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Post by JangoB on Feb 18, 2022 11:46:27 GMT
Very impressed by Bette Davis in The Star. The movie seems to be made in the shadow of the two 1950 biggies - Sunset Blvd. and All About Eve. Davis plays a washed-up Oscar-winning actress who's fallen on some really hard times and tries to navigate the world of faded stardom. The script is often pretty silly and there's a distinct feeling of, let's put it, inexpensiveness about the movie and yet Davis carries it spectacularly. Watching this film made me realize just how much I love it when a great actor gets a chance to do a big rant. There's a scene early on in which Davis just goes off on her leechy relatives and it's as if you're witnessing an almighty hurricane right before your eyes. It's downright thrilling. But it's not only a performance of anger and bitterness - it's got everything! Wanna see Davis drunkenly drive along some Hollywood houses while talking to her Oscar? Wanna see Davis totally flop at an audition by pretending she's about 30 years younger than she is in a scene that seems to satirize those types of crazy casting decisions? Or maybe you wanna see her be genuine and vulnerable? Well, it's all here, pal. Including one of the greatest scenes of her career in which she watches her botched audition and reacts to it. They say acting is reacting...and this is some of the most powerful reacting I've seen in a while. I'm very glad she got an actual Oscar nomination for this performance despite the movie being quite small and not receiving anything else.
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Post by wilcinema on Feb 18, 2022 22:56:25 GMT
Stephen Graham and Vinette Robinson in Boiling Point
Two fantastic performances in one of the best English-language movies of 2021.
Graham is INTENSE, there's a man on the brink in his Andy Jones, on the brink of something, a nervous breakdown, a fist fight, cathartic tears, constantly walking that fine line between restraining himself for his job and that desire to just explode and release, it's a performance that reminded me of a young De Niro or a young Hoskins, he's that good.
Robinson is big-mouthed, brash, telluric, she's his opposite and her perfect complementary, as she's antagonistic and confrontational, their chemistry was just off the charts and they own this movie, though the entire cast is stellar.
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Post by Mattsby on Feb 19, 2022 0:51:17 GMT
Stephen Graham and Vinette Robinson in Boiling Point
Two fantastic performances in one of the best English-language movies of 2021.
Graham is INTENSE, there's a man on the brink in his Andy Jones, on the brink of something, a nervous breakdown, a fist fight, cathartic tears, constantly walking that fine line between restraining himself for his job and that desire to just explode and release, it's a performance that reminded me of a young De Niro or a young Hoskins, he's that good. Yes!!! Few months ago, I was streaking a bunch of Graham and Hoskins at the same time and it's quite clear that Graham is his spiritual successor. They would've made a brilliant father-son. De Niro he's not as often compared to but why not? Graham's worked with Scorsese 3x now....and his Capone takes the cake. Also, not recommending Code 404 but his perf slightly reminds me of De Niro in Midnight Run. He can hold his own opposite anyone....even a peak-level Pacino in The Irishman.
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Post by pacinoyes on Feb 19, 2022 19:48:37 GMT
Matthias Schoenaerts - Bullhead (2011) - re-watchSearing, extremely physical and vivid performance mixed with not just a De Niro like muscularity but a deep understanding of the mental aspect of the role too. A tremendous piece of acting work by Schoenaerts - with eyes piercing from side to side that seem to be looking for a betrayal and years you can't get back.
