Best Scene: Near the end.
9. Joe Seo in Spa Night - A decent if limited portrayal of sexual repression.
Best Scene: "gay chicken"
8. Paul Dano in Swiss Army Man - Dano offers some honest reality to a completely absurd concept and shares a striking chemistry with his odd co-star.
Best Scene: "Bus Ride"
7. Nawazuddin Siddiqui in Raman Raghav - Siddiqui gives a impactful and disturbing portrayal of a man with a calm psychopathy.
Best Scene: Earl Speech
6. Don Cheadle in Miles Ahead - Cheadle gives an effective portrayal of the two extreme sides of Miles Davis, though the film's sloppiness diminishes his efforts just a bit.
Best Scene: Talking about his music.
5. Jarkko Lahti in The Happiest Day in the Life of Olli Mäki - Lahti gives an endearing and moving portrayal of the man who is having the most important day of his life though not for the expected reasons.
Best Scene: Boardwalk conversation.
4. Adrian Titieni in Graduation - Titieni gives a compelling portrayal of a man who is blinded by a singular conviction.
Best Scene: Asking for a favor.
3. Hiroshi Abe in After the Storm - Abe gives a moving portrayal of a man who never quite comes to terms with his own immaturity.
Best Scene: Getting bad news from his wife.
2. Shahab Hosseini in The Salesman - Hosseini gives a wholly captivating and powerful portrayal of a man seeking revenge though as a man completely alien to the concept.
Best Scene: Just one more thing.
1. Tadanobu Asano in Harmonium - Good predictions Shaggy, Calvin, Brazinterma, Tahmeed and Oliver. Asano dominates his film with his unpredictable performance that leaves a most haunting impression.
Best Scene: Revealing his intentions.
Next: Review of Woody Harrelson and updated supporting.
128 comments:
Louis: Ratings and Thoughts on the rest of the lead performances.
Female Lead and supporting top 25s with ratings and other 4+ honourable mentions.
And your 2016 wins.
Sucks that Your Name diminished for you slightly, but glad it's still in the top ten.
Louis: Your thoughts on the screenplay, and your #11-25 films of 2016?
Louis: Thoughts on the Critics Choice nominations.
Congrats to Kim Min-Hee on winning Best Actress.
Screen time data for The Fabelmans (2022)
- Gabriel LaBelle - 1:26:48 (57.58%)
- Michelle Williams - 52:24 (34.76%)
- Paul Dano - 42:30 (28.19%)
- Seth Rogen - 16:20 (10.83%)
- Mateo Zoryan Francis-DeFord - 12:52 (8.54%)
- Judd Hirsch - 8:03 (5.34%)
- David Lynch - 2:49 (1.87%)
Matthew Stewart once again bringing math to out aide.
Louis: Any updated thoughts on Kim Min-Hee. What about her work improved for you on this viewing? It's a huge upgrade and I'm happy to see it.
Seeing the award nominations so far it looks like EEAAO is going to perform well outside of the acting categories at the Oscars, which I wasn't sure about at first. Babylon might perform better than First Man, and Avatar is about a lock for director and picture.
Louis: Having just seen Banshees of Inisherin, just like Calvin said, the film I feel most resembles this is my and your favorite film of 1970, Ryans Daughter =D.
Little surprised we won't be getting a full supporting line up, but if there simply isn't many review worthy choices left, I understand.
Also, I saw Louis' updated ranking of 2016's best actor race, and I have to say...I can agree with the positioning. Gosling being 5th makes sense in the scope of his character/competition, even though it's still an effortlessly charming and well rounded turn that delivers on pretty much every front.
I while not everyone may agree on Garfield being over Affleck, I heed the famous words of Obi Wan Kenobi by recognizing that choice "from a certain point of view".
Louis, ratings and thoughts on the cast of Black Adam.
Delighted to see:
Kim Min-hee take the win - and Handmaiden for Editing and Costume Design too!
Paterson all the way up to #3!
Park and Jarmusch for the top 5 is very pleasing.
Could I have your extended thoughts on Park's direction now that you've revisited Handmaiden? I'd ask the same for Jarmusch but I think your Letterboxd review summed it up pretty nicely.
Also, Asano winning this lineup probably means he's going to be a top 5 in Supporting.
Calvin: I think he'll get 3rd or 2nd.
Would love to see a Hailee Steinfeld upgrade by the end of this.
Louis: Your #6-10 for Score and Cinematography?
Louis: Your #6-10 for Director?
Louis: ratings and thoughts on the cast of Black Adam?
Just want to mention, Louis, that I really appreciate how often you highlight non-English-language performances. There's an odd tendency with most awards (both in the industry and among critics) to only give English-language actors the time of day, and I like that the performances you showcase are diverse and put a spotlight on performances that would generally go ignored by most people.
With that in mind: How would you cast a Korean version of Breaking Bad?
Pretty much loved The Fabelmans entirely, with the reservation that I really didn't care for one of the central performances, which of course is the one they're pushing for all the awards. That problem aside, this is a beautiful film and Spielberg and Kushner should probably always work together forever because they make magic together. I should note I also thought this was John Williams' best score in quite some time.
LaBelle-4
Dano-5(Flawless work. Loved every single thing he did here.)
Williams-2(Look, I understand what she's meant to be doing here, but every minute of it feels forced and completely fake. She also starts at way too broad a note to begin with so there's nowhere to go. Also, she's 100% definitely supporting, and the fact that she is is actually kind of important to the way the film uses her.)
Rogen-3.5
Hirsch-4.5
Butters-3.5
"The Greatest Film Director who Ever Lived"-4.5(Yes, I will go that high, he was amazing.)
I'll just say that, while she won't make my lineup, I think Williams' work has set okay with me ever since I decided to interpret the role like it's the DSM-V. If you interpret Mitzi as a diagnosable Narcissist, the artifice and exaggeration of her approach along with the redundancies of the arc make a LOT more sense.
I do heartily appreciate everyone on here staying coy about the cameo even as the internet around me does everything in its power to state out every detail and throw screenshot after screenshot in my face before I can experience it for myself.
Will probably watch The Fabelmans sometime in the next day or two. Intrigued to see where I'll stand on Williams and am hyped for that cameo, Film Twitter notwithstanding.
