William Devane did not receive an Oscar nomination for portraying Major Charles Rane in Rolling Thunder.
William Devane, a character actor with a very precise and particular voice, plays the returning war vet Major Charles Rane who comes home after years of imprisonment and torture over from Vietnam to a hero's welcome. Devane enters the film with a calm demeanor, a proper soldier with a stiff manner as he accepts his plaudits, without a hint of either the trauma or pride one could connect to his situation. Not a mistake or an error by Devane rather a most effective choice of presenting a man going through the motions of the return, that suffers below the surface of the pageantry as he almost immediately finds out that his wife has been cheating him, his son has been raised by this other man, and she intends to stay with this other man. All of this leaves Rane with barely a reaction, again not an error but rather a fantastic choice where Devane alludes to the entire existence of a man who has dealt with his horrible imprisonment by nearly breaking from reality. Devane's performance has an exceptionally subtle manner that alludes to just the hint of all that Rane is keeping in even as he so calmly seems to accept this horrible plight. The only minor respite is with his son where Devane plays this hint of warmth, a genuine warmth, but the only warmth that he can get out of loving his son. Even then though Devane presents this effort Rane to connect still, a connection he wants to make but still struggles to make.
Unfortunately because Rane lives in the Schraderverse, not everyone wants to let Rane just live with his accomplishment and his gifted silver dollars as his home is raided by a group of sleazy thugs. An event that leaves both his wife and his son dead, and Rane with his hand being put in a garbage disposal. Devane's performance is again effective in the way he plays the character's trauma below the surface of the character in this pent up intensity, as he maintains his composure even as this horror is going on around him and to him. Devane presenting the man who managed to live through his torture as a prisoner, though in no way a well man, just held together by the barest vicious conviction. The horror does seem to give Rane final purpose in his life as he goes about looking for the men who committed the heinous act, with the help of a local woman Linda (Linda Haynes) who is obsessed with him. Devane suddenly plays the soldier in a way as he enters these scenes as a man of action and combat. Devane brings this precision in his violence of a man with intention and purpose suddenly. Like the warmth he released for his son that he had to find, Devane presents this alternatively, though quite effectively as a man's set gear as he goes about using his trauma for this violence that he commits with this exact intensity of a man who has a reason to live oddly enough.
Where this seems like the film's chance to really get going, it doesn't. Partially in the romance with Linda, which is too idealized for essentially stemming from an obsessed fan, though I think both actors are fine and Devane is more than fine as he doesn't compromise the character in these scenes, they just aren't quite there on a writing level. The film also gets frequently derailed by a subplot of his deceased wife's lover also trying to help out Rane, where the character is just boring and the scenes truly feel like filler to get the film to feature length. What keeps the film afloat is Devane with his excessively official manner of speaking that works in line with crafting this character of the soldier who can't escape any element of that in the war or in civilian life. Eventually the film even gets to the point when he recruits his old squad-mate Tommy Lee Jones to, in the character's words "Kill a lot of people". Something they eventually do, and leading to the film's climax is a bizarre piece that one would perhaps attempt to ask the director what he was going for, and I would guess maybe he wouldn't even entirely know. You certainly don't feel bad about Rane and his buddy murdering these guys, since these guys are made to be the absolute lowest of the low, but at the same time, perhaps just the strength of Devane's performance, is that it doesn't feel heroic revenge either. As Jones and Devane both bring this glee to the scene and accentuate the moments of torturous shooting particularly as such with each man showing they're having the time of their life. Although this too is then subverted with the immediacy of the ending, where we get a corny 70's song to close out their rampage that is completely tonally dissonant and I can't be sure that was intentional. Regardless, what Devane does in the finale entirely works, much like his entire film in creating a captivating portrait of a man broken as a soldier and only able to find any life being a soldier even after his theoretical war has ended.
74 comments:
Louis: Ratings and thoughts on the cast. And also your thoughts on the direction and screenplay.
I finally got my hands on the theatrical cut of Amadeus. No wonder it's your favorite film ever.
Also, I'm curious: how would you define a character actor/actress?
He's terrific.
RIP Alain Delon
RIP Alain Delon
RIP Alain Delon
RIP Alain Delon
RIP Alain Delon
R.I.P. Alain Delon
Louis: your thoughts on Gary Sinise in Snake Eyes?
Au Revoir Monsieur Alain Delon. I might actually cry. We're losing ALL of our greats.
Louis: Your thoughts on these South Park episodes Kenny Dies The Death of Eric Cartman
RIP Alain Delon
Thought Cross of Iron was pretty good. Great cast.
Coburn-4.5
Schell-5(Arguably almost co-lead but maybe not quite, I'm not sure)
Mason-4.5
Warner-4.5
Everyone else is basically a collective 3.5
I don't think there will be anyone who can take away Carney and Hopper's victories.
