Luke: Since this film was on your list, thoughts this BTS video for "DragonBall: Battle of the Gods"? Spoilers: A potential future review on my part, and this is HANDS DOWN the best moment in the movie. Sean literally went super saiyan with his scream.
1958 films to watch (With Additions) The Ballad Of Narayama (Re-Watch) Brink Of Life Equinox Flower Big Deal On Madonna Street A Time To Love And A Time To Die King Creole The Lineup The Key Sea Of Sand Maigret Sets A Trap A Tale Of Two Cities I Want To Live! Home Before Dark Elevator To The Gallows Auntie Mame Carve Her Name With Pride Mädchen In Uniform One Life (End Of Desire) Anna Lucasta Édes Anna A Matter Of Dignity Summer Clouds Mon Oncle Shadows The Fly Houseboat Cowboy Bell, Book And Candle The Sheepman Stage Struck Ivan The Terrible, Part II: The Boyars’ Plot The Bravados Stolen Desire Gideon's Day Endless Desire Bonjour Tristesse The Lovers The 7th Voyage Of Sinbad Tom Thumb Indiscreet Nowhere To Go Montparnasse 19 The Goddess Le Beau Serge Murder By Contract The Revenge Of Frankenstein Farewells The Roots Of Heaven Christine St. Louis Blues Party Girl Giants And Toys Madhumati Ajantrik Conflagration Le Désordre Et La Nuit Ewa Wants To Sleep Terror In A Texas Town Buchanan Rides Alone Thunder Road The Bonnie Parker Story The Fearmakers In Case Of Adversity It Happened In Broad Daylight God's Little Acre The Left Handed Gun From Hell To Texas Black Cat Mansion Eroica Rusty Knife Rosemary Poem Of The Sea Stakeout The Naked And The Dead A Flower In Hell The Law And Jake Wade The Proud Rebel Desire Under The Elms Cry Terror! Kings Go Forth Another Time, Another Place
Biswas - 5 (The only one I feel any confidence about) Holoubek - 4.5 Cooper - 4.5 (I think he'll finally break the duck but I'll be pleasantly stunned if he goes higher) Von Sydow - 4 (Chronologically speaking, didn't get his 1st 4.5 until Shame & this is a full decade before and again it was Troell that really got the best out of him) Chanine - 4 (Could be dead wrong)
Okay, I think it's safe to say that Von Sydow or Chahine is getting replaced by Wallach or Gassman. I'm starting to think Equinox Flower might be an ensemble piece.
I will add for what it’s worth, if Mifune was being reviewed for The Rickshaw Man he’d absolutely be my prediction to win the lineup. That performance absolutely breaks me.
Not to sound greedy with the upgrades/rewatches for this year, but just wanted to say I actually watched The Defiant Ones for the first time shortly after Sidney Poitier’s passing and thought he AND Curtis were both fives.
Louis: Also, what do you think of a 60s A History of Violence directed by either Kurosawa or Okamoto with Mifune and Kagawa in the Mortensen and Bello roles?
Marcus: They deleted that whole section from his Wikipedia article last I checked. Maybe they added it back. Though I assume his PR team was the culprit.
Tahmeed: I don't mind spelling it out that he's terrible - his immaculate PR is infuriating to me. I know some people don't care as much about things off the screen (I was rolling my eyes at all the RIP wishes for Robert Blake), but that is still their choice I guess.
Yes I was one of those people that did put the RIP for Robert Blake, yes looking back it was not a good decision on my part, even though I said at the time I was saying it to him as an actor rather than a person, it still wasn't a good idea though.
Whereas when William Hurt passed away, despite the fact that he sexually assaulted Marlee Matlin, literally hours after her Oscar win, I still was very sad to hear about his passing and still think of him as a great actor, albeit not a nice person in real life.
Single accuser for Fassbender, no evidence to the claims, he said she said. He never had any other accusers with other relationships, unlike someone like Shia LaBeouf. Doesn't make him innocent but doesn't make him guilty either.
Well the reality is that a lot of actors are horrible people, and not in a 'people are complex and make mistakes' way, just straight up awful. I was one of the people who tried to follow 'Death of the Author', but as I've gotten older, it gets hard for me to ignore certain things that people do. William Hurt and Blake are definitely two cases where I can appreciate the talent, but definitely won't mourn their passing.
Jonsson & Oparah - (Both their performances are both playing into a certain type however I think quite effectively even as such. That is the sort of free spirit, not quite manic pixie, but not entirely not, and the stuffed shirt. Each needing to do the other that moves both towards the middle in some way. As much as both of the starting points are certainly tropes each modulates their performances effectively in order to not overdo their performances. They are convincingly as such and make their characters believable people, that are more than the tropes they are technically fulfilling. What takes their performances truly further though is the great chemistry the two have to the point that the least convincing thing with them was the conflict, as their awkward flirtation that slowly grows to more is just wonderfully realized by both and every step of the way of their relationship just feels wholly honest.)
Harrison - (He's charismatic and passionate here. Unfortunately he's stuck in just being charismatic and passionate without much more depth than that. Leaves him hanging in a way, but Harrison is everything he needs to be, just the part sadly keeps him from being less than he could be.)
Weaving - (The same goes to Weaving who is able to articulate every emotion so well it is just a shame that the scenario feels so tired regardless. She's entirely good, just the part is so extremely rote.)
Williams - (It is fascinating to see her in this after the Fabelmans, because she is so EXTREMELY subdued here compared to that turn. However I tend to prefer subdued Williams and this case is an example of her really articulating well what her character is going through in a very quiet way. She has her own degree of neurotic behavior that isn't extreme as some of her family but you see her quietly express it throughout. When she does have a big moment, where "big" feels like an overstatement it feels very earned and honest to her character who is very much someone mixed in with her own thoughts.)
Chau - (Now Chau is someone who seemingly can go big or small, with as much ease as the other whenever she needs to one way or the other. And that's the case here where she is kind of playing subdued flamboyance that contrasts effectively against Williams. I particularly like the way the work bends between her moments of passive aggressiveness to seemingly more supportive aimable moments. She's wonderful in expressing the character's specific eccentricities that always remain very quiet, yet feel much bigger within this world, yet still feel appropriate to the overall extremely subdued approach.)
Hirsch - (Always great to see him show up and bring a bit of character once again.)
Taylor - (Her performance is very much the film because all of its life comes from her turn that is both extremely specific while also being general. Specific in the exact woman she is playing in terms of the choices she makes, but general in making them universal in terms of the emotional truths of it. And Taylor is quite effective in bringing this particular fervent determination though filtered through very specific character. She always grants a sense of immediate history to the character, even when it is often ambiguous. You technically always have to make some guesses about her character yet never does she feel vague in Taylor's hands which consistently grants such a striking sense of this specific conviction and particular warmth. Even the latter though isn't simple at any point and shows this sort of complexity in the dogged determination of her character, particularly as we see the way she evolves in different ways over time. It is consistently a captivating turn because she makes everything about each moment feel honest, even the later revelations, which I don't even think were totally necessary for the film, Taylor plays them so well in even granting realism to the less realistic moments.)
Catlett - (Although I think the narrative lets his character down just a bit, in that it very quickly drops him, I think he creates very convincing chemistry with Taylor and all actors playing his "son". Catlett's performance has this certain measured manner that contrasts effectively to Taylor showing in some ways less earnestness in his warmth, but there is still something very basically honest in the way he is supportive regardless. Although I wish there had been more of him, he's very good with what he has.)
Skarsgard - (He's really turned a corner with me in general it seems, as prior to the Northman, he was very much a "there" actor in everything else I had seen him in, however now with that film, this one and his second Succession season, he's come across a lot more dynamically. Even in this role where he very much is just kind of the straight-man who is a bit doltish even, however he's very effective early on in presenting the immediate horror of his situation, where I would critique a little, although I think part of it is the moments of needlessly overt stylism, he gets lost just a bit in the middle ground of indulging in the experience. However he makes up for in the point where he becomes regretful and even kind of lost within the experience, to the point of just being this shell of himself in a way and Skarsgard makes the transformation convincing, even if there are some overly strange moments within the journey.)
Goth - (Sometimes one's greatness isn't the variety of the roles, but rather the ability to find variation within a similar role (though she's also shown ability in the former). That is the case with Goth, where she managed to be very different looks as young and old Pearl and now here she manages to be a completely different type of derangement here. Although of course that is a case of leading towards where she is going off the deep end. Goth's performance early on is effective in being the alluring "fangirl" who just is obsessed with her favorite author. Where she is just slightly off that she denotes, crazy however maybe one might, foolishly, think you could control. However she's just as convincing in presenting immediate horrified trauma at the same moment that you might even believe for a moment that she has some best interest in mind. Goth's terrific though in not quite switching it up even when her character makes herself known, now still seeming alluring, but building up that allure all the more with just a severe lustful debauchery to it all. Then her final turn is just brilliant work from her where she shows just her level of evil, and Goth just owns the film for every second she's on screen. Where her delivery is so cutting and commanding while also still bringing this unhinged psychosis to it. She is beautifully fiendish in every moment of it and elevated the whole film with her performance. I do also love her last moment of playing it totally "normal" as just wanting to get back into her "normal" routine.)
Kretschmann - (Has to sell some pretty ridiculous exposition, however he does it well with a real gravitas. Doesn't make it entirely not silly, but does give a bit more weight than if a lesser actor had delivered those bits.)
Washington - (Purely just being charismatic, if he was anything less the film would be even worse, however mostly a missed opportunity to give him more than being just cool, as the idea of reflecting on his life is extremely limited. It's mostly him just being the cool killer, which he does do effectively even if it is fairly basic overall.)
Goodluck & Lane - (The two merely I just thought got a bit more within their performances to get a bit more emotional power, just by most basic sense of performance, as everyone has about the same degree of writing I just felt a bit more from their work.)
Azabal - (The most fascinating aspect of her film because she manages to be so much, while also being completely cohesive at the same time. She is the domineering wife in a fascinating way because she never feels hostile in the way such characters are often depicted. She is very much in control but there is always a sense of warmth even within the power of her performance that is effectively weaved throughout her performance. Her performance though also is very vulnerable in depicting the illness where she doesn't hide the weakness of her physically at times or the moment where you see she is depending on the support of her husband. Those moments are as honest yet never feel like they are conflicting with her domineering qualities rather it is this natural reflection of their situation. Her performance brings so much life to the theoretical trope of the character, and never falls into the trappings with her performance. I especially love the way she expresses the moments of interpretation in terms of just how much her character does or doesn't know about her husband. She articulates it in a way that always speaks towards this certain insightfulness of her work that her character is always seeing something, and what that is may be open to interpretation. It is always extremely dynamic and captivating that creates a greater sense of connection in the central relationship, even when there is technically the disconnection drawn by the narrative. It is fascinating work, that is the best part of her film.)
Bakri - (He is very much overshadowed through much of the film, however his work does resonate very strongly in some key moments of speaking a great deal in very subdued reactions. His final scene with Azabal in particular is very powerful.)