Saw Aftersun. I think a lot of the common A24 tropes that we usually discuss are found here but I feel they’re used quite effectively this time. The film is exploring the intersection of memory and retrospective knowledge, so Charlotte Wells goes for minimal score, distant camerawork/framing (in centering the child’s perspective over the father’s), sparse writing, dialogue and plot, some great, beautifully graded cinematography- some standouts are interspersed; a mix of Sony DVR vignettes and flashing strobe light dancing sequences along with Mescal’s understated work give the film a traumatic and tense stress beneath what appears to be a happy vacation. Solid film overall but very A24y. Just a heads-up if that’ll throw people off.
Mescal - 5 (Great work, almost entirely internalised which adds to the underlying tension of the film. It’s clear he’s going through things mentally but he tries to put on a brave face for his daughter. Beautiful work overall and I can’t wait for Louis to give his thoughts on his performance cause I think he’ll appreciate the lengths he went to be minimalist here).
Coric - 4.5 (Not as huge a fan of her work. She’s got a huge future ahead though but the key bent to her work is handled by an older actor for her character. She’s supposed to have a coming of age thing here though and she handles it quite brilliantly).
I don’t want to see the Whale but I’ll have to. Anyone here seen that or Fabelmans?
Nanou: Several folks on here including me have seen The Fablemans. The only one on here that has seen The Whale so far is Michael McCarthy (or that has at least mentioned doing so).
I am in absolutely no rush to see The Whale at all. Sorry Brendan Fraser, but I sincerely hope you keep getting good projects.
Louis: my request for winning this prediction is Franz Rogowski in Transit (2018 Lead).
Louis: Tell me from the year 2016 which are your TOP7 best:
- Song
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Character of the year (name and the film)
- Cast
- Blockbuster
Luke: As we're heading into the recommendations period, have you decided on your pick.
Nice to see you back Thomas. I'm picking a Scandinavian film, that's all I'm gonna say until hopefully this weekend.
Honestly, I am completely on board with the rankings of #3, #4 and #5 of the 2016 nominations. That's exactly how I would rank them as well, as I mentioned in a past comment about Garfield deserving a higher rank than Gosling especially. The only difference remains the ranking of the top 2. Washington, for me, is an easy win from the lineup. I am genuinely coming to terms with it being one of the top 10 best male performances from 2010s decade.
So I got around to watching Bones and All today and I was rather surprised by how much I dug it. There's a lot in this movie that really shouldn't work but it does. Like others have said, it makes the unbelievable feel real. It's been described as a genre fusion but above all else it's a road trip romance similar to Badlands. There's horror elements and there's humor but there was never a drastic change in tone that threw me off. There's no big shock horror or overly silly moment that felt out of place. Russell and Chalamet were great here. Excellent really. They both give quiet and honest performances. It's because of them the film works as well as it does. This made me completely revaluate Chalamet as an actor after he disappointed me in Beautiful Boy and Dune. His chemistry with Russell was good. What I loved the most though was the internal fight that he goes through throughout the film. His reactions to Russell's crisis are great, and his big scenes (I think one scene should've left the unspoken be, but he was perfect there) are the most well acted scenes of his career so far in my opinion.
I understand the reservations with Rylance, but I enjoyed what he was doing. Sully is a fairly complex character and I think Rylance did a lot right. There's a lived-in quality to his work. He had warmth in his moments early on with Russell and he portrayed the obsession and frustrations of his character later on believably.
Chalamet - 5
Russell - 4.5
Rylance 4/4.5
All the supporting players are either decent or quite good.
If Mescal, Calva or Pope get the 5th slot then it'll be the first time in history that all 5 nominees have had no prior nominations and the 1st since 1934 when it was only 3.
A bit late on this, but it is worth mentioning that Tom Cruise gave back all the awards he had won over the years from the Globes. Knowing the Globes, that was 100% the reason they didn’t nominate him for Maverick. He’s probably still in play for the fifth spot.
Bryan: If he gets the SAG nod then I think its a done deal.
Louis: ratings and thoughts on the cast of The Lost King?
Luke:
Treadaway - (A performance that I think could've easily gone the wrong way and could've easily sunk the entire film. An extremely tricky performance because he's in what is theoretically a kind of light entertainment however the central character is dealing with some very dark problems. Treadaway manages to balance both sides of this rather beautifully in his work. When he needs to go darker in portraying the heroine addiction of his character he does so in a way that feels honest in its desperation however he doesn't go so far that becomes too harrowing for the nature of the film. On the other hand, he brings as much conviction to the friendship between the man and the cat. Treadaway avoids becoming too twee by managing to bring the same commitment to talking to the cat as he does in the moments of raw addiction. Neither feels forced because he is as honest in both finding the right tone for each and being convincing in each.)
Parker - (Only considering the work Parker gives a very good performance that honestly rises above his rather tepid choices as a director at times. He does a better job internalizing and conveying the journey of Turner than we see illustrated in the progression of the film. Bringing the right passion of the fiery preacher that manages to go from a sort of stoic calm to a more intense anger that realizes the passion. Combined with moments of reaction and reflection where we see his horror at the different events well internalized to relate to the man slowly going from just doing what he is told to being ready to use violence against his oppressors.)
Martinez - (A fine performance in balancing humanity with a kind of pompousness. He balances the two sides effectively by definitely conveying a constant ego that defines the man even if there is still needed humanity beneath it all. He's particularly good in the moments of putting his money where his mouth is when telling his stories with calm precision, however, is as honest in his awkwardness as he is unable to deal with his fans wanting something from him or his enemies wanting to take a piece of him in a different way. Martinez balances both sides to give a convincing portrayal of both good intentions but also where a system of success can eventually lead.)
Oyelowo - 4.5(Although the film is repetitive he has a strong chemistry with Pike in that you understand their simple love for one another that will stand up to the intense scrutiny they will all face. Oyelowo though is effective in playing the layers of the man who in moments is the ideal diplomat just calmly stating his position, the passionate man trying to fight for what he loves, and really a more scared quality of someone not always in safe desperate to maintain it. Oyelowo is convincing in each aspect and balances them appropriately to give variation and nuance to the character, even when the film is a little too much of the same at times.)
Egerton - (It's a fun performance where he does mannerisms well and fashions them into his energetic being that manages to be endearing rather than annoying. He brings the right type of unabashed foolishness of a man too unaware not to try to succeed despite his situation. Egerton brings the right simple joy about the prospect that creates the sense of the man just trying his best even when that best might be far from the standard of greatness.)
Considine - (Considine gets the featured role of the man who right in the apocalypse yet then the film wants to treat him like a villain. Considine brings the right kind of hard edge where you see the kind of nihilistic passion of someone too beaten down to accept anything other than a threat and treats everything with suspicion. Considine delivers this blunt intensity well.)
