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Showing posts with label LotR. Show all posts
Showing posts with label LotR. Show all posts
Saturday, 1 January 2011
Decade in Review, Revisited: 25 Tear Jerking Scenes (Part Two) - Overdue
0 comments Posted by 2011 at 13:51So, 2011 is here and I still have outstanding posts from 2010. So just because I just have to complete the list I’ll give it now, even though it’s dreadfully overdue. I gave you fifteen runners up a couple of months ago – tear jerking moments of the aughts. Here are the final ten. Sometimes it’s difficult to pinpoint the actual cause of tears shed vicariously for cinematic creations, but these ten are most salient.
Potentially Heavy Spoilers ahead: Be Warned
#10: Brokeback Mountain: “I Swear” (Guilty Party: Heath Ledger)
The more I see Brokeback Mountain the less I like it, Michelle Williams is still the only thing I find egregiously poor about it – and it’s still a fine film, just not one I’d go crazy over. I’m never even that convinced of the brilliance that is Heath Ledger’s performance in it (I’d probably pick Jake for best in show); well until the last few moments, that is. The older his character grows the better grip Ledger seems to have on himand that line at the end of the film is just a brilliant line reading. It’s sort of an encapsulation of all the things about the film and Heath makes it work brilliantly. Depressingly.
#9: The Curious Case of Benjamin Button: “Some People Dance...” (Guilty Party: David Fincher)
The entire closing monologue of The Curious Case of Benjamin Button is a well handled tearjerker. I’d say it’s prosaic, and I wouldn’t mean it as insult. It’s a bit like a role-call of sorts and seeing all the persons who’ve played a role in Benjamin’s life makes me teary eyed for some reason. And, of course, it’s that final line for Daisy that’s the cinch. Fincher’s epic, of sorts, will continue to be polarising but I’ll continue to be a big fan of it.
#8: Bright Star: Departure (Guilty Party: Ben Whishaw and Abbie Cornish)
I’ll be honest, sometimes Bright Star is just a lesson in poetic sadness. It’s that much more brilliant because it’s moving even when it’s just being glib about it. The final scene that Ben and Abbie share together comes to mind immediately. The two have had a fairytale romance of sorts (unconsummated) and both know that he’s going to die in Italy. They lie on the bed, their bodies making a heart, and talk about the future that will never happen. I deliberately avoid romances like these, but I don’t what it is that makes Jane Campion’s tale so brilliant – it’s a “you had to be there” experience”. It’s easily the saddest part of the film for me…a relationship heading nowhere, and fast.
#7: Moulin Rouge: The Death (Guilty Party: Nicole Kidman and Ewan McGregor)
Is there anything more of a killer in 19th century literature than consumption? It’s weird – we already know Satine is dying but Baz distracts us with the elephant medley so that Satine’s death manages to still be surprising and even more ridiculously depressing
#6: The Hours: Crying (Guilty Party: Meryl Streep)
I singled out Clarissa Vaughn as my favourite Streep performance of the past decade. She has many moments of brilliance – a number of them opposite Ed Harris; but it’s a solitary scene opposite Jeff Daniels that fits the bill here. The two are reminiscing about their mutual friend and Clarissa gets too caught up in the pass, it’s an odd moment – and probably difficult to pull off. She moves from lucid to snivelling in almost a split second. Her line reading of “Don’t come any closer” is a favourite of mine. I’ve said it before, I don’t always love Streep but when she impresses me it’s brilliant.
#5: The Constant Gardener: Returning Ghosts (Guilty Party: Ralph Fiennes and Rachel Weisz)
I don’t know if it’s just me, but for some reason Fernando Mereilles’ 2005 tour de force (says me) The Constant Gardener doesn’t seem to get the appreciation it deserves. It’s impeccably helmed by Mereilles and despite occasional snatches of incongruity the brilliant performances of Ralph Fiennes and Rachel Weisz make up for it. The Constant Gardener is many things in one – a love story, a thriller, an espionage tale...on and on. In the final moments of the film we may have realised the “whodunit” of the entire thing but there’s no closure until the ghost of Tessa shows up to lead Justin away. It sounds so very schmaltzy but there’s some honest and wonderful about it. Weisz and Fiennes really work excellently together and that (imagined) reunion is just a fine bit of emotion, well played.
