I may be overthinking this one, but Andrew Scott is my NGNG prediction for a last minute nomination. Although I should say this is dependent on a few things, and it could easily be Wright. But thinking in terms of last minute momentum All of Us Strangers could come off the strongest relatively, getting a last minute push at BAFTA, to not become a huge player but enough for Scott to get in. This also requires in part for Wright to snubbed at SAG in favor of Colman Domingo, the latter whose film is too weak I think to get him beyond SAG. But if Wright gets in SAG, that will probably be enough for it just to be the SAG five likely, though I still think Scott has a chance even then as long as Strangers performs to its apex at BAFTA...which I still think will be a 2 nominations probably Oscar time, but enough theoretically. Now at the moment it seems like we have a clear seven probably, in the pictured five, Wright and Domingo. Domingo being the weakest chance because Rustin's only other possible nomination is song, so I think Domingo can get SAG but that's probably it for him. American Fiction could be a big player or a minor player, so again the variation there allows for Scott to move in. Then there's the rest, who all seem safe-ish as long as their films don't under-perform massively. Could Giamatti get Sidewaysed again? Sure, but seems unlikely at this venture. DiCaprio doesn't miss unless he has internal competition (Waltz, Day-Lewis) if his film is in the top five, so for him to miss Killers would need to stop under-performing severely...like say Scorsese misses DGA which doesn't seem too likely. Then there's Cooper, there is a Maestro backlash brewing, but I don't think that will stop his nomination, it might play into the win, but not the nomination. Then Murphy is the lauded lead, who career wise has paid his dues, and is in the best picture front-runner, no reason to doubt him.
I decided to not overthink supporting actor, as long as we see this five at SAG, there is no reason to second guess it. The broadly comic pair of Gosling and Ruffalo are both well liked by the academy in films that look like they should be big hits there. As the villainous pair of Roberts, Downey and De Niro both seem set to return as well. Downey as the potential winner (though I think this category is open until the SAG winner) in the best picture front-runner, then De Niro in a major player, with the DiCaprio supporting actor boon trend as well to help cement his position. With maybe the exception of De Niro, even if their films under-perform massively, it would be hard to see them missing the final five. Then there's Charles Melton, whose film's performance could go big or small. Even if it is the latter, I could see Melton as the sole nominee, even though currently his trajectory is very similar to the eventually snubbed Dennis Quaid for Far From Heaven (who also did great with the critics and he got a SAG nomination). What helps Melton perhaps avoid that fate, other than the much individual support he's gotten, is that there really isn't obvious alternatives without major shifts happening. If Poor Things, over-performs, then Dafoe can enter the conversation a bit more, if the Holdovers over-performs, maybe Dominic Sessa could make it (though I think being obviously co-lead hurts him), but if the race remains consistent this seems like an easy five to predict. Sterling K. Brown has also been bandied about a bit for American Fiction, though I think his role might be a bit too comparatively small to get in past any of these five, who have all substantial screentime, where his role is more so the type that gets in, in a thinner year. This year is stacked with these five, and I'll be pretty content with predicting them unless SAG and BAFTA do something really unexpected to shift momentum...however that doesn't seem overly likely. And yes Glenn Howerton has peaked with his critics nominations and Indie Spirit nomination...unless he wants to tell me when he'll peak.
71 comments:
Honestly, you know what, I'm thinking MAYBE Zac Efron gets the fifth spot in lead. There's a big, big push for him happening right now.
I'd go with your exact 5 for Sup. Actor and the Best Actor lineup, but with Wright instead. Oddly enough, this year feel WAY too safe in terms of contenders and nominees. Anything other than Scott getting the BAFTA push would be shocking to me.
It's still 2023 where I live, but regardless, Happy New Year to everyone! May this blog live forever.
Also, Louis, I'm on my knees begging you: PLEASE use that Gosling screencap for his review. It'd be so fucking funny.
Mostly agree with Lead Actor, Scott could definitely get in a la the late push Mescal got from BAFTA. There's obvious passion for the performance, and I suspect All of Us Strangers could get into Adapted Screenplay as well.