Mastoura - 3.5(Although I think the film itself takes the central idea a little too far in terms of just how reserved everything is I do think Mastoura gives an acceptable enough internalized performance. Doesn't quite find the ideal balance between showing the audience while not showing those around him, but isn't terrible either.)
Christmas - 3.5(A decent enough coming-of-age style performance. He doesn't leave too much of an impression however brings a believable frustration and a convincing enough sense of someone who is just trying to impress the best he can.)
Duplass - 3.5(Pretty good in the scenes with Paulson where they are just having fun or waxing nostalgic. They share a strong chemistry with one another and are effective together in creating a sense of their shared history as friends. Duplass though I think struggles with his big emotional moment that goes into ACTING territory which doesn't feel wholly honest.)
Thomsen - 3(He's fine in terms of portraying what he needs to portray however has too little personal charisma to overcome the less-than-likable nature of his character.)
Murphy - 1.5(The man who is completely perfect and who not only provides all foods and services but also even gives you money. A completely ridiculous caricature of a caricature. Murphy doesn't work here at all. He is overwrought whenever he is yelling, seeming like he isn't yelling about anything in particular whatsoever. Then the rest of the time he is stoic in a way that is just dull, very very dull.)
I mean honestly, there's not much to say, particularly with how many nominations they have in some categories, but you can derive a bit of info in terms of how a large group will vote on a film they like. So there you can see Keoghan has the passion to go with Gleeson. Hirsch and Dano both have support. Buckley may be THE focus, given now that Foy has missed several times entirely now, and with Buckley being the previous nominee that only helps her further. Kosinski really is getting an unfair short end but it seems like no one is giving him credit for the film when they should be. And again no overlap, but it does seem like RRR will be the non-English film that can break through rather than Decision to Leave.
Actress:
1.Kim Min-hee – The Handmaiden
2.Emma Stone – La La Land
3.Amy Adams – Arrival
4.Isabelle Huppert – Elle
5.Ruth Negga – Loving
6.Trine Dyrholm - The Commune - 5
7.Mariko Tsutsui - Harmonium
8.Natalie Portman – Jackie
9.Youn Yuh-jung - The Bacchus Lady - 5
10.Hailee Steinfeld – The Edge of Seventeen
11.Isabelle Huppert – Things to Come
12.Sonia Braga - Aquarius
13.Annette Bening – 20th Century Women
14.Kristen Stewart - Personal Shopper
15.Emma Suarez - Julieta - 4.5
16.Anya Taylor-Joy – The Witch
17.Marion Cotillard - Allied
18.Mary Elizabeth-Winstead – 10 Cloverfield Lane
19.Elle Fanning – The Neon Demon
20.Kim Tae-ri – The Handmaiden
21.Kate Beckinsale – Love and Friendship
22.Sasha Lane - American Honey - 4.5
23.Lou De Laage - The Innocents - 4.5
24.Cynthia Nixon - A Quiet Passion
25.Helen Mirren – Eye in the Sky
And:
Sarah Paulson - Blue Jay - 4
Felicity Jones – Rogue one
Taraji P Henson – Hidden Figures
Supporting Actress:
1.Taraeh Alidoosti – The Salesman
2.Kirin Kiki - After the Storm
3.Felicity Jones – A Monster Calls
4.Imogen Poots – Green Room
5.Jena Malone – The Neon Demon
6.Abbey Lee – The Neon Demon
7.Viola Davis – Fences
8.Nicole Kidman – Lion
9.Janelle Monae – Hidden Figures
10.Lupita Nyong’o – Queen of Katwe
11.Lily Gladstone – Certain Women
12.Angourie Rice – The Nice Guys
13.Molly Shannon – Other People
14.Tilda Swinton – Dr. Strange
15.Lucy Boynton – Sing Street
16.Elle Fanning – 20th Century Women
17.Oona Airola - The Happiest Day In The Life Of Olli Mäki
18.Tilda Swinton – Hail Caesar!
19.Rym Ben Messaoud - Hedi - 4
20.Ye Soo-jung - The Bacchus Lady - 4
21.Ellie Grainger – The Witch
22.Rachel House – Hunt for the Wilderpeople
23.Satomi Kobayashi - After the Storm
24.Janelle Monae – Moonlight
25.Kate Dickie – The Witch
And:
Helene Reingaard Neumann - The Commune - 4
Sigourney Weaver – A Monster Calls
Tahmeed:
Your Name's screenplay is in many ways its strongest aspect. Structurally it is very risky with the various jumps in narrative moments, and while I wonder now if the specifics of the evacuation climax could've been realized slightly differently, everything else pays off in these risks in terms of the narrative. It creates the sense of the characters in the viewers not understanding exactly what is going on and creates that sense of discovery both in terms of the mystery and emotional investment with its unexpected reveals, particularly the meeting scene. What it also excels with is just crafting the life of the two characters and even revealing these as mysteries by having each character discover them through their own lives. Having the contrast between the life of Tokyo versus the country, but also just giving detail to their friends or their family, creating a sense of each of their worlds in their own particular ways. It builds the connection successfully even without the interaction and creates an investment in their relationship, in part through the fun of these scenes, that naturally segues towards the unexpected drama of the second half. It's a screenplay that wants to get you to care about two people just turning around in the end, and it is wholly successful by articulating every aspect of this journey with the depth of character while also being compelling in terms of the turns of the narrative.
11. The Happiest Day in the Life of Olli Mäki
12. Moonlight
13. Captain Fantastic
14. After the Storm
15. Weiner
16. Sing Street
17. Edge of Seventeen
18. The Age of Shadows
19. Hacksaw Ridge
20. Eye in the Sky
21. A Monster Calls
22. Train to Busan
23. Deadpool
24. The Neon Demon
25. The Witch
Oliver:
I already was a fan of her performance however it wasn't surprising to me that I got more out of her on the second go around because her performance has so much to do with the twists and turns in the film. Looking back you get so much out of what Kim is doing in playing the moments of the more innocent woman looking for escape and see underneath that in her performance where she conveys the secret incisiveness. Throughout her performance, she is always playing a little more than is expected and her performance is fantastic in being able to play both the moment of what she is showing to someone else, which she manages to be seductive in multiple ways, innocent in different ways, while also playing each facet of the woman from the most intimate point of view of someone in a terrible life trying to get out of it, or also the immaculate performer as the dramatic reader of smut. Just effortless work while also being so complicated all the same.
