Bob Hoskins did not receive an Oscar nomination for portraying Alan Darcy in TwentyFourSeven.
The great Bob Hoskins plays the local man with the dream, which this film doesn't depict in the way you'd expect for your typical sports drama, as it very much has this wavering focus to the film, randomly taking time with different members of the community to attempt to create an overall portrait of the town. Hoskins *is* the lead however this is an instance where he's the lead with relatively limited screen time, as someone the film always comes back to as the driving force, but frequently cuts from to check what that impact is in various ways. Hoskins thrives right into this role as Alan who as a character looks and perhaps, given his love of Rocky, envisions himself as a bit of a Mickey from Rocky. From wearing his cap to just his hardscrabble manner Hoskins very much presents himself as a man almost living his life to be Mickey. Something that is indirectly commented on by his enthusiasm in which he states that Stallone definitely ate all the eggs in Rocky regardless or not it was a film. Hoskins carries an endearing energy here in this rough and tumble way, which like all his best work does carry such a powerful presence. A presence here that is used for rather different ends, as the intention of ole Alan at this point is just to try to make his town a better place.
Hosking brings this positivity then in a way that feels very much earned, just because there is just a rough truth to the way he speaks, even as Hoskins basically gives every statement this innate silver lining to make it sparkle just that much more. In a way that manages to make the inspiration that much more honest, seeming because of the grizzled messenger yet very passionate one. A passion he brings so potently where he sells his idea two different ways each though presented with a different accentuation with his performance. When selling it to the town officials Hoskins brings such a bright optimism to his expression and his voice of someone selling this idealized virtue of what can be accomplished. While there is no lie in anything Hoskins is doing, just a true belief that his boxing club will change lives. When coming across the boys by challenging them to a bet match to get them to go to his club, Hoskins presents himself with the same passion but now accentuating the rough, tumble and blunt nature of the man. Alan very much uses his background to communicate with the boys and get down to the core of it to persuade them through his own knowledge of lives like theirs.
The film then progresses as an inspirational sports story which far more asides to check in with the different random people the story is impacting. All of which we see Alan/Hoskins as this hopeful guide. Hoskins is beaming in every one of the different training sequences where he brings this easy combination of intensity for getting the young men ready for the sport, with this joyful manner of someone truly having pride in this experience. Hoskins makes it believable about this positive impact that it is all making because he offers such sincerity as the spokesman where it isn't just the sport, it is everything that it can offer. Hoskins sinks his teeth into every second and it is easy to experience the joy of performance within what he is doing by cultivating that joy into every single second of screen time we share with him. Hoskins makes it difficult not to get a little yourself watching him because Hoskins so effectively and effortlessly brings to life the spirit behind the whole notion of the film. There's not a forced second or instance in any of it, it is merely the truth of what Alan is establishing because Hoskins makes it all so absolutely genuine while also just being wholly captivating in that way which is so specifically that idiosyncratic presence of Hoskins.
The story mostly moves along as expected as it seems to be working, the team seems to be getting better, Alan is helping the young men work out the rough patches, group together as a community and grow even a few setbacks. At the same time this progress is marked with conversations with a local woman where Hoskins carries in part the excitement about the team with different updates where in Hoskins carries the right tinge of awkwardness as he alludes to his infatuation with her even as he keeps it to the updates. Eventually leading to asking her out slightly indirectly with a drink where Hoskins is great in the sudden nervousness in the usual confidence Alan, and Hoskins brings so much anxiety even as he maintains the smile as though he's ready to push the idea aside as just some pipedream. When she agrees though the joy is contagious with Hoskins, though circumstances lead to him not getting to the drink and Alan to apologize for missing it again with the bright delivery that goes away only when she walks away from the conversation. Hoskins is amazing in this scene suddenly as that joy is lost in his face, he starts quietly speaking to himself in mock conversation and just is reeking in the pained vulnerability. Hoskins being absolutely brilliant in the moment in bringing that power to Alan's insecurity, and shows the heart in the rough man that he was always able to excel with as a performer. I would say the film's last act is easily my least favorite part, almost as though to get "cred" by refusing a straightforward happy ending, which I think in this instance would've been fine. Instead we have the first big boxing showcase for the team that goes at first but eventually devolves into violence leading a parent of one of the young men to pester Alan for the "failure" of his idea, leading Alan to mercilessly beat the man. Hoskins entirely carries the scene and is of course convincing in showing the moment of having the match lit. He's even better in the following scene of Alan just sitting in his shame and Hoskins says all the man is going through in regretting what he has done and his dream being crushed as he just looks on silently. It is great work from a great actor, though I don't think it was truly necessary for this story. Regardless even with that element, which is on the film not Hoskins who carries it like he does every other moment, this is terrific work from Hoskins, being an unlikely but convincing inspirational force for good and making the most of every little sliver that lets us in on the man's own insecurities.
105 comments:
Louis: Ratings and thoughts on the cast.
