Ronald Colman in The Prisoner of Zenda
Robert Donat in Knight Without Armour
Jean Gabin in Pepe Le Moko
Henry Fonda in You Only Live Once
Edward G. Robinson in Kid Galahad
Sunday, 26 February 2017
Friday, 24 February 2017
Friday, 17 February 2017
Best Scene: Ichizo pleads for someone to join him.
Best Scene: A final hymn.
Best Scene: Would that it were so simple.
Best Scene: Caleb wakes up.
Best Scene: Hector tells about his son.
Best Scene: The interpreter meets Rodrigues.
Best Scene: William's prayer at night.
Best Scene: Dima says goodbye to Perry.
Best Scene: Kichijiro's first Confession.
Best Scene: Ferreira meets Rodrigues.
Best Scene: A story of Concubines.
Best Scene: The Boar.
This is not something I mentioned in my review but will I now. Foster's realization of Tanner went even further for me as he so reminded of my own older brother with whom I share a similair relationship to that Toby shares with Tanner, though far less extreme and in different circumstances of course. The little nuances and details of such relationship were there for me, and it connected with me on an even deeper level because of that. I simply cannot deny something like that.
Best Scene: The brothers say their goodbyes.
- Ben Foster in Hell or High Water
- Sam Neill in Hunt for the Wilderpeople
- Issey Ogata in Silence
- Liam Neeson in Silence
- Yosuke Kubozuka in Silence
- Mahershala Ali in Moonlight
- Stellan Skårsgard in Our Kind of Traitor
- Ralph Ineson in The Witch
- Tadanobu Asano in Silence
- Damian Lewis in Our Kind of Traitor
- Hugo Weaving in Hacksaw Ridge
- Woody Harrelson in The Edge of Seventeen
- Harvey Scrimshaw in The Witch
- Alden Ehrenreich in Hail Caesar!
- Christopher Lloyd in I Am Not A Serial Killer
- Shinya Tsukamoto in Silence
- Yoshi Oida in Silence
- Gil Birmingham in Hell or High Water
- Sharlto Copley in Hardcore Henry
- Jack Reynor in Sing Street
- Macon Blair in Green Room
- Tracy Letts in Christine
- Ha Jung-woo in The Handmaiden
- Nick Offerman in The Founder
- John Carroll Lynch in The Founder
- Toby Kebbell in A Monster Calls
- Jun Kunimura in The Wailing
- Jared Harris in Certain Women
- Alan Rickman in Eye in the Sky
- Donnie Yen in Rogue One
- Tom Bennett in Love and Friendship
- Adam Driver in Silence
- John Goodman in 10 Cloverfield Lane
- Andre Holland in Moonlight
- Ma Dong-Seok in Train to Busan
- Jovan Adepo in Fences
- Kurt Russell in Deepwater Horizon
- Ralph Fiennes in Hail Caesar!
- Patrick Stewart in Green Room
- Kevin Costner in Hidden Figures
- Aaron Paul in Eye in the Sky
- Mykelti Williamson in Fences
- Sebastian Stan in Captain America Civil War
- Alan Tudyk in Rogue One
- Jharrel Jerome in Moonlight
- Tom Wilkinson in Denial
- John Gallagher Jr. in 10 Cloverfield Lane
- Lucas Dawson in The Witch
- Stephen Henderson in Fences
- Barkhad Abdi in Eye in the Sky
- Bradley Whitford in Other People
- Daniel Bruhl in Captain America Civil War
- Mads Mikkelsen in Rogue One
- Luke Bracey in Hacksaw Ridge
- Evan Peters in X-Men Apocalypse
- Byung-hun Lee in The Age of Shadows
- Tom Holland in Captain America Civil War
- Alessandro Nivola in The Neon Demon
- Kevin Spacey in Elvis & Nixon
- George Clooney in Hail Caesar!
- Liam Neeson in A Monster Calls
- Cho Jin-woong in The Handmaiden
- Barry Shabaka Henley in Paterson
- Billy Crudup in Jackie
- John Leguizamo in The Infiltrator
- Frank Langella in Captain Fantastic
- Peter Sarsgaard in Jackie
- Keegan Michael-Key in Don't Think Twice
- Ethan Hawke in The Magnificent Seven
- Chadwick Boseman in Captain America Civil War
- John Hurt in Jackie
- Billy Crudup in 20th Century Women
- Max Baker in Hail Caesar!
- Michael Fassbender in X-Men Apocalypse
- William Jackson Harper in Paterson
- Bill Murray in The Jungle Book
- Russell Hornsby in Fences
- Blake Jenner in The Edge of Seventeen
- Rene Auberjonois in Certain Women
- James McAvoy in X-Men Apocalypse
- Anthony Mackie in Captain America Civil War
- Adam Driver in Midnight Special
- Paul Rudd in Captain America Civil War
- Ralph Fiennes in Kubo and the Two Strings
- Riz Ahmed in Rogue One
- Byung-hun Lee in The Magnificent Seven
- Masatoshi Nagase in Paterson
- Mike Birbiglia in Don't Think Twice
- Channing Tatum in Hail Caesar!
- Idris Elba in The Jungle Book
- Hayden Szeto in The Edge of Seventeen
- Mads Mikkelsen in Dr. Strange
- Lucas Hedges in Manchester by the Sea
- David Wenham in Lion
- Jiang Wen in Rogue One
- Brendan Gleeson in Live By Night
- Toby Jones in The Man Who Knew Infinity
- Sam Worthington in Hacksaw Ridge
- TJ Miller in Deadpool
- Jimmy O Yang in Patriots Day
- Charles Berling in Elle
- Michael Shannon in Nocturnal Animals
- Simon Pegg in Star Trek Beyond
- Toby Jones in Anthropoid
- Colin Farrell in Fantastic Beasts and Where to Find Them
- Oscar Kightley in Hunt for the Wilderpeople
- Aaron Eckhart in Bleed for This
- Colin Hanks in Elvis & Nixon
- Rhys Darby in Hunt for the Wilderpeople
- Jeremy Renner in Captain America Civil War
- JK Simmons in Kung Fu Panda 3
- Stefan Kapicic in Deadpool
- Ben Kingsley in The Jungle Book
- Michael Sheen in Passengers
- Hwang Jung-min in The Wailing
- Joel Edgerton in Midnight Special
- Michael Parks in Blood Father
- Shingo Tsurumi in The Age of Shadows
- Aidan Gillen in Sing Street
- Corey Stoll in Cafe Society
- Jaden Piner in Moonlight
- Ben Mendelsohn in Rogue One
- Robert Picardo in Hail Caesar!