Anonymous:
Johnson - 1.5(One of his worst performances honestly. He just feels stilted and awkward here for the most part. He completely hides his charisma which is a gigantic mistake and instead tries the stoic comedy which falls flat given how bad the comedy is.)
Hodge - 2.5(I could see him being very successful with this character if the film was much better than it is, sadly its not, so he's not.)
Brosnan - 3(He's the best part of the film and it is easy to appreciate the bit of cheekiness he brings to moments that add to the film importantly since the writing is so bad. Unfortunately, even he can only do so much.)
Centineo - 2(Nice try but doesn't quite work.)
Kenzari - 2(Boring villain is boring.)
Shahi - 2.5(Doesn't do terribly with some of the exposition, as clunky as it is, but has some pretty dull reactions in what should be more emotional.)
Sabongui - 1(Aggressively annoying yet also quite dull at the same time, not a good combination.)
Amer - 2(Very weak comic relief.)
The real MVP is Henry Winkler for getting paid to literally phone it in.
In regards to "Black Adam", which I still haven't seen for full disclosure, I can say a few things...
- I was sort of hopeful for Johnson in the part, because if you recall his early WWE career, he did play a rather good heel. I'm not surprised at the general response to his performance, though, from Louis and others.
- This sort of ties into the first point and the inherent difficulty with the role. As a general DC fan, if I'm being completely honest, I don't find Adam to be an especially interesting character. His backstory, connection to Egyptian myth and ambiguous morality are cool, but personality wise, I find he can be a "stick in the mud", so to speak. There's just not a lot to mine with the character's demeanor/motives, so that kind of puts any actor at a natural disadvantage.
- I can't remember which review this was (it could've been deleted for all I know), but I remember reading one section of a film review that basically said this: "I don't care that Fate pre-dates Doctor Strange, when Benedict Cumberbatch has cornered the market on sarcastic, goateed sorcerers - to the point where Brosnan's take feels like dress up".
I guess my knee jerk response to that would be 1) kind of a low blow to Brosnan, and the biggest role he's gotten in a while, and 2) kind of a low blow to the Doctor Fate fan base, a character who in many ways surpasses Strange in history/abilities.
I really like RRR, but gotta say Decision to Leave is on another level for me (though ideally both could be in contention)...wish it was getting a bigger push. Least Park has the Cannes Best Director award.
Delighted to see Youn get another 5.
Oh yeah, and Kosinski getting left off a nominations list of 10 when they loved Maverick that much...weird!
Forgot Ethel and Ernest that would be #16.
Calvin:
Park's direction is fascinating as we get to see his approach to a period piece, which is in so many ways the anti-period piece against the traditional terms. Park though is about unlocking this within his direction just as he also does so in his screenplay. We are granted in each segment the slow subversion of every expected element. As initially we are given the expected qualities when going to the estate and Park's direction in terms is a bit more of a purposefully held back just at first. Park slowly plays his hand more, the more we learn just how twisted this world is inside and out. He unlocks a combination where he does have moments of sweeping romance where there is so much potency to what he can do with the music in a moment of the escape but also knows how to amplify the twisted elements because of unorthodox choices, particularly in the perceived genre of the film. Take just his aesthetic choices that are beautiful to look at yet in every bit of it, there usually is some secret element that twists it in a such specific yet kind of perfect way. I think what makes Park's work so remarkable here though is his ability to temper just as he also knows when to go all in. There are key moments he allows to settle while others, often time theoretically simpler in terms of what is going on, he energizes through his unexpected movement and angles that never feel gimmicky either. Park's work is that of the sweeping period romantic in a way, yet also demented in a way, and it is the way he makes this effortless combination that is the true genius of a cinematic master. He matches his own story in that while you can never expect each turn, you can also never expect how Park will approach a moment, other than his staging is going to be brilliant and fascinating in some way.
Razor:
Score:
6. Swiss Army Man
7. Hell or High Water
8. The Neon Demon
9. Arrival
10. Paterson
Cinematography:
6. Live By Night
7. The Happiest Day in the Life of Olli Mäki
8. Café Society
9. Hail Caesar
10. Jackie
Shaggy:
Director:
6. Keith Maitland - Tower
7. Makoto Shinkai - Your Name
8. Juho Kuosmanen - The Happiest Day in the Life of Olli Mäki
9. Barry Jenkins - Moonlight
10. Nicolas Winding Refn - The Neon Demon
Agreed on all fronts on Park's direction. Quite interesting as while I've always been a fan of him and Bong, it really does seem like they're both currently in their prime.
Brazinterma:
Song:
1. "Sparkle" - Your Name
2. "Audition" - La La Land
3. "You're Welcome" - Moana
4. "Start A Fire" - La La Land
5. "Brown Shoes" - Sing Street
6. "How Far I'll Go" - Moana
7. "To Find You" - Sing Street
Poster:
1. The Love Witch
2. The Handmaiden (trees)
3. Moonlight (three faces)
4. Jackie (Red)
5. Silence (Beach no Neeson)
6. Deep Water Horizon (Simple smoking rig)
7. La La Land (Piano)
Editing:
1. The Handmaiden
2. La La Land
3. Tower
4. Silence
5. Arrival
6. Hacksaw Ridge
7. Train to Busan
Original Screenplay:
1. Paterson
2. Hell Or High Water
3. Your Name
4. The Salesman
5. The Founder
6. Captain Fantastic
7. After the Storm
Adapted Screenplay:
1. Silence
2. The Handmaiden
3. Hunt for the Wilderpeople
4. Moonlight
5. Arrival
6. Ethel and Ernest
7. A Monster Calls
Character:
1. Deadpool
2. Captain America
3. Iron Man
4. Black Panther
5. Doctor Strange
6. Darth Vader
7. Superman
Ensemble:
1. Silence
2. Hell or High Water
3. The Handmaiden
4. The Salesman
5. After the Storm
6. Hunt for the Wilderpeople
7. Paterson
Blockbuster:
Over 100 million I suppose:
1. La La Land
2. Arrival
3. Moana
4. Deadpool
5. Doctor Strange
6. Captain America: Civil War
7. Rogue One
Louis: I know you're not too fond of the film, but could I have your thoughts on both uses of the titular track in Singin in the Rain?
Louis: Lowest 4.5, 4, 3.5 and 3 on that list?