Agreed entirely on Supporting Actor. I'd be more nervous about Melton's chances, but as long as enough people see May December, I feel he's a guarantee. Also second Emi's request about Gosling's screencap.
Louis: Your updated predictions for the other categories?
I actually DiCaprio will miss, based on my "Likeability Threshold" I've often mentioned for Best Actor contenders. Ernest is a wretched scumbag beginning-to-end, so I can see it being too off-putting to voters.
Meanwhile, I think Efron is likelier than people are predicting. So my guess is currently Cooper/Efron/Giamatti/Murphy/Wright.
Supporting Actor is same as you, could see De Niro or Melton missing out to Dafoe/Sessa.
Happy new year all you lovely people.
Honestly I think you're pretty spot on with these predictions, although as always there's going to be something surprising brewing. I would love to see Andrew Scott get that fifth spot. I also keep thinking there's a possibility that Sessa and Melton could both make it in but it's hard to see who would be pushed out (De Niro, I would say, but that DiCaprio supporting actor boost is just an undeniable statistic). At this point there's no point in willing Koji Yakusho forward but he remains my pipe dream.
As for Actress, I have
Stone
Gladstone
Huller
Barrino
Lee
(I have Mulligan missing out as wishful thinking...sigh).
Supporting Actress
Randolph
Brooks
Blunt
Foster
McAdams
Calvin: Happy New Year to you too, Calvin!
Ratings for the casts of How To Have Sex and Close Your Eyes?
I watched How To Have Sex just recently and i liked it a lot.
Mia McKenna-Bruce - 4.5
Laura Peake - 4
Samuel Bottomley - 3.5
Shaun Thomas - 4
Enva Lewis - 4
I Will get around to watching Close Your Eyes as soon as i can.
Anyone think America Ferrera (Barbie) could end up sneaking in for Best Supporting Actress? It’s more of a gut feeling tbh, but if Barbie ends up overperforming…
Her characters also at the center of the dramatic crux of the movie, so that could be a factor as well. Ferrera herself also strikes me as someone who’s rather well-liked by the acting branch.
Bryan L: I really really hope not.
Bryan: I could see that for sure, especially since her big monologue has been frequently cited as a highlight from people in the industry.
Matthew: exactly the same as you for How to Have Sex and the same as Louis' ratings for Close Your Eyes.
Also if these end up being our nominees my personal ranking of them would be
1. Scott
2. Murphy
3. Giamatti
4. DiCaprio
5. Cooper
1. Melton
2. De Niro
3. Ruffalo
4. Gosling
5. Downey Jr.
I haven't seen Scott (nowhere for me to see it in my part of Jersey), so if these end up the lineups, my personal rankings would be:
1. Murphy
2. Giamatti
*Gap*
3. Cooper
4. DiCpario
1. Gosling
2. Ruffalo
3. Melton
4. Downey (rewatched some scenes on Youtube, appreciated what he did a little more.)
5. De Niro
As for Actress, I'm predicting Gladstone/Huller/Lee/Mulligan/Stone. For Supporting Actress, I'm predicting Blunt/Brooks/McAdams(I'M MAKING IT HAPPEN)/Portman/Randolph
Agree with your lineup, though I think Wright is likely to get a spot instead of Scott. Wouldn't be suprised at Sessa getting a nomination as Supporting Actor. I'd also be on top of the world if Yoo and Howerton suddenly got in instead of DiCaprio and Cooper, but I'm not going to kid myself on that one.
Since I only haven't seen All of Us Strangers and Poor Things, my personal rankings would be like this:
1. Murphy
2. Giamatti
*Gap*
3. Cooper
*Gap*
4. DiCaprio
1. Melton
2. De Niro
3. Gosling
4. Downey Jr.
From the nominees I've seen I'd go...
1. Murphy
2. Giamatti
eh....
4. Cooper/DiCaprio (Don't feel like picking)
1. Melton
2. DeNiro
3. Downey
4. Gosling (all great, mind you, just one has to come last)
I have to say, not being able to watch Poor Things is KILLING ME.