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Post by pacinoyes on Feb 20, 2022 23:51:20 GMT
Anicée Alvina - Successive Slidings of Pleasure (1974) - rewatchAlmost in a league of its own in terms of baffling (and subliminal) erotica - this type of movie rarely results in memorable performances (quick what's the best performance in a Jean Rollin movie? Yeah, exactly.... ) But Alvina here becomes exactly what she is cast to play - enigmatic, playfully contradictory, desirous, fetsihized, somewhat not human but functional .......wanted and desired. The camera lingers on her as she provokes, tantalizes or does nothing but suggest submitting - when she is active she is hypnotizing and hypnotized. It's the kind of performance that reminded me a bit of Charlotte Rampling in He Died With His Eyes Open but far more elliptical and unclear ......it fascinates in the simplest way that movies are supposed to: girl, sexuality, camera........lingering on her - capturing .......what exactly? These shots are designed in a way to linger in the mind and they upset you while remembering them - red on white, white on white, white overwhelmed by that red as body parts - and hands clasped which may be in mocking for the way Alvina is posed in the frame. That's how you want you want her, right? You naughty boy.......once seen .......well, maybe not understood but you'll never forget it......may require therapy tbh. Some of the best shots of are in ways she uses her eyes looking towards heaven or looking through you..... Passive resistance:
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Post by wilcinema on Feb 21, 2022 22:55:59 GMT
Murray Bartlett and Jennifer Coolidge in The White Lotus (season 1)
The entire ensemble of this show is aces (I mean it, there's a bunch of awesome performances, and it was NOT an easy show to cast), but these two take the palme. Jennifer Coolidge brings pity, conternation, desperation, exhilaration in every single line delivery, her Tanya is a fully realized three-dimensional character. Murray Bartlett as the concierge is sensational, he nails the uncontrollable manic energy behind the appearance of the hotel manager, the evolution of his character is there on the page but it's through his unsettling performance that becomes real. If they were denied Emmy nominations, it would be a travesty.
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Post by PromNightCarrie on Feb 23, 2022 11:12:00 GMT
Isabelle Huppert - The Lacemaker (1977) -
One of her very best - which makes it by definition one of THE very best - this sensitive, perceptive performance encapsulates everything acting "can't be" in American movies - she is playing grace, playing acceptance, playing fragility. There is no big emotion within her conception - it's a triumph of small brushstrokes........exquisite detail and focus and silences. The closest I can think of to this in the era is Adjani in The Story of Adele H. - quite a double feature those would make. They break your heart - click your fingers - just like that. I haven't seen this one yet, but I saw Isabelle Huppert in Story of Women last week . That would have been a pick for this thread because she was terrific in that, of course. She seems to have a knack for using small strokes to build her characters completely convincingly in often the most twisted films. That's what I think of when I think about her.
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Post by pacinoyes on Feb 23, 2022 12:22:25 GMT
Isabelle Huppert - The Lacemaker (1977) -
One of her very best - which makes it by definition one of THE very best - this sensitive, perceptive performance encapsulates everything acting "can't be" in American movies - she is playing grace, playing acceptance, playing fragility. There is no big emotion within her conception - it's a triumph of small brushstrokes........exquisite detail and focus and silences. The closest I can think of to this in the era is Adjani in The Story of Adele H. - quite a double feature those would make. They break your heart - click your fingers - just like that. I haven't seen this one yet, but I saw Isabelle Huppert in Story of Women last week . That would have been a pick for this thread because she was terrific in that, of course. She seems to have a knack for using small strokes to build her characters completely convincingly in often the most twisted films. That's what I think of when I think about her. Story of Women - is a film that really "separates" her from other actresses in showing what she could do - the ending of the movie is the same ending as Depardieu has in one of his most famous films - (no spoilers!) - and that's not coincidental - they had the 2 best acting decades of anyone outside the US - in world cinema - in the 80s - and she portrays this role in all the nuances that a male actor gets ..........and an actress never does. She has to show so many sides of the character and not just in a "push the audiences buttons" way: she sings (but is not really a singer), she's sexy, she's cruel, she's empathetic, practical, no nonsense, but in counterpoint she breaks and is broken like a person - not a "female movie character". ALL those things have to reveal her and they all involve different nuance in how she sells them to you in her acting. * Think of this: When she gives a dead straight on camera "anti" Hail Mary reading - her acting actually goes to a deeper level - and it's already been Godlike - notice how she speaks to no one in that scene - there is no "actor" for her to play off - that is really the equivalent of a voiceover but she's on camera - she has to do so many variations on what her acting is doing in that way - and what she is asked to communicate to an audience. it's almost amazing how much she's expected to carry ......she has an unbelievable brief scene at the end that is one of my favorite Huppert moments - and I have a lot - where you notice her tearing in her eyes - in close-up - the "if we ask for forgiveness we may not go to Hell" - you notice her eyes and voice - again speaking to no one here but this time there is another actor present - she's responding and removed at the same time - ...................you almost don't notice what her hands are doing at the same time going to caresss her neck - which she does in so many sly ways since the film began - touching her neck - putting on necklaces........... lovers caressing her neck........... trying to supresses words in her throat or choking up in her throat etc. This is the kind of acting that directors talk about when they say director's have a "language" they are conveying .......... actors have a language too in this way too - she sets this up far earlier, repeatedly .......that's what separates "great" performances from GREAT performances - even if you can't tell what the actor is doing or why..........it's (almost) subliminal on the audience.
