Anonymous: I'll do everybody's 1st (film) recommendations as I doubt he'll have time for the 2nd set. The Hidden - Michael Nouri Submarino - Jakob Cedergren Gleason - Brad Garrett King Lear - Jüri Järvet The Naked Island - Nobuko Otowa (Shot in the dark) Black Mirror: White Christmas - Jon Hamm Two-Lane Blacktop - Warren Oates Cry, The Beloved Country - Canada Lee Ludwig - Helmut Berger/Romy Schneider Violette Nozière - Isabelle Huppert The Last Of Sheila - Dyan Cannon/James Mason Tomboy - Zoé Héran The Seagull - David Warner/James Mason That Most Important Thing: Love - Romy Schneider
Forgot to write in Harrelson and Weaving's post. Let's talk about some 2016 movie translations in non-English speaking countries. The names that were in Brazil were:
Moonlight = Moonlight: Under the Moonlight (Moonlight: Sob a Luz do Luar) La La Land = La La Land: Singing Seasons Hacksaw Ridge = Until the Last Man Hell or High Water = At Any Cost Hidden Figures = Stars Beyond Time Lion = Lion - A Journey Home Florence Foster Jenkins = Florence - Who Is This Woman? The Salesman = The Apartment Zootopia = Zootopia - This City Is the Beast Kubo and the Two Strings = Kubo and the Magic Strings Swiss Army Man = A Corpse to Survive The Nice Guys = Two Nice Guys The Founder = Hunger For Power Sully = Sully: The Hero of the Hudson River A Cure For Wellness = The Cure Lights Out = When the Lights Go Out The film Fences happened a very curious thing. Initially it would be called "Cercas" like the original title, but when it was close to being released in Brazilian cinemas, the distributor suddenly changed the name to "A Boundary Between Us". Fuck you Paramount Brazil.
Zootopia: Zoomania (this was done because there is an actual zoo called Zootopia which has the rights to that name all over Europe) Hacksaw Ridge: Hacksaw Ridge - The Choice/The Decision Hidden Figures: Hidden Figures - Unrecognized Heroines Lion: Lion - The Long Journey Home Captain Fantastic: Captain Fantastic - To the Wilderness and back Jackie: Jackie - The First Lady 20th Century Women: Century Women Allied: Allied - Trusted Stranger Moana: Vaiana (this was done because there is a porn actress called Moana i believe) Kubo and the Two Strings: Kubo - The Brave Samurai The Handmaiden: The Pickpocket A Street Cat named Bob: Bob, the Stray Hunt for the Wilderpeople: Where the wild people hunt A Monster calls: Seven Minutes past Midnight Billy Lynn's long Halftime Walk: The crazy hero's tour of Billy Lynn Patriot's Day: Boston Collateral Beauty: Hidden Beauty Our Kind of Traitor: Traitors like us
Very (pleasantly) surprised you liked On the Count of Three, had the feeling it might not be your cup of tea so I'm glad it worked for you. Are you saving Abbott for the timebeing?
Mackey - 4.5(Her performance is the best part of the film in terms of articulating the essential conflicts of the character even as the film is a bit too murky in its overall analysis of the situation. Mackay's performance manages to balance the sides of the character here in terms of the seeming surface passivity that slowly changes towards a more dogged intensity of someone who will begin to reveal her passions. Mackay manages to present this in a particularly incisive way that creates the right degree of sense of her trying to find herself within the passion, while also creating a sense of her troubles within each of her relationships. Each relationship creates the proper sense of either her more ego-related frustrations related to sibling rivalry, or those that come from genuine concern. Her performance is consistently on point even when the film is not.)
Whitehead - 4(Gives a fine portrayal of the slow descent of the character into a kind of nothingness. Whitehead transitions effectively from the sense of the man trying to be himself within his spirit that slowly becomes crushed under the weight of the judgment of society. Whitehead's performance finds the right sense of strained vulnerability and distress of someone who can't quite live within these terms.)
Jackson-Cohen - 3(Decent enough as the forbidden love interest, but just found this aspect never quite went anywhere. More so on the writing than his performance that is fine.)
