5. Youssef Chahine in Cairo Station - A reasonably fine performance that is a bit repetitive but shows a bit more depth later on.
Best Scene: Nearly caught.
4. Max von Sydow in The Magician - A purposefully limited performance however he does grant a strong presence as to be expected while also successfully subverting that as well.
Best Scene: The performance.
3. Gustaw Holoubek in The Noose - A striking portrayal of just a man being stuck in an emotional hole that he fails to crawl out of again and again.
Best Scene: Making the decision.
2. Gary Cooper in Man of the West - Cooper's best performance, that delivers a gravitas, but also a real genuine intensity in portraying a man not of the west, but essentially fed up with the west.
Best Scene: Ghost town.
1. Chhabi Biswas in Jalsaghar - Biswas gives a powerful and complex portrayal of a man who gradually gives more and more into his delusions.
Best Scene: Admiring the portraits.
Next: Reviews of Anthony Quayle & Gunnar Björnstrand
94 comments:
I heard Ernest Borgnine was great in The Vikings for 1958, if you want to check it out before rankings.
Robert:
I've seen it, he's by far the best part of the film along with the score, but it's not much of a film.
Louis: Ratings and thoughts on the rest of the Lead performances.
Your Female Lead and Supporting top 20s with Ratings and other 4+ honourable mentions.
Louis: Your wins for 1958.
And could you watch The Defiant Ones, Auntie Mame, A Tale Of Two Cities, Summer Clouds and Mädchen In Uniform.
Hello Louis!
Tell me from the year 1958 which are your TOP7 best:
- Song
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
Greetings everyone!
Wanted to say again that after 2 weeks, I made a new review on my blospot. Also, my previous comment about Clancy Brown is of course related to this post.
Louis: Your #6-#10 for Director in 1958.
Waited for this Quayle review for so long, excited.
Top 6 Supporting prediction
1. Welles
2. Quayle
3. Ives
4. Björnstrand
5. Andrews
6. Ives
Personally think Ives deserves an upgrade to a 5 for The Big Country. Rewatched it earlier this year. Admired the whole thing a lot more than I did when I was younger, but I was reminded just HOW good he was in it.
Louis, your thoughts on the Better Call Saul episodes Bali Ha'i, Inflatable, and Fifi?
Louis: If Ives has a chance of an upgrade then I would also recommend a Re-Watch of The Big Country.
As pretty new here, I am just interested why do we make predictions before Louis posts his lists? Some kind of competition?
Rujk: Just for fun really.
Calvin: Since Koji Yakusho is probably gonna be your winner for 2023, have you thought about recommending Shall We Dance? (1996) in December as he's your runner-up for that year.
Luke, have you decided on your recommendation. I'm going with Noah (2014).
Anonymous: Kung Fu Panda 2. I hope Oldman gets a 4.5.
Louis: Do you plan on posting the rest of your top 20/25s from completed years on Letterboxd during the interim.
Louis: Your thoughts on Adrien Brody in Winning Time Season 2.
And where would Winning Time rank in the careers of Brody, Reilly and Clarke.
Calvin Law: Just wondered, I wonder what the longest wait for a winning request has been lol, I think I know....
Louis: For the winning requests page, RatedRStar - Conrad Veidt in The Thief Of Baghdad and Emi Grant - Vincent Cassel in La Haine.
An anonymous user requested Tatsuya Nakadai in Goyokin and Williamson/Arkin in The Seven-Per-Cent Solution though I'm not sure if you'll be accepting those.
Luke: I am pretty sure Williamson will be reviewed for 1976, 1976 seems to suffer from 1972 syndrome in that there didn't seem to be that many film releases compared to 1971 or 1973 for example lol.
RatedRStar: Well, you can trust me to find those hidden gems. I suppose Louis will want to cover his work there as he most definitely will for Hamlet.
Luke: Wait, someone else beside me requested Nakadai in Goyokin?
8000S: Yes, this was a month or two ago and I actually had forgotten that you did it first.
Luke: What year is technically next after Quayle and Gunnar? I am always terrible at remembering which year is next.
I believe it'll be 1932. Should be getting 1 or 2 reviews. I've got Michel Simon in Boudu Saved From Drowning and Charles Laughton in Island Of Lost Souls.
Louis: On the topic of 2023 releases, would you be interested in checking out Filip? I'm all up for Eryk Kulm getting reviewed for his leading performance.
Louis: Your rating and thoughts on the cast of Equinox Flower.
Luke:
Saburi - 4.5(Quietly naturalistic work as to be expected by an Ozu lead, though different in the dad perspective here being that of the more frustrated and in some ways colder dad. Saburi's performance is impressive in nothing is ever the expected cliche of the disapproving father. His portrayal of it is quiet and has this nuance that grants the sense of the man giving in to pride and expectation rather than just being a jerk, even if he is technically being that. And we have that in contrast to the moments with others where he brings a warmth and a sense of the man being overall a joyful man just lacking perspective in one area. Saburi makes this specific narrow view so natural, so the easing way of it to something more understanding feels equally natural and earned.)
Peck - 4.5(One of the most intense performances by Peck as he just carries with him this cold viciousness of a man with a singular intention. Peck creates the man who is just broken by what he's been through in turn his eyes are nothing but hate for others. But the performance is more interesting than just being intense as he brings this desperation within the intensity of the man needing the men to confess to the crime he has accused them of, as the sense of the singular vision is all the man has with a quiet penetrating sadness beneath it all. Particularly in his final moments where he is faced with the truth and Peck brings a real power to the man's shattering security in his hate when the truth is revealed.)
Massie - 4(He seemed perhaps the dull lead at first so I was a bit questioning the choice of him as lead, but I think that is actually the point of the film as we see the average sort of all-American hero that is then going to go through the ringer. Because his sort bright manner is then what is instantly shattered on the mission, and Massie's performance shifts powerfully by showing that duller presence shatters into a million messy emotional pieces as the man becomes filled first with doubt then later guilt. His performance creates the sense of a falling into a shell and creates such a potent sense of the conflict of it all.)
Edward - 4(In a way his performance perhaps shows the "b-movie" budget of the film, as the guy doesn't radiate star. However this kind of works in establishing him as this real average schmoe who just also happens to be a psychopath who likes to go about killing people practically and efficiently. In this way Edward's frequently one note, too cool, manner, completely works for the part and grants such an idiosyncratic presence for a 50's film, that works so well in being so different as a portrait of a hit man who truly does it for the money and also for the "why not?".)
