And the Nominees Were Not:
Shahab Hosseini in The Salesman
Paul Dano in Swiss Army Man
Tadanobu Asano in Harmonium
Joe Seo in Spa Night
Nawazuddin Siddiqui in Raman Raghav
Predict These Five, Those Five or Both:
Don Cheadle in Miles Ahead
Adrian Titieni in Graduation
Jean-Pierre Léaud in The Death of Louis XIV
Jarkko Lahti in The Happiest Day In The Life Of Olli Mäki
Hiroshi Abe in After the Storm
99 comments:
1. Dano
2. Hosseini
3. Asano
4. Siddiqui
5. Seo
1. Cheadle
2. Abe
3. Lahti
4. Léaud
5. Titieni
Hehehe. I was the first
God, this is going to be a real shot in the dark.
1) Dano
2) Hosseini
3) Siddiqui
4) Asano
5) Seo
1) Titieni
2) Cheadle
3) Abe
4) Leaud
5) Lahti
1. Hosseini
2. Asano
3. Seo
4. Siddiqui
5. Dano
Haven't seen anyone from the second line up, so I'll wait on my predictions for that.
1. Hosseini
2. Asano
3. Seo
4. Siddiqui
5. Dano
1. Abe
2. Lahti
3. Leaud
4. Titieni
5. Cheadle
I don't know.
On another note, I finished "The Falcon and the Winter Soldier" tonight. As someone who hasn't seen much of the MCU after "Endgame", I thought it was pretty solid. There are definite nuggets of greatness in the show (the last two episodes especially), but if I'm being frank, there are also parts that could've been tweaked/pushed just a bit. Honestly, for as much thematic content as the show explores, it could've easily been twice the run time. If they show runners had the time/budget to take it that far, I could envision the series being legitimately exceptional. The condensed nature of the pacing, along with most of the humour feeling "obligatory", are honestly my two biggest gripes. Like I said before, though, the show is quite good in general, and there are particular scenes that find greatness.
As for the cast...Mackie and Stan give strong reprisals of their roles, rightfully capitalizing on their expanded material. I have to agree with Louis, however, in that my favourite performance was Russell; The character is already intriguing as the "wrong man for the job", someone with the impossible task of being a perfect symbol as an imperfect man. In that regard, I think Russell is properly shallow and conflicted in his performance, and makes Walker's insecurities tangible even in his most volatile behaviour. I can only speculate Russell could've delivered even better work with more run time, but he's still very good as is.
Also, I KNEW I recognized Lumbly's voice from somewhere...specifically as a certain green hued, shapeshifting telepathic alien.
Side note: I haven't seen "Doctor Sleep" yet, which along with Falcon/Winter Soldier, might be Lumbly's most notable live action role of the past several years.
War & Peace (Paul Dano/Jessie Buckley)
The Night Manager (Tom Hiddleston/Hugh Laurie/Olivia Colman)
The Hollow Crown: The Wars Of The Roses (Benedict Cumberbatch)
War Dogs (Re-Watch for Hill)
The Red Turtle
In This Corner Of The World
Everybody Wants Some!!
A Quiet Passion
The Bacchus Lady
American Honey
Personal Shopper
The Birth Of A Nation
Eddie The Eagle
A United Kingdom
Billy Lynn's Long Halftime Walk
Blue Jay
Imperium
Sieranevada
Frantz
Stefan Zweig: Farewell To Europe
The Commune
The Survivalist
Under The Shadow
The Girl With All The Gifts
The World Of Us
The Innocents
The Shallows
Julieta
Like Crazy
The Love Witch
Heartstone
Ma' Rosa
The Distinguished Citizen
Hedi
High-Rise
Hush
Pete's Dragon
Gold
Jason Bourne
Indignation
The King's Choice
Alone In Berlin
The Fundamentals Of Caring
Me Before You
Couple In A Hole
The Sea Of Trees
I Saw The Light
Maggie's Plan
The Meddler
The Autopsy Of Jane Doe
Miss Stevens
The Eyes Of My Mother
Tallulah
The Unknown Girl
Race
War On Everyone
Genius
Shin Godzilla
A Streetcat Named Bob
Two Lottery Tickets
Money Monster
David Brent: Life On The Road
A Hologram For The King
Mr. Church
The first 3 are a must and just see whatever the time allows.
