Saturday 26 October 2019

Top 10 Performances: Robert Pattinson

While his official 'breakout' has been pretty recent, former Twilight heartthrob Robert Pattinson has actually been delivering strong turns consistently over the last few years, with the whammy of 2017 - 2019 being just a particular highlight. Here's some of his best performances. 


HM: Bel Ami 
A period where I feel he was still in the process of transitioning between pretty boy star and serious respected actor, I wouldn't consider this one of Pattinson's most assured performances, with touches of inconsistency and he's a tad overshadowed by some of his co-stars, especially Christina Ricci, but does an admirable enough job as the infamous womaniser Georges Duroy in this flawed adaptation or the 19th century novel. Also there are hints of how he'll do as Bruce Wayne which is pretty cool.

10. Maps to the Stars 
Another weird David Cronenberg film that ends up being a bit too disconnected for its own good, Pattinson arguably gives the most grounded performance in the film as essentially the everyman looking into the madness of Hollywood. The role doesn't stress his talents too much but he's very charismatic and endearing, with just the right touch of naivety to his limo driver with big dreams and not much capability to achieve them.

9. Water for Elephants 
A surprisingly affecting film which again doesn't really stress Pattinson's talents too much, just requiring him to be the quietly charming doctor who goes to work at the circus, and have chemistry with his onscreen love interest Reese Witherspoon (a rather odd onscreen combination to be sure). Well he delivers on the charm, the chemistry is nice if not too notable, and it's a good performance that showed potential for his future work to come.

8. The Lost City of Z 
I only wish he were in the film more, which on the whole I did admire although like with most of James Gray's films, I did not love. Pattinson is a delight in a very different role to his usual sorts, a fairly quirky and offbeat fellow expedition-er to Charlie Hunnam's more classical adventure hero. He gives the film much needed energy in his scenes and is a highlight I wish was more frequently utilised within it.

7. The Childhood of a Leader
An interesting, if not altogether successful, cinematic experiment with some interesting performances across the board, with Pattinson's portrayal of perhaps the most significant direct influence on the titular child's life as this charming yet low-key insidious 'father figure'. I really like how Pattinson utilises his charismatic presence to create technically quite a 'bad' influence on the child while also making sense of how he could be so influential on the child's life.

6. Damsel  
With a very colourful accent fitting for a very colourful character in this offbeat Western, Pattinson is clearly having a ball here as the earnest pioneer Samuel Alabaster. Once again he works well with Mia Wasikowska, and once again he delivers a great energetic turn and brings a real uniqueness to a role that's been done before but never quite this way. I will say I don't like what the film does with his character eventually but that's hardly his fault.

5. Cosmopolis 
A weird yet weirdly compelling, if not flawless, thriller/satire features a perfectly cast Pattinson as a young billionaire moving through Manhattan in his cushy limousine and interacting with a long line of oddballs. Pattinson is consistently off-putting in his approach which is entirely the point here as he creates the unnervingly artificial style of his character's self-destructiveness so effectively, and makes the often unwieldy dialogue work for the most part. It's a very good performance I wish would have been in a better film.

4. High Life
An utterly bonkers weird sci-fi film about an expedition to a black hole with experiments and sex-fest galore en route. In a strong ensemble, Pattinson gives a captivating portrayal of a convict sent into depths completely out of his element. He anchors the film in the right way even as heads explode and masturbatory sessions are conducted and no matter how odd everything gets acts as the film's emotional core, reflecting each loss and odd circumstance so well in his terrific reactionary performance.

3. The Rover
This Australian dystopian flick is for the most part an acting showcase for Guy Pearce, but Pattinson is not to be forgotten for his equally compelling portrayal of the slow-witted Reynolds who Pearce's mysterious Eric takes as a hostage. Pattinson delivers an incredibly moving portrayal of a man for who has become numb to the harsh realities of the world which has passed him by, and is particularly great over the course of the film in showing how the burdens weigh upon him. It's a heartbreaking, sympathetic portrayal that adds so much to Pearce's grand performance.