PS: It's only now that I've noticed that this is the first time Louis has chosen five actors with different nationalities: American, Dutch, Spanish, German and Russian.
Sing Sing for the most part is rather wonderful, uplifting and inspirational in a way that works. So much of it feels almost documentarian with the use of the real former prisoners telling their stories on-screen, and the way they find a creative outlet through the theater. However Greg Kwedar's overall visual directorial choices contrast that without conflicting with that with his almost ethereal quality within the use of space, and score that very much realizes the sense of prison as a state of mind both in the way it seems to constrict one's view, while also offering alternative as the men find their outlets through their play.
Where the film fell slightly short for me was within a third act conflict, where there is a pile on of a tragedy for one character, which felt contrived within a film that seems to specifically find this raw authenticity the rest of the time, and just seemed a story choice that seemed less than the film's potential. Which also leads into the ending, which I wouldn't describe as bad, but didn't hit me as hard as I wanted it to. I think part of it is the weird editing choice to include real footage early, where I think over the credits would've made more sense, then kind of the meandering yet also rushed feeling with how it wraps up our lead character's story. And I should emphasize I don't think it is awful, rather it still is moving to be sure, but I think there was the opportunity for something masterful that the filmmakers didn't quite achieve. Even with those reservations there's much to love here, and it's well worth watching.
If a supporting player gets nominated it is Maclin though he will need to get over the hump of playing "himself".
José - 4
Raci - 4
The rest of the troupe: 3.5-4
Anonymous:
Jones - 3(Brings the right combined no nonsense manner that compliments rather than contrasts from Devane, and like Devane is pretty good in the final scene in showing how they both are getting a kick out of the killing.)
Haynes - 3(I think she really had a tough character to surmount because of how thin her initial motivation is, then really how the film just drops her unceremoniously despite giving her this certain buildup. I think she's fine within these confines in that she doesn't just become some object of affection but she can't quite bring the gaps within the weaknesses within the writing of the character.)
Best - 2.5(Fine at being a one note sleaze bag.)
Richards - 3(For having a role that is just to be gotten rid of I did think she brought a real honesty to the delivering of her one big scene. Bringing the pain about it in a way that she managed to show the character doesn't entirely regret it, despite having feelings of regrets without making her seem just a villain either. Rather effectively emphasizes the humanity of the role.)
Driscoll - 2(Absurdly bland and lifeless performance. One a better actor might've been able to make something out of, but he's such a non-existent presence that he makes every scene that focuses on him feel like a complete waste of time.)
The screenplay is one that is hard to fully quantify with knowing the drafts as Schrader's original supposedly Rane was more so a overt villainous protagonist, where here he is sympathetic. What that leaves the film is kind of a scattershot character study where structurally the film is a mess. The scenes do not build on each other, they meander, the character developments don't go in line with the slight plot movements, they just sort of happen, there is no mystery to unlock or any pathway to go down. We rather have just different scenes hodge podged together after the opening. The through line for Rane is weak, the relationship with his love interest is weak and almost seems a waste of time, there's a side plot that's a waste of time. It's very sloppy, though it has individual moments within it, they are not interconnected in a way that is anywhere near flawless.
The direction by Flynn underwhelms more as very standard drama directing for the most part, with some moments such as the cutting to flashback trauma that aren't all that well done in an attempt for a greater visceral intensity. Then the use of violence is something that seems purposefully Peckinpahesque, but without those moments of forcing the viewer a bit of hesitation that Peckinpah would throw in. Here Flynn takes some of those elements of the violence and just runs with them seemingly straight for the most part, leaving one to wonder what the point of the film is. Which if just an exploitation film, one would then wonder why it is so bluntly serious the rest of the film. Flynn for the most part just workmans his way through it, which doesn't make a terrible film, but it doesn't exactly find a purpose for the story either.
A:
Someone who is primarily cast primarily for the idea of "character" rather than any movie star appeal whatsoever, typically mainly playing supporting roles.
Louis: What did you think of The Piano Lesson's trailer.
Tim:
Sinise - (Basically just a lesser reprise of his performance in Ransom as he makes almost all the same choices performance wise just less effectively, there was real potential in the film if it honestly explored his and Cage's friendship and each choosing the opposite moral path they had chosen up until this point in their lives.)
Anonymous:
Kenny Dies is an interesting episode in how seriously it takes Kenny's death which is the inherent joke based on every other episode though works in genuinely dealing with death, though contrasting that the ridiculousness of Cartman's story that is entertaining his wretchedness.
The Death of Eric Cartman falls into my least favorite episode genre, that being Cartman being mean to Butters subgenre, for example I HATE Awesome-o despite being beloved by many. This goes into the same category as the bit gets tired fast, though I do enjoy that eating all the KFC skin was the "final straw" for the other three given all that Cartman has done previously.