And yeah I'm definitely not winning this.
Luke: "The Night Manager" has been on my watchlist for a while, so I hope it's acclaim is deserved. Other than that, I've seen a few of the films on your list and heard of even more. "The Shallows" is a bit of an oddity in that group IMO, but it's honestly not bad in terms of animal thrillers.
If I was to add anything, I still haven't seen "Lady Macbeth", which I should probably watch as a Florence Pugh fan.
Louis: Your thoughts on Siskel & Ebert's discussions of Full Metal Jacket?
https://www.youtube.com/watch?v=OIa8wfo6k3Q
https://youtu.be/ePAuxrQaoMs?t=186
1. Hosseini
2. Asano
3. Siddiqui
4. Seo
5. Dano
1. Abe
2. Titieni
3. Leaud
4. Cheadle
5. Lahti
Titieni needs to be added to the labels.
Luke Gold and Indignation are already in the lead ranking.
Anonymous: Thanks.
Luke, rating predictions.
Asano - 5
Siddiqui - 4.5
Seo - 4.5
Abe - 5
Léaud - 4.5/5
Cheadle - 4.5/5
Titieni - 4.5
Lahti - 4.5
Right, have seen them all now so can give my predictions.
1. Hosseini
2. Asano
3. Siddiqui
4. Seo
5. Dano
1. Abe
2. Titieni
3. Lahti
4. Cheadle
5. Léaud
1. Hosseini
2. Asano
3. Siddiqui
4. Seo
5. Dano
1. Abe
2. Titieni
3. Cheadle
4. Lahti
5. Léaud
Calvin: Hmm, I need to give Léaud a re-watch then. I may've bought into the hype when I first saw it.
Mitchell: Louis saw Lady Macbeth and it's a 2017 release.
I'm gonna wait this one out.
I was also hoping for a Crowesling review for The Nice Guys honestly. Could you maybe still do that too if you should happen to be in the mood?
Louis: If Leaud only gets a 4 then I've no issues with doing Crowe/Gosling instead.
Luke: Oh, I think I was looking at the TIFF release (September 2016) rather than the US release (July 2017).
Tim: As much as I enjoy Crowe and Gosling in "The Nice Guys", I don't mind Louis choosing performances I haven't seen/from international films. Its sort of similar to Pesci not being reviewed for 92; It's a very entertaining turn (My Cousin Vinny), but there were less known movies/performances that deserved some shine.
1. Asano
2. Hosseini
3. Siddiqui
4. Dano
5. Seo
1. Abe
2. Cheadle
3. Titieni
4. Lahti
5. Léaud
The worst year of the 2010s has finally arrived. That's my opinion.
I wholly disagree.
Shaggy: If your talking recent history and culture, then sure. For cinema, I'd argue 2011, 2015 and 2018 might be weaker overall - at least in terms of their respective best actor line ups.
I feel it's a fine year. The nominations were themselves incredibly strong(besides Gosling imo who was good too while the rest especially Washington being one of my favorite performances from the 21st century itself). So there's not that much left for alternates but even then some of the performances here especially Hosseini in The Salesman, Abe in After The Storm and Cheadle in Miles Ahead are some genuinely masterful performances!!!! And I have rarely seen a more perfect choice for winner than Garfield in Silence.
Also hoping Hosseini takes the win amongst the alternates here at least.
A year that has films like Silence, Arrival, Moonlight, Hell or High Water, Tower and Your Name is far from a bad year.
Louis: I'd like to use one of my winning requests (I forgot how many I haven't used) on Nawazuddin Siddiqui in Mom for 2017 Supporting.
Speaking of the 2010s...what would be everyone's top 5 and bottom 5 for best supporting actor of that decade? I'm referring to not just to the winners (which may have been discussed before), but the nominees overall.
Here's my two cents, although this list could change since I'm narrowing it down to performances that are actually "supporting", not co-leads.
Top 5:
1) Joe Pesci/Al Pacino - The Irishman (Curse these two for being so equally amazing I can't choose)
2) Tom Hardy - The Revenant
3) Richard E. Grant - Can You Ever Forgive Me?
