Alastair Sim did not receive an Oscar nomination for portraying Inspector Cockrill in Green For Danger.
Green For Danger is a hospital soap opera that becomes a murder mystery because everyone chooses to act a little too dramatically for their own good.
This is the second time I’ve covered an Alastair Sim performance as an inspector. Although this is in no way a copy of his mysterious and imperious inspector Poole, Sim’s Cockrill is earthy in comparison which Sim makes great use of. Sim begins as a narrator before we meet him where he offers a nice alternative delivery where he adds a nice slightly comedic manner to Cockrill’s recitation even while still finding the needed gravity as he describes that the hospital staff consists of victims, a murderer and the suspects. Sim comes in after two murders have taken place in the hospital and a group of two doctors and a few nurses are the suspects. Sim’s great ease for comedy comes into play as we immediately undercut the Inspector a little bit as we emphasize his constant worry about a German bomber throughout the film. Sim really makes the most out of the comedy in his instant switch to the upward reactions of worry and a run and hide that in no way brings any vanity to the character. Leading eventually to a rather enjoyable punchline at the end of the film where Sim’s reaction of slightly frustrated disbelief is some comedic gold.
His main purpose within the film is to solve the case and where Sim is most welcome as the alternative voice within the constant various emotional compromises of the other characters. Sim arrives with an ease of presence within the Inspector’s role to find out the truth. Sim though is very different here than as Poole, because where Poole already knew everything, Sim very much gives a different style of someone who intends to find out everything, is quite capable of doing so, but has yet to figure it out. Sim conveying an intelligence intent on finding out more despite not having all the answers. Sim brings a wonderful ease and a distinct lack of putting on any airs when dealing with the hospital staff. Sim finding a directness and I especially love the use of his eyes which are always seeming peering through the nonsense being spotted by his list of suspects who all have something to hide even beyond the mystery. Sim provides a directness with a combination between determination with wit as highlights that cut through every scene. Amplifying this only with his physical manner of confident movement within the case and particularly his brandishing of the truth, including my favorite moment in the film with his wholly casual manner of cutting down a bush to reveal an eavesdropper in a rather hilarious fashion.
Naturally we give Sim a natural detective summation sequence, though in this instance via surgery, where Sim manages to convey a direct urgency of the detective genuinely wishing to avoid any further death with also the wonderful intelligence in his eyes as we see the spark of the man figuring it all out. He manages to even sell a completely ludicrous moment where one character basically acts nefarious for no reason that leads to someone’s death, but Sim’s reactions towards hearing the truth of the situation is pretty great as we get the man completely surprised. Sim earns the change up for the character on an acting level even if the setup is completely unbelievable. Sim offers the right steady presence here that enlivens the mystery and the overall film with ease. He naturally segues between his comedic and dramatic moments in crafting detective that manages to be both exact in his intelligence yet properly humorous in his very much human foibles. Inspector Cockrill evidently is a literary detectives with multiple entries and it's a shame that this was Sim's only go around as it certainly would've been a treat to go through a few more mysteries with him.
This is the second time I’ve covered an Alastair Sim performance as an inspector. Although this is in no way a copy of his mysterious and imperious inspector Poole, Sim’s Cockrill is earthy in comparison which Sim makes great use of. Sim begins as a narrator before we meet him where he offers a nice alternative delivery where he adds a nice slightly comedic manner to Cockrill’s recitation even while still finding the needed gravity as he describes that the hospital staff consists of victims, a murderer and the suspects. Sim comes in after two murders have taken place in the hospital and a group of two doctors and a few nurses are the suspects. Sim’s great ease for comedy comes into play as we immediately undercut the Inspector a little bit as we emphasize his constant worry about a German bomber throughout the film. Sim really makes the most out of the comedy in his instant switch to the upward reactions of worry and a run and hide that in no way brings any vanity to the character. Leading eventually to a rather enjoyable punchline at the end of the film where Sim’s reaction of slightly frustrated disbelief is some comedic gold.