Thinking on The Fabelmans more, I'm gonna bump Rogen up to a 4.
Louis: Your rating for Cynthia Nixon in A Quiet Passion.
Thoughts on the Female Performances
And ratings and thoughts on the cast of The Lost King.
Louis, has Jonah Hill been upgraded. Ratings and thoughts on Rosamund Pike in A United Kingdom, the casts of Everybody Wants Some!!, Billy Lynn's Long Halftime Walk and Pete's Dragon.
Louis: Ratings and thoughts on Joe Alwyn, Blake Jenner and Oakes Fegley.
And Shia LaBeouf in American Honey.
Louis: Thoughts on the production design, editing and score of Stray Dog. The editing in that montage of Mifune walking through Tokyo is particularly fantastic.
Louis: Ratings and thoughts on Sam Rechner and Chloe East in The Fabelmans.
Louis: Ratings and thoughts on the casts of God's Creatures and God's Country.
I watched The Edge of Seventeen and was blown away. The best teen movie of recent years and it's unfortunate that many people remember Lady Bird more than the Kelly Fremon Craig movie, in fact John Hughes would be proud.
Steinfeld - 4.5
Richardson - 3.5
Jenner - 3
Sedgwick - 4
Calvert - 3
Harrelson - 4.5/5 (I intend to review the film, only his scenes.Certainly the most calm and passive character of his career, I really wish someone like that existed in real life.)
Anonymous: Personally, I'd actually say "Lady Bird" is the better film of the two, though I of course enjoy "Edge of Seventeen". It's a funny and rather convincing take on the teenaged mindset, and Steinfeld is terrific in the leading role.
Harrelson's work, meanwhile, is just a wonderful balancing act of deadpan comedy, that evolves into subtle empathy and tenderness as the father figure Nadine lost. It's a modest yet observant turn, and plays to Harrelson's strengths in a decidedly non-showy way.
Hated some parts of Bardo, but I did love some parts as well. Undoubtably indulgent and uneven, however for me if Iñárritu kept editing, I might've eventually fully loved it, as in the end I liked it, even while having to roll my eyes more than once. Anyone who didn't love Birdman though will definitely loathe this.
Louis, Ratings and thoughts on the cast of Bardo.
Louis: Thoughts and ratings on the central performances of God’s Creatures?
Ytrewq:
4.5 : Oyelowo
4: Léaud
3.5: Affleck Live By Night
Tahmeed:
Well, that's one film where I wish I could share everyone's enthusiasm because I see what people are talking about, but I just don't feel it. Anyway, the titular song repurposed is a wonderful romantic ditty in its way, and just warm in its simple charming melody, and lyrics that are just an endearing juxtaposition of finding joy no matter the situation.
Luke:
Dyrholm - (Her performance is impressive slow implosion on one's self from an initial position of seeming strength. As we open the film she has a likability and impressive strength in her manner and conviction as she articulates her desire for the commune to begin with. Her performance in the introduction of the mistress then is a brilliant slow degradation of her mental state. Where she is so great is showing the phases of attempting this kind of perceived progressive manner in her reactions where Dryholm articulates the facade of trying to accept it while also falling apart within her mental state all the same. Leading naturally, and quite painfully towards her implosion where she wholly earns her later scenes that are quite powerful in just revealing the raw nerve of the woman as she can no longer live with her abandonment. Her performance finds the intensity first in the initial moment of lashing out in attempted control, and then later a moment of fully losing that is harrowing to watch due to just how convincing Dryholm is in each phase of it.)
Youn - (Her performance just has so much natural character to it to begin with and I think in many ways she's what keeps it from becoming a complete slog, even though it is a rather depressing affair with the obvious progression of its plot. Youn though brings such an articulated life to the character, even while also showing the painful state of the character who almost treats her profession as this perfunctory aspect of her, though it unfortunately fully defines her in most eyes. Youn finds depth within every interaction here creating a captivating portrait of the woman who is still existing in essentially a younger woman's desperate profession that her age becomes this strange act that Youn so naturally articulates.)
Suarez - (Her performance creates the right momentum within itself as she creates each phase of her relationship that begins with the whirlwind which slowly devolves towards this state of constant frustration at the lack of communication between her and her daughter. Although sometimes plotted by Almodovar in too contrived of a way, Suarez gives a very earnest performance that brings humanity to every phase of the story, granting an emotional truth even when there is an innate artifice in the process.)
Stewart - (Again the film itself I found rather unsatisfying because of how distant it remains, I was consistently impressed by Stewart's performance and how managed to deliver humanity to the proceedings even with that distance. In particular, I like how she performed the reaction of the character to the disparate elements of the plot and managed to unify them within her own work at least to create an honest portrait of her character's struggle through it all, even if diluted a bit by what she is working with.)
Lane - (The best part of her film where she is able to consistently articulate every step of her journey where she grants a sense of both the character being wholly lost while attempting to discover herself. Her performance explores the right sense of the woman looking for a home in a way but never quite finding it with the vagabond. She gives a consistently captivating portrayal of the attempts at growth and true growth along the way, where we see in her reactions a growth in a certain maturity and understanding often in unexpected ways.)
De Laage - (Gives just the right quite impassioned work that manages to carefully consider the reactions of the situation while also internalizing as someone who has already seen much in terms of the horrors around her. Her performance gives the right sense of someone who cares but also in a way must keep a certain emotional distance in order to exist.)
Nixon - 4.5(I thought she was quite good here in managing to balance scenes between complete madness and complete inspirational charm, for me holding some moments together is better than Davies's inconsistent direction at times brought. She brings the right consistent sense of vulnerability that defines her Dickinson, and the intensity that comes from her regardless. intensity at times that seems to be rewarding to others in her insight, at other times far less than that as she lashes out.)
Paulson - (Like Duplass, shares a strong chemistry in the joyful scenes though I think she handles the big dramatic moment a bit better.)
Massaoud - (Brings the right kind of charisma to the performance in showing the woman very much living her life without this hesitation contrasts well against our main character, and easily shows both her allure and also the sense of someone who is disconnected wholly from ideas of repression.)
Ye - (Brings the right sort of knowing quality that works well off of Youn in particular, granting a sense of the shared history between the two, though I wish there had been a bit more of her.)
Neumann - (Essentially a series of reaction shots that I thought managed to give her character a bit more depth, showing in it this awkwardness for the situation but also a sense of the sincere intention to make it all work despite how tense it may seem.)