Jonathan:
Well I hope Washington's other son proves a greater director than JDW has on the whole has been an actor. I will say unlike the previous two Wilson adaptation it seems like it is trying hard to make it cinematic given how this trailer was entirely imagery based, which is potentially compelling. Having said that, have no idea what's going on but, intrigued enough. Hope it takes these Washington produced adaptations to the next level, and doesn't just put the play on screen but rather truly adapt it to greater heights.
Louis: what are your thoughts on the cast of Deadpool & Wolverine?
Louis: Your thoughts on Ozu's Late Autumn scenes with Akiko and Ayako before the wedding.
Also, wasn't Yoko Tsukasa just beautiful? Honestly, I'm convinced that she was one of the most beautiful Asian actresses ever.
my god, have you all seen those pictures of Billy Zane in Waltzing With Brando? that shit's uncanny
Louis: Thoughts on the War Of The Rohirrim trailer.
Didi features many elements found in many of the coming-of-age films, the conflict between the main character and their parent resolved in a heart to heart near the end of the film, a conflict with a sibling resolved in a similar fashion usually earlier in the narrative, the main character trying to get involved with a new group of friends to mixed results, some negative "romantic" encounter at some point, a point of an extreme low usually followed by the heart to heart. This is not necessarily a criticism by the way, as some of these are just life, so the key is does Didi find anything new in the examination of these moments?
I would say yes it does, in part just some great acting particularly from Joan Chen as Chris's mother, but also how it gets to these moments is very different. Didi does not present easy or ideal situations, as the initial friend group isn't some gold haven, nor does Chris find some easy talent to excel at, or just one thing that guarantees his happiness. It rather explores someone who can screw up multiple ways. And it does so with style, humor, grace and doesn't fall either into the trap of misery upon misery, though Chris suffers much. And consistently the film avoids potential pitfalls, as I will say I was very concerned with the very realistic mainstream high school dialogue of the period of the early scene, because despite being entirely authentic would become old fast, thankfully the film, as it does much, knows how to balance its scenes, balances its moments, balances its tone to create wider tapestry with always the center core of struggling with his identity and just himself. And I will give it special mention in particular artful use of social media scenes, which can be easily gimmicky if not handled well, but were very dynamic here.
Chan - 4
Li Hua - 3.5
Chen - 5
Dial - 3.5
Park - 3.5
Lucas:
Reynolds - (The funny thing about Reynolds is I think he actually *is* a better dramatic actor than he is a comedic one, where he's best (Mississippi Grind) is the ideal Reynolds where he accentuates his drama with comedic moments. I say this because I think the success of Deadpool has made it so he sticks to just his shtick in most of his work after Deadpool, which despite Deadpool being irreverent is actually never what has been his performance in these films which have always had a degree of anchoring pathos. This one has the least of that so I would say the least of his work, but it is there, and it is well done. Deadpool also though is where his comedic sensibilities seem to be the best, though I think the dramatic element is an important balancing factor, but regardless, he does hit more often than he misses again, even if his ratio is the worst here out of the three films, but SO much better than something like Free Guy.)
Jackman - (I mean he's there just to bring as much conviction as he can to sell a retread while being a grumpy contrast to Reynolds. He does that, mission accomplished. So nothing truly new for him, except the slight slant as a direct straight man, but Jackman does it regardless. I will say given that dynamic/chemistry does work, I REALLY wish they had come up with an actual plot.)
Corrin - (Corrin's never the problem here, bringing anything in a given scene that needs to brough with this certain mania mixed with glee that thankfully keeps Nova from being a truly bland "I'm evil" villain, BUT the character is still very weakly written particularly the moral flip flop late in the film that fell flat, though not due to Corrin.)
Macfadyen - (He's really selling a lot of weak exposition and just absurdly sloppy storytelling. Quite frankly his motivation is just horribly muddled and they desperately needed to work harder on that. Macfadyen I think is okay here, but he's like a slight tone off from fully working comedically, even though I didn't think he was bad.)
Stanford - (Yeah not sure why they picked him to be the most talkative henchmen, as he wasn't terribly interesting in X-2 or X-3, and isn't terribly interesting in his choices here either. Just kind of just is a henchmen, which maybe someone else could've brought more with even what was written.)
Garner - (She's "there', which I guess is better than her previous performances.)
Snipes - (He certainly delivers the swagger once again.)
Evans - (Did like his subtle switch to his pompous Johnny performance, and that reveal I will say did work rather nicely, in many ways due to Evans's bringing that petulant energy again...though in a way that works.)
Keen - (A real waste I will say, as she's not used enough in terms of the Logan relationship to make sense of her inclusion, though I'm glad they didn't waste her with a random joke. She's not the problem though, she just doesn't have a lot to work with.)
