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Post by pacinoyes on Mar 3, 2021 20:15:30 GMT
Sergio Castellitto - Mafia Inc (2019).........streaming now in 2021I've said this before but he's one of my favorite world cinema actors or at least one I greatly admire as a talent - even if his career sort of got diverted by his directing. A genuine world master thespian - there's not many of those - and he's not even 70 yet either. His performance in The Star Maker is one my faves also and how I always think of him........laconic, realistic yet grand and poetic. Here in a supporting role as "The Godfather" in a Canadian by the numbers (but still very watchable) project he is both relaxed, natural and matter of fact sinister as if everything he says has a meaning only he knows and he is holding back. This is the first film I've seen him appear in a while......... and it was a pleasure, he's just a fascinating screen presence. Now, HE should be in House of Gucci wilcinema !
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Post by wilcinema on Mar 3, 2021 21:00:21 GMT
Sergio Castellitto - Mafia Inc (2019).........streaming now in 2021I've said this before but he's one of my favorite world cinema actors or at least one I greatly admire as a talent - even if his career sort of got diverted by his directing. A genuine world master thespian - there's not many of those - and he's not even 70 yet either. His performance in The Star Maker is one my faves also and how I always think of him........laconic, realistic yet grand and poetic. Here in a supporting role as "The Godfather" in a Canadian by the numbers (but still very watchable) project he is both relaxed, natural and matter of fact sinister as if everything he says has a meaning only he knows and he is holding back. This is the first film I've seen him appear in a while......... and it was a pleasure, he's just a fascinating screen presence. Now, HE should be in House of Gucci wilcinema ! He’s a bit hit and miss for me but when he’s good, he’s super good. Have you seen My mother’s smile? His collaborations with Bellocchio are always interesting. He would have been a great addition to the Gucci cast. Favino is probably better in a production like this but Castellitto is more “Italian”, if you will, as in you can feel his presence, almost like a stage actor.
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Post by pacinoyes on Mar 3, 2021 21:23:56 GMT
Sergio Castellitto - Mafia Inc (2019).........streaming now in 2021I've said this before but he's one of my favorite world cinema actors or at least one I greatly admire as a talent - even if his career sort of got diverted by his directing. A genuine world master thespian - there's not many of those - and he's not even 70 yet either. His performance in The Star Maker is one my faves also and how I always think of him........laconic, realistic yet grand and poetic. Here in a supporting role as "The Godfather" in a Canadian by the numbers (but still very watchable) project he is both relaxed, natural and matter of fact sinister as if everything he says has a meaning only he knows and he is holding back. This is the first film I've seen him appear in a while......... and it was a pleasure, he's just a fascinating screen presence. Now, HE should be in House of Gucci wilcinema ! He’s a bit hit and miss for me but when he’s good, he’s super good. Have you seen My mother’s smile? His collaborations with Bellocchio are always interesting.That's one of his best parts - his great run of late mid-90s to early 00s is where he seemed to dominate for a stretch and won a lot of awards is where I first became aware of him. After he started directing (shortly thereafter?) he seemed to get harder to cast in a way or his career drifted......I dunno, just my impression of him the last 15 years or so. He has great eyes - in his best roles he is a tremendously soulful actor. There a recent movie I saw (a mostly bad one) with Toni Servillo and Dustin Hoffman - Into The Labytinth - that I wrote about on here (NO ONE on MAR saw it - or commented on it - great job Dustin Hoffman fans, wtf ) that I liked the ending of at least........and when I saw it I thought Castellitto would have been strong in such a piece (Servillo is quite good - even with the weak material) so he's been on my mind a bit recently and this movie - again, while not a great movie - was a welcome reminder for me of how much I've enjoyed him over the years.
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Post by HELENA MARIA on Mar 5, 2021 21:25:37 GMT
These 4 beautiful queens especially Queen Latifah who gives one of the most compelling performances of the 90's It is not often that a movie takes on race and gender issues with such bravery and force.The writers did a stellar job in making the story alive and real as if you really knew the characters. It kept me captivated, amazed and a little bit sad when it ended. A must see .
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Post by pacinoyes on Mar 6, 2021 22:10:01 GMT
Omar Sy - Lupin (Netflix TV series)Sy is great in a role that has everything - comedy, drama, action, mystery, and more - he gets to do it all here - this is a movie star turn on TV - and he's wonderfully droll and not self-serious. He has a César Award already anyway but the way he grounds this piece and keeps it light when it has to be light and hints at a darker undercurrent when called for it is quite lovely to watch. This show, funny when it needs to be funny, exciting (quite often) with a great bravura to how it's all played - almost like a comic book actually - is a marvelous entertainment, expertly played. Shifting in and out of class, culture and his own identity even and keeping it light so the bubble doesn't burst. Sy is a star baby.......