Hawkins - 4(Well for carrying such a ridiculous notion for the whole film, as my review really wasn't joking all that much, I will give Hawkins credit in managing to articulate this very specific passion in a way that is at least believable within the character she creates with her innately slightly off-beat energy. Although I still think she just wants to have sex with Richard by the end of it, Hawkins made me believe that this woman wanted to have sex with a centuries-old King.)
Coogan & Addy - 3(Both are nice to have around though I don't think either gets to do much other than be mostly supportive with an occasional doubting moment.)
Anonymous:
Pike - 3.5(I like her chemistry with Oyelowo but after they get married she's very much pushed off to the side consistently, which is part of the problem with the film.)
Jenner - (I like his performance, as he manages to not seem just the obvious jock, being that but also finding some charm in that. He manages I think to hit a good enough balance between being a likable lead that is supposed to more so the least character out of them without becoming too bland.)
Powell - 4(Thought he ran away with this role given he managed to make you like this character who is less than likable. Powell though manages to charm through sheer charisma, but also by completely going head-first into the moments that undercut his character. Powell plays the moments of haplessness in a particularly endearing and entertaining willingness to look like the fool.)
Deutch - 4(You can add her to the supporting "And" section as I found her very endearing and charming here. Making the most of her role and I think successfully not overdoing the eccentricity nor the interest of her character in Jenner's. Hits the right tone and is just very winning here.)
Hoechlin - 3.5(I thought he successfully was a bit too much to take without literally being too much to take.)
Guzman - 3(Stood out the least but still good.)
Russell - 3(Brilliant casting and as usual a welcome presence.)
Alwyn - (Manages to find some honesty in every scene even as every scene he's in gets as rote as they come. Alwyn manages to bring a low-key charm while doing so with the striking undercurrent of the palatable PTSD he's going through. Alwyn manages to balance the sides of the character effectively and consistently gives something that I could latch onto even when the film itself wasn't working in the least.)
Diesel - 2(I can buy his more character actor work but not this time around. To me, every one of his philosophical lines felt so forced out of his mouth and just wasn't convinced by anything he did even for a moment.)
Martin - 2.5(I blame Lee more than anything because he neither has him be funny or fully straight, leaving him in limbo and a waste of Steve Martin.)
Tucker - 3(Underused but I did think he brought some much-needed energy to the proceedings.)
Stewart - 3(Has some of the worst lines to deal with, with how hamfisted and rote they are, but she does her best to bring at least a hint of something convincing in them. Can't fully get over their weakness but the attempt is admirable.)
I thought everyone was "fine" in Pete's Dragon but no one stood out negatively or overly positively (I guess I did like just a bit how overly seriously Urban played his part.)
Luke:
LaBeouf - 4(He's not actually in the film as much as one might think as he just wanders in here and there at times. I do think he is good at actually fashioning this kind of grunge charisma to the part and portraying effectively the combination between manipulation and perhaps genuine concern in him. LaBeouf manages to balance both into a convincing character.)
Watson - 4.5(I mean whenever she gets a decent role it is always a good thing. Now I don't think this a great role because so much is left so vague. Watson though can contain so much in a look though, and she certainly does do that. Going effectively from the woman who is kind of just warmly part of it all, and slowly losing that over the course of the film. She can deliver intensity in a way that is all her own, and she does so with such a real potency here, that while it never made me suddenly care about the film, I did at least get pulled into her performance.)
Franciosi - 4.5(I mean she gets to sing and be intense, what more do you need from her? Not much because her she does bring so much intensity even into her singing her. Even if again the writing limits the character, Franciosi is able to say so much of the desperate state of her character with largely just a series of reactions, which are so powerful in her hands as she can allude to so much going on behind her eyes.)
Mescal - 4(Probably in a weird way has the most to say in the film, yet purposefully is mysterious within the narrative to a degree. Mescal plays the required notes well and doesn't overplay either or emphasize either too much. One seeming just the son who seems loving, or liking at least just enough, against the more despicable sort that Mescal wears with an unnerving ease that is quite effective. In turn, I must say I wish this film hadn't had so much environmental filler because I think most of what was needed was here it just was needlessly vague and obscured.)
Newton - 4.5(Single handily holds the whole film together for me because as much as the film goes all over the place I found her to be always on the mark regardless. That is she brings so much history just in her very presence here that when we learn a new thing, Newton has at least suggested it in her performance, though it just suddenly is spoken of within the film. When we have two major scenes addressing very political matters, in I'd say an overly talking way, Newton does help them along because as much as the writing seems a bit forced Newton finds so much genuine emotion within every word painting either the deep seeded frustrations of the past or the current frustrations still. Then even in the central conflict, Newton brings the right power to her work where she finds a stoic quality there, but also with the internalized growing frustration that I think earns the final moment of the film far more than the actual screenplay did.)
Razor:
Both performances I wanted to give the film one more go around to see how I fully felt about them, because they're both big, though in a way that I liked.
Anonymous:
I don't think Cacho is going to be that mysterious spot in Leading Actor, but hey the academy does love AGI so you never know.
Siciliani, Lamadrid, Solano - 3.5(I liked all their performance because I felt they gave some needed honest humanity just consistently even in the more philosophical lines that need to deliver.)
Sanders - (He is indeed in this movie.)
Louis: You got to watch Normal People at some point, because Mescal is GREAT in it.
Robert: Better than Edgar-Jones?
Anonymous: She's also fantastic, though I was slightly more impressed with Mescal's vulnerability.
8000's:
I mean the with essentially all Kurosawa films that production design is incredible in part because you never fully know what is on location and what is in studio, since the switch is seamless. And what is amazing about that is how lived in yet distinct looking each set is, yet how natural they are the same. Even the bus stop is so dynamic looking without being overly stylistic, the same is true of the forest where Murakami confronts the criminal. Every set, every location is immersive by having character, but also being just a place in the right way.
The editing is where you see much of the mastery in Kurosawa, in the ability to convey information visually often is in the editing just as it is in the cinematography and the visual direction. The film has the moments of montage, like the baseball game or the searching through Tokyo where Kurosawa rather quickly conveys much, but take also the final confrontation, which one could (wrongly) say is slow when it comes to a police thriller. Every cut in that scene is brilliant in engaging the tension but also granting the juxtaposition of Murakami know having courage against the cowardly criminal. It takes the time to cut to see the piano player confused at the noise, place perfectly to amplify the tension but it truly takes time, not a quick cut, a longer take is used to put us for a moment as the far observer who wouldn't know anything before putting us back into the intimacy. Daring work for the time in particularly, and altogether great.