4) Sylvester Stallone - Creed
5) Mahershala Ali - Moonlight
Bottom 5:
1) Mark Ruffalo - Spotlight
2) Bradley Cooper - American Hustle
3) Sam Rockwell - Vice
4) Jonah Hill - Moneyball
5) Mark Ruffalo - The Kids Are All Right
*Hate having Ruffalo on here twice, since he seems like such a nice guy IRL and his "Foxcatcher" performance is genuinely terrific
Mitchell:
Best:
1. Al Pacino - The Irishman
2. Sylvester Stallone - Creed
3. Mahershala Ali - Moonlight
4. JK Simmons - Whiplash
5. Sam Rockwell - Three Billboards Outside Ebbing, Missouri
Worst:
1. Mark Ruffalo - Spotlight
2. Sam Rockwell - Vice (mostly out of annoyance about who he got in over)
3. Bradley Cooper - American Hustle
Outside of these 3, have to say I found most of the Supporting Actor nominees fine at worst, instead of being terrible.
Tahmeed: I'm inclined to agree with your last point; As I was going through the wiki list, I was thinking "huh...even the nominations I'm not crazy about are still okay". Ruffalo (Spotlight) and Cooper are the only one's I'd describe as consistently off.
I have literally only seen 2 of these. My team FC Barcelona winning the champions league is more likely than me winning this prediction lol.
1. Hosseini
2. Asano
3. Siddiqui
4. Dano
5. Seo
1. Abe
2. Titieni
3. Cheadle
4. Lahti
5. Léaud
Mitchell:
Best:
1. Mahershala Ali - Moonlight
2. Barkhad Abdi - Captain Phillips
3. Ethan Hawke - Boyhood
4. Al Pacino - The Irishman
5. William Dafoe - The Florida Project/Richard E.Grant - Can You Ever Forgive Me?(a bit conflicted here)
Worst:
1. Mark Ruffalo - Spotlight (you guys are spot on with this one)
2. Bradley Cooper - American Hustle
3. Sam Rockwell - Vice
4. Brad Pitt - Once Upon A Time In Hollywood(might be shocking to some of guys but I am just not a fan of his win)
5. Mahershala Ali - The Green Book
I personally really liked Ruffalo in The Kids Are All Right and it's been a long time since I watched Moneyball.
Luke and Mitchell: There are two reasons that make 2016 the worst year of the decade: low amount of great movies, and at the time in my city where I lived between Captain America Civil War and Love & Friendship only bad movies were released during that interval.
Mitchell:
Best:
1. Mahershala Ali in Moonlight
2. Ethan Hawke in Boyhood
3. Sylvester Stallone in Creed
4. Barkhad Abdi in Captain Phillips
5. Joe Pesci in The Irishman
Worst:
1. Jared Leto in Dallas Buyers Club
2. Mark Ruffalo in Spotlight
3. Robert Duvall in The Judge
4. Nick Nolte in Warrior
5. Mahershala Ali in Green Book
Mitchell
Best:
1. Joe Pesci-The Irishman
2. Al Pacino-The Irishman
3. Philip Seymour Hoffman-The Master
4. J.K. Simmons-Whiplash
5. Sylvester Stallone-Creed
Worst:
1. Bradley Cooper-American Hustle
2. Mark Ruffalo-Spotlight
3. Jonah Hill-Moneyball
4. Sam Rockwell-Vice
Don't know if I can pick a fifth right now, I haven't seen everything and even with this Rockwell isn't bad he's just inconsequential.
Mitchell:
Best
1. Sam Rockwell - Three Billboards Outside Ebbing, Missouri
2. J. K. Simmons - Whiplash
3. Barkhad Abdi - Captain Phillips
4. Michael Fassbender - 12 Years a Slave
5. Tom Hardy - The Revenant
Worst
1. Mark Ruffalo - Spotlight
2. Sam Rockwell - Vice
3. Jonah Hill - Moneyball
4. Jared Leto - Dallas Buyers Club
5. Bradley Cooper - American Hustle
Robert: Wow, your best and worst are extremely close to mine. Glad to see that. I forgot about Leto, but he might make it there too.
I've only see 3 of these so I'll wait until the first review for a prediction. I'm definitely looking forward to Asano, Hosseini, Dano, and Abe getting reviewed.
