Best Scene: Introduction.
4. Adel Bencherif in A Prophet - Bencherif gives a moving portrayal of humanity within a world of vicious crime.
Best Scene: Alone at home.
3. Guillermo Francella in The Secret in Their Eyes Francella gives a funny, charismatic and also moving portrayal of the "sidekick" investigator who actually might be the most competent of all.
Best Scene: What might have happened.
2. Paul Schneider in Bright Star - Schneider impressively transforms himself into this period writer, but also gives a remarkable depiction of a charming yet hectoring man with an insecure heart.
Best Scene: "I failed John Keats"
1. Fred Melamed in A Serious Man - The shortest performance I reviewed here but the one that it is the hardest for me to forget. He's just leaves an ever lasting impression with his one of a kind portrayal of the most patronizing of passive aggressiveness superiority that is also absolutely hilarious.
Best Scene: The three meeting.
Next: 1958 lead (May not be a lineup, we'll see.) Also going to take a week hiatus to catch up on some 2023 films.
226 comments:
1 – 200 of 226 Newer› Newest»Chhabi Biswas - Jalsaghar
John Mills - Ice Cold In Alex
Max Von Sydow - The Magician
Shin Saburi - Equinox Flower
Vittorio Gassman - Big Deal On Madonna Street
Louis: Your updated Female rankings.
And rating and thoughts on Giovanna Mezzogiorno.
Chhabi Biswas - The Music Room
Youssef Chahine - Cairo Station
Max Von Sydow - The Magician
Robert Ryan - God’s Little Acre
Gary Cooper - Man of the West
Ratings and thoughts on:
Filipo Timi in Vincere
Jean Dujardin in OSS 117: Lost In Rio
Alex Descas in 35 Shots Of Rum
Gallo, Ehrenreich and Brandauer in Tetro
Jared Leto in Mr. Nobody
Sandrine Kiberlain, Vincent Lindon and Aure Atika in Mademoiselle Chambon
Nina Hoss, Benno Fürmann and Hilmi Sözer in Jerichow
Evan McGuire, Brendan Gleeson and Mick Lally in The Secret Of Kells
Bill Hader and James Caan in Cloudy With A Chance Of Meatballs
Bradley Cooper, Zach Galifianakis, Ed Helms Justin Bartha, Rob Riggle and Ken Jeong in The Hangover
John Krasinski in Away We Go
Fan Wei, Nakaizumi Hideo in City Of Life And Death
Shahab Hosseini and Peyman Moaadi in About Elly
Sam Neill in Skin
Adam Arkin in A Serious Man
Stanley Tucci in Julie & Julia
Ledger, Waits, Farrell, Troyer, Garfield, Depp and Law in The Imaginarium Of Doctor Parnassus
Zhang Fengyi and Takeshi Kaneshiro in Red Cliff Part II
Anika Noni Rose, Keith David, Michael-Leon Wooley in The Princess And The Frog
Christian Friedel in The White Ribbon
Louis: Lowest 4.5, 4, 3.5, 3 and 2.5 on this list?
Melamed being #2 overall was very surprising.
It's good that 2009 has finally been revised, for me it's the worst year of the 2000s. I hope the next one of that decade is 2006.
Louis: Irani isn't ranked in the overall.
Also, your rating and thoughts for Om Vaidya in 3 Idiots, and your thoughts on Chatur's speech.
And the 3 Idiot Leads aren't ranked either.
Louis: For your 2023 catch-up:
Beau Is Afraid
Knock At The Cabin
Infinity Pool
Elemental
They Cloned Tyrone
Afire
Showing Up
Monster
R.M.N.
Passages
Rye Lane
Louis, your takes on these Siskel & Ebert reviews?
Curly Sue https://www.youtube.com/watch?v=awWmfNB_7wk
Cliffhanger https://www.youtube.com/watch?v=c7y97jkH2JQ&t=478
Naked Lunch https://www.youtube.com/watch?v=B_qz2_8mUMg
Brain Candy https://www.youtube.com/watch?v=dheOm5JgwzM
Louis: Your thoughts and ratings on Jin-Goo and Won-Bin in Mother?
Louis: Apparently Ridley Scott has a 4 1/2 hour cut of Napoleon that he wants to release sometime after the theatrical version. If Phoenix does get reviewed this year, I will make it my recommendation on the January after its release.
Btw, I also did NOT expect Melamed to straight up win the the line-up and even be the year's runner-up, but again, I *seriously* love it.
Man, I better not have Sy Abelman as a neighbor ever.
If you think about it, triumphing over both everybody in the lineup and almost every supporting player of the year and at the end losing only to a freaking Nazi colonel has to be the most Sy Ablemanish thing ever.
I guess I need to rewatch A Serious Man
Richard Attenborough, The Man Upstairs
Chhabi Biswas, The Music Room
Gustav Holoubek, The Noose
Toshiro Mifune, The Rickshaw Man
Michael Redgrave, The Quiet American
Dirk Bogarde, A Tale of Two Cities
Stanley Baker, Violent Playground
Nikolai Cherkasov, Ivan the Terrible, Part II: The Boyars’ Plot
Gary Cooper, The Man of The West
Michael Craig, Sea of Sand
Jean Gabin, The Night Affair
Jean Gabin, Maigret Sets a Trap
Jean Gabin, Love Is My Profession
Jean Gabin, Les Miserables
Jean Gabin, The Possessors
Vittorio Gassman, Big Deal on Madonna Street
Andy Griffith, No Time for Sergeants
Jack Hawkins, Gideon’s Day
Jack Hawkins, The Two-Headed Spy
Boris Karloff, The Haunted Strangler
Paul Massie, Order to Kill
John Mills, Ice Cold in Alex
Maurice Ronet, Elevator to the Gallows
Robert Ryan, God's Little Acre
Max von Sydow, The Magician
Eli Wallach, The Lineup
Supporting:
Harry Andrews, Ice Cold in Alex
Richard Attenborough, Sea of Sand
Gunnar Bjornstrand, The Magician
Lee J. Cobb, Man of the West
Tadeusz Fijewski, The Noose
Rex Ingram, Anna Lucasta
Myron McCormick, No Time for Sergeants
Anthony Quayle, Ice Cold in Alex
Paul Scofield, Carve Her Name with Pride
Totò, Big Deal on Madonna Street
Lino Ventura, The Lovers of Montparnasse
Actresses
Jean Simmons - Home Before Dark
Sylvia Sims - Ice Cold in Alex
Jeanne Moreau - Elevator to the Gallows
Jeanne Moreau - The Lovers
Mari Torocsik - Sweet Anna
Edwige Feuillère - Love Is My Profession
Deborah Kerr & Mylene Demongeot - Bonjour, Tristesse
Lilli Palmer & Romy Schneider - Girls in Uniform
Ellie Lambeti - A Matter of Dignity
Ingrid Bergman - Indiscreet
Irene Worth & Lillian Gish - Orders to Kill
Virginia McKenna - Carve Her Name with Pride
Ineko Arima & Kinuyo Tanaka - Equinox Flower
Eva Dahlbeck, Bibi Andersson & Ingrid Thulin - Brink of Life
Ingrid Thulin - The Magician
Lilli Palmer - The Lovers of Montparnasse
Annie Girardot - Maigret Sets a Trap
Saw Amadeus for the first time today. Great movie! Louis, I wanted to know what your rating would be for Elizabeth Berridge's performance. I thought she was terrific and was surprised she wasn't nominated for an Oscar for it.
Louis: To emphasize on my previous comment, I was not blaming you for the "language barrier" thing. Excuse my verbosity there, considering I might have convoluted certain things for you. My point was, that sometimes nuances of a language or a culture don't translate well into other language. Sometimes, it can be hard to find a delivery for how comedic or dark or powerful it is, in other language. Happens to me sometimes(even in English language movies as well considering it's not my mother tongue) and it takes re watches. Considering my deductions differ from yours to a formidable extent, even though I am not an Indian either, I suspected that that might have been the case. Otherwise, I have no doubt that you always review all the performances in a fair and unbiased manner. I am sorry, if you got a different implication.
Also, like the last time, my supporting actor wins for 2000s.
2000: Paddy Considine in A Room For Romeo Brass
2001: Ian Holm in The Lord of the Rings: The Fellowship of the Ring
2002: Robin Williams in Insomnia
2003: Yoo Ji-Tae in Oldboy(I think, Choi would be my win for lead as well. A recent re watch confirmed that for me.)
2004: David Carradine in Kill Bill: Volume 2
2005: Mickey Rourke in Sin City
2006: Steve Carrell in Little Miss Sunshine
2007: Timothy Dalton in Hot Fuzz
2008: Heath Ledger in The Dark Knight
2009: Christoph Waltz in Inglourious Basterds(I am not even that huge on IB, but this performance stays undeniable from a technical standpoint.)
Here's mine:
2000: Malcolm McDowell in Gangster No.1 (still have a lot to see though)
2001: Ian McKellen in Fellowship of the Ring
2002: Robin Williams in Insomnia
2003: Sean Astin in Return of the King
2004: David Carradine in Kill Bill Volume 2
2005: Ed Harris in A History of Violence (it would be Rourke, but I kinda think he's lead)
2006: Jack Nicholson in The Departed (Should probably be Affleck in Hollywoodland but again I kinda think he's lead)
2007: Javier Bardem in No Country For Old Men
2008: Heath Ledger in The Dark Knight
2009: Christoph Waltz in Inglourious Basterds
Matt: Yeah I honestly see the argument for Rourke. But considering how it wasn't a clear cut inference to draw, for me at least, I didn't overthink it and wanted to give Rourke(and that freaking performance) a win for something.
My logic is Rourke, Willis and Owen are all leads the same way Jackson, Travolta and Willis are in Pulp Fiction.
Mine:
2000: Joaquin Phoenix in The Yards
2001: I’m seeing Fellowship again in a month when it plays at my local theater, ask me again then.
2002: Robin Williams in Insomnia
2003: Peter Sarsgaard in Shattered Glass
2004: David Carradine in Kill Bill Vol. 2
2005: Kevin Costner in The Upside of Anger
2006: Steve Carell in Little Miss Sunshine
2007: Sam Rockwell in The Assassination of Jesse James by the Coward Robert Ford
2008: Heath Ledger in The Dark Knight
2009: Christoph Waltz in Inglourious Basterds
Gun to my head on 2001… I’m actually leaning Mortensen. But again, rewatching it in a month.
Also, agree with Matt and his reasoning
Louis: What are your ratings and thoughts on Allen Lewis Rickman and Fyvush Finkel in the opening of A Serious Man?
