Anthony Hopkins did not receive an Oscar nomination for portraying Torvald in A Doll's House.
Anthony Hopkins plays the role of Torvald which you could argue is all how it leads to the climactic moments, and whatever the performer does to lead towards that moment. Torvald isn't necessarily immediately distressing and Hopkins grants the allowance for the view Nora of her relationship with Torvald initially. Hopkins plays the role initially with a seeming levity while doing his famed Olivier impression throughout his performance which becomes particularly noticeable late in the film. Although I wouldn't say this is either a masterstroke or a distraction, just a choice that works as well for Torvald as would've been the case if Hopkins had chosen to maintain his typically already regal voice. Hopkins presents a potentially loving state as he welcomes Nora into his embrace, and while certain lines speak towards this controlling attitude of the man, treating her more so as a doll than a woman that is his equal, however, the way Hopkins delivers these lines is pivotal. He doesn't subvert them but he does present them with a bit of jovial quality as though one may be fooled to interpret that this is just Torvald's way of being playful. Hopkins doesn't immediately raise an alarm, he indicates what is really going in within Torvald's manner as the aggressively forceful and controlling man, but doesn't enforce the idea. Hopkins's performance manages to naturally articulate both sides with quite an ease of expression within his performance. Hopkins never directly converses with her in a way much as he's talking to her. He blithely speaks with just accentuation on the random joy he seems to get out of her, without more than a careless simplicity within the process. He doesn't connect with her as much as he admires her. The admiration of taking in the joys with the simplicity of it that isn't anything more than that with Hopkins's presentation.
The reality of this is broken by Nora having to deal with an earlier indiscretion that may destroy their entire situation, which could be avoided if Nora could convince Torvald to not fire a man who has evidence of the indiscretion. Hopkins reveals some of Torvald's behavior more openly by the level of dismissiveness as Nora pleads to avoid the trouble by not firing the man, and Hopkins presents not a moment of hesitation in ignoring the request. It isn't even something that dances in his mind for a moment he simply moves on. We see this dismissiveness all the greater even when the two ready for a party by Nora practicing her dancing while Torvald plays the piano. Hopkins's directing of her initially presented with that initial joviality yet this quickly segues towards frustration with her inability to do exactly what he says. Hopkins presents this frustration in a decidedly thin way, and effective as such, reinforcing again treating Nora as a mere doll, and when she's not doing as he says, he reacts not as a loving husband rather just a boy who doesn't like that his toy is not working as it should. Eventually this leads to Torvald discovery the indiscretion which Hopkins's performance is big, however big in a way I find gets to the heart of it, which is as the true brat just seeing his plaything doing something he doesn't like. Hopkins lashing out against her with the fury not of an intelligent man, but a fully petulant child. Hopkins conveying someone fully taking his wife for granted in every word and treating her without a second thought. Showing a man who views her with less than any but a source of joy, and when not that, as nothing. When Nora pushes back against him, Hopkins is terrific in his way of deconstructing the state of Torvald. Hopkins eases back towards calm, however even in calm the distress Hopkins shows in this disbelief and confusion is still with a brittle quality of not a loving man but a using man. There is so little love in it of a person just in a way a weak affection. Hopkins manages to deliver well a worthless sort of humanity. Hopkins shows that Torvald is hurt by the revelation but even in that emotional harm, it is without true depth of feeling towards him. It is with a worthless selfishness all the same. Hopkins is great throughout this final sequence against Bloom, falling into this submission that he presents as the man trying to find some truth of emotion however still failing to deliver anything but self-pity. Hopkins is moving in the sense he does make the emotion so real, while maintaining the fundamental flaw of the man. Hopkins gives a striking performance as he makes Torvald dynamic within his work, yet while doing so shows the little depth within the man all the same.
94 comments:
Ratings and thoughts on the cast.
And where would you rank Bloom
Robert:
I would've liked it more if he hadn't belabored the point, and switched to "aren't movies great" which I didn't think fit tonally or thematically in the film at all. I do think there was the right idea there with the irony, just the execution of it was off for me.
Oliver:
Chung's cinematography is gorgeous, with an emphasis very much on the sun, but on the intensity of brightness in general, which defines the work. The emphasis of so many shots is the way the figures are within that sun and that is so beautifully realized again and again. The composition of shots though so well realized that single out the subjects in ways that isolate them within the environment, which is so powerful and so key to the overall story of the film.
