Films To Watch The Singing Detective The Mission (Re-Watch) Platoon (Re-Watch) Manhunter (Re-Watch) Something Wild (Re-Watch) Mona Lisa (Re-Watch) Aliens (Re-Watch) Little Shop Of Hunters (Re-Watch) The Great Mouse Detective (Re-Watch) Castle In The Sky An American Tail Labyrinth Manon Des Sources At Close Range Crocodile Dundee Heartbreak Ridge Rosa Luxemburg ’Night, Mother Thérèse Love Me Forever Or Never Peking Opera Blues Peggy Sue Got Married Crimes Of The Heart Vera Mauvais Sang Duet For One Dust In The Wind Pretty In Pink The Green Ray Desert Hearts The Horse Thief From Beyond The Assault 52 Pick-Up She’s Gotta Have It The Decline Of The American Empire The Beekeeper Ginger And Fred Parting Glances Betty Blue Terrorizers Caravaggio Lady Jane In A Glass Cage His Motorbike, Her Island Dead Man’s Letters Shadows In Paradise Max, Mon Amour Matador The Fringe Dwellers To Sleep So As To Dream Abel Tree Without Leaves Evening Dress The Big Easy Clockwise Flight Of The Navigator 9½ Weeks Psycho III Power That's Life! Pirates Ruthless People Golden Eighties Lucas Crossroads Inspecteur Lavardin The Professor About Last Night Memoirs Of A Sinner Royal Warriors F/X Night Of The Pencils The Rose King The Clan Of The Cave Bear Castaway Extremities
Louis: your ratings and thoughts on Tuesday Weld in Looking For Mr. Goodbar, Donna Pescow in Saturday Night Fever and Norman Alden in I Never Promised You a Rose Garden?
To all the Americans on this blogspot...I wanted to say that I know tomorrow is very important for many of you. As a Canadian, if I were able to vote, I have a clear choice for who I'd support. The alternative candidate could result in a very dangerous and unstable 4 years. And I spent much of this year angry and bitter over the situation. Despite this...I refuse to paint broad strokes, and I wish everyone here the best going forward.
Louis: What are some books that you would say aspiring film critics should read? And which non-fiction books/authors do you think influenced your film criticism most?
Weld - 3.5(Seems like a fairly random nomination that I kind of wonder if voters weren't voting for Keaton twice in a way. As Weld is perfectly fine in the part in really a pretty rudimentary part. Her character is mainly there as Keaton's sister, she's natural enough in the role that she serves what is needed but I wouldn't say she makes much of an impact regardless. And this is particularly important to note compared to a lot of Weld's wilder turns, so guess maybe she was being rewarded for restraint, which she certainly delivered on I guess.)
Pescow - (Her performance is effectively heartbreaking in playing just such a sincerity in her character's desire for Tony as so obvious but in a way where she brings this intensity of someone who just really wants to be loved no matter what. Pescow brings this brutality lost quality at times in showing someone who really shouldn't probably be in the clubbing scene for her intentions but just so desperately wants to fit in. Pescow underlines every moment with the real desire to be loved even though all the men see her as just something to lust...if even that. The condoms scene in particular is so hard to watch because Pescow plays the moment so earnestly making the rejection again that much more unpleasant. She then is absolutely fantastic in the final sequences in playing the double horror first of her gang rape then the reaction to the suicide which she sells every second of it in the intensity of her despondency.)
Alden - (Brings a wonderful naturalistic warmth to the part though with this sort of caution as a man who knows how to carefully do his job where he does care about the women but also knows there's a lot of challenges with them. Alden brings just a great sincerity about a man who is very much doing a job and has that way about him, but at the same time 100% cares about that job.)
Tony:
1977 I think you could argue is an underrated year on the whole as it seems like it gets a bit drowned out by Star Wars with a bit of focus on Annie Hall and Close Encounters. Most of the other films are forgotten to an extent, or at least had initially a negative initial response. As there are so many memorable works from great directors though they aren't the populist favorites for them to me they're among their best, where that be Cross of Iron for Peckinpah, Duellists for Scott, The American Friend for Wenders, Sorcerer for Friedkin or 3 Women for Altman. Basically it is a year of leaps and risks, as few were playing it safe. Star Wars was a huge wing. Annie Hall was a notable switch for Allen. Close Encounters being Spielberg going full "auteur" by acting as writer and director. But the same is true for the aforementioned works of those noted directors, but extends to Lynch making his first film, Attenborough going as big as possible.
It also is a year that helped to define the shift from the 70's to the 80's. With the top ten box-office films all being *lighter* entertainments, except A Bridge Too Far (which was more so an old school 60's type draw) and Saturday Night Fever however that's PG edit very much emphasizes that fundamental change from the uncertainty, morally ambiguous films to those with clearer morality and a happy ending you could hold onto.
After both Joker 2 and Emilia Perez I'm rather wary of atypical musicals at the moment, and documentary director to feature isn't something that always works out. From the trailer, suggests maybe it doesn't as there as just something about the visuals and scenes here that seemed a little off, and not in a great way. I do like that they seem to be just singing the songs as song one would theoretically like to hear, unlike Joker and to an extent Emilia, but this did not sell me on it despite the obviously talented cast.
Best of luck, to all the good American people, as well as all the good people around the World. I, begrudgingly support Harris to win like everyone else, and I hope down the line, someone in the democratic setup successfully talks sense into her.