His main purpose within the film is to solve the case and where Sim is most welcome as the alternative voice within the constant various emotional compromises of the other characters. Sim arrives with an ease of presence within the Inspector’s role to find out the truth. Sim though is very different here than as Poole, because where Poole already knew everything, Sim very much gives a different style of someone who intends to find out everything, is quite capable of doing so, but has yet to figure it out. Sim conveying an intelligence intent on finding out more despite not having all the answers. Sim brings a wonderful ease and a distinct lack of putting on any airs when dealing with the hospital staff. Sim finding a directness and I especially love the use of his eyes which are always seeming peering through the nonsense being spotted by his list of suspects who all have something to hide even beyond the mystery. Sim provides a directness with a combination between determination with wit as highlights that cut through every scene. Amplifying this only with his physical manner of confident movement within the case and particularly his brandishing of the truth, including my favorite moment in the film with his wholly casual manner of cutting down a bush to reveal an eavesdropper in a rather hilarious fashion.
Naturally we give Sim a natural detective summation sequence, though in this instance via surgery, where Sim manages to convey a direct urgency of the detective genuinely wishing to avoid any further death with also the wonderful intelligence in his eyes as we see the spark of the man figuring it all out. He manages to even sell a completely ludicrous moment where one character basically acts nefarious for no reason that leads to someone’s death, but Sim’s reactions towards hearing the truth of the situation is pretty great as we get the man completely surprised. Sim earns the change up for the character on an acting level even if the setup is completely unbelievable. Sim offers the right steady presence here that enlivens the mystery and the overall film with ease. He naturally segues between his comedic and dramatic moments in crafting detective that manages to be both exact in his intelligence yet properly humorous in his very much human foibles. Inspector Cockrill evidently is a literary detectives with multiple entries and it's a shame that this was Sim's only go around as it certainly would've been a treat to go through a few more mysteries with him.
58 comments:
Louis: Ratings and thoughts on the cast.
Louis: So on the murder mystery solving difficulty scale, where you rank Green for Danger?
Louis: Your thoughts on the cinematography for Tetro?
Also, your cast & director for a 1970s The Rip, and a 1960s The Invite?
Ryan Gosling will be playing Ghost Rider to be directed by the living embodiment of the phrase "failing upwards", Shawn Levy.
Louis: thoughts on the trailer for Mike Flanagan’s Carrie series?
Louis: Ratings and thoughts on:-
Jeanne Crain and Linda Darnell in Centennial Summer
Gene Tierney in Dragonwyck
Claudette Colbert in Tomorrow Is Forever
Dorothy McGuire in Till the End of Time and The Spiral Staircase
Judy Garland in The Harvey Girls
Hildegard Knef in The Murderers Are Among Us
Hannelore Schroth in Unter den Brücken
June Vincent in Black Angel
How'd you feel about the trailers for Other Mommy and Sense & Sensibility '26?
Luke:
Howard - 4(Always interesting to see a great actor working below his pay grade a little bit so to speak. Howard though in no way wastes a measure of the role and it is quite an effective performance where I think he most artfully sort of sets up the suspect. Howard does so by managing to create this contrast between this rather extremely insecure man who struggles to present himself in some kind of respectable terms. Howard’s way of showing that way of revealing the weaknesses of the man is always very amusing while also feeling entirely honest to the nature of the character he is portraying.)
Gray - 3.5(Convincingly plays her seeming switching loyalties and possible affections with a natural ease, where she doesn’t play it as a master manipulator merely someone going directly with their interests. Gray’s performance too manages to elevate beyond the confines of the mystery and you could see more of this character beyond the plot.)
John - 3(She’s fine but I would say her performance overall doesn’t add up to too much and is often one note in this presentation of always being a little emotionally distraught.)
Genn - 3.5(Kind of the performance he would give though it mostly works here particularly as contrast to Howard by presenting this man with an easy self-assurance in comparison. Although he does try, he can’t quite make sense of a final action of his character, though hardly his fault as that is definitely the writing going to a ridiculous extreme.)
Campbell - 3.5(The person making the most noise initially and delivers I think in just the effusive insecurities of her character raging, making enough of the choices to convince you that she would make as dumb of a choice as she does early on in the film.)
Jenkins - 3.5(Always a nice supporting character actress in whatever she was in, this time no different in not really a showy role, but she brings a nice naturalism through every interaction that really balances things out nicely.)
RatedRStar:
Pretty high actually, though I would say the film does cheat at times.
