Alberto Sordi did not receive an Oscar nomination for portraying Silvio Magnozzi in A Difficult Life.
This is the third time I'm covering an Alberto Sordi performance, and glad to do so as he has a one-of-a-kind presence onscreen. He's pretty fascinating in his innate presence because he very much looks the part of and has many traits of the comedic leading man. And while that is true, that is but the surface of his talents. It offers though an unlikely presence that also offers a very welcome idiosyncrasy by going through certain stories with such an original character. That is particularly true in this film's case as we follow Silvio in the opening of the film as part of a partisan group attempting to fight the Nazis near the end of World War II. And in these subsequence scenes, we get really what makes Sordi special. Because as this "hero" for us to follow we do get a definite reality upon his expression in the opening, showing a man in an innate state of desperation as he deals with unrelenting oppression, but we quickly see what Sordi can do beyond such overtures.
His Silvio attempts his escape but soon is captured by a German soldier who intends to execute him. This sequence even is half a serious situation but also a comedic one because the way in which he gets caught is almost a "they're standing right behind me aren't they moment". This reasonably sounds ridiculous or tonally out of place, but it works because Sordi makes it work. Sordi's performance is able to convey desperation but he is also able to as naturally bring this quick instance of levity that makes the maneuver work. Sordi's wonderful because he *does* play into the comedy, but he does it in a way that also feels just so natural. He makes Silvio just naturally funny in a sense and by doing so makes it so for him to be funny in a situation, which just feels right rather than feeling out of place in any way. Sordi is able to not lose either side of the tone, instead blending them beautifully which is what can make a performance ideal given the material simply wouldn't work without Sordi's delivery of it at this moment.
A defining twist of fate is when Silvio is saved at the last moment by a local woman Elena (Lea Massari) who kills the Nazi to save him and then hides him away. Although the initial encounter is that of mutual survival, which Sordi presents as just a very straightforward graciousness it soon switches to a romantic situation as the two come together as Silvio stays hidden away. The chemistry between Massari and Sordi has an innate richness about it, that isn't exactly simple warmth or love, yet the affection between the two is striking even as it is imperfect. They create the right sense of attraction even as the relationship from the outset is far from perfect. And we see this as soon as Silvio's partisan buddies are nearby he attempts to leave her to join back up. Sordi portrays this moment with a kind of naivety in the manner of just seemingly being a man without responsibilities and their romantic entanglement suddenly meaning less in an instance. Sordi is essential to this because he makes this pigheaded manner somehow not entirely off-putting but continues to have this hapless charm about him even when he is being a completely hapless fool.
After the war though Silvio wants her back, and in the scene of asking her to marry him you are granted a sense of such sincerity in Sordi's performance. There he brings no sense of manipulation just care and genuine love at this moment. You sense the connection between the two which becomes an essential facet of this film. Because what we see really is not Silvio going through these political upheavals but specifically how he is going through them with his wife. This includes an extended scene where the two join a politically opposing dinner and sit and hear about the political shift. And I love the quiet sense of the pair of the two just in the way they are of a unit, a real duo at this moment, and the two are wonderful together in showing solidarity in this instance. Unfortunately, that doesn't last long as Silvio is arrested for his political activism shortly afterward, missing the birth of his child and even losing his newspaper job. Again powerful is the naturalism that he and Massari strike up in tandem. They just feel real together, in the moments of frustration with a crying child in a cramped apartment, to the joy of seeing their child recover from a serious illness. There is never a disconnect between the bitter and the sweet, the two create this natural flow of to people living life that is just wonderfully realized by both Sordi and Massari.
I think what you see with Sordi's work, in general, is living in a particular way, which is that life isn't one tone, because this is an entirely convincing performance, even while very funny. There is a great scene for example where Silvio attempts to pass a verbal exam at university. Sordi is able to be very funny as he attempts to glance at the answers, however, in the same moment, his face creates such an easy empathy in the sorrow and frustration as he realizes how out of his depth in the moment. His delivery of Silvio's pleas for understanding is that of genuine passion, but again all in a moment that all feels natural as one. Sordi never loses his step and is impressive just how much he embodies the tone with such ease. Of course, this failure finally leads to a full breakdown of his relationship with Elena, where she leaves due to her dismissiveness towards her desire for stability. Leaving us with the misadventures of Silvio as he attempts to make something with his novel "A Difficult Life". Doing his sort of bumbling through life, finding some success, much failure, and seeing even his family growing up and perhaps even moving on. Sordi's performance is essential, because he is charming, he is funny, even when Silvio's actions are that of a fool, but also just because it all feels wholly honest to the character he has made so tangibly real. This is to the point when his behavior is of a boomerang, he doesn't completely lose you. And again, it is Sordi's ability to play the two sides, because as much as he's a proper jerk when diminishing Elena, his plea of honest care for her feels as sincere. In the end Silvio is a bit of a pathetic fool, but a rather endearing one thanks to Alberto Sordi.
159 comments:
Louis: Ratings and thoughts on the cast.
Louis: Do you think you can see Harry Melling or Barry Keoghan as Todd Alquist?
Have you given your alternate roles for John Cazale anywhere?
Does anybody here follows pro wrestling here anymore??? I know some of you used to do that. My God, it has been awesome ever since HHH took over.
Perfectionist: I'll catch up on Wrestlemania in a bit, since it's all I watch from WWE nowadays. Hopefully it's been good so far.
Louis: ratings and thoughts on the cast of Tetris?
Emi: I completed the first night of the Mania. It was WILD. Two matches at least operating on a completely different plane including the main event with one of THE greatest build ups I have ever seen. An immensely entertaining ride as a whole. 9.5/10.
A fascinating performance.
Louis, what are some modern roles you could see Sordi excel in? I could see him doing a magnificent job in an Italian take on Farrell in Banshees, for example.
Also, highly recommend Rye Lane, just recently come out online, to all on here. Real charmer of a film.
Perfectionist: I was a little less enthusiastic about it due to women's tag match and the slightly weak opener (though, I understand Cena can't go as much now given his age), but yeah, what did hit, hit hard. One of the betst nights of 'Mania since the 2 day format was introduced.
Also, I did not expect to segue this way into these news, and I'll admit I even feel a tad awkward mentioning this since they're more personal than film-related, but since it still concerns acting, I think I might as well do it.
I'll be making my stage debut in less than 14 hours. I don't know what to say about it other than the fact that I get more nervous the more I think of it, so, I'll just hit the sack and get back here after it's over.
Anyway, have a good Sunday or something, idk.
RIP Ryuichi Sakamoto, one of the greatest.
Emi: Good luck.
Perfectionist: I follow Cagematch to keep up with some of the higher rated matches nowadays. I try to watch AEW and some Japanese companies somewhat consistently. I don't watch WWE weekly but I'll watch the segments on Youtube if a really good story/feud is happening. I've kept up with the Bloodline since it started and it's been a pretty great story. Sami is incredible. I'll definitely watch Mania.
RIP Ryuichi Sakamoto
R.I.P. Ryuichi Sakamoto
Perfectionist: I don't really follow current day wrestling all that much, I've always been more interested in exploring the period from 1980s to 2000s. Then again, Vince not being the main person in charge might convince me to focus more on what WWE has to offer now.
Emi: Best of luck!
