who hasn't seen it yet, I'd definitely recommend the series. Not only is it refreshingly short (eight episodes, with only one of them being 30+ minutes), it delivers on the story's setting/dramatic potential with barely a hiccup. And unsurprisingly, the main source for that effectiveness lies in the balanced, researched writing and strong ensemble.

BRAZINTERMA said...

Hello folks!
Tell your TOP10 best director, lead actress and supporting actress in 1981:

SUPPORTING ACTRESS
10º Maggie Smith - Quartet
9º Tuesday Weld - Thief
8º Isabelle Huppert - Coup de Torchon
7º Nancy Allen - Blow Out
6º Fernanda Montenegro - They Don't Wear Black Tie
5º Joan Hackett - Only When I Laugh
4º Helen Mirren - Excalibur
3º Lisa Eichorn - Cutter's Way
2º Audrey Hepburn - They All Laughed
1º Marília Pêra - Pixote

LEAD ACTRESS
10º Diane Keaton - Reds
9º Kathleen Turner - Body Heat
8º Marsha Mason - Only When I Laugh
7º Meryl Streep - The French Lieutenant’s Woman
6º Helen Mirren - The Long Good Friday
5º Bernadette Peters - Pennies From Heaven
4º Hannah Schygulla - Lili Marleen
3º Barbara Sukowa - Lola
2º Linda Manz - Out of the Blue
1º Isabelle Adjani - Possession

DIRECTOR
10º Rainer Werner Fassbinder - Lola
9º Ivan Passer - Cutter’s Way
8º John Boorman - Excalibur
7º Herbert Ross - Pennies From Heaven
6º Peter Bogdanovich - They All Laughed
5º Héctor Babenco - Pixote
4º Peter Weir - Gallipoli
3º Brian De Palma - Blow Out
2º Wolfgang Petersen - Das Boot
1º Steven Spielberg - Raiders of the Lost Ark

Luke Higham said...

Louis: Thoughts on this.

https://m.youtube.com/watch?v=NVHHs-xllqo

Anonymous said...

Luke, That's perfect casting, even from early AHS days I felt it was inevitable that Peters would play Jeffrey Dahmer.

Louis Morgan said...

8000's:

A proper low key end, with the prospector just returning his song and leaving as he came in, just as the animals return to the previously untouched valley. A relief in a way within the film as the first story that didn't end with the demise of the protagonist.

Tim:

Seems an ideal choice honestly, has the right certain privileged presence for it to work, but I could see him wholly delivering the emotional distress later on.

Tony:

Akira why Kurosawa and a brilliant filmmaker and Joss Whedon is not. The latter is indeed an extremely non-visual director, and that is just one scene of many that basically has a old school television aesthetic (not a compliment). Kurosawa on the other hand you see is the brilliant filmmaker who in so many ways creates the thrust of his narrative just in the language of the film itself, while also just naturally realizing this style to make every image of his film that much more interesting. The key though is Kurosawa does so with purpose, as his environment isn't just to make the frame cooler looking, even if it does that, it creates essential sense of place and atmosphere.

Calvin:

Yes on both accounts.

Luke:

I Wanna Dance With Somebody looks like a film written by Anthony McCarten without variation. I'll be curious to see how or maybe even if the film includes her unfortunate end given how upbeat that trailer was.

Yeah, I don't know a serial killer story for 10 hours feels like a little much by its very nature, and given it is Ryan Murphy I imagine it will be as exploitive as they come by virtue of his style. Peters looks creepy enough and is well cast, but I'll pass.

8000S said...

Louis: Your thoughts on the sound design of Good Time and Uncut Gems?

Louis Morgan said...

I thought The Woman King was pretty good as a rather earnest film in the historical freedom fighter subgenre (Braveheart, Spartacus), there are a few things that hold it back from greatness. I'd say the action is just fine, I think often shot a little too closely at times, the palace political side of things just never feels fully developed (particularly if you compare it to Spartacus or Braveheart) and it lacks a great villain like those aforementioned films. There also is a melodramatic revelation, that I don't think was necessary. Having said that what does work is just the exploration of the warrior's path and their interactions/growth throughout the story, it hits some very expected old school emotional beats rather effectively. Not a perfect film, but a good one.

