-Moura will be reviewed. -A rare early disclosure, I have no idea how I feel about Rylance's performance and feel I need to review him just to figure that out.
Ratings and thoughts on: Pedro Pascal in The Unbearable Weight Of Massive Talent Ethan Hawke in The Black Phone Andrew Bennett in The Quiet Girl Anthony Hopkins in Armageddon Time and Marc Maron in To Leslie
What I will say about Mark Rylance in Bones and All: It worked for me, specifically because the blatantly grotesque nature of his performance was a perfect counterpoint to the (somehow) understated sweetness of Russel’s and Chalamet’s work. It’s not a performance I’d say I’m passionate about, but I think I played the correct role in the narrative.
Also, it doesn’t hurt that his character lives in Frederick, MD, which is a town I’m quite familiar with and believe me, NO ONE GOOD LIVES THERE.
No matter what, I know I’ll hold firm that Rylance was better in Bones and All than he was in Don’t Look Up. At least his tone in Bones and All was appropriate for the role, no matter how you feel about the role as conceived, whereas what he did in Don’t Look Up wasn’t appropriate for ANY role.
I felt Rylance's character was written to be creepy and genuinely menacing whereas I found Rylance to just be a creep. Personally, Stuhlbarg has stayed with me more, and he had a lot less material to work with.
Pascal - 4(A fun performance just in terms of how straightforward that Pascal plays the boyish interest in Cage. He brings a simplicity to his fanboying that is quite endearing in its silliness, particularly his little moments of quiet defense. That is combined with just a rather enjoyable chemistry he shares with Cage as well where Pascal brings this sense of fun with Cage and the two do play off each other well in their mutual goofiness. I only wish the film was just the two having fun together because the two are fun together, it's a shame about the rest of the film.)
Hawke - 4(Really way underused within the scheme of the film however Hawke gives a good performance in the film, yes THE good performance, which in a way makes him stand out because it's Hawke a bunch of amateurs which isn't the first time we had this happen to Hawke. Anyway, he does creepy pretty effectively and creates an innate menace within the character, enough to reveal the basic threat of the character that hangs over the film consistently. He even has a bit of extra something when killing his idiot, which adds a bit more to the character even if overall that is a bit limited.)
Bennett - 4(The style of the film obviously creates a certain sort of observed approach however Bennett's performance is effective in sort of suggesting much of the character just in his physical reactions. That is at first this sort of indifference to the situation and not quite a shunning, but certainly a "whatever" as they are together. His slow changes through to a more open and loving manner are gradual and earned in their way. Make these minor changes in this manner till you really sense the real fatherly connection that feels earned by the end of it.)
Hopkins - 4.5(I'll admit I only didn't review him here because I just didn't have too much to add that I didn't mention really in his work in Hearts in Atlantis in terms of Hopkins really playing so well against children and bringing such warmth and wisdom in his role. Wonderful is Hopkins as he knows how to play around with the innate gravitas of his performance to bring modest and gentle care within his performance. Hopkins brings such sincerity with his work and as much as he brings harsh truths there's a consistent warmth within his performance that creates such a strong sense of a caring grandfather who is hard not to love. Again really like this performance, and don't want it to seem any less because Hopkins was merely terrific again in a way that absolutely fit a part, even if it might be expected at this point.)
Maron - 4(Maron in terms of the scheme of the film, is when I became able to stand it, which I thought was a whole lot of hot air up until that point, and was one of the few performers that I didn't feel like was playing up the "IM A RED NECK" aspect of the roles. Maron rather I thought successfully eased within the type to be convincing as the type without feeling over the top as such. I liked his manner within the performance in playing just an honest confusion at first with Leslie that segues naturally to this frustration though with a goodhearted concern beneath it. Maron I feel plays each note effectively, but just quietly takes them on with this sense of sympathy being the consistent factor. Maron makes the most of his pep talk scene by just delivering it bluntly as the guy trying his best to cheer her up without anything more to it other than that.)
Louis: What do you generally use to keep up with film news and find out about lesser-known, under-the-radar titles? Do you follow any contemporary film critics outside of Mark Kermode?
Louis: What do you make of the fact that Hong Chau and not Brendan Fraser is your cast MVP of The Whale, in terms of expectations? As in, one could assume that it'd be Frasier, with the film being a chamber piece/character study (or attempting to be anyways) and Fraser as the centerpiece.
Luke: Thank you. I've seen it, but I thought it doesn't include all the saved performances throughout the year. For example I can't find Brad Pitt in Babylon, among others.