#4: Atonement: Monologue (Guilty Party: Joe Wright)
Why is the end of Atonement so sad? I can’t say; it just is. Unfulfilled dreams are always depressing, and Vanessa Redgrave is all kinds of brilliant (but that’s a given). She only needs a few moments to make me gloomy, and with the camera on her alone for so much of that monologue she delivers completely. Bring on the waterworks.
#3: The Lord of the Rings: The Fellowship of the Rings “My Captain” (Guilty Party: Sean Bean Viggo Mortensen)
We see a number of deaths in The Lord of the Rings series, but it’s the first (main) one that I find the most striking. Sean Bean’s Boromir is unfortunately forgotten, but he’s excellent. He has the tough task of playing the anti-Aragorn character and his final moments are probably the most moving part of the first film. It’s when he tells Aragorn, “I would have followed you, my captain” that’s the cinch though. Mortensen’s facial response is golden.
#2: Revolutionary Road: Running (Guilty Party: Leonardo DiCaprio)
Revolutionary Road would definitely easily make it on any list of most depressing films of the aughts, well ever to be honest. Depressing, though it is (really, this was one of the most emotionally draining films of the aughts for me), I still can’t help admiring it. It’s a tug-of-war as to who comes out on top – Kate or Leo. They both do excellent work and Kate’s final scenes already make you a little tearful, but as far as tear jerking goes it’s all Leo. When he finds out about April death’s it’s the film’s most harrowing moment (and that’s saying a lot). It all culminates in him running (and crying), from the hospital, from April from the mistakes. It’s a nice bit of direction from Mendes and it’s a brilliant moment for Leo.
#1: The Lord of the Rings: The Return of the King: Credits (Guilty Party: Peter Jackson)
The biggest tearjerker of the decade for me wasn’t even any singular moment of sadness – it was just the culmination of hours upon hours of epic fantasy. I was never a big fan of Frodo (Tolkien’s Frodo or Jackson’s) but the final moments of the film as he makes his way away from the Shire as Sam makes his way back works well in its simplicity. But it’s when Annie Lennox’s “Into the West” comes on that the sadness really sinks in. I’m not sure if it’s sadness per se but it’s something akin – okay, maybe it was exhaustion. Still, it’s definitely the biggest reason for waterworks this past decade, for me.
So, it’s terribly late – but am I the only who went teary at these moments of cinematic sadness?
Wednesday, 8 December 2010
Cinematic Knowledge: The Lord of the Rings: The Fellowship of the Rings
0 comments Posted by 2011 at 11:15
“You offer it to me freely...?”
“I do not deny that my heart has greatly desired this.”
“In place of the Dark Lord, you would have a Queen, not dark, but beautiful and terrible as the Dawn. Treacherous as the Sea! Stronger than the foundations of the earth...all shall love me and despair!”
“I pass the test...”
“I will diminish and go into the west and remain Galadriel.”
Lessons Learned: Galadriel is one scary Elf Queen (and incidentally one of the the strongest characters in the series).
Cate Blanchett is awesome and yet completely scary.
(She's signed up for The Hobbit, can't deny that makes me happy.)
Monday, 23 August 2010
I was stumped, somewhat, with this day of the meme. I’ve seen a number of action scenes, I’m sure, but I’d be hard-pressed to call any of them a favourite. Eventually, I realised the issue was defining action – a car chase, a deadly duel – what is an action sequence? It would be a copout to submit the entire two and a half hours of Minority Report (already covered), and though it’s not particularly respected I’d just as easily submit the whole of Shoot ‘Em Up – that movie just puts me in a ridiculously good mood. The Ministry Duel Duel in Harry Potter & the Order of the Phoenix is so meticulously directed i can’t help but be enthralled – and then there’s the violent centrepiece of Ran, it’s as brutal as they can come.