Dowling - 3.5(I liked her portrayal of this sort of imperious qualities of the character, even though I think the overall use of Charlotte wasn't quite there in terms of creating the development of the relationship between the sisters.)
Carmichael - 3.5(While I do think he is overshadowed, on the whole, I did like his performance as acting in contrast to Abbott, in creating the sense of the way his depression and distress are much more internalized compared to his truly broken companion. His performance works in terms of his reactions towards what Abbott is doing that provides the balance, particularly later on in creating the sense of the reality dawning on him as it is doing the opposite with Abbott's character.)
Haddish - 3(Doesn't have too much to do but found this to be a much more natural performance from her than some of her other work.)
Crawford - 3(Enjoyed his brief bits and thought he naturally brought a bit of humor to the proceedings.)
Winkler - 3(Comes in very late, but effective enough in bringing a low-key creep to his performance.)
Oliver:
Hara is a performer who falls into a specific group of strict sincerity, where the performer just simply is, and you never even think about her acting within her performance. Despite her characters going through different ranges of emotion, Hara is always a singular truth of emotion that consistently is something special to see. I have only seen her work with Ozu however so that does limit my perspective to a degree, and while her work is tremendous just within that perspective, I cannot speak to where her range begins or ends.
Louis: Thoughts on Two-Face's opening speech from Batman Forever (or rather its first 45 seconds before TLJ starts going ham and making weird faces)? In my opinion this is the only sorta promising thing that ever came out of this movie.
Although I will say Mescal basically has to get SAG for it to happen because it's so low key the momentum needs to build as early as possible for him. Honestly looking at this year, I think this will be like the last two years for lead actor where the SAG lineup will be the Oscar lineup, unless Nighy gets snubbed there, I think he'd be able to bounce back.
Nanou: Agree with those rankings, Calvin. Also, just a note, I saw The Whale. It’s not very good, and even the strength of Fraser’s performance is muted by how much the film meanders to get its melodramatic point across. Not a great film.
I also saw The Fabelmans, and I can agree with the criticisms to Williams. Just too mannered a performer here.
Louis: Agreed, extremely low key, even more so than Yeun or Banderas who though quiet have 'bigger' scenes, which works against Mescal's favour sadly. Still, fingers crossed.
Calvin: There's one scene I'm thinking of where Corio's character is overhearing Mescal's character on the phone and we don't hear or know exactly what is happening due to how distant Wells keeps her framing from Mescal's character, but Mescal essentially completely internalizes the moment, breaking out into a tai chi pattern for good measure. Every other key moment, aside from one late in the film, is this lowkey. It's extremely patient performing from Mescal/directing from Wells.
Aside from that, Louis, your cast and director for a 2010, 2000s, 1990s and 1980s Aftersun (as in just Mescal and Corio's characters)?
Adored Aftersun. Paul Mescal's my #2 in Lead Actor after Farrell, and I hope he gets that 5th slot, although this turn makes a few Ryan Gosling performances look more like Denzel Washington performances.
Louis: If it's not giving too much away, your thoughts on the "Under Pressure"/Last Dance sequence in terms of the direction/music.
Louis: Do you think Rogen could go up for Fabelmans? I’ve been thinking about his scene on the street a lot. How his Rogenisms slip as he becomes more aggressive. Love the way Spielberg frames him so oppressively. I actually think it’s one of the best-directed scenes in the film.
Louis: Where would you place Scrooged: A Christmas Carol and Spirited in your ranking of the adaptations that you've seen? (It's in the Backlog Volume III lineup post).
Watched Black Christmas. Far from perfect but definitely creepy with a fantastic final moment. Also, VERY clearly a direct influence on Carpenter's Halloween.
Louis: Judging from her performance in Double Indemnity, how do you think Stanwyck would have fared as Lady Macbeth?
For that Laughton Macbeth with Mitchum in the title role (remember, he said that he thought Mitchum could been the greatest Macbeth), Shelley Winters as Lady Macbeth?
Loved The Fabelmans in just about every single way.