I actually didn't keep up with Kermode this year with his new channel, and otherwise I don't follow anyone specifically. I will check up on movie news frequently enough regarding projects, and usually I will check "underseen" lists to see if there's anything I'm missing. I also listen to all of you, if you mention something worthwhile that I haven't seen.
Bryan:
Well I mean I had serious doubts about the project just from the logline and I think it would probably either have to be great or closer to train wreck with it being the latter. I wasn't surprised though in terms of MVP in the sense that Hong Chau's extremely talented and previously managed to make something out of kind of terrible role in Downsizing.
Right now the only other promising performance for 2009 Lead I can think of would be Robin Williams in World's Greatest Dad (hear, hear, Robert!), but I can't see him scoring higher than a 4.5.
I’m weirdly kind of glad that Redmayne’s getting reviewed. He’s been……more off-than-on* since his Oscar win, so him delivering in The Good Nurse is a nice change of pace.
Louis: Your thoughts on the direction for Top Gun: Maverick? For me, I like how Kosinski channels the spirit of the original film but still adds a modern change-up to it.
Oh forgot to mention, I saw Knock at the Cabin Thursday night. While not without its entertaining moments, after the delightful absurdity of “Old,” this one was a bit underwhelming in comparison. The direction taken in the classic Shyamalan third act more or less left me saying “Aw, that’s it?” Having said that, Bautista commits like hell to his role and makes most of the non-flashback scenes more than a little engaging.
Kosinski's direction I'd describe kind of classing up the Bruckheimer approach, as it is Michael Bay without the extremes, and the terrible improv, and Tony Scott without the hectic editing (that removed from Bay as well). Kosinski I'd say brings a general vibe of the original, and certainly recreates general shots, ideas, and use of score, and all quite effectively. The only critique of that is the dialogue scenes in comparison are typically pretty standard, as per the original, though, unlike the original where I never found the action all that compelling, the action here is compelling and more importantly Kosinski always directs with the emphasis on clarity. That is the clarity of every shot, that wants us to see the majesty of these jets, in these environments, and effectively so. But also clarity in that every action scene is directed with purpose and a certain rhythm. Every individual, even in the early test scene, or the early training scenes, Kosinski's work creates a clear progression, in terms of the use of music and just the intensity of the approach. All of their own progress. The true climax of climaxes then becomes the final sequence which is all about specific objectives and moments, never forgetting that and creating a particularly compelling sequence. It is never stuff that happens and then a climactic moment happens, we see that progression, and that is what helps to create investment. That is also just pushing the technical mastery here that also carries throughout the film, of very much showing every part of the jets for all their worth, though in the right way because it is always intertwined with a purpose.
62 comments:
A few important notes:
-Moura will be reviewed.
-A rare early disclosure, I have no idea how I feel about Rylance's performance and feel I need to review him just to figure that out.
1. Dano (I hope you'll review his work in The Batman as well as Lynch and Turturro)
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
1. Dano
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
Ratings and thoughts on:
Pedro Pascal in The Unbearable Weight Of Massive Talent
Ethan Hawke in The Black Phone
Andrew Bennett in The Quiet Girl
Anthony Hopkins in Armageddon Time
and Marc Maron in To Leslie
5º Mark Rylance
4º Eddie Redmayne
3º Nicholas Hoult
2º Albrecht Schuch
1º Paul Dano
1. Dano
2. Schuch
3. Redmayne
4. Hoult
5. Rylance
1. Albrecht Schuch
2. Paul Dano
3. Eddie Redmayne
4. Nicholas Hoult
5. Mark Rylance
1. Dano
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
What I will say about Mark Rylance in Bones and All: It worked for me, specifically because the blatantly grotesque nature of his performance was a perfect counterpoint to the (somehow) understated sweetness of Russel’s and Chalamet’s work. It’s not a performance I’d say I’m passionate about, but I think I played the correct role in the narrative.
Also, it doesn’t hurt that his character lives in Frederick, MD, which is a town I’m quite familiar with and believe me, NO ONE GOOD LIVES THERE.
1. Dani
2. Schuch
3. Redmayne
4. Hoult
5. The guy who should have his 3 Tonys revoked for this one
1. Paul Dano
2. Albrecht Schuch
3. Nicholas Hoult
4. Eddie Redmayne
5. Mark Rylance
No matter what, I know I’ll hold firm that Rylance was better in Bones and All than he was in Don’t Look Up. At least his tone in Bones and All was appropriate for the role, no matter how you feel about the role as conceived, whereas what he did in Don’t Look Up wasn’t appropriate for ANY role.
I felt Rylance's character was written to be creepy and genuinely menacing whereas I found Rylance to just be a creep. Personally, Stuhlbarg has stayed with me more, and he had a lot less material to work with.