2. The Lighthouse
I'll be discussing his performance more in detail alongside co-star Willem Dafoe in a few months' time but this is astonishing work that really delivers in creating his character's burgeoning madness.

1. Good Time
In many ways the antithesis to the usual 'rogue hero saves the day' crime thriller, Pattinson's Constantine 'Connie' Nikas, a bank robber on the run who gets his mentally disabled brother into a seriously messed up ordeal, is a real shitbag, to the extent that it really took me aback the first time I watched the film. Pattinson gives a fantastic performance as this completely amoral sort of criminal who thinks he's doing the 'right' thing and brings such a grungy, compelling energy to each of his character's manipulative actions. It's a star turn that really showed me what Pattinson has to offer as an actor beyond just being a charismatic leading man, as he is that in this but also so much more.

Tuesday 15 October 2019

(Very Early) Oscar 2020 Predictions

Bold indicates my prediction for the winner; * indicates films I've already seen.

Best Picture
1917
The Farewell*
Ford v Ferrari 
The Irishman*
Jojo Rabbit 
Little Women 
Marriage Story
Once Upon a Time in Hollywood*
Parasite*
The Two Popes

With how eclectic these last two years' Best Picture lineups have ended up in terms of not just style and genre, but also quality, audience appeal and critical reception, all bets are off this year for the Best Picture race so it seems. I wouldn't even say any of these films are 100% locks at this point besides Once Upon a Time in Hollywood, which I'm pegging for the win. Relatively safe bets seem like the perennial ambitious war picture in the form of 1917, the little indie that could in The Farewell, the TIFF crowdpleaser of Jojo Rabbit, the distinct period pieces of Little Women and Ford v Ferrari, and recent years have shown a more welcoming attitude to including foreign language films in lineups which bodes well for the incredibly well received Palme D'Or Korean critical darling Parasite. Netflix has itself three horses in the race this year with the prestige picture The Two Popes, domestic drama Marriage Story and gangster picture The Irishman, so it remains to be seen if they'll campaign intensively for all three or choose two, or even one to focus upon.

Potential dark horses can be found in the likes of A Beautiful Day in the Neighbourhood* and Judy* if the Academy leans more towards honouring the stars of entertainment with Mr Rogers and Judy Garland, or The Report and Bombshell if they want to play the timely agenda cards. And who knows, Joker could just as likely get in as many of the current ostensible contenders; it's been a divisive film but the positive reviews have been glowing, it's gotten awards success already and could be a strong player in many categories. As always, we'll need to see how the rest of the award season plays out, box office, the cultural impact, think pieces and whatever potential controversies will come out. Personally out of the big contenders, I've liked (Once Upon a Time in Hollywood) to loved (The Farewell) to LOVED (The Irishman and Parasite) what I've seen so far. Here's hoping this year will be a stronger lineup than last year (where the only films I really had much enthusiasm for out of the lineup were Roma, The Favourite and A Star is Born).

Best Director
Noah Baumbach, Marriage Story 
Sam Mendes, 1917
Greta Gerwig, Little Women 
Martin Scorsese, The Irishman*
Quentin Tarantino, Once Upon a Time in Hollywood*

I'm not vouching Tarantino as the dead cert for Best Director even if Once Upon a Time in Hollywood becomes the big player in awards season - Director/Picture splits have become increasingly common in recent years. QT has never won this achievement but maybe the Academy will call it a day with rewarding the film and his writing. I could easily see them awarding Scorsese again since while his win for The Departed was very, very deserving there was a touch of 'consolation award' to it, so this could very well be their chance to 'properly' award him. I could easily see Gerwig making it in again for Little Women if she conjures up another Lady Bird-esque universal crowdpleaser, Baumbach seems primed for a 'welcome to the club' nomination, and Mendes a 'welcome back to the club' nomination with his first nom since American Beauty. Don't count out Bong Joon-ho though who may well rocketeer his way to a nomination with Parasite's insanely huge critical acclaim and hype.