- Joe Cole in Green Room
- Kyle Chandler in Manchester by The Sea
- Alex Wolff in Patriots Day
- Themo Melikidze in Patriots Day
- Benedict Wong in Dr. Strange
- Callum Turner in Green Room
- Ed Skrein in Deadpool
- Keanu Reeves in The Neon Demon
- Timothy Spall in Denial
- Frank Grillo in Captain America Civil War
- Bryan Cranston in Kung Fu Panda 3
- Matthew Goode in Allied
- Chiwetel Ejiofor in Dr. Strange
- Mahershala Ali in Hidden Figures
- Bill Camp in Midnight Special
- Mahershala Ali in Free State of Jones
- Jared Harris in Allied
- Laurence Fishburne in Batman v Superman: Dawn of Justice
- Ciaran Hinds in Bleed For This
- Jemaine Clement in Moana
- Kevin Bacon in Patriots Day
- Nicolas Cage in Snowden
- John Goodman Patriots Day
- Ben Foster in The Finest Hours
- Babak Karimi in The Salesman
- Laurence Fishburne in Passengers
- Jonas Bloquet in Elle
- Ciaran Hinds in Silence
- JK Simmons in Patriots Day
- Woody Harrelson in Triple 9
- William H. Macy in Blood Father
- Jeremy Irons in Batman v Superman: Dawn of Justice
- Kodi Smit-McPhee in X-Men Apocalypse
- Ethan Suplee in Deepwater Horizon
- Jay Hernandez in Suicide Squad
- Karl Urban in Star Trek Beyond
- Tye Sheridan in X-Men Apocalypse
- Clancy Brown in Hail Caesar!
- George MacKay in Captain Fantastic
- Rhys Ifans in Snowden
- Aaron Eckhart in Sully
- Chiwetel Ejiofor in Triple 9
- Laurent Lafitte in Elle
- Zachary Quinto in Star Trek Beyond
- Harry Lloyd in Anthropoid
- August Diehl in Allied
- David Costabile in 13 Hours
- Anthony Mackie in Triple 9
- Ken Stott in Cafe Society
- Simon McBurney in Allied
- Bradley Cooper in War Dogs
- Karl Geary in I Am Not a Serial Killer
- Graham McTavish in The Finest Hours
- Norman Reedus in Triple 9
- Chris Messina in Live By Night
- Jeremy Renner in Arrival
- Chris Cooper in Demolition
- Keanu Reeves in Keanu
- Edgar Ramirez in Gold
- Mark Strong in Miss Sloane
- Stephen Fry in Love and Friendship
- Vince Vaughn in Hacksaw Ridge
- JK Simmons in The Accountant
- Idris Elba in Zootopia
- Jai Courtney in Suicide Squad
- Kevin Pollack in War Dogs
- Christopher Lambert in Hail Caesar!
- Michael Shannon in Loving
- Sam Waterston in Miss Sloane
- Steve Carrell in Cafe Society
- Sam Shepard in Midnight Special
- Anton Lesser in Allied
- Aaron Taylor-Johnson in Nocturnal Animals
- Jon Bernthal in The Accountant
- JK Simmons in Zootopia
- Clifton Collins Jr. in Triple 9
- Method Man in Keanu
- Anton Yelchin in Star Trek Beyond
- Choi Woo-shik in Train to Busan
- Jason Mitchell in Keanu
- Manuel Garcia-Rulfo in The Magnificent Seven
- Andrew Scott in Denial
- Forest Whittaker in Arrival
- Michael C. Hall in Christine
- Don Wycherley in Sing Street
- Eric Bana in The Finest Hours
- Chris Gethard in Don't Think Twice
- Matthew McConaughey in Kubo and the Two Strings
- Kim Eui-sung in Train to Busan
- Scoot McNairy in Batman v Superman: Dawn of Justice
- Martin Sensemeier in The Magnificent Seven
- Johnny Depp in Yoga Hosers
- Christopher Walken in The Jungle Book
- Tracy Letts in Indignation
- Chris Hemsworth in Ghostbusters
- Keith David in The Nice Guys
- Idris Elba in Star Trek Beyond
- John Lithgow in The Accountant
- Zach Woods in Other People
- Dylan Minnette in Don't Breathe
- Andy Garcia in Ghostbusters
- Peyman Moaadi in 13 Hours
- Justin Long in Yoga Hosers
- Matt Bomer in The Nice Guys
- Michael Stuhlbarg in Arrival
- Robert Glenister in Live By Night
- Michael Sheen in Nocturnal Animals
- Will Smith in Suicide Squad
- Oscar Isaac in X-Men Apocalypse
- Beau Knapp in The Nice Guys
- Luke Evans in Girl on the Train
- Michael Stuhlbarg in Miss Sloane
- Chris Cooper in Live By Night
- Ezra Miller in Fantastic Beasts and Where to Find Them
- Daniel Zovatto in Don't Breath
- John Malkovich in Deepwater Horizon
- Nick Kroll in Loving
- Aaron Paul in Triple 9
- Jim Parsons in Hidden Figures
- Vincent D'Onofrio in The Magnificent Seven
- Diego Luna in Blood Father
- Armie Hammer in Nocturnal Animals
- Forest Whittaker in Rogue One
- Johnny Depp in Fantastic Beasts and Where to Find Them
- Jacob Latimore in Collateral Beauty
- Justin Theroux in Girl on the Train
- Bill Murray in Ghostbusters
- Judah Lewis in Demolition
- Peter Sarsgaard in The Magnificent Seven
- Ralph Garman in Yoga Hosers
- Joel Kinnaman in Suicide Squad
- Tyler Posey in Yoga Hosers
- Jesse Eisenberg in Batman v Superman: Dawn of Justice
- Matthew Maher in Live By Night
- Simon Helberg in Florence Foster Jenkins
- Jared Leto in Suicide Squad
- Edward Norton in Collateral Beauty
- Austin Butler in Yoga Hosers
- Neil Casey in Ghostbusters
- Michael Pena in Collateral Beauty
Ralph Ineson did not receive an Oscar nomination for portraying William and Harvey Scrimshaw did not receive an Oscar nomination for portraying Caleb in The Witch.
The Witch is an effective atmospheric horror film, though I think they might confirm the supernatural far too early and one character decision later on makes no sense, about a man who decides to go off into the woods alone with his family after breaking off from his colony in early 1600's New England.