I hope SLC Punk's ending sticks the landing for you because I'm seeing deja vu here after Hurt and Mullan.
Hey guys
Update on my Top 10 prediction of Louis' lead actor in 1998:
1. Lillard or Nolte
3. Norton
4. Mullan
5. Bridges
6. McKellen (Gods and Monsters)
7. Gleeson
8. Hoskins
9. Hurt
10. Lee
It's actually my least favorite performance in both lineups, mostly beacuse I wasn't very passionate about the film itself. Regardless Hoskins was still very good in this and he pretty much carried the whole thing.
Tell what the winners of the 1998 Louis will be.
Picture: The Thin Red Line
Director: Terrence Malick - The Thin Red Line
Actor: ?
Actress: Fernanda Montenegro - Central Station
Supporting Actor: Elias Koteas in The Thin Red Line
Supporting Actress: Isabelle Renauld - Eternity and a Day
Ensemble: The Thin Red Line
Production Design: Pleasantville
Sound Editing: Saving Private Ryan
Sound Mixing: Saving Private Ryan
Score: The Thin Red Line
Editing: Run Lola Run
Visual Effects: Dark City
Costume Design: Velvet Goldmine
Cinematography: The Thin Red Line
Makeup and Hairstyling: Dark City
Original Screenplay: The Truman Show
Adapted Screenplay: The Thin Red Line
Song: "Satrangi Re" - Dil Se
Shaggy: I don't think "I'll Make a Man Out of You" will be topped by any song, it's one of Louis's favorites.
Shaggy: I believe Louis has said McKellen won't be going up for Gods and Monsters.
Louis: Thoughts on these Sopranos scenes?
https://www.youtube.com/watch?v=OrPIO53cWMY
https://www.youtube.com/watch?v=W7Lmj41K9fw
https://www.youtube.com/watch?v=eI9Ful92jI0
Well, SLC Punk stuck the landing for me, and Lillard is a definite 5 in my books.
Matthew Lillard once got choked up when he revisited his big scene in the SLC Punk! in some fan convention. He holds that movie quite close to his heart. Would like to see him win the overall here. Seems likely now.
Louis: Your thoughts on "Book Revue" and "Bugsy and Mugsy".
Louis: Also, you know what I found interesting about the Mainichi Film Awards?
It's how only two Kurosawa movies (Drunken Angel and Stray Dog) won the Best Cinematography award.
Louis: What do you think of Bob Hoskins in these roles?
Al Capone (The Untouchables, supposedly was very close to getting cast)
Gangster 55
Ed Blumquist
Anthony (The Father)
Arthur Hamilton/Old Man (Seconds)
George (Cul-de-Sac)
Larry Gopnik
Luke, what are your Supporting Actor suggestions.
Thin Red Line ensemble
Festen Ensemble
Kiefer Sutherland and William Hurt in Dark City (and a write-up for Rufus Sewell)
Donald Sutherland in Without Limits
Mike Myers in 54
And reviews for:
Tom Wilkinson in Shakespeare In Love
Jeremy Davies in Saving Private Ryan
Ralph Fiennes in The Prince Of Egypt
Luke: Ehhh I don't think Hurt is worth a review.
Louis: I've currently started going through Ozu's filmography, starting from his silent era. What would you say is the ideal starting point for his sound films?
One I want to advocate for is Matt Dillon in Something About Mary.
Ytrewq: It’s funny you mentioned Al Capone, since Stephen Graham kind of reminds me of Hoskins, and he actually did play Capone.
I'm curious what Louis will make of Til Schweiger and Michael Goorjian in SLC Punk, was surprised by how good they were.
Luke:
The rest of the cast is kind of a collective 3.5, as it is all about this sort of that collective sense of just reality within the community and everybody embodies that rather well, even James Corden.
Tony:
"Fucking internet" is absolutely hilarious but also speaks to the whole conversation of really Melfi and Tony are just on different planets are in so many ways, as Melfi wants to explore the ideas around Anthony Jr. Tony just wants to "fix it" and scoffs at any notion that gets in the way of it, only accepting any notions when he gets to feed into his nihilism at the end.
A fascinating clip to think about it where Tony and Christopher would eventually go. The whole scene though grants the insight into Tony's delusion, which is to try to ignore any idea of the moral implications of his life and dismiss his amorality by offering multiple phony reasons to excuse himself by calling his behavior as a soldier, trying to say there are worse people so it doesn't matter that he's bad then even speaking of it as some immigrant's plight, every way to ignore that he's a bad person, where Melfi in the moment quietly horrified at Tony's ability to separate himself so many ways.
Amazing acting from Gandfolini in being so convincing in having the panic attack while also describing his panic attack. And a great scene in illustrating the point that while it is best not to empathize with Tony, what it does so well is show how much of a mess his family life combined with the expectation of the mob life leaves him as simpering nervous wreck in so many ways as he falls apart and admits the truth all wrapped in every bit of anxieties he tries to push down. Though also hilarious thanks to Tony getting so genuinely angry at his fake assailants.