Lewis - (Gives a great sense of the character's emotions in a way that feels very realistic even though it is a cartoon. She doesn't overplay the rage note, instead making it feel very honest and surprisingly nuanced. In turn the variation we find as we see her finding her moments of calm than love, are very well articulated through often largely just her performance.)
Athie - (In comparison a bit more cartoony, but it works in creating sort of the needed goofier energy in contrast to the intensity of Lewis. He does also have some more emotional moments that are well realized.)
del Carmen - (Finds an effective blend in terms of creating a certain type of character that accentuates the expectation while not going overboard either.)
O'Hara - (As per usual her work is fun and adds quite a bit of energy even within her relatively brief part.)
Phoenix - (Aster gives basically one note to play, it's right in the title, and it is a testament to Phoenix's talent that he manages to be engaging even when just playing basically different variations of fearful. And he finds a lot of play in that same note again and again. And while I wouldn't say this is the most terribly interesting character, given Beau is so squarely defined by being afraid, Phoenix manages to just make the anxiety specific to the character always honest, while also being funny at times. Phoenix made the film tolerable for me, far more so than it would have been otherwise, as I found he managed to at least find something in the extreme repetition of the film. He didn't save it, but he did make it much better than it would've been without him.)
LuPone - (I think she's fine however I was kind of tired of the character even before the character appeared. Then it is the same note repeated again and again, and again to even more of an extreme than Beau's fear. LuPone though delivers on the constant state of cutting into everything as this eternally offended spiteful manner. While I didn't find the character terribly interesting she delivered it well.)
Lane - (There's just something about his particular voice delivering a threat, with all its naturally joyful if not kind of cartoony candor, making it quite unnerving when there is a threat behind it. He delivers that with such ease though which makes it so fascinating how he is able to pull off evil so well. He really should do it more even because there is something so striking about the way he manages to do it so naturally, after being largely known for more lighthearted characters.)
Posey - (A relatively quick bit however I think she hit the right blend between seemingly genuine emotion with a more comedic sort of urgency about it. She even sells her other moments quite effectively, as absurd as it is.)
Henderson - (Although I was kind of done with the film at this point, his sort of nefarious turn I found to be quite effective and incisive regardless of the way he brandishes his character's cruelty.)
Edgerton - (I'll admit I might've saved him but eh I just had no interest in watching the movie again. Edgerton, though deserves much credit for unlike Weaver, isn't sunk by the ridiculousness of some of the lines of dialogue. Edgerton says every word with such conviction that even when the line is dumb he manages to give it at least some genuinely convincing substance. And that's the quality of Edgerton's work which is consistently giving honesty even in the more absurd moments of creating the hardened soul though with this certain sensitivity. WIth how really silly so much of it could be, Edgerton quietly assures us of a reasonable truth of his character. I didn't ever believe what was going on overall in the film, but I did believe Edgerton which is quite impressive on his part.)
Abbott & Qualley - (Interesting pairing given both I would say are on the precipice of a full breakout and aren't quite there yet. However both together are quite unique in being able to play very extreme notes and do so in a way that is convincing. And that comes to pay dividends here because both go completely all in through every notion of the game, both the moments of the most extreme roleplay but also the moments of seeming genuine connection. Each gives nuanced thought through each note and particularly in crafting every single dynamic between each other. They are absolutely captivating because they can switch on a dime in their performances yet not make it seem arbitrary and again those switches being on quite the limb at times. Both are able to thrive with such extremes and managed to maintain my interest in the film even when the writing occasionally lost its way.)
Boyega - (His character I feel is underwritten overall in terms of really exploring his situation. Oddly enough he feels a bit too reduced to just a certain type limiting truly bringing us into his mindscape within such a ridiculous situation. Even with that though Boyega certainly has good moments throughout the film in bringing a bit more to the limited role even if too often it is between just general discontent and a kind of stoicness. I'd go higher but his "extra" performance I found altogether a bit much and his delivery didn't help the ropey exposition.)
Foxx - (Comedic Foxx doing often his comedic Foxx routine, however typically this does work relatively speaking and this is one of the better examples of the ilk. I wouldn't say it is anything too new from him, but it is a good example of what he can do.)
Parris - (Found her to be the best part of the film and most effectively found the best tone between kind of a more overt comedic quality and a more dramatic weight within the character. She finds a good balance in being able to play what is kind of a caricature, but it is that caricature life that is more than the expectation, even if she begins as such. She also just as usual is a dynamic performer who carries a strong presence, to the point I almost think the film should've just been purely from her perspective given I got much more from her than I did out of Boyega.)
Sutherland - (Though he was pretty funny in just playing up the sleaze of the bit and just oozing the nastiness along with his accent.)
Louis-Dreyfus - (Where she should be in terms of film performances, as sort of the overt note of Marvel I don't think speaks towards her strengths even though she is primarily known as a comedic actress. I think she needs to be able to go full broad, or go in the complete opposite direction which is the case here. Giving a very subdued performance that has just an innate naturalism about her work that just feels honest to the part. And it isn't about big emotions but rather just honesty within the more subdued situations, however finding it with kind of a lowest key of comedic energies that she never overplays in this instance.)
Menzies - (Not the type of role I expected to see him in, but interesting regardless to see him in a less sort of formalized performance, though that type of presence is still found. It offers though a different sort of angle on the part that is pretty effective actually in creating a bit of an alternative to the usual therapist type. I particularly enjoyed the way he portrayed his character's moments of disconnection where he just seems a bit lost in his ways. And we then see that in the central relationship where he isn't cold, he's rather just a little lost, and his performance then works in portraying someone slowly finding the way back to some semblance of understanding.)
Cross & Tamblyn - (Work quite well as a pair in their scenes in creating genuine sort of relationship tension while also being very funny in their disconnect. I think they hit just the right tonal approach to be very funny in their way of turning on Menzies and each other that is amusing without also being too much to feel ill-fitting to the overall low key film.)
Tony:
Again my memory of both is limited and would probably better remember some bits than specific episodes. Animaniacs mainly recall not all segments being equal, in fact mainly recall the original trio bits and Pinky and the Brain more than any of the rest. Tiny Toons I really don't remember other than maybe greatly preferring Plucky oriented episodes.
The first scene is excellent in showing the contrast of Mike and Gus. Where the former does attempt to have some kind of moral code, where Gus slightly pretends where everything he does is for his own purposes in either the short or long run. And you see though what's great is even in Mike's qualms he only goes so far.
A great Lalo scene with his fake out of the severity of his injury, and seeing his danger of the viciousness within his smile.
Luke:
I mean looks Anderson, though I'll say he seems an ideal fit for Dahl adaptation given both are all about the details, and Cumberbatch also seems a fit for Anderson. So, here's hoping this gets me back on his wavelength, and at the very least it's only 39 minutes.
Tony:
Again Pinky and the Brain, as I recall, were the best bits as the comedic duo and understandable why they were the breakout. Though quiz me on specific episodes I will probably come up short. Freakazoid I really don't remember except for some really random bits.
Tahmeed:
One Froggy Evening I haven't seen in awhile, though I recall certainly the pivotal bit of Michigan J. Frog's singing and always enjoyed the ending of the future repetition that is quite clever.
Duck Amuck is great with such brilliance in manipulating the form and breaking the expectation of the cartoon, having so much fun with the various randomness of the choices in Daffy existential nightmare, and then the most perfect of twists to end it all with.
Regarding a Haunting in Venice, Yeah, these Branagh Poirot mysteries just work for me, even with their obvious flaws. And that's the case again with the rather inconsistent cast. The mystery though I found to be fun in its unraveling, and I appreciate once again Branagh's more emotional Poirot, along with his spooky direction here (though he does definitely overdo it in a few moments). Still had a lot of fun and enjoyed it as the fluff entertainment it is.
Louis: I am glad Branagh chose to do one based on a book that not many people are familiar with, makes the mystery actually one that people want to figure out.
I always thought that remaking Murder on the Orient Express was a bit redundant because nearly everybody knows who the killer is, only if you have never seen or heard of it would it be worth solving the mystery.
RatedRStar: So, here's the thing with Agatha Christie. It's not hard to figure out who the killer is, even if you don't know the story. It's how it unfolds that makes it fun.
Louis: Can I ask why you didn't save Abbott, Edgerton, and Phoenix despite their high ratings?
Also, I recall you saying you watched Mad Men's Commissions and Fees without having seen the rest of the show, may I ask for your thoughts on that episode?
Branagh - (A slightly more dour reprise, though I do like that in each instance he does find some kind of variation in his version of Poirot. This time the man dealing with the idea of the supernatural, and he does deliver on bringing a slightly more disoriented Poirot in an effective way. He doesn't completely reinvent his performance, but again this version still works for me as his more specifically emotionally attached version of the character.)
Hill - (Pretty effective creepy kid performance actually, and doesn't overplay the note in any direction. He grants this sinister quality but just kind of almost casually in his directness. He though seems still like a kid and finds a nice balance there. And it is particularly interesting to see him advance here comparatively to his very much just a normal kid performance in Belfast.)
Yeoh - (Does a lot with what she has, as she grants immediately a sense of gravitas and mystery. She carries the right striking presence, while also going all in during the seance scene and delivering the sort of intensity of the mania in the moment that is most effective both physically and verbally in her performance. My favorite moment though is her final one where she suddenly kind of subverts everything she's done up until the point just by suddenly changing her manner to something far more casual, and it's a brilliant bit even if very brief.)
Robert:
Fey - (I mean her character is supposed to be slightly comedic but she's doing sketch comedy work here at best. Her expressions often completely over the top and her delivery is callous but as someone who is being silly rather than someone being realistically sardonic. She is a sore thumb in the worst way, but what's worse is when she tries to be dramatic. These moments she just feels completely out of her depth with her thin delivery and extremely underwhelming reactions.)
Tony:
I have no desire to ever rewatch Edgerton or Phoenix's films so they're off the table anyways.
Abbott is very good, but it'd be a pretty weak year if he stayed in the top ten for me.
And yes I've seen that episode, but I think I'd need a bit more context of other episodes to properly comment on it. As I really could only appreciate it from an acting perspective.
There are times where you may be spending time with fellow Hu-Mans who watch a show you don't, and the Hu-Mans are watching that show while you are in those Hu-Man's company, causing you to see that show as well.
LOL! I was just confused as to whether you saw it while (for example) randomly channel-surfing, or checked it out specifically for Jared Harris, not sure if that came through in my question.
Louis: Are you interested in ever giving Mad Men a full go? As a fellow Hu-man, I gotta say, it's a pretty good show. Though it does peak a little too early before the show wraps things up.
Louis: with regards to Gosling 'Kevin Kline'-ing his way to a win, could you feasibly see Ruffalo doing the same (another full on comedic performance) if Poor Things ends up being a huge player?
(and this isn't in relation to anything in particular but his work is definitely growing on me all the more I think about it).
Well I did call The Chess Players, The Chess Players. But really it's just because that's what came up on imdb first.
Emi Grant:
Perhaps at some point, but as with so many shows it's "on the list".