RIP Ryuichi Sakamoto
RIP Ryuichi Sakamato
RIP Ryuichi Sakamato
R.I.P. Ryuichi Sakamoto
RIP Ryuichi Sakamoto.
RIP Ryuichi Sakamoto
Louis: Your thoughts on the direction and screenplay of The Narrow Margin.
Your alternate casting choices for Diana Scott, Leticia Musgrove, Nina Sayers,Carol Connelly, and Georgie Elgin?
Your thoughts on the Dead Ringers tv series trailer?
Louis: Your casting choices for Mick Jagger, if he decided to pursue acting more often?
Emi: Best of luck!
RIP Ryuichi Sakamoto.
Louis: Thoughts on the cast of John Wick 4.
Emi: Belatedly, break a leg.
RIP Ryuichi Sakamoto.
Thank you, guys. It was fun. I'm glad I can call myself an actor now.
R.I.P. Ryuichi Sakamoto
Emi: Well Night 2 was fucking garbage in entirety, so I guess I was wrong lol 😂😂😂.
Perfectionist: The Triple Threat was amazing but yes, extremely disappointing ending.
Luke: I agree, the triple threat was INDEED spectacular. I wanted Sheamus to win but the result made sense. I got it wrong with "entirety", But My God, what an absolutely horrific ending. And I also hate how Balor lost as well.
Perfectionist: It would've been great to see Sheamus win though frankly I'm glad Gunther kept the title. He's easily my favourite performer in Pro Wrestling right now and want him to break the Honky Tonk Man's record. I hope he faces off with Brock Lesnar before the latter retires.
Luke: I see you, man. I am glad we share the same sentiments on Gunther. Easily my favorite at the moment as well alongside Zayn. I was rooting for Sheamus because I wanted to see him complete the grandslam and he is within my top 5 as well. But yeah, Gunther was objectively the right choice.
That Succession episode was phenomenal. Cox easy MVP (probably his finest performance on the show if you ask me), but Ruck, Strong, Snook and Culkin were incredible too.
Besides the tape gag which I found a bit 'eh', though well used in its small dosages, I thought this was an episode to rank among the finest in Succession. Cox was marvellous, as were Strong, Snook, Culkin; but I can't lie, MVP for me was Ruck. I haven't been as devastated by the show than with his final few lines this episode.
Louis, thoughts on the trailer for Blue Beetle.
Moana is getting a Live-Action remake. I'm beyond bored of Dwayne Johnson at this point.
Luke:
Massari - 4.5(As noted in the review her chemistry with Sordi is great in creating that natural relationship between the two which mixes the bitter and the sweet so elegantly. What is most impressive about her work though is the transformation we see in time and in this sense, her performance is actually particularly dynamic against Sordi, where part of Silvio's character is the patterns of his behavior. Massair shows Elena though is someone who is constantly in flux from each time period. She is entirely convincing in that certain shyness about her performance as really just the "peasant girl" though with this very encouraging conviction of someone attempting to good while in difficult situations like the way. Her portrayal of the frustrations with Silvio in this scene presents much more that of the lovesick person trying to keep what she most desires at this moment. After the war, she just naturally is the older woman who is a bit more on this direct level with Sordi in presenting the two as the unit most at this moment. After his arrest though again her switch is so natural in conveying just through the way she carries herself with great maturity but also a weariness at the same time. Again the time jump is made natural as her manner towards Silvio is filled with an aged exasperation, before again we see the woman approaching the higher society and she readjusts herself again to be convincing as this even older woman with this distinct sense of self and a greater sort of understanding of her husband's nonsense. It's a wonderful performance because she never for a moment doesn't seem the same Elena despite going through so much from scene to scene.)
Calvin:
Emad (The Salesman)
Howard Ratner
Poor Father Parasite (Kind of perfect for that honestly.)
Matthew:
Egerton - 4(If he was doing a Mark Wahlberg impression in Black Bird, this felt like him doing a Leonardo DiCaprio impression, although this time right down to the voice itself which sounded very much like a younger DiCaprio. Egerton though just brings an appreciated energy every step of the way. His character's convictions are straightforward but effective so Egerton just is able to contain within his performance every hurdle or bit of trouble he gets to along the way. While also just bringing the right kind of underdog charm through it all, particularly in the moments of the setting of the friendship between himself and Pajitnov.)
Efremov - 3.5(Brings an endearing sort of straightforward reserved passion that defines his character consistently throughout. Brings the right modest energy to be convincing in presenting someone who cares passionately about one aspect while just being exasperated by the rest of it.)
Lebedeva - 3.5(She's convincing at both aspects of her role though I do think that the whole conceit of her character is a lesser element of the film.)
Allam - 3.5(I'm not sure the whole extreme makeup job was really needed, particularly since he's quite effective with just his voice alone at bringing this specific pompousness and assumed superiority in every single delivery and his whole demeanor as a man who just thinks everything she is his regardless of effort.)
Boyle - 3(Weaslely enough to be sure, but neither stands out as a weasel in a particularly memorable way, but he's fine.)
Jones - 3(Very limited role but Jones always brings a bit of character to it, and that's the case here as per usual.)
Luke:
Of all the returning cast members, they all deliver what was appealing about their work in their previous efforts, however, I wouldn't say any of them do anything entirely new either. They're all just good again.
Yen - (Now his moves are a big highlight of his performance but even that in microcosm is special because he manages to play his blind master in a very different way than his approach in Rogue One. His physicality of Caine as opposed to in Rogue One is less of the stoic samurai and more of exasperation. His particular dynamic in action scenes is fascinating because he's able to be so precise while also always giving the "whatever" vibe of a man doing it all because he has to. Yen also brings a real charisma to Caine, creating an immediate sense of the weight of why he has to do what he has to do, and makes it a given. His performance though also illustrates Caine's changing attitudes towards John and the Marquis through each step of the story, and you see how they reflect the changing relationship between the two. Yen delivery is at first compliant with the Marquis and as we go along it becomes shorter and more exasperated at each turn. Compared to Wick he is more exasperated towards Wick at first but slowly moves towards sympathy and understanding in their interactions. You see him rediscovering care for his friend and slowly moving to be fully fed up with his assignment.)
Brown - (I mean if you need someone for dramatic declarations, expositions with a bit of foreboding energy you couldn't ask for a better voice and he certainly offers that. He also gets just a bit more to do and I did like his subtle expressions indicating that he too is fed up with the nonsense with the Marquis even as he maintains a general decorum.)
Skarsgard - (Just does the right amount of pompous sleaze to make it so you want to see him get his comeuppance as soon as possible. He's just enough over the top without going too far, particularly when you compare him to his counterpart from 2 for example, though I wouldn't say he has any real depth though either.)
Anderson - (Liked the sort of enigmatic qualities of his performance and I think he made himself the right kind of question mark for much of the film without seeming too vague. Earning then the transition where his character really reveals himself to ways, once he stops sidestepping the game and sees him finally play a hand.)
Adkins - (He's actually a 3.5 as I mistook who he was when originally giving ratings given that he doesn't resemble Adkins's typical look, I thought he was Marko Zaror's part. Regardless though a performance that worked even more for me on rewatch in terms of just how much Adkins owns the way he plays into the grotesquery of his character and just emphasizes anything vile he can about him with his accentuation of teeth and diabolical eyes. Owning it in a way that makes a quick impact in the right way.)