Best Actress
Awkwafina, The Farewell*
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women 
Renée Zellwegger, Judy*

I'm constantly second-guessing myself for this lineup, not least because I've left out what could be a potential winner in Charlize Theron for playing Megyn Kelly in Bombshell. That's easily the sort of 'transformative' biopic performance the Academy do love which is exactly what will get Zellwegger in for Judy. Harriet has received relatively lukewarm but not negative reviews which means that Cynthia Erivo still has a shot, though no longer the runaway winner some have been predicting her to be. I actually think Awkwafina is a pretty secured for a nomination for The Farewell provided that A24 mount a strong enough campaign for the film, hopefully I won't jinx it. That leaves Johansson who's been getting raves and whom I could easily see winning for that and other reasons I'll get into later on, the overall success that awaits the film from acting accolades perspective; and Ronan who I believe as long as Little Women performs strongly will earn her fourth nomination. 

Best Actor
Robert De Niro, The Irishman* 
Leonardo DiCaprio, Once Upon a Time in Hollywood*
Adam Driver, Marriage Story
Joaquin Phoenix, Joker*
Jonathan Pryce, The Two Popes 

The big question mark here is Phoenix whose prickly awards season reputation and his film's divisive reception could lead him anywhere from being completely left out of the awards conversation to being nominated to winning the whole thing. I'm not as big on the performance or film as a lot of its advocates nor do I have any vitriol towards it so I'll be interested to see how it all plays out. DiCaprio seems pretty assured of another nomination at this point though I doubt he'll win, De Niro seems like a safe enough bet too and will be deserving, and Driver has been carving out a strong play for the win with critical reception and also the banner year him and Johansson are having. Pryce is my choice for the predicted winner on account of the prestige of the role - playing the Pope of all people -, being the overdue veteran, he's got the reviews, it should all add up but this could easily be a very unpredictable category, with the likes of Cannes winner Antonio Banderas for Pain & Glory*, Taron Egerton for playing Elton John in Rocketman*, and even Eddie Murphy for Dolemite is My Name all having received strong acclaim across the board that could lead to them making their own splashes in the category. 

Best Supporting Actress
Annette Bening, The Report
Laura Dern, Marriage Story
Jennifer Lopez, Hustlers*
Scarlett Johansson, Jojo Rabbit 
Shuzhen Zhou, The Farewell*

The two nominees I have seen - Lopez's dynamic turn in Hustlers and the heartbreaking performance of Zhou in The Farewell - are meaty roles that should make their way in, the former even if her film doesn't make an impact on the awards scene otherwise, but at this point it does feel like the Bening v Dern show with Lopez being a potential upset. I'm pegging Johansson to ride the momentum of her banner year with another nomination in another big potential awards player and like Jamie Foxx back in 2004, using it to springboard her way to a win. Of course I could just as easily see McKenzie, who's gotten her fair share of acclaim for Jojo Rabbit, getting in instead, Florence Pugh who also has a very promising character to work with in Little Women and is also having her own mainstream breakthrough of sorts, and unfortunately Margot Robbie who despite barely getting anything to do in Once Upon a Time in Hollywood might ride along as a coattail nominee (though maybe she'll be in contention for Bombshell instead?) 

Best Supporting Actor
Willem Dafoe, The Lighthouse* 
Tom Hanks, A Beautiful Day in the Neighbourhood*
Anthony Hopkins, The Two Popes 
Al Pacino, The Irishman*
Brad Pitt, Once Upon a Time in Hollywood*