Calvin:
I could, particularly since Ruffalo has a lot of industry goodwill (he ran the TV awards circuit with ease for I Know This Much Is True) if he gets nominated he will be tied with Rains and Kennedy for most nominations in the category without a win (in any category), and could become the place to reward the film if it is a top fiver.
I'm foregoing a full post review on Chahine. This will count as the first review, so any updated predictions just post below this. As I just don't have that much to say about him. His performance honestly is a bit passive to the point of being almost indistinct for me. At first I pondered if he was going to be a tramp like character, having not read anything about the plot, as there's kind of an off-beat quality however that doesn't go anywhere. And the character ends up just being a creep which he portrays with basically the same creepy little glare. And the move towards becoming murderous in this behavior is so sudden, and I didn't think Chahine really sold the shift all that well either. He has some decent moments later on in just expressing a bit of the fear and desperation of the man as he realizes what he's done, but even that I don't find amount to too much. Didn't dislike his performance but thought he was just "fine" at best. 3.5/5
This is the first time I've ever seen you do this even though I was expecting it to happen. Bring on Wallach & Gassman and sure why not, put Mifune into the mix.
1. Biswas 2. Holoubek 3. Cooper 4. Von Sydow 5. Chahine
It is interesting to hear Ray's first two statements that seem almost disagreement yet are indeed his style, in telling a theoretically simple story, but bringing out the most he can out of the medium of film when telling it. Fascinating that he was so very directly and literally influenced by Renoir in person, though not surprising. And his description of himself as the mix of west and the east, is obviously true and given his intelligence as a filmmaker it isn't surprising of his awareness of his style. But it is also great to hear about his detailing of his use of natural light, his ways with actors including the casting of non-professionals, and particularly for me, his specific explanation for his choices in his music being related so specifically to the story he is telling. And all this wasn't completely surprising to me, though what was, was his extra contributions such as his own designing of his posters, which I was not aware of. But overall the piece gives you a sense of what made him so wholly distinct and one clearly worthy of the description of auteur.
Tony:
I'm theoretically interested in all of them.
That's quite moving, and just a testament to all that Corman did in terms of giving so many a chance in the industry by letting them in at least the first door. And it's heartwarming honestly to see Nicholson still appreciates him for it.
Louis: I asked you this on the last post, but your top 5 performances across the Karate Kid/Cobra Kai franchise? You can consider performances given by the same actors separately.
1. Biswas 2. Holoubek 3. Cooper 4. Von Sydow 5. Chahine
Hey everyone...I have another new post on my animation blog. The upcoming week is going to be very busy, so I'll probably have to hold off on another review until at least week end. Currently have no solid ideas...perhaps I'll start a series breakdown by episode. We'll see in time, I'm sure.
I actually don't think I've ever actually watched The Dover Boys or Porky Pig's Feat.
What's Opera Doc is very good, though it has never been fully one of my favorites, though that's not a knock. As it certainly has plenty of fun with the concept of turning Bugs v. Fudd into such dramatic Wagner type proportions and has plenty of fun with that particularly the idea of Fudd being the grandiose "tenor".
Honestly other than the information songs and Brain on Jeopardy, I don't clearly remember that many bits.
Marcus:
1. Pat Morita 2. Thomas Ian Griffith (Cobra Kai) 3. William Zabka (Cobra Kai) 4. Yuji Okumoto (Cobra Kai) 5. Ralph Macchio
Anonymous:
Gordon - 3(Got a little more emotion out of her than the rest of the cast though not that much more. Thought she was slightly more amusing but not much more. Was on the edge of becoming a real person but not quite there.)
Edebiri - 3.5(Goes purely for the laughs and succeeds in her manner as someone who is completely lying the whole time and just doing the bare minimum of being convincing. Her little moments are very funny in just portraying the sort of shamelessness of her lies while also showing the constant uncertainty played well as a very basic "I don't know" throwing up of her hands when attempting any part of "the craft".)
Everyone else - 2.5(On some variation of a little too broad while not being funny enough, though I didn't think anyone was terrible. But in each instance they didn't convince of any emotion because they were being too silly overall, yet weren't funny enough in that silliness.)
Surprising but you have to take that win into strong consideration given the TIFF streak, even if MGM is not the best when it comes to the awards game. As whoever the audience is at TIFF really has similar tastes to the academy. Maybe this does break the streak but I'm definitely predicting it until further notice. So put it in picture/screenplay and Wright in actor (at this moment over Giamatti though maybe over Domingo).
Gordon - (Her performance is certainly as the sort of idealized love interest who is so intensely into you, you only say yes, and in most circumstances that might not work, however I think in this instance in examining the idea of self-doubt, self-loathing it does. Gordon's performance in part isn't quite alluring in the lustful way, but it is hard not to be intrigued by her as she accentuates every flirtation, and sort of obvious message to be more than friends as something very clear in a gentle way. I think what she does best though is give allusions to perhaps a formerly less confident individual who is currently finding her confidence. Creating the allusions of perhaps an older shyness within the nuances of her performance that are most effective. She naturally brings this to fruition in her final scenes where they come to the surface in a moving way. While a limited performance and certainly serving a specific purpose, effective in that purpose.)
Townsend - (Very lovely low key work as she brings so much warmth to his interactions with Edebiri creating such a strong sense of the father/daughter relationship in their moments together. His recollection of his first date with his wife is particularly moving in just Townsend delivering as a story he's told a lot of times but a story he loves telling a lot of time. Creating the idea of the sort of uncompromised sense of care and affection he has for his family and for his daughter. Works particularly well in contrast to what we see with Lee-Curtis as the parental figure especially.)
Mulaney - (He sticks out within the cast but I think it works, because it is with purpose. He's not part of the family or its drama, so his sort of out of sync performance works well as contrast to everyone else. His reactions are a bit more befuddled and bemused. It works though as this observer and Mulaney create these moments of sort of clarity. Whether it is his more genuine encouragement to Carm about Claire, where he speaks as someone just genuinely trying to help, or the dinner tension where he's darkly humorous in just the right way in creating that very particular awkwardness who isn't entirely part of the tension however is in the room so he is.)
Paulson - (Found here just kind of "there" and slightly distracting in terms of the guest stars, as I feel everyone else felt more essential in terms of the character, where hers fell more so into cameo. Not that I even thought she was bad but didn't really bring too much in terms of creating a more genuine history between her and the rest of the family.)
A masterclass, and much of what Hopkins did in Westworld was just acting the hell out of exposition. In that particular scene you can see the ease in which Hopkins in himself can change tone and mood with just an accentuation or a minor change in expression. How he opens as kind of lost almost, a the genial old man, slightly lost, if certainly unimpressed by his "opponent" in the scene. Hopkins changes his tone just slightly though when he begins to explain the park with a kind of recollection with a false cordiality such as his smile when saying "the money men". Leading every statement till he has a deity like calm as he speaks and suddenly his calm is the menace. And his whole turn of saying I haven't gone mad before saying his most overt threat of seeing things "very clearly" where when Hopkins exhibits just a bit of overt anger it becomes tremendous. And then Hopkins hastens his speech and suddenly any notion of who has the power cannot be even guessed, he simply is in control. Even the way he says "Banard" is a brilliant bit of foreshadowing, because Hopkins delivers it slowly as though he is very specifically speaking as a self-correction, speaking it as a remembered lie and replacing one way with another in order to say it.
Marcus:
Stunts/Choreography are one I think would make sense. And merging the two, since they are often interconnected, would probably be the most logical. And are a big part of many films that aren't recognized. Also I think by merging it would make it a wider group of contenders for each.
Ensemble/Casting I would only approve of if it was done in an alternative way from a general vote, and perhaps would be its own jury or branch only system. I say that because I think the ease in which it becomes just best picturex2 would be great. And I think you would need to parse out, particularly if you were rewarding the casting director who is the current party who cannot get recognized whereas actors can. As I think to be fair each casting director would need to essentially give examples of their work, since they aren't in charge of every casting decision. Perhaps difficult but would be what would make sense for the confines of the achievement.
Those are the only ones I would consider. Anything else I think can be handled by special achievement.
Jean Valjean: Joseph Cotten Javert: James Mason The Bishop: Cedric Hardwicke Fantine: Mary Astor Enjolras: Richard Attenborough Grantaire: Peter Ustinov Marius: Dirk Bogarde Cosette: Jennifer Jones Eponine: Angela Lansbury The Thenardiers: Walter Huston & Gladys Cooper
What did you think of Gillian Jacobs in The Bear? I found her scene with Moss-Bachrach in the Christmas episode my single favorite scene in the series.
Louis: Why do you think Dustin Hoffman has never exactly achieved the level of popularity and cultural status of his contemporaries like Nicholson, Pacino, De Niro and Hackman despite his critically acclaimed body of work?
Ytrewq: Really? I think Hoffman has basically reached that level of prominence by now. I think it could be argued that he's more famous than Hackman, actually (at least, from my experience).
Tony: From my experience he's less likely to be mentioned when someone talks about the famous New Wave actors, at least compared to these first 3 guys I mentioned. Also as opposed to them he didn't appear in any universally known movies after Rain Man or Hook (maybe except for Kung Fu Panda series, but does it really count?), which doesn't help him.
Ytrewq: I mean, Wag the Dog was acclaimed and considered to be a very topical film at the time. Even Meet the Fockers was a big commercial hit (setting aside its quality), and that combined with the stature of his 20th century work has kept him from being irrelevant for the past 25 years. And speaking for myself, I've always seen him be lumped together with those other New Wave actors - though this is all of course quite subjective and anecdotal.
In my experience, Hoffman tends to be more well known than Hackman or Duvall (unfairly, but I digress), but not as renowned as Pacino, De Niro or Nicholson
I really enjoyed it again. It isn't mining some great depth on the era, but it is consistently entertaining. And I would say cut off a lot of the fat from season 1 and made a much better show by focusing more closely on the team dynamics. Hate that we had to have the tacked-on series ending wrap up, because there was a lot left, as in particular I was looking forward to Magic and Bird becoming friends, and it's a shame we didn't get it.
1. Adrien Brody 2. Sean Patrick Small 3. Jason Clarke 4. John C. Reilly 5. Quincy Isaiah 6. Michael Chiklis 7. Solomon Hughes 8. Ari Graynor 9. Devaughn Nixon 10. Tamera Tomakili 11. Brett Cullen 12. Spencer Garrett 13. Gaby Hoffmann 14. Hadley Robinson 15. LisaGay Hamilton 16. Rob Morgan 17. Gillian Jacobs 18. Molly Gordon 19. Jason Segel 20. Thomas Mann
Most of the bottom ten, except Segel and Mann, have to do more so with limited material rather than performance quality.