Sanada & Sawayama - (The former is wonderful as to be expected, bringing the stoic badass quality as to be expected though I liked how much warmth he brings here making you like his character in every short order, though being Sanada you're already inclined to do so. My favorite moment though is how well he and Sawayama establish a warm and loving father/daughter relationship in just a quick exchange of lines. You get their connection almost instantly thanks to the performers who just exude this relaxed yet caring understanding that really is a great example of how to do such a thing so quickly. Sawayama otherwise doesn't have too much to do, but I did like her general presence.)
Anonymous:
Well, they certainly liked the red scrubs. I don't know, looks like it could go either way given how tonally it was all over the place, but it could work. It did seem like Weisz isn't going for the two obvious extremes, which is promising at least.
Anonymous:
Blue Beetle doesn't look obviously bad or anything but looks a bit standard within a genre that needs to do something new at this point for me to truly care. At the very least though seems like Mariduena's likable presence could transfer successfully to the big screen.
Tony:
Not sure about Melling only because I haven't seen something similar to that gear from him. Keoghan seems ideal though he has proven he can do twisted, but also can be genuinely menacing as shown in Calm With Horses.
Do you mean present roles for 70's Cazale, or roles he could've played if he hadn't died young?
8000's:
Narrow Margin's screenplay is basically showing how to make a lower budget work because what's compelling is the dialogue and the specific taut moments of the scenario. There are no grand set pieces, just some very targeted acts, and a very specific twist. There's no flab whatsoever, it gets to it quickly but also efficiently. It sets up the stakes fast but has everything built around the thematic idea of presumed guilt/perspective. Something that is naturally interlaced through the plot developments and essentially shows the changes of our central characters as connected directly to this idea in such a natural way. It's a well-built machine of a film in a way you want thrillers to be and a bonus on that is some particularly hardboiled noir style dialogue, which fashions fantastic dynamics between our detective show thinks he knows how morality works against the person he sees as the "low woman" and the person he sees as some kind of ideal. Just a taut and precise bit of work showing how essential a good screenplay is.
Richard Fleischer's direction is helped of course by the script, however, this is on the good side of his flip/flopping abilities as a director. And again you see where one can excel with a more limited budget because obviously the train set where much of the film takes place is limited and clearly quite small. The film though has a strong sense in its sound design that very much wants us to viscerally be on the train, the choices in terms of the camera setups are limited because of the tightness of the space, however, instead of that becoming a crutch, Fleischer instead seems to purposefully emphasize the size all the more to create claustrophobia in the blocking of the actors and the framing of the shots. You notice the size of the space for the right reasons because Fleischer makes you feel it rather than see it so to speak. And otherwise, his work is taut and unfussy, getting to the point of so many scenes bluntly much like the script, and clearly pushing the actors to be as no-nonsense as the script is.
Anonymous:
Diana Scott - Diana Rigg, Faye Dunaway, Susannah York, and Samantha Eggar
Leticia Musgrove - Regina King
Nina Sayers - Rooney Mara
Carol Connelly (though I'm not truly anti-Hunt anyways) - Diane Lane or Marisa Tomei
Georgie Elgin - Uta Hagen
Ytrewq:
Ben/Philip Jeffries/Jim/Peter de Vries - Seems an ideal fit for a Lynch role is all.
Clay Shaw
Freddie Mays
RIP Ryuichi Sakamoto
Louis: Thoughts and MVP from last night's Succession if you've seen it, and your thoughts on the karaoke confrontation?
So, that "Blue Beetle" trialer...
Right out of the gate, I'll admit I'm not overly familiar with Jaime Reyes, or even Xolo Mariduena (I've seen only snippets of "Cobra Kai"). And to front load the negatives, I'm once again worried about the standard nature of these superhero origin films, as the formula has become quite tired. I'm likewise worried about the consistency of the humour and visual effects, both being areas where these movies can faulter.
On the flip side, though, from what I know of the character this seems to be representing him well. I can completely see why Xolo would be cast, and for whatever reason, I think its cool to see George Lopez again in a fairly talked about film.
Also, let me state for the record that if they ever make a buddy action/comedy about Blue Beetle and Booster Gold...that would very much appeal to my inner nerd.
I'm hoping it's good if only for Mariduena, would love to see him in more films.
Louis: Either one's fine, though the present roles sound more interesting.
Tahmeed:
Loved everything about the Succession episode, and it is a sign of a great series when they don't slow pedal moments, the fact that we got the meeting between the kids and Logan is the sign of the show's greatness as they don't artificially drag out the drama, they just gets to it. And I thought the episode was amazing in every interaction and dynamic, even the smaller ones like Greg's "taking care of business", but this episode was about the big fully family meeting which did not disappoint.
And it is amazing writing because of how honest every second of the scene feels with the dynamic of every member of the family throughout the scene. Roman trying to negotiate for love, Kendall and Shiv being hardliners with the latter trying to go full Logan to Logan, Connor genuinely trying to have everyone act like normal family and Logan in a rare circumstance of genuinely trying to reach out, at least to some extent. The clashing of the perspective though was so potent, and every second of it was amazing because of how much history is in every spoken word and reaction.
MVP Cox, who is back as really a lead character after being held back last season (though I think wisely with how he is being implemented this season), though Ruck is a very close second (who I hate falls into that grey area of guest/supporting actor leaving himself quite unsung for the series), though everyone was great once again.
Tony:
Miles Miller
Paterson
Shannon (Drive)
BCS vs Succession's final seasons duking it out at the Emmys will be VERY interesting.
Who am I kidding, Odenkirk and Seehorn will (sadly) lose again probably.
Emi: May I ask, what play were you appearing in?
Louis: Your roles for Cazale had he not died?
As for modern-day roles, what do you think of him as these:
Carl Showalter
Amos Hart
Gary (Game Night)
Jacob Elinsky
Burt Fabelman
Tony: It was an original play called "Locas Elecciones" (Crazy Elections). A comedic satire regarding, well, political parties and whatnot. It was the second in the independent company's history.
I played a character called Ricardo Efrén Torres. Essentially the noble presidential candidate of the "good" party amidst the shenanigans of the electoral race.
Thanks for asking.
Louis: Your thoughts on Kinuyo Tanaka anad Isuzu Yamada as actresses.
HBO are re-adapting the Harry Potter Novels as a TV Show. I hate the industry so much right now.
Louis: Do you think Damien Chazelle's filmography is similar to William Friedkin's?
Both had unnoticed debut films (Good Times and Guy and Madeline on a Park Bench)
Then they had their peaks with great films that won Oscar (The French Connection, The Exorcist, Whiplash and La La Land)
After the top they made very good movies for Universal but unfortunately failed (Sorcerer and First Man)
Due to this bitterness they decided to screw it up and overdo it, the results were more disappointing (Cruising and Babylon).
Luke: I'm in the mood for punching something right now
Louis: Who did you mean by Jim? Of all Lynchian characters with that name I can only recall Sonny Jim Jones and that part went to a child actor.
Tony:
Carl Showalter - Ideal casting, as Buscemi in many ways feels like a Cazale successor.
Amos Hart - Would all depend on his song ability which I'm not aware of.
Gary - Although he never got to play straight comedy based on the edges of it we got to see "Wyoming" from Dog Day Afternoon for example, I could easily see it.
Jacob Elinsky - Don't quite see him in this role, but maybe, particularly if Pacino was in Norton's.