8000's:
I might not have seen those two.
Interesting, though I'd be curious to see what some of those winners look like as there was a lot of great cinematography from Japan during the period even outside of Kurosawa.
Ytrewq:
Capone - No supposedly, he even got paid for not playing the part. I think honestly he would've been better than De Niro there as I've always thought De Niro seemed strangely just kind of there for whatever reason (outside of the baseball scene), where I think Hoskins would've brought a more overt energy in all of his scenes.
Gangster 55 - Well with Stephen Graham as young Gangster, most definitely as Hoskins is one of the greats in doing vulnerability inside a rough exterior.
Ed Blumquist - Although I'm sure he'd do more than fine, he just has never screamed "average chap" to me, as you always notice Hoskins.
The Father - Probably more overt rage in the character and could've also been special though in a very different way from Hopkins.
Arthur Hamilton/Old Man - Probably side on the old man because Hoskins can be so jolly then vicious with such ease he could be quite chilling though he could certainly deliver on the man lost in his time.
George - Ideal as Hoskins has that kind of Id energy that would be ideal for the role.
Larry Gopnik - Again, kind of the shy retiring man just isn't what I think of when I think Hoskins, though maybe he could've pulled it off.
Tahmeed:
I mean you can't go wrong in any direction though I guess don't start The Flavor of Green Tea over Rice, which is actually entirely fine just I'd start with something stronger like Late Spring.
Hoskins wouldn't have worked for Larry Gopnik, but he should've worked with the Coens at some point though, for sure.
Hoskins could've probably been great in Miller's Crossing in Jon Polito's role, though I would never want anyone else but Polito in that role.
And I concur with Louis that Late Spring is the best place to start with Ozu.
Louis: Yoshio Miyajima won the Mainichi cinematography award for his work in The Human Condition and Kwaidan.
Surprisingly, no cinematography award from Mainichi for his work on Harakiri.
Calvin: Would you say Late Spring is a more accessible starting point than Tokyo Story?
Tony: Absolutely. Tokyo Story is brilliant but I would not really consider it the ideal starting point for Ozu, to be honest - but certainly a good choice to take on once you've gotten a taste of his work and style.
Louis: Similar to the concept of double features, which films would you choose as thematic "companion pieces" for these TV shows?
Breaking Bad
Better Call Saul
Succession
The Sopranos (without naming a Scorsese or Coppola film, as a challenge)
If we get a 10 lineup, then add Park In-Hwan, Song Kang-Ho & Choi Min-Sik in The Quiet Family and Matt Dillon in There's Something About Mary.
8000's:
Well again a lot of great cinematography to go around and Harakiri lost to An Autumn Afternoon, a Ozu I haven't seen yet, but given it it's Ozu I would imagine it is well shot.
Tony:
Breaking Bad/The American Friend
Better Call Saul/Force of Evil
Succession/The Lion in Winter (Though the Godfather is the true #1)
The Sopranos/Citizen Kane
Matt & Calvin:
I think you could actually put Hoskins in almost any of the male roles in Miller's Crossing he would've simply been a superior Eddie Dane, he definitely could've brought something to Caspar or Leo, and despite being an atypical leading man he was a leading man and I think he would've even been convincing as Tom, though the character would've been very different.
Side note: he did technically play a "Coen role" by playing Eddie Mannix later also featured in Hail Caesar!...though as a massively different character.
Louis: Mainichi didn't even award Hiroshi Kusuda for his work on The Ballad of Narayama.
your thoughts on the screenplays of The Lion, The Witch and the Wardrobe and Prince Caspian?
Louis: Your thoughts on the direction and score of The Straight Story?
Louis: Just to clarify, the "no Scorsese/Coppola" rule was for The Sopranos only, not the other shows.
Could you explain why you chose Citizen Kane for The Sopranos? Though I can sort of see it from the "trying to explain a powerful man's life" angle.
Louis: Thoughts on the acting in these scenes?
https://www.youtube.com/watch?v=FaJToC27bcg
https://www.youtube.com/watch?v=-HFLAIz-RCo
https://www.youtube.com/watch?v=i4pUJJTF078
Louis: Your thoughts on "All the Stars" from Black Panther, and I know this is a long shot, but are you familiar with any of Kendrick or SZA's other work.
R.I.P. Donald Sutherland
RIP Donald Sutherland...legend
RIP Donald Sutherland
R.I.P. Donald Sutherland. One of the greats.
RIP Donald Sutherland, this one hurts.
RIP Donald Sutherland, one of the most underrated performers of all-time.
RIP Donald Sutherland, legend.
RIP the GREAT Donald Sutherland. This really hurts.
RIP Donald Sutherland
*sniff* R.I.P. Donald Sutherland
RIP Donald Sutherland
RIP Donald Sutherland, one of the greatest
R.I.P. Donald Sutherland.
RIP Donald Sutherland
RIP Donald Sutherland.
RIP, Donald Sutherland. Actual fucking icon.