Seeing everyone's responses so far does reinforce my agreement with Tahmeed: Beyond a few nominees, supporting actor in the 2010s was generally good, and even most of the weaker nominees were still okay IE Ruffalo (The Kids Are All Right), Hill (Moneyball) etc. Also, in regards to Duvall and Nolte - I echo Louis' thoughts with the former (strong work in a bad film), and am probably more supportive of the later than most.
ALSO, on a belated film viewing note, I FINALLY watched "The Lighthouse" tonight and....this one's going to linger guys.
Mitchell: to this day, i have not seen The Irishmann (shame on me, i know, i just have not gotten around to it yet) nor Beginners or Nocturnal Animals
Best:
1) J.K. Simmons - Whiplash
2) Tom Hardy - The Revenant
3) Philip Seymour Hoffman - The Master
4) Woody Harrelson - Three Billlboards
5) Michael Fassbender - 12 Years A Slave
Weakest:
Mahershala Ali - Green Book
5) Max von Sydow- Extremely Loud ...
4) Jonah Hill - Moneyball
3) Sam Rockwell - Vice
2) Bradley Cooper - American Hustle
1) Mark Ruffalo - The Kids Are Alright
Oh, man... time flies. Can't believe we're finally getting the Swiss Army Man review. I'm excited.
1. Hosseini
2. Dano
3. Asano
4. Siddiqui
5. Seo
1. Abe
2. Titieni
3. Léaud
4. Cheadle
5. Lahti
Mitchell:
Best:
1. Simmons - Whiplash
2. Pesci - The Irishman
3. PSH - The Master
4. Rockwell - Three Billboards
5. Abdi - Captain Phillips
Worst:
1. Ruffalo - Kids Are All Right
2. Cooper - American Hustle
3. Hill - Moneyball
4. Arkin - Argo
5. Ruffalo - Spotlight (Don't even hate the performance, just don't find it good)
Mitchell:
WORST
5º Mark Ruffalo - The Kids Are All Right
4º Jonah Hill - Moneyball
3º Bradley Cooper - American Hustle
2º Geoffrey Rush - The King’s Speech
1º Mark Ruffalo - Spotlight
BEST
5º Tom Hardy - The Revenant
4º Barkhad Abdi - Captain Phillips
3º Tom Hanks - A Beautiful Day in the Neighborhood
2º Sam Rockwell - Three Billboards Outside Ebbing, Missouri
1º Al Pacino & Joe Pesci - The Irishman (TIE)
2016 was actually the year I actually discovered the blog, so this round is kind of a full circle moment for me. Concur with Emi on time flying by.
Varun Aka John Smith Aka BabaVarrun
1. Hosseini
2. Siddiqui
3. Asano
4. Seo
5. Dano
1. Abe
2. Léaud
3. Lahti
4. Titieni
5. Cheadle
1. Hosseini
2. Dano
3. Asano
4. Seo
5. Siddiqui
1. Abe
2. Titeni
3. Leaud
4. Cheadle
5. Lahti
Louis: When you do 1982, Welles in Butterfly needs to be moved over. It had its first theatrical release that year.
And when you have the time, could you add Griffin Dunne to your Nominations post.
#9 81 Supporting
#6 85 Lead
1. Hosseini
2. Dano
3. Asano
4. Siddiqui
5. Seo
1. Abe
2. Cheadle
3. Lahti
4. Leaud
5. Titieni
1. Hosseini
2. Asano
3. Siddiqui
4. Seo
5. Dano/Radcliffe (I don't think Swiss Army Man has stayed with Louis at all)
1. Abe
2. Titieni
3. Cheadle
4. Lahti
5. Leaud
I will only talk about my rankings when I see all the movies mentioned.
RIP Robbie Coltrane
RIP Robbie Coltrane
RIP Robbie Coltrane
RIP Robbie Coltrane
I will generally always remember him actually for his excellent Bafta recognised TV performances, especially Tutti Frutti.
Louis: My request is Max Von Sydow in The Passion Of Anna.
Calvin: Ratings for the cast of Stars At Noon?
RIP Robbie Coltrane
Louis: Your thoughts on the following 2016 screenplays (when you have time, and you don't have to answer them all at once):
Your Name (not to do a shameless plug, but I wrote my own thoughts on it in my Letterboxd review for it: https://boxd.it/22Xkir)
Silence
Tower
Arrival
RIP Robbie Coltrane
R.I.P Robbie Coltrane
Rest in peace, Robbie Coltrane. Even though I predominantly knew about him from "Harry Potter", he still made for a very enjoyable Hagrid, and will surely be missed in the near/distant future.