Bryan:
Striking black and white work where you very much see the Rumble Fish Coppola style here particularly well realized here with the style. A very moody style with the sense of kind of psychological haze that manages to really be intense while also captivating a certain malaise at the same time. Additionally you have some of the color shots which are also very stylized and captivating as well.
1970’s The Rip directed by Sam Peckinpah:
Dumars: James Coburn
Byrne: James Caan
Ro: Mako
Baptiste: Madge Sinclair
Desi: Isela Vega
Salazar: Rita Moreno
Nix: Ben Johnson
The Invite 1960’s directed by Mike Nichols:
Joe: Jack Lemmon
Angela: Ava Gardner
Hawk: Burt Lancaster
Pina: Rita Hayworth
Matt:
I will say it’s good that Gosling going for the paychecks got us Barbie and Project Hail Mary, this one sadly I don’t think will be up to that standard thanks to generic studio director poster boy.
Anonymous:
I mean doesn’t look terrible but doesn’t offer any reason to exist given the 76 film exists. Where some King stories it is easy to see avenues for expansion, I’m not seeing it here, and the trailer certainly doesn’t give any suggestions either.
Anonymous:
Jeanne Crain and Linda Darnell - 2.5(Both are fairly dull though mostly harmlessly so and don’t offer all that much charm.)
Gene Tierney - 3.5(Not her finest hour but I also think the film gives her such a confused role to play with what even her relationship to Price is really supposed to be. Tierney I think brings some presence, has some individual decent scenes where we get any directness for her character, but it is all too vaguely written for her to really run with something here.)
Claudette Colbert - 3.5(Always prefer when she really gets a more vivid and active role than something like this where she’s pretty just the grief stricken wife then the concerned mother. She delivers on both notes but the notes aren’t all that interesting for her.)
Dorothy McGuire in Till the End of Time and The Spiral Staircase - 3.5(In the former film I think she offers nice enough support as a far less well written version of Wright’s character from 46. I think she’s decent and offers some nice warmth in her reactions. In the other film where she’s almost entirely reactions I think she gives a good but not great mostly silent performance. Conveying the sense of anxieties and delivering on the moment of the final explosion. I wouldn’t say though she fully brings you into her sense of self even in the mute space when compared to the truly great performances of this ilk like Hunter in The Piano for example.)
Garland - 3(The general Garland presence here that really isn’t pushing her too far one way or another, and I think she’s less good when she’s more coasting. Garland I think overall is fine, delivers on the songs obviously, but not too much more than that.)
Knef - 3.5(Fine as sort of the balancing voice and largely in the concerned reactions throughout. She delivers but again all of it is a little vague for it to get very interesting.)
Schroth - 3.5(Like her male co-stars, charming enough and decent chemistry with both. Never that dynamic or compelling though.)
Vincent - 3(She’s okay in playing the most direct emotions of a given scene, however there’s a certain limitation, probably code required, where she never really invests within the relationship with Duryea keeping her only this often passive feeling character, though she’s fine in depicting that to be sure.)
Harris:
Other Mommy, a creepy enough trailer to be sure, but seemed to me one of those haunted house type films where we get jump scares of Jessica Chastain popping out of places in odd ways, which is decidedly not my kind of horror film. Maybe the film itself is more than that, but that’s what I got from the trailer.
Sense and Sensibility honestly looks like they want to make the Wright version of that Austen story in overall style. Which I guess…fine. The cast certainly talented, although don’t see a *reason* when the 96 version exists which was certainly a fine adaptation and not exactly dated in a general sense.
Louis: Thoughts on the trailer for Misty Green?
Better late than never, Season 1 of Andor is indeed amazing, and by far the best written Star Wars thing ever. Career-best Stellar Skarsgard is MVP but the whole cast is great. Which is also rare for Star Wars.
Although Denise Gough is a close number two, probably the scariest villain in all of Star Wars, actually.
Mike Leigh is retiring after his next film.
Hello Louis and folks!