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Post by Viced on Mar 9, 2021 17:18:35 GMT
Chris Cooper in BreachDuplicity and 'end of one's rope' at its finest. Totally believable as a conservative of a certain generation as well. A little sad that the movie is from Ryan *beep* Phillipe's POV, but that makes Cooper's performance even more of a wonderful enigma... and somehow, kind of heartbreaking.
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Post by pacinoyes on Mar 10, 2021 23:37:18 GMT
Donald Sutherland and Elliott Gould - MASH (1970)The movie itself is a Punk Rock classic - a big flip of the middle finger to conformity and agreement and consensus to order in any sense of the term. It is the best movie to watch if you had a bad day because - it gets to the very heart of why people are often awful and why you can't lose yourself or you end up like THAT - like THOSE wackjobs - and it puts that in humorous perspective.....and that's all Robert Altman and his genius.......but: The performances and the way the actors relate to each other is particularly great - Sutherland and Gould have a marvelous, breezy and effortless rapport. But they aren't just great together - they're also perfectly RIGHT together........world be damned.
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Post by sophiefox on Mar 11, 2021 0:57:20 GMT
Isabelle Adjani in Possession (1981) The performance that put her into therapy is a display of disturbingly unrestrained mania and just pure insanity which left me both shocked and loving it throughout the film. It's one of the most memorable acting you are probably ever going to see, and as far as I am concerned, as horrific as her performance is, I could watch Adjani manically chewing up the scenery all day, if I'm being honest.
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Post by Tommen_Saperstein on Mar 12, 2021 1:47:36 GMT
Mick Jagger in The Burnt Orange HeresyFile this next to Brando's turn in Dry White Season as brief performances that are so mesmerizing you wish the entire film was about them. Jagger is deliciously wicked here. It's like someone told him he was playing the snake in the garden of eden. He's the only character in the small cast (all excellent by the way) who makes it out unscathed because having no soul inoculates him from guilt in a world where truth begins and ends with what you can get people to believe. He moves through the frame like a cat who caught the canary. Smirking and teasing and cajoling. A man in on the joke and infinitely delighted that you're not.
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Post by Mattsby on Mar 12, 2021 1:52:36 GMT
Mick Jagger in The Burnt Orange HeresyFile this next to Brando's turn in Dry White Season as brief performances that are so mesmerizing you wish the entire film was about them. Jagger is deliciously wicked here. It's like someone told him he was playing the snake in the garden of eden. He's the only character in the small cast (all excellent by the way) who makes it out unscathed because having no soul inoculates him from guilt in a world where truth begins and ends with what you can get people to believe. He moves through the frame like a cat who caught the canary. Smirking and teasing and cajoling. A man in on the joke and infinitely delighted that you're not. Underrated movie....the here-and-there changes to the book don't necessarily hurt it I don't think. I think it has what many movies simply don't - a good opening scene, a good ending scene, and a few strong perfs. I liked Sutherland a lot with his two or so monologues, and I liked Jagger some but I love your writeup so much it makes me wanna revisit his scenes ! !
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Post by stephen on Mar 12, 2021 1:55:03 GMT
Mick Jagger in The Burnt Orange HeresyFile this next to Brando's turn in Dry White Season as brief performances that are so mesmerizing you wish the entire film was about them. Jagger is deliciously wicked here. It's like someone told him he was playing the snake in the garden of eden. He's the only character in the small cast (all excellent by the way) who makes it out unscathed because having no soul inoculates him from guilt in a world where truth begins and ends with what you can get people to believe. He moves through the frame like a cat who caught the canary. Smirking and teasing and cajoling. A man in on the joke and infinitely delighted that you're not. I've said it before, but I wish that Mick had played the Branagh role in Tenet. He's so deliciously slimy and devilish in this.
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Post by Tommen_Saperstein on Mar 12, 2021 2:04:01 GMT
Underrated movie....the here-and-there changes to the book don't necessarily hurt it I don't think. I think it has what many movies simply don't - a good opening scene, a good ending scene, and a few strong perfs. I liked Sutherland a lot with his two or so monologues, and I liked Jagger some but I love your writeup so much it makes me wanna revisit his scenes ! ! I love how the film's relationship with truth spirals into something like paranoia. Everyone seems to be hiding something. The characters are always kept just at arm's length and they like it that way, constantly tap-dancing and misdirecting. I never read the book but now I think I should check it out.
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Post by Tommen_Saperstein on Mar 12, 2021 2:06:36 GMT
I've said it before, but I wish that Mick had played the Branagh role in Tenet. He's so deliciously slimy and devilish in this. I hope this is a sign of things to come because he really needs to get off his ass and act more.
