Best Scene: Discovering that Ruby exists.
4. Laurence Fishburne in Deep Cover - Fishburne gives a compelling portrayal of the duality of an undercover cop, and where the life takes him.
Best Scene: Killing the rival dealer.
3. Leland Orser in Faults - Orser gives a captivating portrayal of a man completely on the edge and just barely keeping it together within a most unlikely task.
Best Scene: His conditioning.
2. Utpal Dutt in Agantuk - Dutt gives a wonderful performance that manages to bring such a warm familiarity while playing around with the character's unusual philosophy.
Best Scene: Second interrogation.
1. Eric Bogosian in Talk Radio - Bogosian gives great portrayal of the shades of the man who is filled with all his desperation and ambition just below the shock jock personality, and he's downright amazing in every moment as the shock jock who both thrives and is disgusted by his world of nihilism.
Best Scene: Final screed.
83 comments:
Louis: Thoughts on this track from The New World.
youtube.com/watch?v=a-Q9xHVOpSI&pp=ygUndGhlIG5ldyB3b3JsZCBwb2NhaG9udGFzIGFuZCBqb2huIHNtaXRo
Louis: As Luke asked earlier, have you finished any of the TV recommendations?
Also, your thoughts on the "House of the Rising Sun" montage and Ace's final speech in Casino?
Louis: Thoughts on the Film Editing of Star Wars and The Empire Strikes Back.
Confession: I saw Poor Things and really liked it. Stone is amazing. However, I wanted Gladstone to win Oscar for two reasons:
- Stone already has her Oscar which I think she won for a wrong film and also she wasn't better than Huppert, Neega or Portman.
- What I fear most is that Gladstone will no longer be able to avenge his career after KOTFM. Furthermore, The Academy has promised to promote more diversity, so this is the time.
Louis: How are you feeling about the Oscar nominations at the moment? its looking very unpredictable at the moment compared to previous years.
Colman Domingo has GG, Sag, CC and Bafta, and yet... I still don't think he will get the Oscar nomination, I just have this feeling that he misses, I can't see him getting enough passionate votes.
RatedRStar: I'm in the exact same boat. Problem is, if not him, who? I don't feel like there's an obvious 6th guy to take his spot.
Last year Paul Mescal made sense, the year before that it was Bardem, but every other option this year comes with this big asterisk.
- DiCaprio is losing momentum, and might prove too unlikable of a character
- Scott really needed the BAFTA nod
- Teo-Yoo might be too little too late
- same with Keoghan, and his movie has proven to be too divisive perhaps
Am I just overthinking it?
The Goes Wrong Show I found one episode amusing enough, then watched another immediately and found it far less amusing, but I think the nature of the repeated style of gag might make far more spaced out viewing far more appropriate. So I'll probably watch more eventually.
Luke:
Gorgeous piece that is Horner doing what he did best which is this wonderment via rich orchestral swells. That is the instance here in bringing that romantic sweeping quality, though mixed in, with what is always my favorite thing he does is when he has a singular instrument take the melody for a moment that just seems to amplify the rest of the more grandiose piece all the more. A beautiful piece that can stand with his best.
Tony:
Trust me, I'll let you guy know when I do.
If there was no Goodfellas I might like the montage more, then again when Scorsese did a similar thing though more overtly comedic with Wolf I did, so maybe just is Casino. Anyway, I think the montage of murder is fine as it is, but it's not Layla.
Again Ace's Final speech is no Henry's final speech or Jordan's for that matter, though it's fine speech of resignation of just going to his initial standard job in the mafia.
Louis: I knew you would grow tired of the The Goes Wrong Show, I actually would rather see a documentary involving the main cast, who apparently are all friends in creating this group, that could work well.
RatedRStar:
I feel we are bound a few surprises, again think Hirsch, Henry, Riseborough, Triangle of Sadness, to a lesser extent Mescal last year. We're going to have them, it just hard to ever figure it out. But again with the merger of SAG/Aftra and BAFTA switching to the partial jury system, precursors don't catch everything anymore. So the surprises are there. And I should say I'm still predicting Scott, NGNG, because he can pull a Willem Dafoe At Eternity's Gate who only had a Golden Globe nod like Scott.
Louis: I still cannot believe Scott didn't get Bafta, its insane, everybody seems to be talking about Saltburn yet I can't see Barry getting in..imagine his Oscar clip, Leo usually gets his supporting perfomers in, what if this time, Lily Gladstone gets Leo into the lineup just from default votes.