Tatum - (Probably the best comedic bit in the film by really very much playing the part poorly in a way that wouldn't have worked for any feature film, however that is effectively the joke as he just muddles through his accent and looks ridiculous.)
The Deadpool Players all do their job they just don't have much to do, except Delaney and Uggams who do a bit more, but have a bit more to do.
Tim:
He certainly looks the part, but based on Zane's track record, I'd have to say more likely will get late Brando acting wise.
8000's:
I mean classic Ozu way of finding new ways to a similar moment though this time doing the mother letting her go of her daughter, though the energy and the dynamic is so very much different from Late Spring, though is just as honest in its way but of a alternative tone presenting instead this specific strength of Akiko's character and her resolve to be content with herself that Hara convinces you entirely of.
Well you won't hear me arguing that second point.
Luke:
I mean I love the Rohirrim theme, but didn't really love the trailer's method of "memba those great movies...watch this please" using it with the clips. I'll admit I didn't really love how overtly anime the animation was, and was hoping for more of a blend of classic approaches to Tolkien with anime...thinking about it more wish we could've gotten say a Tomm Moore Middle Earth film...but I digress. Otherwise the story looks okay, but didn't blow me away by any measure.
Louis: Thoughts on the cast of Didi.
Hey guys
Say your 77 Louis Top 5 Actresses predictions:
Lead Actress
1. Duvall
2. Chaplin
3. Rowlands
4. Spacek
5. Keaton (Annie Hall)
Supporting Actress
1. Winters
2. Polyakova
3. Redgrave
4. Ullmann
5. Dillon
Luke, what do you think will be Louis's favorite animated film of the year.
Louis: Thoughts on the scene from Maestro where Bernstein screams into a pillow? Comparing it directly to 'I was born for it' from Nightmare Alley really kinda showcases the night and day of quality in between Cooper's best and worst work.
Anonynous: The Wild Robot, maybe Transformers One.
Louis thoughts on Alien Romulus and the Megalopolis trailer?
(Thoughts on the film if you happened to catch it at one of the festivals?)
J96: He hasn't seen either Romulus or Megalopolis. To find out which films he's seen so far this year, I'd recommend going to his LB page.
https://letterboxd.com/louismorgan/
As for the Megalopolis trailer, he commented on the first teaser here: https://actoroscar.blogspot.com/2024/05/alternate-best-actor-1998-han-suk-kyu.html
(Not the same trailer you had in mind, I'm guessing, but I don't think it'd make much of a difference given the footage is largely the same.)
Louis: Your thoughts on these South Park episodes?
The China Problem
Breast Cancer Show Ever
So happy to see Chen get a 5.
Louis and other Ted Lasso viewers - thoughts on the S4 announcement? Not sure how to feel about it myself; I suppose I'm interested to see what directions they take with the characters, but after S3 I don't have much faith left in the writers' storytelling abilities (assuming the main writers will be returning). Mostly I'm surprised it's even happening at all, given how definitively the loose ends were tied up and that the creative team had already moved onto Shrinking.
Tony: Can't say I'm in love with the decision unless changes are made in the writing room, as Season 3 was a bloated, overly saccharine mess (even if the finale itself was decent).
Tony: Indifferent, I guess. Didn't love season 3, but I'm not so cynical as to think that it can't be good, probability be damned.
Louis: What are your overall thoughts on Julia as a film? I myself found the film to be ok, but it seems like it's been largely forgotten for a film that received double-digit Oscar nominations. I was a bit surprised when I learned that, though I think the subject matter may have been a reason it got that much attention.
To clarify, I did find it watchable enough, but for it to have gotten eleven (11!) noms, it's like "Hhmmm..."
Bryan: Eh, American Hustle also got double digit Oscar nominations, which I think was inexplicable back then given its (lack of) quality.
Anonymous:
The China Probrem is a weird episode in that you almost can completely forget Cartman's racist storyline, in fact you do, because how much of an impact the other storyline makes and is hilarious by going to such an extreme in the overt depiction of how the creators felt about Crystal skull. Although the best parts are really the friends having their pensive moments of trauma, particularly Jimmy describing a certain refrigerator scene. Otherwise the Cartman story goes nowhere, almost to the point it seems like Parker/Stone could've just never cut back to it and you wouldn't have noticed.
Breast Cancer Show Ever I find is a slow episode that goes to its obvious conclusion slowly and not in a particularly funny way. If the show genuinely worked the drama of Wendy getting revenge maybe it could've been something but it doesn't.
Tony:
Well I think there are two scenarios, one core members behind it didn't think they got it right and want to try again, which maybe there's potential there. Two is Apple offered a lot of money to continue their most popular show, which then we'll be in some trouble...a lot of trouble potentially.