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Post by wallsofjericho on Mar 12, 2021 19:49:51 GMT
Clint Eastwood- In the Line of Fire (1993)
Malkovich is the scene stealer but for my money this is one of Clint's best. Haunted, self-loathing, funny, intelligent, determined and sympathetic. His scenes with Russo are effortlessly charming and the cat and mouse dynamic between him and Malkovich over the phone is more compelling then any action scenes. One of the best acted scenes of his career is describing the day Kennedy got shot and he's great at bringing to the forefront how haunted he is from that day. Great work from Clint.
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Post by Mattsby on Mar 12, 2021 19:53:29 GMT
Kang-ho Song in A Taxi DriverAs the opportunistic taxi driver who becomes more and more politically conscious, he conveys his character's arc brilliantly and carries the film on his shoulders. Just like the film starts as a comedy and subsequently turns darker, his performance mirrors the change of tone and gradually becomes richer over the course of the film. His monologue when he opens up about his late wife was especially affecting. Outstanding perf from one of the world's greatest actors. Pretty good movie... I had the thought if Spielberg went and made a movie in South Korea it would probably look like this... and I didn't really know about the Gwangju Uprising so I was gripped in that regard. I might've ended the movie around the 95m mark personally but then we'd get less Song.... Who's such a talent at filling the screen with personality and humor and like later in the movie, can be absolutely heartbreaking during those emotionally galvanized moments.
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Post by Pittsnogle_Goggins on Mar 13, 2021 15:26:36 GMT
Ben Kingsley in Sexy Beast. While I still don’t think he should have won the best villain poll I can’t deny how phenomenal of a performance he gave here.
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Archie
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Eraserhead son or Inland Empire daughter?
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Post by Archie on Mar 13, 2021 19:55:12 GMT
DeVito too.
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Post by isabelaolive on Mar 16, 2021 23:04:03 GMT
Delroy Lindo - Da 5 BloodsI've watched very few films from Delroy's filmography, so I can't say it's his best performance, but it's definitely the best male performance of the year 2020. D5B's script is unfortunately inconsistent and the film starts to break down in the last forty minutes, but Delroy's performance is great. Many actors who play characters with PDST end up overacting, Deroy may deliver an 'exaggerated' performance at times, but his performance is in keeping with the pace and tone of the film. While some roles of characters who suffer from PDST require more subtle performances (like Ben Foster in Leave no Trace), others combine with more extravagant performances and this is one of those cases. Too bad he was snubbed at the Oscars.
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Post by JangoB on Mar 17, 2021 1:39:24 GMT
Jeon Do-yeon in Secret Sunshine. Blown away by the power of this performance. Truly an anchor of her film.
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Post by Mattsby on Mar 19, 2021 17:58:47 GMT
Cast of Orphans (1987)Kevin Anderson plays scared and starting-to-see with such an openness. He’s as small and as gullible as a dog, but it’s Matthew Modine who has the leash aggression, playing his brother, a delinquent earner for them and their tuna-and-mayo meals. He’s also his gaslighter in a way, and Modine gives a career-best performance of moronic pride and uncontrolled fits, he makes weakness look dangerous. Their strandedness and offbeat rapport is already in position before we meet an immediately spirited Albert Finney, still loose-legged as if stumbling right from Under the Volcano, his previous-to-this movie. But Finney turns around on us, like he turns around on them, the brothers. And it’s such a persuasive turn of experience and sense and sway and humor - “I know shoulders.” His hoodlum-hiding looks a little like beginning again, painting the walls a fresh white. In one scene he tells Anderson, who hasn’t left home in forever - “You can’t keep the night out. It comes under the door, thru the cracks.” He knows the result of his life too, a very wise man who faces what might kill him, like when Modine threatens to cut his heart out. Modine a dope can't see that would be useless - he's already giving his heart to them. Oh, and a little encouragement. S/o pacinoyes who's a big fan of this one.
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Post by pacinoyes on Mar 19, 2021 22:32:47 GMT
Masahiro Motoki GeminiNot sure I'd call it "great" exactly but extremely memorable in how his twins are delineated and presented (including some extremely sinister missing eyebrows) and navigate through a very wild storyline (reviewed yesterday in the "last movie you saw thread"). Motoki was apparently a teen pop star in Japan before going into acting and I've see him in some other stuff where he's been good too ...here he gets to go from the heights of civility to the depths of depravity and he pulls both off convincingly without pushing too far.