Rest In Peace Donald Sutherland. Phenomenal actor and person.
RIP Donald Sutherland.
We lost a icon today.
Rest in peace, Donald Sutherland.
RIP Donald Sutherland
The Bikeriders has moments but overall fails to pick up any real momentum to turn this into a satisfying slice of a very particular pie of a lifestyle. There is something in the theoretical B-story of Tom Hardy's leader Johnny going from being a fan of Marlon Brandon in The Wild One to be a gang leader, and while there is the general arc, it feels like there was so much left on the table to explore as well as certain moments could've just been hit harder than is done by Jeff Nichols's frequently passive direction. The theoretical A-story is where it truly struggles as the character of Benny is so thinly drawn it is nearly comical, and if it weren't for Austin Butler's screen presence, he would be a complete non-entity. His trait is he likes to ride, and that's about it. Sadly the romance with Jodie Comer, is equally thin, as too the relationship seems to live solely based on the fact that she enjoyed a ride one time. There's a little bit in the various asides we get from the club, like Michael Shannon as a phony philosopher burnout or Norman Reedus as a surprisingly cordial outsider, but it's not enough to make up for the overall shortcomings of Nichols's script and direction.
Comer - 3.5
Butler - 3.5
Hardy - 4
Shannon - 3.5
Faist - 3
Reedus - 3.5
Holbrook - 3
Herriman - 3
Knapp - 2.5
Cohen - 3(also THAT's Emory Cohen?)
Glusman - 2.5
Wallace - 3
Anderson - 3
Louis: What are your thoughts on the cast. And if rumours are true and was shown before the screening, what did you think of the Nosferatu trailer.
“Hardy - 4”
He’s back! (Kind of.)
Or at bare minimum, he’s at least in an okay/competent film this time.
Luke:
There was no Nosferatu, which was rather vexing, given I typically come 10 minutes late to skip trailers, and I came to The Bikeriders on time due to that rumor.
Comer - (Honestly taking too much of a page from Hardy when it comes to the accent, though maybe since I am more used to his so I minded it less from him here...though more on that in a moment, but I would've rather she just had done her more believable Free Guy accent here, as the overt attempt to basically do Lorraine Bracco was just distracting since it never quite felt lived in. She's also working with a paper thin character who is defined solely by the relationship with an equally thin man, having said that, in the moments where she needs to deliver that emotional impact of a moment visceral, she does it with such ease, I just wish she toned down the accent and had a better character here.)
Butler - (Thank goodness he's in the part at all, because he does have a cool here a presence, which means A LOT because there's nothing to this character as written, he's so one dimensional it's absurd. Butler brings what he can in terms of nuance around the often stoic demeanor, while also finding something in that to at least gives the character something to him, which is quite an achievement given how, quite frankly, poorly written the character is.)
Hardy - (I wish someone would remind Hardy that he did fairly convincing American accents in Lawless, Warrior, Band of Brothers and Black Hawk Down. Whereas now this, and the Venoms he does what he did in the Drop, however the Drop was also as a highly specific character, where that worked wonders for that characer, but as what should be semi-average guys, it comes off as more than a bit strange. Having said that, despite Hardy often sounding like he's got a snake going through his throat, Hardy still brings a dynamic presence here, particularly in the moments where the character has a bit of reflection which are purely silent and terrific moments from him, that convey the same of quiet realization of the man becoming fearful of his own power, and finding he's become lost in what was originally just supposedly a hobby.)
Shannon - (The best of his random semi-cameos, though he has more than that here, as Shannon does bring a lot of authentic life in every world weary glance and ramblings about his various thoughts as a man who has seen a lot, but still is completely lost.)
Faist - (Fine reactionary work, doesn't get to do too much though. I will say his real thick accent probably makes Comer's fake one more obvious though.)
Reedus - (Entertaining bit of work from him in terms of immediately creating a sense of the specific mania of his character that seems both potentially amusing while also dangerous at the same time. Nicely balances things, and alludes to kind of the missing potential of some of the other characters)
Holbrook, Knapp, Glusman - (All fine but don't really make a substantial impact in giving their character enough of an independent life.)
Cohen, Herriman - (More than decent both in giving a bit more life but still not quite enough there to truly stand out. Beyond my shock that I was looking at Cohen this entire time, looks like Andy Kaufman now.)
Wallace - (I think someone could've potentially truly ran with this to a truly great territory, as is, I think he's just fine.)
Anderson - (Relatively quick bit, but does feel very authentic.)
So I just watched Ozu's The Only Son, and I think Chōko Iida will take the Supporting Actress win when Louis gets back to 1936.
8000's:
Well perhaps Hi no Ataru Sakamichi looks amazing then.
Tim:
The screenplay to The Lion, the Witch and the Wardrobe is a pretty straightforward adaptation that basically just hits the points of the entertaining book that very much is a fantasy in a very direct way, and basically hits the main beats. The adaptation elements are relatively limited however it is one where the story itself has enough in it, to get by on just being so straightforward as it is, despite there most definitely perhaps being a lack of daring in the adaptation particularly compared to LOTR. But again if the original material is good, maybe you don't have to do something totally new with it, I think that is more so an issue for the film's direction.