LaBelle - 4.5 Williams - 3.5 (she overdoes it a little in a few moments, but she wasn't half as bad as I was expecting from a few of the reactions here) Dano - 5 Rogen - 4 Hirsch - 4.5 Butters - 4 Berlin - 3 Rechner - 3.5 East - 3.5 The GOAT - 4 (loved that they agreed to do this)
Hello Louis and folks Recently I realized that I managed to finish yet another list of Oscar winners: supporting actor. So, let's go to another mega-ranking:
86º Frank Sinatra 85º George Chakiris 84º Cuba Gooding Jr 83º Jim Broadbent 82º George Clooney 81º John Houseman 80º Don Ameche 79º Dean Jagger 78º Jack Palance 77º Jared Leto 76º Michael Caine (The Cider House Rules) 75º Martin Balsam 74º Morgan Frreman 73º Jack Nicholson 72º Edmond O'Brien 71º Melvyn Douglas (Being There) 70º Red Buttons 69º Mahershala Ali (Green Book) 68º Tommy Lee Jones 67º Ed Begley 66º Jason Robards (Julia) 65º Troy Kotsur 64º Walter Brennan (Come and Get It) 63º Tim Robbins 62º Sean Connery 61º Robin Williams 60º Michael Caine (Hannah and Her Sisters) 59º Donald Crisp 58º Christopher Plummer 57º Louis Gossett Jr. 56º Chris Cooper 55º Hugh Griffith 54º Joseph Schildkraut 53º Edmund Gwenn 52º Denzel Washington 51º Anthony Quinn (Viva Zapata!) 50º Walter Brennan (Kentucky) 49º Brad Pitt 48º James Coburn 47º Jason Robards (All the President's Men) 46º Alan Arkin 45º George Kennedy 44º Christian Bale 43º John Mills 42º Anthony Quinn (Lust for Life) 41º Charles Coburn 40º Benicio Del Toro 39º Christoph Waltz (Django Unchained) 38º Van Heflin 37º Peter Ustinov (Spartacus) 36º Barry Fitzgerald 35º Joel Grey 34° Mahershala Ali (Moonlight) 33º Ben Johnson 32º Burl Ives 31º John Gielgud 30º Mark Rylance 29º George Burns 28º Peter Ustinov (Topkapi) 27º Walter Brennan (The Westerner) 26º Thomas Mitchell 25º Timothy Hutton 24º Daniel Kaluuya 23º Jack Lemmon 22º Walter Matthau 21º Harold Russell 20º J. K. Simmons 19º Kevin Spacey 18º Gig Young 17º George Sanders 16º James Dunn 15º Javier Bardem 14º Robert De Niro 13º Sam Rockwell 12º Melvyn Douglas (Hud) 11º Karl Malden 10º Kevin Kline 9º Christoph Waltz (Inglourious Bastards) 8º Jack Albertson 7º Gene Hackman 6º Walter Huston 5º Heath Ledger 4º Christopher Walken 3º Joe Pesci 2º Haing S. Ngor 1º Martin Landau
PS: Every time I finish a new Oscar category I write the mega-ranking on the blog. When there are updates to the lists, I'll put the link to my Letterboxd.
Nouri - (His performance is just *fine* and that's about it. He isn't all that charismatic and his performance never really dives much deeper to give you a more complete sense of his character. He's basically just a detective and that's all there is to him.)
MacLachlan - (As I noted in my review this is the audition for his later greatest collective work as the many forms of Dale Cooper. It's a funny thing in that in his lesser works MacLachlan can be stiff, yet here he is playing a stiff character and in turn, he's fascinating. There is some indescribable charisma he is able to realize when working with someone who isn't quite attached as he should be and MacLachlan grants the character a strange kind of captivating distance. Honestly what I would say are the best moments of the film, and his performance, are the moments where he is attempting to be human. MacLachlan's performance creates a sense of genuine interest and this low-key joy about moments. The fascination he portrays is so potent, and powerful particularly as he realizes it as this internalized truth within the seemingly more hollow frame, creating a discovery of specific emotions. He also though can be just amusing, in that very Dougie Jones way, by reacting in a way that isn't quite human, yet is alive and doing very much his own thing.) Anonymous:
Corio - (Her performance is part is just about the straight naturalism of the work that is situational to each moment. Her performance brings the right sense of just a basic reality of this younger girl to each moment with her father. The more joyful moments are just that as she conveys each with an unfussy sincerity. The moments that are essential in regard to the strength of the performance are when she conveys the more complex emotions with a nuance within the more troubled interactions with her father. These moments are often brief yet Corio is very effective in creating the sense of her trying to come to terms with moments when she is examining some of her father's behaviors or even being critical towards him. Corio is able to draw out these moments with a well-articulated frustration that is part of knowing exactly what she needs to say but with it a pained kind of maturity as it forces her to be more so the adult in moments that feel wholly authentic.)