Let's talk about some 1946 movie translations in non-English speaking countries. The names that were in Brazil were:
It's a Wonderful Life = The Happiness Cannot Be Bought
Cluny Brown = The Sin of Cluny Brown
A Matter of Life and Death = In This World and the Other
Notorious = Interlude
Shoeshine = Victims of the Storm
The Big Sleep = On the Edge of the Abyss
The Captive Heart = Troubled Hearts
Angel on My Shoulder = I and Mr. Satan
My Darling Clementine = Passion of the Strong
The Postman Always Rings Twice = Destiny Knocks at Your Door
No Regrets for Our Youth = Youth Without Regrets
I See a Dark Stranger = A Stranger in the Darkness
The Locket = Anguish
The Spiral Staircase = Silence in the Darkness
Bedlam = Sinister Asylum
Green for Danger = Passionate Green
Humoresque = Chords of the Heart
The Verdict = Delayed Justice
The Other = Cursed Sisters
The Dark Mirror = Mirror of the Soul
Blue Skies = Unfinished Romance
Sister Kenny = Sacrifice of a Lifetime
Till the End of Time = Night in the Soul
Canyon Passage = Savage Passion
Centennial Summer = Summer Nights
Night and Day = Unforgettable Song
Dragonwyck = The Solar de Dragonwyck
The Harvey Girls = Harvey's Waitresses
Make Mine Music = Music, Maestro!
Hey Louis, a couple questions I'd like to ask you. Since I've noticed other commenters have described you as a film critic in the past, how comfortable are you with that label given that you write about films on a non-professional level? And do you generally see your performance reviews as being a form of film criticism, even if it's focused mainly on one aspect of filmmaking?
Tony: I mean I think of him as a detective personally, I mean over the years I have given him numerous mysteries to solve and he has managed to solve them all =D.
The Odyssey didn't blow me away and leave me breathless coming out of the theatre at just having seen a masterpiece the way Oppenheimer did, in fact I think there's quite a bit you could pick apart with this, but I won't because the sheer scale of it, the craftmanship and the pure awesomeness of each and every set piece are enough to make me forgive whatever small problems there may be.
Damon-4.5
Holland -2.5(In general, I like him a lot, and I was rooting for him here, but he just does not live up to the needs of this role in any way, and actually is eaten alive by pretty much everyone he shares a scene with.)
Hathaway -4.5
Pattinson-4.5
Nyong'o -3
Morton -5
Leguizamo-5
Zendaya-3
Theron -3
Safdie-2.5
Bernthal-3.5
Patel-4
Hawkins-3.5
Goth-3
Marshall-Green-2.5
Page-4
Remar-3.5
Hurst-3
Scott-3
RIP Glen Hansard
Falling Slowly was one of my favourite original song winners.
RIP Glen Hansard, way too young. Falling Slowly will forever be one of the greatest songs of all time.
RIP Glen Hansard
RIP Glen Hansard and Kavinsky.
Lucas:
I like the cast, except for Chris Rock, particularly Rosalind Eleazar in a leading role and seeing Kaluuya back in something. Unfortunately it is also written and directed by Chris Rock, which his last pseudo Woody Allen style film I found pretty terrible. I hope this one's better, the trailer looks fine in terms of general setups, other than Rock always being a little "out" of place as an actor, but it will come down to the execution so I have massive doubts, hope I'm wrong though.
Luke:
Unfortunate, but not too surprising given Leigh is in his 80's, here's hoping Tender Loving Care is top tier Leigh.
Tony:
I don't mind the label, but I also don't put much weight behind it either. There are plenty of paid critics who are terrible critics, some great ones too, so the label in itself is no guarantee of quality. At the end of the day anyone can criticize a film therefore in that moment is a film critic, some can articulate their thoughts better than others, but for me there's nothing that separates a bad paid film critic and a truly articulate unpaid letterboxd user, other than a paycheck.
And just technically yes, because I'm critiquing an aspect of film.
RIP Glen Hansard and Kavinsky. I think I'll go listen to Falling Slowly and Nightcall.
RIP Glen Hansard and Kavinsky
Louis: If "Nightcall" had been an original song for Drive, where would you rank it or would you give it the win?
Brazinterma:
It's a Wonderful Life = Isn't Life beautiful?
The Yearling = The Wild is calling
Brief Encounter = Encounter
The Killers = Avengers of the Underworld
To Each His Own = Heart of a Mother
The Jolson Story = Tha Jazz Singer
The Green Years = The Legacy
The Seventh Veil = The Last Veil
Great Expectations = Mysterious Inheritance
The Verdict = Scotland Yard's Mistake Here
The Postman Always Rings Twice = In the Net of Passions
The Big Sleep = The Dead sleep tight
Notorious originally came out as White Poison here, but was also heavily edited. Modern day releases call it Notorious
Rest In Peace Glen Hansard. How devastating! Too young! “Falling Slowly” is one of the BEST winners of the Original Song Oscar!