Ralph Ineson, the man with the amazing voice, plays William the patriarch of the family. The film opens as he is expelled from his colony for apparently having too puritanical view for even the puritans. He then takes his family off into the woods where they attempt to make a life for themselves secluded from the rest of the world. The Witch attempts to recreate period authentic dialogue which is a risky move to take this approach given it's kind of requiring a sort of Shakespearean performance but without the same well worn material to practice with. This approach though is successful in large part do to all the cast members effectively having a grasp on the dialogue. Not one of the actors struggles with it for more than a few words, and they make it sound wholly natural. Ineson though deserves special mention though for perhaps going full Shakespearean with how naturally the lines seem to flow from his mouth, though again it probably helps that his voice makes them all the more compelling. Ineson, and really the entire cast, Scrimshaw included, manage to merely seem of the period which helps in creating that creepy authenticity within the film.
We are introduced to the family in a rather cold way, and at times in the film it often feels we are given more of an uncomfortable association than an actual empathy with the group. We are kept at a purposeful distance from them. Ineson is effective early on in the film by depicting the sort of presence needed for such a man who is willing to risk the lives of his family for the sake of his skewed principles. Ineson though has this grandeur in himself in these scenes, an innate confidence of a man who is fervent in his beliefs. There is an unquestioned conviction in his eyes and his voice as he states he'd be rid of the colony. Scrimshaw in the early scenes has few lines though and depicts well just a scared boy in a difficult situation, creating the sense of confusion within the general fear of being forced to embark on their journey off into the bleak wilderness. Again a strong contrast against Ineson's portrayal of William which is filled with the pride of a zealot. There's notable scene early on as William leads his family in pray over their new land, and there feels an indulgence in his prayer as Ineson reflects more of praying for a glory to his "accomplishment" than to God.
Their attempt at independence goes very poorly very quickly as their crops fail to thrive, and the paranoia emerges when their youngest infant baby mysteriously disappears, through we as the audience know it has been abducted and killed by a witch. Scrimshaw's performance works very well in reflecting the simplicity of a boy's uncertainty. He presents Caleb's struggle well by providing the confused state that is only made more severe by his growing experiences of lust in addition to the uncertainty of their new life. Scrimshaw's work is very affecting by providing this tragic faulty attempt at bravery within this state. Now one slightly comforting element of sorts is his relationship with his older sister Thomasin (Anya Taylor-Joy), although even this is problematic due those random thoughts of lust. Taylor-Joy and Scrimshaw an effective chemistry though at times where there appears to be an honest love between a brother and sister however brief, and even hidden beneath their other concerns. Scrimshaw and Taylor-Joy though still convey this connection, and even allusion to better times in the brief moments they speak without concern for their lives or their souls.
Ineson defines his performance by slowly becoming more sympathetic by essentially bringing William down to earth as the family's situation worsens. Ineson loses that passion of the zealot and trades it for a sad desperation. Ineson so well internalizes William's realization that he has made a terrible mistake for his family, and reveals just the man underneath the zealot. Ineson ends up showing particularly honest frustrations in the man as he tries to make peace between the ever growing divide between his family. I love that Ineson actually does not really stylize these moments but rather brings some honest humanity in portraying such realistic frustrations in William as he attempts calm the intensity within his family. The intensity only grows though when Caleb also disappears into the woods when he meets a witch in the forest. The scene is potentially ridiculous but the combination of horror and fascination portrayed by Scrimshaw grounds it. Eventually Caleb is found though he appears to be in a catatonic state. He eventually comes to which is a phenomenal piece of acting by Scrimshaw. There feels no performance, which makes it absolutely terrifying, as he first convulses to release an apple from his throat, then breaks into a hysterical prayer. Scrimshaw is absolutely haunting in bringing such a horrifying combination of this terrible glee, and terror as Caleb seems to give his own last rites before his sudden death.
William continues on as he attempts to still to bring them together even as his children and wife are at each other throats by accusing each other of witchcraft. Ineson continues to be so strong in the way he actually just keeps bringing William further from that pedestal he had initially placed himself upon. That pride is completely gone, and even though he's still far from a perfect man Ineson does reveal a genuine concern for his family. Ineson is particularly moving in the scene where William reveals he took and stole his wife's father's silver cup. A point of division between her and Thomasin because she thought Thomasin had taken it. Ineson is great in the scene as he so meekly reveals the truth and he shows William finally looking upon his own sin. There is the unfortunate scene where William locks all his remaining children in with the goat that they all believe may be demonic. It makes no sense not only because why would he put them in there, but it also isn't quite fitting to where Ineson has brought William to at this point in his arc. Frankly Ineson presents just a more reasonable man at this point, again this a case of not fulfilling the plot point, but Ineson's approach feels like the far better approach for the character. One of the most powerful scenes in the film is when we see Willliam praying for his family, this is because Ineson's delivery so different from the first prayer we saw. This one is without that zealotry, rather just a man who is actually pleading to God for help. Both Ralph Ineson and Harvey Scrimshaw give very compelling performances by crafting remarkably honest depictions of these two people. They do not excuse their work by genre or by the supernatural element. They give real people going through unreal events.
Ralph Ineson, the man with the amazing voice, plays William the patriarch of the family. The film opens as he is expelled from his colony for apparently having too puritanical view for even the puritans. He then takes his family off into the woods where they attempt to make a life for themselves secluded from the rest of the world. The Witch attempts to recreate period authentic dialogue which is a risky move to take this approach given it's kind of requiring a sort of Shakespearean performance but without the same well worn material to practice with. This approach though is successful in large part do to all the cast members effectively having a grasp on the dialogue. Not one of the actors struggles with it for more than a few words, and they make it sound wholly natural. Ineson though deserves special mention though for perhaps going full Shakespearean with how naturally the lines seem to flow from his mouth, though again it probably helps that his voice makes them all the more compelling. Ineson, and really the entire cast, Scrimshaw included, manage to merely seem of the period which helps in creating that creepy authenticity within the film.
Their attempt at independence goes very poorly very quickly as their crops fail to thrive, and the paranoia emerges when their youngest infant baby mysteriously disappears, through we as the audience know it has been abducted and killed by a witch. Scrimshaw's performance works very well in reflecting the simplicity of a boy's uncertainty. He presents Caleb's struggle well by providing the confused state that is only made more severe by his growing experiences of lust in addition to the uncertainty of their new life. Scrimshaw's work is very affecting by providing this tragic faulty attempt at bravery within this state. Now one slightly comforting element of sorts is his relationship with his older sister Thomasin (Anya Taylor-Joy), although even this is problematic due those random thoughts of lust. Taylor-Joy and Scrimshaw an effective chemistry though at times where there appears to be an honest love between a brother and sister however brief, and even hidden beneath their other concerns. Scrimshaw and Taylor-Joy though still convey this connection, and even allusion to better times in the brief moments they speak without concern for their lives or their souls.