With The Outrun Ronan delivers the rest of the film, not so much. Like We Live in Time attempts to hide its series of cliched narrative via a non-linear structure, which also like that film utilizes seeming for maybe "art cred" than actual narrative purpose. As it does feel jumbled for the sake of it. Otherwise you have moments of trauma depicted with a surface intensity but without depth, you have random info narrative beats that seem an attempt to distinguish itself yet feel perfunctory, then you have a series of alcoholic scenes that worked far more effectively nearly 80 years ago when The Lost Weekend did them. Ronan does give some power to the piece but even that is diluted by how repetitive and overlong the film is.
Well I pretty much loved A Different Man as the most off-beat of character studies, which as much as I thought I had it pegged as one thing, one thing it was not, as it successfully surprised me multiple times with the turns it took. Which while broadly dealing with the need for self-acceptance mentally never mind physically, the way it approaches this isn't so simple as I might've thought with just what they do with the Oswald character in relation to Edward or Renate Reinsve's Ingrid which I almost instantly thought was going to be one very obvious character, and most certainly was not that. Of course the unexpected path would be meaningless if the execution wasn't there, and I loved the execution. The film is frequently downright hilarious in its satirical bent involving the sort of "artistic" dilution of Edward's story, meanwhile though it emotionally grips in bringing so intimately into Edward's world first as he believes himself imprisoned by his face to later be imprisoned by his mind. Something bolstered by the strange yet fascinating score and the choice of aesthetic that manages to keep you off-kilter however in a way that never over does for the sake of style, instead amplifying naturally this sense of placing us in Edward's specific frame of mind.
The point point I will concede is the hit Frank Pentangeli is slightly confusing needlessly because of Aiello's adlib. But other than that the review doesn't seem to want to reckon it beyond the surface examination even simplifying the contrasting father/son scenes as a simplistic moral lesson, but I don't think it is that simple. But to be fair to Ebert II's structure is atypical, the tone does change in the Vito's scenes, and he does praise some obvious highlights of the film. But the difference is I, and most, find the structure completely works with this story, the tone shift between the stories makes perfect sense to reflect the lives and style of the two men and the state of America. The review describes the film, but I wouldn't say it does it justice in trying to look at it a bit deeper.
Anonymous:
Well I would've already watched if it weren't for Zaslav and his hate-on for Cry Macho...which neither Cry Macho or Richard Jewell lost that much money, meanwhile all of Eastwood's previous efforts in the 2010's made over their budget...or WAY over their budget like American Sniper. But I'll certainly watch it when I get the chance.
Kinda loved The Mosquito Coast. Possibly Harrison Ford's best performance, I don't know. It's hard to deny Raiders or Star Wars, but he's amazing here.
Ronan - (Her performance suffers to a degree because of the needless random order of the scenes because it creates a distance from her personal journey since it feels so much like random spots. Having said that Ronan is up for every random spot we get. Ronan's beautiful voice is most welcome in giving those various facts or factoids throughout the film. She manages to play the different sides of her character's addiction from the hiding of pain through just drunkenness and just being both a happy and mean drunk. Scenes that are easy to flop with, and honestly even as written the scenes are a bit of flops however Ronan successfully delivers on them each time to be at least convincing within herself. Her best moments are self-enclosed intimate ones that force her to sell just a moment of emotional space, there Ronan of course excels with and is excellent in these scenes. They don't build sadly because of the weaknesses of the film, but Ronan is good with all that she has regardless, with those standout moments basically when the film is fully reliant on her without getting in the way either.)
Reeves - (Wish there had been more of her as I've liked her work in Slow Horses so I was happy to see her again here, but sadly she isn't given too much other than being a slightly doting but concerned mother. Reeves brings an authenticity to her part to never be weighed down by the shortcomings or limits of it but sadly there was so much more I think she could've bought with a better script.)
Dillane - (A thankless role because he's forced basically to be extremes of passiveness to then being completely off the wall. The latter is what led to below the 3 because I just wasn't convinced by his performance of the extreme, though the rest of the time he's fine in a role that again could've been a lot more.)
Essiedu - (Brings a nice warmth in his very brief screentime but another wasted performer on the whole.)
Tatsuya Nakadai - Kill! Alan Cumming - Josie And The Pussycats John Gielgud - Prospero's Books Stacy Keach/Christopher Plummer - Conduct Unbecoming Tony Leung Chiu-Wai - In The Mood For Love
I think Louis will review Gian Maria Volonté in The Working Class Goes To Heaven and James Woods in Another Day In Paradise for Vol. 7.
Very sloppy if not shoddy looking trailer especially in terms of editing, though the story looks like it has potential, doesn't seem like they are going to find it based on this snippet. I will say Zane looks like an absolute dead ringer, and the recreation of the Cavett clip is perfection. Overall though...seems like he'll be inconsistent at best despite the natural strength of his physical appearance. After all I've honestly ever fully believed Zane as himself, which to be fair he was a cool dude there.
Louis: Since I know you like both songs...did you ever think "Purple Rain" is similar to Journey's "Faithfully" on a composition level, which Prince himself was worried about when writing it?