On a brighter note...I'm obviously late to the 81' crowd, but after my wisdom tooth surgery today, I wanted a relatively easy film to watch. Given that, I saw "On Golden Pond" for the first time, which is more or less what people describe it as; A corny but rather sweet film, with two great performances from it's aged leads.
Luke:
Butterfly was nominated by the Globes that year so it must've had some kind of public release in 81. Although the nominations in general are very suspicious, but regardless I don't really care where the trash lies.
Tahmeed:
I intend to re-watch most if not all of them during the reviews, so I'll give you those after each re-watch.
R.I.P. Robbie Coltrane, shoutout to his low key work in Mona Lisa, always loved the much needed warmth he brought to that film.
Louis: Since you liked Efron in The Greatest Beer Run Ever, could I have your thoughts on his performance in this scene from the movie 17 Again? I would not recommend the movie itself, but Efron is quite good in it.
https://www.youtube.com/watch?v=i5Ejk981Bk0&ab_channel=ozturke45
Tahmeed: You can find Louis’s thoughts on Arrivals’ screenplay in the 2016 Best Supporting Actor lineup page.
Louis: Your thoughts on this interview with Scott McNeil.
https://www.youtube.com/watch?v=63QksCBs3dU
Louis: My request for winning the last round is Nawazuddin Siddiqui in Mom for 2017 Supporting.
RIP Robbie Coltrane, always enjoyed seeing him.
As for the lineup, I'd have to see a half of these movies to try to figure out the order, especially in case of Dano, Leaud, Cheadle and Titieni (I'm pretty sure Seo is going to be last though).
R.I.P. Robbie Coltrane and Angela Lansbury.
Louis: Thoughts on the Brideshead Revisited cast and where would it rank in the careers of Irons, Olivier and Gielgud.
Marcus:
I mean as an isolated scene goes, that's good work in carrying the obvious needed vulnerability of the moment and the passion behind it.
8000's:
Enjoyable enough insights I suppose.
Luke:
Irons - (Perhaps the most subdued performance in the series, and I think why he probably did not win the BAFTA and the Globe. Irons though is great by knowing how to play this role that is more unassuming against the more eccentric characters he interacts with. Irons knows that his character in a way is the Nick Carraway type, but does everything he can within that type of role. This is most pivotally in the changes of the character, and although there is no obvious aging in terms of makeup or anything like that, Irons wholly creates the sense of a changing man from a college-age young man to eventually a somewhat bitter soldier, though changed in so many ways. Irons's work, which is again very quiet and introverted, is excellent by creating the sense of the way the world changes and the people around him change, change him. Irons in a way shows how this type of performance should be done, in that he never forgets the purpose of the part which is as the reactionary man, but within that adds so much to every given scene by showing the power of reaction. Irons is carefully attuned to every other performer, and in the progress, he shows how the people change him, and eventually, he takes more action near the end of the series. Irons naturally creates this progression and creates powerfully this sense of a greater emotion within the role as he reveals himself. Irons's work also is of course his narration, which obviously sounds great, but he adds a lot in his careful description of each scene that balances description with a sense of low-key emotion. It's a great performance and again a prime example of how to handle a theoretically thankless role. I'd probably put this just below his work in Elizabeth I.)
Andrews - (Definitely not lead despite his Emmys placement. Andrews though is great in the role and it is easy to see why he was singled out. He delivers such an overpowering sense of charisma in the part and manages to make his sort of over-the-top party boy-style aristocrat son likable, which is essential. Andrews owns the part in the right way in that he doesn't become insufferable, which would be easy, and creates in the early episodes the sense of the appeal of the man as he pulls Charles into his family's affairs. Andrews's performance after this point though is a powerful portrayal of a man falling into alcoholism and self-destructiveness. Andrews is incredibly effective in creating the slowly decaying state of the man as he withers from moment to moment. He's effective though in showing it through the lens of someone trying to maintain his blithe indifference, the act becomes less and less convincing the longer he tries to maintain his state and is quite moving from scene to scene as we see how far he begins to fall.)