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Post by Mattsby on Mar 20, 2021 2:40:59 GMT
Bob Hoskins / some of Anthony Hopkins - Othello (1981)Hopkins perf is bumpy but good - in earlier scenes he feels too still and stated, and in a few later moments goes for much, but there are some very impressive scenes too, like his “Chaos is come again” where he becomes in a flash lost in his own thinking, or the way he lights on Desdemona (“She chose….me”) and then breaks, tricked. Bob Hoskins, though - shorter than all, higher in tricks - is very great and proves Iago the fuel of the play, its turner, its gamer. He’s the most curious point of it too as his motives aren’t so charted. Richard III opens with “I am determined to prove a villain” - the Bard later writes Othello with Iago asking himself “Who says I play the villain?” He strips the schemer of pointed scheme. Hoskins rides that conniving yet changing line. He takes to others with a smirk, he worries them to save them, like a malevolent salesman of mistrust. He plays scenes very cleverly, like a glad troll whispering from under you (“Fear nothing, I’ll be at thy elbow”). And he plays up Iago’s improvising, he devises in plain sight - altering tones against Othello or Roderigo etc. His interplay with the actors is great but Hoskins is even more brilliant in his asides and soliloquies. “So will I turn her virtue into pitch and out of her goodness make the net that shall enmesh them all.” He laughs at his own dark potential, as he finally fills the frame. If it isn’t implied enough, I love the way they use the size of Hoskins, to really great and allusive and ironic effect throughout (see pictures). Even his eyes, darting upward at everyone, they grab you, and can only drag you down.
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Post by pacinoyes on Mar 20, 2021 7:56:15 GMT
Bob Hoskins / some of Anthony Hopkins - Othello (1981)Bob Hoskins, though - shorter than all, higher in tricks - is very great and proves Iago the fuel of the play, its turner, its gamer. He’s the most curious point of it too as his motives aren’t so charted. Richard III opens with “I am determined to prove a villain” - the Bard later writes Othello with Iago asking himself “Who says I play the villain?” He strips the schemer of pointed scheme. Hoskins rides that conniving yet changing line. I think I said once that Hoskins is one of the very best performances in all of filmed Shakespeare - and the very best filmed Iago (I reviewed this in this thread somewhere). Hoskins had an amazing 80/81 double shot with this and The Long Good Friday which is a kind of Shakespearean gangster turn in a way - a little Richard III is in that portrayal too.
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Post by Mattsby on Mar 20, 2021 8:15:30 GMT
Bob Hoskins / some of Anthony Hopkins - Othello (1981)Bob Hoskins, though - shorter than all, higher in tricks - is very great and proves Iago the fuel of the play, its turner, its gamer. He’s the most curious point of it too as his motives aren’t so charted. Richard III opens with “I am determined to prove a villain” - the Bard later writes Othello with Iago asking himself “Who says I play the villain?” He strips the schemer of pointed scheme. Hoskins rides that conniving yet changing line. I think I said once that Hoskins is one of the very best performances in all of filmed Shakespeare - and the very best filmed Iago (I reviewed this in this thread somewhere). Hoskins had a amazing 80/81 double shot with this and The Long Good Friday which is a kind of Shakespearean gangster turn in a way - a little Richard III is in that portrayal too. Amazing one-two. And the Long Good Friday had theatrical release in ‘81, BAFTA puts it that year too... So he might fit in your Best Acting Year thread!!
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Post by Mattsby on Mar 22, 2021 20:17:35 GMT
Bob Hoskins - The Long Good Friday Criterion lists this movie as 1979, premiered in '80, released in '81. No matter, it's a great gangster movie not only situated between Get Carter, The Godfather and Scarface and The Sopranos but recalls Shakespeare too, as pacinoyes mentioned a post ago.... bringing to mind Macbeth, Richard III, Julius Caesar ("Stop this bloody havoc" as Mirren says). One of the working titles was actually Shand's Kingdom. I'm pretty sure there are Biblical refs too, like a character called out as a Judas. That's a ripe lot. And Barrie Keeffe the writer grew up around East End gang rule, bumping into the Krays etc. He brings a great ear for dialogue and makes weight of a smattering... Keeping us just as in the dark as Hoskins... who even says at one point "It's getting dark....people get frightened in the dark." Hoskins is terrific as the swarmed, deluded Harold Shand.... He moves to prove. He also sees himself from above, and so he sees others as weak and beneath him. You really get that in his little side comments on the town and its people. Though while evoking a hardness and fear, even looking like a human fist, he's also impulsive and sensitive, someone who wears the weather they're under but calls it nothing. Like when he sends out his horde of armed toughs but tells them "Be discreet" - or the way his joking tone to one hood flatlines when he sees drugs, an illusion-breaking reminder of the sleaze that's stopping his fixed-up dream. "Is there no decency?" he asks, while answering chaos with the same. Hoskins adds a sympathetic division - his rage increases alongside his care, we see the two sides when Mirren admits she fears for her life. He flairs mean but then softens bc he recognizes no use for it. Same with his right-hand man on the boat, but the other way around. I love how much this holds on him, right to the last shot. Hoskins denied by the Americans affords himself an unmuzzled monologue not so much to belittle them but to save himself from feeling personally defeated. But then the door closes. Like how the opening scenes and ending are dialogueless, violence becomes unanswerable.
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