Alien Psycho The Dark Knight (Joker trailer) Lord of the Rings: Fellowship of the Rings Watchmen Logan (Hurt) Cloverfield The Master (teaser) Uncut Gems The Shining
Tahmeed:
There are the four chords, some elements of the percussion (although also that was the 80's in some sense), the late introduction of the electric guitar, however even these elements are not exactly the same, nor the lyrics, nor the rest of it. I can understand Prince's concern but it is far removed from it as say Ghostbusters is from A New Drug (although even that is slightly overblown).
Blitz is yet another disappointment for 2024. There is some technical prowess on display, though another set of night scenes where I frequently couldn't see a thing. It is such an oddly put together film failing to decide if it wants to be reality or a Dickens hyper reality...although in this instance a bad hyper reality. You can go from one scene of a horrendous accident, that no one ever mentions again, to a scene of an over the top factory manager the next yelling nonsensically. It's so thin, characters are either over the top sinners or saints with no nuance to be seen. Worst of it, I thought this applied to the central relationship as well. Honestly I thought they lacked chemistry, but also too little time is given to setup their relationship as something truly special instead of a fairly hollow and generic one. I felt almost nothing in the ending that truly left me saying "That's it?"
Heffernan - 3 Ronan - 3 Dickinson - (Is in the movie) Clementine - 3.5 Weller - 3 Burke - 2 Graham - 2 Gill - 3
Ahhh, that's more like it. Pretty much loved Anora, as yet another portrait of fringe by Sean Baker that like Red Rocket is often quite comical if not hilarious yet beneath it all is a potent portrayal of a very particular yet still human state of intense desperation. Filmed with a lush vibrancy where once again Baker pulls off a fascinating trick where he doesn't lose the "ugly" of certain locations yet makes them beautiful regardless. But essential to this film is the titular character, played brilliantly by Madison, which offers far from your standard "hooker with a heart of gold" rather a capitalist with an intention not to lose her profit margin.
Blanchett - (I knew the other shoe was going to fall as for six episodes I knew she would not have taken a part that just required her to be in this increasing state of distress, which Blanchett handles effectively as she can but is pretty limiting. However, she most certainly delivers on her big scene in bringing about the real truth of the horror of predicament and bringing to life so potently that sense of trauma. She brings her power in that scene and then you can see why she took the part. As Blanchett performances go, it isn't one of her greats, but it is still strong work.)
Kline - (His best since Fish, the funny thing while extremely different from that performance it isn't completely separate from it actually. Kline makes the show though because he brings some much needed entertainment value to so much of it by giving one of the most atypical yet completely brilliant portrayals of revenge. Kline grounds his work perfectly by the flashback scenes where he portrays just honestly and directly a caring husband and father. Bringing a calm, if even doting, warmth to his performance and showing the man going along with his family but as a good man. Then making in turn his heartbreak completely genuine and moving even. This is in contrast to the man we see in the present that Kline plays so well by purposefully showing a man living out a fantasy of getting to play the villain. Kline has so much fun with this in the right because he's showing that his character too is having so much fun with this. Kline presents the man purposefully playing the archfiend to give meaning to his life and showing in every step of his plan this devious deliciousness in his performance. And he's fun to watch even as he's being horrible, because he shows the man who wants to appreciate his evil through Kline backing that up with the man getting this purpose by living through this experience. I just love his walk, his vicious smile, his moments of just soaking up the misery he's causing, it is all just so wonderfully fiendish. Kline balances brilliantly in the few moments that push him off his high where you see the glimpses of the lonely, which is different from his portrayal of the pretend lonely man he sometimes presents to others. And as much as the finale is for Blanchett, I'll be honest still thought Kline stole it for his moments of realization where you see the man's fantasy shatter and suddenly just the sad bitter man behind it all. It's a big swing performance, and I adored every second of that swing. A swing that honestly saves the show, because if he was played as a dour villain the whole thing would've collapsed under the seriousness, Kline instead never compromises that, while also bringing a definite entertainment value though with purpose. Although I'm sure it won't happen, I'd love for Kline to finally get the TV crown for a triple crown, as he'd be oh so deserving for this.)
2. Cate Blanchett 3. Leila George 4. Kodi Smit-McPhee 5. Lesley Manville 6. Sacha Baron Cohen 7. Indira Varma 8. HoYeon 9. Michael Spicer (hardly showing the best of Britain this time) 10. Art Malik 11. Liv Hill 12. Louis Partridge
1. Spirited Away 2. Spider-Man: Into the Spider-verse 3. The Incredibles 4. Toy Story 2 5. The Boy and the Heron 6. Rango 7. Wallace & Gromit: The Curse of the Were-Rabbit 8. Toy Story 9. Toy Story 3 10. Finding Nemo 11. Ratatouille 12. Coco 13. Wall-E 14. Inside Out 15. Soul 16. UP 17. Zootopia 18. Guillermo del Toro's Pinocchio 19. Frozen 20. Monsters Inc. 21. Big Hero 6 22. Toy Story 4 23. Brave 24. Encanto 25. Shrek
Now does Shrek suffer from having lived through the period of time where people would quote the film incessantly, and pointlessly? Sure, but to quote Tommy Lee Jones, I don't care.
Nice list! Even though the category didn’t exist until the 2002 oscars for 2001 films, with Shrek as the first winner. So I raised an eyebrow when I saw the first two Toy Story films. Also, I thought Monsters Inc. lost to Shrek.
Anonymous: They're first reactions, the reviews won't be posted until close to release. Needs to be seen to be believed when it comes to Depp but if true, then Eggers is a miracle worker.