Bryan:
Well if you think Julia's haul might be a bit much WAIT until you watch The Turning Point, now that's a true ?. I think you can chalk up its success for Fonda hitting her stride in terms of academy appeal, (she was in a best picture nominee three years in a row starting here), Academy darling Fred Zinnemann coming out with a more overtly prestigious film for them to embrace after the less "approachable" Jackal underperformed (despite doing well with the Globes and BAFTA), plus you have the importance of the subject matter, Lillian Hellman was well known at the time, and if you look at that lineup I'm sure some members were looking for something traditional to embrace, as neither Annie Hall nor Star Wars are what you'd call traditional academy films. Of course today I imagine it could've been derailed if the fact that Hellman's autobiography was actually closer to Chuck Barris's Confessions of a Dangerous mind, except his made-up stuff was over the top, that of course you'd think it was made up compared to Julia where the fake stuff is more subdued...though all the made up stuff are the most cinematic elements.
Anyway putting that all aside, I think the film is okay, with the made-up thriller section being reasonably compelling, though everything else being a touch inert, though not terrible, where it struggles to make the artistic process truly compelling. And I suppose it speaks to the piece being a work of fact and fiction (though it doesn't admit to that) by how scatter shot and disparate the Julia stuff feels from the scenes at home and with Robards. It very much doesn't exactly flow, but I do think it has moments and sequences that work though is a bit underwhelming as a whole.
Also one of the biggest "right actor wrong film" with Schell being nominated for this rather than Cross of Iron.
Game Night 1980s Directed by Danny DeVito
Max: Michael Douglas
Annie: Kathleen Turner
Brooks: Kurt Russel
Ryan: Charlie Sheen
Sarah: Sean Young
Kevin: Richard Pryor
Michelle: Whoopie Goldberg
Gary: Christopher Lloyd
The Bulgarian: Danny DeVito
1990s Directed by Woody Allen
Max: John Cusack
Annie: Jodie Foster
Brooks: Edward Norton
Ryan: Hugh Grant (in Paddington mode)
Sarah: Laura Dern
Kevin: Laurence Fishburn
Michelle: Oprah Winfrey
Gary: Jeff Goldblum
The Bulgarian: Chazz Palminteri
Thoughs?
Blink Twice is yet another entry into the 2024 horror genre of "bad script elevated by much better direction". Kravitz directs with much confidence, which isn't the same as brilliance, however she certainly cultivates a striking atmosphere even if her attempts at tonal shifts don't always work. She organized an impressive cast, though everyone is saddled with thin characters who rather than being changed by the plot are just servicing the revelation and little else. Even the main character really has almost nothing to her other than "wants a vacation" . The most developed character is a reality tv star with useful skills, though that also was one of the more obvious plants in recent memory. Everyone can summarized in a word, not even a sentence, which really hinders the film, as there's no interesting characters trading barbs before the "thing" happens, it's just fairly boring people getting drunk and high, which is a point in itself, however too drawn out for it to be the only point. Then when everything explodes, nothing truly remarkable happens in that execution either. It definitely has moments, Kravitz has potential as a director but MAN would it be nice to get a horror movie with a great script at some point this year.
Ackie - 3.5
Tatum - 3.5
Shawkat - 3
Slater - 3
Rex - 3
Arjona - 4
Osment - 2.5
Caribel - 3
Mullen - 2.5
Hawke - 2.5
Davis - 3
MacLachlan - 3
Louis: Are there any songs you don't like hearing on their own, but find enjoyable in its usage as a music cue in a specific film? And do you have any favourite songs that you were first introduced to through its use in a film (as a needle-drop, not as an original song/musical number)?
Louis: Thoughts on the Longlegs cast.
Tim: May I ask why you went with Foster, Young, and Winfrey for those roles? I can kind of see Cusack and Norton, though.
Alien Romulus is a bit like eating a rotten apple, not a rotten to the core apple, just one with some rotten bits, so you can theoretically enjoy parts of it, but you are constantly reminded of the rotten bits that it is hard to ever just eat the thing. Anyway, the rotten bits are the horrible callbacks, especially one unpleasantly extended one, the weak motivation for most of the characters, also most of the characters as a single line doesn't make motivation, the whole final sequence that just didn't work with the final design being a "nice try", and just some abysmal bits of dialogue now and again. There are some sweet bits, some of the sequences do work, the production design, the use of practical effects (though mixed due to that horrible extended VFX bit), and just about everything to do with Andy. Which together is enough for me not to throw it in the trash bin, but its rough meal at times.
Saving Jonsson.
Spaeny - 3.5
Renaux - 2
Merced - 3
Fearn - 1.5
Wu - 2.5
Louis: What is your category placement for Jonsson.