Davis - 4.5
Mbedu - 4.5
Lynch - 4.5
Atim - 3.5
Boyega - 3
Tiffin - 2
Warren - 3
Odukoya - 3

8000's:

Both sound designs are immersive in a specific way of basically the psychological space of the main character, as it doesn't decrease the "noise" so to speak in the particular way it balances dialogue, atmospheric sound and the score. It isn't distinctly pleasant, but that is the intention, working for me in terms of creating the sense of anxiety without overdoing it.

Luke Higham said...

Louis: Thoughts on the cast and your category placements for Mbedu and Lynch.

Louis Morgan said...

Luke:

Davis - (An ideal role for her brand of intensity and seriousness to her role. Davis offers the needed strong presence that creates the immediate sense of her character as the powerful commander of her warriors. Davis would already get plenty just about bringing that ferocity alone, which she certainly does do that with the appropriate undercurrent within her performance that creates right sense of emotionality within it to convey her motivation within action. As the film goes on she naturally increases this aspect as it becomes more personal and effectively so to be the leader where you get a sense of her violence but also her potent empathy. She also manages to bring in the more vulnerable moments effectively in a way that seem to come naturally from the character and never feel like an unnatural gear shift.)

Mbedu - (Coming off the Underground Railroad, where she ended up being underrated since that series never got an honest due unfortunately, Mbedu once again is an impressive presence though in a very different performance from that previous turn. Here her performance really is one about confidence and she excels in this note. She plays it well though in basically conveying a journey of basically grafting concern, camaraderie and skill onto that confidence over time. She does so in a way that delivers on creating this capable hero though with the needed emotional stakes at each venture.)

Lynch - (Offers just the right alternative to Davis and Mbedu by being this much lighter presence though still with her own well articulated intensity all the same. Lynch has the right degree of fun with the role to make her character immensely likable but with the right undercurrent of that intensity just very specifically used. That's all I'll say total, but I will say I thought she was also very strong in cultivating where her character goes later on in the film as well.)

Atim - (She's entirely fine just in the scheme of the film overshadowed by her co-stars, though she brings enough of a strong presence on her own basically as the central figure who just is there to support the others and fight when she needs to.)

Boyega - (He's fine but I didn't think he made much of an impression. Again it doesn't help in that anything involving him, his wife and his court of sorts doesn't go anywhere really whatsoever. He's not bad with what he has, but I wouldn't say he necessarily even makes the most of what he has.)

Tiffin - (VERY standard sleazy pompous villain nothing of note whatsoever.)

Warren - (A part built almost entirely on the presence of the performer, as I thought she made it seem like her character was going to be more important than she ends up being, so kudos there even if her role is pretty thin.)

Odukoya - (He's fine in being just standard brute villain, there's nothing particularly interesting about the character as a villain though so he can't really take it anywhere beyond that.)

Louis Morgan said...

Mbedu lead, Lynch supporting.

Bryan L. said...

Louis: How do you think the following actresses would've fared in the following Natalie Portman roles instead of...Portman?

Evey Hammond: Eva Green
Anne Boleyn: Emily Blunt
Celeste Montgomery: Rooney Mara (Original casting choice)
Lucy Cola: Carrie Coon

Luke Higham said...

Bryan: Fun Fact: Emily Blunt played Catherine Howard 5 years before The Other Boleyn Girl.

8000S said...

Louis: In a similar question, how do you think Gene Tierney would have fared in Kelly's role, as well as either Deborah Kerr or Olivia de Havilland in her role in Dial M for Murder (Hitchcock approached them for the part)?

Also, while I doubt they would have agreed to appear in the film, what do you think of either Ward Bond or Walter Brennan as Frank Miller in High Noon? I've read something about audiences being disappointed in MacDonald's performance even back in the day, and that they would have preferred one of those two in the part.

8000S said...

*approached both

Bryan L. said...

Luke: I guess playing a British royalty figure really is a rite of passage for every young UK thespian, haha.

Bryan L. said...

Luke: Btw, have you seen Benedict Cumberbatchs’ portrayal of Stephen Hawking, by any chance? If so, thoughts?