Anonymous:
"Boring" characters:
Michael Redgrave - The Browning Version
Anthony Hopkins - The Remains of the Day
Gary Oldman & Alec Guinness - Tinker Tailor Soldier Spy
Karl Malden - A Streetcar Named Desire
Luke:
#4
Bloom - 4.5(I think Bloom artfully articulates her journey as in her early scenes she manages to very effectively convey actually more than a hint of joy with Hopkins as Nora goes along with it. She's not completely fed up, even if there is a way in her reactions that conveys a certain degree of "I guess I'm just going along with this" in these moments. This is in contrast to her scenes with Elliott where she portrays a greater ability as a person even within the state of anxiety as she's caught in a lie, though she presents her case with conviction and passion that sets up her devotion to her relationship. She's great in her moments with Richardson in creating an actually sincere and connected relationship between the two, which is rather moving in creating the contrast from what we see with Hopkins. She's then altogether great in her final scene with Hopkins giving it to him so straight, so bluntly, and speaking everything she says with absolute truth, conviction, and pent-up frustration with what has been going on. Bloom shows Nora coming into her own and just in the stare-down she brings real power to her work by articulating the whole journey so well.)
Massey - 3.5(Good in basically providing the right contrast by being very direct and as she is throughout the story. She has few layers in a sense however that works in making her Kristine stand out by standing aside in a certain sense.)
Elliott - 4(Elliott brings the right vicious bitterness in each moment as just presenting the man with so much anger that defines him. Elliott brings the right cutting within the threat showing the sincerity of his threat by bringing as a sense of this place of betrayal within his own state while showing a hint of decency by bringing just a hint of regret as he stands firm. He's then able to naturally bring out the switch in the man by showing that regret comes full circle as there is some other avenue the man takes it and Elliott makes this sincere with such simplicity.)
Richardson - 4(Incredibly moving work from Richardson where he rather magnificently plays the layers within the role, particularly in every moment with Bloom. Where Richardson can articulate so much emotion while still maintaining his regal façade. Richardson is able to really create such a palatable sense of connection even as he holds onto this sort of wise manner. Richardson is able to do so much just within the small moments, to suggest al the man is going through just as he remains so quiet still. )
I haven’t seen this version, but it was my favorite play I had to read in college. Wrote a ten-page paper on Torvald and his narcissism as encouraged by the times. Surprised that Elliot was cast as Krogstad, as written he sounds like he’s supposed to he played by a Boris Karloff type.
Matthew:
Mara - 5
Foy - 4.5
Buckley - 5
Ivey - 4.5
Whishaw - 3.5
McDormand - 3
McCarthy - 4.5
McLeod - 4.5
Hallett - 4
McNeil - 3.5
Many of these performances could go up.
Louis: Thoughts on the Glass Onion cast and any upgrades.
It is without pleasure that I must disagree with Calvin over Women Talking. I kind of hated a lot of Polley's directorial choices. The most obvious is the color grading that I suppose was intended to make the film look bleak but just makes the film look ugly. The use of score, which I'd better describe as the overuse of score. The editing though might be my biggest gripe. So frequently Polley doesn't appear to have faith in her performers, cutting away for this and that rather than keeping with the speakers. It's more than this, however, as so many of the conversations are edited awkwardly together, whether that is choice in reaction shot or the way we don't get a proper sense of debate where one person typically speaks over one another. Instead, one person will say their line, we get an awkward cut, an awkward pause, and then the other person speaks.
Going into the film, I was looking forward to the philosophical debate in a single location, it's 100% my jam, but we don't get that anyways. We get it occasionally, however, the film too frequently cuts away, or gets lost in one meandering idea or another. When we do get it, the dialogue goes from insightful to artificial, to monologues that could be potent if the film was fully lyrical, but rather seem enforced within a conversation, to utterly atrocious and out of place moments levity that I was truly baffled by the inclusion of.
The performances do go from fantastic to kind of stilted and overly mannered. There were moments where I saw the promise of the film realized, but far more consistent I saw the promise of it squandered through a mixing of conflicting methods of execution. I don't blame the film for not being the conversation however it doesn't blend its moments of specific plotting or lyrical ruminations effortlessly. I found that clashed rather than cohered into something truly special. I think Polley could've chosen a singular path or multiple, but then I think each needed to be given more time. I'm not sure it was the film's benefit to start in the middle of it all, I think it might've been better to build up to the meeting and establish each of the players before then, as I don't think the film was successful unravels each of the characters within the theoretical forward momentum. I wanted to love this, but instead found it one of the most frustrating cinematic experiences of 2022.