Robert:
I quite liked her performance, and even as it went as "here's another famous face" in most instances, their performances then delivered on their talent removing the distraction particularly compared to the far lower key cast of season 1 on the whole. Jacobs in a way was a surprise just in terms of who was Ritchie's ex and I think it was easy to imagine it one way. Jacobs's performance isn't at all like that and is fairly fascinating with how low key performance is, but also with how relaxed it is in every sense. As in the dinner episode, she portrays the illness but you get the relationship between her and Ritchie with kind of this very specific line of kind of getting by though not necessarily in a terrible way. There is a genuine sweetness there even as you also sense a disconnect between Ritchie's frustrations and Jacobs portraying her just kind of trying to make things work. She kind of gives a fascinating non-comedic comedic performance, in that the instincts are there, even if she isn't playing to them. The scene where she oversteps with Platt, she's so wonderful in playing the earnestness of the thank you, however is just as earnest in her trying to come back from the fumble of the overreach. Even in her later scene of the conversation over the phone, she brings a great deal of nuance there again, not playing it in a standard way finding something off-beat on a often played beat, but without subverting it, just making it work in her own style.
Louis: Would never want to take that performance away from Hudson, but how do you think Clift would have fared in the former's role in say, an early 50's version of Seconds?
I've seen those two but it's been too long for me to recall them all that clearly.
Anonymous:
Fascinating in its bizarreness I must say and I had no idea where the trailer was going, so looking forward to the film. And it's always great to see another role for Nicolas Cage with potential.
Tahmeed:
Great, because Clift had such a great ability of playing discomfort in one's self that would be ideal for part.
Of course, also makes supporting wide open for the win (hopefully it won't just fall to whatever vet seems easy enough this time), I'd put her in at Huller's expense.
Just finished watching The Rickshaw Man, and I have to second Michael's wish that Mifune was in this lineup. Devastating performance, especially in his final scenes.
Hate to say this as someone whoy adores Past Lives but I think Greta Lee is more likely to miss out at this rate (though I am also carrying a healthy attitude now of come what may towards that film's chances).
Glad to hear Gladstone is going Lead though because I have actually heard plenty of talk that this is the right category for her.
Perhaps, however I think both Past Lives and Anatomy of a Fall have the potential of falling into the category of "could get completely ignored" or "major contender". As neither are traditional academy choices, but we are seeing some different choices from them, so I think both could go either way. It does hurt all the non-traditional contenders that basically all the traditional contenders have delivered in terms of general reception.
Just curious...has anyone here seen this year's animated series "My Adventures with Superman"?
I neglected to mention this last night, but I finished the show finally. And...well...maybe I won't divulge my full thoughts here. Perhaps it would be better suited to a more indepth critique elsewhere, so stay tuned.
Mitchell: I haven't seen it but it sounds pretty fun. I'd certainly be looking forward to your longer thoughts on it.
Speaking of which, Louis: What do you think of these actresses as Lois Lane? I have no specific existing version in mind, more of a hypothetical version similar in spirit to the Donner film.
Holly Hunter (80s) Linda Fiorentino (90s) Julia Louis Dreyfus (90s) Peri Gilpin (90s) Rachel McAdams (2000s)
It shouldn't affect Sandra Hullers chances, it didn't with Cotillard/Hupert but I do sometimes wonder if there are sometimes an agenda with these choices.
RatedRStar: Wouldn't be surprised if there's some Anglophobia involved as it was not fully filmed in French. It's fairly well documented the hatred between the two.
Hunter most definitely, even if her accent isn't the first thing you think of for Lane her performance in Broadcast News is super close to begin with.
Fiorentino I'd believe as the dogged reporter, but less so the more comedic love interest at least in the lighter Donner way.
Dreyfus does have the look, the comedic chops and the manner.
Gilpin has the comedic chops but I don't quite see her as that type.
McAdams really has both elements.
Luke:
I should note I've seen most of it, a few different times, but never the whole thing from start to finish, but from what I've seen I don't think that will unlock the puzzle of greatness.
The titular song though is a lot of fun with the whole build up about Vegas to each chorus of Viva Las Vegas. Having said that is kind of simple in its repetition even if that repetition is enjoyable.
Tahmeed:
I mean a great story with Cromwell underestimating the role then kind of finding the purest note that became his career maker. And it's not surprising to here that the "that'll do" was so special to him in the moment, because it became so special to anyone who loved that film and his performance in it.
Tony:
The whole interview is great, but that moment is something special with ego vs. ego in such a hilarious way, though in the moment Friedkin plays all of us in his in his disbelief at Refn's insistence on Only God Forgives being a masterpiece. And it is worth noting where he comically won't have it with Only God Forgives, with Drive he's more of not allowing immediate declarations and you see him mediating a bit more, even if he again does it in a very much Friedking blunt way.
8000's:
Although he isn't as well utilized as he was by Carpenter, he still grants a generally moody lighting to the piece, and does get a good shot out there from time to time. Particularly the trick or treaters shot, or when O'Herilhy is monologuing (who by way is a great villain despite the film not being good). It isn't as consistent of an effort because of a weaker director but well shot for a bad horror film.
181 comments:
1. Biswas
2. Holoubek
3. von Sydow
4. Cooper
5. Chahine
Louis: your ratings for the casts of all the 2023 movies you’ve caught up on?
Louis: Thoughts on your 5s, 4.5s, 4s and 3.5s.
1. Biswas
2. Holoubek
3. von Sydow
4. Cooper
5. Chahine
Luke: Since this film was on your list, thoughts this BTS video for "DragonBall: Battle of the Gods"? Spoilers: A potential future review on my part, and this is HANDS DOWN the best moment in the movie. Sean literally went super saiyan with his scream.
https://www.youtube.com/watch?v=Z4JmcQkHOkg&ab_channel=MJSmuv2
Also...random note...it pains me to see Weaver get below a 3 for any recent performance of hers.
Louis, your general thoughts on Animaniacs and Tiny Toon Adventures?
1958 films to watch (With Additions)
The Ballad Of Narayama (Re-Watch)
Brink Of Life
Equinox Flower
Big Deal On Madonna Street
A Time To Love And A Time To Die
King Creole
The Lineup
The Key
Sea Of Sand
Maigret Sets A Trap
A Tale Of Two Cities
I Want To Live!
Home Before Dark
Elevator To The Gallows
Auntie Mame
Carve Her Name With Pride
Mädchen In Uniform
One Life (End Of Desire)
Anna Lucasta
Édes Anna
A Matter Of Dignity
Summer Clouds
Mon Oncle
Shadows
The Fly
Houseboat
Cowboy
Bell, Book And Candle
The Sheepman
Stage Struck
Ivan The Terrible, Part II: The Boyars’ Plot
The Bravados
Stolen Desire
Gideon's Day
Endless Desire
Bonjour Tristesse
The Lovers
The 7th Voyage Of Sinbad
Tom Thumb
Indiscreet
Nowhere To Go
Montparnasse 19
The Goddess
Le Beau Serge
Murder By Contract
The Revenge Of Frankenstein
Farewells
The Roots Of Heaven
Christine
St. Louis Blues
Party Girl
Giants And Toys
Madhumati
Ajantrik
Conflagration
Le Désordre Et La Nuit
Ewa Wants To Sleep
Terror In A Texas Town
Buchanan Rides Alone
Thunder Road
The Bonnie Parker Story
The Fearmakers
In Case Of Adversity
It Happened In Broad Daylight
God's Little Acre
The Left Handed Gun
From Hell To Texas
Black Cat Mansion
Eroica
Rusty Knife
Rosemary
Poem Of The Sea
Stakeout
The Naked And The Dead
A Flower In Hell
The Law And Jake Wade
The Proud Rebel
Desire Under The Elms
Cry Terror!
Kings Go Forth
Another Time, Another Place
Mitchell: Love the passion and effort shown by the performers.
I predict either Wallach, Saburi or Gassman for a potential bonus review.
1. Von Sydow
2. Biswas
3. Holoubek
4. Cooper
5. Chahine
1) Von Sydow
2) Biswas
3) Holoubek
4) Chahine
5) Cooper
1. Biswas
2. Von Sydow
3. Holoubek
4. Cooper
5. Chahine
1.Von Sydow
2.Holoubek
3.Biswas
4.Chahine
5.Cooper
1. Von Sydow
2. Biswas
3. Holoubek
4. Chahine
5. Cooper
1. Biswas
2. Von Sydow
3. Cooper
4. Holoubek
5. Chanine
1. Cooper
2. Von Sydow
3. Biswas
4. Holoubek
5. Chanine
Luke, Your rating predictions.
Louis, what are your thoughts on the wipe transition?
Probably one of my favorite editing techniques ever.
Luke: What ratings do you predict for the cast of Equinox Flower?
Biswas - 5 (The only one I feel any confidence about)
Holoubek - 4.5
Cooper - 4.5 (I think he'll finally break the duck but I'll be pleasantly stunned if he goes higher)
Von Sydow - 4 (Chronologically speaking, didn't get his 1st 4.5 until Shame & this is a full decade before and again it was Troell that really got the best out of him)
Chanine - 4 (Could be dead wrong)
8000S: Who has the most prominent roles aside from Saburi. I haven't seen it but I'll take a shot at it.
Luke: I'd say Kinuyo Tanaka. She plays Saburi's wife and Ineko Arima's mom.
8000S: I'll say a 5. She's bound to get 1 eventually.
And given this might be the most prominent performance Louis will have yet seen from Saburi, I predict a 4.5 though a 5 could happen.
Louis: The films To watch list got put into spam.
Luke: I really want Takamine to get a 5 too.
Louis: Thank you.
Luke: You can watch Equinox Flower here.
https://ok.ru/video/1627246692974
Also, this is also one of those films that Louis also needs to watch for 1958.
https://ok.ru/video/2107378764398
Curiously, Hashimoto also wrote it alongside Stakeout and Summer Clouds, winning awards for his work on all three films.
Luke, Who do you predict to win Lead Actress.
Jean Simmons in Home Before Dark
Louis: Your thoughts on these scenes https://m.youtube.com/watch?v=0Kf3A7b6acE https://m.youtube.com/watch?v=YbDydIB39ho
5º Youssef Chahine
4º Max von Sydow
3º Gary Cooper
2º Gustav Holoubek
1º Chhabi Biswas
1. Biswas
2. Houloubek
3. Cooper
4. Chahine
5. Von Sydow
Okay, I think it's safe to say that Von Sydow or Chahine is getting replaced by Wallach or Gassman. I'm starting to think Equinox Flower might be an ensemble piece.
Calvin: Your rating for John Mills in Ice Cold In Alex. And what is your top 5 for Best Actor 1958.
Finally the worst year of the 50s.
1. Biswas
2. Cooper
3. Houloubek
4. Chahine
5. Von Sydow
Luke, And who do you predict to win Supporting Actress.
Anonymous: Can't say for sure but either Kay Walsh will retain or somebody from Equinox Flower.
Louis, your thoughts on Wakko's Wish, if you've seen it?
1. Biswas (after finishing Jalsaghar, he's 100% taking this)
2. Holoubek
3. Cooper
4. Cahine
5. Von Sydow
Louis: A slight nitpick, but I'm confused by your referring to Nayak and Mahanagar by their Bengali titles, and not doing the same for Jalsaghar.
1. Biswas
2. Holoubek
3. Cooper
4. Cahine
5. Von Sydow
Louis: What’s you rating for Frances O’Connor in A.I. Artificial Intelligence?