Luke Higham said...

Bryan: I've seen bits here & there and he's rather impressive. By most accounts, his portrayal is greater than Redmayne's.

Marcus said...

Louis: Your 2022 TV top 10s (unless you'd rather wait for House of the Dragon and Cobra Kai).

Louis Morgan said...

Bryan:

Evey: I think Green would've been better as the character was setup in the adaptation, though I think in the adaptation the arc of the character was a bit obscured by making her a confident person right off the bat but I slightly digress.

Anne Boleyn: Would've preferred Blunt I'm sure, but wouldn't have made up for that film's limitations that already existed.

Celeste: I mean I think Mara would've tried to be a bit less arch, and I probably would've preferred it (not sure all would've though).

Lucy Cola: Don't burden Coon with that terrible film. Although Portman wasn't good, that film was rotten to its core.

8000's:

Although I'm sure all would've been good in the role, I don't think any of them would've brought that much more to it, because it is a limited role basically setup to be severely overshadowed by Milland then later Williams. Although they might've been slightly less overshadowed, I doubt it would've been fundamentally different.

I mean MacDonald might as well have been an extra with the amount of presence he has there, I mean just put Van Cleef in that role and it's an easy fix. Any actor with a strong presence as a given would've helped, Brennan and Bond have those, so sure.

Marcus:

I'll give those when House wraps, as that will also give me time to complete a few others I've almost finished.

Tahmeed Chowdhury said...

I've caught up to House of the Dragon and I've been loving it, with just one minor caveat, the time skips. It is going to be a massive shame when Alcock and Carey are going to be replaced in the roles.

Louis: Your thoughts on the show's use of time skips so far?

Calvin Law said...

Louis: Having just seen Embrace of the Serpent (and adored it), would you agree that Ciro Guerra would be a prime fit to direct a western, and in turn Nilbio Torres could be a pretty great silent stoic western hero?

8000S said...

Louis: How do you think Liv Ullmann would have fared in Angie Dickinson's part in Dressed to Kill? She was De Palma's original choice, but she turned it down due to the violent content of the film.

8000S said...

Louis: I've also read that Connery was considered for Caine's part.

Anonymous said...

Luke, your top ten predictions for 1981 Lead and Supporting.

Louis Morgan said...

Tahmeed:

I think the time skips are the weakest aspect of the show, although I don't hate them, they just sometimes feel a bit jarring. Although there are certain aspects where I haven't minded at all the show "getting to the chase" so to speak others I don't think would've hurt to just have expanded a bit more like the whole Crabfeeder story for example. Still for me it is more so a matter of potential for additional great material rather than something truly detrimental to what we do get. I imagine it was a deliberate choice for two reasons, one being the original story is over several years so to tell it at say GOT's pace would've been impossible, but I also think the showrunners probably knew the audience would've been suspicious if the series was focused too much on build up rather than payoff given how GOT turned out. So this series in contrast has basically given both some build up and some pay off per episode, which for me has been successful the majority of the time so far.

Calvin:

Yes on both accounts, I think real mythic ethereal type western would be ideal for him.

8000's:

I imagine De Palma thought that just because I believe she was in a relationship with John Lithgow at the time, and so had an easy avenue for communication. I say that because that role just doesn't really fit Ullmann, despite her immense talent, and would've seemed strange to see her in that part.

I think it probably might've been a bit too hard to make Connery look convincing in a certain aspect of the role because his facial structure was very particular and not at all androgynous.

Calvin Law said...

The Fabelmans winning TIFF and Women Talking placing second...perhaps we're seeing a frontrunner race developing.

8000S said...

Louis: Thoughts on the voices of Colleen Dewhurst, Shirley Douglas, Rachel McAdams, Leslie Nielsen and Will Arnett.

Louis Morgan said...

Calvin:

Great feather in the cap for Fabelmans, though very expected, will be a top five contender. Women Talking being the runner-up is good for it, though it sounds too insular to contend for picture, just as "stagy" rarely is ever given to a legit best picture contender (even if that is largely only found in the negative reviews). Definitely see it contending for screenplay, and acting though.