Griffith - 4(There is a reason why he became a sitcom star after all, even if Andy Taylor was much smarter than his character here. Regardless, Griffith has great comedic timing, and is consistently endearing while also being funny in just playing up the country bumpkin for all its worth. Bringing with it the right naivety to everything and just this consistent eagerness that everyone else can play off of.)
Gabin - 4(I mean a pretty straight forward leading turn in many ways, however brings a great presence as to be expected and his haggard energy just is ideal.)
Stewart - 4(Found him extremely charming here as to be expected, and I did enjoy getting to see him have a much happier time with Kim Novak, and not needing to suffer so painfully.)
Redgrave - 4(I think his performance frequently tries to dive deeper than the film in creating the cynical state of the man, who is also desperate for the little affection he does get. He combines the two elements effectively and does make an impact, even if the film undercuts more often than not. Not the least pairing him with two very limited performances and then the ending that forces him to be so deeply repentant that it becomes comical. Still I was impressed with what Redgrave was able to accomplish with so many limitations.)
Cherkasov - 4(A more complex reprise, that is a lot about the imagery still, but we get more into the insanity within the ambition. Cherkasov's performance has this grand presence to it, though it becomes more dynamic here in creating this sense of the growing madness with Ivan that he now wields as part of his power. There is lurid quality within his manner as he plans the demise of his enemies and gives a captivating performance, so it's a shame we never got any more of it from him.)
Phillipe - 4(Although his character frequently gave me reasons not to like him, I mean don't complain about no one buying your work when you insult the guy who wants to buy it. Anyway though Phillipe regardless always convincing in his portrayal of the man's general sort of "artistic" somberness that comes out in many forms, yet is always believable if also frequently frustrating.)
Ronet - 4(Largely a silent performance, though effective in articulating the thoughts of his character as he goes through the steps that more than mess up his plan, granting this certain low key dark humor within the quiet frustrations of finding himself in such a peculiar situation.)
Ladd - 4(I think his own son brings the best out of him, as the scenes of them together there is so much more heart in his performance, and emotion than we always get out of Ladd, that really grants an honest poignancy to his performance. Otherwise it is that Ladd sort of a calm hero, but a good performance overall.)
Ruhmann - 3.5(Kind of a performance that is entirely fine as is, as he's never less than good in a scene, it's just one where you expect him to explore more in the role and he simply never does.)
Tati - 3.5(I mean all in the reactions which are limited even as largely silent comedians go, however he does exist still in the Chaplin/Keaton physical manner that is most distinct, even if perhaps a bit less overtly engaging.)
Elvis - 3.5(He's not great, but he is consistently good here. There are moments of genuine emotional acting and desperation that he does hit, that suggest someone who had a bit more potential than was entirely realized. Mix that along with the singing scenes where he of course can deliver a song, however here there is more to him, and Elvis does deliver more or less in this regard.)
Gavin - 3.5(Has some moments of the dull Gavin most of us expect from Psycho and Spartacus, but there are other moments of genuine emotional nuance in portraying the character's sense of frustrations or horror of the place he's found in. He's particularly effective in the final scenes of portraying the character nearing the end of his rope, and I was more impressed than I was not.)
Holden - 3.5(A performance where the raw materials are there, just the point of the character is hard to decipher that Holden himself seems a bit lost. Holden though tries to sell any given moment, it's just a big question of what it all means, which is anyone's guess.)
Grant - 3.5(Charming Grant, not great work, but good work.)
Ford - 3.5(Ford I think gets better as the film goes along, much like the film, and as always I never thought Ford was always the most dynamic actor. He's entirely fine here though overall and brings a general likability.)
Craig & Gregson - 3.5(Both are more than fine but aggressively limited roles.)
Grant - 3(Less charming Grant.)
Tamblyn - 2.5(A little bland at points but overall he's not bad.)
Hedison - 2.5(Frankly liked his physical work the most with the fly head on. Not that he's bad as the man, but he doesn't leave too much of an impression.)
Mathews - 2(He's very bland but there is a certain charm to his blandness.)
Actress:
1. Jean Simmons - Home Before Dark - 5
2. Kinuyo Tanaka - The Ballad of Narayama
3. Elizabeth Taylor - Cat on a Hot Tin Roof
4. Kim Novak - Vertigo
5. Ingrid Bergman - The inn of the Sixth Happiness
6. Ingrid Thulin - The Brink of Life
7. Eva Dahlbeck - The Brink of Life
8. Bibi Andersson - The Brink of Life
9. Jeanne Moreau - Elevator to the Gallows -
10. Susan Hayward - I Want to Live - 4.5
11. Kim Novak - Bell Book and Candle - 4
12. Hind Rostom - Cairo Station
13. Doris Day - Teacher's Pet
14. Jeanne Moreau - The Lovers - 4
15. Anouk Aimee - The Lovers of Montparnasse - 4
16. Sophia Loren - Houseboat - 3.5
17. Ingrid Bergman - Indiscreet - 3.5
18. Patricia Owens - The Fly - 3.5
19. Sophia Loren - The Key - 3
20. Virginia McKenna - Carve Her Name With Pride - 3
Supporting Actress:
1. Lili Palmer - The Lovers of Montparnasse - 5
2. Kay Walsh - The Horse's Mouth
3. Fujiko Yamamoto - Equinox Flower - 4.5
4. Irene Worth - Orders to Kill - 4.5
5. Marlene Dietrich - Touch of Evil
6. Izumi Ashikawa - The Perfect Game - 4.5
7. Olivia De Havilland - The Proud Rebel - 4.5
8. Annie Girardot - Maigret Set a Trap - 4.5
9. Hideko Takamine - The Rickshaw Man - 4.5
10. Ingrid Thulin - The Magician - 4
11. Gwen Verdon - Damn Yankees
12. Wendy Hiller - Separate Tables
13. Kinuyo Tanaka - Equinox Flower - 4
14. Carolyn Jones - King Creole - 4
15. Ineko Arima - Equinox Flower - 4
16. Barbara Bel Geddes - Vertigo - 4
17. Julie London - Man of the West
18. Bibi Andersson - The Magician - 3.5
19. Dorothy Alison - The Man Upstairs - 3.5
20. Virginia Maskell - The Man Upstairs - 3.5
Brazinterma:
Song:
1. "Crawfish" - King Creole
2. "Don't Ask Me Why" - King Creole
3. "Beware of the Blob" - The Blob
4. "Tom Thumb's Tune" - Tom Thumb
5. "Trouble" - King Creole
6. "New Orleans" - King Creole
7. "Dixieland Rock" - King Creole
Score:
6. Equinox Flower
7. Touch of Evil
Poster:
1. Vertigo (all timer)
2. Attack of the 50 Foot Woman
3. Mon Oncle
4. Ivan the Terrible Part 2
5. Elevator to the Gallows
6. Ashes and Diamonds
7. Orders to Kill
Editing:
1. The Hidden Fortress
2. Run Silent, Run Deep
3. Vertigo
4. Murder By Contract
5. Man of the West
6. Ivan the Terrible Part 2
7. Jalsaghar
Note: Murch's cut of Touch of Evil would be my winner, however that doesn't *quite* seem fair given he wasn't involved with the original production.