Ineson defines his performance by slowly becoming more sympathetic by essentially bringing William down to earth as the family's situation worsens. Ineson loses that passion of the zealot and trades it for a sad desperation. Ineson so well internalizes William's realization that he has made a terrible mistake for his family, and reveals just the man underneath the zealot. Ineson ends up showing particularly honest frustrations in the man as he tries to make peace between the ever growing divide between his family. I love that Ineson actually does not really stylize these moments but rather brings some honest humanity in portraying such realistic frustrations in William as he attempts calm the intensity within his family. The intensity only grows though when Caleb also disappears into the woods when he meets a witch in the forest. The scene is potentially ridiculous but the combination of horror and fascination portrayed by Scrimshaw grounds it. Eventually Caleb is found though he appears to be in a catatonic state. He eventually comes to which is a phenomenal piece of acting by Scrimshaw. There feels no performance, which makes it absolutely terrifying, as he first convulses to release an apple from his throat, then breaks into a hysterical prayer. Scrimshaw is absolutely haunting in bringing such a horrifying combination of this terrible glee, and terror as Caleb seems to give his own last rites before his sudden death.
William continues on as he attempts to still to bring them together even as his children and wife are at each other throats by accusing each other of witchcraft. Ineson continues to be so strong in the way he actually just keeps bringing William further from that pedestal he had initially placed himself upon. That pride is completely gone, and even though he's still far from a perfect man Ineson does reveal a genuine concern for his family. Ineson is particularly moving in the scene where William reveals he took and stole his wife's father's silver cup. A point of division between her and Thomasin because she thought Thomasin had taken it. Ineson is great in the scene as he so meekly reveals the truth and he shows William finally looking upon his own sin. There is the unfortunate scene where William locks all his remaining children in with the goat that they all believe may be demonic. It makes no sense not only because why would he put them in there, but it also isn't quite fitting to where Ineson has brought William to at this point in his arc. Frankly Ineson presents just a more reasonable man at this point, again this a case of not fulfilling the plot point, but Ineson's approach feels like the far better approach for the character. One of the most powerful scenes in the film is when we see Willliam praying for his family, this is because Ineson's delivery so different from the first prayer we saw. This one is without that zealotry, rather just a man who is actually pleading to God for help. Both Ralph Ineson and Harvey Scrimshaw give very compelling performances by crafting remarkably honest depictions of these two people. They do not excuse their work by genre or by the supernatural element. They give real people going through unreal events.
Thursday, 16 February 2017
Sam Neill did not receive an Oscar nomination for portraying Hector "Uncle Hec" in Hunt for the Wilderpeople.
Hunt for the Wilderpeople is a very enjoyable film about a juvenile delinquent and his "foster Uncle" hiding in the bush away from a particularly driven child protection service.
Sam Neill despite leading one of the biggest films of all time, Jurassic Park, kind of faded into a certain obscurity going so far as to appear as the doctor in The Escape Plan for some reason. Neill perhaps has gotten his most prominent feature film role in sometime, although it is not saying enough, this film should be more recognized if you ask me, but nevertheless still notable. Anyways it seems Neill just merely needs to take roles where his character goes through an arc involving paternal instincts. So there must be a beginning for that, and the film opens with our troubled youth Ricky Baker (Julian Dennison) being brought to his new home with his "foster aunt" Bella ready to take care of him, who is married to Neill's Hec. Hec though is not overly interested in the boy, with the initiative of taking Ricky in clearly belonging to his wife. Neill only has a scant few lines in the first twenty minutes of the film, but that in no way hinders Neill's performance. Neill is a great irascible old man in the early scenes as he mostly keeps to himself, as this old sort more comfortable hunting than interacting with someone. Neill exudes such a well placed disdain early on for essentially this initial nuisance of having Ricky around.
After a bit though Ricky becomes more comfortable with his new home and Hec seems to become a bit comfortable with Ricky. Neill's very good though in showing this as basically in reflection to his wife's appreciation of the boy. He hasn't completely taken him into his heart, but Neill shows just the right hints of a potential warmth beneath his crusty old surface. Tragedy though soon strikes though as Bella suddenly dies and even though it is not focused upon for too long Neill actually is very moving in portraying first the more overt anguish at discovering her death then later just wearing the grief within Hec. This is basically all left to Neill and he's really quite effective in internalizing the death within his work. I particularly love his completely humorless reaction towards Ricky, when he asks if he can't get a replacement wife, as Neill shows so well that it is no laughing matter to Hec. He truly has lost someone very dear to him. The film then takes its turn to the main story as Ricky, rather than returning to the child services, decides to run away into the forest, with Hec following shortly afterwards to find him.
This is when Neill's performance really comes into play with the film, and where frankly the brilliance of it becomes evident. Sam Neill essentially has to do it all in that the film needs a bridge between its various aspects, and Neill is that bridge. The film is a comedy, a very funny one at that, and much of the humor is derived from the interactions between Ricky and Hec. Dennison gives a somewhat broad performance as a wannabe gangsta type of kid, and Neill plays so well off of that set up. Neill himself never seems to unintentionally go for laughs, he technically speaking plays Hec in a very realistic fashion, but that's what makes his performance so great. He's a downright perfect as a straight man for Dennison, as his often stone cold reactions to some of his more nonsensical statements are quite hilarious. Neill knows exactly how to amplify anything that Dennison does by so honestly portraying Hec's extremely amusing befuddlement at the boys personal style. Neill is never one note in this and he's so good at keeping his timing right on point throughout the film making just about every comic setup he's given work absolutely without question.
That is not to say that Neill makes Hec some static character, despite needing to act as the straight man. One thing that is so remarkable about Neill's portrayal of Hec is the way he actually is able to build up to a couple of straight jokes himself, and he completely earns them. Neill delivery of these are flawless because he makes these moments still feel so natural to the character of Hec, he makes so it just would seem like something he would say. I have a particularly affection for his incredibly funny switch of first so dramatically saying "now we run", to his straight forward "no reason to run" after instantly facing exhaustion at the prospect. This is such entertaining performance from Neill and againn he never seems to be trying to be entertaining. That's what makes it so special. In that he works with Dennison but breaks off only at the right time and in a way that seems right for Hec. Neill never sacrifices the character for a joke, but he's consistently amusing throughout the film. Neill gives a great example of what can be done when an actor has such a grasp of his material, and crafts such an effective realization of his character.