Heffernan - (He has a decent amount of presence but the character is too vaguely drawn to completely work regardless of performance. His performance though beyond the presence is just various forms of fine, where he gets close enough to the emotion but he doesn't ever really hit to make the scene impact greater than it does...which isn't a lot. His work in the ending I found particularly underwhelming where it was time for the strongest portrayal of emotion and his work is a little too muted. Not terrible, never bad in fact, but just a little too *there*.)
Ronan - (Have to say, and rare for me to say it, but she just did not give off mom vibes effectively here. Her chemistry with Heffernan just isn't strong enough. You don't sense the needed warmth or the potent sense of love that you really need. And I have to say, and this was true too often in this film, I found her accent a bit distracting and created a distance from her performance rather making me more convinced about the reality of her predicament. There are purely silent moments where you still see her innate skill to portray such intense emotions but again doesn't really have the needed build to create something special.)
Clementine - (Brings a nice reassuring warmth and for me was the one performer who I was fully convinced of having chemistry with Heffernan, and even that was for only a few scenes. I did believe though where he brings this sincere paternal manne that he does successfully make an emotional impact, something I found lacking much of the time.)
Weller - (He's perfectly serviceable as the grandfather, brings enough to it, but again such a poorly developed character where all we really know is he likes to play the piano. Don't know how he maybe had to defend his daughter and grandson related to their interracial relationship, just is kind of there.)
Burke & Graham - (Never thought I'd want them to leave a film so quickly but their characters are just so atrocious, as they are over the top and ridiculous without any hint of nuance whatsoever, as even Dickens' fiends frankly had more humanity than these two. And sad to say, I think Burke and Graham play into that over the topness rather than allude to anything more going on.)
Gill - (Brings a decent sincerity in his speech even again seems like a character who probably should've had more to do.)
Louis: Do you think Adapted Screenplay is looking pretty weak this year in general. Though having not seen it yet, it's looking like an easy victory for Nosferatu.
There have been a few good ones, Dune Part II and The Wild Robot, though even those films I'd say the directing is greater than the screenplay on the whole. Though yes have not been impressed by the screenplays of likely nominees like Conclave and Emilia Perez, though Sing Sing wouldn't be a horrendous winner (though its screenplay is its weakest element).
Louis: One thing I found interesting reading about Bill Shankly, who turned Liverpool into a successful football club in England, is that he was a fan of James Cagney, and he modeled his public persona after him.
Also, looking at photos of Jock Stein (the coach that led Celtic Glasgow to European glory in 1967), who would you cast as him?
96 comments:
I hope you'll review Walken.
1. Josephson
2. Phoenix
3. Montand (I think Manon Des Sources could be the stronger turn from him)
4. Benigni
5. MacLachlan
Films To Watch
The Singing Detective
The Mission (Re-Watch)
Platoon (Re-Watch)
Manhunter (Re-Watch)
Something Wild (Re-Watch)
Mona Lisa (Re-Watch)
Aliens (Re-Watch)
Little Shop Of Hunters (Re-Watch)
The Great Mouse Detective (Re-Watch)
Castle In The Sky
An American Tail
Labyrinth
Manon Des Sources
At Close Range
Crocodile Dundee
Heartbreak Ridge
Rosa Luxemburg
’Night, Mother
Thérèse
Love Me Forever Or Never
Peking Opera Blues
Peggy Sue Got Married
Crimes Of The Heart
Vera
Mauvais Sang
Duet For One
Dust In The Wind
Pretty In Pink
The Green Ray
Desert Hearts
The Horse Thief
From Beyond
The Assault
52 Pick-Up
She’s Gotta Have It
The Decline Of The American Empire
The Beekeeper
Ginger And Fred
Parting Glances
Betty Blue
Terrorizers
Caravaggio
Lady Jane
In A Glass Cage
His Motorbike, Her Island
Dead Man’s Letters
Shadows In Paradise
Max, Mon Amour
Matador
The Fringe Dwellers
To Sleep So As To Dream
Abel
Tree Without Leaves
Evening Dress
The Big Easy
Clockwise
Flight Of The Navigator
9½ Weeks
Psycho III
Power
That's Life!
Pirates
Ruthless People
Golden Eighties
Lucas
Crossroads
Inspecteur Lavardin
The Professor
About Last Night
Memoirs Of A Sinner
Royal Warriors
F/X
Night Of The Pencils
The Rose King
The Clan Of The Cave Bear
Castaway
Extremities
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
Louis: your ratings and thoughts on Tuesday Weld in Looking For Mr. Goodbar, Donna Pescow in Saturday Night Fever and Norman Alden in I Never Promised You a Rose Garden?
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
1. Josephon
2. Phoenix
3. Benigni
4. MacLachlan
5. Montand
It's Lynch Vs. Tarkovsky for Director and kinda hoping to see the latter win it.
Luke, your rating predictions.
Josephson - 5
Phoenix - 5
Montand - 4.5 (4.5/5 for Manon Des Sources)
Benigni - 4.5
MacLachlan - 4.5
Luke: Are you 100% sure Walken is lead?
Matt: Not 100% certain but I would like to see him get a bonus round write-up either way.
Louis, what are your final thoughts on 1977 as a year in film overall?
1. Josephson
2. MacLachlan
3. Phoenix
4. Benigni
5. Montand
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
Louis: Could Rogen go up for Steve Jobs? Him being #60 on the 2015 overall seems kind of low, even if it is a great year for supporting actors.