I still don't know what to do about Willem Dafoe and Mark Ruffalo, I can't imagine both of them missing, but yet... surely they can't both miss.
Louis: The Pilot is their worst episode, it picks up with the others. Also, I recommend watching Peter Pan Goes Wrong for reference on the characters.
Louis: So are you still predicting that it'll be Wright who'll miss in favour of Scott, in that case?
Also, your thoughts on the Frasier eps Author Author, Give Him the Chair, Death Becomes Him, Beloved Infidel, and Here's Looking at You.
I'm predicting Wright and Domingo, hard to doubt the latter when he has all the momentum and a strong body of work with The Color Purple as well this year.
Also giving up hope on a surprise Melton nomination as I realized that unlike Brian Tyree Henry or Mescal last year, he doesn't have anything close to the same resume/pedigree which I think could have played a significant role for voters.
Louis: Ratings and thoughts on the cast of About Dry Grasses.
Robert:
Due to the way the episodes are ordered on Tubi, I saw the Lodge first which I enjoyed and it was actually the Pilot which was the episode that wasn't doing it for me.
Tony:
No, Domingo just based on the fact that he'll be going solo with his film, where American Fiction will probably have 2 other nominations.
Author Author is classic Niles v. Frasier work, and I just love everything in the two as they attempt to write where their pettiness against each other quickly grows from more witty insults to kid brothers just physically taunting each other. And the final moment of Martin setting the boys straight is just a great scene for him, particularly with the hilarious subversion of it at the end.
Give Me the Chair, well Niles testing the chair itself is already enough for watching the episode. But fun hijinks with Frasier needed to get the chair back via the school play, and again enough of an emotional crux in showing what the chair means to Martin.
Death Becomes Him, I think is just fine, though I'll admit specific neurosis episodes of Frasier aren't typically my favorite because they tend to get too insular where I care more about when the characters are bouncing off each other, though I do think it's fine overall.
Beloved Infidel largely works because of the final conversation where Martin and Frasier turn the hostilities to genuine bonding in each of their betrayals by their wives, though added bit of comedy still with Martin's shock at the concept with Lilith.
Here's Looking At You are recall being mildly amusing though not much more about it than that.
Anonymous:
Celiloğlu - 4(His character is designed to be more than a little frustrating in his sort of careless indifference and his moments of bitterness. I think Celiloğlu's perferfectly certainly delivers as much as he needs to in granting you a sense of who this guy is who is wrapped in himself to the point that he is fairly careless in his treatment of others. Celiloğlu's performance is largely specific to a tone that denotes this sort of self-isolation, even when interacting with others, granting a sense of the man consistently even if I don't exactly love spending time with the man. While also being convincing in the few scenes which do take him out of his comfort, such as his scene of extreme discomfort when hearing of the accusations against him, even though these moments are the exception.)
Ekici - 3.5(I find his character really in the end has little purpose, particularly in the fact that his character is also accused however little is done with that, though he too effectively portrays the frustration of the character. His performance though is mostly just in contrast as the man who is less inside his own head and brings a slight bit of contrasting levity in his manner. And he's also good, even if it truly goes nowhere, in his portrayal of the silent jealousy of one scene.)
Dizdar - 5(Easily the best part of the film and certainly an inspired win by CANNES, given she's not the focus of the film even as a supporting character until much later. Regardless though found her earliest scenes, which structurally are odd in just random placements of the two talking to her on random topics. Dizdar brings so much though even in the earlier less emotional conversations in speaking to the different complications of her life and her views on the society in general. And Dizdar manages to balance a sense of naturalism within this with a striking sense of the subdued emotional distress her character is going through given her situation of severe injury from a terrorist attack. And what her performance does is naturally grow each time in emotional connection, though it ends up being more so attempted emotional connection between each conversation with the two men. And the way Dizdar sort of touches the waters in each conversation of trying to create some kind of connection is just wonderful work as you see her timidness mixed in with more overt insistence, in the few moments where I thought the emotions of the film truly came to life. And where the complications then arise between the position of the love triangle the film eventually decides to briefly touch upon, even with my slightly dismissive statement there, I did find that what Dizdar did with every moment of this was absolutely wonderful. As you see in her quiet work that becomes more overtly emotional the sort of sense of risk taking in trying to open up herself, then also the almost immediate regret in what happens when she makes such a choice, and creates such a captivating character.... to the point I wish the film had just been about her.)