Adapted Screenplay:
6. Man of the West
7. Run Silent Run Deep
Original Screenplay:
6. Teacher's Pet
7. The Bravados
Cast:
1. Touch of Evil
2. Equinox Flower
3. The Brink of Life
4. Vertigo
5. No Time For Sergeants
6. Big Deal on Madonna Street
7. Orders to Kill
Shaggy:
6. Sergei Eisenstein - Ivan the Terrible Part 2
7. Keisuke Kinoshita - The Ballad of Narayama
8. Yasujirō Ozu - Equinox Flower
9. Louis Malle - Elevator to the Gallows
10. Robert Wise - Run Silent Run Deep
Tony:
Luke:
I mean I probably could upgrade Ives now, the scene where he kills Chuck Connors is one of the most heartbreaking deaths in any film, for a character you hated for every second up until that point, because of Ives's performance. It's a scene I never can forget, within a film that I don't even love.
I'll think about it.
Tony:
Bali Ha'i is probably the episode I would like more now than I did when I originally watched it, as I wasn't sure what they were doing with Jimmy and Kim, so it seemed more wheel turning, particularly when it wasn't completely clear what Kim's full point was going to be. And I was probably more there for Breaking Bad .5, where the Mike and Hector intensity was great in their scenes together.
Inflatable has a little bit of the broader humor that didn't always fully work for me earlier in the series, with how Jimmy gets fired, and again I was probably asking myself, then, what's the point of Jimmy getting the job only to immediately lose it, which seemed circular. And otherwise largely going through motions, though there is the advancement near the end with Kim and Jimmy.
Fifi though I would say I liked more then, for the advancement of specifics with the Jimmy and Kim relationship as they work together, and you see the negative influence of Jimmy both in terms of Chuck undermining but also Jimmy therefore trying to thwart Chuck's attempts. And you get some of his conning in a more fun sense.
Ytrewq:
I mean, sure.
8000's:
Yamamoto - (Such a life filled performance that just pierces right through the screen every time she shows up, and it is hard not to be taken with her the way Saburi's character is, though not in a romantic way. Rather she brings so much natural life and warmth to her performance. This sort of manner of someone who just enjoys life and likes to spread that joy. Something she delivers with such ease and this grace at the same time. Playing moments as silly even, such as a moment where she does a trick, yet in a way that she plays so sweet that again it would hard to be mad at her when even being purposeful deceitful.)
Tanaka - (A purposefully subdued performance as the deferring wife, however I love the nuance she brings in moments that do undercut the husband in her quiet way that she can easily get away with. Creating even in deferring statements the sort of underlying wily quality of her sense of still knowing how to play her husband even when doing it in a theoretically covert way.)
Arima - (Has a bit less focus, however she brings a real sincerity in her moments of just seeming to be a loving daughter, though then portraying her frustrations as very specific and honest in more of a disbelief towards her father's pigheadedness. Plays it very internalized and effectively in showing her distaste for it, even as she always stays rather modest in her approach.)
Louis: Is Kinuyo Tanaka a 5 for The Ballad Of Narayama and can I also thoughts on her performance as they were never given previously.
And thoughts on the rest of the female performances.
Louis, your lowest 5 for Lead Actress.
Louis, your take on these BCS scenes?
https://www.youtube.com/watch?v=y8exJhmKlPk
https://www.youtube.com/watch?v=slqRQK1Z1F4
https://www.youtube.com/watch?v=w0QHLMEFuXA
Louis: Your thoughts on Yuharu Atsuta's work in Equinox Flower.
Louis: Your rating and thoughts on Tulsi Lahiri in Jalsaghar.
Louis: Your thoughts on this.
https://theplaylist.net/marvel-is-reportedly-considering-bringing-back-robert-downey-jr-scarlett-johansson-the-rest-of-the-original-avengers-report-20231101/?utm_source=dlvr.it&utm_medium=twitter
Louis: Your Top 5 for Production Design, Costumnes Design, Makeup Hairstyling and Visual Effects?
Louis: Curiously, one of the reasons why Ozu shot Equinox Flower in color was to showcase Fujiko Yamamoto's beauty. She was supposedly the first winner of the Miss Japan beauty pageant contest.
Louis: Thoughts on Mickey's Christmas Carol.
Louis, your ranking of the Wallace & Gromit shorts.
Luke:
Brody's performance is just a natural continuation of his work in season 1, showing him become first extremely frustrated then slowly more and more confident becoming sort of the star coach. What Brody's work did was create this arc naturally and was one thing that did feel complete between the seasons, as we saw his Pat Riley go from completely wayward to having purpose and complete with that purpose. With Brody articulating this journey effectively with humor in the frustrations but also this quiet sense of conviction in one's self that grows throughout each episode. I'd say it's his second best performance after the Pianist.
Reilly would be behind Magnolia, Sisters Brothers, Stan & Ollie and maybe Walk Hard.
It would probably be in Clarke's top five, who is an actor in a lot of things, though I actually probably say his talent is a little underexploited on the whole.
Simmons - (Simmons is in the film in a similar way to Jack Lemmon in Save the Tiger, where her performance is so good, that it elevates everything because they are so convincing in portraying their character. Simmons in this case plays the woman who has been determined to be mentally ill by others, and Simmons is great in the early scenes portraying the very quiet state of the woman who has obviously been through much in every little moment she has. She creates this innate tension and is particularly moving in portraying this quiet want to try to fulfill the demands of others, while also trying to push down her vulnerabilities that everyone else constantly reminds her of. I think it would have been very easy to have made the character one note of overwrought sadness, but Simmons never simplifies the note. She creates the sense in these early scenes of what she's been through but also what she is currently dealing with. And through the film then Simmons effortlessly juggles within the state of the character, of a real quiet charm of someone trying to make things right and an attempt at happiness that is also heartbreaking. But she also articulates brilliantly this edge within her performance, the edge of paranoia and suspicion that she presents with such potent sense of the uneasy anxiety, while showing the way he fluxuates particularly when she's given more reason to believe her "delusions". She builds up to earn the moments in the past, and eventually later on where we see it take hold of her and Simmons doesn't hold back in presenting the mania, while never feeling aggressively melodramatic either. She makes it honest, not only because she plays it so well in the moment but we also saw where she came from to come to this point. And what's great is she is able to even earn the last moments where she flips the narrative, but Simmons again delivers by making this choice feel genuine. Where she adjusts naturally within the character to reveal strength that doesn't feel forced, rather showing this sort of before lack of conviction into finding instead this intention. Where Simmons showed the woman drained by uncertainty, there is this certainty where she brings a real power, which she doesn't overplay, but rather shows naturally what the woman's capable of when no longer allowing herself to be talked down to.)