Prince Caspian has far more changes overall, and many understandable in terms of trying to expand the characters a bit more such as making Trumpkin a bit more cynical, making the White Witch more a dangerous devil temptation rather than just an evil scheme, having Lucy be an action heroine logically enough given she was given a bow in the first book, even in the opening in trying to complicate their feelings as having been adults now back to to children, though I wouldn't say this is quite stuck to but regardless all decent things to consider in the adaptation....not that they necessarily work in very much trying to beef it up as a fantastical actioneer in so many ways. But if it is consistent with that, which I'd say it is, even if that means it is hardly perfect in terms of an adaptation, let alone just a film. Again though the direction I'd say is more so the hindrance once again.
Tahmeed:
The Straight Story is of course not a stretch fro Lynch but rather a return to The Elephant Man style filmmaker, though I also wouldn't say that is *entirely* separate from his other works even if it might seem so on the immediate surface. As Lynch often loves Americana and here he gets to beautifully express that in the loving detail he grants the countryside in accentuating every moment of the journey, through seemingly simple yet so elegant direction. Something where times it is just letting the moment play with the actors and giving space, like Farnsworth war recollections in the bar, or the final exchange between the brothers, that Lynch trusts the actors and just frames them to allow them to bring out what needs to be said. However there are moments of Lynchian brilliance if lower key such as Rose's backstory and how Lynch returns to Spacek, or the final movement to the sky, which are connected with his darker work despite not being overt. And of course Lynch pays as close attention to the drama as he does random comedy, which despite not writing it is pure Lynch, such as the bickering brothers.
As Lynch might say "Oh Angelo, it's so beautiful", and this is Badalemnti getting to play just into that beauty. With Rose's theme being an especial highlight in instrumentation that feels very much seems to evoke a simple evocation of that quiet Americana in the best possible way, in just the gentle yet so powerfully emotive melodies Badalamenti crafts that just feel right for this particular story.
Tony:
I was aware you will only be referring to the Sopranos, just The Godfather seemed to be an obvious choice no matter what.
Both Kane and trony are men defined by the relationships with their parents, as men crazing something that never exactly existed Rosebud/Gary Cooper in the way he perceived it at least, yet both long, that lead to deep insecurities that lash out and destroy the majority of the relationships around them, in ways that impact beyond just their existence but comment on the very power structure of America.
One thinks that it is no accident that two It's Always Sunny actors are in that scene. Anyway enjoyable in the two men just being excited at the prospect of Saul's salesmanship, which Odenkirk completely sells every moment of just, just as he does not quite self-loathing, but close attack rant against them where both men sorted supported his wayward approach to life...although to be fair to the two guys, salesmen don't exactly go through background checks to begin with.
Great scene that truly shows the bizarre dynamic of the two men that are connected by the fact that both men were wronged by Chuck. And Odenkirk is great in the moment of brief empathy you see at seeing Howard crestfallen, before going onto the tough pompous attitude, and basically playing into the part, and probably is the nicest thing that Jimmy did for Howard...if only he left him there. Fabian's great in showing a completely non-artificial Howard in the scene genuinely frustrated in every delivery, except the last way back at Jimmy where that certain Howard artifice returns.
The scene speaks so much to Mike in general, where he seeks his "joy" by using his skills to break down a situation and this liar as such, however hardly gives him any real joy, despite that is what Banks projects in the initial breakdown as the cool Private eye noticing the tell. As we see the actual man just suffering through his existence at the actual group, where Banks shows Mike on top being filled with pent up anger spotting Edward Norton, however Banks's performance below that is the desperate sadness behind the anger, that seems as much about himself as it is to the faker, as if it weren't for him, he wouldn't need to be in the group. And in the end, even with the mic drop of "I talked" it isn't a victory it's a defeat in Banks's delivery. Side note, you also get Kerry Condon completely working below what should be her paygrade, though certainly doing fine work despite being so limited.
Marcus:
Gave thoughts on the song under that nomination rundown.
Inside Out 2 It lacks the emotional impact, for me, that the first one had, (although not for lack of trying, certainly) but what it does have is lots of funny moments and a *great* new character in Anxiety. The recasts are actually pretty noticeable, but they do their jobs just fine.
Poehler-3.5
Hawke-4
Tallman-3.5
Lapira-3
Smith-3
Black-3
Hale-3
Edebiri-3
Exarchopoulos-3
Lane-3
MacLachlan-3
Hauser-3
Brown-3
Funches-3
Johnson-3(Pretty hilarious in his tiny bit(s)
Louis: Thoughts on "Daffy the Commando".
I just saw your letterboxd review for The Big Lebowski. Now that you have upped the film's rating, is there a 5 in the cards for Bridges??