Mara - 4.5
Foy - 4.5
Buckley - 5
Ivey - 2.5
McDormand - (Is in the movie.)
McCarthy - 2
McLeod - 2.5
Hallett - 3.5
McNeil - 3
Thoughts on the cast of Women Talking and your category placements for Mara, Foy and Buckley.
I think it's safe to say that sooner rather than later, Buckley will take the overall 5s record from Mifune (Who will still have the films record).
That's a shame, but hey, one disagreement after many agreements this year is inevitable.
Luke: It's a pure ensemble through and through, though Mara does perhaps has the most screentime she is very much part of it.
LOVED The Menu, way more than I expected. A brilliant, pitch black satire with a healthy mix of horror and comedy. One of the year's best scripts.
Fiennes-5
Taylor-Joy-4.5
Hoult-4.5
Chau-4.5
McTeer-3.5
Birney-3.5
Light-3.5
Leguizamo-3.5
Loved the original play ever since I read it in high school, and glad to hear that the central performances here deliver on the promise of the material.
Louis: How much deliberation do you put into a performance's rating? Is there a particular moment where you decide on what rating to give a performance, and is it usually after you've written the review? Do you find it easier to write a review or give a rating?
By the way in regards to The Menu I will say Ralph Fiennes gives one of my favourite performances of the year and is currently sitting comfortably as my number two in lead behind Farrell.
Luke: How many fives does Jessie Buckley have from Louis?
Anonymous: If you count her TV work, it's 9.
War & Peace
Taboo
Beast
Wild Rose
Chernobyl
I'm Thinking Of Ending Things
Fargo
The Lost Daughter
Women Talking
She's 5/6 away from matching the film record set by Mifune.
Luke:
No upgrades.
Craig - (Again just rock solid in the reprise and fun to see him do his thing again.)
Monae - (I wouldn't say she hits the heights of De Armas, who had to contest with the stupid vomit thing, but gives a very good performance nonetheless. In that she largely is just fun in creating the sort of ruse of it all. Giving it away all along by her passion actually being impersonal in the earliest scenes, in that you don't sense her particular attachment to the other characters rather the passion seems from a separate place. Then she is just fun playing the various notes of the very blunt real southern woman just trying to help the situation, to the different unease and frustrations of attempting to solve the case, and then the blunt catharsis as she lashes out in her own way at the end of it all.)
Norton - (Does pompousness well to be sure and does it with a way where he is very convincing at saying everything with such certainty no matter what it is that he is saying. Norton manages to be too much in the right way as there is just the right sense of unearned smugness to everything he does. The more we learn about Miles the more I liked the kind of hapless energy that Norton brought to his portrayal of just giving these reactions of acknowledgement of just how barely the character is really thinking out anything at all.)
Hahn - (Just thought she did her typical shtick, which many seem to love a lot more than I do in general, she's fine though but I do think she gets short shrift anyways.)
Odom - (Found he didn't have that much to work with anyways, but I'll be honest thought he was a little stiff with what he had.)
Bautista - (Enjoyed his full on meathead routine by Bautista playing it so fervently honestly no matter how dumb his particular statement may be Bautista plays it with a straight face.)
Hudson - (I'd say she's fully going for what her mom does when her mom goes for the airhead routine, but as per usual I like her mom much more than I do her. This isn't an instance where I think there was anything wrong with the approach, over the top airhead is how the part should be played, I just wasn't particularly entertained by her comedic timing as this airhead.)
Henwick - (Hope she'll get not the thankless role at some point, I do think she's more or less fine though.)
Cline - (Does a different airhead routine than Hudson, hers is being put on, however even with that it ends up not really being put on later anyways, but either way, eh.)
Segan - (I think less detrimental than in Looper or Knives Out, his "that means she's lying" delivery still gives me physical pain from the latter. But still comes off exactly as he is, someone's not particularly talented buddy getting a freebee.)