Hello Louis and folks!
It's time. Let's talk about our final Oscar nominee predictions this Tuesday. I don't talk about the categories of short films and documentaries because I don't have much knowledge. Given the warning, I'll talk about my final bets:
SONG
“I'm Just Ken” - Barbie
"What Was I Made For?" - Barbie
“Keep It Movin" - The Color Purple
“Road to Freedom” - Rustin
“Flamin’ Hot” - The Fire Inside (I much prefer Jack Black to be nominated than Diane Warren)
SCORE
The Boy and the Heron
Killers of the Flower Moon
Oppenheimer
Poor Things
The Zone of Interest
SOUND
Killers of the Flower Moon
Ferrari
Maestro
Oppenheimer
The Zone of Interest
EDITING
Anatomy of a Fall
Barbie
Killers of the Flower Moon
Oppenheimer
Poor Things
VISUAL EFFECTS
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible – Dead Reckoning Part One
Poor Things
Society of the Snow
MAKEUP AND HAIR STYLIST
Killers of the Flower Moon
Maestro
Oppenheimer
Poor Things
Society of the Snow
COSTUME DESIGN
Barbie
The Color Purple
Killers of the Flower Moon
Napoleon
Poor Things
PRODUCTION DESIGN
Barbie
The Color Purple
Killers of the Flower Moon
Oppenheimer
Poor Things
CINEMATOGRAPHY
Killers of the Flower Moon
Oppenheimer
Maestro
Poor Things
The Zone of Interest
INTERNATIONAL FEATURE
Fallen Leaves - Finland
Perfect Days - Japan
Society of the Snow - Spain
The Teachers’ Lounge - Germany
The Zone of Interest - United Kingdom
ANIMATED FEATURE
The Boy and the Heron
Elemental
Nimona
Spider-Man: Across the Spider-Verse
Teenage Mutant Ninja Turtles: Mutant Mayhem
ADAPTED SCREENPLAY
American Fiction
Barbie
Killers of the Flower Moon
Oppenheimer
Poor Things
ORIGINAL SCREENPLAY
Anatomy of a Fall
The Holdovers
Maestro
May December
Past Lives
SUPPORTING ACTRESS
Emily Blunt – Oppenheimer
Danielle Brooks – The Color Purple
Jodie Foster – Nyad
Julianne Moore – May December
Da'Vine Joy Randolph – The Holdovers
SUPPORTING ACTOR
Sterling K. Brown – American Fiction
Robert De Niro – Killers of the Flower Moon
Robert Downey Jr – Oppenheimer
Ryan Gosling – Barbie
Mark Ruffalo – Poor Things
LEAD ACTRESS
Lily Gladstone – Killers of the Flower Moon
Sandra Hüller – Anatomy of a Fall
Margot Robbie – Barbie
Carey Mulligan – Maestro
Emma Stone – Poor Things
LEAD ACTOR
Bradley Cooper – Maestro
Leonardo DiCaprio – Killers of the Flower Moon
Paul Giamatti – The Holdovers
Cillian Murphy – Oppenheimer
Jeffrey Wright – American Fiction
DIRECTOR
Greta Gerwig – Barbie
Martin Scorsese – Killers of the Flower Moon
Christopher Nolan – Oppenheimer
Yorgos Lanthimos – Poor Things
Jonathan Glazer – The Zone of Interest
PICTURE
Barbie
Killers of the Flower Moon
Oppenheimer
Poor Things
The Zone of Interest
American Fiction
Anatomy of a Fall
The Holdovers
Maestro
Past Lives
I finally caught up with Poor Things. It was wonderfully insane and hilarious in every way and I loved how at times it came off as a mad scientist film to end all mad scientist films.
Stone-5
Ruffalo-4.5
Dafoe-4.5
Youssef-4
Abbott-4
Hunter-3.5
Carmichael-3
Schygulla-3
Qualley-3
Sad you didn't love About Dry Grasses, but delighted to see Dizdar get a 5. One of the most overlooked performances this awards season.