If Louis's predictions line up with the Academy, we might just have the first 25/25 in Supporting Actor.
Tahmeed: Even Dafoe and Sessa are quite likely so GOAT lineup for sure.
Happy New Year Louis and everyone!
4º Ryan Gosling
3º Charles Melton
2º Robert De Niro
1º Robert Downey Jr.
4º Bradley Cooper
3º Leonardo DiCaprio
2º Paul Giamatti
1º Cillian Murphy
Louis: Thoughts on the Sound Editing of Star Wars (Originals, Prequels and Sequels).
Tony:
General pop noise refers to really typically almost a smashing together of guitars, usually fairly repetitively used, typical drum kit used for a fairly basic beat and and vocals that almost feel "on top" of the instrumentation, that are for the lack of a better word have a "yelling" quality to the singing more than a real melodic intertwining between the vocals and instrumentation. Find that to be largely the case for all three of those songs. Not that I think this style means terrible, but decidedly not my taste.
Luke:
Blyth - 4.5(Very impressive performance and I look forward to the film with him, George MacKay and Harris Dickinson as brothers. Anyway, I think his performance carries the film rather magnificently in terms of essentially manipulating us into believing him every step of the way. From the opening scenes where he brings the sort of downtrodden but also dogged determination of someone with something to prove, even if it may be the wrong thing, so we kind of accept as a protagonist even as he's making technically horrible suggestions. His scenes with Zegler, I think he found the right kind of wavering chemistry as there's moments where you completely believe him to be in love with her other moments though there is this almost more controlling fascination in the moments. All the while he's terrific in just portraying every individual moment in a captivating way in creating the sort of investment of the character in the games even as we see him become more intense and extreme at every turn. And while the last act I do think rushes a bit, I think he successfully carries this edge of the character to first a mania then a controlled darkness.)
Zegler - 3.5(There were times, particularly early on, where I thought she was auditioning for Oklahoma with her a little too overt choices with her dialect. After that though I think she seemed to get more comfortable with the role, and was particularly good in just sort of the visceral in the scene acting during the games especially. And even later on I think she was effective in creating a convincing chemistry with Blyth, that wasn't just one thing, to the point I wish we had gotten a little more to do, but overall despite the shaky start found it to be a good performance. Also all her singing scenes were great use of her voice.)
Rivera - 3.5(As Zegler's real-life boyfriend it would be kind of hilarious if he were to be in all her films as a well meaning but in the end hapless guy where all the bad things happen to him. Regardless, I liked the sort of foolish passion he brought in showing the emotion coming before any sense or real wise choices to make a meaningful change.)
Davis - 4(Probably the most fun I've seen her have in a role, as she really plays into the diabolical mad scientist aspect of the character effectively, and brings this sort of energetic sense of someone who really gets a kick out of being evil.)
Dinklage - 4(Kind of in his wheelhouse as a sort of spent man in a power structure he detests, however a good example of such regardless.)
Schwartzman - 3.5(Ideal role for Schwartzman in playing up the sort of over the top "sell" of every moment for the games, and managed to hit the right note in sort of the twisted darkness while also always maintaining it as a bit happy, all things considered. With a few quick glimpses of nuance in some of his frustrations of when the game isn't going ideally.)
Schafer - 3(Fine but doesn't really make too much of an impact overall.)
Jonathan Williams:
From my understanding, it is a fairly faithful adaptation of the book, and well written in terms of getting out a lot of exposition, introducing a lot of different characters, even for a quick bit, where you understand them relatively quickly and more importantly their motivations even faster. Most of all though effective in writing Snow as a protagonist that manages to tread the line well between obvious villain and anti-hero well. Where I would say the screenplay theoretically falters is structurally it struggles, and again as a faithful adaptation of a novel, a novel structure can work better for a novel but novels don't have to worry about pacing in the same way. And that's the struggle, as the film has to really start a completely new chapter that ends the story, pretty quickly making it feel like too much to introduce after seeming the climax of the games, while also seeming not spending enough time in terms of first exploring the full potential of Snow/Gray's relationship and the falling out. And not that the beats are bad, it just feels one where it needed even more time to breathe or the ideas should've been realized and resolved in the games for again cinematic momentum to be maintained.