RIP Melinda Dillion
Michael: Can’t I just think they’re both bad and say the emperor has no clothes?
RIP Melinda Dillion
Tahmeed: I will at the very least agree that Stuhlbarg is being underrated.
Robert: That’s a chaotic enough enough statement for me to support.
It feels like I'm the only person here who has a high view of Rylance's work.
1. Dano
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
RIP Melinda Dillion
1. Dano
2. Schuch
3. Redmayne
4. Hoult
5. Rylance
1. Dano
2. Schuch
3. Redmayne
4. Hoult
5. Rylance
1. Dano
2. Shuch
3. Hoult
4. Redmayne
5. Rylance
R.I.P. Melinda Dillon
Luke:
Pascal - 4(A fun performance just in terms of how straightforward that Pascal plays the boyish interest in Cage. He brings a simplicity to his fanboying that is quite endearing in its silliness, particularly his little moments of quiet defense. That is combined with just a rather enjoyable chemistry he shares with Cage as well where Pascal brings this sense of fun with Cage and the two do play off each other well in their mutual goofiness. I only wish the film was just the two having fun together because the two are fun together, it's a shame about the rest of the film.)
Hawke - 4(Really way underused within the scheme of the film however Hawke gives a good performance in the film, yes THE good performance, which in a way makes him stand out because it's Hawke a bunch of amateurs which isn't the first time we had this happen to Hawke. Anyway, he does creepy pretty effectively and creates an innate menace within the character, enough to reveal the basic threat of the character that hangs over the film consistently. He even has a bit of extra something when killing his idiot, which adds a bit more to the character even if overall that is a bit limited.)
Bennett - 4(The style of the film obviously creates a certain sort of observed approach however Bennett's performance is effective in sort of suggesting much of the character just in his physical reactions. That is at first this sort of indifference to the situation and not quite a shunning, but certainly a "whatever" as they are together. His slow changes through to a more open and loving manner are gradual and earned in their way. Make these minor changes in this manner till you really sense the real fatherly connection that feels earned by the end of it.)
Hopkins - 4.5(I'll admit I only didn't review him here because I just didn't have too much to add that I didn't mention really in his work in Hearts in Atlantis in terms of Hopkins really playing so well against children and bringing such warmth and wisdom in his role. Wonderful is Hopkins as he knows how to play around with the innate gravitas of his performance to bring modest and gentle care within his performance. Hopkins brings such sincerity with his work and as much as he brings harsh truths there's a consistent warmth within his performance that creates such a strong sense of a caring grandfather who is hard not to love. Again really like this performance, and don't want it to seem any less because Hopkins was merely terrific again in a way that absolutely fit a part, even if it might be expected at this point.)
Maron - 4(Maron in terms of the scheme of the film, is when I became able to stand it, which I thought was a whole lot of hot air up until that point, and was one of the few performers that I didn't feel like was playing up the "IM A RED NECK" aspect of the roles. Maron rather I thought successfully eased within the type to be convincing as the type without feeling over the top as such. I liked his manner within the performance in playing just an honest confusion at first with Leslie that segues naturally to this frustration though with a goodhearted concern beneath it. Maron I feel plays each note effectively, but just quietly takes them on with this sense of sympathy being the consistent factor. Maron makes the most of his pep talk scene by just delivering it bluntly as the guy trying his best to cheer her up without anything more to it other than that.)
R.I.P Melinda Dillon
RIP Melinda Dillon
R.I.P. Melinda Dillon
1. Dano
2. Shuch
3. Hoult
4. Rylance
5. Redmayne
1. Dano
2. Schuch
3. Redmayne
4. Rylance
5. Hoult
It's funny cause just a few months ago I would've expected to see Keoghan and Henry in this lineup and Dano in the Oscar one.
Louis: do you plan on watching the HBO show of The Last of Us?
1. Schuch
2. Rylance
3. Dano
4. Redmayne
5. Hoult
1. Dano
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
Dano
Hoult
Schuch
Redmayne
Rylance
Louis: What do you generally use to keep up with film news and find out about lesser-known, under-the-radar titles? Do you follow any contemporary film critics outside of Mark Kermode?
Louis: What do you make of the fact that Hong Chau and not Brendan Fraser is your cast MVP of The Whale, in terms of expectations? As in, one could assume that it'd be Frasier, with the film being a chamber piece/character study (or attempting to be anyways) and Fraser as the centerpiece.