Louis: i’m glad you liked Rye Lane, Louis. It’s definitely an excellent film. Ratings for the cast?
Louis: rating and thoughts on Maya Rudolph in Away We Go.
And Ernst Jacobi in The White Ribbon.
Louis, if its available, could you check out Master Gardener.
Louis: Could you save all thoughts on 2023 performances until you've finished your catch-up.
Louis: Thoughts on The Killer trailer.
Louis: Your thoughts on the Siskel & Ebert title sequence and theme song? Personally I always loved how goofily 80s sitcom-y it is.
Mine:
2000: Joaquin Phoenix in Gladiator
2001: Ian McKellen in Fellowship of the Ring
2002: Robin Williams in Insomnia
2003: Sean Astin in Return of the King
2004: David Carradine in Kill Bill Volume 2
2005: Mickey Rourke in Sin City
2006: Philip Seymour Hoffman in Mission Impossible 3
2007: Javier Bardem in No Country For Old Men
2008: Heath Ledger in The Dark Knight
2009: Christoph Waltz in Inglourious Basterds
My suggestions for 1958 would be:
Max von Sydow in The Magician
Shin Saburi in Equinox Flower
Eli Wallach in The Lineup
Gary Cooper in Man of the West
John Mills in Ice Cold in Alex
Louis: Your thoughts on the sound editing and sound mixing of The Wild Bunch.
Louis: Also thoughts on the voice of Warren Oates.
My suggestions for 1958:
Chhabi Biswas- The Music Room
Gary Cooper- Man of the West
Max von Sydow- The Magician
Youssef Chahine- Cairo Station
Michael Redgrave- The Quiet American
Louis: Thoughts on both Ferrari and Saltburn trailers.
Luke:
Lead Actress:
1. Kim Hye-ja - Mother
2. Carey Mulligan - An Education
3. Giovanna Mezzogiorno - Vincere - 4.5
4. Golshifteh Farahani - About Elly
5. Rachel Weisz - The Brothers Bloom
6. Charlotte Gainsbourg - Antichrist
7. Gabourey Sidbe - Precious
8. Noomi Rapace - The Girl With the Dragon Tattoo
9. Sophie Okonedo - Skin -
10. Abbie Cornish - Bright Star
11. Nina Hoss - Jerichow - 4.5
12. Catalina Saavedra - The Maid -
13. Sandrine Kiberlain - Mademoiselle Chambon
14. Saoirse Ronan - The Lovely Bones
15. Mati Diop - 35 Shots of Rum - 4.5
16. Audrey Tatou - Coco Before Chanel
17. Tracey Heggins - Medicine For Melancholy
18. Bae Doona - Air Doll
19. Helen Mirren - The Last Station
20. Karine Vanasse - Polytechnique
Supporting Actress:
1. Monique - Precious
2. Soledad Villamil - The Secret in Their Eyes
3. Marion Cotillard - Public Enemies
4. Melanie Laurent - Inglourious Basterds
5. Blanca Portillo - Broken Embraces
6. Anne-Marie Duff - Nowhere Boy
7. Alice Krige - Skin
8. Maribel Verdú - Tetro - 4.5
9. Lauren Ambrose - Where the Wild Things Are
10. Taraneh Alidoosti - About Elly
11. Kim Ok-bin - Thirst
12. Lisa Houle - Pontypool
13. Diane Kruger - Inglourious Basterds
14. Zhao Wei - Red Cliff Part 2
15. Samantha Morton - The Messenger
16. Mariana Loyla - The Maid
17. Gao Yuanyuan - City of Life and Death
18. Rana Azadivar - About Elly
19. Kristin Scott-Thomas - Nowhere Boy
20. Lin Chi-ling - Red Cliff Part 2
Mezzogiorno - (Her performance in the early portion of the film I would qualify as completely serviceable in projecting this sort of fantasizing lust so directly in the depiction of the affair. Creating someone who is more fascinated by her husband in many ways than she is completely in a loving relationship in some ways. She does find the depth though there is also a certain vapidness all the same, though in a way that alludes to what will happen soon in the relationship. Her performance after the turning point though is incredibly powerful work in terms of creating such a palpable sense of the emotional desperation, devastation and exhaustion of her work. While also keeping this sort sense of defiance within her eyes showing her constant as someone who will not back down from the truth even as she is brutally treated again and again. Creating a particularly powerful tragedy because she depicts the fight of it every step of the way.)
Timi - (His first half of his work is effective albeit fairly straightforward in creating the sense of charisma but also the innate ego of his character. He's more off-putting though more than anything in creating the sense of the man's demeaning character. It is his briefer performance that blew me away where he plays the son evoking the father, with these performances bluntly as the Mousslini most of us are more familiar with but as this kind of pantomime of a son trying to reckon with a father who will not recognize him. Timi's work in these moments is incredible because it is so raw and visceral while also being convincing as the Mousslini surrogate.)
Dujardin - (Look at my earlier review, as it is more of the same, in a good way.)
Descas - (Brings a low earnestness that works well where the conflict is realized in very subdued reactions. He's good though in creating the chemistry between daughter and father while also quietly showing the sort of sticking points that slowly develop and is moving in portraying sort of the internalization of any of the potential distress. He didn't tear my heart out as much as Ryu in the similar role, but it is a moving piece of work regardless.)
Gallo - (He is an extremely off-putting actor though I think this works here in creating the right sense of this intriguing enigma of a man. It is hard to read him ever here but in a way that slowly becomes fascinating in how it is hard to figure him out completely. His performance delivers this effectively as someone you can't quite understand but you strangely want to know more even though he isn't very likable.)
Ehrenreich - (He provides the essential balancing act for Gallo, because he gives a very low key charming performance and makes you like this brother even though you feel as if you understand him very quickly. He creates the right sort of underdog energy that makes you really care for him to figure things out, and work particularly effectively as this contrast to what Gallo is doing that together makes a certain kind of a whole.)
Brandauer - (In a way you can then say he's the whole man, though we see less of him, as Brandauer presents someone who is very charismatic while also being an enigma. He brandishes this wonderfully well and it is great to see him bite into each of the relatively limited scenes he's in and he delivers that power he was known for. This also only makes it a bigger shame he hasn't been in more things because this is proof he clearly didn't lose it. Plus he plays his own brother again, and is good in just being sort of the meek "nobody" version quite well as contrast.)
Leto - (Well some of his least Letoesque acting and that is even when playing different accents and old men. Leto plays it all really straight to the point with the emotions he's trying to convey, and really is game for every single side or shade of the character we get. Like the film itself, I think editing could've pulled this performance together to something more profound but Leto delivered on his end absolutely. Creating a consistently honest depiction of the many forms of humanity we see through him.)
Kiberlain & Lindon - (Both are quite effective in just bringing this natural emotionalism towards the relationship. Creating the sense of the extreme moments of lust, sexual tension, genuine comfort or conflict with such a natural ease between each other. Most scenes are about the silences and there we are granted an understanding of the pair and their relationship with each other with a potent sense of reality within the relationship.)
Atika - (I thought she was fine but didn't really stand out beyond a certain point for me.)
Hoss & Furmann - (Both create the sense of the desperate people of different ilks finding each other in this moment, which again a very lustful relationship at times but they do bring to it more than that. Furmann's work is effective in playing around the lines of stoic to reveal quietly the more desperate man trying to climb as much as he can. Hoss really has to struggle to be dishonest for me and she brings such a natural quality to her distressed trophy wife. There bringing a completely different angle in her desperation and particularly in her relationship with her husband. She in particular is just fantastic in the final scene because she suddenly breathes so much complexity within the moment.)
Sozer - (A lot of what he does is be this mess in just both playing towards the sudden acts of violence or the moments of despairing alcoholism. In each though he creates it as the acts of extreme desperation at all parts, and that seem to occupy him more. Leading to his final scene where he is quite great in portraying the most extreme vulnerability that he brilliantly makes you suddenly care about such a despicable character. And in his final moments, the rage he brings is heartbreaking by presenting a man just suffering so painfully from being seemingly rejected from the entire world.)
All the vocal work is appropriately good in Kells but I wouldn't say they stand out beyond a certain point.
Hader is fine if very standard sort of energetic vocal work. Caan brings a great sense of deadpan comedy with this genuine heart within his deliveries that surprisingly brings a lot of depth to the situation really just through the earnestness of his work.
Cooper - (Couldn't be happier that this isn't what he got pegged into, though I'll give him the most credit in that I could foresee some way his performance could work if he was playing off other actors into a different dynamic. But as is, I didn't get much out of him here and glad he successfully moved on.)
Galifianakis - (He can be funny, but found the whole idea of the character aggressively off-putting without being funny at any point. Being the worst human ever could work, but the bits just never did. Or maybe give some genuine heart behind his want for friends, but they don't do that either. He's just obnoxious for the sake of it which got old for me very fast.)
Helms - (Helms is a terrible overactor in most everything, which is less of a problem for a comedy, but the problem for me is I didn't enjoy anything he did here.)
Bartha - (Instantly forgettable, but also does anyone buy the group as actual friends? I thought they had zero chemistry.)
Riggle - (I can't stand any of his performances as I just find his routine, which is always the same, instantly unfunny and grating.)
Jeong - (I have to admit I was waiting for the shoe to drop and he was going to say "just kidding, you guy actually thought I talked like the most extreme of an Asian stereotype?", I mean he's actually Asian, but that doesn't make it funny suddenly. Just found him aggressively unfunny in every sense and grating every second he was on screen. Though to be perfectly honest, I don't know if I've ever enjoyed a Jeong performance.)
Krasinski - (Falls into like Alan Alda's early cinematic performances where he didn't adjust for film and way overplays the part into caricature. Where his work seems to be playing for the laughs at every second and in turn comes off as a cartoon. Found his work aggressively grating here and just overdone.)
Wei - (Powerful reactionary work in showing just the shades of the man going through so many different horrors and he conveys that so powerfully. One reaction in particular he manages to deliver on the sheer terror and heartbreak in equal measure. He's very moving though in just portraying the wear of the man though also this minor spark seemingly of sort of a growing selflessness towards the man through horrors doesn't give up his humanity. Giving a moving depiction of a man who still keeps this sense of care even as he seems wasted away by life.)
Hideo - (A performance where you wish was just slightly more, and it's good. Absolutely so in showing the soldier sort of going through the motions with some nagging decency, and there is nothing wrong with what Hideo is doing at any point. It's one though you wish there was just a little more power to his work to really make every impact as much as it should within character. And again it isn't a case of being obviously underwhelming at any point, he just doesn't quite pull you into the character fully. And again sounds weird because I do think it is a good performance. I just think there was perhaps a path for greatness.)