Tony: while Foster generally doesn't do comedy (she turned Freaky Friday down) she does usually give rather intense performances (her Oscar wins alone showcase this). This quality i think could do well with the rather big scenes Annie has in that movie, like rounding up gangsters in the bar and playing tough, while she could still bring something of an everywoman quality to the role, especially because she is not the first one you would probably think of for this part.
Winfrey - This is the one plotline that i am sure would always differ the most depending on which decade you set it in. In this case í imagined it more as the general "bickering couple" type that Allen loves to write so much. Imagine Sophia from The Color Purple light, with a husband who actually has the cojones to go up against her.
Sarah is the most difficult to cast as she really is the least interesting character. I guess she is supposed to be something of an audience insert, being the new one in the group, but the movie didn't really do a lot with that, did it? Anyway, you say Sean Young and i think Blade Runner; and i respect anyone who can hold a screen next to an actor like Harrison Ford. Since this would be an ensemble movie with everybody giving BIG performances (i imagined this 80s version as a very dark comedy) i need somebody who can hold a candle to big name actors in less thankless roles
Tahmeed:
In a word, performative. And indeed an apt comparison to the weight of his final scene in Nightmare Alley, to the weightlessness of that moment, which definitely has to do with Cooper's shortcomings as a director/writer more-so I'd say, but because of all that it makes the moment just ring false.
Anonymous:
Shirley Chen - (Her arc I think is a little bit more rushed within the scheme of the film, regardless I think she did well in creating the two sides of her chemistry with Wang, in the more intense bickering siblings side and the later more nuanced understanding siblings side. The glue between those sides I think is perhaps a weaker aspect of the screenplay, but still, the two sides are well realized by her performance.)
Chang Li Hua - (For I imagine a pseudo stunt casting, delivers well in just being the different sides of the grandmother effectively, the somber looking at her own life, the more goofy playful way with her children, but also genuinely venomous in her scenes of "correcting" her daughter-in-law.)
Joan Chen - (Her performance finds a unique angle at what is becoming an oft played role of the put upon parent in one of these films. As part of it is Chen I think rather surprisingly, but most effectively manages to be a bit of a goofy mom whose basic setting is just to try to have fun with her kids and doesn't mind being silly with them. That is though contrasted in her scenes of dealing with her mother-in-law where you see the words burden her and creates this natural sense of earned bitterness that she internalizes to eventually earn the later outburst. Chen though in her reactions to her son's actions throughout at so wonderfully nuanced in showing moments of her own vulnerability, most definitely her warmth, at times her sadness of having to deal with their more difficult reactions to their troubles, and is completely fantastic in her big final scene in just bringing it all there beautifully. She's comforting in the end, but never is that a simplifying comfort, as Chen always shows the person behind the mom, working to be the best mom she can be.)
I'll just say collectively with most of the younger performers that have a naturalistic ability in even selling the worst elements of natural teenager behavior, without seeming too stiff or too over the top for the most part.
Tony:
"P.I.M.P" - Anatomy of a Fall
"Rhythm of the Night" - Beau Travail
“Damn It Feels Good to Be a Gangsta” - Office Space
"Shadow of the Sun" - Collateral
A few I could think of.
Let me ponder the next list a little.
Anonymous:
Monroe - (Thinking more about this performance I could go either way if I were to re-watch the film, though I don't really have any great urge to do so. Monroe though makes the choice to play the part very much "on the spectrum" of sort of this specific sort of alternative detachment within her performance. Something that makes her very always approach a given scene with this reduced emotional element to it, though she does still carry it, and while I wouldn't say it made her wholly gripping at all times to me, it certainly did make her distinct without going overboard at least in my view....unlike.)
Cage - (Okay, so I only found him creepy when he wasn't really acting just seen from some distance, and the thing about Cage, which I think he might admit to himself, is there is a performative quality to his work no matter what. The problem is here for me, other than I thought he was hilarious rather than scary, is that it indeed feels like a performance rather some demonic creature to terrify. Maybe that is the point, but I don't know, that's a lot benefit I'm giving to that particular doubt. Because of course Cage is over the top but in a way for me that is always pretty silly with a character that theoretically should be scary....I think. I mean if you cast Michael Wincott, Bill Bolender, Ned Dennehy or Richard Brake, I think the character likely would've been truly unbelievably horrifying, because you would've believed him as this creature/person, rather than Nic Cage doing a Nic Cage thing....and I frequently love that...but was the wrong choice here in my view.)
Underwood - (Mostly expository stuff from him which is fine, but he really quite chilling in his final scene in bringing the strange insanity in a way that was genuinely chilling unlike a certain aforementioned performer.)