1. Josephson
2. Phoenix
3. MacLachlan
4. Montand
5. Benigni
1. Josephson
2. MacLachlan
3. Phoenix
4. Benigni
5. Montand
1. Phoenix.
2. Josephson
3. Montand
4. MachLachlan
5. Benigni
RIP Quincy Jones
To all the Americans on this blogspot...I wanted to say that I know tomorrow is very important for many of you. As a Canadian, if I were able to vote, I have a clear choice for who I'd support. The alternative candidate could result in a very dangerous and unstable 4 years. And I spent much of this year angry and bitter over the situation. Despite this...I refuse to paint broad strokes, and I wish everyone here the best going forward.
Sincerely, your neighbour to the North.
Mitchell: Thanks dude. I'm cautiously optimistic, but also scared shitless. I already votes thanks to mail-in ballot.
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
Rest In Peace to the amazing Quincy Jones. Whose career spanned music and cinema alike.
RIP Quincy Jones.
Also...fingers crossed for obvious reasons tomorrow.
Louis: What are some books that you would say aspiring film critics should read? And which non-fiction books/authors do you think influenced your film criticism most?
R.I.P. Quincy Jones
1) Josephson
2) Phoenix
3) Montand
4) MacLachlan
5) Benigni
1. Josephson
2. Phoenix
3. Montand
4. Benigni
5. MacLachlan
1. Josephson
2. Phoenix
3. MacLachlan
4. Montand
5. Benigni
Lucas:
Weld - 3.5(Seems like a fairly random nomination that I kind of wonder if voters weren't voting for Keaton twice in a way. As Weld is perfectly fine in the part in really a pretty rudimentary part. Her character is mainly there as Keaton's sister, she's natural enough in the role that she serves what is needed but I wouldn't say she makes much of an impact regardless. And this is particularly important to note compared to a lot of Weld's wilder turns, so guess maybe she was being rewarded for restraint, which she certainly delivered on I guess.)
Pescow - (Her performance is effectively heartbreaking in playing just such a sincerity in her character's desire for Tony as so obvious but in a way where she brings this intensity of someone who just really wants to be loved no matter what. Pescow brings this brutality lost quality at times in showing someone who really shouldn't probably be in the clubbing scene for her intentions but just so desperately wants to fit in. Pescow underlines every moment with the real desire to be loved even though all the men see her as just something to lust...if even that. The condoms scene in particular is so hard to watch because Pescow plays the moment so earnestly making the rejection again that much more unpleasant. She then is absolutely fantastic in the final sequences in playing the double horror first of her gang rape then the reaction to the suicide which she sells every second of it in the intensity of her despondency.)
Alden - (Brings a wonderful naturalistic warmth to the part though with this sort of caution as a man who knows how to carefully do his job where he does care about the women but also knows there's a lot of challenges with them. Alden brings just a great sincerity about a man who is very much doing a job and has that way about him, but at the same time 100% cares about that job.)
Tony:
1977 I think you could argue is an underrated year on the whole as it seems like it gets a bit drowned out by Star Wars with a bit of focus on Annie Hall and Close Encounters. Most of the other films are forgotten to an extent, or at least had initially a negative initial response. As there are so many memorable works from great directors though they aren't the populist favorites for them to me they're among their best, where that be Cross of Iron for Peckinpah, Duellists for Scott, The American Friend for Wenders, Sorcerer for Friedkin or 3 Women for Altman. Basically it is a year of leaps and risks, as few were playing it safe. Star Wars was a huge wing. Annie Hall was a notable switch for Allen. Close Encounters being Spielberg going full "auteur" by acting as writer and director. But the same is true for the aforementioned works of those noted directors, but extends to Lynch making his first film, Attenborough going as big as possible.
It also is a year that helped to define the shift from the 70's to the 80's. With the top ten box-office films all being *lighter* entertainments, except A Bridge Too Far (which was more so an old school 60's type draw) and Saturday Night Fever however that's PG edit very much emphasizes that fundamental change from the uncertainty, morally ambiguous films to those with clearer morality and a happy ending you could hold onto.
Anonymous:
I was asked a fairly similar question recently that you can search out.
RIP Quincy Jones
1. Josephson
2. Phoenix
3. Montand
4. MacLachlan
5. Benigni
1. Phoenix
2. Josephson
3. Benigni
4. Montand
5. MacLachlan
Louis, what'd you think of the trailer for The End?
Tony:
After both Joker 2 and Emilia Perez I'm rather wary of atypical musicals at the moment, and documentary director to feature isn't something that always works out. From the trailer, suggests maybe it doesn't as there as just something about the visuals and scenes here that seemed a little off, and not in a great way. I do like that they seem to be just singing the songs as song one would theoretically like to hear, unlike Joker and to an extent Emilia, but this did not sell me on it despite the obviously talented cast.
Best of luck, to all the good American people, as well as all the good people around the World. I, begrudgingly support Harris to win like everyone else, and I hope down the line, someone in the democratic setup successfully talks sense into her.
Louis: Your thoughts on Ebert's original three-star review of The Godfather Part II?