Hosseini - (Gives a nuanced portrayal of the man being set up, and plays well between the sense of awkwardness but also kind of the hope for something at the same. He creates a natural balance to craft a natural empathy to his character that he makes very empathizing throughout the film. Bringing an honesty to the situation and a low key emotional turmoil that is quite remarkable.)
Mooadi - (Relatively limited role but he delivers on sort of the sense of the history of the group effectively, while having these very naturalistic moments of attempting to be the leader. He's not really the focus of the film but he's good with what he has.)
Neill - (Really quite effective here in playing a horrible person, where you at first think he's a decent man in a difficult situation where he does express a blunt loving quality towards his daughter with more of a sense of the innate frustration. The real cruelty of the story comes when he becomes racist himself because his dark skinned daughter goes with a dark skinned man, and Neill's performance reveals the sort of nasty side so naturally which makes it particularly penetrating.)
Tucci - (Would've been the better choice for recognition as he's just supremely charming every moment he's onscreen. Bringing just a generous joy to the part in showing a man simply in love and enjoying life. Bringing just a simple yet complex sense of the history of the two having a great relationship. He's also though terrific in his one dramatic moment of showing the quiet exasperation of the man as he has to undertake a nonsensical interrogation and portrays so well the earned discontent of the moment.)
Ledger - (Could've been a great performance potentially, as he brings the right roguish charm, where you know he's suspicious but he also has a great sense of showmanship it is hard to hate him. He brings a delightful brightness to him. He also has a great sense of nuance in alluding to the character's past and being on the line between the character becoming better or worse. Sadly for so many reasons, this is an incomplete performance.)
Waits - (I mean Waits as the devil what's not to like? Brings his Waitness in a proper joyous way and is the proper trickster in every sense, while also always being a great watch because it is Waits. I also like the moments of almost odd care to his performance where he borders on friendly as though he's more for the game in a lot of ways than the soul.)
Troyer - (Really was surprised by him here given the usual role he was given, as he brings a surprising sense of warmth and really even this honest wisdom. I really like his chemistry with Plummer, especially their last scene where he brings this blunt sense of the right thing to do in a great way. And suggests he was a bit more of an actor than he was really given the chance to show.)
Garfield - (Perfectly fine in bringing a goofy but hapless charm. Not exactly his most remarkable part, but he acts as the right foil to theoretically Ledger.)
Depp, Law & Farrell - (Depp really just does his typical shtick in this type of role of just flamboyance without substance. Law just is going through the motions. Farrell seems to want to try to replicate what Ledger was doing and does it to a degree. The film still doesn't realize the conclusion with the character well, which in part was I'm sure was due to necessity, but honestly they should've had Farrell play all the fantasy versions of the character because he's the only one who seemed to be genuinely trying to find the part.)
Fengyi - (Found him kind of dull in part 1 as the villain but found he came to life much more in part 2. Bringing suddenly more of a sense of cunning but also strangely a sense of humanity in many moments. He exudes a bit more of a depth to what truly is motivating the man as this sort of lonely man lashing out at his state and is effective in giving a greater depth to the fiend.)
Kaneshiro - (Has less to do this time, but still is a charismatic presence.)
Rose - 3.5(Really lovely work in both singing and giving an innate life to the character. Particularly in creating a real sense of the banter between the two frogs as it were, but a genuine sense of the personal wants beneath the hijinks. Just charming work and delivers the song in particular quite well.)
David - (Great to see him get a bit of a spotlight and of course he delivers on giving this menacing quality that is also filled with charisma. But he's also very good in his final scene in shaking this up to suddenly switch to extreme desperation and fear that really shakes up the portrayal in a compelling way.)
Wooley - (Just charming sort of over the top work, but in a way that absolutely works for the character.)
All the performances in The White Ribbon are effective though purposefully limited.
Ytrewq:
4.5 - Won Bin
4 - Crudup
3.5 - Addison
3 - Duvall (Crazy Heart)
2.5 - Giamatti
Tahmeed:
What works in the speech is the contrast in the commissioner and Virus's reaction, the former not getting it at all and the latter getting all too well with his reactions being a highlight to the scene for me. However Vaiday delivers it well with the hectoring tone of the performance punctuating every moment of it.
Emi:
Won Bin - (Have to give all the credit for pulling off really what is one of the most difficult performances to pull off, which is the emotionally stunted sort as it is easy to be all wrong very quickly. I think he not only avoids the pitfalls he thrives in ways you wouldn't expect. Because he's neither precious about the character nor is making him a caricature. Rather he articulates a reality in the stunted man trying to navigate the world, where you see the defensiveness at times but also the ease of just going along with whatever is stated. He makes it all painfully natural as he does in his moments of more overt emotion where he reveals just how much his character has been through. It is never cheating though and always through the funnel of how this man is able to express himself. He manages to neither make him likable nor intolerable, rather he makes him very complicated which is essential in the role.)
Jin Goo - (I liked his performance as bringing the right reactionary energy in his scenes with both Won Bin and Kim. In each though he brings this sort of quietly good hearted if maybe not completely pure quality to him. Finding an elegant balance for the character that makes him as kind of casually supportive in an interesting way.)
Louis: Thoughts on Diop and Verdu.
And what was your rating for Descas.
Tony:
Curly Sue is funny because Ebert kind of admits he's wrong to begin with and Siskel's rare disruption of the setup is hilarious with "What" to Ebert's ending that starts a discussion where their disagreement is actually kind of particularly direct in the rejection of each other's thoughts. And it's always great when one brings in a citation attack, this case Career Opportunities to undermine Siskel's opinion.
Cliffhanger is funny because in a way they're both right in that it doesn't have much of a story and it is dumb, however Ebert is right that you can certainly get fun out of the dumb thrills of the piece.
I love their Naked Lunch review because it shows they can appreciate what the film has going for it, but can say they didn't enjoy it. I especially love Ebert's humorous slow explanation about "admiring it but hating it". What's funny is that Siskel wants to disagree even though he basically said the same thing with how he ended his review. I also more or less agree with them about Naked Lunch in general.
Brain Candy is a great contrast where Siskel states so earnestly his enjoyment of it, and Ebert just comes in with blunt hatred, with his repetition of hating opinions is just wonderful. And I love how Siskel is still earnestly trying to sell it and Ebert isn't having any of it to the point he literally wants the conversation shut down, where Siskel's reaction to that is just great.
Always enjoyed the theme song for indeed the very silly and corny era specific nature of it.
They canceled The Great. I hope Bob Iger shits blood tonight. I am NOT okay right now.
Louis: Although we’ll sadly never know for sure, do you think that if Heath Ledger had been able to complete his performance, it would’ve resulted in a better film? As in, the films’ flaws still would’ve been there, but maybe having a solid anchor throughout could’ve softened some of the edges.
Matt:
I quite enjoy both performances in bringing this very authentic quality, and not just in terms of the language rather their whole being seems of this specific period piece. Rickman’s performance being this great straight man through the whole situation in just bringing up the man so innocently, then his horrified reactions throughout are wonderful. Finkel’s performance is wonderfully ambiguous in that you can’t tell exactly if there’s something slightly sinister or he’s just slightly eccentric in his manner. Particularly when he does get stabbed his reaction is perfect because he plays it with a nonchalance of either a man whose brain has broken from how the situation has unfolded so surprisingly, or is in fact a creature hiding the fact that he’s not actually a human.
Luke:
Rudolph - 3.5(She's the best part of the film and brings some honest moments within her own work. Sadly she really doesn't have anyone to work with at any point. I did believe her to an extent where she nicely didn't go for obvious laughs or "gotcha" moments but did try to find something a bit more genuine it would seem. Not enough to make it too meaningful but I did appreciate her effort.)
The Killer definitely looks like a Fincher film, in a good way, like the intense style and the potential of the very specific killer in Fassbender’s hands. Also here’s hoping that Fassbender’s negative streak breaks with this and Next Goal Wins. I mean it would have to be a strange curse if these were bad too after ending up in Derek Cianfrance’s, Tomas Alfredson’s and Justin Kurzel’s worst films in succession.
Well one concern can be removed immediately which is that Mann would be still toying with trash overt digital, thankfully that is obviously not the case. Looks great visually. Not much more can be taken from the trailer other than looks like Driver and Cruz are going to be intense at the very least. I am a bit concerned about Shailene Woodley being in it, as she’s often not great, but otherwise than that maybe an indication that Mann still has it, hopefully.
Saltburn looks extremely impressive visually so that end seems covered. And as The Talented Mr. Ripley and maybe Brideshead Revisited combine into something, is most intriguing. Follow Ups can be tough, so we’ll see but a great first impression to be sure.
Louis: Rating and thoughts on Leonard Nimoy in 2009 Star Trek?
Louis, your Lowest 4.5, 4, 3.5, 3 and 2.5 for 2009 Best Actor.
Louis: Thoughts on...
Monique in Precious (don't think you gave your thoughts on her before)
Amy Adams & Chris Messina in Julie & Julia
Alessandro Nivola in Coco Before Chanel
Omar Doom in Inglorious Basterds
Rudiger Vogler in Lost in Rio
Ben Mendelsohn in Knowing
Louis: Thoughts on this track?
https://www.youtube.com/watch?v=3N2EOjfoXbQ
Guys, are there any vocal turns that you've seen yet Louis hasn't that could get a 4.5 from him.
Anonymous: I think Gary Oldman in Kung Fu Panda 2 is the strongest possibility. Pat Carroll and Jennifer Saunders will get very strong 4s for Little Mermaid and Shrek 2 respectively.
Anonymous: Whether he'll want to watch it is up in the air, but I feel like David Koechner may get a firm 4 for Barnyard.
Louis: Your updated top 10 for 2009 Best Original Song?
Calvin: Are you planning on seeing The Promised Land at Venice.
Louis: Your thoughts on Oliver Stone originally wanting to cast Brando as X in JFK.
Luke:
Diop - (Again naturalistic chemistry with her co-star that creates that relationship in a way that is authentically subdued. That goes for even the moments of technical conflict where they are convincing together in the ease of it even when it is technical tension. She manages to convey an effective sort of the pull and push without being overt, but you never have to guess the emotion either.)
Verdu - (Basically acts as the mediator between the brothers throughout and is terrific in developing this sort of bastion of connection between them. She plays well really in both in the one sense of intrigue in her romantic relationship with Gallo, but the very supportive sort of nearly motherly manner with Ehrenreich that creates a wonderful dynamic as she acts as the essential superego to them both.)
4
Robert:
Not happy about that.