Quick - (Amazing performance, and this will be said again and again she is outstanding in terms of creating the progressive changes of the character, as again as we see the progression, not in terms of obvious aging but rather manner. Quick's performance early on is the right cohort to what Andrews is doing in showing the same kind of appeal in someone who blatantly flaunts their ability to explore and enjoy life in a very specific way. We then see her next step though where she is convincing in this more earnest yet in a way stricken woman as she attempts to find happiness in a difficult situation, that she conveys the imperfect state much as she portrays this need for it to be more than that. Finally, we have her last episode work which is where she's truly outstanding in her work. First just in creating such palatable and moving chemistry with Irons in their scenes together. At the same time bringing such a sense of complications in her performance by showing the woman being pulled in so many different ways that there isn't a single place she can find solace exactly. I love how she conveys the complex emotions with such a sense of the needed depth of feeling in them and shows how much she is going through to reach these difficult conclusions that I think needed to make sense in her performance to work, and they do.)
Jones - (Enjoyable in just being intolerable as the truly pompous fool who is just the pompous fool. He brings the right blithe horribleness and contrasts effectively in his moments against his siblings. He nicely doesn't always go too far with balancing to still give a sense of a man beyond his state of privilege.)
Bloom - (Certainly delivers on the cold force of nature as to be expected though she is never quite as simple as that. Her performance creates the right sense of the strict sense of her conviction to her convention essentially. In that Bloom doesn't present it as purposeful in the cruelty instead in every moment of reinforcing her beliefs, often to the detriment of the happiness of others, her portrayal is with this sense of belief behind every moment of it. She cuts deep in her deliveries but it is always with that conviction that it is for one's own good rather than some purposeful hatred of any kind towards them.)
Nicholls - (Really liked her performance a lot that is the most extreme in terms of the progression as we go from a child to a spinster, which I thought she rather brilliantly managed to convey this transition rather believably all things considered. This by Nicholls carries that of straight exuberant energy in her early scenes befitting a child-like wonder. Her second phase still brings the spirit of youth though more tempered and mature, though with a sweet kind of optimism that makes her rather endearing. This is a hard cut to the devoted woman of duty that Nicholls is great in because she shows herself to still be the same person but now built as someone who has seen the world, including its horrors, as there is the sense of her in there somewhere, however, obscured by now what defines her.)
Audran - (Basically a performance to contrast Bloom's and she is effective in creating the sense of the woman defined more of a sense of low-key warmth even if there is also this specific sense of duty within her specific role.)
Asher - (For the role of the not-great wife, I thought Asher brought a lot of good character that didn't make her immediately unlikable even though she in no way hides the faults of the character. She nicely balances her work to create a sense of who she is with, and what she also isn't. This is in that there is a sense of who she is out of the relationship with Charles which is probably far more endearing and individual than in her manner with Charles. Finding the appropriate depth within the character.)
Olivier - (Lower upper tier Olivier, in that it is a very good performance but not among his very best. And I'll admit I was a bit concerned when his first appearance really is just as straightforward as can be. His more focused work in the last episode though is strong work from Olivier. He brings a great combination of his character with this certain warmth and eccentricity, but with also a sort of damning random critical spirit. Olivier brings the right overabundance of character where he creates this duality of the character in his final moments. The moments of the still viral man ready to have fun with his family and face death with a smiling grin. That against creating powerfully the moments of despair and weakness that overtake him as it seems he might be closer to death suddenly.)
Gielgud - (Probably would put this just behind Arthur, as Gielgud only has a handful of scenes but he's amazing in every single one of them. It is technically in his wheelhouse but in the best of ways. Gielgud is hilarious every time he shows up as Charles's father offering his bit commentary. Gielgud makes every commentary a comedic delight in his own way and in a way only Gielgud could knock out with such ease. I will say though Gielgud modifies it nicely in that this isn't cold-cutting Gielgud, there's always a sense of love in his manner with his son even as his statements towards Charles often have a bit of a critical bent. He's just a delight here, and I loved every second he was onscreen.)
Louis: Thoughts and MVP of tonight's House of the Dragon when you get the chance to see it.
Tahmeed:
Cooke MVP (Mizuno LVP, why oh why did she choose that accent), overall thought the episode was amazing, and I guess shows the show could've easily been slower paced as this was essentially a single day and was handled brilliantly as such. And it's great to see really as we see the payoff for all that has been built up, looking forward to the finale.