Jonathan Williams:
The editing of the original Star Wars is often touted as having saved the film, though I think that's a slight overstatement in that every film goes through this process, some more than others, regardless, just like with almost all films, editing is essential. But, even forgetting specific editing of increasing the pace of the early scenes, and making the Death Star sequence one attack only, the editing itself helped to redefine editing of films towards really the modern expectation for big budget films especially. Jaws I'd say is more so a mix between styles, where Star Wars is the new thing, regardless of the Kurosawa call back wipe. But in terms of the editing that is essentially a constant in the pace of each sequence, with each moment jumping ahead, and frequently moving the piece forward in this really specified momentum based pace, and did so brilliantly. Particularly if you take the final sequence in particular, which you'd never guess was refashioned in the way it was, but also just how every second counts, every cut counts, and you are never for a moment lost despite the amount of cuts involved. And this is a major change in this style, that I would say would be refined again just a bit more with Raiders of the Lost Ark.
Empire's interesting in that you could argue in some respects the editing takes a step back, not in terms of quality mind you, but in the pacing of the piece, which is slower than the original film, and there are moments where there are specific long sequences for the sake of the atmosphere that Kershner is developing. Like the confrontation between Luke and Vader which has specific moments without a lot of cuts away to really build the dread within the confrontation. Or even just the scenes with Yoda that make you feel within that swamp. Of course there is quicker cutting, cohesively done, in Asteroid chase, the battle in the snow, what have you, and again its excellent work in that regard, where there is still that forward momentum, particularly within the cuts between the different groups, however it is tempered a bit from the original. And I wouldn't say better or worse, rather it is stylically appropriate for the moodier film.
Louis: Since you've said you think the top 3 are Giamatti, Murphy, and Cooper, and you're predicting both Wright and Scott... what makes you predict a DiCaprio snub?
Tony:
Really Gladstone (which means she was at best #4 there)/Screenplay missing at BAFTA shows weakness for the film, where it could be losing momentum at the wrong time. So there's no reason to believe it will overperform at Oscar, which would be the case if DiCaprio were to get in.
And missing SAG, when the film hit ensemble, says a lot about his support, and really SAG typically likes DiCaprio (he got in for J. Edgar, The Departed) so it wasn't any bias against him, he did miss for Wolf but that was very likely due to that film's very late release, and SAG nominations were earlier that year. Bale (American Hustle) and Terence Howard did recover from the ensemble nom/individual snub combination in lead actor, but in both those instances their films were on an upswing towards nominations, which that isn't necessarily the case for Killers. I do think he can still get the nomination, but it's very easy to envision him missing.
RatedRStar: To me, it's not that I think Domingo's performance won't incite passion so much as there just isn't that much buzz over Rustin - and as Louis pointed out, he's the sole contender from his film. (I'll add, though, that while I'm not predicting him at the moment, I suspect he may have a better shot than Scott.)
Pretty likely to me that Dafoe and Ruffalo will both be nominated, given that we've seen double nominees from the same film happen in their category more recently.
Ruffalo/Dafoe could definitely happen, and they'd both be deserving, but every time the double nomination thing happened (bar Judas), it was for the film that arguably had the most passion behind it in the run-up to the nominations. I also think that if voters want to go for a passion pick outside of Downey/Gosling/De Niro, Dafoe's performance might appeal to them more.
I want to go with Dafoe & Ruffalo too, but i'd feel safer about it if we had been seeing more equal love for both performances rather than having one miss out at times (think Gleeson & Keoghan as opposed to Dano & Hirsch last year).
I also just think that Ruffalo having the showier role might be what gets him ahead in the race. While I wouldn't want voters to forget Dafoe, I could easily see it happen.
I do think that Dafoe and Ruffalo is the most plausible prediction at the end of the day, but I'm not convinced for one reason or the other.
Louis: Ratings and thoughts on the cast and category placement for Jeon Yeo-been in Cobweb.
Louis: Did you catch Cobweb on theaters or streaming?
Emi Grant:
I have friend in South Korea that provided me a link for both this is Concrete Utopia.
Luke:
Song - 4.5(I mean as to be expected brings a real energy to the part as the director who just knows he has that masterpiece this time around. And Song brings this sort of particular conviction in his performance, where he doesn't sell this idea to others rather you just sense it as this idea in his eyes of a man who is just sure about it, this time around. And on the set, he's kind of where some of us have been as the sane one trying to hold things together, at least it seems that way, as Song brings this slightly manic intensity that at the same time manages to convey both certainty and anxiety at the same time as a man who's sure but at the same time isn't quite sure he's sure. I especially enjoyed his moment of acting in the part where Song gets to have fun both in playing a different type quickly but also this over sense of self-satisfaction when he thinks he's done things in such an amazing way.)