Burt Fabelman - Could very easily see him every step of the way.
8000's:
Tanaka is interesting in that I've seen several performances from her though she doesn't have at all an exact type in my mind because how different those performances were. The loving wife of Ugetsu, the woman broken by society in The Life of Oharu and Sansho, but also convincing as the elderly woman in Ballad of Narayama. I'll say watching each I never pegged her in any of the roles particularly and therefore was transformative in a way I didn't particularly realize though convincing as each. She also apparently directed several films, I haven't seen, which is interesting, most have decent scores on imdb so perhaps I should seek them out.
I mean with Yamada I have a limited view of 5 performances. Yojimbo a fine character actress work though with relatively small intention. Her 57 slate is fascinating and shows such a range. Because with just Throne of Blood and The Lower Depths you get two very different Lady Macbeth figures, one more stylized and grandiose, one more subdued and guttural yet effective as both. Contrasting that is Tokyo Twilight where she seems like a totally different performer with her very quiet, subdued and deeply humane work as a woman who made mistakes but is attempting some kind rectification. Then as a capper you have Black River, where she gives just a fun wild extravagant performer. From all of that I can say she had substantial range.
Ytrewq:
Jim is the exploitative night porter from The Elephant Man.
Shaggy:
Yes I'd say their trajectory has been similar so far. Though I might say more hubris with Chazelle than bitterness for the last foray, as First Man wasn't a full flop with either Oscar or Box-office (certainly not critically). You could argue it was a success still, albeit less so than La La Land/Whiplash. Whereas Sorcerer (despite getting properly revelated later on as a terrific film) was a major box-office disappointment and was not well received critically initially.
Louis: I hear you like to solve mysteries =D... A snitch told me there are two to solve, one from 1945, the other from 2023, which case would you like to take????
Wrestlemania 39 I thought was mostly fantastic aside from the ending, I do hope that Cody Rhodes can get his big win eventually, I am worried that the fans might not support him forever.
your 2020s Casts and Directos for Mystic River, The Insider and Before The Devil Knows You're Dead?
Louis: Your cast for a 2020s A Tale of Two Cities directed by Ianucci? I was thinking Kelvin Harrison Jr. for Darnay/Carton would be interesting.
RatedRStar:
I always prefer the classic tips, so 45 if you please.
Tim:
Mystic River 2020's directed by Michaël R. Roskam:
Jimmy Markum: Tom Hardy
Dave Boyle: Matthias Schoenaerts
Det. Sean Devine: Michael Fassbender
Det. Powers: Sterling K. Brown
Celeste Boyle: Noomi Rapace
Annabeth Markum: Andrea Riseborough
The Insider 2020's directed by David Fincher:
Lowell Bergman: Gary Oldman
Jeffrey Wigand: Brendan Fraser
Mike Wallace: Gabriel Byrne
Ron Motley: Michael Stuhlbarg
Before The Devil Knows You're Dead directed by Park Chan-wook:
Korean:
Andy: Park Hae-il
Hank: Lee Byung-hun
Charles: Choi Min-sik
Dex: Park Hae-soo
Bobby: Seo Hyun-woo
Gina: Lim Soo-jung
Non-Korean:
Andy: Adam Driver
Hank: Evan Peters
Charles: Jeff Goldblum (I think he does have it in him)
Dex: Freddie Stroma
Bobby: Jonathan Tucker
Gina: Jena Malone
Tahmeed:
Agreed on Harrison.
Ohterwise:
Lucie Manette: Daisy Edgar-Jones
Miss Pross: Tilda Swinton
Stryver: Peter Capaldi
Marquis St. Evremonde: Nick Mohammed
Madame Defarge: Olivia Colman
Dr. Alexandre Manette: Benedict Wong
Walter Catlett: Tom Burke
Jerry Cruncher: Rory McCann
Jarvis Lorry: Lennie James
The Seamstress: Kerry Ingram
Louis: Ok then LouisMan, here is your first clue, Riddle me this.. is there anything strange or a bit odd about this 1945 Oscar Winners lineup link???? (don't worry I will tell you if you don't know but I just want to know if you also think there is a certain weird winner here)
https://www.youtube.com/watch?v=5y7ZAJrUMD0
(Anyone can join in BTW)
How about this for Before the Devil Knows You're Dead?
Andy: Bryan Tyree Henry'
Hank: LaKeith Stanfield
Charles: Bill Duke
Dex: Bokeem Woodbine
Bobby: Scoot McNairy
Gina: Jennifer Lawrence (Causeway reunion!)
Robert: You nailed this one imo!!!
Louis: What are your thoughts on Harry J. Wild's work in Murder, My Sweet? His work was WILDLY good. Pardon the pun.
I actually just watched the movie for the first time yesterday, and while I thought Powell was decent, all I could think of was a 50's remake of the film with Mitchum as Marlowe. How I wish I could live in that universe where he played a younger Marlowe.
Trevor was good, like always. Maybe for a 50's version, either Greer or Grahame for her part?
Saw Air, which I must say I'm not nearly as enthusiastic about as most. It's fine in its expected beats but doesn't quite deliver on its deeper intentions. Good, not great.
Louis: your thoughts on the farewell scene in 'The Farewell' (as they drive away in the car).
Calvin: ratings for the cast of Air?
Matthew:
Damon - 3.5
Affleck - 3.5
Bateman - 3
Wayans - 3
Messina - 3
Tucker - 3
Davis - 4.5
Maher - 2.5 (better than usual but still a bit too much)
Reviews from early screenings of "Beau Is Afraid" are out. Many are calling it one of Phoenix's top tier performances... What do you guys think???
Must concur with Calvin, I liked Air, but I don't think it is anything special either.
Damon - 3.5
Affleck - 3.5
Bateman - 3.5
Wayans - 3
Messina - 3
Tucker - 3
Davis - 4
Maher - 2.5(Affleck's Noah Segan apparently)
RatedRStar:
Well there's several sort of obscure winners there with the Non-Lost Weekend screenplay winners, the PD winners and Wonder Man of course.
Robert:
Love the idea of Bill Duke in that role, and it would be great to see Henry return to a menacing kind of role (I feel many might forget just how good he was at that in Widows).
8000's:
So much great noir work that year, but that is some stellar work as well. A lot of the expected in just the dynamic lighting, but the composition of so many shots is stellar, especially the use of reflection shots that are all amazing. Every time it goes for something really stylish, it is that most effective, and when not still just potent classic noir work.
Grahame.
Calvin:
Beautiful use of song, and just great simple acting in portraying just the sudden onset of sorrow as they realize what this particular leave means (even if ironically it doesn't mean that Afterall).
Perfectionist: Phoenix is honestly the *least* of my worries when it comes to the film. My patience for Aster is paper-thin at this point.
Louis: your 80’s, 90’s, and 2000’s casts and directors for D&D: Honor Among Thieves?
Louis: Thoughts on the cast of Air?
LOVED John Wick 4. Just a completely awesome action movie, executed with phenomenal skill and technique. Gonna take something extra-special stunning to beat this as my cinematography win.
Reeves-3.5
Yen-4.5(His physicality is obviously impressive in an of itself, but he goes way beyond that. The "blind martial arts master" is a very old cliche, and one Yen has actually technically done before, but it's a cliche I like and he finds a variation on it here. He's oozing charisma and feels like a genuine threat to John Wick. What's more, I honestly found his personal story the most emotionally resonant part of the film. Amazing work.)