Luke: I'm only seeing Tanaka winning out of all the ladies in Equinox Flower.
But every lady is excellent in that flick.
Greetings everyone.
Just wanted to say I have a new post up on my animation blog. It'll probably be the last one this week, but we'll see.
1. Gustav Holoubek
2. Chhabi Biswas
3. Max von Sydow
4. Youssef Chahine
5. Gary Cooper
1. Chhabi Biswas
2. Gustaw Holoubek
3. Youssef Chahine
4. Gary Cooper
5. Max von Sydow
I will add for what it’s worth, if Mifune was being reviewed for The Rickshaw Man he’d absolutely be my prediction to win the lineup. That performance absolutely breaks me.
Michael: Maybe he'll get a suprise review down the line
I'll support a re-watch if there's a possibility of a 5 rating.
Mifune's great in The Rickshaw Man. Love his chemistry with Takamine.
I don't think there will be anyone who can take away Stewart and Welles' victories.
Robert, he's rated O'Connor a 4. https://actoroscar.blogspot.com/2015/05/alternate-best-actor-2007-christian.html
Louis: Thoughts on the Wonderful World Of Henry Sugar trailer.
Tony: Wow, that’s low. For me at least.
Not to sound greedy with the upgrades/rewatches for this year, but just wanted to say I actually watched The Defiant Ones for the first time shortly after Sidney Poitier’s passing and thought he AND Curtis were both fives.
Luke: Another female performance to watch: Setsuko Hara in Naruse's Daughters, Wives and Mother (1960)
Watched My Left Foot. Terrific film.
Day-Lewis and O'Conor-5
Fricker-5
McAnally-5
Shaw-4.5
McCabe-3.5
Dunbar-3
Cusack-3
Louis: Your general thoughts on Pinky & the Brain and Freakazoid?
Louis: Your cast and director(s) for the mid-2010s/2020s version of Die Hard series?
Louis: Also, what do you think of a 60s A History of Violence directed by either Kurosawa or Okamoto with Mifune and Kagawa in the Mortensen and Bello roles?
Maybe Mori in the Hurt role?
My name is Tommy Lucas
1. Chhabi Biswas (5)
2. Gary Cooper (5)
3. Gustav Holoubek (4.5)
4. Youssef Chahine (4.5)
5. Max von Sydow (4)
48% RT score for Next Goal Wins, that is actually worse than I thought it would get, ah well at least Fassbender has The Killer going well.
Never doubt the Fassbender curse.
Louis: Your thoughts on One Froggy Evening and Duck Amuck?
Having read some of the issues Next Goal Wins had, it's hard to say its reception was unexpected.
I really, really hope that The Killer finally breaks the curse, if only for the sake of Fincher not having a miss.
Fassbender really hasn't stopped dodging the fraud accusations since 2010, Google "Fassbender dodges accusations 2010" for more information.
1. Biswas
2. Holoubek
3. Chahine
4. Cooper
5. Von Sydow
Marcus: They deleted that whole section from his Wikipedia article last I checked. Maybe they added it back. Though I assume his PR team was the culprit.
Marcus: Careful, you might just get the whole blog deleted for insinuating that Fassbender isn't a good person.
Tahmeed: I don't mind spelling it out that he's terrible - his immaculate PR is infuriating to me. I know some people don't care as much about things off the screen (I was rolling my eyes at all the RIP wishes for Robert Blake), but that is still their choice I guess.
Yes I was one of those people that did put the RIP for Robert Blake, yes looking back it was not a good decision on my part, even though I said at the time I was saying it to him as an actor rather than a person, it still wasn't a good idea though.
Whereas when William Hurt passed away, despite the fact that he sexually assaulted Marlee Matlin, literally hours after her Oscar win, I still was very sad to hear about his passing and still think of him as a great actor, albeit not a nice person in real life.
Wait, we can finally talk about the William Hurt thing?
Robert: I mean I guess we can lol, its not like nobody knows about Marlee Matlin, or some of the women that accused him after his passing.
Its tricky subject matter, but I always think that a difficult topic can be discussed on a blog that is usually well behaved.
Single accuser for Fassbender, no evidence to the claims, he said she said. He never had any other accusers with other relationships, unlike someone like Shia LaBeouf. Doesn't make him innocent but doesn't make him guilty either.
Well the reality is that a lot of actors are horrible people, and not in a 'people are complex and make mistakes' way, just straight up awful. I was one of the people who tried to follow 'Death of the Author', but as I've gotten older, it gets hard for me to ignore certain things that people do. William Hurt and Blake are definitely two cases where I can appreciate the talent, but definitely won't mourn their passing.
Maybe Fassbender does have a good PR team because I never really hear about any of his allegations but who knows.
Casey Affleck is one where, his career is still going fairly strong despite the controversies.
Lots of terrible people throughout all of human history have made great art, and I will not participate further in this discussion here.
Jonsson & Oparah - (Both their performances are both playing into a certain type however I think quite effectively even as such. That is the sort of free spirit, not quite manic pixie, but not entirely not, and the stuffed shirt. Each needing to do the other that moves both towards the middle in some way. As much as both of the starting points are certainly tropes each modulates their performances effectively in order to not overdo their performances. They are convincingly as such and make their characters believable people, that are more than the tropes they are technically fulfilling. What takes their performances truly further though is the great chemistry the two have to the point that the least convincing thing with them was the conflict, as their awkward flirtation that slowly grows to more is just wonderfully realized by both and every step of the way of their relationship just feels wholly honest.)
Harrison - (He's charismatic and passionate here. Unfortunately he's stuck in just being charismatic and passionate without much more depth than that. Leaves him hanging in a way, but Harrison is everything he needs to be, just the part sadly keeps him from being less than he could be.)
Weaving - (The same goes to Weaving who is able to articulate every emotion so well it is just a shame that the scenario feels so tired regardless. She's entirely good, just the part is so extremely rote.)
Williams - (It is fascinating to see her in this after the Fabelmans, because she is so EXTREMELY subdued here compared to that turn. However I tend to prefer subdued Williams and this case is an example of her really articulating well what her character is going through in a very quiet way. She has her own degree of neurotic behavior that isn't extreme as some of her family but you see her quietly express it throughout. When she does have a big moment, where "big" feels like an overstatement it feels very earned and honest to her character who is very much someone mixed in with her own thoughts.)
Chau - (Now Chau is someone who seemingly can go big or small, with as much ease as the other whenever she needs to one way or the other. And that's the case here where she is kind of playing subdued flamboyance that contrasts effectively against Williams. I particularly like the way the work bends between her moments of passive aggressiveness to seemingly more supportive aimable moments. She's wonderful in expressing the character's specific eccentricities that always remain very quiet, yet feel much bigger within this world, yet still feel appropriate to the overall extremely subdued approach.)
Hirsch - (Always great to see him show up and bring a bit of character once again.)
Taylor - (Her performance is very much the film because all of its life comes from her turn that is both extremely specific while also being general. Specific in the exact woman she is playing in terms of the choices she makes, but general in making them universal in terms of the emotional truths of it. And Taylor is quite effective in bringing this particular fervent determination though filtered through very specific character. She always grants a sense of immediate history to the character, even when it is often ambiguous. You technically always have to make some guesses about her character yet never does she feel vague in Taylor's hands which consistently grants such a striking sense of this specific conviction and particular warmth. Even the latter though isn't simple at any point and shows this sort of complexity in the dogged determination of her character, particularly as we see the way she evolves in different ways over time. It is consistently a captivating turn because she makes everything about each moment feel honest, even the later revelations, which I don't even think were totally necessary for the film, Taylor plays them so well in even granting realism to the less realistic moments.)
Catlett - (Although I think the narrative lets his character down just a bit, in that it very quickly drops him, I think he creates very convincing chemistry with Taylor and all actors playing his "son". Catlett's performance has this certain measured manner that contrasts effectively to Taylor showing in some ways less earnestness in his warmth, but there is still something very basically honest in the way he is supportive regardless. Although I wish there had been more of him, he's very good with what he has.)
Skarsgard - (He's really turned a corner with me in general it seems, as prior to the Northman, he was very much a "there" actor in everything else I had seen him in, however now with that film, this one and his second Succession season, he's come across a lot more dynamically. Even in this role where he very much is just kind of the straight-man who is a bit doltish even, however he's very effective early on in presenting the immediate horror of his situation, where I would critique a little, although I think part of it is the moments of needlessly overt stylism, he gets lost just a bit in the middle ground of indulging in the experience. However he makes up for in the point where he becomes regretful and even kind of lost within the experience, to the point of just being this shell of himself in a way and Skarsgard makes the transformation convincing, even if there are some overly strange moments within the journey.)
Goth - (Sometimes one's greatness isn't the variety of the roles, but rather the ability to find variation within a similar role (though she's also shown ability in the former). That is the case with Goth, where she managed to be very different looks as young and old Pearl and now here she manages to be a completely different type of derangement here. Although of course that is a case of leading towards where she is going off the deep end. Goth's performance early on is effective in being the alluring "fangirl" who just is obsessed with her favorite author. Where she is just slightly off that she denotes, crazy however maybe one might, foolishly, think you could control. However she's just as convincing in presenting immediate horrified trauma at the same moment that you might even believe for a moment that she has some best interest in mind. Goth's terrific though in not quite switching it up even when her character makes herself known, now still seeming alluring, but building up that allure all the more with just a severe lustful debauchery to it all. Then her final turn is just brilliant work from her where she shows just her level of evil, and Goth just owns the film for every second she's on screen. Where her delivery is so cutting and commanding while also still bringing this unhinged psychosis to it. She is beautifully fiendish in every moment of it and elevated the whole film with her performance. I do also love her last moment of playing it totally "normal" as just wanting to get back into her "normal" routine.)
Kretschmann - (Has to sell some pretty ridiculous exposition, however he does it well with a real gravitas. Doesn't make it entirely not silly, but does give a bit more weight than if a lesser actor had delivered those bits.)
Washington - (Purely just being charismatic, if he was anything less the film would be even worse, however mostly a missed opportunity to give him more than being just cool, as the idea of reflecting on his life is extremely limited. It's mostly him just being the cool killer, which he does do effectively even if it is fairly basic overall.)
Goodluck & Lane - (The two merely I just thought got a bit more within their performances to get a bit more emotional power, just by most basic sense of performance, as everyone has about the same degree of writing I just felt a bit more from their work.)
Azabal - (The most fascinating aspect of her film because she manages to be so much, while also being completely cohesive at the same time. She is the domineering wife in a fascinating way because she never feels hostile in the way such characters are often depicted. She is very much in control but there is always a sense of warmth even within the power of her performance that is effectively weaved throughout her performance. Her performance though also is very vulnerable in depicting the illness where she doesn't hide the weakness of her physically at times or the moment where you see she is depending on the support of her husband. Those moments are as honest yet never feel like they are conflicting with her domineering qualities rather it is this natural reflection of their situation. Her performance brings so much life to the theoretical trope of the character, and never falls into the trappings with her performance. I especially love the way she expresses the moments of interpretation in terms of just how much her character does or doesn't know about her husband. She articulates it in a way that always speaks towards this certain insightfulness of her work that her character is always seeing something, and what that is may be open to interpretation. It is always extremely dynamic and captivating that creates a greater sense of connection in the central relationship, even when there is technically the disconnection drawn by the narrative. It is fascinating work, that is the best part of her film.)