Of course this isn't just an entertaining performance, again Neill acts as this very important bridge to making the film worth more than quite a few laughs, although that's already a worth a lot if you ask me. Neill though goes further in realizing that connection between Hec and Ricky. Early on in their adventure together Ricky actually causes Hec to lash out him in anger, when Ricky presses Hec over his inability to read. Neill doesn't hold back in making the anger pretty intense actually and again only fitting to how Hec should be. Neill though is just as believable as he makes Hec's meek little apology over his outburst soon afterwards so genuine. Neill does so much in his reactions throughout the film as he never wastes a moment to convey Hec's growing concern for the boy. Neill never rushes a moment in this absolutely taking each step as he should, and again so much of it is in his silence. Neill makes a particularly powerful moment in Hec's earnest concern as he hears about the death of one of Ricky's friends who was also in the foster home system. Neill says it all without having to say a single thing. Neill's truly impressive the way he realizes the more dramatic moments with such ease throughout the film, such as when he loses his loyal dog in a boar attack. Neill instantly makes the moment genuinely heartbreaking as he shows Hec's subtle sadness over the loss with such poignancy. It's hard boiled in its simplicity, yet there is never doubt that Hec is torn up over what he has to do. There is no transition that Neill fails to realize throughout the film. He always keeps the film grounded in the right way. When basically the moment comes for grumpy old Hec to reveal his love for the boy, again he doesn't have to say anything. Neill makes you feel it instead and it is incredibly heartwarming because of how well he does it. It wasn't from a single moment but capitalization on everything that Neill did previously in the film. There is never a conflict with Neill as this is a performance because he merely is Uncle Hec, and everything he does it exactly what Uncle Hec should do. Everything in his portrayal feels natural which is quite the achievement given the technical tonal movement in the film. Neill makes that tone work. Neill utilizes every second of his screen time to give us such a heartfelt yet incredibly amusing turn, I love this performance.
Sam Neill despite leading one of the biggest films of all time, Jurassic Park, kind of faded into a certain obscurity going so far as to appear as the doctor in The Escape Plan for some reason. Neill perhaps has gotten his most prominent feature film role in sometime, although it is not saying enough, this film should be more recognized if you ask me, but nevertheless still notable. Anyways it seems Neill just merely needs to take roles where his character goes through an arc involving paternal instincts. So there must be a beginning for that, and the film opens with our troubled youth Ricky Baker (Julian Dennison) being brought to his new home with his "foster aunt" Bella ready to take care of him, who is married to Neill's Hec. Hec though is not overly interested in the boy, with the initiative of taking Ricky in clearly belonging to his wife. Neill only has a scant few lines in the first twenty minutes of the film, but that in no way hinders Neill's performance. Neill is a great irascible old man in the early scenes as he mostly keeps to himself, as this old sort more comfortable hunting than interacting with someone. Neill exudes such a well placed disdain early on for essentially this initial nuisance of having Ricky around.
After a bit though Ricky becomes more comfortable with his new home and Hec seems to become a bit comfortable with Ricky. Neill's very good though in showing this as basically in reflection to his wife's appreciation of the boy. He hasn't completely taken him into his heart, but Neill shows just the right hints of a potential warmth beneath his crusty old surface. Tragedy though soon strikes though as Bella suddenly dies and even though it is not focused upon for too long Neill actually is very moving in portraying first the more overt anguish at discovering her death then later just wearing the grief within Hec. This is basically all left to Neill and he's really quite effective in internalizing the death within his work. I particularly love his completely humorless reaction towards Ricky, when he asks if he can't get a replacement wife, as Neill shows so well that it is no laughing matter to Hec. He truly has lost someone very dear to him. The film then takes its turn to the main story as Ricky, rather than returning to the child services, decides to run away into the forest, with Hec following shortly afterwards to find him.
This is when Neill's performance really comes into play with the film, and where frankly the brilliance of it becomes evident. Sam Neill essentially has to do it all in that the film needs a bridge between its various aspects, and Neill is that bridge. The film is a comedy, a very funny one at that, and much of the humor is derived from the interactions between Ricky and Hec. Dennison gives a somewhat broad performance as a wannabe gangsta type of kid, and Neill plays so well off of that set up. Neill himself never seems to unintentionally go for laughs, he technically speaking plays Hec in a very realistic fashion, but that's what makes his performance so great. He's a downright perfect as a straight man for Dennison, as his often stone cold reactions to some of his more nonsensical statements are quite hilarious. Neill knows exactly how to amplify anything that Dennison does by so honestly portraying Hec's extremely amusing befuddlement at the boys personal style. Neill is never one note in this and he's so good at keeping his timing right on point throughout the film making just about every comic setup he's given work absolutely without question.
That is not to say that Neill makes Hec some static character, despite needing to act as the straight man. One thing that is so remarkable about Neill's portrayal of Hec is the way he actually is able to build up to a couple of straight jokes himself, and he completely earns them. Neill delivery of these are flawless because he makes these moments still feel so natural to the character of Hec, he makes so it just would seem like something he would say. I have a particularly affection for his incredibly funny switch of first so dramatically saying "now we run", to his straight forward "no reason to run" after instantly facing exhaustion at the prospect. This is such entertaining performance from Neill and againn he never seems to be trying to be entertaining. That's what makes it so special. In that he works with Dennison but breaks off only at the right time and in a way that seems right for Hec. Neill never sacrifices the character for a joke, but he's consistently amusing throughout the film. Neill gives a great example of what can be done when an actor has such a grasp of his material, and crafts such an effective realization of his character.
Of course this isn't just an entertaining performance, again Neill acts as this very important bridge to making the film worth more than quite a few laughs, although that's already a worth a lot if you ask me. Neill though goes further in realizing that connection between Hec and Ricky. Early on in their adventure together Ricky actually causes Hec to lash out him in anger, when Ricky presses Hec over his inability to read. Neill doesn't hold back in making the anger pretty intense actually and again only fitting to how Hec should be. Neill though is just as believable as he makes Hec's meek little apology over his outburst soon afterwards so genuine. Neill does so much in his reactions throughout the film as he never wastes a moment to convey Hec's growing concern for the boy. Neill never rushes a moment in this absolutely taking each step as he should, and again so much of it is in his silence. Neill makes a particularly powerful moment in Hec's earnest concern as he hears about the death of one of Ricky's friends who was also in the foster home system. Neill says it all without having to say a single thing. Neill's truly impressive the way he realizes the more dramatic moments with such ease throughout the film, such as when he loses his loyal dog in a boar attack. Neill instantly makes the moment genuinely heartbreaking as he shows Hec's subtle sadness over the loss with such poignancy. It's hard boiled in its simplicity, yet there is never doubt that Hec is torn up over what he has to do. There is no transition that Neill fails to realize throughout the film. He always keeps the film grounded in the right way. When basically the moment comes for grumpy old Hec to reveal his love for the boy, again he doesn't have to say anything. Neill makes you feel it instead and it is incredibly heartwarming because of how well he does it. It wasn't from a single moment but capitalization on everything that Neill did previously in the film. There is never a conflict with Neill as this is a performance because he merely is Uncle Hec, and everything he does it exactly what Uncle Hec should do. Everything in his portrayal feels natural which is quite the achievement given the technical tonal movement in the film. Neill makes that tone work. Neill utilizes every second of his screen time to give us such a heartfelt yet incredibly amusing turn, I love this performance.