8000's:

Dewhurst & Douglas - (Fine average sounding voices).

McAdams - (Interesting that one her big breakouts was as the Mean Girl, as she has a naturally warm sounding voice.)

Nielsen - (As strong and straight forward as they come, making it ideal then to be played for laughs.)

Arnett - (Comically deep in an interesting way in that his voice would be that of the hard-bitten leading man type, but his particular look wonderfully subverts that)

Anonymous said...

Louis: Do you still watch The Simpsons and South Park? If not, when did you stop watching them.

Mitchell Murray said...

So, I have a couple film/tv related news to share...

- Last night, I watched 2017's "Coco" for the first time, and thought it was a splendid film. Very much the expected greatness of Pixar, in offering a well balanced story with a vibrant visual style, culturally accurate setting/themes and some genuinely beautiful music

- For tv series, I started "The Terror" this afternoon, and I'll offer my full thoughts once that's finished. I'm very familiar with the real story, though, which is unquestionably one of the most cursed expeditions in naval history

- Lastly, with her recent buzz for "Blonde", I wanted to write my own review of Ana de Armas' performance in "Knives Out". I've always had a particular appreciation for her work there, so when that's finished I'll also submit my full thoughts.

Louis Morgan said...

Anonymous:

I watched the Simpsons consistently up until season 14, I've occasionally seen later episodes, and those have only ever reaffirmed my decision to stop watching the show.

South Park I watched up until season 22ish. Although I'll say my viewership was less consistent as I'd occasionally drop off then come back on. I did watch "all" of season 24 where I thought the "Post Covid" episodes were a return to form, although I suppose not enough to get me back to watching it again.

Shaggy Rogers said...

Luke: Your Top 10 predictions for 1981 Lead and Supporting actresses.

Emi Grant said...

So, idk if anyone else got around to it, but I just watched Emergency Declaration, which in spite of being overlong and having a bit of a bloated 3rd act, was actually pretty good on its greater set-pieces.

It also could've expanded the main hero's journey a little better, but I had a better than expected with it. Won't necessarily expect some of you to like it as much, though.

Kang-Ho: 4
Hun-Lee: 4
Do-Yeon: 3.5
Nam-Gil: 3
Si-wan: 2.5 (Has a very one-note character and he does fine with until he tries to go all out in his big scene)
So-jin: 3
Bo-min: 3.5

Matt Mustin said...

Saw Casablanca for the first time. This may surprise you all, but it is a flawless motion picture.

Bogart-5 (Deservedly iconic)
Bergman-5 (One of the most luminous performances I've ever seen, honestly)
Henreid-3.5(The thankless role to end all thankless roles, but he makes the most of it)
Rains-4.5 (Great scene stealer)
Veidt-3.5
Lorre-3.5(Brings so much character just through his presence and I love the way he plays off Bogart)
Greenstreet-3
Wilson-3.5
Sakall-3.5

Tahmeed Chowdhury said...

Thought the latest House of the Dragon was great. Thought everyone here was on point (with the minor exception of Fabien Frankel, I'm not 100% sold by his performance), with Smith being my MVP.

Louis: Thoughts on the episode and your MVP.

Calvin Law said...

Loved the new season of Cobra Kai. I think possibly my favourite season since season 1 (though just in general I have really dug the direction the past two seasons have gone). My cast ranking (though honestly the top 4 were all pretty much on par with one another):

1. Okumoto
2. Macchio
3. Zabka
4. Griffith
5. Mariduena
6. Henggler
7. Bertrand
8. Kanan
9. Buchanan
10. Mouser
11. List
12. Lively
13. O'Brien
14. Decenzo
15. Kove
16. Guzman
17. Young
18. Hauser
19. Hannah-Kim
20. Seo
21. Rubio

Anonymous said...

I loved Cobra Kai also. Thomas Ian Griffith and Yuji Okumoto were MVPs for me. Zabka is so talented in comedy.

Louis Morgan said...

Tahmeed:

Thought it was an altogether great episode, and one that benefitted from very limited time jumps here (before we apparently get to the greatest time jump so far), that effectively developed each tension so specifically and potently, up until the climatic wedding feast that did not disappoint in its sharpening of each tension and explosion of one.