With The Outrun Ronan delivers the rest of the film, not so much. Like We Live in Time attempts to hide its series of cliched narrative via a non-linear structure, which also like that film utilizes seeming for maybe "art cred" than actual narrative purpose. As it does feel jumbled for the sake of it. Otherwise you have moments of trauma depicted with a surface intensity but without depth, you have random info narrative beats that seem an attempt to distinguish itself yet feel perfunctory, then you have a series of alcoholic scenes that worked far more effectively nearly 80 years ago when The Lost Weekend did them. Ronan does give some power to the piece but even that is diluted by how repetitive and overlong the film is.
Ronan - 4.5
Reeves - 3.5
Dillane - 2.5
Essiedu - 3
Louis: Thoughts on The Outrun's cast?
Louis: Do you know when you will watch Juror #2?
Well I pretty much loved A Different Man as the most off-beat of character studies, which as much as I thought I had it pegged as one thing, one thing it was not, as it successfully surprised me multiple times with the turns it took. Which while broadly dealing with the need for self-acceptance mentally never mind physically, the way it approaches this isn't so simple as I might've thought with just what they do with the Oswald character in relation to Edward or Renate Reinsve's Ingrid which I almost instantly thought was going to be one very obvious character, and most certainly was not that. Of course the unexpected path would be meaningless if the execution wasn't there, and I loved the execution. The film is frequently downright hilarious in its satirical bent involving the sort of "artistic" dilution of Edward's story, meanwhile though it emotionally grips in bringing so intimately into Edward's world first as he believes himself imprisoned by his face to later be imprisoned by his mind. Something bolstered by the strange yet fascinating score and the choice of aesthetic that manages to keep you off-kilter however in a way that never over does for the sake of style, instead amplifying naturally this sense of placing us in Edward's specific frame of mind.
Reinsve - 4
Cameo - 3.5
Marcus:
The point point I will concede is the hit Frank Pentangeli is slightly confusing needlessly because of Aiello's adlib. But other than that the review doesn't seem to want to reckon it beyond the surface examination even simplifying the contrasting father/son scenes as a simplistic moral lesson, but I don't think it is that simple. But to be fair to Ebert II's structure is atypical, the tone does change in the Vito's scenes, and he does praise some obvious highlights of the film. But the difference is I, and most, find the structure completely works with this story, the tone shift between the stories makes perfect sense to reflect the lives and style of the two men and the state of America. The review describes the film, but I wouldn't say it does it justice in trying to look at it a bit deeper.
Anonymous:
Well I would've already watched if it weren't for Zaslav and his hate-on for Cry Macho...which neither Cry Macho or Richard Jewell lost that much money, meanwhile all of Eastwood's previous efforts in the 2010's made over their budget...or WAY over their budget like American Sniper. But I'll certainly watch it when I get the chance.
Pre-emptively, can we keep politics off of here? This is like the one place online I can think of to get away from all of that.
Louis: Is Adam Pearson Lead or Supporting.
Mart: I don't have it in me to be as upset as I was eight years ago. Just incredibly disappointed, but sadly not surprised at the outcome.
And that is the extent of the discussion on here. No more.
Matt: I agree. With that said, do check up on your friends, especially the ones on the blog.
Kinda loved The Mosquito Coast. Possibly Harrison Ford's best performance, I don't know. It's hard to deny Raiders or Star Wars, but he's amazing here.
Ford-5
Phoenix-4
Mirren-4
Roberts-3
Gregory-2(Way overdone)
Plimpton-3
Tahmeed: I'm in the same boat. It was always a close race..this was always a possibility, just not the one I wanted to see.
Once again, to all the Americans here - remain safe, remain diligent, and best of luck going forward.
Luke:
Pearson is 100% supporting.
For the record I’m 100% with Matt. I’m not talking about it here. Not like eight years ago.
5º Kyle MacLachlan
4º Roberto Benigni
3º Yves Montand
2º River Phoenix
1º Erland Josephson
Anonymous:
Ronan - (Her performance suffers to a degree because of the needless random order of the scenes because it creates a distance from her personal journey since it feels so much like random spots. Having said that Ronan is up for every random spot we get. Ronan's beautiful voice is most welcome in giving those various facts or factoids throughout the film. She manages to play the different sides of her character's addiction from the hiding of pain through just drunkenness and just being both a happy and mean drunk. Scenes that are easy to flop with, and honestly even as written the scenes are a bit of flops however Ronan successfully delivers on them each time to be at least convincing within herself. Her best moments are self-enclosed intimate ones that force her to sell just a moment of emotional space, there Ronan of course excels with and is excellent in these scenes. They don't build sadly because of the weaknesses of the film, but Ronan is good with all that she has regardless, with those standout moments basically when the film is fully reliant on her without getting in the way either.)
Reeves - (Wish there had been more of her as I've liked her work in Slow Horses so I was happy to see her again here, but sadly she isn't given too much other than being a slightly doting but concerned mother. Reeves brings an authenticity to her part to never be weighed down by the shortcomings or limits of it but sadly there was so much more I think she could've bought with a better script.)
Dillane - (A thankless role because he's forced basically to be extremes of passiveness to then being completely off the wall. The latter is what led to below the 3 because I just wasn't convinced by his performance of the extreme, though the rest of the time he's fine in a role that again could've been a lot more.)
Essiedu - (Brings a nice warmth in his very brief screentime but another wasted performer on the whole.)
Luke, what are your suggestions for Backlog Vol. 6.
Tatsuya Nakadai - Kill!