I'll throw some blame on the Emmy voters on this one, I think if it had been more of an awards magnet it would've stuck around, and deserved to be one.
Bryan:
Yes, as the character doesn't feel cohesive despite Farrell's best efforts. Wouldn't have saved the film entirely but would've made it better.
Ytrewq:
Decent cameo, better than his really forced one in Into Darkness, but I would say overall it's just fine as his Spock portrayals go.
Anonymous:
Adams - (I mean the role is absolutely intolerable but she doesn't help matters either I'd say. She really leans into the character's insufferable qualities that only exacerbates them all the worse. Maybe that's what they wanted, but it's not pleasant.)
Messina - (He's better than Adams but saddled with a lame role. He's not terrible but is stuck without anywhere to go.)
Nivola - (Fairly dull here as the "romantic" interest for a love triangle.)
Doom - (I mean his proper Italian delivery is hilarious and worthy of recognition all on its own, as is his befuddled earlier "I don't speak Italian". Combined with his vicious intensity in the ending, fairly memorable in his brief bits.)
Vogler - (Enjoyably pompous villainous performance that plays well off of DuJardin in particular.)
Mendelsohn - (I mean he's not laughable unlike most of the cast, but it's a lame role for a great actor.)
Razor:
I mean James Newton Howard is a talented composer and a shame such talents were used on a film that nearly everyone agrees on is terrible. Anyway, his talent though clearly still shone through a bit as it has a luscious, emotional quality within his melodic building of the strings to what is pretty impressive piece, I have to imagine it doesn't save the scene it's in.
Tahmeed:
1. "The Weary Kind" - Crazy Heart
2. "Boy in the Park" - Guy and Madeline On A Park Bench
3. "Dig a Little Deeper" - The Princess and the Frog
4. "All Is Love" - Where the Wild Things Are
5. "Wake Up Sid" - Wake Up Sid
6. "Down in New Orleans" - The Princess and the Frog
7. "Give Me Some Sunshine" - 3 Idiots
8. "Almost There" - The Princess and the Frog
9. "Aal Izz Well" - 3 Idiots
10. "Other Father Song" - Coraline
Luke:
Glad he didn't get him. Because Brando would've wanted to make the scene all about himself rather than the exposition, which Sutherland on the other hand tends to be very giving, and by doing so makes the scene all about the exposition but by osmosis also all about him naturally. Also just vocally Sutherland's voice is ideal for exposition, whereas I wouldn't say that's Brando's forte.
Hey Louis.
Today marks 50 years since John Ford passed away. So what are your Top 20 movies of him and best performances actors under Ford's direction?
Louis: Your past roles for Saoirse Ronan, Jessie Buckley, and Renate Resinve.
Louis: Do you happen to recall where you posted your thoughts on Monique? You've referred to having discussed her before but Google is only giving me instances where you've mentioned her performance in passing.
I get the feeling Marlon Brando would’ve wanted to add some aloofness to X as well, which would’ve been distracting. He was already well into his “I do what I want or I walk” stage by that point.
Luke: Curious about Stakeout, since Shinobu Hashimoto got the Blue Ribbon, the Kinema Junpo and Mainichi Film Awards for his screenwriting work.
Louis: Your thoughts on this Abel Ferrara interview. https://www.youtube.com/watch?v=aY7yyhjOXWw
Louis: Thoughts on Adina Verson, Jayne Houdyshell and Zoe Colletti in Only Murders in the Building?
Louis, I wanted to know what your rating would be for Elizabeth Berridge's performance in Amadeus. I thought she was terrific and was surprised she wasn't nominated for an Oscar for it.
Anonymous: She's a 4.
Berridge - 4(She slammed sometimes I think it's because of her accent, but I do think her performance works in being the person out of her element to a certain extent in the world of the film)
For future reference, if you're looking for Louis's ratings/thoughts on a performance, use "site:actoroscar.blogspot.com" followed by what you're looking for when searching in Google.
Louis: Your present roles for John Travolta and Tyrone Power?
Louis: Aside from Apocalypse Now, what other troubled productions of movies do you think could work as a movie?
It's gonna be Stone vs. Gladstone for Best Actress this year.
For those who saw Killers of Flower Moon please answer me: Is Gladstone lead or supporting?
Shaggy: None of us have seen it.
Reviews have indicated that she's more Lead than Supporting. Anyway, I was referring to the overall win on the blog rather than the Oscar race where we've yet to know what category she's going to be canpaigned in.
Shaggy: I saw it in Cannes and for me it is a lead.
Tony:
Ronan:
Susan Vance
Susan Kathleen Applegate
Kathleen Sullivan
Buckley:
Eliza Dolittle
Laura Jesson
Eileen (Pennies from Heaven)
Really need to see more of Reinsive.
No, I don't keep an encyclopedia of where I put every thought I've had, it would be convenient if I did.
An interview I know well. What one refers to as a review on drugs, probably not just caffeine and nicotine. His "It wouldn't be my idea" regarding Keitel's nude scene is genuinely hilarious.
Anonymous:
Verson - (I think she's entirely fine as the important character in the second season though I don't think he'd go too much beyond that. In that she doesn't overplay the reveal scene presenting it as enough of a turn around not to be over the top. While also providing sort of the right dogged "innocence" in her early scenes, that is enough but not too much, to keep you off her trail.)
Houdyshell - (I mean first season she's really one note but effective enough at being the consistent grump in all her scenes. She was very good though in her highlight episode in showing the depth behind really the one note without making it seem out of place. Creating the sense of the pained quiet loneliness of the character in a genuinely moving way, and managed to earn some genuine sympathy for the character that didn't feel forced after what she was in season 1.)
Colletti - (I liked her energy in general and had nice chemistry with Martin in particular. Manages to be the excited teenager without becoming immediately grating and when she acted as part of a quad of the trio she didn't feel out of place which was important. Brings just enough nuance to bring a bit of drama within the more sort of comic energy of being the youth among old, but again without being too much.)
Ytrewq:
Travolta:
Tony Fiorello
Sebastian "Seb" Wilder
Ryan Cooper
Power:
Chef Slowik
Lou Bloom
Bruno (The Immigrant)
8000's:
The Island of Dr. Moreau
The Evil Dead
Fitzcarraldo
Children of Paradise (for different reasons)
Super Mario Bros.
Watched Branagh's Much Ado About Nothing. Simply delightful. Patrick Doyle seems to be his secret weapon because his score is once again a big reason this movie is so good.
Branagh-4.5(Henry V is a better film, but I think this is a better performance, just because his acting style, which I would describe as "tasteful ham" fits better here. Branagh though hits every note perfectly, the comedic, the dramatic and the romantic, with his chemistry with Thompson being completely amazing. His comic timing is superb and he makes the ego of his character truly funny. Great work)
Thompson-4.5(Simply outstanding, and everything I said about Branagh goes for her as well, probably even more so.)
Leonard-2(He's just not a very good actor in general, even on House, where he's *fine*, he's completely eaten alive by Hugh Laurie every step of the way, where their dynamic should be a *little* bit more of an even playing field that it is. Anyway, he's absurdly awkward here, not particularly comfortable with the language and failing to sell the emotion.)
Washington-3(Good, old-fashioned charm from him.)
Keaton-4.5(This is a great part to begin with, in terms of pure comedy, and Keaton runs with it like nobody's business. Only he could play Dogberry like this, and he succeeds in being absolutely hilarious and a highlight of the film.)
Reeves-3(You know what, he's very stiff, but it kinda really works here.)
Briers-3.5
Blessed-3
Beckinsale-2.5
Elton-3(Funny foil for Keaton)
Louis, how much have you seen from the following shows:
Animaniacs
Tiny Toon Adventures
Pinky and the Brain
Freakazoid!
The X-Files
Gilmore Girls
Ha sido un tiempo, mi amigos...
Wanted to again ask for everyone's thoughts regarding some songs, though this time it's actually some spanish tracks I've recently stumbled across.
Labios Compartidos & Rayando El Sol - Mana (Truly ashamed I haven't heard of these guys until 3 weeks ago)
And just for the heck of it...La Vid Es Una by Karol G, which I know for a FACT most everyone here knows from a certain animated film.
Louis: Are there any particular Tony nominated plays or performances you wish you could've seen live?
I'd get myself a DeLorean in an instant if it meant I could see Philip Seymour Hoffman in Death of a Salesman or him and John C. Reilly in the 2000s production of True West.
Mitchell: Look at you speaking Spanish. What is this, a bilingual episode?
(Pro tip: When thinking of a singular thing you know or own, think of yourself (me/mi), when thinking multiple things, think of a single lady (Miss, mis))
As for the songs, I'm a little familiar with Maná, since a neighbor/childhood friend was really into them. So...
Labios Compartidos: A very traditional kind of 2000s rock-ish ballad that was very common for the time even though they already had been playing for 20+ years. Really solid iteration of it, though.
Rayando el Sol: If you dig this, let me also suggest some Caifanes records from that timeframe, 'cause this is the best of the transitional period between the 80s and 90s, retaining the qualities of the latter while ever so slightly hinting at the 90s alternative tendencies many acts would adopt. Really enjoy the lead guitar tone for the solo. Tiny nitpick, though, the snare drum on the verses kinda irks me, lol.
La Vida es Una: Not big on the beats, but it fit the film's ending credits quite nicely.
Emi: Yah, I've been learning a bit of Spanish over the past 2-3 months, mostly from work. A lot of my coworkers actually come from several Latin/South American countries, including Honduras, Columbia and Venezuela. While my vocab has improved, though, I'd still say I'm Pre-K in the language at best.
Also, the thing I've noticed with some translated songs is that there isn't always a 100% transfer of tone. As in, I can hear the singer of "Mana" and his passion and energy, and feel the performance coming through his first language. But then it's translated into english, and the lyrics either come off as oddly structured or a touch vulgar - "Labios Compartidos" is a perfect example: Sounds great is spanish, but reading the translation straightforwardly losses that soul.
But IDK..maybe that's just a me thing.
Oh, and another interesting thing...there's a few coworkers who call me Michael, even now (one even calls me Miguel as a bit of an inn joke). I wasn't sure why, but I was told the "tch" sound is hard for spanish speakers to learn, so I don't really mind in that case.
Finally got around to Barbie yesterday, and was genuinely surprised how much I liked it, with even the Mattel bits not being as distracting as I had read/heard about. I think having slightly tempered my expectations weirdly helped me appreciate the film more for what it is, which is a blast.