Im - 3.5(She's good overall though she really makes more of an impact in the movie within a movie scenes where she brings this sort of driven bitterness, though stylized in a particular way, as the woman with this specific intention while also presenting this battered state of someone who believes she's been through too much.)
Oh - 3.5(He's enjoyable in this sort of hapless manner he has in his few moments particularly in his reactions around his younger pretty co-star where his manner is so overtly protective and really needy at the same time.)
Jeon - 5(Always love a surprise like this not only in performer, but also I just did not expect this character in the film at all. And I love basically everything she does here, and in the first act where I thought the film itself was a bit shakier, anytime she showed up she instantly kept me engaged. One in first just showing this sort of youthful mania at the idea of the masterpiece and the intensity of her passion that differs from Song, Song's being this sort of measured belief, where Jeon brings that of a younger fantastical belief that the masterpiece is simply a fact. And I love the moments of her then bringing that, hilariously, to her then proceeding to viciously attack anyone in the way especially as she takes on Krystal Jung's young prima donna. But on top of that you get the scene of her schmoozing the censor member where she brings out such manipulative charm suddenly while also this earthy kind of mischievousness. But if that were not enough we then get her attempt to take over Jung's part, where she is hilarious in both her conviction that she'll be great, and then is amazing in her bad acting both in terms of her physical ridiculousness and her crazed line deliveries. But then she topped off for me in every one of her reactions throughout the climax where she technically does less, but every time it cut to her I found absolutely comic gold again as she comes to realize she might be accidentally murdering someone. Loved every moment of this performance. And she's supporting by the way.)
Jung - 4.5(Wonderfully self-absorbed work off camera where she brings just this dismissive quality that permeates through every scene she's in, combined with a the constant accentuation of her own needs at every turn. She's wonderfully impossible in the right way. While also being quite splendid in her scene of playing the part of the unexpected femme fatale against the femme fatale, bringing first the right half-heartedness then also almost too much conviction in playing the different facets of the role, even though we only see bits of it.)
Jang - 4(Loved her as soon as she came in with such sudden force of presence, though then wonderfully subverted that when becoming the constant people pleaser that puts the positive spin on everything when the next person up shows up. Enjoyed her reactions and just her constant hilarious timing of sprinkling gold on even some of the trash of the shoot.)
Jung - 4(Excellent cameo appearance as brings kind of the conviction and power of personality that Song purposefully does not here, just commanding the whole film in just a few scenes. A command though that denotes this sort of own mad passion but more than anything this confident sense of his own questioned brilliance.)
Fuming with envy right now, ngl.
Concrete Utopia might make it to my theathers, though. So, I'm holding out hope still.
Louis: Given your opinion of Clooney's previous films, would I be right to suspect that you didn't see The Boys in the Boat on your own volition?
Also, has there been any other notable changes you've made to your Oscar predictions?
Tony:
Well to be fair, I am a fan of Good Night and Good Luck, but no, that was not a case of me seeking out the film.
Only the categories I'm changing since my predictions on the first.
Picture: PGA Ten...though will be annoyed if Strangers surprises.
Actress: Gladstone/Stone/Mulligan/Huller/Robbie
Supporting Actor (this one's killing me): RRR/Ruffalo/Sessa
Adapted Screenplay: Oppenheimer/Poor Things/Killers of the Flower Moon/Barbie/American Fiction
Original Screenplay: The Holdovers/Anatomy of a Fall/Past Lives/Maestro/Air (And I can't believe it but I'm hoping Air gets in over Saltburn...please let a foreign contender surprise.)
Costume Design:
Barbie/Poor Things/Killers of the Flower Moon/Oppenheimer/Napoleon
Makeup & Hairstyling:
Maestro/Poor Things/Oppenheimer/Golda/Society of Snow
PD:
Poor Things/Barbie/Oppenheimer/Killers of the Flower Moon/The Zone of Interest
Score:
Oppenheimer/Poor Things/Killers of the Flower Moon/Spider-Man: Across the Spider-Verse/Society of Snow
Sound: Oppenheimer/Maestro/Killers of the Flower Moon/Ferrari/The Zone of Interest
VFX:
Guardians of the Galaxy Vol. 3/Poor Things/The Creator/Godzilla Minus One/Society of Snow
And because I won't be able to see The Zone of Interest until after Oscar nominations, without further adieu my top ten is up.
Awesome to see The Killer in the Top 5. May have completely forgotten about Close Your Eyes. Adding it to my watchlist.