Wednesday, 15 February 2017
Alden Ehrenreich did not receive an Oscar nomination for portraying Hobie Doyle in Hail Caesar!.
Hail Caesar! is an enjoyable series of vignettes about a Hollywood fixer, Eddie Mannix (Josh Brolin), trying to fix various problems around his studio.
Hail Caesar is probably one of the Coen Brothers more divisive films perhaps partially because of how earnest of a love letter to old Hollywood it is. There is cynicism of course within the depiction of the personal lives of the various actors and directors, but it's at its heart a movie that loves movies. It doesn't matter what that movie may even be which brings us to our future Han Solo, Alden Ehrenreich. Ehrenreich plays Hobie Doyle who as the film opens specializes in b-westerns, where the gun play isn't too rough and there's always time to play a song on his guitar. We briefly see him at work where he seems very at home riding, roping and shooting though he doesn't say much,. Later on we catch a bit one of his films. Where again his speaking is brief and his singing is overdubbed, in a very classic Hollywood fashion. Ehrenreich does produce a certain something in this in that there's nothing great about what Hobie Doyle is technically doing onscreen, but he's certainly doing to the best of abilities. Ehrenreich brings the right confidence not of a great movie star, but of a man doing a good job.
Hobie differs from most of the other stars we meet. The graceful DeeAnna Moran (Scarlett Johansson) is in a course woman off screen, the confident Baird Whitlock (George Clooney) is a simple dope and the happy go lucky Burt Gurney (Channing Tatum) is secretly a cold communist. Old Hobie is just the same easy going cowboy off screen as he is onscreen. Ehrenreich is really quite charming by just how pure he makes the character. He's just a simple chap who treats it all as a job. He brings such an enjoyable enthusiasm and earnestness to every one of his lines. Ehrenreich shows that Hobie has nothing ever to hide and every ounce of him is genuine. There is purposefully no shading which is what makes him such a delight actually. Even when he speaking about the possible duplicitous nature of eekstras (extras), there is only the best of intentions revealed in Ehrenreich's serious delivery, which in turn makes it very amusing. Ehrenreich is so straight forward in the best of ways in his whole realization of this cowboy, he never winks which is what makes him just so endearing.
Ehrenreich's standout scene is actually fairly early on in the film but it also is the best scene of the film. It is the one scene where Hobie is required to be something he's not, an actor. That is when he used as a last minute replacement for a role in the revered stage adaptation style drama. Ehrenreich is downright brilliant in the scene in his realization of just how ill-fitting Hobie is to the film. Ehrenreich is hilarious by making nothing about the process feel natural. Never has a man seemed more awkward when simply just walking towards than sitting down on a couch. Ehrenreich's great as he kind of hits every wrong beat within his performance as Hobie as he is terribly self aware, seemingly looking at every camera and person behind it, while failing to properly address the other actor he is suppose to be interacting with. When he finally gets to his line Ehrenreich is perfect as he almost seems to cough it as though he is attempting some unnatural process within his throat by speaking while a camera is rolling. Things only get funnier when the film's director Laurence Laurentz (Ralph Fiennes), attempts to direct him. Fiennes and Ehrenreich's comedic timing couldn't be better as they portray the difficult exchange between the two. I love how Ehrenreich stays still so earnest, showing that Hobie only wants to do what the director wants him to do, but would that it were so simple. Again that is the highlight of the film, but whenever we see Hobie onscreen it's a highlight, because Ehrenreich steals the film. He hones in the Coens' style so well producing such a delightful and entertaining character in Hobie Doyle.
Hail Caesar is probably one of the Coen Brothers more divisive films perhaps partially because of how earnest of a love letter to old Hollywood it is. There is cynicism of course within the depiction of the personal lives of the various actors and directors, but it's at its heart a movie that loves movies. It doesn't matter what that movie may even be which brings us to our future Han Solo, Alden Ehrenreich. Ehrenreich plays Hobie Doyle who as the film opens specializes in b-westerns, where the gun play isn't too rough and there's always time to play a song on his guitar. We briefly see him at work where he seems very at home riding, roping and shooting though he doesn't say much,. Later on we catch a bit one of his films. Where again his speaking is brief and his singing is overdubbed, in a very classic Hollywood fashion. Ehrenreich does produce a certain something in this in that there's nothing great about what Hobie Doyle is technically doing onscreen, but he's certainly doing to the best of abilities. Ehrenreich brings the right confidence not of a great movie star, but of a man doing a good job.
Hobie differs from most of the other stars we meet. The graceful DeeAnna Moran (Scarlett Johansson) is in a course woman off screen, the confident Baird Whitlock (George Clooney) is a simple dope and the happy go lucky Burt Gurney (Channing Tatum) is secretly a cold communist. Old Hobie is just the same easy going cowboy off screen as he is onscreen. Ehrenreich is really quite charming by just how pure he makes the character. He's just a simple chap who treats it all as a job. He brings such an enjoyable enthusiasm and earnestness to every one of his lines. Ehrenreich shows that Hobie has nothing ever to hide and every ounce of him is genuine. There is purposefully no shading which is what makes him such a delight actually. Even when he speaking about the possible duplicitous nature of eekstras (extras), there is only the best of intentions revealed in Ehrenreich's serious delivery, which in turn makes it very amusing. Ehrenreich is so straight forward in the best of ways in his whole realization of this cowboy, he never winks which is what makes him just so endearing.