Tony:
The singular nature of the experience and what it is capable of. As cinema isn't just one thing. Rather it is a creator of experience and perspective. And at times this can make you feel and understand things you've been through by connecting with what you see on screen. It can make you see a new perspective by illustrating a life or experience you don't know or never could know. It can truly transport you to fully understand another sense of experience from the artist, which can be separate from you in time, place, ethnicity, history, and so many other facets. It can be humorous, entertaining, sad, cathartic, informative or even confounding. It is the variety of it, while also though also being so specific in just taking you and placing you somewhere via the screen, that I draws me in, and there is always a story, an experience, that I haven't experienced that I can know something of, experience at least a facet of it via cinema. That's what draws me in.
Tahmeed:
Both Coens again, and fully as a dark comedy series of errors style:
Lear: Al Pacino
The Fool: Michael Keaton
Goneril: Frances McDormand
Albany: Kevin Kline
Regan: Tilda Swinton
Cornwall: Tim Blake Nelson
Cordelia: Carey Mulligan
Gloucester: Brendan Gleeson
Edmund: Brian Gleeson
Edgar: Domhnall Gleeson
Emi Grant:
I mean go to my review of Dalton for Hot Fuzz, if you think I won't use that image for Gosling.
Emi & Robert:
I'd say SAG would be essential for that to happen, as The Iron Claw is decidedly not a BAFTA movie. And I might agree that Ernest is too despicable if he was played by someone other than DiCaprio, but the academy likes him too much to doubt him. Yes he missed recently for Don't Look Up (thankfully), but that film also fell into a lower tier contender by time nominations rolled around.
Tahmeed:
Picture:
Oppenheimer
Killers of the Flower Moon
Poor Things
The Holdovers
Barbie
Maestro
Anatomy of a Fall
Past Lives
The Zone of Interest
All of Us Strangers
Director:
Christopher Nolan - Oppenheimer
Martin Scorsese - Killers of the Flower Moon
Yorgos Lanthimos - Poor Things
Alexander Payne - The Holdovers
Jonathan Glazer - The Zone of Interest
Actress:
Lily Gladstone - Killers of the Flower Moon
Emma Stone - Poor THings
Carey Mulligan - Maestro
Sandra Huller - Anatomy of a Fall
Greta Lee - Past Lives
Supporting Actress:
Da'Vine Joy Randolph - The Holdovers
Danielle Brooks - The Color Purple
Emily Blunt - Oppenheimer
Jodie Foster - Nyad
Rachel McAdams - Are You There God? It's Me Margaret
Adapted Screenplay:
Oppenheimer
Poor Things
Killers of the Flower Moon
Barbie
All of Us Strangers
Original Screenplay:
The Holdovers
Anatomy of a Fall
Past Lives
Maestro
Perfect Days
Cinematography:
Oppenheimer
Killers of the Flower Moon
Poor Things
Maestro
The Zone of Interest
Costume Design:
Barbie
Poor Things
Killers of the Flower Moon
The Color Purple
Wonka
Editing:
Oppenheimer
Killers of the Flower Moon
Poor Things
The Holdovers
Maestro
Makeup & Hairstyling:
Maestro
Poor Things
Oppenheimer
Golda
Beau is Afraid
Production Design:
Poor Things
Barbie
Oppenheimer
Killers of the Flower Moon
The Color Purple
Score:
Oppenheimer
Poor Things
The Zone of Interest
The Boy and The Heron
Spider-Man: Across the Spider-Verse
Song:
"What Was I Made For" - Barbie
"I'm Just Ken" - Barbie
"Road to Freedom" - Rustin
"The Fire Inside" - Flamin' Hot (Never doubt over-nominated Warren)
"Keep it Movin'" - The Color Purple
Sound:
Oppenheimer
Maestro
Killers of the Flower Moon
Ferrari
The Killer
VFX:
Guardians of the Galaxy Vol. 3
Poor Things
The Creator
Godzilla Minus One
Spider-Man: Across the Spider-Verse
Animated Feature:
Spider-man: Across the Spider-Verse
The Boy and the Heron
Elemental
Teenage Mutant Ninja Turtles: Mutant Mayhem
Nimona
Documentary:
20 Days in Mariupol
American Symphony
Beyond Utopia
Four Daughters
The Eternal Memory
International Film:
The Zone of Interest
Perfect Days
Society of Snow
The Taste of Things
20 Days in Mariupol
Louis: Your 7 Most Anticipated TV Seasons of 2024. And are there any debuting shows that you're looking forward to.