Louis: If all goes accordingly, this year's BP lineup will have 6 (maybe 7) films from your top 25.
Louis: Could Past Lives go up to a 5 on rewatch for you?
Louis: Has the comparatively unpredictable nature of this awards season made it more fun for you this time around?
Calvin:
It's definitely a good year for me in that regard.
Tahmeed:
I won't say it's impossible.
Marcus:
Yes, also helps that for me there is a relatively limited amount of sour apples in contention.
Random question here, and this may only apply to people who've played/heard of the game.....
Who would you cast as Josh (Rami Malek's character) in a live action adaptation of "Until Dawn"?
I have what I believe is a solid choice - Barry Keoghan. Unconventional look - check. History of playing socially awkward and/or mentally stunted characters - check. Ability to be charming and quietly sympathetic, only to turn on a dime and be remarkably offputting - hard check.
Mitchell: I mean, why not just get Rami Malek? They're using his likeness for the game anyway.
Matt: I mean, that would be the obvious choice and the safe bet for sure.
I mostly proposed that if they wanted to get someone else, if they made the movie now, and based on who in modern films has played similar characters. I'd also point out - Rami is 42, and Josh is written as someone in their late teens. That's an easier bridge in VA/motion capture performance than in live action, and Barry is physically/visably closer to that age anyways (31).
Mitchell: OK, I gotcha
Louis: Are you ready to give thoughts on the cast of Close Your Eyes.
Louis, your lowest 4.5 in the 2023 ranking.
LOVE to see The Holdovers in the top 5 and All of Us Strangers in the top 10, hoping it creeps a little higher on rewatch!
KOTFM not being on Louis' top 10 is... intriguing. Certainly changes some expectations for his final performance rankings going forward.
Louis: Have you read much Calvin & Hobbes, and if so, how would you see an animated film adaptation of it working (setting aside Watterson's aversion to the idea).
Tony: I think it's now clear that DiCaprio was very detrimental to the overall impact of the film.
Prediction for Louis' top 10 in Lead Actor and Supporting Actor
1. Murphy
2. Giamatti
3. Yakusho
4. Scott
5. Yoo
6. Howerton
7. Efron
8. Melton
9. Sessa
10. Fassbender
1. Downey Jr.
2. Ruffalo
3. De Niro
4. Gosling
5. Clarke
6. Machado-Graner
7. Dafoe
8. Mescal
9. Bell
10. Whishaw
Luke, who do you predict getting a five in both categories.
Lead
Howerton
Yoo
Murphy
Giamatti
Sessa
Fassbender
Sarsgaard
Melton
Efron
Scott
Kurokawa
Mikkelsen
Yakusho
Supporting
Downey Jr.
Gosling
De Niro
Ruffalo
Dafoe
Mescal
Bell
And maybe Cage.
A late recomendation: Alastair Sim in The Belles of St. Trinian's
GM: if i were you i'd write that under the actual recommendations-post
Louis: I've noticed you upgraded Tom Wilkinson in The Patriot. Any thoughts.
Has anyone here seen The Pope's Exorcist or Confidential Informant? Beacuse at first glance Russell Crowe and Mel Gibson receiving Golden Raspberry nominations for appearing in these feels like an act of malice rather than actual acknowledgement of bad performances.
Luke:
I mean it still hasn't gotten a proper wide release yet, so I'd rather wait and encourage anyone to go see it when they have a chance. And given mystery is a big part of the film I'd rather keep that, even if it isn't on most "must sees" lists it should be. I'd even say if one didn't love Erice's previous two films, definitely watch it, as it is very much its own thing, even if many of the qualities of those films is still present.
Tony:
I haven't.
Luke:
Just felt a little low as I've always loved particular line deliveries from him, "this ends today" "You dream General", "Everything has changed" and especially "Damn him, damn that man".
Louis: Are you gonna upgrade him for Shakespeare In Love. He's easily my favourite part of the film.
He's my favorite part of the film already as well, and could perhaps go up a little higher.
Ytrewq: i mean, isn't that kind of their modus operandi when it comes to Mel?
The Globes are gonna have the best nominations of this season, aren't they?
Tim: I'm aware of that and at this point I'm eager to know if at least one of his Razzie-nominated performances actually deserves to be called awful.
This year the only performance I'd 100% nominate for this "award" would be Matthew Lillard in Five Nights at Freddy's, beacuse it proved that casting him in psychopath roles is a major gamble.