A few weeks ago Heather completed a list of her favourite battle sequences and in it she listed a scene I have great love for. The Lord of the Ring’s The Two Towers’ battle at Helm’s Deep. I don’t know if it’s because the rest of the second instalment seems so placid but the climax at Helm’s Deep is just so riveting and it always ends up seeming like the aha moment of the trilogy where the battle really begins. I’m not sure if it’s “action” in the natural sense – but it’s good enough for me.
All for the MEME.
Tuesday, 17 August 2010
It’s a strange thing, but often when I hear the name The Lord of the Rings the first image that comes to mind is that of Cate Blanchett’s Galadriel. When we consider that her time in the epic is merely fractional I wonder why. I hate to think it’s my nepotism but perhaps it’s the simple fact that her ethereal voice is what introduces us to the piece. I often think of Cate as a voice actress (her brilliant acting often depends on how well she manages to alter her voice). So often I tie the goodness of her performance to the way she’s able to use her voice (liltingly, powerfully, coquettishly) and it’s important that her soothing voice leads us into the turbulent tale. To consider all that we perceive in a simple glance from Galadriel is testament to what Jackson is doing. The Lord of the Rings is BIG, but it’s not just about EXPOSITION. From the cantankerous farmer who appears for a bit to the protagonists of our tale, Jackson is intent on creating real people. It’s an estimable intent, but it’s easier said than done. We don’t get back-story for them, sometimes we only get a few moments and for all it’s attempting at The Lord of the Rings is no character study.
So much of this first part occurs in the Shire’s brightness that when we do get wind of the darkness in the real world it’s terrifying. It’s where Ian McKellen’s Gandalf is most necessary and most effective. McKellen has such a talent for working with expressions (and so quickly, too). In the twinkling of an eye he moves from deceptively relaxed to frighteningly austere. The Oscar snub heard around the world? No. That was some lineup and I could readily change my mind from McKellen to Broadbent to Hawke (and still make way for Kingsley). It is something curious that McKellen, known for his inspired takes on Shakespeare reaches cult status (in my head, okay) for taking on the role of Tolkien’s mythical creation. It’s not the effect wears off, because The Towers and The Return of the King are still admittedly brilliant in their own way. It’s just that there’s something extraordinary about that very first one that makes me have such an affinity for The Fellowship of the Rings.
Darren of the very prolific M0vie Blog writes:
“I think this is the benchmark for fantasy in the twenty-first century, and perhaps the most popular example of an "unfilmable" movie transitioning to screen. It's still an accomplishment, even after the success and the Oscars and the massive cultural impact, but I can't imagine how impossible it must have seemed when it was originally imagined. And that's perhaps my favourite thing about it - without seeing the film itself, it's almost impossible to imagine the sheer scale of it all. It's also some of the most impressive CGI I have ever seen, Avatar included. However, what's truly astonishing is that Jackson finds the heart of this story, and can guide the viewer to it. Despite the scale and the fantasy, it's a strangely human story.”