Well, "The Last of Us: Part 2" is proving to be a much longer campaign than I predicted. Finally got some more coverage of Laura Bailey's character, who simply has one of the most pleasant sounding voices of any VA I know.
On another note (SPOILERS), you'll will find dozens and dozens of youtube reactions to people realizing they have to play as Abby. Their emotions range from confusion, to disgust, to anger and often a blend of all three. To all that vitriol that choice seemed to bring out of people, I'll just say.....I understand, and I'm still on board.
Louis: Was there anything particular about American Fiction that made you doubt its chances to the point of predicting it getting completely snubbed by AMPAS? A People's Choice Winner that already has quite a few accolades under its belt not getting any nominations would be nearly unprecedented in this era.
Louis can you give your TV top 10s now?
Anonymous: I think Louis might wait for The Curse to finish airing, as Emma Stone might end up being his Actress #1 for it.
Tony:
It's pretty low key, I could see the completely false advertising (the trailers only show the comedic half of the film) perhaps rubbing some the wrong way, and mostly MGM isn't a great campaigner, and unlike most TIFF audience winners this wasn't considered really even a minor contender beforehand. However I will say I'm probably applying too much logic to the academy, as theoretically last year the Whale should've gotten into picture based on its success with wins, as this could easily be a case where Scott does get in over Wright, but American Fiction gets in picture and adapted screenplay. This is also contingent on the Academy not buying the bogus screenplay category placement WB is pulling with Barbie, as I'd put both Strangers and Fiction in screenplay if Barbie is in original (which again I DO NOT want to happen because it will open a whole new angle for category fraud).
Luke:
The Sympathizer
The Bear
House of the Dragon
True Detective: Night Country
Andor
Tokyo Vice Season 2
The Regime
I'm also at a disadvantage with getting to see AoUS.
Right now, my own list in Actor has DiCaprio and Murphy virtually tied for #1 (a rewatch may help), followed by Nicolas Cage in Dream Scenario (hugely underrated IMO), then Jason Clarke (not Oscar eligible) in The Caine Mutiny Court-Martial, then Howerton, whom I really need to move to Supporting, especially if I've already got Sessa there.
Barry Keoghan is 8th on my list; Giamatti is 10th.
In Supporting, I've got a very tight top 3 with De Niro, Sessa, and Downey, followed by the ineligible Kiefer Sutherland in Caine Mutiny. My #5 is Jacob Elordi's amazing Elvis in Priscilla; he comes in 14th for Saltburn.
Melton is my #7 (after the late Lance Reddick in Caine, so 5th among eligible contenders), and Gosling is my #12. (If I move Howerton, he'll probably come in at 8th - it's a strong list.)
Louis: Are you waiting for Slow Horses to finish before going back to it.
Have a feeling we will be seeing angry Plainview again this year.
Louis: Your 21st century film roles for Phil Hartman, John Candy, and JT Walsh (specifically, roles you think they would've been cast in had they lived).
Anonymous: I'm yet to see Killers of The Flower Moon, but I'd be surprised if either DiCaprio or Cooper would each be lower than 2 stars.
Emi: Feeling intrigued by your comment under previous post, I have watched Manodrome. It almost seemed onto something at first, but after an hour it felt like the screenwriter gave up and completed the rest using his initial ideas written on sticky notes or something.