Well's direction is a unique bit of work because it switches from really straightforward seemingly to heavily stylistic in moments, however, in each instance, I think what she is doing is consistent in creating the sense of perspective of memory. There are some memories that seem very clear, and those moments seem the clearest here. Those memories are the ones where it is approaching just joyful moments where it seems like everything seems simpler. The moments that are more obscured though are different here, some in the way the camera often fashions the child's perspective on not quite seeing the whole of something. That is at times more literally from the exact angle she uses in a shot, but even more potently in the moments where it presents it as the sense of emotion, particularly the consistent return to the dance sequence which slowly kind of builds towards the idea of persistent memory, with its growth and revelation being particularly remarkable in its execution.
Robert:
Yes.
8000's:
Certainly possible in terms of her presence, the question is how she'd do with the language. Same for Winters.
Mainly that "All Quiet" could do some tech damage potentially, we've seen the first slight (and I mean slight) weakness in EEAO due to it missing makeup and VFX, and some weakness for RRR missing everything except song. Also genuinely surprised The Batman missed out on score.
I'm sorry, I'm not sure if I fully understand the recommendations thing. Is this for Louis to review in a post, or just general recommendations for him to watch?
63 comments:
1.Mifune
2.Cagney
3.Milland
4.Hopkins
4.Bates
Anonymous: I'll do everybody's 1st (film) recommendations as I doubt he'll have time for the 2nd set.
The Hidden - Michael Nouri
Submarino - Jakob Cedergren
Gleason - Brad Garrett
King Lear - Jüri Järvet
The Naked Island - Nobuko Otowa (Shot in the dark)
Black Mirror: White Christmas - Jon Hamm
Two-Lane Blacktop - Warren Oates
Cry, The Beloved Country - Canada Lee
Ludwig - Helmut Berger/Romy Schneider
Violette Nozière - Isabelle Huppert
The Last Of Sheila - Dyan Cannon/James Mason
Tomboy - Zoé Héran
The Seagull - David Warner/James Mason
That Most Important Thing: Love - Romy Schneider
I'm pleased that you're reviewing Mifune's performance here before Samurai Rebellion.
Anonymous: In regards to your question about the 2016 supporting list, I'm fairly confident that the lowest 2.5, 2 and 1.5 are:
2.5: Will Smith in Suicide Squad
2: Vincent D'Onofrio in The Magnificent Seven
1.5: Forest Whitaker in Rogue One
5º Alan Bates
4º Anthony Hopkins
3º Ray Milland
2º James Cagney
1º Toshiro Mifune
Forgot to write in Harrelson and Weaving's post. Let's talk about some 2016 movie translations in non-English speaking countries. The names that were in Brazil were:
Moonlight = Moonlight: Under the Moonlight (Moonlight: Sob a Luz do Luar)
La La Land = La La Land: Singing Seasons
Hacksaw Ridge = Until the Last Man
Hell or High Water = At Any Cost
Hidden Figures = Stars Beyond Time
Lion = Lion - A Journey Home
Florence Foster Jenkins = Florence - Who Is This Woman?
The Salesman = The Apartment
Zootopia = Zootopia - This City Is the Beast
Kubo and the Two Strings = Kubo and the Magic Strings
Swiss Army Man = A Corpse to Survive
The Nice Guys = Two Nice Guys
The Founder = Hunger For Power
Sully = Sully: The Hero of the Hudson River
A Cure For Wellness = The Cure
Lights Out = When the Lights Go Out
The film Fences happened a very curious thing. Initially it would be called "Cercas" like the original title, but when it was close to being released in Brazilian cinemas, the distributor suddenly changed the name to "A Boundary Between Us". Fuck you Paramount Brazil.