Robert:
I'll certainly keep that recommendation in mind.
Louis: How would you rank India's submissions for the International Feature Oscar, out of those you've seen.
Thoughts on the Barbie trailer.
Luke: Don’t know about Louis, but I’ll just say that 2001: A Space Odyssey parodies always get me to laugh. Always.
Tony:
Walter: Choi Min-sik
Skyler: Uhm Ji-won
Jesse: Choi Woo-sik
Hank: Ma Dong-seok
Marie: Cho Yeo-jeong
Gus: Vithaya Pansringarm
Hector: Eric Tsang
Tuco: Chang Chen
Saul: Yoo Ji-tae
Mike: Yeong-cheol Kim
Luke:
I mean that in microcosm was a decent bit, I'm a bit trepidation with any previously successful smaller director going full studio, but hoping for the best based on that.
Tahmeed:
1. Mahanagar
2. The Chess Players
3. Lagaan
4. Mother India
Louis, what are your category placements for Watson, Franciosi and Mescal in God's Creatures.
Anonymous:
Watson lead, supporting for Mescal and Franciosi.
Louis: your ratings and thoughts on the cast of Spirited?
Louis: Ma Dong-seok, Cho Yeo-jeong, and Choi Woo-sik are great calls. What do you think of Song Kang-ho for Walt?
So I actually read Christopher Bond’s play that inspired Sondheim’s Sweeney Todd today on the Internet Archive (you’ll need a free account to read it, I’ll link if anyone asks). The most interesting part of it to me was that in that version, Todd trusts and confides in Anthony a great deal more, to the point where he’s possibly the only character he has any fondness for. So I have a question: Do you think it would have made Anthony a more interesting character if that aspect was kept, or does that go too far in making Todd sympathetic?
Louis: Does the recommendation period officially start after the supporting update, or would you be okay with us giving them now?
Tony: Song was who I was thinking of as well for a Korean Walter, although I think I wrote Choi off preemptively based on his crazier turns (which I love).
Saw Avatar 2 via a friend who had an unused ticket due someone not being able to make it. I regret being able to make it myself, but given its unfortunate future Oscar nominations, guess it was best to get it out of the way. I don't get what anyone is seeing, is it better than the first one, only in maybe getting punched in the stomach isn't as bad as a punch to the face. It's cornball, bland, still hate the Na'vi's odd looking faces and overly smooth movements. Don't think the world is that special particularly the "whatever" design of the creatures. The villains are still aggressively one note. The acting outside of Lang and Weaver is extremely bland. The new story developments are either really dumb, like the deal with Weaver's character, or really more of the same but now it's about Whaling kids!!!! Thought this was going to be a great awards season with so basically only good to great films in contention, sadly that's no longer the case.
Worthington - 2
Saldana - 2
Weaver - 3
Lang - 3
Winslet - 2.5
Curtis - 2.5
The other kids - 2
Champion - 1.5
Falco - 1.5
Clement - 1.5(Why the hell was he trying that American accent?...at least I think that's what it was supposed to be.)
Annual rewatch has officially confirmed to me that Jimmy Stewart in It's A Wonderful Life is my favourite film performance of all time by anybody.
Louis: Ratings and thoughts on the cast of Spirited and thoughts on Weaver and Lang.
Your LB review of Avatar was brilliant. :)
Loved most of The Fabelmans, even with a few reservations, and seems like I prefer Williams much more than the rest of you, though I do agree she does go a bit too big at points to her detriment, I overall liked her work.
LaBelle: 4.5
Williams: 4
Dano: 5
Rogen: 3.5
Hirsch: 3.5
Butters: 4
Berlin: 3
Rechner: 2
Fegley: 3
East: 3
*cameo*: 3.5
Lucas:
Reynolds - 2(He really needs to mix things up at this point, as his performances are all the same these days, and that wasn't always the case for him. I think there was potential in this part but even when mean it doesn't feel honestly mean. Compare it to Bill Murray in Scrooged, who is funny while being mean in the first third of that film, we needed something like that here. Instead Reynolds is pretty much phony mean and therefore there really isn't anywhere for him to go other than no longer being phony mean.)
Ferrell - 2.5(I think he could've worked with a more cynical performance to work against but since both he and Reynolds are so light, there is no contrast. As I didn't hate his earnestness here in anyway, though there is part where I really wish he had gone darker rather than silly. I didn't hate his performance but a missed opportunity to do something more interesting.)
Spencer - 3(Brings the most since of any real depth here to her performance, also good for her with some of the parts she gets, given that she's made such a strong career after her Oscar win, getting roles even beyond a character actor let alone the bit player she began as.)
Mani - 2(Eh bit didn't work.)
Page - 3(All ready it would seem to reprise his role as a live action Frollo, as now he definitely does have the screen presence to pull it off it. Here I think so much more could've been done with this part, but I did like his regal presence regardless.)
Tony:
I can see Song as well, I think Choi's presence is truer to Walter's real nature, which is a bad man who reveals himself rather than a good man gone wrong which I think would be what you'd get from Song. I chose Choi based on Nameless Gangster which has so many of the qualities present needed for Walter.
Robert:
Well I think it would've made Anthony definitely more interesting, and I think could've been a way to work it where Todd had more sympathy however was still the overall villain away from him.
Tahmeed:
You can throw them out now if you'd like.
Matt:
Understandable.
Luke:
Thank you, as I wrap myself up in my aluminum foil blanket.
Weaver - (I mean impressive enough in her vocal work in terms of conveying a greater youth to her character and manages to convey the most genuine emotion out of anyone.)
Lang - (Really I think this comes down to thinking Lang's voice sounds cool, as it does carry a natural menace. There is about a millimeter of depth allowed to his character that Lang does use, but it is almost laughable how halfhearted that element is as written.)
Louis: My recommendations are:
Animated Film: Whisper of the Heart
TV Miniseries: Normal People (would love to get your thoughts on Mescal especially with Aftersun out)
Recommendations: The Hidden (1987) and Black Christmas (1974).
Louis: Submarino (2010).
Recommendations: Gleason (2002), Longford (2006), Robots (2005), World's Greatest Dad (2009), Private Parts (1997).
And if you have time, Kung Fu Panda 2 (2011).
Louis: Have you given your thoughts on the film “A Prophet”/Un Prophete? If so, what are your thoughts on the Audiard direction and the writing, as well as the performances?