MVP for me was probably Emily Carey just before she gets replaced by Cooke. I thought Smith, Considine, Alcock, Best and Ifans, even in his relatively brief screen time, were all great as well. Also just a slight mention to Rachel Redford, who I'll give credit in she gave you a strong sense of her character...even if she was designed to be around for less than five minutes. I also didn't mind Frankel, while I think there was perhaps even greater potential for Cole here, he wasn't terrible for me, and at least made me care about Cole. Although I think he might've been helped in that I was comparing him to my least favorite character from The Great, who played an extremely similar role (and also the actors look very similar), so maybe that gave him a few extra points for me.

Luke Higham said...

Shaggy:
I'll stick with top 5s:

1. Adjani
2. Manz
3. Sukowa
4. Streep
5. Schygulla

1. Pêra
2. Eichhorn
3. Mirren
4. Hepburn
5. Allen

8000S said...

Louis: Aside from Stephen Graham, what do you think of Dominic Cooper as Thomas Dewey, based on his look as Howard Stark?

Also, thoughts on Dewey's voice if you've ever heard it.

Ytrewq Wertyq said...

Louis: your top 10 actors with voices that are most suited for narrating (not counting Morgan Freeman, of course)?

Mitchell Murray said...

So as I promised before, I did write a full review of Ana de Armas' performance in "Knives Out" - mainly because she's been getting a lot of work/buzz lately, and I wished to try my hand at this sort of writing again. For everyone's convenience, I'll post the review here in multiple sections for you to read, so please let me know if you agree/if I can improve on anything.

Mitchell Murray said...

1/3:

Ana de Armas did not receive an Oscar nomination, despite being nominated for a Golden Globe, for playing Marta Cabrera in Rian Johnson’s “Knives Out”.

“Knives Out” is a highly enjoyable thriller centered around the murder of wealthy author Harlan Thromby (the late Christopher Plummer), and the subsequent investigation led by the eccentric Benoit Blanc (Daniel Craig). The film is arguably most effective in its entertainment value, as well as Johnson’s modern take on the style found in the movie’s spiritual predecessors - namely 1985’s “Clue”. I still feel the eventual culprit could’ve been less obvious, but that’s a small nitpick since the rest of the movie has so many memorable details and lines, and is quite assured from a technical aspect.

One of the biggest strengths of “Knives Out” is its terrific ensemble, which is a notable blend of Oscar alumni, accomplished genre stars and rising talents. Michael Shannon, Jamie Lee Curtis, Don Johnson and Toni Collette all give solid turns as Thromby’s privileged family members/inlaws. LaKeith Stanfield and Noah Segan are likable as a detective duo, while M. Emmet Walsh makes an all too brief appearance as an aged groundskeeper. There’s the aforementioned Plummer, employing his wonderful voice and screen presence as the shrewd yet charismatic patriarch. And finally, there’s Chris Evans as Harlan’s grandson Ransom, who recaptures the entertaining smugness shown in a lot of his pre-MCU roles. Those are the supporting players I wished to mention, and while they’re all talented actors, it’s also fair to say they’ve been better in other projects - particularly in films or series they’ve personally led. Following that logic, my favourite performances in the picture are, understandably, from the people playing its two pivotal roles.

The film’s male lead is of course Craig, whose performance deftly balances comedic self awareness and dramatic earnesty; Self awareness in Blanc’s purposefully cartoonish accent and mannerisms (which the audience can have fun with because Craig has fun with them), and earnesty through the character’s professional drive, sharp monologues and moments of personal empathy. The other lead is de Armas, and her character has potentially even more influence on the film, given Marta’s relationship with Thromby and place within the central murder plot. Now despite de Armas being on a bit of a streak currently - including recent buzz for her portrayal of Marilyn Monroe - back in 2019, she was one of the youngest and least seasoned members of this film’s cast. Her most recognizable American role before “Knives Out” was probably “Blade Runner 2049”, in which she brought a striking charm and emotion to a purely holographic character. Her turn here garnered even wider praise, and in light of the press surrounding “Blonde”, I felt it was worth revisiting the performance that likely cemented de Armas as a household name.

