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Entries in Tom Hardy (28)

Tuesday
Dec092014

Tweets o' the Week: Theory of Wild Things in the Woods

No, I'm not desperate for material. I'm really not. In fact I have more material than I know what to do with but I have to share everything before SAG & Globe predictions hit because afterwards it's all fish-wrap you know? Yes

Herewith tweets that amused edified or otherwise stuck out that I just feel like sharing. xoxo

Useless last-second SAG predictions are next! 

Best Random Tweets

 

wait that's NOT how you spell his name? More after the jump

Click to read more ...

Friday
Dec052014

Team FYC: Tom Hardy in Locke for Best Actor

Editor's Note: We're featuring individually chosen FYC's for various longshots in the Oscar race. We'll never repeat a film or a category so we hope you enjoy the variety of picks. And if you're lucky enough to be an AMPAS, HFPA, or Critics Group voter, take note! Here's David on Tom Hardy in Locke.

You hear Tom Hardy’s Ivan Locke before you see his face. Hardy has spoken about the mistaken origins of his attempt at a Richard Burton-esque Welsh brogue, but the dialect is the least important aspect of how the choice functions in acting. Locke’s accent makes his voice measured and plaintive, remaining a calmly placating force across his telephone conversations as he journeys across the British Isles one fateful night.

Steven Knight’s surprisingly tense script sets the groundwork for the surprising tension of Locke, but it’s Hardy’s performance that creates the compelling emotional drama out of events as mundane as a concrete pour. Any singular character piece like this inevitably relies heavily on its sole performer, and Hardy proves himself both actor and star, contorting his charisma so that Locke’s passion for his abandoned job and his complex dedication to both his wife and the other woman he is travelling to see are clear just by the way Hardy’s eyes shine. 

Knight’s chamber play doesn’t even allow Hardy the luxury of standing up once he enters the car at the beginning, limiting the actor even further. It’s a remarkable acting challenge, but the emotional delicacy Hardy is able to develop from just his voice, face and hands is an incredibly graceful experience. Locke is a character defined through his relationships to the people on the end of the phone (and a ghost in the backseat), and the way Hardy softly modulates his voice across the course of seismic emotional shifts creates an intimacy that Knight’s script might otherwise have precluded through its decisive audio choreography. Simply watching the contours of his face and how different they have become by the film’s end is more compelling than the majority of films released this year.

Other FYCs 
Original Screenplay, The Babadook
Original Score, The Immigrant
Supporting Actress, Gone Girl
Visual FX, Under the Skin
Cinematography, The Homesman
Outstanding Ensembles

Tuesday
Nov112014

Top Ten: Worthy Performances That Will Win No Awards

Jose here. Every year as the awards race picks up, it seems as if we’re all collectively Lacuna-ed into forgetting all the great performances that came before Oscar narrows them down to twenty that by then, have won or been nominated for dozens of other awards. But what about the performances so “small”, “weird” or “foreign” that stand no chance in hell of competing with the FYC ads in the trades and/or Harvey Weinstein’s Sauron-like powers? We celebrate those performances, right now:

10. Keira Knightley - Begin Again

Sure, The Weinstein Company is behind this one, but even Harvey knows there is no point in trying to get a nod for this low-key, charming musical, especially not when he can get Keira an Oscar for a WWII flick, which makes more sense, right? Her performance here reminded me of Last Night in which she does so much with her eyes, which is something Begin Again director John Carney achieves with everyone in this cast. I’m still shocked that not a single awards body back in 2007 recognized the subdued and lovely performances by Glen Hansard and Markéta Irglová in Once. Why do you think this kind of acting seems so unworthy of awards?

More after the jump...

Click to read more ...

Monday
Sep152014

Box Office Report - No Good Dolphin Tale

Margaret here, back to report on another quiet weekend at the box office. Powered by the considerable force of charisma that Idris Elba and Taraji P. Henson supply, home-invasion thriller No Good Deed topped the box office with close to 25 million. In second place is the family film Dolphin Tale 2, which took in decent dollars despite an aggressively bland marketing campaign and the fact that the first one was barely a hit. Guardians of the Galaxy dropped only 22% to third place, and is now the first movie since Frozen to pass $300 million domestically. The Year of Chris Pratt continues.