Louis: Your thoughts on these Simpsons episodes?
Itchy & Scratchy & Marge
Marge in Chains
Secrets of a Successful Marriage
My Sister, My Sitter
How I Spent My Strummer Vacation
Also, thoughts on the Hit Man trailer.
Rip Norman Jewison
RIP Norman Jewison
RIP Norman Jewison
R.I.P. Norman Jewison
RIP Norman Jewison
RIP Norman Jewison
R.I.P. Norman Jewinson
Louis: Ratings and thoughts on the cast of Flora And Son.
Just got out of an early screening for The Zone Of Interest. I am literally speechless right now. Such a masterful, haunting filmmaking achievement in EVERY way.
Christian Friedel - 4.5 (leaning close to a 5)
Sandra Hüller - 5
R.I.P. Norman Jewison
Tony:
Itchy & Scratchy & Marge - (Finding its footing still a bit in terms of humor development but the stories are getting tighter. And there are some good bits such as the particularly faithful recreation of the Psycho shower scene and the overly beatific play of the children when Itchy & Scratchy get sanitized. But overall the story is well told as parental concern and just how far that goes, with the slippery slope while also commenting on violence versus nudity.)
Marge in Chains - (Storywise this theoretically is a little weaker, as it doesn't really deal with Marge's stress that leads to the shoplifting, rather it is just one bit of madness after another, and I don't because it is all hilarious. Whether that be the riots over Jimmy Carter, Barney as Homer Simpson, the sick Godzilla for the Osaka Flu, the orange juicer advertisement or my personal favorite of Chief Wiggum firing carelessly into the germ crowd.)
Secrets of a Successful Marriage - (Homer being slow is one of the great opening gags ever particularly Lenny's "Boy you are slow" to "Something said, not good". But then the whole development into the adult education class with my favorite perhaps being Homer's interview for the job particularly his claim on butter "No you can't Mr. Simpson no one can". Then it rearranges itself though effectively into honest drama, while being funny, with Homer trying to win Marge back, and Moe's awkward attempt at courting may be my favorite bit, particularly with his fear.)
My Sister My Sitter - (B-story is very weak, and A-story isn't great, because it really is just one setup of Bart being a burden on Lisa's attempt at babysitting, where there's a few decent bits but I find it runs out of gas more than a bit. Do love Snake's excuse for bullet wounds though.)
How I Spent My Strummer Vacation - (Don't recall the episode very much, other than not liking it...though alas poor cell animation we knew thee well...and should've always knew thee)
Hitman looks charming enough from that quick bit, and seems a role suited for Powell's innate overconfident presence.
Luke:
Hewson - 4(I think the film doesn't really quite deal with some of the theoretically darker elements of the character as Wild Rose did, but I must give it to Hewson for really selling every moment regardless. And I think some of the overtly comedic moments occasionally undercut her character a bit but Hewson overcomes it with her charm that is substantial. And otherwise, as limited as it is at times script wise, she does find some nuance in the sense of desire for something more and the passion for music that slowly develops over time.)
Reynor - 3.5(Effective enough as the nothing dad, with some decent comedic moments in overplaying the character's own confidence and again the dramatic elements aren't fully fleshed out though I think he's fine in those moments.)
Kinlan - 3(I think he is probably hurt the most by the dramatic moments, as it doesn't really deal with the character's juvenile crimes all that much, but I did like his chemistry with Hewson when they are doing the bonding scenes.)
Gordon-Levitt - 3.5(As Joseph Gordon-Levitt? Perhaps a little bit, but I think his general presence and low key charm work here, bringing a nice enough quiet passion about him. Forced to labor the point, but again I think the character's personal flaw isn't really given the time, but regardless made up for by just how natural he and Hewson were together.)
R.I.P. Norman Jewison
Louis, ratings and thoughts on the cast of Nimona.
Louis: Your general thoughts on Norman Jewison (RIP) as a filmmaker?
So, idk if we do this anymore, but I'm leaving my predictions anyway. Apologies for the huge comment.