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Post by PromNightCarrie on Feb 23, 2022 16:32:28 GMT
I haven't seen this one yet, but I saw Isabelle Huppert in Story of Women last week . That would have been a pick for this thread because she was terrific in that, of course. She seems to have a knack for using small strokes to build her characters completely convincingly in often the most twisted films. That's what I think of when I think about her. Story of Women - is a film that really "separates" her from other actresses in showing what she could do - the ending of the movie is the same ending as Depardieu has in one of his most famous films - (no spoilers!) - and that's not coincidental - they had the 2 best acting decades of anyone outside the US - in world cinema - in the 80s - and she portrays this role in all the nuances that a male actor gets ..........and an actress never does. She has to show so many sides of the character and not just in a "push the audiences buttons" way: she sings (but is not really a singer), she's sexy, she's cruel, she's empathetic, practical, no nonsense, but in counterpoint she breaks and is broken like a person - not a "female movie character". ALL those things have to reveal her and they all involve different nuance in how she sells them to you in her acting. * Think of this: When she gives a dead straight on camera "anti" Hail Mary reading - her acting actually goes to a deeper level - and it's already been Godlike - notice how she speaks to no one in that scene - there is no "actor" for her to play off - that is really the equivalent of a voiceover but she's on camera - she has to do so many variations on what her acting is doing in that way - and what she is asked to communicate to an audience. it's almost amazing how much she's expected to carry ......she has an unbelievable brief scene at the end that is one of my favorite Huppert moments - and I have a lot - where you notice her tearing in her eyes - in close-up - the "if we ask for forgiveness we may not go to Hell" - you notice her eyes and voice - again speaking to no one here but this time there is another actor present - she's responding and removed at the same time - ...................you almost don't notice what her hands are doing at the same time going to caresss her neck - which she does in so many sly ways since the film began - touching her neck - putting on necklaces........... lovers caressing her neck........... trying to supresses words in her throat or choking up in her throat etc. This is the kind of acting that directors talk about when they say director's have a "language" they are conveying .......... actors have a language too in this way too - she sets this up far earlier, repeatedly .......that's what separates "great" performances from GREAT performances - even if you can't tell what the actor is doing or why..........it's (almost) subliminal on the audience. Oh that Hail Mary scene. What were her words again?! The stark contrast between that and the woman we see not too long before who is living this vibrant, sexy, scandalous existence with this devil may care sense of fun is crazy. You're the expert at analyzing Isabelle Huppert performances, so I just want to read your words on a scene from what is still my favorite performance of hers (The Piano Teacher) because I think there is a lot to be said about the way she plays this moment:
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Post by pacinoyes on Feb 23, 2022 17:01:55 GMT
Story of Women - is a film that really "separates" her from other actresses in showing what she could do - the ending of the movie is the same ending as Depardieu has in one of his most famous films - (no spoilers!) - and that's not coincidental - they had the 2 best acting decades of anyone outside the US - in world cinema - in the 80s - and she portrays this role in all the nuances that a male actor gets ..........and an actress never does. She has to show so many sides of the character and not just in a "push the audiences buttons" way: she sings (but is not really a singer), she's sexy, she's cruel, she's empathetic, practical, no nonsense, but in counterpoint she breaks and is broken like a person - not a "female movie character". ALL those things have to reveal her and they all involve different nuance in how she sells them to you in her acting. * Think of this: When she gives a dead straight on camera "anti" Hail Mary reading - her acting actually goes to a deeper level - and it's already been Godlike - notice how she speaks to no one in that scene - there is no "actor" for her to play off - that is really the equivalent of a voiceover but she's on camera - she has to do so many variations on what her acting is doing in that way - and what she is asked to communicate to an audience. it's almost amazing how much she's expected to carry ......she has an unbelievable brief scene at the end that is one of my favorite Huppert moments - and I have a lot - where you notice her tearing in her eyes - in close-up - the "if we ask for forgiveness we may not go to Hell" - you notice her eyes and voice - again speaking to no one here but this time there is another actor present - she's responding and removed at the same time - ...................you almost don't notice what her hands are doing at the same time going to caresss her neck - which she does in so many sly ways since the film began - touching her neck - putting on necklaces........... lovers caressing her neck........... trying to supresses words in her throat or choking up in her throat etc. This is the kind of acting that directors talk about when they say director's have a "language" they are conveying .......... actors have a language too in this way too - she sets this up far earlier, repeatedly .......that's what separates "great" performances from GREAT performances - even if you can't tell what the actor is doing or why..........it's (almost) subliminal on the audience. Oh that Hail Mary scene. What were her words again?! The stark contrast between that and the woman we see not too long before who is living this vibrant, sexy, scandalous existence with this devil may care sense of fun is crazy. You're the expert at analyzing Isabelle Huppert performances, so I just want to read your words on a scene from what is still my favorite performance of hers (The Piano Teacher) because I think there is a lot to be said about the way she plays this moment:
"Hail Mary, full of sh*t. Rotten is the fruit of your womb.” - devastating in how it's written and acted........ Thanks for the compliment pal - love how you've been more active lately btw - always brighten up the board This is a great scene - from The Piano Teacher - and it's that distinction between doing little things and doing nothing - when the scene starts her one hand matches the playing - as the playing becomes more aggressive and discordant her fingers are starting to playing the "feeling" not the notes - later when she switches hands and has one hand try to control the other - she fails - and what she feels - is expressed through how she moves her eyes, lips and tilt of the head. ...........at war with herself and her body.........and rationality........ It's also helped - again - by how it's staged - she is removed from the rest of the room........in actuality and emotionally. I've said this before very few people I've ever seen acted this way - THIS consistently - in expressing the language of acting like a director does with his instrument (the camera) - and most of them - Brando, DePac, Nicholson, Finney.......to a less frequent extent - DDL or Hopkins etc...........are men.
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Post by pacinoyes on Feb 24, 2022 16:24:09 GMT
Steve Buscemi Trees LoungeHeartbreaking and achingly real performance .......gets better the more you see it too.
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Post by pacinoyes on Feb 26, 2022 10:50:54 GMT
Laurent Terzieff Le Horla (1966)
I re-watched this great-ish short film - again - 3rd watch and I had reviewed it in the "short film" thread too last year - because I just saw Terzieff in a fine and effective but not quite great performance in Henri-Georges Clouzot's flawed but fascinating La Prisonnière (1968) from around the same time. He's much better here - and I suspect this may be the best thing he ever did (I've seen other performances too - I like him in everything) because Le Horla is unlike anything he - or most actors - probably ever did on film. Essentially a silent performance as we see it - but with narration. This short movie - less than 40 minutes - is a triumph of construction and design - what we see and when we see it - the past, the present, and lastly "the future" all enhances the thin "plot" and makes it move like an actual movie - not merely an exercise in recreation. There's an old Roger Ebert quote - “It's not what a movie is about, it's how it is about it.” - well this movie is about it in an inspired way - and it can be read in many ways - as horror, as character deconstruction, as an insight into mental illness (in the same way Poe's William Wilson is) by the way it is told. Terzieff in some ways gives a kind of "ultimate" actor performance - and by that I mean how "performative" it is - he acts opposite no one, he looks staggeringly handsome and crushingly sad and is on screen to essentially allow us to notice when his model like features are confused, scared, frightened...........and we are unable to touch him or hold him or stop what he thinks is happening. He is not acting here in the way we think of acting.........he's "evoking" a decline among the trappings immediately available to him - technology, environment, food, drink, mirrors, .....nothing helps him or could........just the opposite ......they are merely among him while he is alone with his thoughts. The movie is also quite accomplished in how it uses color too - you can read the colors in a way so that when you see them as symbolic to his mental state - and seem on one level fine and lovely..........and also slightly jarring or odd. The blues too blue (or not enough), the yellows beautiful but also unexpected or off......
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Post by pacinoyes on Mar 2, 2022 1:29:13 GMT
Maria Pedraza - Ego (2021 / 2022)Surprisingly decent horror from Spain that takes the current vogue for mental illness trauma in my fave recent horrors ( Saint Maud, Censor) to a creepily efficient and less complicated extreme. Possibly you could argue it isn't "believable" and should involve a longer time frame to unravel but this is one of the most emotionally affecting horrors I've seen in a while - and it's all Pedraza because cast this with someone else and the stitches would show in this way more than they do. You can't shake it - or Pedraza off - it also reminded me of Paco Plaza's terrific Veronica (2017) another Spanish horror more concerned with the characters descent than punching more obvious butttons......and also Darling (2015) with a stupendous Lauren Ashley Carter - though this movie doesn't lay on the blood like that one. Intersting stuff.........not just a kind of unsettling pandemic horror, also a discomforting internet / social media implicating one too.....the kind of movie that seems both overcooked and half baked......both original and cliched.......