1. Milland
2. Mifune
3. Bates
4. Hopkins
5. Cagney
Luke, what are your overall ranking predictions for these five.
Cagney - 3rd
Hopkins - 20th to 25th
Mifune - 5th
Bates - 7th
Milland - 4th in Lead, 3rd in Supporting
1. Cagney
2. Milland
3. Mifune
4. Bates
5. Hopkins
1. Milland
2. Mifune
3. Cagney
4. Bates
5. Hopkins
1. Mifune
2. Milland
3. Cagney
4. Bates
5. Hopkins
1) Mifune
2) Milland
3) Cagney
4) Hopkins
5) Bates
Brazinterma:
Zootopia: Zoomania (this was done because there is an actual zoo called Zootopia which has the rights to that name all over Europe)
Hacksaw Ridge: Hacksaw Ridge - The Choice/The Decision
Hidden Figures: Hidden Figures - Unrecognized Heroines
Lion: Lion - The Long Journey Home
Captain Fantastic: Captain Fantastic - To the Wilderness and back
Jackie: Jackie - The First Lady
20th Century Women: Century Women
Allied: Allied - Trusted Stranger
Moana: Vaiana (this was done because there is a porn actress called Moana i believe)
Kubo and the Two Strings: Kubo - The Brave Samurai
The Handmaiden: The Pickpocket
A Street Cat named Bob: Bob, the Stray
Hunt for the Wilderpeople: Where the wild people hunt
A Monster calls: Seven Minutes past Midnight
Billy Lynn's long Halftime Walk: The crazy hero's tour of Billy Lynn
Patriot's Day: Boston
Collateral Beauty: Hidden Beauty
Our Kind of Traitor: Traitors like us
1) Mifune
2) Milland
3) Cagney
4) Bates
5) Hopkins
I forgot about Walker - Ed Harris.
1. Mifune
2. Milland
3. Bates
4. Hopkins
5. Cagney
I'll also recommend A Man Called Ove from 2015, mainly with the remake about to release.
Aidan:
I've seen it.
Ratings and thoughts on the cast of Emily.
Louis: Ah, my bad. I'll continue my documentary streak then and recommend Fire of Love.
1. Mifune
2. Cagney
3. Milland
4. Hopkins
5. Bates
Tim: "this was done because there is a porn actress called Moana i believe" That is very, VERY funny.
1. Mifune
2. Milland
3. Bates
4. Cagney
5. Hopkins
Tim: Confirmed that rather hilarious story for you.
https://www.hollywoodreporter.com/news/general-news/disney-changes-moana-title-italy-avoid-porn-star-confusion-948679/
Louis: ratings and thoughts on the casts of Emily and On The Count Of Three?
Very (pleasantly) surprised you liked On the Count of Three, had the feeling it might not be your cup of tea so I'm glad it worked for you. Are you saving Abbott for the timebeing?
1. Milland
2. Mifune
3. Bates
4. Cagney
5. Hopkins
1. Mifune
2. Milland
3. Bates
4. Cagney
5. Hopkins
Louis: Your thoughts on Setsuko Hara as an actress from what you've seen of her thus far, and your top 10 acting moments of hers?
Louis: have you seen “A Prophet”, by Jacques Audiard? If so, have you given your thoughts?
Anonymous: He hasn't seen A Prophet, but because Tahar Rahim was requested, he'll get around to it when he covers 2009.
I'm going to change:
1. Milland
2. Mifune
3. Cagney
4. Bates
5. Hopkins
1. Mifune
2. Milland
3. Bates
4. Cagney
5. Hopkins
Watched Aftersun, which I loved, and fully on board for a potential Mescal surprise nomination.