WEEKEND BOX OFFICE

01 NO GOOD DEED $24.5 *new*
02 DOLPHIN TALE 2 $16.6 *new*
03 GUARDIANS OF THE GALAXY $8.0 (cum. $305.9)  Review
04 ...NINJA TURTLES $4.8 (cum. $181.0) remember the animated one?
05 LET'S BE COPS $4.3 (cum. $72.9)
06 THE DROP $4.2 *new*

The stealth success story here is Let's Be Cops, which, despite abysmal reviews and release in one of the worst cultural climates for an irresponsible-cop-comedy, is limping towards $75 million and a significant profit margin thanks to weak competition and a shoestring budget.

On the limited side, Dennis Lehane-penned crime drama The Drop outstripped its projected haul with $4.2 million from less than 1,000 screens. Such is the magnetic pull of a scruffy Tom Hardy snuggling a pit bull puppy, to say nothing of the chance to see James Gandolfini's final performance. 

Other notable limited releases include the Bill Hader/Kristen Wiig tragicomedy The Skeleton Twins, which brought in an impressive per-screen average and is well on its way to crossing the important indie-film benchmark of $1 million, and The Disappearance of Eleanor Rigby: Them, which is getting an unenthusiastic critical response and middling ticket sales. Perhaps audiences are holding out for the Him and Her twofer instead.

Now that we've hit mid-September there are finally some festival hits and critical darlings trickling out into theaters (which admittedly mostly serves those of us in the country's three or four largest cities). I saw The Drop, in which Tom Hardy was absolutely wonderful and Dennis Lehane was entirely Dennis Lehane. What did you see in theaters this weekend?  Are any of you at festivals getting sneak peeks at TFE's most anticipated? Who wants to talk about Tom Hardy's mesmerizing Brooklyn accent or that baby pit bull?

Wednesday
Jul302014

The Linkage

IndieWire takes the Verge to task for publishing a pro-torrent essay on Expendables 3
Nicks Flick Picks Nick & Joe Reid are doing Nick's trademark halfway'ish "Fifties" thing (which starts as soon as Nick has hit 50 movies in any given year. Delicious smart writeups on editing, screenplays, supporting actors and more
Comics Alliance the internet is all excited about this old test footage for that Deadpool movie that's not going to happen for some reason. Starring Ryan Reynolds.


Lincoln Center standby only for the John Waters and Isabelle Huppert event tonight. I'm sure the Q&A will be great but I didn't like that movie Abuse of Weakness much (my review)
CNN Money spends a day with a working Broadway actress
Newsweek explains the recent Buzzfeed scandal in the only way anyone should... through gifs of Shattered Glass
The Daily Beast has a great Susan Sarandon interview icymi where she talks David Bowie, drugs, politics and age discrepancies on film 
Variety Jessica Lange to be honored at the Santa Barbara Fest this year
MNPP who wore it best: Tom Hardy face masks
The Guardian the changing demographic of the movie audience that Hollywood is still ignoring in their quest for young white male dollars
AJ Bowen declares Melanie Lynskey the best actor of his generation 
Slate has an interesting review of two new sitcoms, one starring Judy Greer called Married 

Post Script
Remember The Village (2004)? It turns 10 years old today.

I remember so little about it but ten years turns out to be a long time. Back then people were still excited by the phrase "an M Night Shyamalan film," Joaquin Phoenix wasn't yet a Hallowed Serious Thespian (despite already being an Oscar nominee) and everyone thought Bryce Dallas Howard was THE FUTURE. How foolish we all were in 2004! Okay I remember a smidge more: people loved the score;  the colors red and yellow meant Something Significant (I enjoy my colorology); Sigourney Weaver and William Hurt were in it playing vaguely sinister intimidating stern "elders" - you know how they do for paychecks.