Mitchell Murray said...

2/3:

We’re introduced to Marta in her own home, where she’s being comforted by her mother and sister a week after Harlan’s death. Honestly, the film doesn’t delve too much into this setting, as Marta’s familial dynamics are mostly defined by a couple of minor conversations. Nonetheless, de Armas is good in these moments at silenting conveying her character’s lingering grief, and the simple affection she exhibits towards her family. It’s not a particularly developed aspect of the script, but de Armas realizes what little is there. Likewise, we also don’t have many scenes of Marta actually working in the Thromby mansion. Whenever the film does focus on this, she’s usually placed in the background observing her employers, but rarely engaging with them directly. I’ll give de Armas further credit, though, in that she realistically plays these mundane scenarios. There’s the right amount of passiveness in Marta not wanting to stand out, but also a certain distance from these individuals who are…insensitive, to say the least. After all, it would be hard for most people to treat someone fondly, when that same person selects you as proof of their racial tolerance, before handing you an empty plate without making eye contact. This ignorance is also alluded to in less obvious situations, such as Harlan’s son Walt (Michael Shannon) awkwardly hugging Marta in praise of her service, before revealing he was “out voted” in inviting her to her employer’s funeral. That's the sort of treatment Marta faces throughout the film, and de Armas reflects the character’s internalized detachment towards most of the Thromby household.

Thankfully, the member of the estate who treats Marta the best is Harlan himself. The whole crux of the film’s narrative frankly depends on this friendship; If the audience doesn’t buy Harlan’s closeness to Marta, then his decision to leave her an entire fortune falls completely flat. In that regard, however, Plummer and de Armas more than meet the challenge. Their primary scene together, involving a flashback to Marta and Harlan celebrating his birthday with a board game, is just a very well done sequence for both performers. They each bring such a playfulness to the activity, with Plummer showing Harlan’s glee opposite a true companion, and de Armas showing Marta’s casual annoyance in putting up with the man’s mischief. Both actors realize the history, warmth and candid nature of their discourse, which would be somewhat inappropriate for a patient and nurse, but is fitting for a tightly knit friendship of mutual respect.

Sadly their celebration is short lived, when Marta administers Harlan’s medications, and surmises that she accidentally injected him with a fatal morphine dose. The scene's sudden tonal shift isn’t lost on Plummer or de Armas, and in a way, the nonchalant reactions from the former emphasize the building anxiety from the latter. The slowly increasing terror of Marta’s ordeal is potently acted by de Armas, whose distress can be heard through every broken sentence and voice crack. Much to Marta’s surprise, though, Harlan quickly accepts his fate and devises a plan to remove her as a murder suspect. Once again, the dynamic between Plummer and de Armas is a big reason why this scene is so effective. You can genuinely gauge the level of trust between these two characters, which in Plummer’s case, comes from him delivering Harlan’s guidance with such sincerity and articulation. On the flip side, de Armas grants the same kind of understanding in Marta’s reactions, even while her fear remains fully present. This is most evident when she witnesses Harlan finish himself off by slitting his throat. The immediate shock of the event is made absolutely harrowing by de Armas, and she’s equally believable in finding Marta’s focus and will-power emerge from such a traumatic experience. Simply put, it’s a very strong scene for her performance, and grants the proper emotional weight to the rest of the character’s progression.

Mitchell Murray said...
This comment has been removed by the author.
Mitchell Murray said...

3/3:

Following her elaborate cover up of Harlan’s death, Marta then becomes the subject for much of Blanc’s interest. This results in most of the scenes shared by Craig and de Armas, and their interplay is yet another crucial element the film needed to get right. Both actors find the right wavelength in their conversations, with Craig portraying Blanc’s usual probing nature with a little more confidence, since he’s pretty much onto Marta from the outset. With this assurance, though, there’s also a softer disposition and undercurrent of sympathy, as Blanc also recognizes Marta’s compassion from their first interview. For de Armas, these scenes technically show Marta at her most dishonest, which fuels one of the film’s best running gags (quite literally). Beyond that detail, though, I do like how de Armas portrays Marta’s underlying kindness and empathy, even as she’s attempting to hinder Blanc’s investigation. There’s honestly an endearing quality to how de Armas plays her character’s deceptions without a hint of malice. These include her “accidentally” pressing the eject button on a cassette player, or walking over footprints because she couldn’t “hear” Blanc from twenty feet away. In these actions, de Armas adds almost a sheepishness to Marta that’s quite likable, and is also fitting for the character Blanc describes as having a kind heart.