Mara - (I always like Mara when she's playing a naturalistic role, and that strength once again shines through in this performance as well. I think even while the romantic angle I didn't especially love even, Mara manages to carry through by just being so effortlessly sincere in every moment of it. Her performance throughout the discussion moments carries with it the right sense of internalized strength within her conviction even as she speaks in somewhat more modest tones overall. Mara though is able to articulate always this quiet sense of her passion even as she remains far more modest than really the rest of the cast, particularly Buckley and Foy.)
Foy - (I was very concerned that this was going to be a one-note performance with the way the film opens with her always being the one to the point of anger. To be fair, Foy delivers this anger with the appropriate intensity and with the sense of hurt behind the anger threaded into the reaction. Her performance though thankfully isn't just that, and while she effectively articulates basically the side most ready for violence, Foy brings more than just that sense as the film progresses. She finds a sense of nuance in the moments when her character is speaking about other ideas, particularly what to do with her family in particular. Foy grants a sense of potentially who she was before the attacks in a sense, while also showing the earned anger from the attacks that defines her character now.)
Buckley - (I mean perfection once again in my mind as she manages to do more than anyone deliver on every aspect of her role and every aspect of the film. The dialogue sounds the most naturalistic when it comes from her. She manages to get the authenticity of emotion even out of the trickiest aspects within some of the words that express the characters. Buckley's performance though goes further than that of course though in creating the very distinct state of her character who is in many ways the most conflicted within the choices presented and bluntly states and attacks based on them. Buckley though is convincing in her moments of deep sorrow where she is heartbreaking in so quietly revealing the searing pain that her character has gone through and is emotionally draining in revealing just how much she is holding in. Buckley only reveals more in key moments and does so in such a potent and powerful way. She is as convincing though in the moments of a theoretical more antagonistic state as she defends herself against the questions of others. Buckley brings the sense of a very real vulnerability in these attacks, earning the sense of frustration that even if you may not agree with her character's approach in moments, Buckley is always absolutely convincing in showing where this is coming from on an emotional level. It is consistently powerful work from Buckley, and more than anyone, or anything in the film, realizes the promise of the material.)
Ivey - (Her performance I thought was mostly just fine in providing sort of the mothering style perspective at times, but like another performance, that I think was worse in this regard, at times takes this to the point of being almost ridiculous. Her performance has moments where it seems like she isn't even in the situation with how light some of her deliveries are and not in a way where it feels like a natural facade within the situation. It just feels like she's not even in the situation. Going overly light at times where it just didn't seem honest to the moment or the scene.)
McDormand - (I imagine she was there just because she's a producer as well because it was just kind of distracting for her to be in such a small role.)
McCarthy - (Okay now like Ivey I know what she was going for, but it didn't seem at all convincing to me. Instead, her line deliveries, especially her sort of "lessons" about her horses, felt like they came from outer space. Again I think this could've worked if there was more of an internalized sense of putting on the bright smile within the pain, but instead, it just feels like a bright smile without anything going on beneath it until it is a completely separate emotion that is being conveyed instead. Found too often every time she said something it took me right out of the drama because of how brightly and lightly she says most of her lines, and the way her expression seemed with this strange kind of blissful indifference.)
McLeod - (Thought she WAY overplayed so many of her important lines and reaction. That is going for great big bug eyes with so many reactions, really a reaction that should be avoided in most serious-minded pictures, to begin with, but then most of her deliveries are so theatrical felt like she was yelling to the back row with them.)
Hallett & McNeill - (Although saddled with some of the bad awkward lines in the theoretically comedic moments, I did think their silent reactions were consistently on point and moving. Hallett's a bit more than McNeill's.)
Tony:
Well give a rating is much easier just in the process of. If you'd like to know my reasoning for fives in particular look at my review of Joaquin Phoenix in Her. I typically have any idea before the review, though writing some reviews, and appreciating a performance more from writing about them, has helped some performances go up in my mind as I'm writing.
Found the Inspection falls into "good not great" as it revisits a lot of expected territory but does so in a way with enough of its own perspective to earn its place in the boot camp subgenre.
Castillo - 3.5
Woodbine - 3.5
Union - 4
Luke:
Also Women Talking is 100% an ensemble.
What a coincidence, also just watched The Inspection, which I think we pretty much agree on down to the ratings. Pretty much hits the formula beats but felt honest in that, perhaps owing to them being directly coming from Bratton's own personal experiences.
Louis: Thoughts on the cast of The Inspection.