Louis: If you're watching The Mask Of Zorro today or tomorrow, can I have your thoughts on the direction, screenplay, cinematography and score.
Anonymous: I think both the film and Bridges himself have always been 4.5's for Louis.
Louis: Which roles in Oppenheimer do you think Guy Pearce would’ve been a good fit for? I kinda wish Nolan had found room in the ensemble just to have him back in the spotlight for a bit, then again, I have no complaints about the actual performances/actors in the film.
Louis: Your thoughts on this scene https://m.youtube.com/watch?v=QAs6s80RyeY
Marcus: In fairness, I would've guessed TBL would've been more of a 4 or 3.5 based on the thoughts he's given on the film elsewhere.
Marcus: Based on Louis' review of Bridges alone, you could tell that it was more in 3.5 kinda territory. I believe, some of the guys here even mentioned how Louis wasn't too big on the movie.
Louis: Also, I'm curious. Does the ending of Chinatown ever make you want to take a shower?
Louis: What are your thoughts on June Foray's work as a voice actor in general? Her versatility is just remarkable, even looking at only the range of non-Granny roles she played for the WB cartoons.
8000S: I know you only asked Louis, but that's such an unbelievably haunting gutpunch of an ending. Before seeing it I was unprepared for just how emotionally devastating it is, and the last we see of Noah and Katherine is somehow one of the most Satanic things that has ever been put on film.
Louis: Thoughts on this scene and Jason Momoa's performance?
https://youtu.be/UyqKWROjrq4?si=SI5FC_v3LPY_rPiQ
Bryan:
I'd say Ernest Lawrence would've made the most sense. If just to get him in the film however, D'Arcy or Tony Goldwyn's roles.
Anonymous, Tony, & Marcus:
The "fine" description probably is slightly misleading on my part when I wrote those reviews, as I've always liked the film, I just never was on the level of adoration of some, which is still technically the case, I was just perhaps overcompensating that idea, since the idea of not loving it as a new religion would be to think it was just fine.
Anonymous:
Kubrick can do oppression like few others as the scene is truly claustrophobic in how truly stuck you feel within the piercing state, while McDowell is great in showing the final change from fun and games as he has the realization of the situation he's in, then trying to maintain some kind of "cred" for himself as the the seemingly also psychotic police psychologically torture him a bit.
8000's:
Well the Noah with his daughter/granddaughter, does make one uneasy beyond belief in the way he's cradling her and "grieving" with her. But the rest is just so unbelievably penetrating in the immediacy of the tragedy, to the point I do feel much like Gittes seems to, as he's completely lost as he hears those oh so potent final lines.
Tony:
Impressive work acrossed the board and particularly because of all the different types of roles she was able to perform.
Tahmeed:
I think more impressive than one might immediately give him credit for, however if one isn't great in a scene like this they would seem terrible and just come off as comical cosplay. Momoa is completely devoted to the scene and truly is the tribal chieftain in the moment of owning every second of it is being this religious offering as much as the grandiose statement of war and brings that power of charisma in every word. Also terrific though in the moment just before in being convincing in showing the tender element of Drogo towards Daenerys just before, that then fuels that fervor.
Louis: what did You think of The White Lotus season 2?
Louis: If you had to choose only one gag from The Simpsons as its all-time single best, what would it be?
After watching several pictures from 1998, I have never seen a season with so many films that had delayed releases.
Louis While we're on the subject, tell us what the positions of these actors would be in your ranks if you considered:
- Humphrey Bogart and Claude Rains (Casablanca) in 1943
- Alec Guinness and Stanley Holloway (The Lavender Hill Mob) in 1952
- Marcello Mastroianni (Divorce Italian Style) in 1962
- Bob Hoskins (The Long Good Friday) in 1980
- Alec Guinness (Little Dorrit) in 1988
- Philip Baker Hall (Hard Eight) in 1996
- Sol Kyung-gu (Peppermint Candy) in 1999
- Guy Pearce (Memento) in 2001
- Ben Mendelsohn (Babyteeth), Nicholas Hoult (True History of the Kelly Gang), Hugh Laurie (The Personal History of David Copperfield), Brian Dennehy (Driveways), Paul Raci and Riz Ahmed (Sound of Metal) in 2019
Louis: Do you think making the villain of High and Low rather sympathetic was intentional on Kurosawa and Yamazaki's part?
Lucas:
I thought it was decent enough, more watchable I would describe it as than great, as I don't think it truly does anything extraordinary with any of the stories and I think season one more successfully had the stories play off of each other. Nothing was on the level of Murray Bartlett's Armond's arc from season 1, though everything was entertaining or compelling enough as is.
Tony:
One I always come back to is the rather dark gag of Anya's letter to Lisa that gets hijacked by the militant.
Shaggy:
I would rather not get into such theoreticals.
8000's:
I'd say so most certainly.
Louis: How would you analyze the unique sensibility each showrunner of The Simpsons brought to their respective iterations of the show? Do you have a favourite out of the showrunners?