Tanaka - 5(Her performance is playing much older than her character actually was, and the makeup is severe, however it completely works because it is fitting tonally within the film's Kabuki's stylings of the material. Tanaka's performance, though stylized on the surface, is very honest within the core of it. As part of her physical performance that supports the age of the character with the makeup and you just accept her as this much older woman to everyone. Her performance though is terrific in bringing so much life to the character, who is determined to have lived long enough. In part she just has this energy in her performance that always shows her to be wiser to everyone else, but also greater at appreciating the life of everyone else, even as she takes some rather rash actions at times to say the least. Her performance though is filled with the complexity of a mother of so many years, where you do see warmth, but you also see more so the blunt teachings of a mother. But you also have this sort of ethereal quality as well, particularly in the last act. It is a proper balancing act where Tanaka makes you really treasure the character, to grant a gravity to the central choice and plotline, that is essential, and articulates every facet of her life with such honest detail.)
Thulin, Dahlbeck & Andersson - (Each plays a different note of the pregnancies, of varying degrees of what each woman wants and how they connect to them. And while I think it is almost too specific in terms of Bergman's writing here, in that you know where each is going as soon as they are introduced, it is the performances that just are that pure honesty of a Bergman performance you know for. What I honestly liked most were the moments out of the "plot" so to speak and just the moments of the three women interacting. Because all three are so natural together that it does have this documentary quality within it, because the three of them never even go near a false note. They are splendid together in just showing completely the sense of history from the three women, and how that history determines each's view of their upcoming motherhood so differently. Each giving life to each separate perspective and together just being a wonderful trio.)
Moreau - (Technically a limited role as much of the film is going around asking "hey where is he", but it speaks to the strength of an actor if that actor can make that interesting, which Moreau manages to do so. Moreau's performance for much of it is crafting the mystery, which we don't know everything about, and rather it is what we see from her that tells us the truth of the character. Moreau is able to articulate this by just being fascinating in how natural, yet quietly specific she is in her manner. Moreau shows this is just a woman asking for her lover, but at the same time does suggest there is more to her than that seemingly simple note as well.)
Hayward - (Hayward loves to go big, and she does do that frequently here. However she is also captivating here even within her bigness, that I think probably does go too far in moments, yet it manages to still feel very genuine in presenting the intense desperation of her character with particularly the moments of emotional whiplash brought upon by her ever changing plight. Hayward I think managed to find a balance within the character that shows her as not exactly savory, but there is enough there to understand the quiet emotional desperation of the real woman behind it all. There are these quieter moments of just reaction in her performance where Hayward does shine. And then really everything she does in the final sequence is genuinely great work from her, as she is able to contain all that anxiety and all that sudden fear of facing her death. It isn't a perfect performance, but the scenes that work well, more than make up for her Hayward's tendency to go for the bigger note even when she doesn't need to.)
Novak - (It's nice to see her just have a bit of fun here and again have scenes with Stewart where they're both not going through so much emotional turmoil. It obviously is the less demanding part compared to Vertigo, and on this rewatch I liked her more than I ever have before, but it is a nice charming turn where she gets to play that mysterious presence again though now with just a little joke at the center of it all.)
Rostom - (Well with the role of "sexy woman" I did think she brought a lot of vivacious life to the character, bringing particularly the sense of this innate flirtation that she performs as essentially the innate state of the woman regardless of who she is interacting with. However within that I found a lot of her reactions did find more nuance within the character, showing that there is a bit more thought and depth in there even if her purpose is so very specific.)
Moreau - (A similar role in much is dependent on her presence more so than articulating the most complex of parts. Her performance rather is technically showing the semi-flighty love driven manner of her bored character. And Moreau does this well bringing the quiet vivaciousness and intrigue into her performance. Granting this purposeful sense of a disregard for the expected and the desire for more coming out of a sort of boredom.)
Aimee - (More than anything just a charming presence, that at least on her end brings an earnest charm that co-stars her purposefully more frustrating co-star.)
Loren/Loren - (She's charming in Houseboat though not much of a challenge for her, she is having a bit of fun. In the Key she honestly seems a bit lost at times trying to figure out what the deal with her character is, and I'd be hard pressed to figure it out myself. Still she is compelling to a degree just by the virtue of her presence.)
Bergman - (Charming work from her but the part is underwritten to an extreme.)
Owens - (Thought she was actually decent in trying to bring a bit more depth than just fear and reaction, unfortunately the film consistently pushes her into more limited space just as she seems like she could do something more interesting.)
McKenna - (She's okay, but there just seems like there should always be a bit more of oomph in terms of intensity considering how much her character does. Instead she comes off as a bit light and I don't think that serves the story all that well. Not that she's tonally off, but frankly her character never seems as tough as she should be.)
Palmer - (Just wonderful every time she pops in. Brings so much natural charm in every moment she's on screen in bringing this sense of someone who just loves so much of her life and almost a kind of game of it. There's this fantastic tinge of near mania though she brings in whenever the character articulates her relationship with the main character, where she brings such a knowing sense of someone who knows her specific relationship is madness at times, but she kind of loves it. She brings though this terrific sense of warmth even in her sometimes kind of more digging statements. She manages to be the best friend who critiques while also at times giving a bit of soothing talk as just a charming friend. Palmer balances each side with ease and is just a delight every moment we get with her. I only wanted more of her, but it's because I thought the film always came to life the most whenever she was on screen.)
Worth - (Brings the hard bitten conviction needed for the performance that instantly evokes a long history of holding up in terrible circumstances. Bringing this quiet intensity of the person who is very exact and careful in her methods. Then we get her big scene, where she is stellar in delivering so much in her monologue. Finding this sense of frankly tough love as she brings this sense of near venom in describing the mistake of trying to presume one knows better in such a situation, then at the same time always accentuating within it all the very potent emotions she is going through knowing herself that she's not always sure if she's done the right thing. Showing the brutal truth of what it means to be a spy so powerfully.)