Do you have less vague memories of this one?

Friday
May162014

Lukewarm Off Presses: Danish Girls, True Americans, Murderous Scots

Three stories we didn't get around to posting about this past week or so when they were newer. Giving them but one sentence each in a link roundup seemed somehow inadequate. 

01 MACBETH POSTERS
Do we love these posters because they're good designs or merely because we love Fassy & Marion?  The internet doesn't know the difference. But those faces are mesmerizing onscreen and the opportunities to see these two play-act the violent ambitious Scotsman and his manipulative Lady (who seems to be sporting Princess Leia buns) are the draw. Is it just me or does this Michael pictured almost look like a Shannon rather than a Fassbender? Maybe it's the haircut and the camera angle. [True Confession: whenever I see a male actor with war-paint on, I shudder, fearing worldwide bloodlust adulation of Braveheart style machismo rather than any sort of interest connection to the drama or themes to come. Love of violent men seems ever insatiable.]

02 TRUE AMERICAN 
Speaking of machismo, Kathryn Bigelow's latest violent testosterone fueled drama will be based on the non-fiction book "True American: Murder & Mercy in Texas." Tom Hardy headlines as Mark Stroman, a man who attempts to kill three immigrant after 9/11 and the other Raisuddin Bhuiyan, a former Bangladesh Air Force officer, his only surviving victim, who wants to visit Stroman on Death Row. No word yet on who plays Bhuiyan but it's a big potentially Oscar friendly role so expect everyone to pretend whoever plays him is supporting for Oscar purposes ;) 

03 THE DANISH GIRL 
This movie, based on the novel by David Ebershoff which was itself inspired by the true story of Danish painter Einar Wegener (who would later become Lili... predating the famous sex change procedure of Christine Jorgensen) and his relationship to his wife through the transition was once going to be headlined by not one but two huge female movie stars (Theron & Kidman). The project vanished from the "upcoming film" conversation a couple of years ago. It's baaa-aaack. Only this time it's a rising male star who is headlining, charismatic ginger Eddie Redmayne.

 

 

But here's the problem. In the intervening years there has been an inarguable rise in consciousness about transgender issues and the trans community has gotten a lot more politically brave and some might say strident. Note, if you will, all the criticisms LGBT champion RuPaul has received for his continued enjoyment of words like tranny and she-male that other LGBT citizens would like to give up. There was a lot of anger about Hollywood going with a straight male actor (Jared Leto) for a trans role last year (Dallas Buyers Club) when there are actual trans actors around. I've never liked to hem actors in this way -- actors, by their very craft and nature, are not meant to only play what they are --  so Jared Leto had a point when he said as much. The problem with his point is that it isn't the strict truth. Hollywood doesn't cast people like him for such distinct roles because they're "the right person for the job" but because they're a name and Hollywood is risk averse. It's the same reason they used to not let black actors play black characters (think Showboat) fearing loss of revenue and the same reason they keep white washing Asian roles when the time comes to cast them. But with the somewhat steady rise in actual trans celebrity (Alexis Arquette, Chaz Bono, Candis Cayne, etcetera) and the recent rise of gifted actress Laverne Cox on Orange is the New Black (a trans woman playing a trans woman, and beautifully which is the important point when it comes to acting) it has started to seem a little suspect that very few trans roles go to trans actors.

Like Leto, I don't like to see actors pinned down into one kind of character, but if more people were cast true to their ethnicity, sexuality, abilities, and gender identification, I think people would probably be okay with it when an actor played something so removed from him or herself. If there was more balance "being right for it" wouldn't sound like a copout and might actually be accepted as the truth.

Redmayne is a fine actor but expect this noise to continue and get very loud WHEN the media calls him "brave" for playing it (they're such suckers for that word which is seemingly always used offensively, as if to imply the actor is slumming by playing someone "gay" or "trans" or "disabled" or whatnot) and IF he starts winning prizes for it.