Louis: I don't think I ever really saw Mifune: The Last Samurai, but does Kagawa come across as very kind, gentle and soft-spoken in that documentary? Everything that I've read of her makes her come across as just that, a very gentle and kind person, like many of her typical roles.
Of course, Chishu Ryu in interviews also comes across as similar to the roles he played in Ozu's films, very soft-spoken.
Louis: What are your ratings and thoughts on the cast of Big Deal On Madonna Street. I've just noticed they're unranked.
Tony:
I'd say each marked a gradual shift. Season 1 & 2, were more like the films of James L. Brooks, particularly season 1, where it the drama was more the focal point with moments of dryer observational humor. Season 3-4 were almost always character based in what drove the story, with more overt humor interwoven. 5-6, were usually character based, however the humor was even more overt and the situations a bit more unrealistic though relatively grounded still. 7-8 would go back and forth to how much character mattered in the plots and most plots would be unrealistic if not entirely ridiculous, though still managed to be funny. Scully let it fully off the rails, where it just became more and more outlandish and silly in each successive season. Then just the gag driving everything became the norm afterwards...despite in my view being far less funny. And I'd say with Jean's return it became a machine of "We don't make good Simpsons or bad Simpsons, we just makes Simpsons".
I mean it has to be Mirkin by virtue of Jean's later work.
8000's:
She is, and is the best part of that doc (which is too surface on the whole, and oddly neither Yamazaki or Nakadai are featured) particularly, as I've previously noted, when she reads the eulogy from Kurosawa for Mifune.
Luke:
I didn't rank them just because I struggled to parse them out, not in a bad way, rather they collectively create this specific energy, where no one stood out but everyone worked in the same manner of comic hijinks.
Louis: Would you say S7 was more successful than S8 was at capturing the down-to-earth feel of the first three seasons, given that Oakley & Weinstein tried to model the former after S3?
Also, outside of the one for The Principal and The Pauper (which I recall you mentioning), have you listened to any of the show's DVD commentaries? I recall the writers' camaraderie making them very entertaining.
I honestly didn't anticipate Zorro getting a 4.5 from you. Very happy with it. And yes, that 3.3 average rating is a joke.
Louis: Along with the direction, screenplay, cinematography and score, can I also have thoughts on Diego's Goodbye from the soundtrack.
Thought House of the Dragon was excellent, and a clear step-up from the premiere in every way. Fantastic performances from all, with Tom Glynn-Carney, Rhys Ifans and Emma D'Arcy all giving some of their best work on the show so far.
Louis: Your thoughts on Spanish Tango from Zorro's score.
Hey Everyone: There's little time left to finish Lead Actor 98, so tell me what your final rank will be?
1. Lillard
2. Nolte
3. Hoskins
4. Bridges
5. Mullan
6. Norton
7. Gleeson
8. Hurt
9. Han
10. McKellen (G&M)
Louis: Thoughts on the Nosferatu trailer. It looks like Eggers has delivered again.
Luke: That had better be the only footage we get before release because it was a perfect tease. Good thing they didn't show Skarsgård as any promo material of him I want kept to zero.
This may be a bit early but after seeing that trailer, I'm struggling to see anybody beating Eggers (that includes Villenueve) for Louis' win this year.
Luke, your Robert Eggers ranking
1. The Lighthouse
2. The Northman
3. The Witch (Has its issues but it's still a very impressive debut)
Tony:
One of my brothers listened to all of the first seven seasons's or so commentaries religiously so I heard quite a few of them, but not all of them.
Yes, as I'd season seven had more realistic scenarios more often (relatively speaking):
Home Sweet Homediddly-Dum-Doodily
Lisa the Vegetarian
King Size Homer
Marge Be Not
Team Homer
Scenes from the Class Struggle
Homer the Smithers
Much Apu About Nothing
Summer of 4 ft. 2
All are relatively realistic in terms of the core plot.
Where Season 8 had:
A Milhouse Divided
Lisa's Date With Density
Homer's Phobia
Grade School Confidential
Homer's Enemy
But I'd also say in general the trajectory of each plot would get more outlandish more quickly in 8 than 7.
Luke:
Martin Campbell has to be one of the weirdest directors, because while a non writer/director is theoretically at the mercy of their script, particularly when they're "guns for hires", you'd think he was a completely different director when he's on as opposed to when he's off. Zorro is a case of being *on* and Campbell when he's on, like this and Casino Royale especially, knows how to craft an entertainment. I wouldn't even say he's someone who reinvents the playbook, rather he takes elements from the time but manages to realize it into something cohesive in making Zorro "modern", while also having the same swashbuckling spirit from the old swashbucklers. And Campbell successfully does that utilizing some sensibilities of the 90's auctioneers from the period, but certainly with his own vibe. As party there is the Braveheartish sort of colder history from the prison scenes for example, and the vile nature of the villains, the action sequences are each set pieces with creativity and momentum designed within them, there's is the Die Hardish humor though nicely accentuates scenes rather than undercuts them. Where Campbell perhaps most brings its unique flair is in the presentation of Zorro himself, which I think was essential, in terms of crafting him as quite frankly not only not ridiculous, but a sexy modern character which is most impressive. And it is in the dance scene and the sword fight, where Campbell is most alive, and I'd say he's alive the whole time, however in terms of truly infusing something new, in the level of eroticism for what is still an auctioneer, that is completely dynamic. And between all of these elements I think Campbell shows a mastery of the tone for this because it never is funny in the wrong spot, or serious in the wrong spot, it knows the balance, to keep it entirely entertaining, while also completely creating an emotional investment.
