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It’s no great revelation that Pugh is one of the most important performers of her generation, a stone-cold movie star whose charisma and emotional intelligence have earned her a seat at some very impressive tables in just a few years’ time. Sue me), we can all agree that Florence Pugh’s turn as pint-sized assassin Yelena Belova was one of its highlights. Though I admit to having oversold Black Widow in my review a few months back (It was something new during quarantine. Same guy? Distant cousin? Either way, I think David Lynch would approve.īest Supporting Actress: Florence Pugh, Black Widow Comparisons have already been made between the Janitor and Wild at Heart’s dashing drifter Sailor Ripley, and it’s easy to see why. No irritating teenagers, small town secrets, or haunted animatronics will veer him off his course. The deal is simple: He cleans the ersatz Chuck E. Cage’s character (credited only as “The Janitor”) is no hero he has no motivation aside from settling up with a mechanic whom he cannot pay for auto repairs. Both rely on Cage’s jagged stoicism, but where Pig punctuates it with bits of revelation and introspection - his Robin Feld is a wily soothsayer who speaks the truth and nothing but the truth - Willy’s Wonderland lets him remain a silent instrument of undead destruction, an impossibly cool pinball junkie who lets his work do the talking. Nicolas Cage gave us two clinics in understated acting last year, both in the critically-acclaimed Pig and Kevin Lewis’ horror-comedy romp, Willy’s Wonderland. Though it seems unlikely that Villenueve’s Dune franchise will tackle Frank Herbert’s sequels, there’s always plenty of room in them for Momoa to make a welcome return.īest Actor: Nicolas Cage, Willy’s Wonderland Like Stone, Momoa is learning his angles and making the most of his time on screen - One of Dune’s few moments of levity comes from his comedic timing (“Thank you, Stilgar…”), and arguably its most dramatic action beat (“Sardukar!”) is thanks to our affection for him.
Momoa’s joviality is a welcome contrast to Villenueve’s otherwise unforgiving palette: He’s a warm blanket. He fits right into Denis Villenueve’s Dune, playing the small but crucial role of Duncan Idaho, House Atreides' weapons master and longtime mentor to princeling Paul (Timothee Chalamet). In the years since his breakout role as the nomadic warrior Khal Drogo on Game of Thrones, Jason Momoa has carved out a wonderful lane for himself as a kind of avuncular bruiser, a lovable lug whose heart will always be more powerful than his biceps.
Cruella may have been banished to the Disney+ annex, but Stone’s performance is built for the silver screen. It’s more than just beauty or affect, though Stone goes gaudy when a scene demands it and then downshifts so we can read the infinitesimal changes in her eyes during moments of vulnerability.
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Emma Stone seems to be taking the frame by force throughout Cruella, every bit a seasoned pro who knows exactly how to work the camera to her advantage. The whole goofy mess would border on unwatchable if not for its star, whose dramatic makeup and costume changes magnify an already-captivating screen presence. Gillespie directs the hell out of the picture, staging new and elaborate sequences to capture our attention just as we’re starting to ask too many questions about what’s happening plot-wise.
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It’s practically Art Direction: The Movie, a full-frontal orgy of vibrant design choices set to a truly irresponsible series of classic rock needle drops. Craig Gillespie’s Cruella is a lot of things, but it sure as hell isn’t lazy.
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