Louis: Agreed on Cooke and Lizuno, also thought the actors playing Aemond and Aegon were quite effective.
Also, if you're familiar with the source material at all, how many seasons do you think it could have.
Louis: Your thoughts on J.J. Abrams as a filmmaker, and your ranking of his films.
Mizuno's accent is so frustrating...her natural accent is so lovely and works so well onscreen. Kind of sucks since this is her most high profile work to date.
Louis: What are the lowest: 2.5, 2, 1.5 and 1 in your 2002 Lead and 2002 Supporting rankings?
The Fly is pretty damned excellent.
Goldblum-5(Probably one of the most honestly heartbreaking performances I've seen.)
Davis-4.5(Great chemistry with Goldblum and she also works in tandem with him in terms of really making the tragedy of the film hit as hard as it does.)
Getz-1(Just all wrong. I suppose he's meant to be "charmingly" sleazy, but that does NOT come across in any way as he just does not have anywhere near the charisma to pull that off, and to make matters worse he overdoes every little thing. A massive blemish on an otherwise amazing film.)
Loved Cronenberg's cameo.
5º Joe Seo
4º Nawazuddin Siddiqui
3º Paul Dano
2º Tadanobu Asano
1º Shahab Hosseini
5º Jean-Pierre Léaud
4º Don Cheadle
3º Jarkko Lahti
2º Adrian Titieni
1º Hiroshi Abe
Louis: Your thoughts on the screenplay and direction of Tower?
Louis: Except House of the Dragon and Brideshead Revisited, have you been watching any other TV lately?
Song related question for everyone here; What do you think of the following hard rock tracks?
Failure - Breaking Benjamin
Serpentine - Disturbed
Me personally, they both represent the middle tier of their respective bands - not the worst, but decidedly not the best. The fall into the trap of the lyrics being less memorable/inspired than the musical rhythm, which between both songs is very standard "three part" structure. That being said, their not bad choices for AMVs, and I'll attach two below as examples.
Serpentine (Superman/Batman: Apocalypse)
https://www.youtube.com/watch?v=rO5nDcKTa6c&ab_channel=HomunculusClown95
Failure (Superman: Red Son)
https://www.youtube.com/watch?v=Hl-GlzqJ-Mg&ab_channel=ZelranRen
Louis, could you give your response to the Siskel & Ebert clips I posted earlier?
RIP Angela Lansbury & Robbie Coltrane.
Louis: If we're still allowed to switch a request to another performance in the same year, could I swap out Kulkarni for Rang de Basanti for Baron Cohen in Borat for 2006?
Bryan:
Where does one even begin with J.J. Abrams...but his fundamental filmmaker philosophy seems to be deeply flawed. A philosophy where he describes all stories as mysteries, which in itself isn't at all true. Abrams though I don't think is truthful even to his own claim about mystery boxes however because if you take great films that even slowly unravel their events, or are straight-up mysteries, typically the storyteller in question has some idea where it will lead to. Abrams loves the pledge and the turn but is completely lacking when it comes to the prestige. Making Abrams more so a charlatan where it is smoke and mirrors, where you're left with a huh rather than satisfying applause. The reason is a proper trick, the magician knows the satisfying conclusion, and Abrams on the other hand doesn't have a clue. So that's him just on the story side of things, as a director he falls into a disciple type director, but unlike Brian De Palma with Hitchcock or Barry Jenkins with Wong Kar-wai, there is no sense of an individual voice behind the inspiration, just someone who wishes they were Spielberg or Lucas. Mission Impossible III is probably his most non-derivative film, and that is TV slop visually, not unlike Joss Whedon's work on the Avengers in many regards. Super 8 though is what if Spielberg had the inspiration ripped out with a generic monster filtered through a generic story. What if Star Trek was filtered through Star Wars, and that's his best film, though the dire sequel shows all he can do is the initial flash, once you get it past it there's nothing there to actually hold to on an emotional level. The same cycle was in his Star Wars, what if he just aped Lucas every step of the way, then what is there? Well, the third film says a whole lot of nothing. It's funny that in his infamous Ted talk he references one of his favorite scenes with Jaws is Brody playing around with his kid. Well, it is interesting because that is the type of scene that is fundamentally lacking from his approach. A scene that has NOTHING to do with a mystery, and is all about a sense of character and place in a deeper way than his films would ever understand. His films are hollow posturing, which can be entertaining to some degree but if you scratch below that it shatters immediately.