1) Dano
2) Schuch
3) Hoult
4) Redmayne
5) Rylance
1. Dano
2. Schuch
3. Hoult
4. Redmayne
5. Rylance
I'll say that I think Rylance 100% deserves a review. I'm unsure where he'll place. I'll rethink my predictions and post them on the first review.
RIP Melinda Dillon
1.Dano
2.Hoult
3.Schuch
4.Redmayne
5.Rylance
Luke, rating predictions.
Anonymous:
Dano - 5 (4.5 for The Batman and 4s for Lynch and Turturro)
Schuch - 5
Hoult - 4.5/5
Redmayne - 4.5
Rylance - 4/4.5
Louis, have you already given your ratings and thoughts on the saved performances?
Moviefilm: Check his last comment post.
Luke: Thank you. I've seen it, but I thought it doesn't include all the saved performances throughout the year. For example I can't find Brad Pitt in Babylon, among others.
Moviefilm: He has Pitt in Lead so I'll ask him for that once the Lead lineup is posted.
Lucas:
Perhaps at some point.
Tony:
I actually didn't keep up with Kermode this year with his new channel, and otherwise I don't follow anyone specifically. I will check up on movie news frequently enough regarding projects, and usually I will check "underseen" lists to see if there's anything I'm missing. I also listen to all of you, if you mention something worthwhile that I haven't seen.
Bryan:
Well I mean I had serious doubts about the project just from the logline and I think it would probably either have to be great or closer to train wreck with it being the latter. I wasn't surprised though in terms of MVP in the sense that Hong Chau's extremely talented and previously managed to make something out of kind of terrible role in Downsizing.
Louis: My request from the prediction of the 2022 supporting actor oscar nominees is Michael Stuhlbarg in A Serious Man
With Stuhlbarg, that's now all the 09 Lead slots filled.
Is there anyone else for 09 lead that's a potential 5 star performance besides the requests? I can't think of any right now.
Oliver: Would love a Brandauer/Burns surprise but can't think of anyone.
Right now the only other promising performance for 2009 Lead I can think of would be Robin Williams in World's Greatest Dad (hear, hear, Robert!), but I can't see him scoring higher than a 4.5.
Luke, what about Moura.
Anonymous: 4.5
I have a sneaking feeling Moura will be the highest 4.5.
I’m weirdly kind of glad that Redmayne’s getting reviewed. He’s been……more off-than-on* since his Oscar win, so him delivering in The Good Nurse is a nice change of pace.
*To put it mildly
Louis: Your thoughts on the direction for Top Gun: Maverick? For me, I like how Kosinski channels the spirit of the original film but still adds a modern change-up to it.
Oh forgot to mention, I saw Knock at the Cabin Thursday night. While not without its entertaining moments, after the delightful absurdity of “Old,” this one was a bit underwhelming in comparison. The direction taken in the classic Shyamalan third act more or less left me saying “Aw, that’s it?” Having said that, Bautista commits like hell to his role and makes most of the non-flashback scenes more than a little engaging.
Michael: ratings for the cast of Knock At The Cabin?
Uhhh, let’s call it
Bautista: 4/4.5
Cui: 2.5/3
Groff: 3/3.5
Aldridge: 1.5
Grint, Quinn, Amuka-Bird: 3/3.5
RIP Melinda Dillon.
Louis: Which sites do you use to keep up with film news and seek out "underseen" lists? I'm partial to The Playlist myself.
The Playlist for me as well.
Bryan:
Kosinski's direction I'd describe kind of classing up the Bruckheimer approach, as it is Michael Bay without the extremes, and the terrible improv, and Tony Scott without the hectic editing (that removed from Bay as well). Kosinski I'd say brings a general vibe of the original, and certainly recreates general shots, ideas, and use of score, and all quite effectively. The only critique of that is the dialogue scenes in comparison are typically pretty standard, as per the original, though, unlike the original where I never found the action all that compelling, the action here is compelling and more importantly Kosinski always directs with the emphasis on clarity. That is the clarity of every shot, that wants us to see the majesty of these jets, in these environments, and effectively so. But also clarity in that every action scene is directed with purpose and a certain rhythm. Every individual, even in the early test scene, or the early training scenes, Kosinski's work creates a clear progression, in terms of the use of music and just the intensity of the approach. All of their own progress. The true climax of climaxes then becomes the final sequence which is all about specific objectives and moments, never forgetting that and creating a particularly compelling sequence. It is never stuff that happens and then a climactic moment happens, we see that progression, and that is what helps to create investment. That is also just pushing the technical mastery here that also carries throughout the film, of very much showing every part of the jets for all their worth, though in the right way because it is always intertwined with a purpose.
Tony:
Really a mix, but that mix includes The Playlist.
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