RIP Ruggero Deodato. Director of the controversial Cannibal Holocaust
On a TV related note, finished Derry Girls Season 3 the other day. Loved the whole show, Ian McElhinney MVP.
McElhinney and Tiernan are an absolute joy to watch in Derry Girls.
Louis: What is your opinion on Wint and Kidd from Diamonds are Forever? I believe that once you called them the worst henchmen from Bond movies and I wouldn't agree with that at all. Yes, they were written in a campy, less than stellar way (going for "supreez" methods of killing Bond and all), but they have achieved the thing I consider to be essential to these type of characters: they possess a lot of quirks and unique traits that truly makes them memorable and distinguishes them from average goons, up to the point you can imagine them working on their own without the supervision of the main villain. Only Jaws has seemingly accomplished more in that department.
Really IMO the only bad henchmen from the Bond franchise are the ones that hardly anyone remembers like Sandor from The Spy Who Loved Me, who felt like a boring Kingpin ripoff.
RIP Pelé
RIP Pele.
RIP Pele
Descanse em paz Edson Arantes "PELÉ" do Nascimento.
Louis: Is there a possibility for McKellen to go up to a 5 for Gods and Monsters?
Rest in peace, Pele; May your remarkable legacy continue to be cherished and admired.
On a different note, tonight I re-watched the two part adaptation of Frank Miller's "The Dark Knight Returns" (2012-2013, directed by Jay Oliva).
There are certainly thematic concepts of the adaption worth discussing in depth, such as the specific political and cultural nods which are very much a spotlight on the comic's original era. From a technical sense, though, the film is a consistently tense, effective and honestly scary take on Bruce Wayne - not the righteous, youthful crime fighter, but instead a tired old man with a death wish.
Voice acting is more or less solid here, and I still quite like Peter Weller as Batman, whose properly jaded and grounded in the part. I could also mention Michael Emerson as the Joker, and while I don't "love" his performance per say, he's legitimately chilling in his final scene.
RIP Pelé
What is everyone's choice for Best Supporting Actor this year? I'm currently deciding between Quan and Gleeson, and I'm leaning Quan ever so slightly.
Louis: Thoughts on Bateman, Brand, Gadot, Hammer, Leslie, Mackey and Okonedo in Death on the Nile?
Louis: Ratings and thoughts on the cast of Corsage.
Oliver: My current top 5 is -
1. Quan
2. Dano
3. Schuch
4. Gleeson
5. Keoghan
Oliver:
1. Quan
2. Dano
3. Gleeson
4. Henry
5. Hirsch
Oliver:
1.Quan
2.Gleeson
3.Schuch-5
4.Dano
5.Hoult-4.5
Found White Noise rather interminable. How can it be an exploration of humanity if almost everyone acts like some strange humanoid creature, how can it be satire if isn't funny? Well the answer to both is it can't. The majority of the performers lost in this strange artifice in the film, the story trudging along with pseudo-philosophical conversations which are constant noise, perhaps that's the point but not a point I care to listen to for long. I will credit the film with for its eye-catching production design but not much more than that.
Cheadle - 3
Everyone else other than Driver - 2.5 to 2
Oliver: My current top 5 is
1. Quan
2. Dano
3. Yeun
4. Henry
5. Min
About to lock into White Noise now, hope I like it more than you Louis.
Louis: Thoughts on Cheadle and Gerwig.
Everyone: Your Director top 5's so far? Mine is (having not seen Decision to Leave and Broker yet) -
1. Steven Spielberg - The Fabelmans
2. Martin McDonagh - The Banshees of Inisherin
3. Daniel Kwan & Daniel Scheinert - Everything Everywhere All at Once
4. Charlotte Wells - Aftersun
5. Joseph Kosinski - Top Gun: Maverick
Tahmeed:
1. Steven Spielberg-The Fabelmans
2. Daniel Kwan and Daniel Scheinert-EEAAO
3. Matt Reeves-The Batman
4. Mark Mylod-The Menu
5. Martin McDonagh-The Banshees of Inisherin
Louis: Your thoughts on the 'I made you look like you could fly' scene from The Fabelmans?
Louis: Did anyone impress in The Naked Island.