Bakri - (He is very much overshadowed through much of the film, however his work does resonate very strongly in some key moments of speaking a great deal in very subdued reactions. His final scene with Azabal in particular is very powerful.)
Lewis - (Gives a great sense of the character's emotions in a way that feels very realistic even though it is a cartoon. She doesn't overplay the rage note, instead making it feel very honest and surprisingly nuanced. In turn the variation we find as we see her finding her moments of calm than love, are very well articulated through often largely just her performance.)
Athie - (In comparison a bit more cartoony, but it works in creating sort of the needed goofier energy in contrast to the intensity of Lewis. He does also have some more emotional moments that are well realized.)
del Carmen - (Finds an effective blend in terms of creating a certain type of character that accentuates the expectation while not going overboard either.)
O'Hara - (As per usual her work is fun and adds quite a bit of energy even within her relatively brief part.)
Phoenix - (Aster gives basically one note to play, it's right in the title, and it is a testament to Phoenix's talent that he manages to be engaging even when just playing basically different variations of fearful. And he finds a lot of play in that same note again and again. And while I wouldn't say this is the most terribly interesting character, given Beau is so squarely defined by being afraid, Phoenix manages to just make the anxiety specific to the character always honest, while also being funny at times. Phoenix made the film tolerable for me, far more so than it would have been otherwise, as I found he managed to at least find something in the extreme repetition of the film. He didn't save it, but he did make it much better than it would've been without him.)
LuPone - (I think she's fine however I was kind of tired of the character even before the character appeared. Then it is the same note repeated again and again, and again to even more of an extreme than Beau's fear. LuPone though delivers on the constant state of cutting into everything as this eternally offended spiteful manner. While I didn't find the character terribly interesting she delivered it well.)
Lane - (There's just something about his particular voice delivering a threat, with all its naturally joyful if not kind of cartoony candor, making it quite unnerving when there is a threat behind it. He delivers that with such ease though which makes it so fascinating how he is able to pull off evil so well. He really should do it more even because there is something so striking about the way he manages to do it so naturally, after being largely known for more lighthearted characters.)
Posey - (A relatively quick bit however I think she hit the right blend between seemingly genuine emotion with a more comedic sort of urgency about it. She even sells her other moments quite effectively, as absurd as it is.)
Henderson - (Although I was kind of done with the film at this point, his sort of nefarious turn I found to be quite effective and incisive regardless of the way he brandishes his character's cruelty.)
Edgerton - (I'll admit I might've saved him but eh I just had no interest in watching the movie again. Edgerton, though deserves much credit for unlike Weaver, isn't sunk by the ridiculousness of some of the lines of dialogue. Edgerton says every word with such conviction that even when the line is dumb he manages to give it at least some genuinely convincing substance. And that's the quality of Edgerton's work which is consistently giving honesty even in the more absurd moments of creating the hardened soul though with this certain sensitivity. WIth how really silly so much of it could be, Edgerton quietly assures us of a reasonable truth of his character. I didn't ever believe what was going on overall in the film, but I did believe Edgerton which is quite impressive on his part.)
Abbott & Qualley - (Interesting pairing given both I would say are on the precipice of a full breakout and aren't quite there yet. However both together are quite unique in being able to play very extreme notes and do so in a way that is convincing. And that comes to pay dividends here because both go completely all in through every notion of the game, both the moments of the most extreme roleplay but also the moments of seeming genuine connection. Each gives nuanced thought through each note and particularly in crafting every single dynamic between each other. They are absolutely captivating because they can switch on a dime in their performances yet not make it seem arbitrary and again those switches being on quite the limb at times. Both are able to thrive with such extremes and managed to maintain my interest in the film even when the writing occasionally lost its way.)
Boyega - (His character I feel is underwritten overall in terms of really exploring his situation. Oddly enough he feels a bit too reduced to just a certain type limiting truly bringing us into his mindscape within such a ridiculous situation. Even with that though Boyega certainly has good moments throughout the film in bringing a bit more to the limited role even if too often it is between just general discontent and a kind of stoicness. I'd go higher but his "extra" performance I found altogether a bit much and his delivery didn't help the ropey exposition.)
Foxx - (Comedic Foxx doing often his comedic Foxx routine, however typically this does work relatively speaking and this is one of the better examples of the ilk. I wouldn't say it is anything too new from him, but it is a good example of what he can do.)
Parris - (Found her to be the best part of the film and most effectively found the best tone between kind of a more overt comedic quality and a more dramatic weight within the character. She finds a good balance in being able to play what is kind of a caricature, but it is that caricature life that is more than the expectation, even if she begins as such. She also just as usual is a dynamic performer who carries a strong presence, to the point I almost think the film should've just been purely from her perspective given I got much more from her than I did out of Boyega.)
Sutherland - (Though he was pretty funny in just playing up the sleaze of the bit and just oozing the nastiness along with his accent.)
Louis-Dreyfus - (Where she should be in terms of film performances, as sort of the overt note of Marvel I don't think speaks towards her strengths even though she is primarily known as a comedic actress. I think she needs to be able to go full broad, or go in the complete opposite direction which is the case here. Giving a very subdued performance that has just an innate naturalism about her work that just feels honest to the part. And it isn't about big emotions but rather just honesty within the more subdued situations, however finding it with kind of a lowest key of comedic energies that she never overplays in this instance.)
Menzies - (Not the type of role I expected to see him in, but interesting regardless to see him in a less sort of formalized performance, though that type of presence is still found. It offers though a different sort of angle on the part that is pretty effective actually in creating a bit of an alternative to the usual therapist type. I particularly enjoyed the way he portrayed his character's moments of disconnection where he just seems a bit lost in his ways. And we then see that in the central relationship where he isn't cold, he's rather just a little lost, and his performance then works in portraying someone slowly finding the way back to some semblance of understanding.)
Cross & Tamblyn - (Work quite well as a pair in their scenes in creating genuine sort of relationship tension while also being very funny in their disconnect. I think they hit just the right tonal approach to be very funny in their way of turning on Menzies and each other that is amusing without also being too much to feel ill-fitting to the overall low key film.)
Tony:
Again my memory of both is limited and would probably better remember some bits than specific episodes. Animaniacs mainly recall not all segments being equal, in fact mainly recall the original trio bits and Pinky and the Brain more than any of the rest. Tiny Toons I really don't remember other than maybe greatly preferring Plucky oriented episodes.
Anonymous:
The first scene is excellent in showing the contrast of Mike and Gus. Where the former does attempt to have some kind of moral code, where Gus slightly pretends where everything he does is for his own purposes in either the short or long run. And you see though what's great is even in Mike's qualms he only goes so far.
A great Lalo scene with his fake out of the severity of his injury, and seeing his danger of the viciousness within his smile.
Luke:
I mean looks Anderson, though I'll say he seems an ideal fit for Dahl adaptation given both are all about the details, and Cumberbatch also seems a fit for Anderson. So, here's hoping this gets me back on his wavelength, and at the very least it's only 39 minutes.
Tony:
Again Pinky and the Brain, as I recall, were the best bits as the comedic duo and understandable why they were the breakout. Though quiz me on specific episodes I will probably come up short. Freakazoid I really don't remember except for some really random bits.
Tahmeed:
One Froggy Evening I haven't seen in awhile, though I recall certainly the pivotal bit of Michigan J. Frog's singing and always enjoyed the ending of the future repetition that is quite clever.
Duck Amuck is great with such brilliance in manipulating the form and breaking the expectation of the cartoon, having so much fun with the various randomness of the choices in Daffy existential nightmare, and then the most perfect of twists to end it all with.
Regarding a Haunting in Venice, Yeah, these Branagh Poirot mysteries just work for me, even with their obvious flaws. And that's the case again with the rather inconsistent cast. The mystery though I found to be fun in its unraveling, and I appreciate once again Branagh's more emotional Poirot, along with his spooky direction here (though he does definitely overdo it in a few moments). Still had a lot of fun and enjoyed it as the fluff entertainment it is.
Branagh - 3.5
Allen - 2
Cottin - 2.5
Dornan - 3
Fey - 1.5
Hill - 3.5
Khan - 2.5
Laird - 3
Reilly - 2
Scamarcio - 3
Yeoh - 3.5
Louis: Thoughts on Branagh, Hill and Yeoh.
Throw in Fey
Louis: I am glad Branagh chose to do one based on a book that not many people are familiar with, makes the mystery actually one that people want to figure out.
I always thought that remaking Murder on the Orient Express was a bit redundant because nearly everybody knows who the killer is, only if you have never seen or heard of it would it be worth solving the mystery.
RatedRStar: So, here's the thing with Agatha Christie. It's not hard to figure out who the killer is, even if you don't know the story. It's how it unfolds that makes it fun.
Louis: Can I ask why you didn't save Abbott, Edgerton, and Phoenix despite their high ratings?
Also, I recall you saying you watched Mad Men's Commissions and Fees without having seen the rest of the show, may I ask for your thoughts on that episode?
Tony: A performance can be a 4.5 but still not have enough to talk about in a review.
Luke:
Branagh - (A slightly more dour reprise, though I do like that in each instance he does find some kind of variation in his version of Poirot. This time the man dealing with the idea of the supernatural, and he does deliver on bringing a slightly more disoriented Poirot in an effective way. He doesn't completely reinvent his performance, but again this version still works for me as his more specifically emotionally attached version of the character.)
Hill - (Pretty effective creepy kid performance actually, and doesn't overplay the note in any direction. He grants this sinister quality but just kind of almost casually in his directness. He though seems still like a kid and finds a nice balance there. And it is particularly interesting to see him advance here comparatively to his very much just a normal kid performance in Belfast.)
Yeoh - (Does a lot with what she has, as she grants immediately a sense of gravitas and mystery. She carries the right striking presence, while also going all in during the seance scene and delivering the sort of intensity of the mania in the moment that is most effective both physically and verbally in her performance. My favorite moment though is her final one where she suddenly kind of subverts everything she's done up until the point just by suddenly changing her manner to something far more casual, and it's a brilliant bit even if very brief.)
Robert:
Fey - (I mean her character is supposed to be slightly comedic but she's doing sketch comedy work here at best. Her expressions often completely over the top and her delivery is callous but as someone who is being silly rather than someone being realistically sardonic. She is a sore thumb in the worst way, but what's worse is when she tries to be dramatic. These moments she just feels completely out of her depth with her thin delivery and extremely underwhelming reactions.)
Tony:
I have no desire to ever rewatch Edgerton or Phoenix's films so they're off the table anyways.
Abbott is very good, but it'd be a pretty weak year if he stayed in the top ten for me.