Eisenberg-4
Brody-4
Young-3
Sesay-2.5
Ettinger-3
Suplee-2.5
Mureșan-2.5/3
DiCaprio and Cooper would both be between 2 and 3 for me, I might give Cooper the slight edge between the two for staying consistent in his characterization. Also have been meaning to mention, I think it’s wild how many people were docking Emily Blunt’s performance in Oppenheimer just for her drunk scenes, while no one said a thing about DiCaprio’s drunk acting which was *way* more distracting.
Michael: your ratings for the cast of Poor Things?
Tony: Louis mentioned some roles that he thinks JT Walsh would've been ideal for in his review for Breakdown.
1. Murphy
2. Scott
3. Giamatti
4. DiCaprio
5. Cooper
1. De Niro
2. Downey Jr.
3. Ruffalo
4. Melton
5. Gosling
I believed that DiCaprio would win the overall for KOFM. Well, let's hope he manages to surprise us in the next PTA film.
I still think DiCaprio was great, but, whatever, I guess that's a losing battle at this point.
Louis: Your thoughts on the voices of Rodney Dangerfield, Jonathan Winters, Albert Brooks and Garry Shandling.
Yeah, I'm surprised by how negative on Leo most seem to be on here. I'd give him a 4/4.5 at the very least.
Matthew:
Stone: 5
Dafoe: 5
Youssef: 4
Ruffalo: 5
Carmichael: 3.5
Schygulla: 4
Hunter: 4
Bemba: 3.5
Qualley: 3.5
Abbott: 4
Ytrewq: Lol, I do agree that the film lost itself, which is a shame, 'cause I think it had something with part of its central premise.
Louis: Ratings and thoughts on the cast of Zero Focus.
Michael: Honestly I think I'd be even less generous than you on both performances. A 2 for both, maybe a 1.5 for DiCaprio.
Also, I thought Blunt was kinda great tbh. Loved how she avoided the "long-suffering wife" trope by playing Kittie as someone who probably has more disdain and contempt than love.
Finally saw The Holdovers as my first watch of 2024, great film.
Giamatti - 5
Sessa - 5 (MVP for me)
Randolph - 4.5
Bryan: Thanks for the heads-up.
Robert: I liked Blunt too. I don't even really have a problem with the "drunk" scenes people talk about, because it was like...what? Two minutes?
Louis: What are your thoughts on the Oscar-nominated screenplay for In The Line of Fire?
Louis: your rationale for including Perfect Days in Original Screenplay? I would love to see it, naturally, but I actually think it's relatively unlikely, since a lot of the film actually revolves around silences (think Paris, Texas but the protagonist is even quieter and speaks less than Travis).
Having said that I agree that technical 'fifth spot' (though really in a rightful world that Maestro shouldn't be taking up any spots in screenplay) could be very open, for a May December or Air or even a non-English language/indie surprise (Monster, The Iron Claw, Fallen Leaves, Passages). Or they go with Barbie (which like you I hope they don't).
Luke, what's your rating prediction for Russell Crowe in Noah.
4.5, I recall him being very strong in the latter half of the film. This may also be the most he'll like an Emma Watson performance.
That supporting lineup must be tremendous. Have only heard great things about all the performances.
Louis: Rating and thoughts on Marin Ireland in Birth/Rebirth.
Louis: Thoughts on the vocal performances here by Nolan North and Ashley Johnson?
https://www.youtube.com/watch?v=BouoN2epQRw&ab_channel=cyniic
Nolan has said that for David's voice, he didn't want it to sound like Nathan Drake, and he took inspiration from David Straitharn. I see both points, honestly.
Louis: Also rating and thoughts on Judy Reyes in Birth/Rebirth.
Louis: Thoughts on the cast of The Last Voyage Of The Demeter.
So just for fun I decided to pick my as of right now choices for Best Director from 89-99.
89-Kenneth Branagh(Henry V)
90-Martin Scorsese(Goodfellas)
91-Oliver Stone(JFK)
92-Clint Eastwood(Unforgiven)
93-Steven Spielberg(Schindler's List)
94-Frank Darabont(The Shawshank Redemption)
95-David Fincher(Seven)
96-Joel Coen(Fargo)
97-Curtis Hanson(L.A. Confidential)
98-Terence Malick(The Thin Red Line)
99-Paul Thomas Anderson(Magnolia)
For 89 Spike Lee is challenging, 94 I could just as easily pick Tarantino, Burton or Egoyan and 93 may as well be a dual Spielberg win for Jurassic Park as well.