Witt - (Speaking of spoiler alert, Witt brought in the subdued way the genuinely creepy qualities I was looking for with her strangely passive yet incisive combination within her performance. Where she has this naive quality on the surface that she is always subverting with this specific knowing calm about her the whole time. Her work as has this beautiful kind of hypocrisy to it that is most unnerving.)
Shipka - (Like Witt brings that same kind of calm within the insanity that I found her one scene wonder most effective. Because Shipka is selling some seriously twisted around dialogue she needs to perform, and managed to not become ridiculous, unlike again a certain aforementioned performance. Where she made the specific supernatural element seem honest within this specific kind of psychosis that made her manner so much more chilling.)
Luke:
Right on the border. I could go either way.
Louis: If you haven't given them already, your thoughts on "My real father lost his head in King's Landing" from Game of Thrones.
Louis: Thoughts on these Sopranos scenes?
https://www.youtube.com/watch?v=_yYJD-Wmmlo
https://www.youtube.com/watch?v=lkaPEfq0cfM
Louis: from a realistic perspective (i.e. not taking into account our love for the performance), what do you think of Joan Chen's chances at a nomination? There are things against her favour (early release date, film might not be Academy's cup of tea, Josh Hamilton or Rachel McAdams scenario, potentially stacked category) and things in her favour (well respected veteran, 'comeback' narrative, could be seen as overdue for Last Emperor) ultimately balancing out to 'I guess we will see' for me.
Tahmeed:
An example of the greatness in an early scene, and maybe one of the cruelest scenes of the series while also being the most heartbreaking. As Allen opens the scene just as the defensive Theon pushing himself up with pride and denying his beliefs as not "one of the Starks" however begins to bring such genuine vulnerability in the scene that no longer is defensive but rather someone opening up to his genuine regrets. No longer speaking in sharp tones but rather acknowledging his extreme failures as he sees the horrible mistakes paying the "iron price". Particularly with that line, with the "maybe its not too late", where there isn't any compromise in Allen's delivery just truth as he acknowledges he did wrong to the man who actually raised and cared for him. Of course also super cruel because his honest confession is to a complete psychopath who doesn't care either way.
Tony:
A great scene that is emblematic of that unique quality of the show that this scene is genuinely dealing with some difficult material but is also kind of hilarious, in a very darkly comic way. As both men prove themselves to be what Christopher claims himself not to be in the scene, as both are just tiptoeing genuinely talking about feelings instead Tony so awkwardly trying to be a therapist and Christopher refusing to admit to anything wrong with him while also saying there's plenty wrong with him. Also emblematic as so much of the show as the men are complete emotional wrecks but would rather "tough guy" it than admit to it, instead just be as awkward as they are in this scene so well realized by Gandolfini and Imperioli.
Same goes for the second scene, which also is both struggling to say anything real to one another, rather talking about loading a refrigerator, business and of course Prairie Dogs. With Junior being even more pent up than Tony, as Tony still is tip toeing around the issue, eventually getting to it...though slightly comical still given it is to do with the legendary varsity athlete line. But such great acting by Gandolfini showing Tony struggling just to say what he wants to say to his Uncle, and Chianese is outstanding in the scene in showing the real emotion just below the surface that the old man of an even more "be a man" generation refusing to let it go.
Calvin:
Well I'll say having the narrative of the comeback is at least something, she will likely get that Indie Spirit nod, probably a few critical notices (maybe many), and Focus Features can get nominations...however they tend to choose one contender to push out of their slate like The Holdovers last year....which they have both Conclave and Anora, with friendlier awards release dates...which means Didi will have to vie for attention. What maybe helps is Didi having what sounds like the strongest Supporting actress play, from what I've heard Rossellini's part would have to be beefed up in adaptation...but then again if it's the bigger player sometimes that doesn't matter. But regardless I think there is a chance, if she seems like the only good bet for the category that they push her above the film. Though what will really tell us the chances is seeing what comes out of the fall fests the next two weeks, and just how many "slam dunks" there are for supporting actress that Chen will have to get in front of.
Side note on the film and The Last Emperor I'd like to think John Lone played the dad...
Louis: What are your thoughts on Hikmah Warsame and Dahabo Ahmed in The Curse?
Calvin: Call me obtuse, but what do you mean by a Hamilton or McAdams scenario? Are you talking about a situation in which an actor just doesn't seem interested in campaigning (which seemed to be the case for the latter, don't know about the former); or one in which the performance is acclaimed, but for whatever reason, is ignored by the major awards bodies?
Lucas:
Both of their performances are effectively hostile in this very quiet way where they naturally fluctuate between this sort of child's indifference towards something that is off-putting in a more subdued way where it is hard to tell if they're playing mischievously on purpose or are truly sinister. With the aim of their work crafting this enigmatic quality that in itself plays with the idea of the curse as a joke or as something real.
Tony:
I'm fairly sure Calvin is referring to well loved parental performances that end up being forgotten by the industry.