McShane-3.5
Fishburne-3.5(Once again, I just *love* every kooky choice he makes.)
Skarsgard-3.5(This man *needs* to play a Batman villain.)
Sanada-3.5
Adkins-4(Wonderfully grotesque bit of work.)
Brown-3.5(His voice has such an effortless command to it just in itself, so it makes sense they gave him lots of speechifying to sink his teeth into.)
Anderson-3(Didn't quite get his "deal" per se, but I thought he was fine.)
Sawayama-3.5
Reddick-3(RIP once again, and I have to say it was HARD to watch him in this.)
MVP though to the German Shepherd, and I'm only sort of kidding about that.
Louis: Thoughts on the direction and screenplay of Kiss Me Deadly.
Louis: Do you plan on watching Beef on Netflix? I've seen the first three episodes so far, and Yeun and Wong are fantastic.
I finished Beef, which I found pretty damn amazing throughout, though one or two of its later episodes could be a tad divisive and some of the criminal buddies could've toned it down a tad, but overall I loved pretty much everything, especially the two lead performances.
Cast Ranking:
1. Steven Yeun
2. Ali Wong
3. Young Mazino
4. Justin H. Min
5. Maria Bello
6. Joseph Lee
7. Ashley Park
8. Patti Yasutake
9. David Choe
10. Mia Serafino
11. Rekstizzy
12. Andrew Santino
Louis: Marie-Louise (technically a 1944 film) became the first international film to win original screenplay, the film barely has any YT clips, no reviews on RT, only a few on Letterboxd and has less of a wiki page than Tsutomu Yamazaki.
However...someone wasn't happy with that decision, a man named Philip Yordan, who co wrote the screenplay for Dillinger, a film that competed in the same category, Yordan believed that the president Walter Wanger deliberately swayed the Academy to vote for Marie-Louise, Yordan was quoted as saying "some picture made in Switzerland that nobody had ever seen" apparently numerous studios refused to make gangster films based on real people at the time.
So who was right Wanger or Yordan? maybe neither film deserved the award with one of the three other obscure films being more deserving, maybe a hidden gem could appear.
Louis: thoughts on the cast of Air
Louis: Your full thoughts on Plan and Execution and the final scene
Anonymous:
1980's directed by Terry Gilliam:
Edgin: Jonathan Pryce
Holga: Grace Jones
Xenk: Howard E. Rollins
Simon: Levar Burton
Forge: John Cleese
Sofina: Sarah Douglas
Marlamin: Harrison Ford
1990's directed by Martin Campbell:
Edgin: Antonio Banderas
Holga: Michelle Yeoh
Xenk: Laurence Fishburne
Simon: Chris Tucker
Forge: Dudley Moore
Sofina: Joanne Whalley
Marlamin: Pierce Brosnan
2000's directed by Gore Verbinski:
Edgin: Heath Ledger
Holga: Lucy Lawless
Xenk: Idris Elba
Simon: Kel Mitchell
Forge: Tim Curry
Sofina: Julie Cox
Marlamin: Orlando Bloom
Anonymous:
Damon - (In some ways it is where I prefer Damon, just low-key dramatic and comedic, mostly there to be a likable enough lead to follow. it's not putting much pressure on his chops here, but he delivers to the degree needed for the material.)
Affleck - (I mean similar to Damon here, but he gets some eccentric elements to play around with, that he largely takes a slightly comedic approach to, which works, as do the generally dramatic moments of just showing the mix of passion yet frustration. Not his biggest stretch either but he's good.)
Bateman - (Comedy is his wheelhouse but I think he tempers it rightly between doing that specific Bateman exasperation while still staying within the character. Balances his presence with the actual character effectively, again not a huge stretch but a good performance.)
Wayans - (I think you probably could cut his scene out of the movie, not going to lie even if it is an interesting tidbit to be sure, and Wayans gives a fine straightforward turn.)
Messina - (He's a lot but it largely works in being the worst of the worst type of agent. He's amusing enough though I never thought he was full-out hilarious which might've been the potential merely in performance.)
Tucker - (Doing his thing, which I do enjoy, no more no less.)
Davis - (It's a good performance that decidedly takes an extremely tempered performance that completely works in creating Jordan's mom as a measured person, who has her passion towards her son however even that is very specific and with an essential understanding of what would be best. She is able to play modestly with the right assured confidence that creates this innate strength of someone who doesn't need to brandish it, she just simply is.)
Maher - (The Afflecks seem to have quite the loyalty to him, so maybe he's a great guy? Anyway, as an actor though he's a bit of ham, and probably is a better fit for the bit roles he inhabited for the longest time. He's a ham here again, though his hamminess is as much of a constant, and he does have some decent moments of more tempered moments in there. Although this is one perhaps I'm just too aware of his ridiculous scenes.)
8000's:
Aldrich isn't someone who always made great films however his films, particularly his early ones, always have a distinct edge to them and that is particularly true for Kiss Me Deadly. There's violence about it, that isn't explicit but rather suggested that is particularly visceral in the way Aldrich presents it. He emphasizes the hardboiled, right down to the central character, without creating this sort of easy quality to fall back on. There's no charm or slick candor about the work, it is the blunt and rough world he presents. His choice of cinematography is moody, however, in a way that is more oppressive than anything, his use of silence in the sound creates this penetrating quality to any sound that does appear. This speaks particularly to the ending which is one of the most striking of any noir, particularly the whispy "voice" that comes out of the box, which turns the ending into a full horror movie. An example where all I wouldn't say makes this the most pleasant of noirs, and maybe you wouldn't want every noir to be as such, but as a specific example, it is a memorable sort of more extreme form within the genre.
The screenplay I think is in many ways what makes the difference between good noirs and great noirs, because most noirs have a lot of style to them which carries them fairly far more often than not, what makes them great if they do so where the characters get more life than the types, and the scenario feels unique and is also easy to follow. In this sense this is where Kiss Me Deadly isn't a great noir, because the plotting doesn't carry you right along every step of the way as the great ones do, it is easy to get lost within the narrative occasionally, and the characters do remain more so within types than completely provocative characters that exist beyond the narrative. Not that the plotting is bad nor is the general use of the characters it is just what keeps it from being great and instead merely good.
RatedRStar:
I'll certainly see if I can track that one down because that's certainly an interesting story.
Tahmeed:
Given the praise and its relatively short runtime, probably I'll make time for it.
What are the most subtle performances nominated/won for best actress?
Louis: I would never take away these roles from them, but what if Bryan Cranston and Bob Odenkirk swapped the characters they portrayed in Breaking Bad? After all Cranston proved to be capable of playing both humorous and meek characters, while Odenkirk recently showed a more imposing side of him in Nobody.
Anonymous:
Winners:
Sophia Loren - Two Women
Sissy Spacek - Coal Miner's Daughter
Emma Thompson - Howard's End
Frances McDormand - Nomadland
Nominees:
Ruth Negga - Loving
Celia Johnson - Brief Encounter
Edith Evans - The Whisperers
Liv Ullmann - The Emigrants
Emmanuelle Riva - Amour
Yalitza Aparicio - Roma
Joanne Woodward - Mr. & Mrs. Bridge
Anouk Aimee - A Man and A Woman
Liv Ullmann - Face to Face
Emma Thompson - Sense and Sensibility
Ytrewq:
While I could see Cranston entirely as Saul, not entirely convinced about Odenkirk with the most menacing and darkest elements of Walter from what I've seen, though I do think he could've done well as early Walter.