1. Mifune
2. Milland
3. Cagney
4. Bates
5. Hopkins
Luke & Matthew:
Mackey - 4.5(Her performance is the best part of the film in terms of articulating the essential conflicts of the character even as the film is a bit too murky in its overall analysis of the situation. Mackay's performance manages to balance the sides of the character here in terms of the seeming surface passivity that slowly changes towards a more dogged intensity of someone who will begin to reveal her passions. Mackay manages to present this in a particularly incisive way that creates the right degree of sense of her trying to find herself within the passion, while also creating a sense of her troubles within each of her relationships. Each relationship creates the proper sense of either her more ego-related frustrations related to sibling rivalry, or those that come from genuine concern. Her performance is consistently on point even when the film is not.)
Whitehead - 4(Gives a fine portrayal of the slow descent of the character into a kind of nothingness. Whitehead transitions effectively from the sense of the man trying to be himself within his spirit that slowly becomes crushed under the weight of the judgment of society. Whitehead's performance finds the right sense of strained vulnerability and distress of someone who can't quite live within these terms.)
Jackson-Cohen - 3(Decent enough as the forbidden love interest, but just found this aspect never quite went anywhere. More so on the writing than his performance that is fine.)
Dowling - 3.5(I liked her portrayal of this sort of imperious qualities of the character, even though I think the overall use of Charlotte wasn't quite there in terms of creating the development of the relationship between the sisters.)
Carmichael - 3.5(While I do think he is overshadowed, on the whole, I did like his performance as acting in contrast to Abbott, in creating the sense of the way his depression and distress are much more internalized compared to his truly broken companion. His performance works in terms of his reactions towards what Abbott is doing that provides the balance, particularly later on in creating the sense of the reality dawning on him as it is doing the opposite with Abbott's character.)
Haddish - 3(Doesn't have too much to do but found this to be a much more natural performance from her than some of her other work.)
Crawford - 3(Enjoyed his brief bits and thought he naturally brought a bit of humor to the proceedings.)
Winkler - 3(Comes in very late, but effective enough in bringing a low-key creep to his performance.)
Oliver:
Hara is a performer who falls into a specific group of strict sincerity, where the performer just simply is, and you never even think about her acting within her performance. Despite her characters going through different ranges of emotion, Hara is always a singular truth of emotion that consistently is something special to see. I have only seen her work with Ozu however so that does limit my perspective to a degree, and while her work is tremendous just within that perspective, I cannot speak to where her range begins or ends.
Louis: Thoughts on Two-Face's opening speech from Batman Forever (or rather its first 45 seconds before TLJ starts going ham and making weird faces)? In my opinion this is the only sorta promising thing that ever came out of this movie.
Ytrewq: I don't know, even that kinda sucks.
Louis: Ratings and thoughts on the cast of The Hidden.
Calvin: Ratings for the cast of Aftersun?
5 for Mescal, 4.5/5 for Corio.
Also liked Aftersun.
Corio - 4.5
Although I will say Mescal basically has to get SAG for it to happen because it's so low key the momentum needs to build as early as possible for him. Honestly looking at this year, I think this will be like the last two years for lead actor where the SAG lineup will be the Oscar lineup, unless Nighy gets snubbed there, I think he'd be able to bounce back.
Nanou: Agree with those rankings, Calvin. Also, just a note, I saw The Whale. It’s not very good, and even the strength of Fraser’s performance is muted by how much the film meanders to get its melodramatic point across. Not a great film.
I also saw The Fabelmans, and I can agree with the criticisms to Williams. Just too mannered a performer here.
Louis: Your thoughts on Wells direction on Aftersun, and the performance of Corio?
Louis: Agreed, extremely low key, even more so than Yeun or Banderas who though quiet have 'bigger' scenes, which works against Mescal's favour sadly. Still, fingers crossed.
Calvin: There's one scene I'm thinking of where Corio's character is overhearing Mescal's character on the phone and we don't hear or know exactly what is happening due to how distant Wells keeps her framing from Mescal's character, but Mescal essentially completely internalizes the moment, breaking out into a tai chi pattern for good measure. Every other key moment, aside from one late in the film, is this lowkey. It's extremely patient performing from Mescal/directing from Wells.
Aside from that, Louis, your cast and director for a 2010, 2000s, 1990s and 1980s Aftersun (as in just Mescal and Corio's characters)?