Ashikawa - (Manages to do a lot in what is easily the most interesting facet of the film, that I honestly wish there was more to. As she has great chemistry with her kidnapper that decides to be genuinely romantic together. And she brings so much life in these moments creating such honesty in her performance that shows just for a moment two potential lovers enjoying life. And afterwards giving a moving portrayal of the victim of the situation, always bringing a real potent humanity to every miserable step of it, creating the most captivating aspect of a film that does actually unfortunately waste it just a bit.)
De Havilland - (I was wondering if this was going to be another win for her in the opening scenes of the film as she comes in with such strength, such charism, and such power in setting the stakes of the woman taking charge in the situation. And you see that dynamic quality she has as a performer as she makes such a strong impression. Sadly she gets regulated to just a side supporting turn, where she's still good, it's just a shame that the film kind of wastes some of the potential as shown by her first scenes.)
Girardot - (A part of the film that I expected to be a bit more complex, because she brings this sort of twisted sensibility in quietly internalizing the woman who won't reveal anything about her relationship with her husband entirely, while still revealing it at the same time within her performance. And she makes an incredible impression in doing both at the same time, to the point I wanted more of her, unfortunately something we don't quite get.)
Takamine - (Interesting to see her in this role after seeing her in her many complex leading performances. This is technically a simple performance, but you can see her instincts for more complex characters even here in the more subtle moments of alluding to her relationship with Mifune's character with how far it goes. She manages to play the unsaid notes beautifully creating a greater tragedy within that.)
Thulin - (I mean it's Thulin, what more do you need to say. But I do like her presence a lot here that you instantly get a sense of her command within the trope, but also the sense of support for her husband. Unfortunately the film underutilized her on the whole.)
Jones - (As Elvis's older woman love interest, Jones plays into truths rather than going the ridiculous route. She evokes to a degree Claire Trevor in Key Largo, though she's not quite that good, but she is good in showing the desperation mixed in with this purity of someone who does want to do something better within such difficult circumstances.)
Andersson - (Brings a great deal of warmth and fun energy quickly in her bit, even if that overall bit wasn't my favorite in the film.)
Alison & Maskell - (Both are effective in just exuding this sense of empathy of the women genuinely concerned for the broken man.)
Tony:
Have to admit the cup that didn't fit in the holder wasn't my favorite bit of symbolism in the series.
The second is great in terms of articulating the relationship between Kim and Jimmy so well with both actors being great in really doing a romance that isn't about the big sweeps but more frequently just the mutual understanding of it that feels so natural. The scene though is each being their own, where you see Jimmy can't quite be fully honest as a lawyer though he's being honest a man in the scene, while Kim isn't quite being honest in terms of what she wants, though is honest with the "you have me" moment that is so wonderfully direct.
Love Seehorn's performance so much in the final scene, because she is usually such a controlled character, and you see her joy behind all her hard work as being 100% genuine, to the point that it makes her lose that reserve so naturally. And in turn you see that she is comfortable with Jimmy because she's willing to show her non-Lawyer side to him at the moment.
8000's:
Well the cinematography is always about this soft precision, of just a warmly colored world, soft light that isn't overly expressive, however expressive enough, along with obviously Ozu's exact framing and composition that seems so natural yet obviously is so specific in the ease of the film language in making simple shots dynamic. This film throws in some beautiful extra shots of nature that are stunning though and just suggests Ozu and crew would've made gorgeous expansive purely outdoor films if he had thought that was his main calling.
Tahmeed:
Lahiri - 4(Brilliant nearly silent performance of a variation of reaction shots. As he's great in the way you can see sort of both the way he is obliging to his landlord while you see in each successive scene the greater sense of the man just beneath that surface even if he remains ever accommodating. Lahiri's performance managing to be very funny at times when his face denotes beneath the surface "oh boy here we go again" but also moving like when telling Roy what happened to the family his face shows beneath the stoic exterior the sadness as he seems to think "he's not quite getting it".)
Luke:
Desperation is all I can think, given that Tony's story in particular had a pretty tight bow on it. And reeks more of the methods of DC, particularly when I happened to see the tv spot of the Marvels teasing a cameo appearance as a reason to go see the film, which is never a good thing. It's a shame they think they have to go immediately back to formula, rather than instead try to work out the kinks, find the right filmmakers for their films, and find the right scripts, rather than seeming to go with who's "hot" with so many of their choices, and of course make a single concise effort that maybe alludes to more things rather than straining to set things up. And of course you give time for the VFX artists to actually do their jobs. Hearing about the woes on the TV side, first isn't surprising, but it is also baffling to see how much Marvel started to have a "we'll fix it in post" attitude.
I quite enjoy it, despite Siskel and Ebert being grumpy towards it. It's not the best adaptation or the best kid oriented one (Muppets), but as a super short version, I think it hits the beats well, has some splendid animation, some good voice acting, and some good bits in terms of the way they use the characters, particularly Black Pete. And I would say it is the best purely animated version, which for whatever reason always tends to be pretty bad.
Anonymous:
Production Design:
1. The Ballad of Narayama
2. Mon Oncle
3. Ivan the Terrible Part 2
4. The Hidden Fortress
5. Vertigo
Costumes:
1. Ivan the Terrible Part 2
2. Vertigo
3. The Magician
4. The Hidden Fortress
5. Bell Book and Candle
Makeup & Hairstyling:
1. The Fly
2. The Ballad of Narayama
3. Ivan the Terrible Part 2
4. The Magician
5. Hidden Fortress
VFX:
1. The 7th Voyage of Sinbad
2. Tom Thumb
3. A Night to Remember
4. The Blob
5. The Fly
8000's:
Well not surprising, she certainly is beautiful.
Louis: From what you can recall, what are your top 20 Disney Shorts, top 15-20 Warner Bros. Shorts and top 5 Tom and Jerry Shorts.
Louis: Thoughts on the direction of Elevator to the Gallows and Run Silent, Run Deep.
Louis: Thoughts on the Kingdom Of The Planet Of The Apes trailer.
So here's a recent photo of Yoko Tsukasa.
https://pbs.twimg.com/media/FZZmTkTXgAc2LCZ?format=jpg&name=small
Watch the dub trailer for The Boy and the Heron, and then look up who's playing who. My jaw dropped. https://www.youtube.com/watch?v=JBKXgjo_rFw
Robert: Huh...one of the Ghibli movies I actually haven't seen. I'll be adding it to my immediate watchlist.