Robbie - 4
Gosling - 4.5
Ferrera - 4.5
Liu - 3.5
Ben-Adir - 4
Cera - 3.5
Perlman - 3.5
McKinnon - 4
Swindells - 3 (between him, Mackey and Gatwa being in this film, enjoyed the Sex Education reunion)
Ferrell - 2.5 (I thought he was just fine)
Greenblatt - 3 (challenging role in playing the abrasive daughter, but I did like her and Ferrera a fair bit)
Louis: Ratings and thoughts on the Equalizer 3 cast?
Emi: I know you specified Tony-nominated performances, but I would love to have seen Jessie Buckey in her Olivier-winning role on Cabaret last year.
Louis: Your ratings for Teyana Taylor in A Thousand & One and for Williams and Chau in Showing Up?
Brother, considering the year you reviewed is 2009, have you ever given thoughts on Isabelle Fuhrman in Orphan??? Also, is there a blog for female performances as well somewhere???
Tony: You don't mind saving those until he starts 58. I prefer to get his ratings and thoughts on these 2023 performances in one go.
I'm fine with The Equalizer 3 as I couldn't care less about it.
Louis: Could I have your thoughts on this live orchestral performance of "Sparkle"?
https://www.youtube.com/watch?v=83DCAtLl2Yg&ab_channel=KamiAnime
Mitchell: Yeah, I guess it's called a romance language for a reason, haha. I can account for people struggling with the tch sound, but I think even more folk tend to struggle with the th's of "with", "the" and such words.
Tony: Even as someone who's not big on musicals, let me second the hell out of that.
Emi: I also forgot to mention...I was similarly told that "v" sounds are often pronounced with a slight "b". That may have been something I was passively aware of before hand, but just didn't recognize or articulate it fully.
Everyone: Random TV note, but thoughts on this speech/scene from "Boston Legal"?
https://www.youtube.com/watch?v=qnfEit4CqOI&ab_channel=LanTarrykKozar
I have not seen the show myself beyond a few clips, and honestly it looks like the sort of series I would find problematic or too tongue-in-cheek. That said, this scene has some points that resonant with me, and Spader's performance helps the words a lot.
Louis: What are your thoughts on the voices of Michiyo Aratama and Yoko Tsukasa?
Mitchell: I found Boston Legal clever and enjoyable when I was younger, now not so much. That said, I'll always defend Spader's work as a great showboating performance that works due to how passionate he is, while also riffing on his well-known sleazy screen presence. That scene is a good example of the show trying to advocate for good through Shore, and Spader sells it well (and the soapbox bit is amusingly self-aware).
Anonymous: Louis hasn't seen Orphan, a good way to find out would be through the Results lists where basically every film he's seen from each year would be named. He doesn't have a blog for female performances, I believe.
Louis: Your takes on these Sopranos scenes?
https://www.youtube.com/watch?v=YPNW67c8_x0
https://www.youtube.com/watch?v=ZeYaRKPpa0o
https://www.youtube.com/watch?v=FA4zVpTCy0Q
Tahmeed mirrors my thoughts in regards to Boston Legal. It has NOT aged well in many, many regards. That said, Spader and Shatner were great throughout the run.
Tahmeed and Robert: It's good to know my impressions of Spader's and Shatner's performances weren't wrong.
I must say, though, with the latter...if Spader is riffing on his known persona, that seemingly goes double for Mr. Kirk himself; One of the single biggest blowhards in the acting world, yet I can't turn away when he's on screen.
I will do a full ratings rundown of all casts from 2023 films when I'm done.
Tony:
Animaniacs - Quite a few random episodes...a long time ago.
Tiny Toon Adventures - Same as Animaniacs.
Pinky and the Brain - Same.
Freakazoid! - Same
The X-Files - Like three or four random episodes. Though one was the finale.
Gilmore Girls - None.
The visit scene is interesting because as much as the two only have tension, and you see that still, you do see a rare seemingly genuine moment from Tony, even if it is really manipulation to try to get him away from the boss job. Though the moment of sharing his own experience I do like how Gandolfini plays it as bringing the truth into the manipulation.
A great scene for Gandolini because he manages to show so much of Tony in the scene, his petulant manner as he comes in hectoring Melfi about the idea of therapy but showing genuine care in his breakdown over his son, though even so he returns to his own putrid worldview of nihilism, which is the true infection of AJ, and that Tony never quite sees his ways as the problem rather than the world.
The final Satriale's scene is brilliant just by the fact that nearly everyone is dead or injured really except Tony and Paulie. The hollowness and the coldness of the environment at the moment, showing how much has been lost. It's a hilarious scene with the two chatting about the superstition around the cat and Christopher, but also very sad where Paulie so genuinely admits his haunting by the Virgin Mary only for Tony to insult him. Sirico is amazing at the moment because he switches from comedy to sorrow so well. And the ending is the perfect capper to their relationship where Tony manipulates and Paulie falls in line eventually. And their smile parting is like nothing has changed but Paulie alone sunny himself with the cat coming is one of the saddest images from the series.
Tahmeed:
Absolutely gorgeous and luscious in every way, and it is so striking to see all the parts of the orchestration come together, particularly towards the end which is just extraordinary.
8000's:
Both have very suitably pleasant voices to be sure.
Emi Grant:
Anthony Quinn (and Olivier) in Becket
George C. Scott and Nicol Williamson in Uncle Vanya
Al Pacino in Does A Tiger Wear a Necktie
James Earl Jones in Fences (as what you can see is already tremendous)
All Raul Julia nominations.
Anonymous:
I should add this to under my banner at some point but:
The reason this blog is actor only because when I originally started there were multiple blogs that focused exclusively on actresses so I thought I'd cover what wasn't being covered. Now all those are basically defunct unfortunately. If I was starting all over, I would've done actresses as well, but unfortunately I just don't quite have the energy to start that very long train now.
Louis: If there was a full video recording of James Earl Jones's Fences performance, would you consider reviewing him, or are you not considering performances from play recordings anymore.
Louis: Sure, brother. In the regards to my other question, have you seen Orphan(2009) or given thoughts on Fuhrman's performance there. Because I am pretty sure, it was quite iconic for a while.
Louis: Your interpretation of the cat in the Sopranos finale?
Also, do you recall which X-Files episodes you saw other than the finale?
For 1958, has anyone suggested The Key yet? It’s got a terrific supporting turn from Trevor Howard.
Louis, what are your top 20 James Cagney acting moments? I was trying to find if you already posted the list, but I simply couldn`t find it.
I vaguely remember some video saying Borgnine for The Vikings for supporting?
Louis: According to a lady who wrote about a book about her, Setsuko Hara really wanted to play Hosokawa Gracia, a convert to Catholicism and the daughter of Akechi Mitsuide, who was a deputy of Oda Nobunaga. She wanted to play Gracia because she saw a strong confidence in her temperament and commitment to her religion until she commited suicide.
Thoughts?
Tahmeed:
I'm leaning away from them in general, but if they were to come up naturally perhaps.
Tony:
For me it's not a supernatural thing as Paulie thinks, but rather just his perception in this case. Because it is Paulie who feels guilt and is haunted, but if Christopher was genuinely haunting someone it should've been Tony. So instead it is a dark irony that Paulie is perceiving it this way, since he's the one genuinely feeling guilty over Christopher's death despite Tony having A LOT more to do with it...in fact all of it.
Not really.
Anonymous:
As noted by Tony, you can check the results to see if I've seen a movie as a performance will be listed from that film. So no I haven't seen Orphan.
RujK:
As noted previously, I'm going on hiatus with any "top acting moments" until further notice.
Anonymous:
Probably one of the genuinely brutal moments of the series, if in its particular way, however quite effective as sort of the hunted completely switching gears so brutally (with classic Kreese moments of not needing the official flag and the "finish him) and to degree satisfactory with the bully getting severe comeuppance and Kyler's sudden modesty after the moment.
8000's:
I mean sounds like an interesting role, and frankly Mizoguchi style material.
Louis: Have you by any chance checked out either of the Simpsons eps I recommended a while ago, and was the X-Files finale that you saw 2002's The Truth or 2016's My Struggle IV?
Louis: Regarding that hypothetical Kurosawa detective thriller set in Hokkaido, what do you say we change things up, and have Yamazaki as the lead? Or maybe Kagawa if you want to go with a female lead.
Louis: Could I have your thoughts on these scenes from The Bear?
https://youtu.be/R17bg0NnI8Y?si=_Mf4g6HKkN0zKJco
https://youtu.be/HweVkp-dCsE?si=xcFLpwqnNU30wATd
https://youtu.be/nNlKcR1uHPg?si=A4c6B0i7Uy3roJQV
Louis, thoughts on Jackie Chan in Mutant Mayhem.
Louis: Your thoughts on Siskel & Ebert's review of Cop and a Half, and their subsequent discussions of it over the years? https://www.youtube.com/watch?v=ICWDlmYXjTs
Louis, what would be your ranking of a hypothetical Best Actor lineup that consisted of these five winning performances?
F. Murray Abraham, Amadeus
Daniel Day-Lewis, There Will Be Blood
Peter Finch, Network
Anthony Hopkins, The Father
Jack Nicholson, One Flew Over the Cuckoo's Nest
Louis: Also, looking at photos of the man, do you notice any facial similarities between Daniel Webster and Edward Arnold?
Louis: Your updated Oscar predictions for Picture, Director, Acting, Screenplays, International and Animated film with your thoughts on each.
Tony:
Not at this time. I saw the original series finale.
8000's:
I mean either of those choices would be interesting to see particularly young Yamazaki or Kagawa who had greater range than was always exploited.
Tahmeed:
The nightmare is a great scene and once again proof that with a slight twist studios audiences become terrifying. And the artifice of the setting/style with Carmy going through his genuine pain is particularly unnerving.
Forks as an episode is good work at its finest, and the use of the song could be some severe cornball if it wasn't earned, which it is. Because we're with Ritchie the whole episode and seeing him go from basically the disgruntled worker to fully passionate in breaking down the details of the restaurant is heartwarming in the best of ways. Particularly Moss-Bachrach's performance as he drives home and you see someone genuinely loving life again rather than picking a fight with it.
Amazing acting from Jeremy Allen White but also so powerfully really articulates every insecurity behind Carmen who basically from his life envisions that happiness just isn't for him, which is verbalized so painfully here.
Anonymous:
Splinter's depiction is the one thing I genuinely dislike in Mutant Mayhem, but that has nothing to do with Chan's performance. I think it is actually quite remarkable given that in any interview you see Chan, obviously he still struggles with English to a degree so for a performance to focus purely on that is interesting. And I think he pulls it off with a lot of genuine emotion both in terms of his state of defensive fear but also warmth towards his kids. I'll bluntly say I prefer Splinter to be the wise mentor rather than Archie Bunker but Chan delivers regardless.