Now the film’s second half begins after the reading of Harlan’s will, which includes his desire to leave the entire business and wealth to Marta alone. The Thrombies obviously don’t react well to that notion, and angrily confront the woman so ironically stated to be “one of the family” - all except for Ransom, who's conveniently poised to drive Marta away from the estate. In her first scene opposite Evans, de Armas does well to present her character’s tension and animosity, which is only lessened to an extent by Ransom’s counseling. During their continued interactions, both performers convey the specific kind of superficiality between their characters; Evan’s having the sort of telegraphed advice that's a little too rehearsed, and de Armas showing Marta never fully warming up to Ransom. For her, it’s mainly a partnership of convenience since he’s the only one offering help, so naturally, Marta wouldn’t develop the rapport or bond she shared with Ransom’s father.

As the film’s murder mystery keeps spiraling, de Armas stays on target in her characterization. She remains authentic in displaying Marta’s emotional state and underlying modesty, even in moments where she’s pressed into defending herself. Take Walt dropping in on Marta’s house unannounced, and attempting to persuade (IE intimate) her into renouncing the inheritance. In this scene, de Armas plays the character’s defiance not as overt anger or frustration, but instead as a subtle choice of phrasing that leads Walt into a verbal trap. That decision feels true to the overall portrayal, which is that of a woman who’s inherently open hearted, yet still capable of taking initiative when her safety is threatened. Another example of this comes when Marta meets with someone she believes sent her a blackmail note, only to discover her old co-worker Fran (Edi Patterson) on the verge of death. At the beginning of the scene, de Armas convincingly portrays Marta putting on a tough face, along with the right authority in her initial demands. When Marta realizes Fran’s condition, though, she drops her guard and ultimately attempts to resuscitate her dying friend. Her ability to do this, regardless of the surrounding circumstances, speaks to Marta’s protective instincts and de Armas’ believably portraying that level of compassion.

Mitchell Murray said...

Final paragraph (To much text for 3 posts):

Of course this all culminates in the grand reveal, where Blanc details how Ransom was responsible for Harlan’s death, and by extension Marta’s ordeal. Although this scene is a shining opportunity for Craig’s performance, wherein he makes Blanc’s theatricality genuinely riveting, de Armas doesn’t fade into the background. Marta’s gradual comprehension of Ransom’s intent is effectively shown in both her verbal and non-verbal performance. To narrow in on de Armas, I especially like two small moments in this sequence because of her. The first is when Blanc reveals Harlan was given the right medication by Marta, and that his suicide could’ve ultimately been avoided. I should note that it's a great moment for Craig, as he so tenderly expresses Blanc’s praise of Marta. And for her part, de Armas reciprocates that idea through Marta’s sadness from Harlan’s unneeded loss, but also the reassurance that he was solely responsible. The second moment comes when Marta receives a call from the hospital informing her that Fran died, but she lies about it to incriminate Ransom. I love how in delivering this false news, there’s an ever so slight flatness and discomfort in de Armas’ voice. And if you watch closely during Ransom’s threat, she also adds some facial straining and brief swallowing gestures in Marta’s body language, which doesn’t bode well for Ransom’s face and clothing. Eventually, Marta is absolved of all criminal charges, and awarded Harlan’s house, corporate empire and vast fortune. This ending obviously feels warranted from a storytelling perspective, but de Armas’ performance makes it even more earned. To put it bluntly, Marta as a character could’ve been quite bland, compared to the film’s veteran supporting cast and Craig’s flamboyant detective. She also could’ve been unconvincing in her overarching kindness, or her close relationship with Harlan. It’s because of de Armas, though, that none of these possibilities materialize. Throughout the movie, she gives a likable, observant and emotionally honest portrayal of Marta’s experiences. She works well with her more seasoned co-stars, and even gets to deliver the occasional one liner here or there. It's a very strong performance that firmly grounds the film, and if this role established de Armas as a bonafide star, I’d say it’s a fine breakthrough indeed.