Tony:
And yes I've seen that episode, but I think I'd need a bit more context of other episodes to properly comment on it. As I really could only appreciate it from an acting perspective.
Louis: How did you come to see that episode without having seen the context, and were you aware of the major event in it beforehand?
Tony:
There are times where you may be spending time with fellow Hu-Mans who watch a show you don't, and the Hu-Mans are watching that show while you are in those Hu-Man's company, causing you to see that show as well.
LOL! I was just confused as to whether you saw it while (for example) randomly channel-surfing, or checked it out specifically for Jared Harris, not sure if that came through in my question.
Louis: Your reasoning for not calling The Music Room by its Bengali title unlike what you've done for other films by Ray?
Louis: Are you interested in ever giving Mad Men a full go? As a fellow Hu-man, I gotta say, it's a pretty good show. Though it does peak a little too early before the show wraps things up.
Louis: with regards to Gosling 'Kevin Kline'-ing his way to a win, could you feasibly see Ruffalo doing the same (another full on comedic performance) if Poor Things ends up being a huge player?
(and this isn't in relation to anything in particular but his work is definitely growing on me all the more I think about it).
Tahmeed:
Well I did call The Chess Players, The Chess Players. But really it's just because that's what came up on imdb first.
Emi Grant:
Perhaps at some point, but as with so many shows it's "on the list".
Calvin:
I could, particularly since Ruffalo has a lot of industry goodwill (he ran the TV awards circuit with ease for I Know This Much Is True) if he gets nominated he will be tied with Rains and Kennedy for most nominations in the category without a win (in any category), and could become the place to reward the film if it is a top fiver.
Calvin: your ratings for the casts of El Conde, A Haunting In Venice, and Theater Camp?
Calvin: Oh, and Talk To Me
Louis: Is Hannibal on that list?
Louis: And would you consider putting Rome, The Crown and Season 1 of The Terror on that list.
Luke: I can't seem to be able to find Sweet Sweat anywhere on the internet.
Shame, since Kyo won two major awards for her performance.
I'm foregoing a full post review on Chahine. This will count as the first review, so any updated predictions just post below this. As I just don't have that much to say about him. His performance honestly is a bit passive to the point of being almost indistinct for me. At first I pondered if he was going to be a tramp like character, having not read anything about the plot, as there's kind of an off-beat quality however that doesn't go anywhere. And the character ends up just being a creep which he portrays with basically the same creepy little glare. And the move towards becoming murderous in this behavior is so sudden, and I didn't think Chahine really sold the shift all that well either. He has some decent moments later on in just expressing a bit of the fear and desperation of the man as he realizes what he's done, but even that I don't find amount to too much. Didn't dislike his performance but thought he was just "fine" at best. 3.5/5
Luke:
I don't have a literal list hence the use of "", just there are many shows I've been told are worth watching at some point.
This is the first time I've ever seen you do this even though I was expecting it to happen. Bring on Wallach & Gassman and sure why not, put Mifune into the mix.
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
1. Biswas
2. Houloubek
3. Cooper
4. Von Sydow
5. Chahine
Louis: I forgot to add The Quiet American to the Films To Watch list. A lot of Letterboxd reviews say that it's one of Redgrave's best performances.
I personally don't mind if you sacrifice Sydow to make room for the four that I mentioned since you usually do no more than 2 bonuses.
Matthew:
El Conde
Vadell - 4
Munchmeyer - 4
Castro - 4.5
Luchsinger - 4.5
A Haunting In Venice
Branagh - 3.5
Allen - 2
Cottin - 3.5
Dornan - 3.5
Fey - 1
Hill - 4
Khan - 2.5
Laird - 3
Reilly - 2.5
Scamarcio - 3
Yeoh - 3.5
Theater Camp
Gordon - 3
Platt - 2.5
Tatro - 2.5
Galvin - 2.5
Harrison - 3
Edebiri - 3.5
Aaron - 3
Kim - 3
Talk to Me
Wilde - 4.5
Everyone else - 2.5/3
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
Louis: Do you have interest in seeing any of the shows Luke mentioned?
Also, your thoughts on this clip of Jack Nicholson discussing Roger Corman. https://www.youtube.com/watch?v=ijAw7tOljEA
Louis: Could I have your thoughts on this tribute/interview of Ray and his filmmaking philosophy?
https://youtu.be/SIQmW-p5yQ8?si=JwkY-ac1Cqix9IlK
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
1. Chhabi Biswas
2. Gustaw Holoubek
3. Gary Cooper
4. Max von Sydow
5. Youssef Chahine
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
Louis: I don't want to be a pain in the neck, will there be Chahine's post?
Tahmeed:
It is interesting to hear Ray's first two statements that seem almost disagreement yet are indeed his style, in telling a theoretically simple story, but bringing out the most he can out of the medium of film when telling it. Fascinating that he was so very directly and literally influenced by Renoir in person, though not surprising. And his description of himself as the mix of west and the east, is obviously true and given his intelligence as a filmmaker it isn't surprising of his awareness of his style. But it is also great to hear about his detailing of his use of natural light, his ways with actors including the casting of non-professionals, and particularly for me, his specific explanation for his choices in his music being related so specifically to the story he is telling. And all this wasn't completely surprising to me, though what was, was his extra contributions such as his own designing of his posters, which I was not aware of. But overall the piece gives you a sense of what made him so wholly distinct and one clearly worthy of the description of auteur.
Tony:
I'm theoretically interested in all of them.
That's quite moving, and just a testament to all that Corman did in terms of giving so many a chance in the industry by letting them in at least the first door. And it's heartwarming honestly to see Nicholson still appreciates him for it.
Anonymous:
https://www.youtube.com/watch?v=m4ay-Wqhoaw
1. Biswas
2. Cooper
3. Houloubek
4. Von Sydow
5. Chahine
Louis, your thoughts on The Dover Boys, What's Opera Doc?, and Porky Pig's Feat?
Louis, from what you remember, your top 5 Animaniacs bits?
Louis: I asked you this on the last post, but your top 5 performances across the Karate Kid/Cobra Kai franchise? You can consider performances given by the same actors separately.
1. Biswas
2. Holoubek
3. Cooper
4. Von Sydow
5. Chahine
Hey everyone...I have another new post on my animation blog. The upcoming week is going to be very busy, so I'll probably have to hold off on another review until at least week end. Currently have no solid ideas...perhaps I'll start a series breakdown by episode. We'll see in time, I'm sure.
Louis: Ratings and thoughts on the cast of Theater Camp?
1. Biswas
2. Cooper
3. Holoubek
4. Von Sydow
5. Chanine
1. Holoubek
2. Biswas
3. Cooper
4. Von Sydow
5. Chahine
Tony:
I actually don't think I've ever actually watched The Dover Boys or Porky Pig's Feat.
What's Opera Doc is very good, though it has never been fully one of my favorites, though that's not a knock. As it certainly has plenty of fun with the concept of turning Bugs v. Fudd into such dramatic Wagner type proportions and has plenty of fun with that particularly the idea of Fudd being the grandiose "tenor".
Honestly other than the information songs and Brain on Jeopardy, I don't clearly remember that many bits.
Marcus:
1. Pat Morita
2. Thomas Ian Griffith (Cobra Kai)
3. William Zabka (Cobra Kai)
4. Yuji Okumoto (Cobra Kai)
5. Ralph Macchio
Anonymous:
Gordon - 3(Got a little more emotion out of her than the rest of the cast though not that much more. Thought she was slightly more amusing but not much more. Was on the edge of becoming a real person but not quite there.)
Edebiri - 3.5(Goes purely for the laughs and succeeds in her manner as someone who is completely lying the whole time and just doing the bare minimum of being convincing. Her little moments are very funny in just portraying the sort of shamelessness of her lies while also showing the constant uncertainty played well as a very basic "I don't know" throwing up of her hands when attempting any part of "the craft".)
Everyone else - 2.5(On some variation of a little too broad while not being funny enough, though I didn't think anyone was terrible. But in each instance they didn't convince of any emotion because they were being too silly overall, yet weren't funny enough in that silliness.)
Louis thoughts on American Fiction winning the TIFF audience award?
Anonymous:
Surprising but you have to take that win into strong consideration given the TIFF streak, even if MGM is not the best when it comes to the awards game. As whoever the audience is at TIFF really has similar tastes to the academy. Maybe this does break the streak but I'm definitely predicting it until further notice. So put it in picture/screenplay and Wright in actor (at this moment over Giamatti though maybe over Domingo).
I thought Edebiri was pretty good in Bottoms, if you haven't check that one out yet.
Louis: Your cast for a Les Miserables directed by William Dieterle.
Also, your thoughts on a 60s Japanese History of Violence with Mifune and Kagawa in the Mortensen and Bello roles.
Louis, your thoughts on Molly Gordon, Robert Townsend, John Mulaney and Sarah Paulson in The Bear>
Louis, your thoughts on Hopkins' acting in this Westworld scene? https://www.youtube.com/watch?v=8dagzaFjHU4
Louis: Your suggestions for categories that should be added to the Oscars, and your reasons why?
1) Biswas
2) Holoubek
3) Cooper
4) on Sydow
5) Chahine
Anonymous:
Gordon - (Her performance is certainly as the sort of idealized love interest who is so intensely into you, you only say yes, and in most circumstances that might not work, however I think in this instance in examining the idea of self-doubt, self-loathing it does. Gordon's performance in part isn't quite alluring in the lustful way, but it is hard not to be intrigued by her as she accentuates every flirtation, and sort of obvious message to be more than friends as something very clear in a gentle way. I think what she does best though is give allusions to perhaps a formerly less confident individual who is currently finding her confidence. Creating the allusions of perhaps an older shyness within the nuances of her performance that are most effective. She naturally brings this to fruition in her final scenes where they come to the surface in a moving way. While a limited performance and certainly serving a specific purpose, effective in that purpose.)
Townsend - (Very lovely low key work as she brings so much warmth to his interactions with Edebiri creating such a strong sense of the father/daughter relationship in their moments together. His recollection of his first date with his wife is particularly moving in just Townsend delivering as a story he's told a lot of times but a story he loves telling a lot of time. Creating the idea of the sort of uncompromised sense of care and affection he has for his family and for his daughter. Works particularly well in contrast to what we see with Lee-Curtis as the parental figure especially.)
Mulaney - (He sticks out within the cast but I think it works, because it is with purpose. He's not part of the family or its drama, so his sort of out of sync performance works well as contrast to everyone else. His reactions are a bit more befuddled and bemused. It works though as this observer and Mulaney create these moments of sort of clarity. Whether it is his more genuine encouragement to Carm about Claire, where he speaks as someone just genuinely trying to help, or the dinner tension where he's darkly humorous in just the right way in creating that very particular awkwardness who isn't entirely part of the tension however is in the room so he is.)
Paulson - (Found here just kind of "there" and slightly distracting in terms of the guest stars, as I feel everyone else felt more essential in terms of the character, where hers fell more so into cameo. Not that I even thought she was bad but didn't really bring too much in terms of creating a more genuine history between her and the rest of the family.)