Alan Cumming - Josie And The Pussycats
John Gielgud - Prospero's Books
Stacy Keach/Christopher Plummer - Conduct Unbecoming
Tony Leung Chiu-Wai - In The Mood For Love
I think Louis will review Gian Maria Volonté in The Working Class Goes To Heaven and James Woods in Another Day In Paradise for Vol. 7.
Louis: Could you add my winning request for Macfadyen in Pride and Prejudice to the Winning Requests page.
Louis, thoughts on the trailer for "Waltzing with Brando"?
Tahmeed:
Done.
J96:
Very sloppy if not shoddy looking trailer especially in terms of editing, though the story looks like it has potential, doesn't seem like they are going to find it based on this snippet. I will say Zane looks like an absolute dead ringer, and the recreation of the Cavett clip is perfection. Overall though...seems like he'll be inconsistent at best despite the natural strength of his physical appearance. After all I've honestly ever fully believed Zane as himself, which to be fair he was a cool dude there.
Louis, your top 10 favourite trailers of all time?
Louis: Since I know you like both songs...did you ever think "Purple Rain" is similar to Journey's "Faithfully" on a composition level, which Prince himself was worried about when writing it?
Louis: Thoughts on Blanchett and Kline in Disclaimer.
And have you watched any other TV in the past two months.
Tony:
Alien
Psycho
The Dark Knight (Joker trailer)
Lord of the Rings: Fellowship of the Rings
Watchmen
Logan (Hurt)
Cloverfield
The Master (teaser)
Uncut Gems
The Shining
Tahmeed:
There are the four chords, some elements of the percussion (although also that was the 80's in some sense), the late introduction of the electric guitar, however even these elements are not exactly the same, nor the lyrics, nor the rest of it. I can understand Prince's concern but it is far removed from it as say Ghostbusters is from A New Drug (although even that is slightly overblown).
RIP Tony Todd
RIP Tony Todd
RIP Tony Todd
R.I.P. Mr Bludworth
Louis: Your cast ranking for Disclaimer?
Rest In Peace Tony Todd.
Louis, your ranking of the Oscar Winners for Best Animated Feature?
Louis, your top ten Best Oscar line-ups for Lead and Supporting Actor and Actress?
RIP Tony Todd.
RIP Tony Todd
Blitz is yet another disappointment for 2024. There is some technical prowess on display, though another set of night scenes where I frequently couldn't see a thing. It is such an oddly put together film failing to decide if it wants to be reality or a Dickens hyper reality...although in this instance a bad hyper reality. You can go from one scene of a horrendous accident, that no one ever mentions again, to a scene of an over the top factory manager the next yelling nonsensically. It's so thin, characters are either over the top sinners or saints with no nuance to be seen. Worst of it, I thought this applied to the central relationship as well. Honestly I thought they lacked chemistry, but also too little time is given to setup their relationship as something truly special instead of a fairly hollow and generic one. I felt almost nothing in the ending that truly left me saying "That's it?"
Heffernan - 3
Ronan - 3
Dickinson - (Is in the movie)
Clementine - 3.5
Weller - 3
Burke - 2
Graham - 2
Gill - 3
RIP Tony Todd
Ahhh, that's more like it. Pretty much loved Anora, as yet another portrait of fringe by Sean Baker that like Red Rocket is often quite comical if not hilarious yet beneath it all is a potent portrayal of a very particular yet still human state of intense desperation. Filmed with a lush vibrancy where once again Baker pulls off a fascinating trick where he doesn't lose the "ugly" of certain locations yet makes them beautiful regardless. But essential to this film is the titular character, played brilliantly by Madison, which offers far from your standard "hooker with a heart of gold" rather a capitalist with an intention not to lose her profit margin.
Madison - 5
Karaguilan - 4
Tovmaysan - 4
Serebryakov - 3.5
Ekamasova - 4
RIP Tony Todd
RIP Tony Todd
Louis: between Borisov and Edelsteyn who do you see more likely to be nominated, if Anora performs to its best?
Anonymous:
Most likely Borisov. It also helps that he might at least be *slightly* known by some voters due to Compartment No. 6.
Luke:
Blanchett - (I knew the other shoe was going to fall as for six episodes I knew she would not have taken a part that just required her to be in this increasing state of distress, which Blanchett handles effectively as she can but is pretty limiting. However, she most certainly delivers on her big scene in bringing about the real truth of the horror of predicament and bringing to life so potently that sense of trauma. She brings her power in that scene and then you can see why she took the part. As Blanchett performances go, it isn't one of her greats, but it is still strong work.)
Kline - (His best since Fish, the funny thing while extremely different from that performance it isn't completely separate from it actually. Kline makes the show though because he brings some much needed entertainment value to so much of it by giving one of the most atypical yet completely brilliant portrayals of revenge. Kline grounds his work perfectly by the flashback scenes where he portrays just honestly and directly a caring husband and father. Bringing a calm, if even doting, warmth to his performance and showing the man going along with his family but as a good man. Then making in turn his heartbreak completely genuine and moving even. This is in contrast to the man we see in the present that Kline plays so well by purposefully showing a man living out a fantasy of getting to play the villain. Kline has so much fun with this in the right because he's showing that his character too is having so much fun with this. Kline presents the man purposefully playing the archfiend to give meaning to his life and showing in every step of his plan this devious deliciousness in his performance. And he's fun to watch even as he's being horrible, because he shows the man who wants to appreciate his evil through Kline backing that up with the man getting this purpose by living through this experience. I just love his walk, his vicious smile, his moments of just soaking up the misery he's causing, it is all just so wonderfully fiendish. Kline balances brilliantly in the few moments that push him off his high where you see the glimpses of the lonely, which is different from his portrayal of the pretend lonely man he sometimes presents to others. And as much as the finale is for Blanchett, I'll be honest still thought Kline stole it for his moments of realization where you see the man's fantasy shatter and suddenly just the sad bitter man behind it all. It's a big swing performance, and I adored every second of that swing. A swing that honestly saves the show, because if he was played as a dour villain the whole thing would've collapsed under the seriousness, Kline instead never compromises that, while also bringing a definite entertainment value though with purpose. Although I'm sure it won't happen, I'd love for Kline to finally get the TV crown for a triple crown, as he'd be oh so deserving for this.)