Rest I Peace Kainsky. Also too soon. "Nightcall" is incredible!
Louis thoughts on the trailer for the new "Thomas Crown Affair"?
RIP Kavinsky
RIP Glen Hansard and Kavinsky
Louis how would you rank the Emmy nominations?
RIP Manolo Solo
i finished the last season of Six Feet Under yesterday.
Overall, i was invested enough to keep going, but i was always a bit detached from this show. I can boil that down to three reasons: 1) it being pretty slow in many parts. Not just the overall plot, but the pacing of all the individual episodes is more laid-back than what i'm used to in general. 2) the idea of the show being not so much about change, but very much about characters who keep making the same mistakes over and over again. While that too is kind of interesting, it doesn't feel like the story progresses that much in parts and 3) despite the writers actually giving him some pretty decent stuff, Peter Krause not exactly making for the most compelling lead.
What kept me going was knowing that the finale is on of the five best rated TV episodes of all time.
Now i can say that this season 5 is kind of what had i imagined the entire show to be. If the entire show had been this plot.focused, quickly paced, sonsequent and had pushed the characters to such extremes, this would be my new favorite show.
Especially due to the last episode and especially the final scene, which is a fantastic montage, one of the most effective i may have ever seen (the not so amazing make-up nonwithstanding) during which i realized that i hadn'tt taken a breath for six minutes and actually made me fucking exhale after it was done
MVP from Season 5 (and probably overall too) Michael C. Hall
J96:
Looks like a Thomas Crown remake...again. Which hey if you want something to be sexy casting Adriana Arjona certainly helps with that. Although beyond that didn't exactly get me excited one way or another even if it also looked totally fine as well.
Anonymous:
Comedy Series:
1. Widow's Bay
2. The Bear
3. Margo's Got Money Troubles
4. Only Murders in the Building
Drama Series:
1. Pluribus
2. A Knight of the Seven Kingdoms
3. Slow Horses
4. The Pitt
Limited Series:
1. DTF ST. Louis
2. Beef
Comedy Actor:
1. Matthew Rhys - Widow's Bay
2. Martin Short - Only Murders in the Building
3. Yahya Abdul-Mateen II - Wonder Man
Comedy Actress:
1. Elle Fanning - Margo's Got Money Troubles
2. Ayo Edebiri - The Bear
Drama Actor:
1. Gary Oldman - Slow Horses
2. Noah Wyle - The Pitt
3. Mark Ruffalo - Task
Limited Series Actress:
1. Sally Field - Remarkably Bright Creatures
2. Carey Mulligan - Beef
Comedy Supporting Actor:
1. Nick Offerman - Margo's Got Money Troubles
2. Stephen Root - Widow's Bay
Comedy Supporting Actress:
1. Kate O'Flynn - Widow's Bay
2. Michelle Pfeiffer - Margo's Got Money Troubles
3. Dale Dickey - Widow's Bay
Drama Supporting Actor:
1. Tom Pelphrey - Task
2. Carlos Manuel Vesga - Pluribus
3. Patrick Ball - The Pitt
4. Jack Lowden - Slow Horses
5. Shawn Hatosy - The Pitt
6. Gerran Howell - The Pitt
Drama Supporting Actress:
1. Taylor Dearden - The Pitt
2. Fiona Dourif - The Pitt
3. Katherine LaNasa - The Pitt
4. Karolina Wydra - Pluribus
5. Spideh Moafi - The Pitt
Limited Supporting Actor:
1. Nick Offerman - Death By Lightning
2. David Harbour - DTF St. Louis
3. Richard Jenkins - DTF St. Louis
4. Jason Bateman - DTF St. Louis
5. Charles Melton - Beef
Although again putting all DTF people in supporting is nonsense.