Anonymous:
Hmm that sounds awfully like a request for ranking the top of the best actor winners for me, and part of the reason why I'm not really crazy about doing "all time" ranking is because all five are all time great performances.
8000's:
Less so young Webster, but old Webster there is a resemblance.
Luke:
Animated Film:
Spider-Man: Across the Spider-Verse (Winner)
The Boy and the Heron
Teenage Mutant Ninja Turtles: Mutant Mayhem
Wish
Elemental
Waiting on the Boy and the Heron's release schedule but sounds very likely if it gets a proper US release. Elemental bounced back at the boxoffice enough to be in the conversation. Spider-Verse seems like a slam dunk, though thanks to the glut of contenders from the festivals it sounds like best picture is getting further away from it, we'll see on Wish but Disney rarely left out. TMNT may be vulnerable if there's a real passionate off-shoot pic, but it seems pretty likely to me.
Let me skip International features until we get more selections from the countries, as they love to not go with the obvious pick far too often.
For the rest I've decided to not go with any sight unseen films, just to go with what we know and see what it looks like. We are due for a full on flop, not saying it will be The Color Purple but it could be. But I will say if the TIFF audience award isn't on the list, it will be.
Picture:
Oppenheimer (Winner)
Killers of the Flower Moon
Poor Things
All of Us Strangers
Anatomy of a Fall
Maestro
Past Lives
The Holdovers
Rustin
Barbie
I'll first say I think the winner can go anywhere now due to the fall contenders almost all getting critical approval, which out of previous contenders hurts Past Lives the most, just because it is no longer guaranteed to be a critical sweeper by any means, though I think it is still in the running. Killer/Oppenheimer are proven, the latter is only boosted by its box-office. Poor Things is said to be bizarre, but Lanthimos already got "accepted" so I think that matters less, also EEAO was very weird and we saw how that did. I'm sure Poor Things is weirder but I think the level of praise is hard to ignore. All of Us Strangers sounds like Haigh is as digestible as he's ever been plus Searchlight as his distributor, plus the praise sounds like his time to be in the in crowd with the academy. Despite Calvin's views, it seems like the general consensus on Maestro is very positive and that's all Cooper needed. The biggest thing against Holdovers is Payne for multiple reasons but I think how current trends are at the moment, it won't stop the film from getting embraced given he's not a producer or a writer on the film so it may be one where they conveniently ignore just the director. Past Lives's biggest hurdle is momentum, which has lost a lot due to just how praise has been thrown to the new contenders, but I think it will still stay around. Rustin will be in or out depending on if Domingo is the winner or not, so sorta a placeholder but it did get enough praise outside of him to make it in. Barbie I think does get in nearly no matter what, the question just will be by how much. However, it feels like Top Gun will be in but we'll see how far it goes outside of picture.
Director:
Christopher Nolan - Oppenheimer (Winner)
Martin Scrosese - Killers of the Flower Moon
Justine Triet - Anatomy of a Fall
Yorgos Lanthimos - Poor Things
Celine Song - Past Lives
Nolan and Scorsese do feel very safe even at this venture. Old brass usually aren't ignored if their film delivers which was the case. I feel more confident with Nolan the winner here than in best picture as this may be the star aligning moment for him, for now. Didn't mention it under picture but Anatomy of a Fall is my international pick this year, for the trailer (particularly the amount of English in it), for the amount of praise it's already gotten and the potential Huller in Actress, sounds like the potential one to make the crossing. Again Lanthimos already visited the club, and even if the film underperforms elsewhere, it feels like something the director's branch would embrace regardless. Song is in the weakest position for now, she'll need a lot of critical support to stay afloat and could miss (Haigh would be #6 at the moment) but we'll see how much the critics support her.
Actress:
Annette Bening - Nyad (Winner)
Carey Mulligan - Maestro
Emma Stone - Poor Things
Sandra Huller - Anatomy of a Fall
Greta Lee - Past Lives
I could drop Bening altogether, but the film got enough praise for the lazy vet win choice in this category even if there is way more critical passion for Mulligan, Stone, Huller and Lee. This happens all the time and if they get vet win mode it is hard to stop it. Nyad got enough praise afterall. As for the other four, all got an extreme level of praise for the nomination. It will be interesting to see who the critics support, Mulligan/Stone need it the least theoretically as I could see a lot of love for Huller and Lee, we'll see. Portman I think needs her film to be more of a contender probably, unless she's the critics favorite. The category is probably too stacked for Taylor already. Mirren will probably get a random SAG nod then that's it. Robbie I think can be ignored even if Barbie is loved since she'll get the producer love, but if she gets in that means it is truly beloved.
Actor:
Bradley Cooper - Maestro (Winner)
Colman Domingo - Rustin
Cillian Murphy - Oppenheimer
Leonardo DiCaprio - Killers of the Flower Moon
Paul Giamatti - The Holdovers
Again, despite Calvin's fairly negative review, the generally very positive consensus makes it hard to bet against the academy beloved Cooper playing a real person in a biopic. Seems pure catnip for them. Domingo to me is the best threat and I could see him winning, again biopic, he just has less academy credit currently so not a slam dunk. Same goes for Murphy who has potentially the biggest contender but Oppenheimer is a more introverted, colder character, I think he could win for it, but I wouldn't bet on it. DiCaprio is DiCaprio yes, he missed for Don't Look Up which was super divisive, Killers doesn't seem to be so. Giamatti I could see as part just to recognize him again, for the role, but also as kind of a makeup for Sideways. The category though is getting stacked so I could see very different lineups on our way to nominations. Keoghan's film sounds like it might not be the Academy's cup of tea (sounds more divisive than Babylon but similar in style) though he has all the personal praise so maybe. Andrew Scott I think could get in on passion as well. You never know Ben-Adir could get some more biopic love.
Supporting Actress:
Lily Gladstone - Killers of the Flower Moon (Winner)
Da'Vine Joy Randolph - The Holdovers
Emily Blunt - Oppenheimer
Jodie Foster - Nyad
Viola Davis - Air
Obviously if the Color Purple delivers this gets completely smashed. Gladstone I think just wins here no matter what if she stays in the category. Actress will be tougher, but sounds like she could win there too. So waiting on word of category there. Randolph got enough praise in the notices for the Holdovers, so if the film is happening it seems like she probably is. Blunt will be the love indicator for Oppenheimer, if she gets in they really love it, regardless "wife" role plus seen as overdue for a nomination, very possible anyways. If I'm going for the Bening win, then Foster seems far more likely again I could easily drop both. Davis will get in at SAG but I think she needs other contenders to fall to stay afloat all the way to a nomination. Hardest category to predict I think, and it could go many ways.
Supporting Actor:
Robert Downey Jr. - Oppenheimer (Winner)
Robert De Niro - Killers of the Flower Moon
Ryan Gosling - Barbie
Mark Ruffalo - Poor Things
Paul Mescal - All of Us Strangers
Downey gets in I think regardless of how much they love the film, seems even safer than Murphy. I wouldn't say he's a slam dunk to win but certainly could. De Niro sounds too evil to win, but can get nominated. Plus DiCaprio factor means he will get nominated. Gosling I think could go the distance in fact if Robbie/Gerwig get nominated in the less likely categories I think he could Kevin Kline himself to a win. Ruffalo is loved by the academy, he got a lot of praise, if they're going for the film, sounds like he'd be in. If I'm predicting All of Us Strangers, it seems like either Scott or Mescal should be there. With Mescal being more likely given he just came off a nomination and his category is *slightly* less stacked. If Past Lives falls off I think Magaro is the first to go. Domingo could get double nominated but I don't think so. Dafoe sounds like would need the film to get an insane amount of love (just because I saw more praise for Ruffalo overall), but hey you never know the academy also loves him as well. Apologies to the golden god but he'd need the gang to start campaigning hard at this point.
Adapted Screenplay:
Oppenheimer (Winner)
Killers of the Flower Moon
Poor Things
All of Us Strangers
Barbie
Again just falling into my picture choices mostly. I could see them trying HARD to get Barbie put in original since it is way less competitive, but I don't think they'll be able to pull that off.
Original Screenplay:
Past Lives (Winner)
Maestro
The Holdovers
Anatomy of a Fall
May December
Again the first four just go along with my picture lineup. Fifth spot at the moment seems very open and the writer's branch will do their own thing. Going with May December fairly randomly.
Important Note on Saltburn:
*Sounds less divisive than Babylon*
I probably have the wrong sense for stuff that caters to the Academy, but I don't understand how someone could walk out of Oppenheimer and think RDJ is the performance to award from that film (which I say as someone who loves that performance too).
Tahmeed: It's the most unorthodox role of his since Tropic Thunder, so Academy will surely be interested in him during awards season.
Tahmeed: RDJ also has more of a narrative behind him than Murphy, since he’s been around a LONG time and had his comeback with Marvel after personal life issues. I just feel like the Academy has been waiting awhile to award him for the right film, since he was still pretty young when Chaplin came out and was never going to beat the undeniable Heath Ledger.
I also feel like Cillian Murphys’ nomination is going to be more of the “Welcome-to-the-club” variety tbh, though hey, you never know.
The thing I object to about the Downey thing is the attitude people have of that performance as a "reminder" that he can "actually act", because they don't take what he did as Tony Stark seriously for whatever reason. It's a great performance in Oppenheimer, but it's not as revelatory as people are making it seem.
Tahmeed:
The funny thing is Downey in basically every interview just kept singing the praises of Murphy, and, to me at least, what felt in a very genuine way. However, I think that will simply endear voters more to Downey.
Louis: Yeah, I'm worried that Murphy might be a bit *too* humble about what he achieved here.
I feel quite confident that the Oscar is Murphy's to lose. He is too undeniable, and unlike a lot of cold introverted performances, quite praised. You cannot award best picture to Oppenheimer without awarding "Oppenheimer".
Perfectionist: Well, you say that, but look what happened to Michael Keaton, pretty much the entire reason Birdman worked at all.
Matt: That's actually a legit point. I forgot about that. But the thing is that Oppenheimer seems to be a way bigger deal than Birdman was in 2014. The backlash would be colossal considering how universally loved Murphy and his performance is. Maybe I am being too self assured.
Louis, could I get your take on the Siskel & Ebert clip from above.
Also, your thoughts on The Sopranos' Kennedy and Heidi?
In regards to the Tony nominated performances question, I really wish I could've seen Christopher Plummer play Iago to James Earl Jones' Othello. I bet that was electrifying. (Plummer was nominated, Jones was not.)