The screenplay is a great example of blockbuster efficiency, in terms of setting up its stakes, particularly the personal stakes of the character, it does it quickly but with genuine punctuation in getting us so quickly from old Zorro, to his fall, to new Zorro his backstory, and then the two teaming up, with Elena as the slight wild card factor the brings a different emotional stake beyond the blunt revenge. Certain devices are devices, like Zorro's medallion, however it is impressive how easily they make it more than that just through a pivotal line, and line delivery from Zorro. The villains are straightforward "shit heels" for the lack of a better word, though this is an instance where they effectively bluntly so in the way it realizes its greed, with kind enough of a well realized historical fiction background to give it a little more impact. Most importantly as much as it has the drama of the revenge and murders, it balances it so well with the fun of the adventure, by having set pieces naturally interwoven with the plot each time, each that also show some aspect of character, particularly the buildup of confidence for Zorro, while also having the careful character moments such as the fun, but occasionally moving interchanges between the Zorros and Elena. The latter of which I think is handled well in creating the father conflict with the emotional catharsis earned in the end as being the wild card factor to save the day, but with young Zorro, you get a romance that is almost entirely show don't tell, and works as such, as again the aforementioned scenes do so much of the work of the romance, to the point you don't really need more. Now is this mining the greater thematic depths of revenge, of historical cruelty or any of that? No. But it isn't trying to do, it is using the right amount that informs our world, our character, but does so in a way that services the successful entertainment that is this film.
The cinematography I'd say is very much fitting within what was kind of the general blockbuster action movie standard of the time, in terms of the lighting and general aesthetic. Which is not overtly stylistic, but rather just trying to create this sort of clarity with a general sort of pristine quality. I would say though it is a step beyond many similar films from the time by leaning just a little more into the style, in infusing some moments of more overt romanticism in some of the moments of direct lighting to create sort of that more overtly romantic hero of Zorro. Although not extremely overt as such, it does work with those moments of highlights, though more often than not is a straightforward, though most certainly good, standard of the time.
Horner's score is absolutely wonderful and really shows a natural range for him that is a swerve from much of his other action movie work. There is certainly signs of that with moments of the intensity in the score, such as when Zorro stabs Captain Love for example, but more often than not the approach is to take sort of that style of composing and infuse with that certain Spanish/Mexican stylization in creating a specific feel for a film. An especially wonderful feeling in utilizing instrumentation that isn't typical for films of the ilk, and making it absolutely thrive within the film by giving it a particularly engaging and invigorating style that amplifies everything other aspects the film is striving for. Including of course its own overt romanticism with Zorro's theme being for me one of the iconic themes from the 90's and one that I can easily recall in my memory at a moment's notice.
Speaking of Diego's goodbye is absolutely gorgeous with the use of the gentle guitar mixed in the vibrato flute, that slowly builds its poignant and gentle melody up to include more instrumentation that slowly seems to create an even greater power to the music. Just an altogether beautiful sendoff for the character filled with such emotion that seems to just ideally represent his heart.
Jonathan:
Showing the range of the score brilliantly now in throwing in everything to make it as vibrant as possible, in mixing a few different styles with the flamenco and mariachi blended so brilliantly together as this fashioned piece that creates the vibe of the period while expanding and modernizing through that effortless blend.
Luke:
Amazing trailer, and particularly impressed by the aesthetic where Eggers has found a way to something that evokes Murnau and Herzog, yet in no way is copying them. Moody as all hell, and seeing Eggers go full force into the gothic horror angle sounded promising and from this looks like it will be most promising. I need to see no more and just say "bring on the film".
Tahmeed:
Altogether terrific episode that is just building up the conflict beautifully, and I also liked the bits of showing the "small folk" impact particularly the horror of showing how they went about catching Cheese, agreed on the best performances from the episodes might side on Ifans for MVP, for powerfully showing a different side of Otto for once. My only major criticism for the episode specifically would be that I definitely think the episode should've ended with the far more climactic twin confrontation.
Otherwise on the series of the whole, I do wish Mizuno had not saddled herself with her Thomasin McKenzie impression though I thought this was her best work on the show so far. Bigger though is Fabien Frankel sticking out like a sore thumb, partly because he is way to young looking still, and also isn't a very good actor here. Just imagine someone a bit older, who really embodied the old embittered lover lashing out, rather than the pouty himbo we get from Frankel.
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