Adored Aftersun. Paul Mescal's my #2 in Lead Actor after Farrell, and I hope he gets that 5th slot, although this turn makes a few Ryan Gosling performances look more like Denzel Washington performances.
Louis: If it's not giving too much away, your thoughts on the "Under Pressure"/Last Dance sequence in terms of the direction/music.
Louis: Do you think Rogen could go up for Fabelmans? I’ve been thinking about his scene on the street a lot. How his Rogenisms slip as he becomes more aggressive. Love the way Spielberg frames him so oppressively. I actually think it’s one of the best-directed scenes in the film.
Louis: Where would you place Scrooged: A Christmas Carol and Spirited in your ranking of the adaptations that you've seen? (It's in the Backlog Volume III lineup post).
Louis: Your category placement for Corio
Luke: I'm not Louis, but it's clear that she's lead.
Corio is as clear a lead as they come. Agreed with Robert entirely on Rogen, who's sticking with me beautifully.
Watched Black Christmas. Far from perfect but definitely creepy with a fantastic final moment. Also, VERY clearly a direct influence on Carpenter's Halloween.
Hussey-1.5
Dullea-3.5
Kidder-4
Saxon-3.5
Martin-3
Hindle-3
Edmond-3
Griffin-3
Waldman-3
McGrath-2.5
Louis: As well as your thoughts on The Hidden cast, can I have ratings and thoughts on the cast of Submarino if you're watching it today.
Louis: Could I have your thoughts on this snippet from a Steven Spielberg about Close Encounters of the Third Kind?
https://www.youtube.com/watch?v=ZspOEa1CP4A&ab_channel=BestofHumans
Louis: Judging from her performance in Double Indemnity, how do you think Stanwyck would have fared as Lady Macbeth?
For that Laughton Macbeth with Mitchum in the title role (remember, he said that he thought Mitchum could been the greatest Macbeth), Shelley Winters as Lady Macbeth?
Loved The Fabelmans in just about every single way.
LaBelle - 4.5
Williams - 3.5 (she overdoes it a little in a few moments, but she wasn't half as bad as I was expecting from a few of the reactions here)
Dano - 5
Rogen - 4
Hirsch - 4.5
Butters - 4
Berlin - 3
Rechner - 3.5
East - 3.5
The GOAT - 4 (loved that they agreed to do this)
Hello Louis and folks
Recently I realized that I managed to finish yet another list of Oscar winners: supporting actor. So, let's go to another mega-ranking:
86º Frank Sinatra
85º George Chakiris
84º Cuba Gooding Jr
83º Jim Broadbent
82º George Clooney
81º John Houseman
80º Don Ameche
79º Dean Jagger
78º Jack Palance
77º Jared Leto
76º Michael Caine (The Cider House Rules)
75º Martin Balsam
74º Morgan Frreman
73º Jack Nicholson
72º Edmond O'Brien
71º Melvyn Douglas (Being There)
70º Red Buttons
69º Mahershala Ali (Green Book)
68º Tommy Lee Jones
67º Ed Begley
66º Jason Robards (Julia)
65º Troy Kotsur
64º Walter Brennan (Come and Get It)
63º Tim Robbins
62º Sean Connery
61º Robin Williams
60º Michael Caine (Hannah and Her Sisters)
59º Donald Crisp
58º Christopher Plummer
57º Louis Gossett Jr.
56º Chris Cooper
55º Hugh Griffith
54º Joseph Schildkraut
53º Edmund Gwenn
52º Denzel Washington
51º Anthony Quinn (Viva Zapata!)