I'm actually fairly confident in Pacino's chances. He's won before, that's true, but like Scorsese that was sort of a 'consolation 'award', and this is a very juicy role with a knockout performance that'll be very much in the voters' wheelhouse. Moreover, his biggest competitor at this point, Pitt, won't be campaigning plus he has less of a typical awards-friendly role, though he does have the benefit of category fraud on his side. Dafoe is in a very niche/weird film but he's made it in two years in a row as the sole nominee of his films, the Academy clearly loves him and The Lighthouse has received raves. I could see Hanks breaking his nearly two decades long drought at the Oscars - though I doubt he'll heavily campaign - , and likewise for Hopkins, as these two veterans have very juicy roles that should form the centrepieces of their respective films' award campaigns. Potential spoilers could come in the form of Sterling K. Brown who's received a fair share of acclaim for Waves, Shia Labouef if he chooses to campaign in supporting for his semi-autobiographical portrayal of his father in Honey Boy, Jamie Foxx who's apparently the highlight of Just Mercy, and finally Christian Bale who I'd actually have put in my predictions if they hadn't been so wishy washy about which category placement, he might be placed in lead now but honestly I think supporting is his best shot. 

And as for my other predictions: -

Best Adapted Screenplay 

A Beautiful Day in the Neighbourhood*
The Irishman* 
Jojo Rabbit
Little Women
The Two Popes  

Best Original Screenplay

Bombshell
The Farewell*
Marriage Story
Once Upon a Time in Hollywood*
Parasite*

Best Cinematography

1917
The Irishman*
Joker*
The Lighthouse*
Once Upon a Time in Hollywood*

Best Costume Design

The Irishman*
Judy*
Little Women 
Once Upon a Time in Hollywood*
Rocketman*

Best Editing

1917
Ford v Ferrari 
The Irishman* 
Marriage Story
Once Upon a Time in Hollywood*

Best Production Design

1917 
The Irishman*
Jojo Rabbit
Once Upon a Time in Hollywood*
Parasite*

Best Sound Editing

1917
Ad Astra*
Avengers: Endgame*
Ford v Ferrari 
Star Wars: The Rise of Skywalker 

Best Sound Mixing

1917
Ad Astra* 
Avengers: Endgame*
Ford v Ferrari
Star Wars: The Rise of Skywalker 

Best Animated Feature

Abominable 
Frozen II
Klaus 
How To Train Your Dragon: The Hidden World* 
Toy Story 4*

Monday 14 October 2019

'The Irishman' Review

Having seen a range of very good (The Personal History of David Copperfield and A Beautiful Day in the Neighbourhood) to great (The Lighthouse and A Hidden Life) films this London Film Festival, last night's live broadcast of The Irishman put it at the top of the lot quite easily (though I didn't manage to catch a lot of my equally anticipated films of the festival). Marty Scorsese's depiction of the life of Frank Sheeran (Robert De Niro) as enforcer for the Bufalino crime family and the part he plays in the darker shades of American history continues his great recent form. with aplomb.

The Good: 

- Martin Scorsese on top form and this may well be his best directed film of this decade so far, which is really saying something as he pulls out every trick in his playbook with a few new stylistic additions coming into play, and they all pay off marvellously. In particular his editing collaboration with Rodrigo Pietro and Thelma Schoonmaker leads to some incredibly tense and funny payoffs with the visuals and pacing, whether it be a darkly comedic visual gag or a clever juxtaposition of scenes between the criminal and the 'proper' life our characters lead.

- One of my issues with The Wolf of Wall Street which I do love otherwise is that the ending does feel like it maybe...glorifies Jordan Belfort a bit (though maybe that's the nature of the story?) The Irishman, like Goodfellas, does no such thing. This is a blunt, resoundingly told story where crime certainly doesn't pay even if it seems like it does.

- All the three principals are phenomenal. Robert De Niro has perhaps the least flashy role as the titular Irishman but is a great lead to follow throughout and in the final act of the film surprisingly heartbreaking, giving his best work since...wow,  Goodfellas really (though I've liked him a lot in Jackie Brown, Stardust and American Hustle). Joe Pesci makes a resounding return with a wonderfully low-key and poignant portrayal of Russell Bufalino, a gangster who's always trying to ensure things go over smoothly. And on the other end Al Pacino is a hoot as Jimmy Hoffa himself, but with his quieter scenes showing the man behind the public image equally powerful as his loud histrionic cussing and rabble-rousing sequences

- The whole cast, at least those who get to do something, are phenomenal. Special mention to Ray Romano's wholesomely sleazy lawyer and Stephen Graham (who has proved with this, Boardwalk Empire and Public Enemies to truly be a master of disappearing into gangster roles) as the hilariously petty yet menacing Anthony Provenzano.