I all but devoured the book before I was old enough to grasp the scope of it, and as far as adaptations go The Fellowship of the Rings like its successors is anything but infallible. It’s less a slight at Tolkien and more my leniency that makes me say that I like the changes that occur in the cinematic incarnation more than its literary counterpart. And if you know how much of a literary snob I can be, you’ll know that that’s a big thing. It’s more than the staunchness of adaptation (or lack thereof) though. Literature is language based and, at its height, cinema is a visual medium. I’d watch The Fellowship of the Rings (all 3 hours of it) on silent. It’s not just the CGI though, but I remember The Fellowship in fragments. I have the image of Gandalf’s magic fireworks or Galadriel’s mirror or Arwen’s incantation in the river. On the note of Arwen, it’s easily my favourite deviation from the novel. I’m only infinitesimally displeased that Tolkien’s actual story is so devoid of significant female vigour and I applaud Jackson for giving Arwen power without making it too “Amazonian”. Call it what you will, but Arwen’s journey with Frodo on horseback is one of my favourite scenes of the entire series though there’s not really that much going on. Perhaps it’s because that particular bit of the score is my favourite, or maybe it’s just the climax of the water on the Wraiths – I don’t know, whatever it is it’s proof of how brilliant Jackson and company are.
So many actors were swept to the forefront with the films, though few utilised their status as much as Viggo Mortensen who went on to become one of the decade’s strongest actors. On that note, Heather of the classy Movie Mobsters is with me on becoming a believer of Mortensen with the series.
“At first viewing of the Fellowship I had not read J.R.R. Tolkiens acclaimed novel. In fact I had such disdain for Viggo Mortensen and Liv Tyler that I refused to watch the film. Not only did I fall madly in love with Viggo and Liv, but I was shocked by how amazing the film and the story itself were. The screenplay adapted by Philippa Boyens, Fran Walsh and Peter Jackson himself, was done with such care for the original work of Tolkien and such great lengths were met to keep the integrity of the character’s and their journeys that this is without a doubt some of the best literature translated to the big screen ever. Every aspect of this story was done with the admiration of a true fan and the brilliance of an amazing filmmaker. The Fellowship of the Ring is what going to the movies is all about, and the best part is it’s only the beginning of the journey.”
Heather touches on what’s, possibly, the crux of the brilliance of the The Fellowship of the Rings and the entire trilogy in fact. Jackson is a fan of the franchise, he loves what he’s doing and ultimately no amount of skill, proficiency or flair can combat the love for one’s trade. All three films in the trilogy exude that, and none more than this first instalment. When this does get posted I’ll still be on my break…so in place of what should be a MEME post I’ll point out that The Lord of the Rings trilogy is my favourite series of related films….and this first instalments falls at #3 on my list of favourite films.
People, remember I'm MIA: automated posting.
Tuesday, 6 July 2010
Yes, I'm back with this again. It's really a never ending feature, though I wrapped up with my favourite casts, actors, actresses, music and costumes the sky is the limit and there's more I could ruminate on...and with nothing to do, why not?
Dan’s own list has inspired me to revisit my Decade in Review feature. I did have some categories I didn’t touch on, and what better time to reassess? The question of memorable characters is a tough one…my guess is as flawed as yours, but here goes…what makes them memorable for me? It’s not really the performances, though I’d say each performer does a good job. It’s really about how ready I am to recall the character as a complete entity with just the slightest hint – like a key phrase…or an article of clothing, a wisp of hair or an important weapon.
Runners Up: Fifteen (Aragorn, Elizabeth Bennett, Erin Brockovich, Deirdre Burroughs, Benjamin Button, Frank Costello, Bob Dylan, Robert Ford, Katharine Hepburn, Bridget Jones, Velma Kelly, Clementine Kruzinski, Mrs. Lovett, Tessa Quayle, Briony Tallis)
#10: Hans Landa (played by Christoph Waltz)
Key Token: Proficiency in language (and other things) which is, naturally, “a bingo”
See how objective I am? Though I’m neither here nor there on Inglourious Basterds, I’m not so fickle to leave Waltz’s Landa off the list. It’s difficult with recent characters to decide whether or not they’ll endure, and I suppose there’s a possibility he won’t. I was tempted to put Helen Von Bismarck on the list instead of him, but I knew that was just nepotism for Kruger’s excellent performance and not really any objective longevity precipitated by her character’s brilliance.