Question for everyone here: Who are some live action performers with great voices, that for whatever reason haven't had many roles in voice acting?
Kiefer Sutherland and Michelle Yeoh are two that come to my mind. Sutherland proved with "Phone Booth" that he can do a lot vocally, yet surprisingly hasn't done much VA work beyond COD. And Yeoh just has such a graceful and rich voice that I'm similarly surprised with her lack of VA work - Kung Fu Panda 2 aside.
Mitchell: Some of my picks would be:
-Martin Scorsese (yeah he's a director, but it would be cool to hear him voice all types of shifty characters)
-Randy Quaid (voice that would've been a good fit for animation in general. Not that he's gonna get any roles in near future)
-Jamie Foxx (same as above, especially after Soul)
Another way to look at it would be actors with some VA experience, but who haven't exactly struck gold when it comes to choice of roles, such as:
-Michael McKean (it's weird he's not the go-to choice for scholarly types and narrating the story)
-David Koechner (the guy would've made some real bucks if he tried voicing all sorts of creeps and unhinged villains, if his performance in Barnyard is anything to go by)
Mitchell: Gina Gershon and Carla Gugino come to mind as having sultry voices that should be heard more in voice acting stuff.
ALSO, I finally caught up with last year's "The Menu", and I quite liked it. Effective thriller for sure, and it also works as a pointed and darkly comic commentary on high society types.
Fiennes is MVP, of course, and it's one of my favourite performances of his. Joy and Hoult were also quite good.
I say more natural born hams, both good and bad, would make good voice actors. Billy Zane, Stephen Lang, Marton Csokas, they all would probably benefit from the medium. Hell, I remember Billy Zane in Kingdom Hearts enlivening a pretty one-note villain. Need a “name” to voice your character? Cast a scenery-chewer.
I'm afraid I have to report that Luis Estrada's ¡Qué Viva México! was quite the disappointment.
If you guys can imagine a Get Out kind of set-up that takes on Parasite's thesis were it turns out the real parasites are your own family and that 2/3rd's of the way through turns into a lesser and pointless The Treasure of The Sierra Madre, and then fill it to the brim with repetitive or irredeemable caricatures that might not serve any other purpose than to laugh at a metaphorical punching bag of the Mexican lower class, then you'll have 3 hours of your life where you'd wish you were watching any of Estrada's previous films instead.
Sorry for the mouthful, but this might be the most bummed out I've ever been after a disappointing movie. Feel free to skip this one, lads.
Ratings for what they're worth:
Herrera: 3.5
Alcázar: 4 (actually rises above his 3 caricatures incredibly well)
Cosío: 3 (waste of his talents)
de la Reguera: 4 (she doesn't reach Cho Yeo-jeong greatness, but still is remarkably entertaining in spite of a somewhat rotten character)
Everyone else is on the 3/2.5 spectrum of alright or unremarkable. There might be a couple of 2s I can't bother to look up either.
Louis: What are some roles in the 80s you think John Cazale could've played had he not died? Also, have you seen I Knew It Was You, the documentary about him?
Louis: Your cast and director for:
-2010s Falling Down
-1990s War Dogs
-1980s Her
Louis: Rating and thoughts on Franchot Tone, Elle Raines, Thomas Gomez and Alan Curtis in Phantom Lady.
What are the most subtle performances nominated/won for best supporting actress?
Question: Is Kill Bill vol. 2 an Original or Adapted screenplay? Because it's a sequel but he kinda wrote it all as one movie.
Tony:
Des Spellacy (True Confessions)
Nathan Landau (Sophie's Choice)
Alex Linden (Bad Timing)
Shooter (Hoosiers)
I also ponder if he might've caused Pacino to do more/do more quality projects in the 80's.
I have.
Ytrewq:
Falling Down 2010's directed by Spike Lee:
Sergeant Prendergast: Denzel Washington
William "D-Fens" Foster: Wesley Snipes
Beth Trevino: Gina Torres
Detective Torres: Rosie Perez
Amanda Prendergast: Angela Bassett
Nick: Roger Guenveur Smith
"Not Economically Viable Man": John Turturro
1990's War Dogs Directed by Oliver Stone:
Efraim: Robert Downey Jr.
David: John Cusack
Henry Girard: Bruce Willis
1980's Her directed by Terry Gilliam:
Theodore: Christopher Walken
Samantha: Kathleen Turner
Amy: Amanda Plummer
8000's:
Have I seen Phantom Lady?
Anonymous:
Winners:
Peggy Ashcroft - A Passage to India
Brenda Fricker - My Left Foot
Vanessa Redgrave - Julia
Olympia Dukakis - Moontruck
Wendy Hiller - Separate Tables
Nominees:
Jane Alexander - All The President's Men
Barbara Barrie - Breaking Away
Laura Dern - Wild
Lesley Manville - Phantom Thread
Rachel McAdams - Spotlight
Marianne Jean-Baptiste - Secrets & Lies
Mary J. Blige - Mudbound
Norma Aleandro - Gaby: A True Story
Catherine Keener - Capote
Joan Plowright - Enchanted April
Matt:
I do consider background info when relevant (for example screenplays based on unpublished materials by the same author are original to me) so it would be original since it was merely broken up.
Louis: I was also thinking Kathleen Turner for an 80s "Her", as like Scarlett Johansson now, she is quite regarded for her husky voice that can also come off as rather alluring.
Also, for subtle supporting actress nominees...would Amanda Seyfried in "Mank" count? There's an element of style/flamboyance in her physical work, but from a dramatic standpoint it's a remarkably composed, graceful performance. There's really no scene where she gets a big emotional outburst or speech, and much of that emotional nuance is shown in a very understated way by Seyfried.
Louis: Could I have your thoughts on this anime opening? The show is apparently based on The Tale of the Bamboo Cutter, aka Princess Kaguya.
https://youtu.be/Cv1Y2chJRWM
Mitchell:
Well again the list is based on performance that are predominately subtle, as almost any great performance will have some, if not a lot of subtlety, even if there are big moments as well. Her performance externally is certainly not subtle in terms of the overall setup, though she uses a lot of subtlety behind the big accent and such, which is what makes it a good performance.
Marcus:
A little overdrive for me in terms of both the quick cutting imagery and where the song goes. Though I didn't mind the overall design and how the song started actually.
Louis: what are your thoughts on the second, third and fourth episodes of the first season of Succession? I ask because you said every episode was great other than the first 3 of season 1
your 2020s Casts and A History Of Violence, Collateral and Big Fish?
*and Directors
Allow me to plug my 2020s Collateral directed by Steve McQueen
Max: Lakeith Stanfield
Vincent: Steven Yeun
Annie: Nicole Beharie
Ray: John Magaro
Daniel: Stephen McKinley Henderson
Felix: Wagner Moura
Louis: Your thoughts on I Knew It Was You?
Are there any contemporary actors you're surprised/disappointed haven't become big stars yet, despite having predicted they would be when your first saw them?