Best Picture:
1. Oppenheimer
2. Killers of The Flower Moon
3. Barbie
4. Poor Things
5. The Holdovers
6. Maestro
7. Anatomy of a Fall
8. American Fiction
9. Past Lives
10. Zone of Interest
Best Director:
1. Christopher Nolan - Oppenheimer
2. Martin Scorsese - Killers of The Flower Moon
3. Yorgos Lanthimos - Poor Things
4. Jonathan Glazer - The Zone of Interest
5. Alexander Payne - The Holdovers
Best Actor:
1. Cillian Murphy - Oppenheimer
2. Paul Giamatti - The Holdovers
3. Bradley Cooper - Maestro
4. Jeffrey Wright - American Fiction
5. Colman Domingo - Rustin
Best Actress:
1. Emma Stone - Poor Things
2. Lily Gladstone - KOTFM
3. Sandra Huller - Anatomy of a Fall
4. Margot Robbie - Barbie
5. Greta Lee - Past Lives
Best Supporting Actor:
1. Robert Downey Jr. - Oppenheimer
2. Ryan Gosling - Barbie
3. Robert DeNiro - KOTFM
4. Mark Ruffalo - Poor Things
5. Dominic Sessa - The Holdovers
Best Supporting Actress:
1. Da'Vine Joy Randolph - The Holdovers
2. Emily Blunt - Oppenheimer
3. Julianne Moore - May December
4. Jodie Foster - Nyad
5. Sandra Huller - The Zone of Interest
Best Adapted Screenplay:
1. Oppenheimer
2. KOTFM
3. Poor Things
4. Barbie
5. American Fiction
Best Original Screenplay:
1. The Holdovers
2. Past Lives
3. Anatomy of a Fall
4. Maestro
5. May December
Best Cinematography:
1. Hoyte van Hoytema - Oppenheimer
2. Robbie Ryan - Poor Things
3. Rodrigo Prieto - KOTFM
4. Matthew Libatique - Maestro
5. Lukasz Sal - The Zone of Interest
Best Animated Feature:
1. The Boy and The Heron
2. Spiderman: Across The Spiderverse
3. Elemental
4. Suzume
5. Chicken Run: Dawn of The Nugget
Best International Feature:
1. The Zone of Interest
2. Society of The Snow
3. The Taste of Things
4. 20 Days in Mariupol
5. Fallen Leaves
Best Editing:
1. Oppenheimer
2. Killers of The Flower Moon
3. Poor Things
4. The Holdovers
5. Anatomy of a Fall
Best Original Score:
1. Oppenheimer
2. Killers of The Flower Moon
3. Spiderman: Across The Spiderverse
4. Poor Things
5. The Zone of Interest
Best Original Song:
1. I'm Just Ken (Barbie)
2. What Was I Made For? (Barbie)
3. Dear Alien Who Art In Heaven (Asteroid City)
4. Road To Freedom (Rustin)
5. The Fire Inside (Flamin' Hot)
Best Production Design:
1. Barbie
2. Poor Things
3. Killers of The Flower Moon
4. Oppenheimer
5. The Zone of Interest
Best Costume Design:
1. Poor Things
2. Barbie
3. Oppenheimer
4. Napoleon
5. Wonka
Best Make-up & Hair-Styling:
1. Poor Things
2. Barbie
3. Maestro
4. Oppenheimer
5. Ferrari
Best Visual Effects:
1. Guardians of The Galaxy Vol. 3
2. Godzilla Minus One
3. Napoleon
4. The Creator
5. Poor Things
Best Sound:
1. Oppenheimer
2. Ferrari
3. Napoleon
4. Maestro
5. Killers of The Flower Moon
Best Documentary:
1. 20 Days in Mariupol
2. Still: A Michael J. Fox Movie
3. American Symphony
4. Eternal Memory
5. Beyond Utopia
Best Documentary Short:
1. The ABCs of Book Burning
2. Barber of Little Rock
3. Nai Nai & Wai Po
4. The Last Song From Kabul
5. The Last Repair Shop
Best Live-Action Short Film:
1. The Anne Franke Gift Shop
2. Invisible Border
3. The One Note Man
4. Avocado Pit
5. The Wonderful Story of Henry Sugar
Best Animated Short:
1. Once Upon a Studio
2. Humo
3. Ninety Five Senses
4. Eeva
5. Letter to a Pig
RIP Norman Jewison
One of Hollywood's last veterans.
Anonymous:
Found Ahmed brought a little more life to it, but overall thought he was just fine. The supporting performances I found all pretty forgettable though not bad. Moretz is the best part vocally, in that she does disappear into the character, even if I didn't find the humor she was trying to sell in the first half all that funny, and shifts to the dramatic with some emotional nuance. Not amazing work by any means but good work.
Tony:
Ask again when my typical pacing slows down again.
No Killers of The Flower Moon in screenplay
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