I know Christian Bale was the english voice of Howl in HMC, so his appearence here isn't that surprising to me. Most of the other names have also been working steadily the last few years.
Luke:
That would take more than a bit of research so maybe when I have a bit more time overall.
8000's:
Elevator to the Gallows, is directed as both the most extreme noir you could conceive while also subverting that by being a more naturalistic noir at the same time. A seeming hypocrisy that work in crafting an idiosyncratic mood piece. As the part that is the noir is more specifically intertwined with sort of the fate of the central characters, and how fate plays games on them. And it is these moments, like the titular elevator, where Malle emphasizes the being enclosed in the shadowy space, and really putting in the style of the noir. That is mixed in though with the scenes of the lovers being so, and seeking their ways, with more of what is the French New Wave style, where there is the emphasis on street sounds, the life around the people, and trying to remove the artifice. And as much as the two conditions should theoretically break against each other, they actually bind in crafting a vision where the characters who are real, are stuck in a noir in a way, and making the merging of the two not only work, but also strangely make sense.
Robert Wise I think you could argue in many ways was an heir to William Wyler, even if they were only separated by a little over ten years, where it was obvious that Wise was someone who was less about his own voice and more concerned with telling the story he had in front of him. The key though is, telling that story, and finding a voice for that story, so his style could be very different depending on the film, but he had style, it was just dependent on the material. With Run Silent Run Deep, his direction is about making a convincing submarine film, and what he does so well, is less focus on the big spectacle, but rather convincing you of the reality in the ship, and even more so the drama in the crew. His direction is taut and tight in focused on convincing of these things, and just then bringing you into this story that is about these men, on this ship in this situation. Light on fluff, but strong on character and very strong on tension. Wise sought to tell a good story well, and that is what you get here. He doesn't go for flash on the submarine, though there are effects and sound design at play, however all that is clearly in service to the story always, never is the story just serving any potential effect.
Anonymous:
McDiarmid is fun in the scene, as he often is, and you do get him being both a slicker manipulator and going full evil. Christensen though is really bad in the scene, in how he makes Anakin sound more whiny and kind of stupid rather than someone genuinely conflicted. The whole arc of manipulating Anakin, is missing more than a few beats, and a scene like that is frustrating because there's something there but not enough.
Mitchell:
I think Robert was probably referring to Robert Pattinson sounding unrecognizable.
Luke:
The VFX looks decent, but whatever it was showing didn't suggest anything really either way too strongly. Doesn't look bad, but nothing quite stood out for me.
Louis: Oh I see. Also not especially surprising from Patinson's end...I mean, the man has completely buried his natural voice a few times over now. And he's done it here again, so kudos.
Louis: Are you considering watching both versions of The Boy And The Heron.
Louis: Your thoughts on this scene https://m.youtube.com/watch?v=B-w1SbkpzV8
I've completed making the list for 1932 and there's a very strong chance that Charles Laughton could be winning both categories. (Island Of Lost Souls and The Sign Of The Cross)
Louis: Thoughts on The Prince And The Pauper (1990).
Regarding Priscilla, I must say I empathized with Priscilla a lot, those scenes of her looking extremely bored, I felt that. Pretty to look at, though I do wonder if the lightbulb had not been invented yet, but dramatically inert. Elvis being manipulative, Elvis being cruel, Priscilla being frustrated, Priscilla being bored, brief scene of Elvis fooling around with his entourage, Elvis being manipulative, Elvis being cruel, Priscilla being frustrated, Priscilla being bored, brief scene of Elvis fooling around with his entourage, Elvis being manipulative, Elvis being cruel, Priscilla being frustrated, Priscilla being bored, brief scene of Elvis fooling around with his entourage. And repeat some more, then end. All conversations are perfunctory, both Priscilla and Elvis are so thinly defined, and just exist within repetition.
Spaeny - 3.5
Elordi - 3.5
Louis: Thoughts on Spaeny and Elordi.
Louis: So, I guess you're not putting much stock on Elordi's chances?
Thought Fingernails was an effective, if somewhat frustrating watch.
Buckley - 4.5/5
Ahmed - 4.5
White - 3.5 (a little conflicted, as I think he's consistently good at the thankless role of the "other man" who properly frustrates, but I just don't think he's on the level of Buckley and Ahmed here).
Regarding Nyad, Not bad, but not great either. I enjoyed the "building the team" and prep aspects, more so than the attempts at stylistic flourishes which I thought were more distracting than invigorating in trying to make the swimming engaging. In general I enjoyed the character interactions, nothing surprising but charming enough with our unlikely trio of Bening, Ifans and the easy MVP in Foster. I think the attempts to go into Nyad's troubled past, while relevant, just never quite weaved in as naturally as the filmmakers seemingly wanted them to. The film's at its best at its least ambitious, but at least its decent when that.
Bening - 3.5
Foster - 4/4.5
Ifans - 3.5
Anonymous:
Well again you can see McDiarmid is acting circles around another cast member in Portman, who delivers her lines as dully as possible. Speaking of dully as possible, take the whole senate scene where Lucas's attempts at movement are unbelievable awkward with the floating desks. But the concept theoretically is interesting with Palpatine manipulating for technical good of Naboo, but also for his own mechanizations. Again the idea is a good one, its the execution of every aspect, other than McDiarmid's performance that are the problem.
Luke:
Well as usual, I'll be watching what version I can see first. Then we'll go from there.
Been awhile since I saw that one, but I recall it just being a fun retelling in obviously simple version, though with a bit more overt humor to it. Can't really recall specifics though.
Anonymous:
Spaeny - (For me she is great casting in terms of being able to play from a teenager to a young adult in a completely convincing way. Unfortunately such casting is a bit wasted with how thin the role is. She's super generalized a teenager with a crush, and Spaeny's more than fine in depicting the surface emotions there. She's fine in then being part of a toxic relationship where she's either scared, wanting, jealous or bored, but again all just the most surface versions of that emotion. Again I don't think its her fault, rather the writing just is so simplistic there's nothing to draw on, but these really basic ideas. And again I think she's fine but even the theoretical big moment of choice near the end feels like an "eh", because of how little it is built up but also just how it's writing as just quick "alright we're done".)
Elordi - (Well as evil Elvis, he's convincing in being also repetitive in being slightly creepy, and then more overtly cruel played with petulance all in his Elvis imitations which are fine if not as intensely drawn as Butler's were. BUT again this Elvis isn't at all interesting as just being repetitive in his manner and behaviors. Its the same note again and again. And even then I'll criticize a bit as I think if he put on more charm at times it would've actually made him seem more duplicitous but he actually kind of underplays any charming qualities to focus more on being this more overtly negative personality rather than a more covertly negative one. I would say where he really comes short is the older scenes where he really lets the costuming try to do all the work. As negative as I'm sounding though, it's an effective enough performance, but an idea that I think needed better exploring through a better script.)
