@THR: #Emmy contender talk includes Alexander Skarsgård for “Best Supporting Actor in a limited series/TV movie”
Two newcomers (Alexander Skarsgard and Ron Cephas Jones) are up for noms with three Emmy regulars (Baldwin, Elba and Stanley Tucci).
Skarsgard’s mentally and physically abusive husband stunned audiences and wowed critics. His vivid and brutal scenes with screen wife Nicole Kidman have garnered the kind of attention that could earn him a nom in the supporting actor in a limited series/TV movie race.
The Caine Mutiny (1954).
When a U.S. Naval captain shows signs of mental instability that jeopardizes the ship, the first officer relieves him of command and faces court martial for mutiny.
This is a bit of a different take on the naval war film which, to be honest, is a welcome change. Otherwise the film is just okay though. It follows a pretty obvious narrative, and rarely challenges it’s protagonist or supporting cast beyond the expected. The performances are solid, but not life-changing, as is the direction, cinematography and design. It’s just an okay film. 7/10.
First, it takes a classic movie that is favorite of angry old men - I mean, the original had Steve McQueen and Charles Bronson - and puts our creepy multiethnic sjw fingers all over the reboot.
Native American characters being played by Native Americans.
Asian characters being played by Asians.
A Mexican character being played by an actual Mexican. ( Manuel Garcia-Rulfo should get half a dozen pilot offers from the networks based on this one movie alone.)
Now Martin Sensmeier is Tlingit, not Cherokee, but it’s a huge step up from Johnny Depp. And
Byung-hun Lee is Korean, not Chinese, but at least he’s not a white guy with a tan. (See edit at end of post.)
It’s so much more historically accurate to have a black, an asian, an hispanic, a native american, and three white guys than a pale white western. And they aren’t perfect. There is lots of casual racism, which is accurate for the time. They’re alcoholic. They insult each other in a variety of languages. They have PTSD. They’re assholes to each other, but they have each others’ backs too.
Also, the movie starts by a beautiful man being killed to fuel the female character’s revenge arc. Yay for womanpain!
Finally, it’s an amazing movie. Really. I love westerns, but this is just a great movie. Everybody puts in amazing performances. The cinematography is beautiful. It would get Oscar noms for the acting if it wasn’t a genre movie. Hell, Denzel might get one. The Academy loves Denzel. D’Onofrio might pull a supporting actor nom, too. The problem the other actors face is that there are so many of them that it prevents any of them from having enough screen time to put together a convincing nomination reel.
Go see it. You won’t regret it.
Editing the original post to say:
I got a reply from @horrorhouses that said:
Except billy rocks wasn’t Chinese and nowhere in the film does billy say he is? Fuqua even calls billy Korean in an interview.
So, I would like to apologize for getting that wrong. I can identify three possible sources of the mistake. 1) The characters might have referred to him as Chinese in the movie and I didn’t realize they were being racist. I’d have to go watch the movie again to verify this because I don’t really know. 2) The history I have been taught has only included Chinese immigrants coming over to the USA in that era, which is also racist, and I need to learn more. 3) My own assumption was that he was Chinese and that’s racist of me. Also not realizing the characters were racist in this regard (if that happened) when I recognized the racism in so many other senses, is also racist. So regardless of how it happened, I apologize for being racist. I apologize for the offense I caused. That it wasn’t intentional is no excuse. It was still racist. And I promise to try to do better in the future. I really am sorry for the offensive statement.
Congratulations to The Imitation Game on its 8 Academy Award Nominations including Best Picture, Best Actor, Best Supporting Actress, Best Director, Best Adapted Screenplay, Best Original Score, Best Film Editing, and Best Production Design! Get tickets.
Emotions are ignited amongst the complacent townsfolk when a handsome drifter arrives in a small Kansas community on the morning of the Labour Day picnic.
This is an interesting film that plays on a lot of romantic tropes of the time and tries to do something a bit fresher with them. I particularly enjoyed the relationship between the mother and her two daughters, as well as the relationship between the sisters, and found the film generally got a little haywire with the played up romance of the (aging) drifter and the teen beauty queen which was……weird. The performances were good though, and there was some genuinely lovely work from the DOP. 7/10.
Years after her aunt was murdered in her home, a young woman moves back into the house with her new husband. However, he has a secret that he will do anything to protect, even if it means driving his wife insane.
One of the best finds in doing this project has been discovering Charles Boyer. He’s charming and creepy, kind and malicious - his range as an actor is genuinely a pleasure to encounter and an honest rarity. He’s so foreboding in this, but keeps his edge of charm which really props Ingrid Bergman’s equally wonderful performance as a woman losing her grip. It’s a terrific film. 8.5/10.
Barton Fink (1991). A renowned New York playwright is enticed to California to write for the movies and discovers the hellish truth of Hollywood.
This film took me totally by surprise. I mean, the DVD case made it look so simple! The reality of it is something in the vein of Twin Peaks, a tight, compelling character study told through the blurred lines of reality and fantasy. It’s beautifully made too, dense with symbolism and recurring images, and grounded by brilliant performances from the cast. It’s a great film, but then, a lot of the films at the 64th Oscars were great, so I’m not entirely surprised it didn’t make a clean sweep, even if it would have any other year. 8.5/10.
Incredible. Ellen, I love you. To my fellow nominees, I’m so proud to share this journey with you. I’m in awe and have so much respect for you all. To the Academy, thank you.
In 1971, Bossier City, Louisiana, there was a teenage girl, who was pregnant with her second child. She was a high school dropout and a single mom, but somehow she managed to make a better life for herself and her children. She encouraged her kids to be creative, to work hard, and to do something special. That girl is my mother, and she’s here tonight. And I just want to say, I love you. Thank you mom for teaching me how to dream.
To my brother Shannon, the best big brother in the world, thank you so much for sharing this insane and amazing adventure that is 30 Seconds to Mars and for being my best friend. I love you. Thank you.
To all the dreamers out there around the world watching this tonight, in places like the Ukraine and Venezuela, I want to say we are here. And as you struggle to make your dreams happen, to live the impossible, we’re thinking of you tonight. And this is incredibly special as well because there’s so many people that helped me get here and I just want to say thank you…
This is for the 36 million people who have lost the battle to AIDS and to those of you out there who have ever felt injustice because of who you are or who you love. Tonight I stand here in front of the world with you and for you. Thank you and good night.
—Jared Leto, Oscar Winner for Best Supporting Actor