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Drish
Badass
Posts: 2,021
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Post by Drish on Mar 3, 2022 20:39:12 GMT
Holy moly 😍😍 what a surprisingly wonderful film and this performance is everything..
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Post by wallsofjericho on Mar 4, 2022 15:06:08 GMT
Tommy Lee Jones- No Country For Old Men
I'm generally a sucker for world weary Sheriff performances but Jones is so magnetic here. Clearly exacerbated with the evil he feels he can no longer control or understand yet he still maintains a sense of humour but his world weary face shows he can no longer be the man he used to be to confront the new and modern evil. His monologue at the end is haunting. Beautiful performance.
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Post by stephen on Mar 4, 2022 15:26:03 GMT
Tommy Lee Jones- No Country For Old MenI'm generally a sucker for Sheriff performances but Jones is so magnetic here. Clearly exacerbated with the evil he feels he can no longer control or understand yet he still maintains a sense of humour but his world weary face shows he can no longer be the man he used to be to confront the new and modern evil. His monologue at the end is haunting. Beautiful performance. We don't talk enough about how perfectly Jones fits in the Coens' milieu. Obviously he works wonders with McCarthy, starring in the two most successful translations of his work, but Jones really does deserve more credit for fitting right in with what the Coens were going for. Honestly, there's a world where I think TLJ could've done a fair job as Macbeth against McDormand.
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Post by wallsofjericho on Mar 4, 2022 15:41:29 GMT
Tommy Lee Jones- No Country For Old MenI'm generally a sucker for Sheriff performances but Jones is so magnetic here. Clearly exacerbated with the evil he feels he can no longer control or understand yet he still maintains a sense of humour but his world weary face shows he can no longer be the man he used to be to confront the new and modern evil. His monologue at the end is haunting. Beautiful performance. We don't talk enough about how perfectly Jones fits in the Coens' milieu. Obviously he works wonders with McCarthy, starring in the two most successful translations of his work, but Jones really does deserve more credit for fitting right in with what the Coens were going for. Honestly, there's a world where I think TLJ could've done a fair job as Macbeth against McDormand. Agreed. I generally would love to see Jones involved in most Cormac McCarthy's film presentations. I know he had an eye to direct Blood Meridian (generally deemed a very difficult film to make) but he seems to have as good knowledge as anyone does in those stories (also having a friendship with the author) and I loved his work on Three Burials. So glad Franco isn't doing it.
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Post by Tommen_Saperstein on Mar 4, 2022 15:44:21 GMT
Charles Laughton in Hobson's Choice made me rethink my hatred of drunk acting. In between blustery declarations of self-importance, he wobbles all over Salford like a great sloshed bear. The broad physical comedy works because of the contrast it draws with the character's pompous chauvinism and exploitation. You can't hate him because the drunk scenes reveal his total toothlessness and so you just laugh at him.
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Post by pacinoyes on Mar 4, 2022 21:48:03 GMT
Je-Wook Yeon in A Record of Sweet Murder (2014) - On TubiKoji Shiraish of Noroi directed this part nutso violence / kinky sex fest that's also eerily sad and surprisingly pays off. The premise of the film is a mix of Man Bites Dog, Oldboy, Reservoir Dogs and an ending (a great one, actually) that swipes from a masterpiece in a way Lilja 4-ever This shouldn't work but it's so nuts - the violence is positively excruciating (and unrealistic), the artistry is kind of dazzling too (done in a "one take" more or less) and the ending is so audacious involving special effects, perspective shift and genuine lump in the throat emotion it has to kind of be seen to see how it all works - which you may seriously doubt an hour into it. This Japanese film has a sexual scene that is right out of porn and is also utterly unbelievable (as is much of the movies premise not just execution) yet sends it teetering into this weird other realm of Art - grotesque horror as a sad "It's A Wonderful Life" - which is referenced in this movie explicitly. In an American movie this would play as sick trash with a ribbon on it - in the hands of this filmmaker and this actor - playing the lead - the murderer, genius, dupe, fool, tragic observer and deliverer of "murder" - it is something more complex and unforgiving. In fact, you could misunderstand the ending entirely....... A performance full of energy and urgent madness:
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Post by ireallyamsomething on Mar 6, 2022 13:36:19 GMT
Maya Vanderbeque as Nora in PLAYGROUND (2021) There's a tender, visceral power just from following her, observing her face - the pain, brief joy, and the terrible conflicts within. Strong echoes of Dardenne brothers with the way it's shot - the immediacy & intimacy. Props to director Laura Wandel too, but it's a bit of pity these internal performances without noted 'big' scenes/monologues (especially from children) don't get recognized during awards season.