Tahmeed:
1. Todd Field (I can’t believe I’m saying that.)
2. Park Chan-wook
3. Steven Spielberg
4. The Daniels
5. Matt Reeves
1. Park Chan-wook
2. Jordan Peele
3. The Daniels
4. Charlotte Wells
5. Audrey Diwan
1. Park Chan-Wook
2. Todd Field
3. Charlotte Wells
4. Joseph Kosinski
5. James Cameron (sue me)
1.Park Chan-Wook
2.The Daniels
3.Matt Reeves
4.Robert Eggers
5.Mark Mylod
1. Park Chan-wook
2. Todd Field
3. Martin McDonagh
4. Steven Spielberg
5. Charlotte Wells
Louis: Your thoughts on the screenplay of Yi Yi.
Tahmeed:
1. Park Chan-wook
2. Robert Eggers
3. Luca Guadagnino
4. Daniels
5. Martin McDonagh
Forgot about Eggers. Move him to 4th or 5th slot on my ballot.
Tahmeed:
1. Steven Spielberg (It had everything to be another boring Oscar-bait from the director, but just like WSS Spielberg managed to surprise us again)
2. Park Chan Wook
3. Robert Eggers
4. Daniels
5. Martin McDonagh
1. Paul Dano
2. Brandan Gleeson
3. Barry Keoghan
4. Ke Huy Quan
5. Steven Yeun
By the way, saw the new Puss in Boots movie, and I’m trying to come to terms with how fricking *good* it is.
Tahmeed:
1. Steven Spielberg
2. Park Chan-wook
3. Daniels
4. Robert Eggers
5. Charlotte Wells
Could go back and forth on Spielberg and Park.
Well and The Whale...
As a two-hander between the dying obese man Charlie and his nurse, whom he shares a personal connection with as well, this might've worked. As it is, it rarely worked. The film is all over the place and extremely messy in its attempts to cover so many different topics, very heavily handily, extremely melodramatically, and often quite improbably. The idea of natural human interaction occasionally pops its head up but too often gets sidetracked by rather rote and very artificial detours into ramblings about a highly specified religion or just kind of emotional posturing of different sorts. To exacerbate further the film wishes to give all this suffering a positive spin, however, it rings thematically hollow to all that came before, and all I could think was "citation needed" when it praised the nature of humanity by the end of it.
This may be in part because Darren Aronofsky's films in general have the opposite viewpoint and I'd say he maintained that viewpoint here, important to note he did not write this film. Much like in Requiem for a Dream, when he depicts Charlie gorging on food, suffering from his physical ailments, or just his body in general, it feels more so as a specimen to examine than a human to sympathize with. Particularly evident whenever someone is surprised to see Charlie, Aronofsky always makes sure to capture their automatic disgust to look at such a man. Of course, this doesn't stop him from attempting sentiment by going for the most obvious orchestral swells one could imagine, something that isn't automatically bad but it must be earned, which it is not.
Sink - 2.5
Chau - 5
Simpkins - 2
Morton - 2
Louis: And thoughts on the cast of The Whale.
I also forgot about Eggers, put him at number 5 instead of McDonagh. Keeping Mylod at number 4, terrific work there.
Also I watched the remake of The Jungle Book (2016). The original has always been one of my favourites. This one...no. No.
Sethi-2(Incredibly awkward child performance.)
Murray-3.5
Kingsley-3.5
Johannson-2.5(No one can top Sterling Holloway, but even ignoring that she just doesn't fit.)
Elba-2.5(Kinda lame, especially compared to George Sanders.)
Walken-2(Way off.)
Tahmeed:
1. Steven Spielberg
2. Park Chan-wook
3. The Daniels
4. Robert Eggers
5. Joseph Kosinski
Tahmeed:
1. Park Chan-wook
2. The Daniels
3. Steven Spielberg
4. Jordan Peele
5. Matt Reeves
Louis: Your thoughts on the voice of Jeffrey Wright.
Luke, with only Bill Nighy left to see, what are your final lineup predictions (official and alternate).
Supporting
Quan
Gleeson
Keoghan
Dano
Hirsch
Dano/Turturro
Schuch
Hopkins
Hoult
Whishaw
Extras:
Redmayne
Rylance
Lead
Butler
Fraser
Farrell
Nighy
Mescal
Skarsgård
Song
Park
Chalamet
Fiennes
Pattinson
Rylance x2
Kammerer
Calva/Pitt
For the last spot, I'm leaning towards Christopher Abbott. If Farrell gets a 4.5 for After Yang then I think Louis will want to spread the wealth around abit.