#9: Tom Stall (played by Viggo Mortensen)
Key Token: The gun (but, of course)
I find it so difficult to believe this man has been acting since the mid eighties. He just burst on to the scene with The Lord of the Rings and has just been improving consistently. Still, it’s this 2005 performance that stands above his other creations (and above a majority of actors). It’s two men, and yet it’s one man. They’re both deliberate, they’re both smart and they both have a way with guns.
#8: The Bride (played by Uma Thurman)
Key Token: The costume
Yes, Tarantino again. Ironic, since I’m less than fond of him. I will admit that I consider Kill Bill to be his strongest venture and a considerable amount of that lies in Uma’s Bride. Of course it’s more than Uma’s performance; the Bride has just endured as one of those iconic characters – from the jumpsuit, to the moves to the van.
#7: Sweeney Todd (played by Johnny Depp)
Key Token: The hair
Apparently the tuft of white hair was Depp’s decision, which doesn’t surprise me. From the guttural growl to the permanent scowl it’s all very individual (and judging from the videos I've seen unlike any characterisation of Sweeney Todd before). Depp is not as unoriginal performer as many have decided.
#6: Bill the Butcher (played by Daniel Day Lewis)
Key Token: The voice
Perhaps it’s because I have not internalised There Will be Blood as much as Gangs of New York or perhaps it’s because Bill’s bloody ways scare me more than Plainview. Either way, I consider this to be Day Lewis’ most iconic role. The violence, the determination, the patriotism – no matter how misguided, and of course that voice. He played a lover, and then a butcher (both excellently) – I want a third Scorsese pairing.
#5: Satine (played by Nicole Kidman)
Key Token: The hair
Nicole back when she was a redhead. I was tempted to note the pale skin, or her long legs or perhaps even her voice but it’s the long red tresses that remind me of Satine the most...and I just love that look on Nicole's face above.
#4: Jack Sparrow (played by Johnny Depp)
Key Token: Drunkenness
A bit of an obvious choice, but that’s why it’s iconic.
#3: Miranda Priestley (played by Meryl Streep)
Key Token: “That’s all”
Oh, Streep. Her ubiquity exasperates me, but she was served up a delicious role here and milked it for all it was worth. I do love my comedy subtle and though she’s not my favourite performance in the film, she is the character we return to time and time again. Whether we remember her well tended hair, her immaculate wardrobe or her imperious glance, she was a true woman of the ages. That’s all.
#2: Shrek (voiced by Mike Myers)
Key Token: Skin colour
Must I really justify this? A franchise that has worn thin? Surely. But Shrek is an iconic, not the best animated character of the last decade but easily the most memorable for me.
#1: Gandalf the Grey, then White (played by Ian McKellen)
Key Token: The hair
This was too easy really. I did cite the performance as one of the decade’s best, and after a while it became difficult to say where the brilliance of McKellen’s performance ended and the iconicity of Gandalf began. From his quotable lines, to his enigmatic stares, his magical prowess and his commanding voice no character from the last decade leaves such a lasting impression on me as Gandalf, whether he be Grey or White.
Saturday, 12 June 2010
Jottings on…The Lord of the Rings: The End (…of the trilogy not of the series)
0 comments Posted by 2011 at 11:19It’s one of the biggest Oscar mysteries – to me at least. When The Return of the King swept the ceremony was it being praised as the best of the trilogy or was the Academy simply rewarding the entire venture at once? Who knows?
It’s strange, even though the actual film only covers a few months it’s striking to note how much change occurs, and none more than in the Hobbits. The dirtiness of Sam and Frodo (Gollum can’t get any dirtier) is remarkable when we consider how sheltered the two were at the beginning of the journey. I like Elijah Wood, but for the life of me I often find myself bored with him. I’m not sure, though, if my issue is with him or Frodo because he’s really playing the part as well as it can be played. It’s no wonder that with his stoic reserve and Sam’s overanxious sidekick I end up more interested in the other two hobbits, even though they’re not the centre of the instalment. I’ll forever say that Boyd is the best of the four, and it’s in Minas Tirith where he shows it best. When we consider the childlike nature that Tolkien intends with the hobbits, no one brings it out as much as Boyd. Of course, that’s because of the craziness of Pippin but even silently as he takes that fateful look into the ball his mannerisms are childlike. His “maturing” is played realistically, and I always single out the entire Minis Tirith portion of the film as my favourite. John Noble is exquisite is a bit eerie as the troubled king and Boyd does an excellent job of balancing Pippin’s fear with his inquisitiveness.