- Some of my favourite production and costume design of the year so far, methinks, never drawing attention to itself, but everything from the sunglasses of each character to their holiday getup says so much about them.

- Soundtrack is great but I mean, what do you expect? It is a Martin Scorsese film.

The Bad:

- Some of the cast - Jesse Plemons and Anna Paquin in particular - are a bit wasted, though they're good in their respective roles, but I certainly wouldn't have minded more time with them. Especially considering how important Paquin's Peggy Sheeran pans out in the end. But with such a long running time of 200 minutes I can see why they perhaps left a bit out on the editing room floor though it's a bit of a shame we don't get a strong outsider's perspective like that of Lorraine Bracco's Karen Hill in Goodfellas.

- That's about it...really. One thing I'll note is that it does befit a Netflix viewing because you will probably need a LOT of toilet breaks in between the 3 + hour runtime.

The Ugly:

- The much discussed VFX ageing for the actors, in particular De Niro, is noticeable in maybe 2 or 3 scenes? But overall I thought it did not detract at all from the experience, just remember the point is not to recreate a 70s De Niro but rather a younger or middle-aged Frank Sheeran.

Conclusion: 

One of my favourite films of the year, possibly my favourite, and once again the master Scorsese does not disappoint. I've loved all of his recent films so really this was not a surprise, but I was surprised by how much I loved it. Watch it when it comes out on Netflix though I will say a cinema experience with it was quite wonderful too.

Friday 11 October 2019

Ranking: Ang Lee

Not going to lie - with that trailer and the reviews, Gemini Man isn't looking like a great prospect for my next cinema trip. But while some of Ang Lee's latest endeavours haven't really tickled my fancy, he's still a fantastic director who's crafted many strong films. Here's my ranking of his films. 
Note: have yet to get around to Pushing Hands and Eat Drink Man Woman

11. Hulk ✭✭
This is an interesting failure of a comic book film which really tries to replicate everything about the medium onto the silver screen. What results is quite the interesting concoction of a considerable amount of cheesiness - including one of the most hilarious death scenes ever put to screen - while taking the whole idea of the Hulk quite seriously, best represented by Eric Bana's overly morose performance. It's a strange blend that never comes together but the least that can be said for it is that it has an original vision and daring, even if the execution is very flawed.

10. Billy Lynn's Long Halftime Walk ✭✭
Tempted to switch between these two for the 'bottom' slot as this was much more of a disappointment than Hulk for me, personally. In what should be a somewhat emotionally potent tale of US soldiers coming back from Iraq and a particularly intense firefight to a publicity tour across the States, we follow a frightfully bland lead character in a story that never quite kicks off despite throwing every cliche in the book at you. It's not a film entirely without merit - there's a couple of interesting supporting turns from the likes of Steve Martin and Chris Tucker, the extra high frame rate while distracting for the most part does lend an interesting visual palette - but on the whole it's a maudlin

9. Taking Woodstock ✭✭ 1/2
Not a particularly bad nor good film, just a very average by the numbers dreamed with some mildly amusing performances. The story of the Woodstock festival does seem like it has potential for more that isn't really realised here, but as it is it's not a terrible type of this sort of film. It could've perhaps used a bit more focus, as it feels like it tries to grapple with too much with the festival, the protagonist dealing with his hiding his homosexuality, and a wide group of perhaps too many characters, in fact one aspect of the film involving the protagonist's Vietnam veteran buddy does seem like it has potential but it's too rushed as well.

8. Ride With the Devil ✭✭✭
An Ang Lee Civil War western sounds like a great proposition for a film. Well, this isn't a great film, but it is a decent one with some genuinely great scenes in the midst of it all. What really needed work here was some editing to relieve the slog of the midsection, and tightening of focus, as the whole idea of following guerrilla soldiers and outsiders to the Civil War is pretty interesting, despite some slightly weak acting by some of the supporting players. The dynamic between German-American immigrant (Tobey Maguire) and the freed slave (Jeffrey Wright) is one element that could've had a film entered around it, but as it is it's a good film with some particularly striking costume design and action set pieces.