Louis: My recommendation is Kozintsev's King Lear. (1970)
Louis: My recommendations.
The Naked Island (1960)
https://m.ok.ru/video/1979389315692
Kuroneko (1968)
https://m.ok.ru/video/2409214839406
Louis: I'll only recommend Black Mirror's White Christmas, and leave it up to you if you want to give The Admiral: Roaring Currents another chance based on the time you have available.
As a side note question, am I in time to use one of my leftover requests for 1960s performance? (1961, specifically)
I've watched The Fabelmans and The Banshees of Inisherin. The first one I've liked quite a lot, but it's Banshees I'd like to give real credit to. One of my favorite movies of 2022, it's impressively shot, contains great performances and tells such a fascinating story that constantly keeps you invested.
LaBelle-4.5
Williams-3 (I'm gonna propose a compromise here and say that she had good moments, but while acting them out she just had to go through every Oscar-friendly type of emotion when it was not needed)
Dano-4.5
Rogen-4
Hirsch-4.5 (8 minutes of screentime and he gets everything right)
Butters-3.5
Berlin and Bartlett-3
Rechner and Fegley-3
The Cameo-3.5
Farrell-5
Gleeson-5
Condon-4
Keoghan-3.5 (not really impressive besides his major scene with Farrell)
We're gonna disagree on Keoghan cause the highlight of his performance for me is his scene with Condon.
Louis, I'll recommend Two-Lane Blacktop (1971). Was my 2nd recommendation from last year.
Cry, The Beloved Country (1951)
Louis: I'm recommending Ludwig (1973).
https://m.ok.ru/dk?st.cmd=movieLayer&st.discId=3607714662926&st.retLoc=default&st.rtu=%2Fdk%3Fst.cmd%3DvideoSearch%26st.search%3Dludwig%2B1973%26st.frwd%3Don%26st.page%3D1%26_prevCmd%3DvideoSearch%26tkn%3D645&st.discType=MOVIE&st.mvId=3607714662926&_prevCmd=videoSearch&tkn=6977#
Or type in Ludwig (Visconti 1973) H Berger, Romy Schneider 1920x740 ENglish
My Recommendations are Paar (1984) and The Working Class Goes To Heaven (1971)
Louis: What is your Production Design top 10 for 2016.
I'm having difficulty finding copies of either film online with Enhlish subtitles so if all else fails then 2 Isabelle Huppert performances you missed in Violette Noziere (1978) and Story Of Women (1988). Both are on OK.ru.
*English subtitles
Screentime data for Banshees is out. Farrell is 60%. Gleeson is 30%.
Alright, I was wrong. Supporting it is.
Could you re-watch Yankee Doodle Dandy (1942). I hope Cagney gets an upgrade.
And The Little Mermaid (1989).
Brazilian recommendations: Rio, North Zone (1957), Black God, White Devil (1964) and The Deceased (1965).
Louis: I’m recommending a Filipino film Manila in the Claws of Light (1975)
Louis: If you haven't seen it I recommend Amarcord from 1973. I see no reason to avoid watching a Fellini film.
Oliver: He has seen Amarcord, no one's ranked because he found it to be more about the direction than the actors.
Louis: My recommendation is a rewatch of The Karate Kid for Pat Morita.
My movie rec is The Last of Sheila from 1973.
Series rec was going to be Normal People, but since that was already said, I'll say give Unorthodox on Netlfix a whirl.
Bonus: They got a bootleg of the Michael Cerveris Sweeney Todd revival on Youtube, you'd like that.
Film recommendation would be Celine Sciama's Tomboy from 2011; television suggestion would be Pachinko.
Recommmodation:
The Wave (2008)
don't know how much you know about the 1981 version, but let me tell you, this is better. Not a lot, but at least we get a tiny bit of a better relation with the teacher (though not a lot, expect to be underwhelmed) with with a student (Frederick Lau, whom you already know from Victoria).
Don't know if you know the Bruce Davison version, which really makes or breaks your opinion depending on this one.
If you do, you will hate this; if you don't, you might at least find some fun in this version, even though the arc of the main teacher (Jürgen Vogel) is kind of rushed (I'm still a fan of his)
(mind the SOME, this is not great turn by any means)
For a series rec Ping Pong: the Animation is worth a look.
For series, I’ll suggest The Haunting of Hill House again (I don’t remember you getting around to it but could be wrong), and movie rec is the 1968 film adaptation of The Seagull.
Louis: I've decided to scrap Paar and Working Class. Violette Nozière and Story Of Women are my recommendations.
Louis: I recommend you That Most Important Thing: Love (1975). I think Romy Schneider was better than Glenda Jackson in Hedda.
Greatest World Cup final ever, and Messi is indisputably the greatest player ever now.
So happy for Lionel Messi =D, the perfect fairytale ending.
FIFA World Cup winner Lionel Messi...
I love the sound of that. It feels so right.
Maradona must be up there proud of him.
I'm happy for Messi even though as a team, I preferred France.
Luke: Hey, at least we can both be happy that Ronaldo didn't win :)
Tahmeed: I have to admit that Argentina's conduct during the Holland game swayed me towards France. I do agree with you on that narcissist. I've disliked him ever since the 'Wink' moment in 2006 against England.
Without a doubt for me, Lionel Messi, the greatest EVER. At least from the 21st century, there's NO competitor to that guy's legacy. I was just crying by the end.
Louis: If you have time for a 2nd recommendation, could you check out Oslo, August 31st. I watched it after Calvin mentioned it a few months ago and Lie is fantastic.
When it comes to Ronaldos, I always preferred R9 to CR7, honestly.
Film Recommendation: Walker (1987)
Louis: Ratings and thoughts on the cast of Pearl.
Anonymous:
Goth - 4.5(She's wonderful in just getting to be completely off the wall in way that is so stylistically assured. As she basically begins as Laurie Williams from Oklahoma, and never exactly stops being that, while also still getting completely demented at the same time. Goth maneuvers this so well because she does go to an extreme to the point that she becomes extremely entertaining in just watching her be nuts, but she does manage to put within this some genuine emotion at the same time. She manage to create some sense of humanity even in the intensity of the mania that she is playing with. While I'll admit the biggest appeal is just getting to see her be a big psycho in a whole bunch of different ways, filtered through a wholesome style of performance that makes it even more demented, she does bother to grant you just a hint of genuine empathy for the mad woman, while also being fun to watch.)
Everyone else is fine, but that's one of the issues with the film.
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