I’m probably one of the few persons who don’t understand the anticlimactic claims put forward for this instalment (they should read the actual book for that). It fits with the concept of the story resting with the Hobbits, and Bilbo. It’s actually one of the deviations I particularly love. Even Wood seems to be feeling the moment, there’s a weird sort of serenity as he tells Sam goodbye (probably convection from Cate’s Galadriel). It really is about the hobbits, though. When I think of The Return of the King the first image that pops into my head is this one:
Sure, Jackson is not exactly subtle – but sometimes a little bit of blatancy works and in a way in reminds of the first step they took beginning the journey since way back when.
It’s true, The Return of the King is very epilogue-ish, but if it’s an epilogue it’s one hell of an epilogue. It does make me conscious that the appreciation for it, and perhaps the whole series is probably more fanatical and less serious than I’d care to note – but since I began making this list last year and I realised the quandary I’d be in I knew that this was going to be a list of favourites and not best…and you will remember, I want to ban that word from the dictionary nonetheless.
Tuesday, 8 June 2010
I’m well aware that Tolkien’s masterpiece was one book in many parts, and not three books in parts. I’m well aware, too, that Jackson’s own masterpiece though released over three years was shot at once. Yet, I can’t put it as one film on my top 100. It feels like a disservice to the talent involved, even as I realise that by dividing it takes up 15% of my top 20. I’m fine with that, though. The three films may be created simultaneously, but they’re not created equal.
Incidentally, The Two Towers is my favourite section of the novel and it ends up being my least favourite part of the actual film. But, all things being relative, it’s still a magnificent film nonetheless. It is in this instalment that Viggo Mortenson gives us his greatest incarnation of Aragorn. In a way, The Lord of the Rings focuses on three men. The first is centres on Gandalf, the second on Aragorn and the third on Frodo (accompanied by Samwise). Thus, The Two Towers like its protagonist is a man, fallibly human. Mortenson followed up on Aragorn with three excellent introspective portrayals in Eastern Promises, The Road and A History of Violence. True, Aragorn is more like one of the kings of our imaginations than a flawed man but Mortenson does enough to make us believe in the imperfections of this king-to-be while assuring us that he is infallible. I’ll forever hold a soft spot for Arwen (the Jackson creation more than the Tolkien one) so I never do become as emotionally invested in the would-be romance between Aragorn and Eowyn even if Miranda Otto is turning out an excellent performance. Is it that Aragorn forgets about his elfin love…obviously, no. His biggest fault (if he has one) is actually his strength. Aragorn is intent on playing the hero – always. Naturally, he cannot be everyone’s hero; but it is his penchant to come to the rescue of those who need it that makes his rapport with Eowyn so true – something Otto and Mortenson play perfectly.
But it’s not about Aragorn alone. It’s in The Two Towers that I become altogether too fond of Boyd and [ ]. I’d choose this pair over Frodo and Sam, and not because they’re more fun. The two are so often forgotten even though both (particularly Boyd) turn in excellent performances. It’s more than acting childlike, there’s an unruly naïveté about them that is altogether too infectious to ignore and they pull it off with aplomb. Thus their capture by the Orcs and then by Treabeard plays out as more than just the comic relief that it could have been. Of course, I remember the middle for the return of Gandalf – no longer Grey, now white. I know he’s coming back, but still the revelation of his return always makes me gasp just a little. He’s still out acting everyone around him, even if the villainous Christopher Lee is giving him a run for his money. If The Fellowship depends more on story and the The Return of the King more on visuals then The Two Towers depends on the acting. Andy Serkis’ maddening Gollum is at his creepiest here and Brad Dourif’s take on Wormtongue is excellent, even if he’s forgotten in the wake of so many crazier villains. More mention should be made of Bernard Hill's King Theoden. Just like the revelation of Gandalf the White the moment where he casts off Wormtongue is excellently played and so alluring. He and McKellen play well off each other and we believe that this is a great man who still could have been duped by a scoundrel like Wormtongue.