I'm not sure about Whishaw for the alternate because Calvin only gave him a 3.5, and he was a much bigger fan of that film.
I'd personally prefer Redmayne over both the Batman guys and Rylance for an Alternate lineup.
Tahmeed: I'd be fine with Redmayne taking a spot in the prediction contest but I could definitely see Louis doing special write-ups for both Rylance and Dano (A film that he has to Re-Watch to determine whether Pattinson makes the alternate lead lineup).
Anonymous: Yeah but he went the complete opposite on McCarthy and McLeod.
And if the majority are dead set against Rylance then I'm fine with Henry getting it for Causeway.
I need to see more opinions first before ruling out Whishaw.
Luke:
Castillo - (His performance is part the tough drill sergeant where he brings the sort of cold distance, however eventually combined a much more complicated relationship, which i think he realizes well through an internalized sense of the needs of the man that never seems false nor overwhelming of the rest of his work.)
Woodbine - (Just fine addition to the tough drill sergeant type, doesn't leave as strong of an impression as others overall however certainly brings the blunt intensity as needed and enough of a nuance later on in showing the more complex sense of the character.)
Union - (I'm slightly surprised she managed to get the nomination because of how little screen time she does have. Union though is effective in both of her scenes creating a sense of the relationship between the mother. In both bringing the sense of history that she manages to mix in equal parts a more earned sense of exasperation with the son who seems to be unable to turn his life around, with a more spiteful sense of prodding insecurity towards her son's sexuality. She is wholly convincing to the point that I don't think it would've been the film's detriment to have more of her in the film.)
Ytrewq:
The problem is I find them utterly ridiculous before we hit the Moore era where that was the norm, they were the start of it, and that whole switch for Bond was never something I cared for.
Oliver:
No.
Anonymous:
Bateman - (Not as aggressively hammy as his performance in "Express" but still a bit too over the top. Does find some honest emotion in there somewhere though so I didn't hate his performance, unlike the first time.)
Brand - (One of the most surprising performances I've seen because he is 100% dialed into the subdued emotions of the character and is entirely convincing in that approach. It is weird actually because everyone is having a bit of a hammy day in the film, yet Brand keeps it calm the whole time which is kind of fascinating to see.)
Gadot - (I mean like any other non-Wonder Woman performance from her, she is just kind of there with some slightly awkward line deliveries once again. Her failing to really make the proper impact particularly if you compare her performance to Louis Chiles's performance from the original adaptation.)
Time share salesman - (Bland and boring.)
Mackey - (Delivers on the femme fatale energy quite aptly without overdoing it either. brings the right allure but with enough of a sense of the emotional betrayal behind the behavior.)
Leslie - (At this point I don't entirely remember her performance, so I wouldn't say that is the best sign either way.)
Okonedo - (I typically like her a lot but here thought her weird kind of raspy Viola Davis as Ma Rainey impression didn't seem like the best choice.)
Luke:
Krieps - 4.5(Her performance manages to find the right blend between a modernistic cutting but still with this sort of regal sense of a particular state of time. Krieps approaches every singular scene with her own sense of particular engagement where she crafts the way her character goes about the world her own way, though this if often to her own detriment. She manages to find the right sense of personal power but also frustration at other times that naturally goes from one to the other, of the woman who has a powerful sense of self yet can't exactly be herself either. Although I didn't find the film itself always engaging, Krieps's performance finds some dynamic energy in every scene that gives a sense of the portrait of the woman's strange state of knowing herself yet being forced to be within a certain role. Giving a consistently captivating turn in this journey, even when the journey itself loses such a quality more frequently than not in the overall film.)
Found everyone else fine if not entirely memorable one way or the other.
Cheadle - (I mean more than anything I enjoy Cheadle just as a performer and has a nice comic energy that actually made the weird dialogue work for me, just a bit.)
Gerwig - (As I've made clear before I don't care for Gerwig as an actress, and would be fine if she devoted her efforts entirely as a writer/director. Gerwig here I found really awkward where her performance, unfortunately, became most like the material itself which felt forced in both its attempts at comedy and emotion. Was never for a moment convinced by her as her character and found she often was detrimental to the film as a whole.)
Everyone is good in The Naked Island but it is decidedly not an actor's film.