50º Walter Brennan (Kentucky)
49º Brad Pitt
48º James Coburn
47º Jason Robards (All the President's Men)
46º Alan Arkin
45º George Kennedy
44º Christian Bale
43º John Mills
42º Anthony Quinn (Lust for Life)
41º Charles Coburn
40º Benicio Del Toro
39º Christoph Waltz (Django Unchained)
38º Van Heflin
37º Peter Ustinov (Spartacus)
36º Barry Fitzgerald
35º Joel Grey
34° Mahershala Ali (Moonlight)
33º Ben Johnson
32º Burl Ives
31º John Gielgud
30º Mark Rylance
29º George Burns
28º Peter Ustinov (Topkapi)
27º Walter Brennan (The Westerner)
26º Thomas Mitchell
25º Timothy Hutton
24º Daniel Kaluuya
23º Jack Lemmon
22º Walter Matthau
21º Harold Russell
20º J. K. Simmons
19º Kevin Spacey
18º Gig Young
17º George Sanders
16º James Dunn
15º Javier Bardem
14º Robert De Niro
13º Sam Rockwell
12º Melvyn Douglas (Hud)
11º Karl Malden
10º Kevin Kline
9º Christoph Waltz (Inglourious Bastards)
8º Jack Albertson
7º Gene Hackman
6º Walter Huston
5º Heath Ledger
4º Christopher Walken
3º Joe Pesci
2º Haing S. Ngor
1º Martin Landau
PS: Every time I finish a new Oscar category I write the mega-ranking on the blog. When there are updates to the lists, I'll put the link to my Letterboxd.
Louis: Thoughts on the Shortlists.
Why do I even bother, Next Goal Wins has been pushed back again.
Luke:
Nouri - (His performance is just *fine* and that's about it. He isn't all that charismatic and his performance never really dives much deeper to give you a more complete sense of his character. He's basically just a detective and that's all there is to him.)
MacLachlan - (As I noted in my review this is the audition for his later greatest collective work as the many forms of Dale Cooper. It's a funny thing in that in his lesser works MacLachlan can be stiff, yet here he is playing a stiff character and in turn, he's fascinating. There is some indescribable charisma he is able to realize when working with someone who isn't quite attached as he should be and MacLachlan grants the character a strange kind of captivating distance. Honestly what I would say are the best moments of the film, and his performance, are the moments where he is attempting to be human. MacLachlan's performance creates a sense of genuine interest and this low-key joy about moments. The fascination he portrays is so potent, and powerful particularly as he realizes it as this internalized truth within the seemingly more hollow frame, creating a discovery of specific emotions. He also though can be just amusing, in that very Dougie Jones way, by reacting in a way that isn't quite human, yet is alive and doing very much his own thing.)
Anonymous:
Corio - (Her performance is part is just about the straight naturalism of the work that is situational to each moment. Her performance brings the right sense of just a basic reality of this younger girl to each moment with her father. The more joyful moments are just that as she conveys each with an unfussy sincerity. The moments that are essential in regard to the strength of the performance are when she conveys the more complex emotions with a nuance within the more troubled interactions with her father. These moments are often brief yet Corio is very effective in creating the sense of her trying to come to terms with moments when she is examining some of her father's behaviors or even being critical towards him. Corio is able to draw out these moments with a well-articulated frustration that is part of knowing exactly what she needs to say but with it a pained kind of maturity as it forces her to be more so the adult in moments that feel wholly authentic.)
Well's direction is a unique bit of work because it switches from really straightforward seemingly to heavily stylistic in moments, however, in each instance, I think what she is doing is consistent in creating the sense of perspective of memory. There are some memories that seem very clear, and those moments seem the clearest here. Those memories are the ones where it is approaching just joyful moments where it seems like everything seems simpler. The moments that are more obscured though are different here, some in the way the camera often fashions the child's perspective on not quite seeing the whole of something. That is at times more literally from the exact angle she uses in a shot, but even more potently in the moments where it presents it as the sense of emotion, particularly the consistent return to the dance sequence which slowly kind of builds towards the idea of persistent memory, with its growth and revelation being particularly remarkable in its execution.
Robert:
Yes.
8000's:
Certainly possible in terms of her presence, the question is how she'd do with the language. Same for Winters.
Luke:
Mainly that "All Quiet" could do some tech damage potentially, we've seen the first slight (and I mean slight) weakness in EEAO due to it missing makeup and VFX, and some weakness for RRR missing everything except song. Also genuinely surprised The Batman missed out on score.
Also Nope missing out on Sound is nonsense.
I'm sorry, I'm not sure if I fully understand the recommendations thing. Is this for Louis to review in a post, or just general recommendations for him to watch?
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