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Post by pacinoyes on Mar 6, 2022 22:04:06 GMT
Tzahi Grad as Gidi in Big Bad Wolves (2013)This was Quentin Tarantino's "best film" of 2013 and is sort of a QT in reverse - it starts flat and has a great 3rd act (hey - have you ever heard my opinion on the awful 3rd acts of OUATIH and Django - um ). This movie is a sort of part (a better) Prisoners, part torture porn but the third act forces you to reconfigure dialog that these characters have said to each other and how it then fits in how the plot plays out. Tzahi Grad is the standout of the bunch - sad, frightening and more than slightly pathetic.......if you're a QT fan you may like how some of this screenplay both rips him off and one ups him in some ways too - particiularly in dropping characters and then logically returning to them to a stinging effect. Pretty good film if you don't write it off and let it work on its own terms - from Israel - which makes some good stuff (like Incitement (2019) etc).....
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Post by stephen on Mar 8, 2022 22:18:13 GMT
From the moment he struts out in that wedding ceremony hall to greet his best friend only to slip mid-greeting on a waxy floor, up until the moment where he crushes the risk analysis presentation on behalf of said best friend while simultaneously giving Alec Baldwin the scare of his life, Philip Seymour Hoffman should've won his Oscar a year earlier than he did in real life, but for Best Supporting Actor in Along Came Polly. This is the textbook definition of a scene-stealing supporting performance, one which should not only be taught in every school (not just acting schools, either; there needs to be a "Sandy Lyle" class in every school on the planet) but also be rated as one of the finest performances given by an actor who could contend with the best of them in the field of drama and comedy. Singularly brilliant, like a meteor streaking across the sky.
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Post by Pittsnogle_Goggins on Mar 9, 2022 17:27:48 GMT
Mark Ruffalo and Channing Tatum in Foxcatcher. I don’t hate Carell’s performance like some others here do, but I do feel he’s not on the level of the other two.
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Post by PromNightCarrie on Mar 10, 2022 12:42:54 GMT
Mark Ruffalo and Channing Tatum in Foxcatcher. I don’t hate Carell’s performance like some others here do, but I do feel he’s not on the level of the other two. I thought Steve Carrell was great. People hate that performance?! I felt he disappeared into the role. I still remember how creeped out I was by that look he gave when he does the act. Ruffalo is great in that film too.
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Post by pacinoyes on Mar 10, 2022 14:44:41 GMT
Mark Ruffalo and Channing Tatum in Foxcatcher. I don’t hate Carell’s performance like some others here do, but I do feel he’s not on the level of the other two. I thought Steve Carrell was great. People hate that performance?! I felt he disappeared into the role. I still remember how creeped out I was by that look he gave when he does the act. Ruffalo is great in that film too. There's a lot of people who actually hate it on MAR and it's one of the funniest things to me because MAR hates a whole lot of acting that's obviously great and we celebrate a whole lot of acting that's by the numbers dull/plebby all the time. Almost the whole genius of Foxcatcher was Carrell's casting and then the odd angle of the performance aided by the script which encourages but doesn't spell it out for him - he makes the whole movie. Tatum and to a lesser extent Ruffalo are just asked to play one thing - big deal - they are terrific but ....... Carrell is asked to do everything else - his performance is the entire focal point of the movie - even when he's off-screen - almost every plot point revolves around him too. He's brilliant (and brilliantly cast) and I think people who don't like him are those people who aren't usually receptive to most acting that goes a little off the page anyway which is all I ever really like tbh.........
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