Also, more recent, but I would've loved to have seen Frank Langella's take on The Father, and Mark Rylance in Jerusalem (or anything really).
Louis: I had forgotten to ask this back in the 2016 bonus round, but is Certain Women worth a watch? Mainly asking because I haven't seen Lily Gladstone in anything and just want to catch a glimpse before her first major film role.
(Did try to watch First Cow once, which she's apparently in, but I couldn't get on its wavelength thirty minutes in.)
How are we feeling about The Killer's chances at doing anything?
Matt: This seems to be more "popcorn" David Fincher rather than "prestige" Fincher, so it should still be in play for a couple of tech nominations, such as Best Editing, Best Original Score, Best Sound and maaaaybe Best Cinematography.
Matt: I'm a little afraid Netflix might pull another i'm thinking of ending things scenario with The Killer, but Mank did pretty well all things considered.
I do think at best, it serves as a vehicle for Fassbender to fight for the 5th spot in Best Actor and some technical nods like Bryan pointed out.
At worst, again, i'm thinking of ending things.
Btw, I re-watched Oppenheimer after like, a month and a half, and not only was the Imax screening decently packed, but it lost no staying power with me.
I'm keeping RDJ as a 4.5, but to his credit, he does a great job having his character's intentions hiding in plain sight. This could be me reading too into his performance, but there's one single micro-reaction on the early portions of the film that tells you everything he later reveals.
Don't know if I'd vote for him once the year is done, but I wouldn't mind him winning. It's still too early, though, lol.
I'm still agnostic about how I feel about Downey in Oppenheimer. Was he really THAT good? A change of pace is not the same as a revelation. I was more taken with Ehrenreich in their scenes together.
Louis: Have you seen the 172 minute cut of The New World.
Tony:
In terms of the review, Siskel's reaction is hilarious particularly calling Ebert Santa Clause for his generous review. It's hilarious how that review of an extremely disposable film became such a historical point of contention and how hard Ebert went for it in a certain sense, though there are time where I think both went more stubborn in order to try to "prove" the other wrong than belief in the film. Particularly with Ebert standing firm after Siskel backtracked on his halfhearted recommendation of Broken Arrow, but also in the worst of the year debate because Siskel is right, in that Ebert didn't hate Carnosaur that much in comparison, however became his own "gotcha" for a Siskel thumbs up for shlock.
One of the darkest episodes from the shocking nature of Christopher's fate, then to Tony throughout the episode basically only justifying his actions, meanwhile you see everyone else getting torn apart with Tony standing firm. The nightmare Melfi sequence is particularly great where Tony bluntly confesses, that is an extreme vision but truth in terms of his callousness.
Bryan:
Well be warned it has Reichardt's pacing, but there are worthwhile elements in the film including Gladstone's performance.
Matt:
Limited, only because it sounds like less Academy friendly Fincher even if we might all like it in the end. Sounds like maybe some scant tech nods, if that, which I say because many of the seeming main contenders we also be big tech players. "Pulpy" Fincher tends to go only so far TGDT did pretty well but I think that was, in part, afterglow from The Social Network, as contrasting that only Pike got in for Gone Girl. Fassbender I think you can have in the lead actor conversation, he might make the lower end of a top ten in terms of prediction, but the category sounds a little too packed for him, at this venture anyways.
Luke, at this current stage, who do you predict for the alternate lineup if Louis' predicted five is the official Lineup.
Thomas:
I have not.
Louis: It's the superior cut of the film and will be recommending it to you in December/January.
Louis: Your thoughts on these casting choices for a Coen brothers version of Dr. Strangelove.
Richard Jenkins as Merkin Muffley
John Goodman as General Turgidson
Clancy Brown as General Ripper
Stephen Root as Colonel Bat Guano
Tim Blake Nelson as Major Kong
Louis: Thoughts on the Chicken Run 2 trailer.
Anonymous:
Howerton
Teo
Keoghan
Fassbender
Hardy (Him and Comer are getting quite a lot of praise for The Bikeriders)
Phoenix (Napoleon)
Scott
Strathairn (A Little Prayer)
Bernal (Cassandro)
Dano (Dumb Money)
*Mikkelsen in The Promised Land instead of Dano.
Luke: Fassbender for The Killer or Next Goal Wins?
Matthew: The Killer though a double review is quite possible.
If Strathairn gets moved to 2024 then Dano for Dumb Money.
Louis, was there anything that prevented you from going lower than a 2 for The Hangover? While I wasn't expecting you to like either film, I was slightly surprised to see that you rated it a bit higher than Away We Go.
Louis, your past roles for Jason Sudeikis, Brett Goldstein, Hannah Waddingham, and Juno Temple?
Also, your thoughts on the Ted Lasso theme song?
Watched Stakeout and Summer Clouds yesterday. Both very good.
Also watched Zero Focus (1961), also written by Hashimoto and directed by the same man who directed Stakeout.
Whenever Louis gets to watch Stakeout, he should watch Zero Focus as a companion piece to that movie.
It was one of Kurosawa's favorite films.
Luke: If you're curious, Takamine doesn't have much to do in Stakeout, since the film is mostly focused on the two cops who are after the criminal who has a relationship with her.
But she's good, like always.
So I actually have a note on contemporary viewings for a change...just started watching this year's "My Adventures with Superman".
I must say, I've missed this lighter tone in a lot of recent superhero media. Don't get me wrong...I enjoy my fair share of complex and serious DC/Marvel, but these are colourful power fantasies at their core.
Also...I didn't know I needed these versions of Clark and Lois so badly IE golden retriver in human form, and quasi tomboy.
Mitchell: It's been a while since we talked but wanna know a little fact about Norman Thomas, the six-time presidential candidate for the Socialist Party?
Well, it turns out that when a young man from the party asked him what he thought about adding a pro-LGBT rights plank in the platform in 1952, Thomas, a man born in the 19th-century, had no problems with it.
8000s: You know something, my friend...
I consider myself an avid history buff. I'm fairly knowledgable about the mainstream areas of study; Greek, Roman, Meadival, American history, 20th century events, what have you...
The information you dig up makes me ashamed as a Canadian citizen, that I don't know as much about my own country's past.
Mitchell: I wasn't talking about Canadian history, I was talking about American history. Thomas was an American socialist who thought FDR was too friendly with big business.
If you want another fun fact from American history, Clancy Brown's grandfather, a Republican from the conservative wing of the party, was instrumental in getting the Civil Rights Act of 1964 and the Voting Rights Act of 1965 passed.
Mitchell: Heck, the term "Medicare for All" did not originate from Bernie Sanders.
It originated from Jacob Javits, a center-left Republican from New York.
8000s: Well, there's my point exactly...the fact I wasn't sure who Norman Thomas, and guessed incorrectly which countrie's history you were referencing.
Random history shoutout, though; There's a podcast on the youtube channel "Zenu Games" that's covering the old spike TV show "Deadliest Warrior". They are almost finished the series, so there's plenty of viewing material to comb through there.
Here's a few random history notes from their research...
-Gladiatorial combat from Ancient Rome prioritized melee gear, obviously, but archers were sometimes employed for shows. Why don't people talk about them as much? They were the least popular form of entertainment, and it's because every so often, a stray shot would go into the crowd and kill someone!
-Apparently, one of the origins for the word "target" is from the "targe" shield of meadival Scotland...go figure.
-Al Capone was famously called "scarface", but he actually preferred to be called "snorky", which was Italian-American slang for "sharp dresser".
Louis: Who would you cast as the following historical figures (in their own biopics)?
Constantine the Great
Alexander the Great
Elizabeth I
Marcus Aurelius
Marie Antoinette
Isabella I
Mitchell: From what I've read of Canadian history, it's just as interesting as American history.
For example, the Progressive Conservative Party of Ontario ruled the province for over 40 years, invested greatly in education, infrastructure, healthcare, passed anti-discrimination laws and voting rights for First Nations people.
The term "progressive conservative" is interesting because Teddy Roosevelt and Ike also called themselves that.
Watched The Outlaw Josey Wales. Terrific, one of Eastwood's best.
Eastwood-5
Chief Dan George-4.5
Locke-2.5
McKinney-2.5
Vernon-4
Bottoms-3
Trueman-3
Keams-3
Sampson-3.5
Luke: Another 1958 movie for Louis to watch.
https://ok.ru/video/2107378764398
Louis: for what it's worth my very negative thoughts on Maestro mean little with regards to how I feel about its Oscar prospects. I think it sucks ass but I also 100% think it's an Oscar player. I also much preferred Dafoe to Ruffalo for Poor Things but it'll be the latter who gets nominated if it does get Supporting Actor (Stone is pretty much a lock). The Killer won't be a player but it is very good.
For Lead Actor I feel like Koji Yakusho for Perfect Days could be a surprise dark horse.
Calvin: i’ve been loving your reviews/coverage for the Venice festival, Calvin. Very happy for you! :)
If you don’t mind me asking, what would your cast ratings for Poor Things, Ferrari, Priscilla, The Killer, and Maestro? It’s ok if you save them for a later date though (that way more people can get around to seeing them)
Louis, thoughts on The Bikeriders trailer.
Luke:
I don't mind the Gibson recast but I do wish it was Ferguson still, regardless sounds like Newton is doing her performance justice, glad Richardson is returning though. Otherwise looks like fun, what more can you ask for.
8000's:
Jenkins sure, though don't see him in the other Sellers roles, and I feel one should keep that.
Goodman's a good choice, but I do like the idea of casting a more consistently dramatic actor in the part as Scott was.
Brown would fit that like a glove.
Root is perfect as is Nelson.
Tony:
I mean if 2 & 3 are worse, I'd need space (not that I ever intend on watching them), but seriously though I was annoyed but could've found it more grating. Away We Go I found grating the whole time.
Not a song I'd listen to outside of the series but I mean works well enough as is if just that.
Calvin:
Well I mentioned it one because I respect your opinion so thought it was interesting to note your dissent (I'll be curious to see where I fall on the film), and that maybe it will get more negative reactions as it goes along, or at least enough to maybe slow it down a bit as an overall contender, though again I think Cooper seems very likely the lead winner.
Hmmm, hope its not a Spotlight situation with Ruffalo. I'd much rather like a performance from him again.
I can't see that, only because the year is getting too stacked with performances more so on the Academy's radar. And we all know how the acting branch is with going too far off the beaten path, Mescal in some ways was able to get in just because the Academy really didn't have another easy safe choice to go with.
Marcus:
I mean I feel Marie Antoinette and Elizabeth I have enough coverage at this point overall.