Luke Higham said...

Mitchell: Great write-up. :)

Louis: Do you intend to see both X/Pearl and Corsage.

Ytrewq Wertyq said...

Mitchell: That's a very good review, now I feel compelled to post my own write-up I made some time ago.

Perfectionist said...

Mitchell: That's solid!!!! I would genuinely love to see some of you try your own blog thing like Louis as well. I do know that at least 1-2 of you guys do. All of you sound immensely passionate about cinema, so I would genuinely love to hear your thoughts.

Tahmeed Chowdhury said...

Mitchell: Loved the write-up, have to say that I really miss your blog (although I understand why you discontinued it at the time).

8000S said...

Mitchell: Enjoyed reading this. Thank you.

Louis Morgan said...

Have to give it to Cobra Kai, which proves that its all in the execution, because the concept itself is utterly ridiculous at this venture, yet it is wholly compelling, entertaining and emotionally investing every step of the way. Found that to be the case once again, with a particularly strong season I felt due to just how good of a villain they made Terry Silver (With Griffith being essential in that), and found it pretty impressive how they managed to balance the rather large cast at this point with great use of Chozon as the new ingredient.

1. Griffith
2. Okumoto
3. Macchio
4. Zabka
5. Mariduena
6. Henggler
7. Kanan
8. Bertrand
9. Buchanan
10. Mouser
11. List
12. Kove
13. Lively
14. Decenzo
15. O'Brien
16. Guzman
17. Young
18. Hauser
19. Seo
20. Rubio
21. Hannah-kim

8000's:

I prefer Graham for a more underdog vibe, though Cooper is a decent enough approximation if one wanted a suave take.

Luke:

I will see all those at some point before the end of the year.

Ytrewq:

1. Christopher Plummer
2. James Earl Jones
3. Charlton Heston
4. Jeremy Irons
5. Keith David
6. Peter Coyote
7. Richard Burton
8. Boris Karloff
9. Orson Welles
10. Sam Elliott

Tahmeed Chowdhury said...

Louis: Your updated thoughts on your top 5 from Cobra Kai (if you have any), and your thoughts on Kanan and Lively.

I'd rank Buchanan slightly higher too, thought that he and Mariduena made Robby and Miguel's friendship feel earned and natural.

Tahmeed Chowdhury said...

Also, in between Cobra Kai and Stranger Things delivering their strongest seasons yet (for me), I've just come to find that I really love it when shows take the risk of expanding the scale of their storytelling. It can definitely fall on its face, but I must say I admire the risk regardless of the result.

Louis Morgan said...

Tahmeed:

Griffith - (For me just managed to take his performance even further in creating genuine menace in the part and just being a magnificent bastard in the best of ways. I especially loved how much Griffith showed that Silver was loving every minute of his manipulations, though my favorite part is the way he plays every fight scene as though in the moment Silver is living his best life.)

Okumoto - (Effectively expanded on what he did in season 3, with some particularly great comedic moments that played well on subverting his earlier intensity. I especially loved his "uh oh" face after beating Barnes's guys up, or his reaction when Daniel said he could never make peace with someone who tried to kill him. On the same page though he was utterly convincing in the moment of portraying the more zen wisdom of the character or the moments of his ferocious intensity.)

Macchio - (Not too much to add, but I thought he did well in presenting the sadness of Daniel, delivering well on the lower moments of the character rather effectively.)

Zabka and Mariduena consistently good as per usual, the former with mostly comedy, and the latter again being the most accomplished young actor when doing the drama.

Kanan - (Liked his performance basically as someone who is just kind of confused more than anything and baffled in kind of comic hangdog way of his consistently as "why". Did like his little glimpses of his old intensity similar to Okumoto in playing up the comedy aspect.)

Lively - (Liked the minor revelation of her character, and thought she just brought a nice energetic presence in the right way albeit fairly briefly.)