Anonymous:
1. Kevin Kline
2. Cate Blanchett
3. Leila George
4. Kodi Smit-McPhee
5. Lesley Manville
6. Sacha Baron Cohen
7. Indira Varma
8. HoYeon
9. Michael Spicer (hardly showing the best of Britain this time)
10. Art Malik
11. Liv Hill
12. Louis Partridge
J96:
1. Spirited Away
2. Spider-Man: Into the Spider-verse
3. The Incredibles
4. Toy Story 2
5. The Boy and the Heron
6. Rango
7. Wallace & Gromit: The Curse of the Were-Rabbit
8. Toy Story
9. Toy Story 3
10. Finding Nemo
11. Ratatouille
12. Coco
13. Wall-E
14. Inside Out
15. Soul
16. UP
17. Zootopia
18. Guillermo del Toro's Pinocchio
19. Frozen
20. Monsters Inc.
21. Big Hero 6
22. Toy Story 4
23. Brave
24. Encanto
25. Shrek
Now does Shrek suffer from having lived through the period of time where people would quote the film incessantly, and pointlessly? Sure, but to quote Tommy Lee Jones, I don't care.
Nice list! Even though the category didn’t exist until the 2002 oscars for 2001 films, with Shrek as the first winner. So I raised an eyebrow when I saw the first two Toy Story films. Also, I thought Monsters Inc. lost to Shrek.
I'll admit I started with my Pixar list as the base so might've missed a couple deletions.
Louis: Where would Puss in Boots 2 and Persepolis rank had they won instead of Pinocchio and Ratatouille?
#2 & #3 respectively.
Louis: What are your thoughts on the cast of Blitz?
Nosferatu's reviews are out. Depp's performance is singled out.
Anonymous: They're first reactions, the reviews won't be posted until close to release. Needs to be seen to be believed when it comes to Depp but if true, then Eggers is a miracle worker.
Hoult, Skarsgård, Dafoe and McBurney you can pencil in for reviews.
Lucas:
Heffernan - (He has a decent amount of presence but the character is too vaguely drawn to completely work regardless of performance. His performance though beyond the presence is just various forms of fine, where he gets close enough to the emotion but he doesn't ever really hit to make the scene impact greater than it does...which isn't a lot. His work in the ending I found particularly underwhelming where it was time for the strongest portrayal of emotion and his work is a little too muted. Not terrible, never bad in fact, but just a little too *there*.)
Ronan - (Have to say, and rare for me to say it, but she just did not give off mom vibes effectively here. Her chemistry with Heffernan just isn't strong enough. You don't sense the needed warmth or the potent sense of love that you really need. And I have to say, and this was true too often in this film, I found her accent a bit distracting and created a distance from her performance rather making me more convinced about the reality of her predicament. There are purely silent moments where you still see her innate skill to portray such intense emotions but again doesn't really have the needed build to create something special.)
Clementine - (Brings a nice reassuring warmth and for me was the one performer who I was fully convinced of having chemistry with Heffernan, and even that was for only a few scenes. I did believe though where he brings this sincere paternal manne that he does successfully make an emotional impact, something I found lacking much of the time.)
Weller - (He's perfectly serviceable as the grandfather, brings enough to it, but again such a poorly developed character where all we really know is he likes to play the piano. Don't know how he maybe had to defend his daughter and grandson related to their interracial relationship, just is kind of there.)
Burke & Graham - (Never thought I'd want them to leave a film so quickly but their characters are just so atrocious, as they are over the top and ridiculous without any hint of nuance whatsoever, as even Dickens' fiends frankly had more humanity than these two. And sad to say, I think Burke and Graham play into that over the topness rather than allude to anything more going on.)
Gill - (Brings a decent sincerity in his speech even again seems like a character who probably should've had more to do.)
Louis: Do you think Adapted Screenplay is looking pretty weak this year in general. Though having not seen it yet, it's looking like an easy victory for Nosferatu.
Luke:
There have been a few good ones, Dune Part II and The Wild Robot, though even those films I'd say the directing is greater than the screenplay on the whole. Though yes have not been impressed by the screenplays of likely nominees like Conclave and Emilia Perez, though Sing Sing wouldn't be a horrendous winner (though its screenplay is its weakest element).
Louis: One thing I found interesting reading about Bill Shankly, who turned Liverpool into a successful football club in England, is that he was a fan of James Cagney, and he modeled his public persona after him.
Also, looking at photos of Jock Stein (the coach that led Celtic Glasgow to European glory in 1967), who would you cast as him?
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