Strange Darling is one I'd say just go see it without reading much more, if you're in the mood for something demented in a wholly captivating way. The only thing I'd note is the ending is a bit more rudimentary compared to the rest, but the rest more than makes this worthwhile as one insane ride.
Fitzgerald - 4.5
Gallner - 4
Hershey - 3
Begley - 3
Beaty - 2
Quezada - 2.5
Louis: In that case I'd say Chen has a slight leg up on both of those situations in that she's already campaigning, and has more of a veteran status to her that the others didn't. But as Calvin said, I guess we'll see.
Louis: What do you think of these guest spots?
Simpsons - Michael Keaton, Harvey Fierstein
B:TAS - Matt Frewer, Ed Begley Jr.
Louis: Your thoughts on these South Park episodes?
The Losing Edge
Fat Butt and Pancake Head
Louis: Looks like Lee and Park have already begun shooting a new film together after 24 years, a thriller with elements of black comedy.
It's about a man who after losing his job as a chemist to outsourcing, decides to kill his job competitors.
Thoughts?
8000s: Not Louis, but inject that into my veins.
Louis: Thoughts on the cast for Kill (2024).
Louis: Which film would you say is more heartbreaking, The Plague Dogs or Grave of the Fireflies?
Louis: Thoughts on 'Napkins' and 'Ice Chips' from The Bear Season 3, and your thoughts on David Zayas? Found his performance pretty impressive if only for the fact that real-life married couples rarely have as much chemistry onscreen as much as they did.
Louis: Will Keaton's Beetlejuice review be posted next week.
Louis: Could you watch Napoleon: Directors Cut this weekend.
Calvin Law: As I believe you've discussed having seen the first 2 seasons of The Marvelous Mrs. Maisel, can I ask if you've since finished the entire show?
Tony:
Keaton's not in a great episode, though I do appreciate he was playing a character actually, and we do get a funny delivery when he lies while confessing only to lie when confessing again. Keaton bringing a certain gruff gravitas of sorts that sells the character well even within the confines of the pretty simple plot.
Fierstein is a classic appearance and shows proper use of a voice, in this case in no way reflecting what the man looks like however presenting an off-beat though very specific dominate energy for "Karl" the selfless assistant in every possible way. Bringing this force with his character and the right sort of enigmatic quality in terms of the character's approach to Homer whether or not he's doing this because he just wants what's best for Homer or loves him perhaps a bit less platonically.
Frewer in the first of the starring guest brings a great nervous energy that treads the line beautifully in not being entirely a caricature even if you know who squid is the moment he speaks. He brings the right balance to be this pathetic comedic hapless fool but you do care to him to a degree because Frewer holds back just enough to be convincing as a person rather than just a type.
Begley's one of the best performances in the series as he brings such a perfect nervous hapless energy in every delivery that you just can't help but feel absolutely sorry for the guy. He does it just right though like Frewer getting that type in just a word but also being believable as a person, even more so though for Begley. And is also terrific in his final scene in "playing the part" of where Charlie might've gone given the needless terror Joker has inflicted upon him.
Anonymous:
The Losing Edge is a hilarious sports parody with your montages (with proper use of best around), ringer seeker, championship game, but also a Rocky parody all the same, also hilarious. Though brilliantly subverted here though in the "win" is losing for kids who want to play video games, and the same is Randy finding the nerve to properly fight...and disqualify the kids.
I'll admit I think both the hand and direct parody get tiresome, though Affleck's "that's me" ego line is always hilarious to me, as is the bits on Kyle refusing to believe Cartman's potential long con with "Mitch Connor" being a great "reveal". A lot I think is dated, despite us getting an update in that relationship and a little repetitive, but those bits are quite good.
8000's:
I mean you had me at Lee and Park.
Matt:
Whoo, tough choice, I'd say Plague Dogs only because Grave opens with what will happen...but that's brutal toss up in more ways than one.
Tahmeed:
Napkins is just beautifully told in unraveling how the old troubled sandwich shop could seem a respite for someone struggling through so much which is detailed so beautifully because as tough as it is, there are moments of respite and you get the sense of who she was before getting into this struggle where we get that great extended scene between Colon-Zayas and Bernthal, which is just pitch perfect in finding some kind of hope within emotional turmoil.
Ice Chips is another great extended sequence of just mother and daughter working through it and playing off each other, both Curtis and Elliott being fantastic in the way of playing into so many different ups and downs reflecting their relationship so naturally throughout the process of the birth. Having the struggle, but also the joy balanced as this natural realization.
I agree on Zayas just having great chemistry and just in the interactions you immediately sense their history, the ups and the downs in an instance. There's no work to be done you just accept them as such.
Luke:
I'm a man of words when it comes to Keaton.
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