Ehrenreich's standout scene is actually fairly early on in the film but it also is the best scene of the film. It is the one scene where Hobie is required to be something he's not, an actor. That is when he used as a last minute replacement for a role in the revered stage adaptation style drama. Ehrenreich is downright brilliant in the scene in his realization of just how ill-fitting Hobie is to the film. Ehrenreich is hilarious by making nothing about the process feel natural. Never has a man seemed more awkward when simply just walking towards than sitting down on a couch. Ehrenreich's great as he kind of hits every wrong beat within his performance as Hobie as he is terribly self aware, seemingly looking at every camera and person behind it, while failing to properly address the other actor he is suppose to be interacting with. When he finally gets to his line Ehrenreich is perfect as he almost seems to cough it as though he is attempting some unnatural process within his throat by speaking while a camera is rolling. Things only get funnier when the film's director Laurence Laurentz (Ralph Fiennes), attempts to direct him. Fiennes and Ehrenreich's comedic timing couldn't be better as they portray the difficult exchange between the two. I love how Ehrenreich stays still so earnest, showing that Hobie only wants to do what the director wants him to do, but would that it were so simple. Again that is the highlight of the film, but whenever we see Hobie onscreen it's a highlight, because Ehrenreich steals the film. He hones in the Coens' style so well producing such a delightful and entertaining character in Hobie Doyle.
Tuesday, 14 February 2017
Stellan Skarsgård did not receive an Oscar nomination for portraying Dima in Our Kind Of Traitor.
Our Kind of Traitor is somewhat effective though standard John Le Carré adaptation about an English School Teacher and his wife being caught up in the dark world of illegal finances after accepting to do a favor for a strange man.
Our Kind of Traitor seems kind of strange in that the two actual leads of the English teacher Perry MacKendrick (Ewan McGregor) and his wife Gail (Naomie Harris) are the most bland characters in the film. There are two supporting characters though who seem like they should be the leads the first being Stellan Skarsgård's as the strange man with information. Stellan Skarsgård is an actor probably best known for his long list of shady supporting roles from one despicable man to the another. This seems like that may be the case again as his character of Dima randomly appears in a bar and approaches McGregor's Perry. Skarsgård is an actor who you just can't naturally trust. Skarsgård even sets up his Dima a little differently than usual, playing essentially a bro-russian, as he insists that Perry come to a party with him. Skarsgård's always has that certain sinister glimpse in his eye though, that suggests there's gotta be something up. Intentional or not, I'd say intentional, Skarsgård's very presence crafts a certain tension early on in these scenes as it seems like there's something afoot even if it is hard to know what.
Dima seems harmless enough, and a funny thing is Skarsgård wins you over a bit too just as he does Perry. His whole larger than life enjoyment of life becomes a little endearing after you've spent enough time with him. After he gets to know Perry a bit better though he reveals himself to be more than meets the eye, though not in the way a Stellan Skarsgård character generally is. Suddenly Skarsgård changes gears severely as Dima explains his dire situation, where he will be forced to transfer all of his funds to his old boss's son before he and his family will be killed. Skarsgård manages this switch incredibly effectively as he brings that fear in his voice and eyes as he pleads with Perry for help. Skarsgård in doing so also explains a bit of just how big he is the rest of the time, showing that Dima is very much putting on an act as though he blissfully unaware what is going to happen to him very soon. Skarsgård manages in just a few moments to grant a very real urgency to the film by managing to make Dima surprisingly sympathetic in such short order.
Again the film does seem just slightly curious in that Skarsgård should be the lead of the film, it is his character who is the most important, yet he is indeed "supporting" the far less interesting Perry. Skarsgård though is still essentially required to do everything a lead must do just in far more limited screen time and perspective. In that we get a quick snippet of Dima's past when he was recruited into the Russian mob, now this is perhaps one of the easier elements to provide as Skarsgård does always have that duplicitous look about him. This continues further though as we are only given a slight sense of Dima's relationship with the man who intends to kill him and his family. This is basically all given to a single scene where Dima mocks the man with a story about when the man was as a boy. Now Skarsgård is great in the scene doing so well to portray the vicious hatred Dima has for the man while coating with just enough of a still semi-pleasant facade on the surface. Again just a snippet yet Skarsgård in that snippet conveys wholly the sense of disdain and betrayal Dima has suffered given that he was a real friend to the man's father. Skarsgard heavy lifting continues also to establish a real sort of connection between Dima and Perry as well. He pulls it off though, again through so little, but in his direct interactions Skarsgård conveys so effectively the man's gratitude to him, bringing a real warmth as he thanks him again and again for his help. The main crux of the story though is Dima attempting to save his family by trading inside information to the British government. It is with this that Skarsgård is the beating heart of the film. The whole sense of real desperation and concern is realized so powerfully by Skarsgård's performance. He handles it well by showing the internalization of it when Dima is attempting to keep his facade up, but is incredibly moving when he reveals just the increasingly fearful man who who will do whatever it takes to save his family. It may be a little odd how Skarsgård has to fulfill so many aspect of the role so swiftly, yet he does so brilliantly. This is a great performance. If we did not believe Dima and his struggle the film would have faltered entirely. Skarsgård elevates it through his honest emotional performance.
Damian Lewis did not receive an Oscar nomination for portraying Hector in Our Kind of Traitor.
The second supporting character who seems like he should be lead is Damian Lewis's Hector. Lewis comes into the film after Perry attempts to deliver Dima's request to the British government. Lewis is the MI6 agent in charge of the investigation. Though his name is Hector this seems to perhaps give Lewis a chance to give his own take on Le Carré's longtime lead, George Smiley. Hector too is a bi-spectacled spy with a very exact sort of personal style. I will say now Lewis is becoming an actor I'm eager to see more of, as he often brings something special to his roles. That is the case here as his whole presentation of Hector is rather engaging. He goes about crafting his own sort of Smiley with his excessively refined English accent, and his whole manner. Lewis projects the right sort of cool confidence that seems a requirement for a man of his position within the more modern world of espionage. This is a performance though that just is magnetic, the moment he steps in to question McGregor, Lewis is instantly compelling to watch.
In the early scenes it appears as though Hector is very much a man with just a plan of action that he intends initiate with cold efficiency. Lewis's performance is rather marvelous in just making this style of Hector quite charismatic in sort of strange way reminiscent even of Gary Oldman as Smiley in Tinker Tailor, in that there is just something so remarkable about watching the man work. Hector though isn't quite that powerful though as he goes about some risky maneuvers in order to get the information he needs. Lewis's performances is very astute in the way he plays within this sort of stricture that he has set up with Hector. Lewis manages to play just within the margins of this, in just a slight turn of the mouth or a just a small movement in his eyes. In these early scenes there is the hint of the smallest desperation in voice, covered up by his usual assurance, as Hector decides to go with the mission despite not receiving proper clearance for it. It is rather fascinating to watch Lewis work here because he never does break out of the refinement of the character, yet as soon as conveys the frustrations in Hector towards his boss at not being able to pursue the case he doesn't seem cold after all. Lewis's work in itself has this efficiency in emotion, since you always understand how Hector is feeling even though he technically never raises his voice beyond a certain point nor does he really lose his composure.