Limited Supporting Actress:
Linda Cardellini - DTF St. Louis
Youn Yuh-jung - Beef
Joy Sunday - DTF St. Luis
Comedy Guest Actor:
1. Hamish Linklater - Widow's Bay
2. Rob Reiner - The Bear
Comedy Guest Actress:
1. Betty Gilpin - Widow's Bay
2. Jamie Lee Curtis - The Bear
Drama Guest Actor:
1. Jonathan Pryce - Slow Horses
2. Jeff Kober - The Pitt
3. Ernest Harden Jr. - The Pitt
4. Jeff Hiller - Pluribus
Drama Guest Actress:
1. Brittany Allen - The Pitt
2. Miriam Shor - Pluribus
3. Tina Ivlev - The Pitt
4. Tal Anderson - The Pitt
Comedy Directing:
1. "Life goes by too f**king fast, it really does." - The Chair Company
2. "Welcome to Widow's Bay" - Widow's Bay (Although I thought this was actually the weakest episode)
3. "Bears" - The Bear
Drama Directing:
1. "We Is Us" - Pluribus
2. "Out Beyond ideas of wrongdoing..." - Task
3. "Scars" - Slow Horses
4. "12:00 PM" - The Pitt
Limited Directing:
1. DTF St. Louis
2. "Oh, The Comfort, the expressible Comfort" - Beef
3. "It Will Stay This and You Will Obey" - Beef
Comedy Writing:
1. "Life goes by too f**king fast, it really does." - The Chair Company
2. "Welcome to Widow's Bay" - Widow's Bay
Drama Writing:
1. "We Is Us" - Pluribus
2. "A Still Small Voice" - Task
3. "12:00 PM" - The Pitt
4. "1:00 P.M." - The Pitt
5. "Scars" - Slow Horses
Limited Writing:
1. Death By Lightning
2. DTF St. Louis
3. 'All The Things We're Never Gonna Have" - Beef
Did not notice how many undeserved nominations Beef season 2 got.
Louis: Ratings and thoughts on the cast of The Furious.
Louis: If you're doing 2026 viewings at the moment, could you check out Hoppers and Masters Of The Universe.
Louis: Did you keep going with Spider-Noir?
I'm wondering, Louis, have you worked out what you're going to do with non-binary actors who don't run themselves in Actress categories for your overall rankings? Will you put them alongside cis male actors or create a separate NB ranking like you do with actresses (I've seen at least 1 other person do this)? And what would you do if an AMAB actor were to come out as NB after you've put them in an overall?
Matt:
I did, I really didn't think it was all that great, the action in particular I found kind of clunky, the noirisms frankly inconsistent between genuine noir and moments of the noir of parody (and honestly I think what some people think Noir films are like...who have never watched one), something evident in performance, writing and direction. There are some moments that worked for me but many that did not. Overall fell a bit into, "would've worked better at feature length" for me. Also Andrew Caldwell maybe gave the worst performance I've seen all year.
Anonymous:
Xie - 3(Benefits from not talking therefore not having the terrible ADR. As such I wouldn't say this is an amazing performance however he does bring a general intensity that at least keeps his performance within a constant unlike others.)
Taslim - 2.5(Goes between clunky and okay. Again does suffer within the dub so there are times where he too sounds ridiculous and struggles within selling genuine emotions. Other times he's okay but still not amazing by any means.)
Yang Enyou - 3(Probably gets the most genuine emotion out of the cast and does deliver even beyond the certain problems within the film, again it seems the less dubbing you get the better off you are. She isn't anything amazing but I did believe her in a general sense.)
Le -2 (Totally ridiculous the entire time, thought sometimes it was okay, sometimes just ridiculous.)
Iwanaga - 1.5(With the dubbing extra bad, but really even without considering that found he just mugged to be evil the whole time in a way that was just silly.)
Ruhian - 3(Benefits from barely saying anything as well and delivers his typical slimy menace in those confines.)
Basically all other side performers are 2 or lower, where you get over the top reactions and bad ADR.
Tony:
I've previously discussed this in the micro-case of Emma D'Arcy, if the performer in question makes an objection over an awards placement, I'd certainly consider the option, but if not, no. And as I've suggested before for overall awards considerations, I would not create the category just to cover by default, but if someone is adamant about their placement *and* gives an amazing performance (that would be in win consideration in any other circumstance) then I would consider the separate award/nomination in the cases that warrant it.
Louis: Ratings for the cast of Her Private Hell?