7. The Wedding Banquet ✭✭✭✭
A slight but satisfying 'US-Asia-cultural-differences-comedy', this is an entertaining, cute and at times rather affecting film about a gay Taiwanese immigrant who has to hide his relationship from his parents when he undertakes a fake marriage with a Mainland Chinese woman. It's a very well made comedy of manners so to speak with just enough depth to resonate, and even though it ends perhaps a little too neatly, it's still a thoroughly enjoyable flick worth catching.

6. The Ice Storm ✭✭✭✭
70 suburban drama isn't necessarily my favourite genre but this is a pretty solid example of it, with Lee really getting some substance out of the genre by a uniformly strong ensemble - with Kevin Kline,  Sigourney Weaver, Joan Allen, and very young Tobey Maguire, Christina Ricci and Elijah Wood giving terrific performances - and capturing a real sense of community and distance within the two neighbouring families at its centre. It's not the easiest watch, particularly its exploration of sexual frustration and a particularly upsetting ending, but a worthwhile one.

5. Life of Pi ✭✭✭✭ 1/2
Adapting this novel to the silver screen was always going to be a nearly impossible task, and credit must go for just about pulling it off. With a fantastic leading performance by Suraj Sharma who's acting opposite a CGI tiger for the most part, it's a poignant survival tale with stunning technical elements, particularly the cinematography and score. Lee creates a very intimate yet grand scope with his directorial vision in a film that I'll admit I don't love, but I certainly like it a great deal.

4. Brokeback Mountain ✭✭✭✭ 1/2
First and foremost just a phenomenal acting showcase for both Jake Gyllenhaal and the late great Heath Ledger, this romantic Western just hits all the right sweet spots for such an old-fashioned sort of tearjerker. I'll admit that certain segments while the two main characters are apart are a bit less interesting, but any scene with them together is just fantastic as we see two characters grow together and apart in such a heartrending fashion, directed with such nuance by Lee. Bonus points for that ending which is one of the best scenes of both his and Ledger's career.

3. Lust, Caution ✭✭✭✭ 1/2
Quite literally a film of two halves, an espionage thriller and erotic romance all in one, in which you can tell Lee is having a lot of fun playing with the contrasting styles with. The leads Tang Wei and Tony Leung Chiu-wai sizzle with chemistry in every scene, with the latter actually giving something of an underrated performance in his line of work, in this tale of a university student who goes undercover to seduce a Japanese collaborator. Though it's a divisive film I'd confidently refer to it as one of Lee's very best, escalating the tension and emotional stakes with equal aplomb.

2. Sense and Sensibility ✭✭✭✭ 1/2
One of the very best Jane Austen adaptations, lovingly adapted to Oscar-winning by Emma Thompson her in giving her Oscar-nominated turn, and playing the iconic Dashwood sisters to perfection. The whole cast is perfectly cast down to the smallest role, with particular mention to Alan Rickman's incredibly moving portrayal of Colonel Brandon, but what's particularly worthy of note is how Lee manages to in his first entirely English-language production capture the essential British-ness of the source material and time period with such dexterity. It vibes along with such a great sense of time and place while telling its timeless story with such style and is just a fantastic novel adaptation overall.

1. Crouching Tiger, Hidden Dragon ✭✭✭✭✭
Lee's masterpiece well deserving of the hype at the time, and really features everything there is to love about a great Ang Lee film. The technical elements are all great but really great on an altogether different level with regards to the regal score, the sumptuous set design and costumes, the great cinematography and action choreography. The story is simple and straightforward but carried so well by the vividly realised characters and performances, and whether it's leaping through the trees, skulking across the palace grounds, a desert flashback or a passionate declaration of love, Lee creates a martial arts extravaganza like no other.