8000's:
Dangerfield's voice is just terrible, let me tell yah, he's the only guy I know who got overdubbed in an animated film in his own language.
Winters always had a not quite southern drawl, or sounded southern without being southern.
Brooks's voice even calm is kind of a bit of anxiety in vocal form.
Shandling's voice falls into just a slight riff of nasality to create comedy without being too much of an affectation.
Calvin:
I'll admit I was just choosing based on an original screenplay for one of the international contenders, and that seems potentially the biggest contender other than Zone. But I could see a surprise contender (Anatomy of a Fall wouldn't be a surprise) getting in as well like Worst Person in the World did. Of course it could just be Air, or May December, but the former might not have the gas so to speak, and Haynes's films always tend to slightly underperform, so I wouldn't be surprised if it missed out. I actually think Maestro *could* miss out, even if it remains as a best picture nominee, as sometimes branches "rebel" like when the director's branch didn't nominate Cooper for A Star is Born in director.
Luke:
Ireland - 4.5(Her performance is a whole lot of fun with just how much she owns the demented side of the character, and in a completely different way from her demented performance in Eileen. Ireland here portrays a bit more of a controlled quality in her demented moment showing this wonderful fascination in every moment of her going about her "scientific" observations. And brings this wonderful low key sort of passion within every moment of describing techniques with a quiet zest within her accomplishments. Where the film thwarts her from making this a classic is that she suddenly has to have humanity, Ireland plays the note as convincing as she can, but it just comes out of nowhere narratively that it makes the later scenes of her performance less captivating sadly. Still two strong performances from her, and it always shows a lot of actors have a lot more to show, given I knew best as Chris Pine's bitter wife from Hell or High Water before this.)
Anonymous:
Reyes - 4(I will bluntly say I do think Ireland is the one who should've been double nominated merely at the Indie Spirits, as Ireland is an easy MVP. Regardless I think Reyes does provide a good balance in providing just a grounded sense of grief then sort of quiet conviction mixed with hope of a mother thinking she has a second chance. I think when the film wants her to become the mad one suddenly, it hurts her performance more just because it is the bigger leap. She does what she can but it isn't entirely convincing.)
Luke:
Hawkins - 3.5(Accent is a bit wonky but he really does bring a genuine leading man conviction. He backs it up with a quiet passion for his performance that is trying to sell every moment of the film. The character really just is "main character" but Hawkins does everything he can to try to bring gravitas regardless.)
Franciosi - 4(No wonky accent, not that it's accurate per se but it's completely convincing within the style of the film, and she wants to sell every moment of dread and emotional desperation for all its worth. And she does within her own work and is captivating as per usual, even in a pretty dreadful part overall.)
Cunningham - 3(He has innate gravitas of course, but I have to admit I felt he was not really giving it his all here later on. Not that he's phoning it in, or even bad, but he's just kind of kind of giving it, and you know Cunningham can always do a lot more.)
Dastmalchian - 3(Also a wonky accent, but the closest in the writing to someone actually getting an arc, even if it is much too little too late. Still some of his visceral silent reactions later on are pretty good, and there might've been more there if the script had allowed it.)
Norman - 3(Also tries his best here, and is entirely decent if not having any more role than "kid". But he does bring some life to it, even if it is far too little by the end of the film.)
Everyone else is one note, and pretty bad.
I have a suspicion many are underestimating American Fiction as a Best Picture contender. Someone I follow on Twitter called it the frontrunner a while ago (sight unseen) by arguing that post-expansion AMPAS voters have favoured films that deal with social issues in a crowdpleasing manner. While I'd stop short of calling it the frontrunner, there is something to the idea that it fits the mold of the films preferred by the Academy as of late better than something like Oppenheimer. I'd say it's one we should watch out for as a potential Adapted Screenplay winner at the very least.