I will admit there are times I forgot how great The Two Towers is until I actually see it. It’s waiting for the inevitable showdown that will occur in the finale, but it’s more than merely a bridge. It has significance in its own right. The Two Towers falls at #15 on my list of favourites, so that of course means that the other two instalments fall higher. What moments do you recall vividly in this, the middle child of the trilogy?
Tuesday, 25 May 2010
Friday, 30 April 2010
I've been sitting on this meme invitation for the last week or so. Shame. So this is me rectifying that.
1. What was your first movie going experience?
I have absolutely no idea what was my first but I know The Wizard of Oz was an early one, and that’s one of the reasons I’ve always been such a lover of Judy Garland.
3. What is your guilty pleasure movie?
Le Divorce…but I don’t really feel guilty about that. It’s a good movie that unfortunately many people don’t realise. A bad movie that I like nonetheless…Charlie’s Angel: Full Throttle…but no guilt there either. I don’t think the word is in my vocabulary.
4. You have compiled a list of your top 100 movies. Which movies don’t make the cut?
Well many, of course. Citizen Kane and Schindler’s List, because I don’t care for either that much. Lawrence of Arabia and The Ten Commandments – because there’s not enough space. Bright Star and The Curious Case of Benjamin Button because movies released 2008 and later are not included on the list.
5. Which movie(s) do you compulsively watch over and over again?
Gosford Park, The English Patient, Howards End, An Education, Shakespeare in Love. Compulsive is a word I know well.
6. Classic(s) you’re embarrassed you haven’t seen?
Mean Streets, Interiors. The former because Scorsese is my God, and I haven’t seen enough of his early work and the latter because Woody’s dramatic foray has gotten so much press (and it stars Diane, Maureen and Geraldine) that I should at least see it to make a deicison.
7. What movie posters do you have hanging on your wall?
Not the poster kind of person, but The Lord of the Rings: Return of the King’s poster hangs proudly in my (old) room – now known as the bookroom.
I’m not tagging anyone, too lazy. If you’re feeling meme-ish have your fill and answer the questions…I’m passing it on to you.
Monday, 19 April 2010
I think I can say I've done my duty in recapping the decade. I've done a number of entries dedicated to the decade in review. I'm sure there's some miscellaneous category, but if it comes to me I'll let you know. I think it's time for me to stop looking back before I turn into a pillar of salt, and I suppose that the logical conclusion is to sum it up with the best films of the decade. But, you know me - always atypical, so I'm not recapping film quality, but acting quality. What were the films this past decade with the best ensembles? It's a question that always triggers me thoughts (I did the same for the nineties). So with no explanations I list the 30 best film ensembles of the decade -with a few runners up. Let me remind you, this is not a list of the best films. It's a list of the ensembles that I think were best - the most collectively good performances, the best chemistry among actors, the most talented....
Runners Up (alpha): The Constant Gardener, Closer, Dreamgirls, Erin Brockovich, In the Bedroom, In the Loop, King Kong, The Messenger, The Reader, Sweeney Todd
Tier Five
Tier Four
Tier Three
Tier Two
Tier One
The Greatest Ensemble of the Decade
I'd expect that fans of certains films are foaming at the mouth, so do your worst and tell me where I went wrong. What's missing from the list, what should be missing...what are your thoughts on the top choice?
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