1. Star Trek
2. Star Wars: The Force Awakens
3. Mission Impossible III
4. Super 8
5. Star Trek Into Darkness
6. Star Wars: The Rise of Skywalker
Tahmeed:
Agreed with both Tom Glynn-Carney (aka the least famous of the Dunkirk boat crew) and Ewan Mitchell.
I haven't read the source material, though I did watch the official lore and history video on The Dance of Dragons a while ago (so I have knowledge though I'm purposefully not reminding myself of every detail for the stuff I've forgotten.) Based on that I think three seasons top, four would probably be a stretch. It also is fairly action heavy so it will be interesting to see how they proceed from here.
Well of course it doesn't have a traditional screenplay because the testimony is the testimony of the people, however, there is a clear and extremely intelligent construction, aided by great editing of course, in when it introduces each "character" within the narrative and providing this building of witnesses that also in a way race the tensions as it introduces kind of so many key players. The way the film is constructed is exceptional in being informative, but by placing each testimony where it does, it grips you within the emotional sense of the situation in so many different ways, from the sort of tension of the heroes trying to make it to the tower, to those injured having their emotional recollections, or a random guy who decides he's going to stop being a bystander and potentially save a life. It is such excellent pacing in the interlacing that makes it this forward-moving narrative so eloquently. The ending I'd say where you get more so the natural documentary just footage collected together, though with purpose and with good reason as it goes back to look at each of the people.
Maitland's direction is brilliant because it crafts the story so singularly, making the right choice in not giving any time to the killer, and instead then constructing the day out of those who witnessed it. And doing so in a way that is so cohesive in its technical feature film style narrative of the animated moments, but built around the real footage, and based upon the real testimonies. Using all these elements, further amplified by his very present use of the gunshots, and very effective song choices make it gripping and visceral in a way that few documentaries are. Additionally, the specific choice, like when we cut to the real people, is so expertly executed by Maitland that makes it is so very powerful when essentially the reveal occurs. His direction again is in a way less present after the death of the sniper, but I think it is the right choice to move to the more traditional documentary style as he gives each person their moment or remembrance.
I'm not sure the last time I codified the rules, but sure, but just to state the current rule that I've decided right now, one switch only (as in can't switch again past the first time), it has to be in the same year as the original request.
Tony:
A clip that RatedRStar and I know well, though one must watch Benji the Hunted review to get the real story with that one. Anyway, this is a time I agree with Siskel far more, though both are inclined to reviews where I am a bit baffled by their appraisal (Siskel's negative reviews of Silence of the Lambs and Unforgiven). I don't think Ebert is giving appropriate credit and is maybe grading too much on a Kubrickian scale, even then though he hand waves the boot camp scenes, which maybe he is referring to The Human Condition II or An Officer and a Gentlemen, but even then I would say Jacket definitely found its own path in its depiction. Ebert's review begs what exactly the film would've had to do to be "original" in his mind there. Now coming from someone who doesn't think the film is even perfect in its second half, I do think Ebert is being overly critical, in a way that I think is more so due to pedigree than the film itself. You can actually go back on a lot later work from masters and there will be a film strangely dismissed that properly gets evaluated, Autumn Sonata got a similar reception by some for example, and I think it is a disservice to the film caused by the expectation of a great filmmaker.
Anonymous:
I've been occasionally catching an episode of Andor, which I can't that I love, but on so many levels does make the other Star Wars shows look quite pedestrian, particularly in terms of aesthetics
Louis: Going by your new rules then, I'd like to switch my request for Kulkarni in Rang de Basanti to Sacha Baron Cohen in Borat for 2006.
Louis: One thing I did like a lot about Siskel on the show is when he would immediately tell you when a film was bad, for example "ok our next film is a true disaster, FX2 a lifeless overcomplicated thoroughly boring sequel" lol.
Been a while since I've seen such contrasting movies in terms of quality. Last week, I watched The Kissing Bandit with Frank Sinatra (which is almost never brought up in terms of bad movies it seems)and High Noon for the first. At least that one was excellent.
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