For me, that movie is my winner for Worst Lead Actress (for Sophie Thatcher) and 3 winners for Worst Supporting Actress (for Havana Rose Liu, Shioli Kutsuna, Aoi Yamada)
Okay. So you've said you'd *consider* that option in such a scenario, but would you then actually *go through* with it? You've phrased your response in a way that suggests (to me) that the possibility isn't certain rather than as a definitive statement of "this is what I will do".
Louis: Thoughts on the Wicker trailer.
Anonymous:
I mean hard to put too much blame on the cast given the nonsense they were given to say. And no one gets above it as the three main ladies seem on mars most of the time in the completely random emotions they must display, Melton does even more blank smouldering than Gosling did in Only God Forgives, Scott and Calva do different forms of not particularly interesting sleaze and Nishijima is "in the movie". Not sure on ratings but no one would be above a 2.5.
Jonathan:
I didn't see that coming. Impressive cast, strange setup, could work in an odd kind of way.
Tony:
I answered in hypothetical terms because at this time the situation is still hypothetical. And I would let this go, but since it has happened twice now I feel I do need to say something. As with your followup questions about AI, I would appreciate a less interrogative approach in your approach to questions, whether it was intended from you or not, as I'm here to discuss film, not give a legal deposition.
Louis: Which Odyssey cast members do you feel are most likely for Oscar nominations/wins?
Well, I'm quite surprised to learn you found my questions interrogative; it certainly wasn't my intention. My last question was perhaps a bit emphatic, but that was purely because your wording was genuinely unclear to me at the time. I broached those subjects because I was sincerely curious about your $0.02 on them, and I believe I've consistently kept the breadths of my questions limited to the world of film and this blog. The last thing I'd want is for someone to feel as if they're being deposed. But hey, no hard feelings man, I'd be happy to move on and ask you about past roles or the Oscars or whatever.
Louis: Who are the 5 actors and actresses who you feel have had the best run of performances and output in the 2020s so far?
Louis: Your thoughts on Widow's Bay, Margo's Got Money Troubles and The Bear S5.
Thoughts on the nominated actors in Widow's Bay?
My main takeaway from the Thomas Crown Affair trailer: Hooray, Bradford Young is back!
Also, I watched Margo’s Got Money Trouble a bit ago and I quite liked it myself. It might be my favorite from Offerman even more than Death by Lightning.
Robert: Solo really damaged a couple careers there for a bit.
Louis: What are your cast rankings for Widow's Bay and Margo's Got Money Troubles?
Marcus:
I think in terms likelihood of nominations:
Hathaway
Damon
Morton
Leguizamo
I do think there is a world where no one gets nominated, as the film could be loved purely on a Nolan/techs level, but given the openness of the academy to more genre driven performances of late, I think it is very likely they could all be nominated. Hathaway has the most substantial female supporting role, prior winner, the academy giving her another nomination makes sense. Damon previously was nominated for a “leading man” type performance so definitely seems possible and he definitely has some juicy material beyond just that. Morton is feeling like Del Toro last year where the size creates doubt but the praise is so severe that she could also get her third nomination. Leguizamo I think has gotten enough focus to be the guy for supporting but maybe Pattinson…and for reasons unknown Holland…obscures the narrative a bit. He also never has previously been on the academy radar so maybe that is a hurdle but I definitely think he could get nominated as well.
I don’t see any of them winning necessarily though I’d say technically Leguizamo has the role that most feels like a winning type of role.
Tony:
I didn't mind the topics in question, it is rather in both instances I gave answers and then you responded with requests for specific declarations from me, I would just ask to accept my initial answers in the future.
Anonymous:
Widow’s Bay - (Has a little bit of that episode one engine starting, but once it goes, it goes so nicely as pseudo anthology while also telling a full story effectively. In its wholly effective mix between scenes of genuine horror with scenes of absolute comedy. A tone that wields so easily from scene to scene moment to moment, as one moment can start especially grim and alienating then be hilarious the next. While also having enough of a drive within the plot, and the strong trio of characters at the center of it.)
Margo’s Got Money Troubles - (First, fairly big stretch in comedy, but that really is the trend these days. I would say it is a show that is elevated by the acting because the acting for the most part is so great. I wouldn’t say the writing is next level amazing, more of good that the acting makes it better. As I do think it occasionally hits a repetitive point here and there, but for the most part is an effective and endearing sort of very particular slice of life of the very idiosyncratic family.)