Sink - (Has maybe the biggest challenge with just how ridiculously overwritten her character is and just how aggressively antagonistic the part is as written. It never feels like natural bitterness it feels like a contrivance, which is only amplified by the overall eccentricity of the character that only compounds things further to make the character just seem completely artificial. Starting at that point Sink struggles to craft any reality with the character who is so frequently one note, that she too becomes one note and kind of false. I never believed her or her emotions, but hey this is a sliding scale in this film.)
Simpkins - (Speaking of not believing this character just is so ridiculously contrived that I don't know what any actor could do with it fully. Simpkins I don't think helps matter though in playing the part that always seems slightly phony even when he's not supposed to be phony. It always stays this artificially contrived idea of a character rather than anything close to an approximation of a real person.)
Morton - (I'd say she has the least against her in terms of the writing, though Aronofsky probably is pushing in the wrong direction given her typical reliability as a performer. Morton though goes to an eleven so quickly here that it just comes off a ridiculous, every time she screams, which is too often and too quickly, it comes off as just ACTING in the worst way. When not doing that she's less bad, but it isn't enough to convince me of her character in any way shape, or form.)
Chau - (All the credit into the world because no matter what she has to do and say, and also is dealing with a lot of contrived moments, Chau overcame it for me. Chau's performance insists on pitch-perfect honesty no matter what she is forced to do. I was truly impressed by her because of just how naturally Chau brings to life every moment. Now it does help a bit that she is working with the better material that there is, and creates a moving sense of her own character's sense of care and frustration in equal measure. Chau though in even this I think always tip toes so effectively around sentiment or awkwardness to create a real sense of emotional attachment in these moments. The sense of history always feels absolutely real between them and Chau is consistently on point. What I was in a way even more impressed by was dealing with the super over-the-top moments, where I felt Chau managed to naturally find the emotional states of frustration that earned these moments of lashing out, even as I still found the film itself overall didn't earn them. Chau though always delivers them from a place of honesty with a sense of the person within it, never just an idea being sold or a sentiment being sold. She's consistently great and it is particularly impressive work because the part is filled with pitfalls, every one of which she avoids.)
8000's:
Cool rasp at its best.
Hoping Fraser is a 5, but I won't hold my breath reading your thoughts on the film overall.
Glad to see Chau get a 5, ay any rate.
I wasn’t sure how Louis would feel about The Whale overall, but I never doubted Hong Chau would be a 5.
Confession: I watched the first eight (8) minutes of the other 1973 adaptation of A Doll’s House before realizing it was the wrong one. The credits were the smoking gun.
“Wait, where’s Anthony Hopkins?”
Louis: Ratings and thoughts on the cast of Black Mirror: White Christmas.
Hey guys
Say the names that will be in the Another Year and Another Official Lineup post tomorrow.
Supporting
Lead
Shaggy Rogers: Its the same two line-ups as yours, I actually think Judd Hirsch will not be nominated at the end of the day but I can't think of anyone to replace him, Redmayne maybe if he gets SAG, Whishaw needs Bafta otherwise he is completely out.
Tahmeed: I get the feeling that it’ll be an Apt Pupil situation, where Louis doesn’t care for the film, yet still praises the lead performance.
Or to reference a more recent film, Manchester by The Sea, although he’a technically less negative about that one.
Shaggy: That is a great choice for a Hirsch screencap.
Louis: ratings and thoughts for the cast of Don’t Worry Darling?
Shaggy: For tomorrow
Quan
Gleeson
Keoghan
Dano
Redmayne
Fraser
Farrell
Butler
Nighy
Jackman
Shaggy: Same predictions as yours for myself, except I’m predicting Henry over Hirsch.
I cannot see how Hugh Jackman possibly gets nominated, his film is dead, I can't see who would vote for him, there would literally be no passion votes for him whereas I can see Cruise getting a bunch of 4th/5th place votes and Mescal getting a lot of passion votes.
Robert MacFarlane: If Henry got in surely that would mean he would be the sole nomination for his film.
RatedRStar: Actually, I’m currently predicting Lawrence getting in. Apple did well last year and this is its only real horse in the race this season. She and Henry have been extensively campaigning. I think she’ll make SAG. Right now this is just a gut feeling, mind you.
Robert MacFarlane: That's what I was thinking, I can only see Henry getting in if Lawrence also gets in, I can't see Henry getting in over Hirsch as a sole nominee.
Happy New Years Everyone!
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