He has this precision that it so captivating to watch. So many of the highlights belong to Lewis. Even in some exposition particularly in the scene where Hector lashes out against the amorality of the business he is trying to prevent, Lewis makes it absolutely engrossing through his dynamic delivering. He infuses with such a real intensity, a real outrage, yet still so calm all the same. There is just a bit of explanation to further motivations, really just one scene, where Hector explains how he believes his own son was targeted by one of the corrupt officials he's trying to take down. Again just in the margins does Lewis reveals the sadness, only in them does he, his Hector is never emotional yet you always understand him. There is a scene at the end of the film where Lewis is just examining and object and finds something important. Silent scene that could be nothing in the wrong hands. Lewis reveals all of Hector's thoughts just through the slightest glimpse of joy, making a far more satisfying scene than it would have been otherwise. As with Skarsgård Lewis does so much heavy lifting within the film to elevate past just a very routine thriller. Although I won't say the film quite completely escapes that qualifier, their work far surpasses it.
Our Kind of Traitor seems kind of strange in that the two actual leads of the English teacher Perry MacKendrick (Ewan McGregor) and his wife Gail (Naomie Harris) are the most bland characters in the film. There are two supporting characters though who seem like they should be the leads the first being Stellan Skarsgård's as the strange man with information. Stellan Skarsgård is an actor probably best known for his long list of shady supporting roles from one despicable man to the another. This seems like that may be the case again as his character of Dima randomly appears in a bar and approaches McGregor's Perry. Skarsgård is an actor who you just can't naturally trust. Skarsgård even sets up his Dima a little differently than usual, playing essentially a bro-russian, as he insists that Perry come to a party with him. Skarsgård's always has that certain sinister glimpse in his eye though, that suggests there's gotta be something up. Intentional or not, I'd say intentional, Skarsgård's very presence crafts a certain tension early on in these scenes as it seems like there's something afoot even if it is hard to know what.
Dima seems harmless enough, and a funny thing is Skarsgård wins you over a bit too just as he does Perry. His whole larger than life enjoyment of life becomes a little endearing after you've spent enough time with him. After he gets to know Perry a bit better though he reveals himself to be more than meets the eye, though not in the way a Stellan Skarsgård character generally is. Suddenly Skarsgård changes gears severely as Dima explains his dire situation, where he will be forced to transfer all of his funds to his old boss's son before he and his family will be killed. Skarsgård manages this switch incredibly effectively as he brings that fear in his voice and eyes as he pleads with Perry for help. Skarsgård in doing so also explains a bit of just how big he is the rest of the time, showing that Dima is very much putting on an act as though he blissfully unaware what is going to happen to him very soon. Skarsgård manages in just a few moments to grant a very real urgency to the film by managing to make Dima surprisingly sympathetic in such short order.
Again the film does seem just slightly curious in that Skarsgård should be the lead of the film, it is his character who is the most important, yet he is indeed "supporting" the far less interesting Perry. Skarsgård though is still essentially required to do everything a lead must do just in far more limited screen time and perspective. In that we get a quick snippet of Dima's past when he was recruited into the Russian mob, now this is perhaps one of the easier elements to provide as Skarsgård does always have that duplicitous look about him. This continues further though as we are only given a slight sense of Dima's relationship with the man who intends to kill him and his family. This is basically all given to a single scene where Dima mocks the man with a story about when the man was as a boy. Now Skarsgård is great in the scene doing so well to portray the vicious hatred Dima has for the man while coating with just enough of a still semi-pleasant facade on the surface. Again just a snippet yet Skarsgård in that snippet conveys wholly the sense of disdain and betrayal Dima has suffered given that he was a real friend to the man's father. Skarsgard heavy lifting continues also to establish a real sort of connection between Dima and Perry as well. He pulls it off though, again through so little, but in his direct interactions Skarsgård conveys so effectively the man's gratitude to him, bringing a real warmth as he thanks him again and again for his help. The main crux of the story though is Dima attempting to save his family by trading inside information to the British government. It is with this that Skarsgård is the beating heart of the film. The whole sense of real desperation and concern is realized so powerfully by Skarsgård's performance. He handles it well by showing the internalization of it when Dima is attempting to keep his facade up, but is incredibly moving when he reveals just the increasingly fearful man who who will do whatever it takes to save his family. It may be a little odd how Skarsgård has to fulfill so many aspect of the role so swiftly, yet he does so brilliantly. This is a great performance. If we did not believe Dima and his struggle the film would have faltered entirely. Skarsgård elevates it through his honest emotional performance.
In the early scenes it appears as though Hector is very much a man with just a plan of action that he intends initiate with cold efficiency. Lewis's performance is rather marvelous in just making this style of Hector quite charismatic in sort of strange way reminiscent even of Gary Oldman as Smiley in Tinker Tailor, in that there is just something so remarkable about watching the man work. Hector though isn't quite that powerful though as he goes about some risky maneuvers in order to get the information he needs. Lewis's performances is very astute in the way he plays within this sort of stricture that he has set up with Hector. Lewis manages to play just within the margins of this, in just a slight turn of the mouth or a just a small movement in his eyes. In these early scenes there is the hint of the smallest desperation in voice, covered up by his usual assurance, as Hector decides to go with the mission despite not receiving proper clearance for it. It is rather fascinating to watch Lewis work here because he never does break out of the refinement of the character, yet as soon as conveys the frustrations in Hector towards his boss at not being able to pursue the case he doesn't seem cold after all. Lewis's work in itself has this efficiency in emotion, since you always understand how Hector is feeling even though he technically never raises his voice beyond a certain point nor does he really lose his composure.
He has this precision that it so captivating to watch. So many of the highlights belong to Lewis. Even in some exposition particularly in the scene where Hector lashes out against the amorality of the business he is trying to prevent, Lewis makes it absolutely engrossing through his dynamic delivering. He infuses with such a real intensity, a real outrage, yet still so calm all the same. There is just a bit of explanation to further motivations, really just one scene, where Hector explains how he believes his own son was targeted by one of the corrupt officials he's trying to take down. Again just in the margins does Lewis reveals the sadness, only in them does he, his Hector is never emotional yet you always understand him. There is a scene at the end of the film where Lewis is just examining and object and finds something important. Silent scene that could be nothing in the wrong hands. Lewis reveals all of Hector's thoughts just through the slightest glimpse of joy, making a far more satisfying scene than it would have been otherwise. As with Skarsgård Lewis does so much heavy lifting within the film to elevate past just a very routine thriller. Although I won't say the film quite completely escapes that qualifier, their work far surpasses it.
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