The Bear Final Season - (Although the season is fine enough it really reinforced the point that the show probably should’ve been three seasons as I think you could get everything great from the last three seasons into one season fairly easily. As this season has some great moments, mostly fine moments, some terrible Fak brothers stuff, but really so many conversations and plot points felt in a perpetual rotation for the last three seasons. How many times can Carmy and Richy yell at each other, Carmy sulks in his chef ptsd, they have the important night for the restaurant…and there’s far more examples where they just kept saying basically the same thing. The final season was fine, better than the truly pointless 3, but as a show does seem to be one that fell underneath the weight of its own popularity.)
Tahmeed:
Not in order and limited to film.
Timothee Chalamet
Ralph Fiennes
Jesse Plemons
Emma Stone
Jesse Buckley
Harris:
Rhys - (His performance is that of the straightman within the nature of the show reacting to the insanity of the sudden horror situations he’s dealing with while also reacting to the smalltown insanity of the people around him. Rhys I think finds a nice balance, particularly after episode one, in creating this combination between comical reactions to the absurdity but balanced with still a genuine sense of fear. Balancing that as well with his work managing to bring a more normal reality that paints the absurdity of the situations as they are, yet somehow also bringing the reality to the situation in really offering honest anxieties over some of the decisions and issues he has to deal with. He manages to walk the line with an impressive ease as he’s neither too much, nor too little, finding just the right amount that sells the horror as horror, but also the comedy and comedy and never makes the two clash.)
Root - (I mean very much offering his reliable presence for something like this, where in his early episodes he does play more into the hysterical local playing up the curse to a more comical degree, but effectively tempers that when it is quickly revealed that his character in fact just knows what’s up. Root though delivers on that switch finding his own comedic moments by playing the knowledge in such a practical way, but eventually bringing some genuine stakes within his performance particularly towards the end of the season.)
Dickey - (Very much the one note of the crass slightly drunk always wanting to smoke local type, but she really does it with such precise ease. Bringing those comedic precision homerun hits in pretty much every line she has and making the most out of her one big scene.)
O’Flynn - (The discovery of the series type performance where she just runs away with the comedy in every scene she is in playing just so well the basket of insecurities of her character. In a way that impressively skirts the line because absolutely hilarious, darkly comical and genuinely with some pathos so easily. Her performance is simply a highlight where she amplifies any given scene she’s in whether is for a hilarious quick aside, or a more substantial focus scene that she runs away with fulfilling frankly different types of female horror protagonists. She’s a consistent delight and what is so tremendous is her ability to still make you believe her character even within all the comedy, finding an actual sense of arc dealing with her own past mistakes and trauma while also bringing such a specific eccentric energy that manages to be both desperate and endearing.)
Lucas:
Widow’s Bay:
1. Kate O’Flynn
2. Hamish Linklater
3. Matthew Rhys
4. Stephen Root
5. Dale Dickey
6. K Callan
7. Betty Gilpin
8. Lauren Bittner
9. Kevin Carroll
10. Elizabeth Alderfer
11. Christian Clemenson
12. Jeff Hiller
13. Toby Huss
14. Neil Casey
15. Nancy Lenehan
16. Bashir Salahuddin
17. Kingston Rumi Southwick
Margo’s Got Money Troubles:
1. Nick Offerman
2. Michelle Pfeiffer
3. Elle Fanning
4. Michael Angarano
5. Greg Kinnear
6. Paul McCrane
7. Thaddea Graham
8. Nicole Kidman
9. Marcia Gay Harden
10. Sasha Diamond
Louis: Your cast ranking for Spider-Noir and your overall top 10 performances in The Bear.
Louis: Your thoughts on Hamish Linklater, K Callan and Betty Gilpin in Widow’s Bay? And where would you rank Chris Fleming, Tim Baltz and David Dean Bottrell in your cast ranking of the show?
Louis: Which films would you say in recent times, whose success or failure (either in critical or commercial terms) have had a transformative effect on the film industry and awards circuit? Bohemian Rhapsody for uninspired musician biopics comes to mind.
RIP Vincent Pastore
RIP Vincent Pastore
Post a Comment