Emi Grant:
I'd be truly surprised if Elordi was nominated, given he'll even vote split by being part of two likely fringe contenders (at best) with this and Saltburn, further I don't think the Priscilla has anything in the tank other than an outside shot for Actress and costumes, but I also think the academy won't after nominating Butler last year. Not because they don't want to nominate Elvis twice, but rather because this is basically the antithesis of everything in that film, so I don't think the academy will go for it.
Louis: Thoughts on the Nyad cast.
Louis, your thoughts on the BCS episodes Nailed and Klick.
Louis: Your thoughts on a Japanese version of In the Bedroom with Tanaka in Spacek's role and Mori in Wilkinson's role.
Are there any Ghibli films where the English dub is as good as the original.
Anonymous: The only one I've heard and read about that is as good as the original, if not better is Howl's Moving Castle. The Boy And The Heron has the potential to surpass that with in my opinion the most stacked cast for an Anime dub that I've yet seen.
Louis: Do you have any interst in reading this upcoming book about Siskel and Ebert? https://www.amazon.ca/Opposable-Thumbs-Siskel-Changed-Forever-ebook/dp/B0BP5VQWKC
Also, your thoughts on this Simpsons bit? https://www.youtube.com/watch?v=_po6NtwQPsE
Louis: Your thoughts on the following theoretical casting choices?
Jeremy Irons as Reynolds Woodcock (If PTA had made the film in the 2000s)
Chris Pine as Rick Dalton (Tarantino did compliment him as an actor once)
Marlon Brando as David Mills
Adam Sandler as Aaron Altman
Robert Mitchum as Rhett Butler (Imagine that booming voice of his saying "Frankly my dear...")
Luke:
Bening - (She certainly commits in terms of the physical scenes particularly in terms of the moments of degradation in some of the swimming scenes, with some convincing makeup and I would say the film could be a dark horse contender in that category. The rest of the performance though is very much in the Bening wheelhouse of pretty big and boisterous, with the whole point being that she's defined by her ego. Bening's tendency to go big works certainly for this approach, though I will say again the moments of her background again didn't quite hit as hard as they should, though Bening is fine in these moments of remembering the turmoil.)
Ifans - (As the somewhat gruff navigator he manages to bring enough of a quiet humor though mixed in with a certain passion that together makes the man who is consistently realistic within the situation. Ifans I think brings a nice balance in his part as being so low key against the more overt performances by Foster and Bening. And though it is brief, he handles the quick more emotional moment of his character quite well by just being blunt while still creating the undercurrent of what the character is going through.)
Foster - (Foster goes for it and it totally works in terms of playing the big personality, but in a way where it not only feels totally convincing but also endearing. She's a lot, but always a lot in a way that feels lived in and honest. I particularly liked her chemistry with Bening, and I think is terrific in being both giving in terms of hte scenes, while somehow also matching in terms of the bigger personality. Because she finds the right balance between the two and creates the sense of the person who speaks her mind though also does know how to defer to her even bigger friend. But Foster also really is the one who basically sells all the biggest emotional moments rather surprisingly, some intended and some I think less. Foster though consistently delivers on both ends creating the right sense of this given compassion and warmth for her friend, but also the palatable passion behind every moment.)
Nailed is where things do come together quite nicely in the season, one half seeing how Mike is a bit out of his depth in a certain regard in dealing with the extreme evil of the Salamanca's as his attempt to sabotage them fails. Against the story of Kim finding her success through Jimmy's sabotage, which builds to the final sequence which is great in terms of forcing Jimmy into the situation of his love for his brother, despite it all, for the chance of getting to find out hitting the ideal note at the end.
Klick on the other hand falls into one I probably would prefer now, knowing where it would go so successful in season 3, however I'll admit I was a little frustrated with all the stories really being paused seemingly with Mike being stopped some what unceremoniously in his assassination attempt, and it seemingly being just the continuation of Chuck and Jimmy, with the tape not being the most dynamic climax to me, though it all worked nicely with where it went eventually.
8000's:
Although I certainly could see Tanaka there, that sounds like an ideal pairing of Mori and Takamine.
Tony:
Only if it's been suggested that it uncovers anything I wouldn't already know about the two, as I'll admit I'm pretty well versed with the two, having watched most things they did. It was why I was less impressed with "Life Itself" than many, as I had seen most of those clips before.
Speaking of, I always loved the various clips of McBain, so already a winner to begin with, particularly the set up for "that makes two of us". In terms of the parody itself I'm not sure why Ebert is so off visually and personality wise, perhaps because the line at his expense, despite Homer also not knowing he's talking about himself, is a bit meaner than what Siskel gets, though not really too much different than some Siskel lines towards Ebert at times or even some Ebert self-deprecation. They do get the rhythm of the one decrying the other's praise, though I've never thought it was a perfect parody, as again that's more or less Siskel but that's not Ebert. Also Siskel was the only one ever mustached aka classic Siskel.
Bryan:
Irons would be ideal.
Pine I'd say is too young, but it would play to his strengths.
Pre-Oscar win Brando definitely would be a big yes, Post-Oscar, a big no.
Sandler I don't quite buy as nerdy exactly, even though he's not exactly cool either, but his kind of neurosis is more extreme, and less intelligent. So I can't quite see it.
Mitchum most definitely.
Louis: If you ever decided to do Animated Film top 5s per year, would it be Features and Shorts combined or separately. I'd advocate for the former mainly due to the weakness of the 2019 category for animated features.
Louis: What are your thoughts on the Spider-Man 2 scene where Jameson tells Peter to go to the planetary? Also, do you think Robertson knew about him being Spider-Man in that scene? He does seem to know he is Spidey in the comics.
Thank God Tanaka has a 5 now. Hope Takamine gets one 5 too.
I was so curious.. I thought I would see Ross Martin in Experiment in Terror, the most mysterious winning request, he is great, and the film is a hidden gem.
Blake Edwards really can direct a thriller and it helps that Henry Mancini does the score.
I am actually surprised that Martin was nominated for the Golden Globe, because it is not a performance that would be nominated for awards recognition
RatedRStar: Martin is fucking creepy in Experiment in Terror.
And yeah, the film is pretty solid. Makes for a great double feature alongside Cape Fear, that also premiered in 1962.
Lee Remick is also fantastic, she should have been a bigger star than she was.