Louis: Alternatively for that Falling Down cast, how about Jason Bateman and William Hurt as respectively D-Fens and Prendergast or Martin Freeman and Ray Winstone (in that second version D-Fens goes on a spree across London)?
Louis: Well, you have Tone, Curtis and Gomez in your 1944 supporting actor ranking.
As someone who isn't a fan of Falling Down, I *love* Louis's idea for Spike Lee doing his spin on it.
Has anyone else seen The Super Mario Bros Movie yet? I saw it last night and actually found it delightful. I never thought I’d see Illumination take so many risks.
I have, quite enjoyed it especially for the visuals and music. Also saw Totem (which I rather liked) and Afire (which is easily my favourite film this year so far, Petzold strikes again).
Louis: Have you started the new Ted Lasso season yet?
Lucas:
Well clearly it is because the stench of McKay got further from the show. Perhaps unfair, but I don't think so, as I imagine he had more input than *just* the direction on the pilot then faded out his role.
Anyway the initial episodes aren't bad, but they're not the greatness of the rest of the show. And beyond my theory, shows often do need to figure themselves regardless and there's some key things that got better/resolved/dropped.
-The show became less about hating the Roys, I do think this part was definitely McKay, and they allowed a complex sympathy which really expanded the shows potential. The initial episodes have kind of an examining a crime scene approach at times that wouldn't have been sustainable, also wasn't all that enjoyable. I think evidence for this is Rob Yang having starring billing and the pilot in particular suggests Lawrence is going to be a key character in taking the Roys down.
- They were figuring out the characters still, Kendall really is the only one of the main characters who feels close to right in the pilot. Everyone else develops into far more interesting characters beyond the initial episodes, Connor and Roman in particular
-They decided to not kill Logan off. I mean Logan is such a defining character to the show as it went along, and clearly had a different design, the early seeds of the old idea I think were still present in the initial episodes, which were to their detriment.
-They embraced the comedy past those episodes. It becomes so much funnier as it goes along and humor becomes an essential facet of the show. For example Tom/Greg isn't a thing in the first three episodes, which of course is one of the greatest things in all of television.
Tony:
Just a heartfelt doc focused on remembrance and appreciation more than anything, with some great tributes from fans (fittingly) of his work, like Philip Seymour Hoffman and Steve Buscemi, and some very moving moments with the interviews with Pacino and Streep.
I don't think I ever predict *a star*, though I do think it is unfortunate that Fassbender is on such an abysmal streak, really hope that both Fincher/Waititi don't fumble the ball on him (though I have some very serious concerns with the latter doing it).
Ytrewq:
I mean fine choices in terms of actors, however I think for that film to work at all you'd need a fundamentally new take on that material, hence my choice of Lee.
8000's:
Well since they're ranked I guess I watched it, but I have almost no memory of it. An unfortunate, though acceptable, side effect of watching as many movies as I do.
Tahmeed:
Not yet, was planning on catching up once they hit five.
R.I.P. Michael Lerner
Louis: Your thoughts on the shuttle launch failure scene with Roman in Succession?
I think the actual footage of the explosion not having any sound somehow makes it even funnier.
Also, as much of a blowhard as Roman is, his reaction to the result does sting a little bit for me.
(www.youtube.com/watch?v=sVB_BcbLlUs)
Michael: ratings for the cast of The Super Mario Bros Movie?
RIP Michael Lerner
Fare thee well, Michael Lerner. Thanks for giving us that Jack Lipnick feeling.
I think Succession might have just pulled one of the greatest 4 episode runs ever on TV. Sensational work from all involved.
R.I.P. Michael Lerner
RIP Michael Lerner
RIP Michael Lerner. He has some of the best scenes in Barton Fink and that movie is nothing but great scenes.
That Succession episode was spectacular, no further notes.
RIP Michael Lerner.
R.I.P. Michael Lerner
RIP Michael Lerner
Calvin, thoughts and ratings on the Super Mario Bros, Totem and Afire casts
Super Mario Bros:
Pratt - 3.5
Taylor-Joy - 3.5
Day - 3.5
Black - 3.5/4
Key - 3.5
Rogen - 3
Armisen - 3
Totem:
Senties - 4
Uniformly very strong ensemble, I'd say everyone is pretty much on the 3.5 or 4 level
Afire:
Schubert - 5
Beer - 4.5/5
Uibel - 4
Trebs - 4
Brandt - 4
RIP Michael Lerner
Extraordinary episode of Succession, didn't see that coming and sufficient to say I have no idea where the rest of the series is going now, which is exciting. Honestly MVP I'd say was shared by Snook/Strong/Culkin.
RIP Michael Lerner
Rest in Peace Michael Lerner.
Which real-life couples had the best chemistry on screen and which had the worst?
Louis: What are your thoughts on Don Adams, Cree Summer and Frank Welker's voice-work in Inspector Gadget? That is, if you've ever seen Inspector Gadget.
Everyone: Thoughts on the trailer for "The Marvels"?
I'll offer my two cents...could be fun, could be underwhelming. Again, tonal and humour consistency is where I place a lot of importance - more so than these specific characters, even. That being said, though, I'm still not sold on Brie Larson in these films, and Captain Marvel herself is a hero I simply don't that interesting or unique.
On the brighter side, I will endevour to learn more about Kamala Khan; She seems cool, and the character is actually quite new by comic standards (debuted as Ms. Marvel in 2014).
Tim:
A History of Violence
Tom Stall: Bradley Cooper
Edie: Michelle Monaghan
Carl Fogarty: Stephen Graham
Richie Cusack: Liev Schreiber
Leland & Billy: Shea Whigham & Frank Dillane
Collateral:
Max: Choi Woo-shik
Vincent: Lee Byung-hun
Annie: Kim Tae-ri
Felix: Choi Min-sik
Daniel: Kwak Do-won
Big Fish:
Edward Bloom (Old): Nathan Lane
Edward Bloom (Young): Taron Egerton
Will Bloom: Harry Melling
Sandra (Old): Mira Sorvino
Sandra (Young): Haley LU Richardson
The Witch/Jenny: Elizabeth Olsen
Norther Winslow: Michael Shannon
Amos Calloway: Peter Dinklage
Karl: Boban Marjanović
Josephine: Mathilde Ollivier
Dr. Bennett: Richard Roundtree
Bryan:
It is indeed hilarious in the particularly sort of casual nature of the explosion due to the lack of sound and it seeming just a sudden slight of fate against Roman. And yes it does grant a hint of empathy particularly due to Culkin's reaction to it.
8000's:
I mean I have but I'm not sure they need to much mention. Adams doing his Get Smart voice, though with less depth, Summer and Welker are both more than fine in doing some pretty perfunctory, though earnest enough work.
Louis: Your thoughts on the Breaking Bad season 4 scene where Walt argues with Jesse about his giving "back-up" to Mike? Always found Cranston's delivery of "it's all about me" and Paul's reaction to it incredibly hilarious.
https://www.youtube.com/watch?v=8OfZkdFhvrI&ab_channel=BreakingBad%26BetterCallSaul
R.I.P. Michael Lerner.