Tony:
A masterclass, and much of what Hopkins did in Westworld was just acting the hell out of exposition. In that particular scene you can see the ease in which Hopkins in himself can change tone and mood with just an accentuation or a minor change in expression. How he opens as kind of lost almost, a the genial old man, slightly lost, if certainly unimpressed by his "opponent" in the scene. Hopkins changes his tone just slightly though when he begins to explain the park with a kind of recollection with a false cordiality such as his smile when saying "the money men". Leading every statement till he has a deity like calm as he speaks and suddenly his calm is the menace. And his whole turn of saying I haven't gone mad before saying his most overt threat of seeing things "very clearly" where when Hopkins exhibits just a bit of overt anger it becomes tremendous. And then Hopkins hastens his speech and suddenly any notion of who has the power cannot be even guessed, he simply is in control. Even the way he says "Banard" is a brilliant bit of foreshadowing, because Hopkins delivers it slowly as though he is very specifically speaking as a self-correction, speaking it as a remembered lie and replacing one way with another in order to say it.
Marcus:
Stunts/Choreography are one I think would make sense. And merging the two, since they are often interconnected, would probably be the most logical. And are a big part of many films that aren't recognized. Also I think by merging it would make it a wider group of contenders for each.
Ensemble/Casting I would only approve of if it was done in an alternative way from a general vote, and perhaps would be its own jury or branch only system. I say that because I think the ease in which it becomes just best picturex2 would be great. And I think you would need to parse out, particularly if you were rewarding the casting director who is the current party who cannot get recognized whereas actors can. As I think to be fair each casting director would need to essentially give examples of their work, since they aren't in charge of every casting decision. Perhaps difficult but would be what would make sense for the confines of the achievement.
Those are the only ones I would consider. Anything else I think can be handled by special achievement.
8000's:
I mean most certainly with Mifune and Kagawa.
Les Misérables 1940's then:
Jean Valjean: Joseph Cotten
Javert: James Mason
The Bishop: Cedric Hardwicke
Fantine: Mary Astor
Enjolras: Richard Attenborough
Grantaire: Peter Ustinov
Marius: Dirk Bogarde
Cosette: Jennifer Jones
Eponine: Angela Lansbury
The Thenardiers: Walter Huston & Gladys Cooper
What did you think of Gillian Jacobs in The Bear? I found her scene with Moss-Bachrach in the Christmas episode my single favorite scene in the series.
Louis: Your thoughts on "The Scarlet Pumpernickel" and "8 Ball Bunny".
Louis: Oh, also thoughts on "Duck Amuck".
Louis: Thoughts on the rest of the Haunting of Venice cast.
Louis: thoughts on the trailer for Dream Scenario?
Louis: Why do you think Dustin Hoffman has never exactly achieved the level of popularity and cultural status of his contemporaries like Nicholson, Pacino, De Niro and Hackman despite his critically acclaimed body of work?
8000s: I asked Louis for his thoughts on Duck Amuck on this exact same post.
Ytrewq: Really? I think Hoffman has basically reached that level of prominence by now. I think it could be argued that he's more famous than Hackman, actually (at least, from my experience).
Tony: From my experience he's less likely to be mentioned when someone talks about the famous New Wave actors, at least compared to these first 3 guys I mentioned. Also as opposed to them he didn't appear in any universally known movies after Rain Man or Hook (maybe except for Kung Fu Panda series, but does it really count?), which doesn't help him.
Ytrewq: I mean, Wag the Dog was acclaimed and considered to be a very topical film at the time. Even Meet the Fockers was a big commercial hit (setting aside its quality), and that combined with the stature of his 20th century work has kept him from being irrelevant for the past 25 years. And speaking for myself, I've always seen him be lumped together with those other New Wave actors - though this is all of course quite subjective and anecdotal.
In my experience, Hoffman tends to be more well known than Hackman or Duvall (unfairly, but I digress), but not as renowned as Pacino, De Niro or Nicholson
Anonymous:
I really enjoyed it again. It isn't mining some great depth on the era, but it is consistently entertaining. And I would say cut off a lot of the fat from season 1 and made a much better show by focusing more closely on the team dynamics. Hate that we had to have the tacked-on series ending wrap up, because there was a lot left, as in particular I was looking forward to Magic and Bird becoming friends, and it's a shame we didn't get it.
1. Adrien Brody
2. Sean Patrick Small
3. Jason Clarke
4. John C. Reilly
5. Quincy Isaiah
6. Michael Chiklis
7. Solomon Hughes
8. Ari Graynor
9. Devaughn Nixon
10. Tamera Tomakili
11. Brett Cullen
12. Spencer Garrett
13. Gaby Hoffmann
14. Hadley Robinson
15. LisaGay Hamilton
16. Rob Morgan
17. Gillian Jacobs
18. Molly Gordon
19. Jason Segel
20. Thomas Mann
Most of the bottom ten, except Segel and Mann, have to do more so with limited material rather than performance quality.
Robert:
I quite liked her performance, and even as it went as "here's another famous face" in most instances, their performances then delivered on their talent removing the distraction particularly compared to the far lower key cast of season 1 on the whole. Jacobs in a way was a surprise just in terms of who was Ritchie's ex and I think it was easy to imagine it one way. Jacobs's performance isn't at all like that and is fairly fascinating with how low key performance is, but also with how relaxed it is in every sense. As in the dinner episode, she portrays the illness but you get the relationship between her and Ritchie with kind of this very specific line of kind of getting by though not necessarily in a terrible way. There is a genuine sweetness there even as you also sense a disconnect between Ritchie's frustrations and Jacobs portraying her just kind of trying to make things work. She kind of gives a fascinating non-comedic comedic performance, in that the instincts are there, even if she isn't playing to them. The scene where she oversteps with Platt, she's so wonderful in playing the earnestness of the thank you, however is just as earnest in her trying to come back from the fumble of the overreach. Even in her later scene of the conversation over the phone, she brings a great deal of nuance there again, not playing it in a standard way finding something off-beat on a often played beat, but without subverting it, just making it work in her own style.
Louis: Would never want to take that performance away from Hudson, but how do you think Clift would have fared in the former's role in say, an early 50's version of Seconds?
8000's:
I've seen those two but it's been too long for me to recall them all that clearly.
Anonymous:
Fascinating in its bizarreness I must say and I had no idea where the trailer was going, so looking forward to the film. And it's always great to see another role for Nicolas Cage with potential.
Tahmeed:
Great, because Clift had such a great ability of playing discomfort in one's self that would be ideal for part.
Louis: Now that Gladstone is going Lead for KotFM, how have your predictions for that category changed?
Tony:
Of course, also makes supporting wide open for the win (hopefully it won't just fall to whatever vet seems easy enough this time), I'd put her in at Huller's expense.
Just finished watching The Rickshaw Man, and I have to second Michael's wish that Mifune was in this lineup. Devastating performance, especially in his final scenes.
Hate to say this as someone whoy adores Past Lives but I think Greta Lee is more likely to miss out at this rate (though I am also carrying a healthy attitude now of come what may towards that film's chances).
Glad to hear Gladstone is going Lead though because I have actually heard plenty of talk that this is the right category for her.
Calvin:
Perhaps, however I think both Past Lives and Anatomy of a Fall have the potential of falling into the category of "could get completely ignored" or "major contender". As neither are traditional academy choices, but we are seeing some different choices from them, so I think both could go either way. It does hurt all the non-traditional contenders that basically all the traditional contenders have delivered in terms of general reception.
Just curious...has anyone here seen this year's animated series "My Adventures with Superman"?
I neglected to mention this last night, but I finished the show finally. And...well...maybe I won't divulge my full thoughts here. Perhaps it would be better suited to a more indepth critique elsewhere, so stay tuned.
Mitchell: I haven't seen it but it sounds pretty fun. I'd certainly be looking forward to your longer thoughts on it.
Speaking of which, Louis: What do you think of these actresses as Lois Lane? I have no specific existing version in mind, more of a hypothetical version similar in spirit to the Donner film.
Holly Hunter (80s)
Linda Fiorentino (90s)
Julia Louis Dreyfus (90s)
Peri Gilpin (90s)
Rachel McAdams (2000s)
Louis: Rating and thoughts on Elvis Presley in Viva Las Vegas and thoughts on the title song.
Louis: Your past roles for Ray Wise, Sheryl Lee and Miguel Ferrer?
Louis: Thoughts on this James Cromwell interview?
https://youtu.be/yPbpfY7oWLQ?si=959auJNCvbP4ftVT
Louis, your thoughts on this clip of Refn talking to Friedkin? https://www.youtube.com/watch?v=1jPWGEoyJHY
Louis: Your thoughts on Dean Cundey's work in Halloween 3.
Watched Kinuyo Tanaka's Love Letter. Solid directorial debut I should say.
Wouldn't mind Mori getting reviewed for his performance.
Anatomy Of A Fall has been snubbed by the French Committee.
It shouldn't affect Sandra Hullers chances, it didn't with Cotillard/Hupert but I do sometimes wonder if there are sometimes an agenda with these choices.
RatedRStar: Wouldn't be surprised if there's some Anglophobia involved as it was not fully filmed in French. It's fairly well documented the hatred between the two.
Mitchell: I haven't seen it yet, but I've seen clips of it, and I like it so far.
By the way, here's another example of a politician from the South that was against the status quo in his own state.
https://encyclopediaofalabama.org/article/james-e-big-jim-folsom-sr-1947-51-1955-59/
Tony:
Hunter most definitely, even if her accent isn't the first thing you think of for Lane her performance in Broadcast News is super close to begin with.
Fiorentino I'd believe as the dogged reporter, but less so the more comedic love interest at least in the lighter Donner way.
Dreyfus does have the look, the comedic chops and the manner.
Gilpin has the comedic chops but I don't quite see her as that type.
McAdams really has both elements.
Luke:
I should note I've seen most of it, a few different times, but never the whole thing from start to finish, but from what I've seen I don't think that will unlock the puzzle of greatness.
The titular song though is a lot of fun with the whole build up about Vegas to each chorus of Viva Las Vegas. Having said that is kind of simple in its repetition even if that repetition is enjoyable.
Tahmeed:
I mean a great story with Cromwell underestimating the role then kind of finding the purest note that became his career maker. And it's not surprising to here that the "that'll do" was so special to him in the moment, because it became so special to anyone who loved that film and his performance in it.
Tony:
The whole interview is great, but that moment is something special with ego vs. ego in such a hilarious way, though in the moment Friedkin plays all of us in his in his disbelief at Refn's insistence on Only God Forgives being a masterpiece. And it is worth noting where he comically won't have it with Only God Forgives, with Drive he's more of not allowing immediate declarations and you see him mediating a bit more, even if he again does it in a very much Friedking blunt way.
8000's:
Although he isn't as well utilized as he was by Carpenter, he still grants a generally moody lighting to the piece, and does get a good shot out there from time to time. Particularly the trick or treaters shot, or when O'Herilhy is monologuing (who by way is a great villain despite the film not being good). It isn't as consistent of an effort because of a weaker director but well shot for a bad horror film.
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