Matt: Any differences between your picks for Director and Picture in those years?
Louis: Your thoughts on the cast of Ode to My Father, Dangerfield in The Simpsons, and Marin Ireland in The Irishman.
Tony:
Well speaking sight seen, I think it is too low key to see it winning. And so far, it is doing well enough, but it's not doing amazing, for example Jefferson hasn't been getting in as director many places. And if Oppenheimer is winning picture I really doubt it loses screenplay because Oppenheimer has all the traits of a screenplay winner.
Tony: Picture for 89 is probably Last Crusade, Picture for 94 is Pulp Fiction, Picture for 95 is Before Sunrise.
Tony:
Eh found Hwang and Kim to swing wildly between moments of extreme melodrama with some punctuated moments of something more genuine, however even any of those decent moments were ruined by their final scenes of bad old age acting, where I didn't buy them for a second.
I should note my previous note on Dangerfield was merely to show no respect, anyway, regarding Dangerfield in the Simpsons I always thought it was a strange choice to use a celebrity as the celebrity but as also a character. And the results are a bit mixed as it doesn't quite choose a lane of full silliness or slightly earnest in his relationship with his father. I do enjoy some bits though like the ending and Dangerfield's delivery of "who am I talking to". Dangerfield in terms of his own work is very straight just him doing his bits which work when they work here, but again the execution isn't always perfect but he's consistent.
Ireland's good in her one scene where she gets to do something in playing it in a pretty unfussy way of just kind of laying out the truth of the whole relationship pretty effectively. Although I'll admit I did not know it was her until having looked her after seeing her in Eileen and Birth/Rebirth.
Louis: Rating and thoughts on Mirren in Golda.
Louis: Could I have your thoughts on these scenes/songs from Barfi?
'Ala Barfi'/Opening
'Main Kya Karoon'
Meeting the fiancé
For Lead I have Wright,Cooper,Giamatti,Scott and Murphy and Mulligan,Stone,Robbie,Gladstone,Portman
For supporting Sessa,Downey Jr,De Niro,Gosling and Ruffalo and Foster,Moore,Brooks,Randolph,Ferrara
I've left Dicaprio as he has been rewarded enough and his character is unlikeable and he's just not as good as he's been in other things
Domingo his film has no buzz
Melton I feel is going to Dennis Quiad himself into a snub
Dafoe Poor Things maybe too strange for 2 noms and how can you nominate Willem again and have him go home a loser
McAdams great in the film but a critics thing
Pike films not taking off same for Barry
Huller and Lee high profile snubs
Brown too small a role and he's ok not worthy
Blunt another snub and her character makes not enough sense,needed to cut her distracting scenes back or flesh them out to make her 3 dimensional.
Luke:
Mirren - 3.5(Pretty standard work from her. She brings enough presence and emotional gravity to it all, but it only feels like enough. You never feel you sense her Meir past a vague representation. And there seems like we should know more so much more than just a generalized "strong woman" leader in the character, but that's all she is here, creating a fairly limited performance.)
Tahmeed:
A charming that has really very much a true theme song quality to it particularly within the repeated lyrics, that brings this sort of simple though sweet silliness to it that is fitting to the character. And all well realized with a nice bit of additional instrumentation and particularly the extra percussive voices. The opening being effective in just setting up the simple charms of the character as the silent hero who like Chaplin who has his own physical manner and tendency to be in atypical places and move in atypical ways.
Main Kay Karoon I find pleasant enough as almost a Latin pop quality to it, in the very easy going lyrics, and the perhaps even softer instrumentation choices, it doesn't exactly go anywhere in terms of build, but it is very pleasant in its calm repetition.
An affecting scene, that I like it doesn't put the fiancee there to be some obvious jerk, rather it is quite moving still just that it is still hard, even harder when it isn't some villain. And I like the moment of the "comical" door hit, where suddenly it isn't funny his hi-jinks, rather we see how sorrowful of a position he's in, and he's particularly effective in the moment of just signing his dismay, which is simply yet incredibly poignant.
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