Hey guys. Talk about your bets on
Louis' Top 5 Best Original Screenplay:
1. Akira Kurosawa and Ryûzô Kikushima - Yojimbo
2. Ingmar Bergman - Through the Glass Darkly
3. Ennio De Concini, Pietro Germi and Alfredo Giannetti - Divorce Italian Style
4. Alain Robbe-Grillet - Last Year at Marienbad
5. Billy Wilder and I. A. L. Diamond - One, Two, Three
Louis' Top 5 Best Adapted Screenplay:
1. Truman Capote and William Archibald - The Innocents
2. Jean Pierre Melville - Léon Morin, Priest
3. Masaki Kobayashi, Zenzō Matsuyama and Koichi Inagaki - The Human Condition III: A Soldier’s Prayer
4. Robert Rossen and Sidney Carroll - The Hustler
5. Carl Foreman - The Guns of Navarone
Louis: What do you say to a 50's High Plains Drifter with Laughton directing and Mitchum starring in Eastwood's role?
Louis: Oh, and it looks like Ron Perlman is voicing Optimus Primal in the next Transformers movie. Thoughts?
Feel like he's a bit too serious for Primal, who wasn't exactly serious all the time.
Random note here; I was re-reading Louis' review for Barry Keoghan in "The Banshees of Inisherin"...
Among the many lines that ring true for me, I particularly concur with the observation that Keoghan plays Dominic as both incredibly self conscious and incredibly self oblivious. It resonates with me because...well...it sort of describes me as well as the character. I'm nowhere near Dominic's state, mind you, but since my youth I've definitely had to train to recognize cues/adapt to the tone of a conversation. Even then, I'll still catch myself either not reacting to a given prompt, or struggling to match the energy of those around me.
I don't know...just thought I'd share that little self critique, that was spured on by Louis' own commentary.
Dungeons and Dragons is a lot of fun. Nothing great, but a good time.
Pine-4
Rodriguez-2(I'll just say it, I'm completely fed up with her doing the same exact thing in every movie with no variation at all, and it was particularly annoying here because there was room for her to do more.)
Page-3.5(Wish he was in it more.)
Smith-3(I found him sometimes annoying sometimes endearing.)
Lillis-3
Grant-4(Fully in Paddington 2 mode, which I love. Deliciously sleazy and quite hilarious and upstages the "real" villain completely.)
Coleman-3
Head-2.5
?-3 (First of all, LOL. But he honestly gives a nice little performance here.)
I also love how Dungeons and Dragons did their own version of this https://youtu.be/FiDY2nXVLZ0
I guess playing Letty is the only gear (heh) Michelle Rodriguez has.
Also, there were several murmurs of “Wait is that…?” in the theater when “?” showed up.
Louis: Thoughts on the trailer for The Sympathizer miniseries from Park Chan-wook?
Tahmeed:
A great scene where you can see how Walter is both right and wrong at the same time. Right in that he's correct that it is all a manipulation by Gus, but wrong in going about it in such an extremely egocentric way that is being as dismissive towards Jesse the whole time as possible while also building himself up as possible in terms of the situation...even though Walter is right about the entire situation.
8000's:
I could see it with the certain mythic qualities in that particular western.
I mean I don't care about the Transformers films unless they show they're going to be something other than trash, which that one could easily be a return to their old "form"...which is not a good thing. I would agree with Perlman, and I question in the time of fan service why not get Gary Chalk.
Matt:
Looks pretty fascinating to say the least, and exuding with Park energy in every respect. Also looks like Downey actually might not just be playing Tony Stark, which is appreciated.
Louis: Your thoughts on these alternate choices for Paul and Eli Sunday?
Cillian Murphy
Ben Whishaw
Jeremy Davies
Peter Sarsgaard
2020s Harry Melling
2020s Barry Keoghan
Hopefully The Sympathizer isn't the new The Little Drummer Girl whose script didn't measure up to Park's talent.
I've watched You People. Now imagine Guess Who's Coming To Dinner, but filled to the brim with poor dialogues (and I mean needless cringe comedy level poor) and pretty much without any poignancy to be found within the point it tries to get across. There you go, I've spared you 2 hours.
Hill-2.5/3 (actually tries to make something out of the material and his character)
London-2.5
Duchovny-1.5 (seems embarrassed to be there)
Louis-Dreyfus-1.5
Murphy-2.5/3 (same as Hill)
Epps-1.5
Also Elliott Gould and Rhea Perlman serve as background characters. Talk about depressing career trajectories.
Tony:
Murphy would be a very different dynamic because he's more innately intense and intimidating even when playing technically weaselly characters (e.g. Scarecrow). It could work, but would be a far more overtly nefarious take I think and the dynamic with Day-Lewis would've been very different.
Whishaw would be similar I think in many respects to Dano's performance and could easily see it.
Davies I think would come off as too creepy innately I think and while he'd have the intensity, I think he would be less convincing as the preacher as the pillar of the community so to speak.
Don't see Sarsgaard at all and I think it would be a role that would play to his lesser tendencies as a performer.
Melling essentially played a variation on it in Devil All the Time, and was a decent in that poorly written/directed film, so I certainly think he could work well with PTA in charge.
Easy yes on Keoghan who has everything needed for that part.
Suzume I found to be a marked improvement over Weathering With You, though it doesn't quite achieve the success of Your Name, in part due to that film's simplicity in terms of how it gets the plot going and its ability not to explain the main conceit. Suzume doesn't have that liberty and does occasionally get a bit bogged down by trying to make everything fit within its plot mechanics. Having said that, found this to still be quite wonderful. Feels redundant to say it is beautifully animated, which it is, or beautifully scored, which it also is, but more importantly it finds the right emotional anchor here, albeit takes a little more to rope you into it, with a nice sense of place and humor in infusing really each visit on the characters' journey with memorable personality. Although I wouldn't say flawlessly intertwines the fantastical journey with the personal, it does successfully do it in a way that is moving while often quite striking, and not just visually.
Glad you liked Suzume too.
Louis: could I have the thoughts on the 'I don't need love, it's a superpower' and Connor's heart to heart with Willa on their wedding day scenes from the last two Succession episodes? Those two, coupled with the 'he never liked me' line delivery, have me astonished with Ruck's work in way that goes beyond before (where I always enjoyed his performance, but they've been giving him some really great opportunities to shine lately).
Calvin:
I think the expansion of Connor as a character, as he's very much a side idea in the first few episodes, is one of the great, and kind of unsung, aspects of the series. Ruck, who I've always liked, has been making the most of it, and those are two moments that are just incredible, while also illustrating the show's almost unbelievable ability to make you emphasize with typically unsympathetic type of characters. The first moment being so heartbreaking really with Ruck showing Connor's tough face, which is attempting to just exist without, with what he's never truly had, love. That defeated resignation while also trying to be a strength being so painful and oddly poignant. The same goes to his moment with Willa, where you does have this modicum of tenderness even as superficial in some aspects the relationship is, you see the need in Connor so beautifully performed by Ruck as someone trying to make the best of the worst, and in Willa, while it isn't precisely true love, there is some genuine affection of sorts there, that makes it again oddly poignant as broken as it is.
Louis: Fair points, I'd add that Whishaw's take probably would've made the character more vulnerable/pitiable.
Regarding Sarsgaard, what do you think are his lesser qualities as an actor?
Your thoughts on these Wes Anderson-directed shorts? https://www.youtube.com/watch?v=6zu7XNpppYk
Tony: He likely meant that Sarsgaard is at his peak when portraying understated characters, not so much when he has to go big.
Tony: Sarsgaard is a baaaad ham when he goes big.
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