Constantine: Michael Fassbender
Alexander The Great: George MacKay
Marcus Aurelius: Hugo Weaving
Isabella I: Dafne Keen
Anonymous:
Strong first impression, and while trying to get out of the criminal life stories have been told before obviously, regardless are often compelling and this looks like it has a new angle to it. The cast though looks like it has potential, if not already evident, Comer truly is a chameleon, looks like a promising Elvis follow-up for Butler and it's wonderful to see Hardy being in a non-terrible film.
Louis, did you miss my request for past roles above, or have you given them before?
Louis: Looks like Ozu's There Was A Father has recently received a restoration with some new included scenes that were originally cut.
Thoughts?
Louis: not to worry, not a Spotlight situation because he's good and the praise I get, I just merely preferred what Dafoe did with less.
Louis, your thoughts on the In the Land of Saints & Sinners trailer?
I saw Little Shop of Horrors on stage in New York today. AMAZING production, and I really Joy Woods becomes a huge thing, because I don't think there has been or will be a better Audrey.
(Also, Bryce Pinkham’s version of the dentist is like 80% Dennis Hopper in Blue Velvet.)
Louis: Your thoughts on these scenes https://m.youtube.com/watch?v=MP8kxvaWPT8 https://m.youtube.com/watch?v=hLRNql7roEE
By the way, if anyone is curious about the production I saw, here’s a clip they filmed: https://youtu.be/5dixrnDm9zw?si=n54qgzZyYy6dMQmT
(Should mention Jeremy Jordan was Seymour in show I saw, not Doyle in the clip. Jordan was amazing, btw)
Luke, what are your suggestions for the next backlog lineup.
Anonumous:
Utpal Dutt in Agantuk
Alan Cumming in Josie And The Pussycats
Leland Orser in Faults
Anders Danielsen Lie in Oslo, August 31st (Got a 5 from Calvin)
Seymour Cassel in In The Soup (Got a 5 from Matt)
Louis: How do you think Mary Elizabeth Winstead would've fared as Ellen Ripley in 2010s Alien?
Louis: Your updated Pixar ranking.
Louis: Your thoughts on the ending to Elemental, and 'Steal the Show.'
Louis: Which 5 voice acting roles do you think John Hurt would've perfect for from during his life and after.
Tony:
I wouldn't cast Sudeikis in much else even theoretically as I've only really liked him in Lasso, need to see more from Waddingham and Goldstein to really say.
Temple though:
Baby Doll Meighan
Toni Simmons
Sally Bedina
8000's:
Sounds like something to check out at some point.
Tony:
Looks like slightly elevated action Neeson like Walk Among the Tombstones, if only slightly elevated. Do like seeing Condon in the villain role, and I did not recognize Jack Gleeson there in the slightest.
Anonymous:
Thinking about even these scenes I think it shows just how terrible of an idea the time jump, at least as executed, was because all this confrontation between Fuchs and Hank was something that could've been great however was super rushed. Same with Fuchs's redemption in the end. Again I think the moment could've worked but how they were led to didn't.
Robert:
I actually may check that out at some point.
Ytrewq:
I mean sure, she has that sort of rigged convincing conviction without sacrificing vulnerability.
Tahmeed:
A fittingly simple ending I think in closing the circle but in a natural way to where the film came in, but with a moving different context in the choice.
Just slightly overproduced for my tastes, but not too much. Overall finding it very pleasant with the repeated motif that manages to not become repetitive despite being so simple, and just simple yet appropriately sweet lyrics with a nice low key melody. A nice song, albeit not my favorite of the year.
Luke:
1. The Incredibles
2. Toy Story 2
3. Toy Story
4. Toy Story 3
5. Finding Nemo
6. Turning Red
7. Ratatouille
8. Coco
9. Wall-E
10. Inside Out
11. Soul
12. Elemental
13. UP
14. Incredibles 2
15. Monsters Inc.
16. A Bug's Life
17. Toy Story 4
18. Cars
19. Onward
20. Luca
21. Lightyear
22. Finding Dory
23. Cars 2
Although always important to note if I could severely edit both Wall-E and UP they'd be in the top five.
Ebenezer Scrooge
Jiko-Bo (English dub)
Frank Bean (Fantastic Mr. Fox)
Louis: Thoughts on Cars 2. Did you forget to rank it previously or did someone force you to watch it recently.
Luke:
Not that recently but didn't think it deserved a "stop the presses" all things considered. To be fair, I missed more than a few minutes of it, but I think I got the gist in terms of its quality, which is truly the kids movie that's noise more noise and some more noise then ends.
Louis: You don't mind watching Brave (2012) as a recommendation. For the sake of watching all the animated features winners with only Happy Feet left on the list.
Louis: Unfortunately the cast is rotating out very soon. Jeremy Jordan is leaving Seymour on the 17th, and Joy Woods is out at the end of the month. For some reason, Constance Wu will be playing Audrey. (Laughably, Maude Apatow was Audrey right before Woods for about two months. This production is notorious for stunt casting.)
Louis: Your thoughts on the scenes at Yusa's place and Sakura Hotel in Stray Dog.
Louis: Also, if you do decide to get cheap tickets, don't worry about sitting too far away. The theater is very small, like a movie theater auditorium. I was near the top and had a perfect view, the equivalent of front mezzanine seats at a regular sized theater.
Tony:
There's a lot in that article so let's separate some points:
- Studio/PR firm manipulation I think could be true with any form of reviews, which has to do with the bigger change which is less rottentomatoes, and just the fact that people no longer need TV or a newspaper outlet to make themselves a critic.
- The expansion of "critics" I would say has both good and bad, where the article seems to be leaning towards the latter. There is less "quality" control of opinion of all things, but you know, when there were less critics Vertigo and Night of the Hunter got panned, so maybe a few more voices back then might've not been so bad. And while getting paid by a studio for a review is extremely questionable, in a way, so is special screenings, swag and exclusive interviews. So to say incentives for favorable reviews only exist because of rottentomatoes is a little disingenous.
- I understand filmmakers frustrations with the simplicity of rotten tomatoes metric, but it does make finding some worthy films easier to see. And opening up more voices, does make it so more films are seen and there's a greater chance that some hidden gems get recognized.
- Rottentomatoes though should reinvent their metric just a bit by having the average score implemented in the math, or just have it more evident.
- On the point of losing sort of the art of criticism, is true to an extent, but I hesitate to say the perspective in the article is the right one. Not everyone can articulate their thoughts as well as others, and some do have a more limited perspective on film. However, any voice can be relevant in some way, if that voice speaks to someone.
- In summary, if only it twere so simple.
Robert:
Ahh, that's too bad regarding the cast, but I'll keep that in mind regarding seats, thanks.
Louis: Based on the premise alone, would you have liked The Hangover if it had a better creative team behind it? As in, take the blueprint of it and hire a better construction crew to build.
Also, thoughts on Heather Graham and…um…Mike Tyson in the film.
8000's:
I believe I talked about that very scene in the comments below Mifune's review.
Bryan:
I mean tis a fine plot, a mystery comedy, great setup just in terms of the most general form of the idea and creates theoretically a natural movement from each comedic setup via the mystery. You honestly could take every vague setup and makes something pretty great.
Speaking of, Heather Graham's whole character is an excellent example of how bad the film is, because she really is a non-character, the most basic form of "hooker with a heart of gold" as none of her behavior really speaks to her own motivations or anything, she's just there to be that single thing. I mean going in I assumed, quite wrongly, that she and Helms's character would've engaged each other in some way, that wouldn't lead them to get together, but naturally make him question his current relationship. But nah, we really just get her looking pretty and being the most basic stereotype. Graham in turn has nothing to do, there's no commentary on the character, it is bizarre to me.
Speaking of, it's Mike Tyson, he punches people, that's the joke I guess. There's no playing up by making him seem more extreme or make him seem silly in some way. He just punches people and has a tiger...okay, where's the joke? Tyson himself isn't very good, delivering his lines with minimum effort, there's worst sports performances, but this isn't a good one.
Louis, your thoughts on the Ted Lasso episodes The Diamond Dogs and Make Rebecca Great Again?
Also, what do you think of Juno Temple in these roles:
Irene Bullock
Eliza Doolittle (Pygmalion, not MFL)
Abigail Hill
Marion Davies
Louis: Do you think that A Christmas Carol could've been worth watching if John Hurt was cast as Scrooge instead of Jim Carrey?
Louis: Who would you cast as these ladies who were wives of people who campaigned for the presidency in 1968?
Happy Rockefeller
Lenore Romney
Muriel Humphrey
Abigail McCarthy
Ethel Kennedy
Tony:
Thinking about the Diamond dogs really reveals the bloat of season 3, because of just how concise it is with its stories of really just Roy facing his feelings towards Keeley with help of the titular dogs, and then Ted's dart game vs Rupert. Both very well realized in their way of the sort of philosophy of positive outlooks both in Roy not being jealous then the entirety as Ted explains his be curious approach to life in the climactic game.
Same goes for "Rebecca" in again hitting the key points of Nate's speech of negative positive energy, then the effective switch of situation as Rebecca brightens up with her rendition of let it go, contrasting Ted having the panic attack and being the one comforted. Again very to the point, and it all works.
I can see her as both Davies and Irene because she does have the right kind of wily energy.
I can see her as the unrefined Eliza, but struggle to see her doing the transformation fully, as have never seen her do sort of straight regal.
Hard to imagine as Abigail without her paling severely in comparison to Stone's intensity in the part, and utter perfection in the role. Not that she's the wrong type but when someone already aced it, it's hard not to see that person in the same age range particularly.
Ytrewq:
I mean it has many other problems but I do think Hurt would've helped give it a bit more gravitas, opposed to Carrey who went with his wrong bag of tricks for the role.
8000's:
Happy Rockefeller: Linda Cardellini
Lenore Romney: Jeanne Tripplehorn
Muriel Humphrey: Joan Cusack
Abigail McCarthy: Molly Parker
Ethel Kennedy: Julianne Nicholson
Anonymous:
Nice feather in the cap for Poor Things, which the more prestige it gets, the harder it is to ignore for the academy even as a weird film.
Acting prizes, I don't see a US release date for Sarsgaard's film, so it sounds like one that might just get forgotten by time it gets a genuine release.
Spaeny has a lot of competition, Coppola hasn't been on the academy's radar for awhile now, she most definitely benefitted from Poor Thing's Golden Lion win disqualifying Stone, however she is at least in the general pool of potential nominees, if only that.
Louis, do you plan to see any of these films as part of the 2023 catch-up?
No Hard Feelings
Reality
Enys Men (2022)
Sanctuary (2022)
Palm Trees and Power Lines (2022)
Full Time (2021)
Post a Comment