Louis: Do you still stand by your prediction of Bening for the Best Actress win?
Also, your top 10 visually stunning moments from the Gilligan-verse.
Luke:
Doing animated feature for me is fairly unlikely, because I consider for other categories anyways, but it would include both if I were to.
8000's:
Funny scene for Simmons humor, particularly the reaction to not getting the advance. And I would say Robbie definitely knew about him being Spider-Man in the scene, I mean its not rocket science to guess the guy who can always get pictures of Spider-Man is Spider-Man, but there's no reason for that glance other than to denote that. Speaking of all Spider-Man films, that scene suggests just how underused he is in all live action Spider-Man adaptations, in fact I'm always a bit surprised that Randy Robertson has yet to get a single live action appearance.
Tony:
No, for the Academy to go the lazy route usually the performer needs some very obvious "Oscar scene" type moments, and those are pretty limited for her. It also probably doesn't help that the real Nyad has admitting to exaggerating some of her claims, which the film doesn't directly deal with, so "honoring the character" route probably won't be a good enough narrative either. With those two knocks, unless the academy surprisingly goes all in for the film, she additionally will be likely going against actresses who will be in stronger films overall with the academy. I think she can still get nominated, although I actually think Foster might have the better chance out of the two of them, and could get on her own.
Breaking Bad Trainspotting
Ending Breaking Bad Shot
Mike and Walt by the creek
Exit Sign After Chuck's breakdown
Walt in the broken mirror
Walt at the end of the crawl space
Jimmy and Kim Smoking Scenes
Saul's face mirrored
Saul Standee in Water
Parking Garage Aerial
Louis: Your thoughts on these scenes https://m.youtube.com/watch?v=7F59T1QgN00 https://m.youtube.com/watch?v=kSfg3RFhSds https://m.youtube.com/watch?v=F9t2sgFJlgA
Found Fingernails to be a Waste of a decent central idea. Abandons any notions of satire, after a brief bit of simulating a fire in a theater, making one ponder why it was left in, as the rest of the film is very self-serious with the concept of testing love through ripping off fingernails. Which could be fine if the serious elements were great, but they're far from that. They're in fact quite dull, repetitive and predictable. In particular commits the cardinal sin of making the love triangle exist by having one portion of it be a non-character, with the alternative seeming so obvious because he's the one who was written with any depth whatsoever. Well acted, but that's all I can say for this one.
Buckley - 4.5
Ahmed - 4
White - 3(Not his fault)
Wilson - 3
Louis: I know you've only seen like what one movie with her, but would you say that Yamamoto's speaking voice is just as beautiful as her looks?
Hey everyone!
Once again I've made another post on my animation blog. It's a different sort of review than my other ones, but it does cover a particularly special series for me.
Louis: Thoughts on the Fingernails cast.
Anonymous:
Well for the first conversation on a theme, is an important scene to first remember what Jimmy and Mike's relationship is before he went full Saul, and any potential Mike's respect had for him went out the window. And with that in mind, the scene does work in exploring an actual human moment between Jimmy and Mike. And it's great and very funny with Jimmy assuming Mike's choice as a history buff, before reworking it to be serious and Banks is great first considering his son's death, then changing to what really caused his son's death, his mistake, revealing quietly his regret that is so powerfully the truth. Against Jimmy who is only thinking about money, though with an indication of something more in Odenkirk's perfect final reaction to "nothing you'd change".
The second is actually a completely great Walter scene on its own, with Walter only for a moment considering his actual regret which is Jesse as symbolized by the watch, before then going off on what is his regret that is completely based on his pride and never for a moment based on the amoral things he did after that choice. You can see Walter isn't considering from Mike's point of view that would change everything, rather it is the point of fixation that all has to do with his own ego. Even Walt's way of describing the story, despite us never knowing everything, feels filled with lies just as man who never let the choice go, which again was also probably based on ego. Again contrasting that, Saul fixed on the money again, where Walter fully dismisses him, particularly as he reveals his lifetime of mistakes. However as Walt damns him by saying Jimmy was "always like this", where the truth is Walt's "regret" reveals he was always his worst self in at least some way.
The last scene is perhaps the most tragic, because you see the flaws behind both McGills. Where Jimmy is so sure that Chuck is better "Probably tell me what I'm doing wrong", meanwhile Chuck is so quick to look for Jimmy's flaws when he can "hope you didn't steal that from a hotel ice machine". But the tragedy is the love is in the scene, one for Jimmy insisting on helping Chuck still, and Chuck's brief waver in his voice when noting "that's not what he had in mind" when offering the advice to Jimmy. With the final moment, Chuck really theoretically said something to both that it's not too late to change, yet neither was able to live up to that ideal.
8000's:
Well her speaking voice is also very beautiful to be sure.
Luke:
Buckley - (Big surprise that I liked her performance...however I think much of her work here is trying to pick up the slack of the script. In creating much of the intention that is fairly poorly defined by the script, such as why she gets fascinated with the love institute to begin with, or keeps it a secret. Buckley is able to articulate effectively this fascination with her own performance, even when what her character says lacks motivation, she creates it within her own work. And the emotional journey of experiencing the moments of dealing with the couples and getting attached to Ahmed's character, while being bored by White's, again Buckley's terrific in terms of creating the exact emotional sense of this desire for exploration that continues to compel here, while also frustrating her without the clear sense of what the truth of it all is. While where this all goes isn't particularly interesting, if not quite stupid with the last thing her character does, Buckley is continually convincing regardless.)
Ahmed - (Not really the most challenging role for him as much of it is just seeming to be charming in the guy who knows what he's doing in his job and has this confidence and innate fascination with it. He's good at being that, even if the sort of adjustments later on again I don't think are led towards by the script in a way that is ever particularly dynamic, Ahmed emotionally carries the change within his performance despite what is lacking within it all.)
White - (Shame he is playing a character whose defining feature is "he's boring" I guess. Just a terribly written role, White tries to make something within just being true to the emotion of those, but even that is really horribly written in terms of making his character have any sense of agency or real personality on his own. The relationship between his and Buckley's characters is so poorly defined, that it really robs the film of any stakes, since you don't even know they are a couple other than the film has said so. White and Buckley both do what they can to still convey connection just through performance, and again don't fail entirely, but they can only do so much.)
Wilson - (You would think he would have a bigger role in the idea of exploring love as being reduced to a scientific concept, however the film seems only semi-interested with his character occasionally. Wilson is okay, in his moments of this sort of exasperation of a guy seemingly who's seen it all. But again the writing is way too vague for him to do much of note.)
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