PG Cooper
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Post by PG Cooper on Jan 23, 2020 7:53:11 GMT -5
Still need to see.
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frankyt
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Post by frankyt on Jan 23, 2020 9:07:02 GMT -5
Honestly thought that would win best chase, the slow laborious run down was tense as shit. It's available on Hulu in the states at least.
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donny
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Post by donny on Jan 23, 2020 9:24:06 GMT -5
Intense movie for sure.
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Dracula
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Post by Dracula on Jan 23, 2020 18:28:27 GMT -5
Best Cameo
My criteria for this award has gone in a lot of directions over the years and over time to encompass both the traditional definition of “cameo” to something more akin to “best actor who’s only in a scene or two of a movie.” Generally speaking I’ll try to include a few nominees from both of those camps this year and I’ve even gone so far as to stretch it to include roles from two actors I straight-up hadn’t heard of before, one old and one young. Malcolm McDowell – Bombshell: Though we are privy to much of the Fox News hierarchy throughout Bombshell, we do not see the wizard behind the curtain until close to the end of the movie when Rupert Murdoch enters the movie at the eleventh hour and we see that he is played by none other than Alex DeLarge himself Malcolm McDowell. McDowell is not a dead-ringer for Murdoch but there is a certain resemblance and you kind of need someone who is largely known for screen villainy to really capture his essence. And as a fan of HBO’s “Succession” it was cool to see another boisterous British character actor take a stab at a role based on this dude. Usher – Hustlers: Of the nominees here this one is probably the closest to being a true cameo as it’s an actor playing himself and it’s getting more of a charge out of that stunt casting than it is out of an actual performance per se, but its an impactful casting choice just the same. The scene is essentially meant to be the last moment of the “good times” at this club before the 2008 financial crisis and depicts a “magical” evening when Usher comes into the strip club and starts making it rain while one of his songs plays. There is a certain sadness to all of this though, because there is something kind of pathetic about the highlight of someone’s life being something as mundane as being in the same building as a popular but not exactly legendary figure like Raymond Usher. Joan Gregson – It: Chapter 2: Joan Gregson is basically a nobody. The eighty six year old actress has about 77 credits to her name, mostly bit parts and television work, and yet she was allowed to dominate the screen for this highlight sequence in this blockbuster horror movie. Playing the role of “Mrs. Kersh,” a sweet old lady who is in fact a manifestation of the evil force Pennywise and this reveals itself over the course of her one scene with Jessica Chastain. Gregson finds the perfect way to be unsettling in the scene with these little pauses and slightly twisted line readings. The scene kind of goes to hell when Gregson is suddenly replaced by a ridiculous looking CGI monstrosity, but that probably just speaks to how good her performance was in the first place. Stephen Merchant – Jojo Rabbit: This has been a very good year for Stephen Merchant cameos as he also had a great small part in the movie Good Boys as well as this great scene which is something of a highlight in the otherwise over-rated Jojo Rabbit. In it Merchant plays a Gestapo agent who knocks on Jojo’s door and engages in a rather tense but humorous search of his house which involves several compulsory rounds of “heil Hitlers.” Merchant’s status as both a 6’ 7” giant and his status as a gawky nerd comedian go a long way to make this character seem both imposing and pathetic, which is the kind of balance the whole movie is going for with its Nazi characters. Julia Butters - Once Upon a Time in Hollywood: Julia Butters is a ten year old actress that Quentin Tarantino felt confident enough in to give a two scene role to that ends up being something of an emotional core to his latest movie. Butters is playing an actress on the set of a TV series that Rick Dalton is guest starring on and turns out to be a much more professional and articulate actor than Dalton despite being eight. Playing someone who is scripted to be a great actor is probably a lot of pressure but Butters really lights up the screen and completely holds her own opposite Leonardo Di Caprio. And the Golden Stake goes to…Once Upon a Time in Hollywood
I’ve stretched this category a lot over the years but this is the first time I’ve given it to a true unknown for simply having a knockout scene (the closest has been in 2008, when I gave it to Viola Davis, who was a seasoned actor at the time but not yet a familiar name to most people including myself). But having nominated her I don’t see how I can avoid giving this award to Butters, who manages to dominate a short section of a movie like no one else this year. Really young child actors like this don’t always go on to act for the rest of their lives, but if Butters wanted to I couldn’t imagine her having a better launching pad.
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IanTheCool
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Post by IanTheCool on Jan 23, 2020 18:37:21 GMT -5
Huh. I guess with your new definition of cameo, that works.
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Neverending
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Post by Neverending on Jan 23, 2020 18:41:10 GMT -5
Julia Butters had more screen time than Margot Robbie, Al Pacino, Kurt Russell, Zoe Bell, Bruce Dern, Dakota Fanning, Maya Hawke, what’s-his-face who played Speed Racer, Leo’s Italian Wife, the Manson Family and Steve McQueen.
Might as well given Best Cameo to fucking Bruce Lee.
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Dracula
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Post by Dracula on Jan 23, 2020 19:07:33 GMT -5
Julia Butters had more screen time than Margot Robbie, Al Pacino, Kurt Russell, Zoe Bell, Bruce Dern, Dakota Fanning, Maya Hawke, what’s-his-face who played Speed Racer, Leo’s Italian Wife, the Manson Family and Steve McQueen. Might as well given Best Cameo to fucking Bruce Lee. I did consider Mike Moh, and most of the rest of those actors would have had a shot had they not been upstaged by Butters.
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Dracula
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Post by Dracula on Jan 24, 2020 7:48:37 GMT -5
Best Supporting Actress
Pretty self-explanatory. Looking for the best actress who isn’t in the lead role. Kind of a weak field overall in this category and I wasn’t thrilled with a lot of the choices that have been winning awards in the category elsewhere but I found some choices I think were smart. Jennifer Lopez – Hustlers: Jennifer Lopez is someone whose career has largely been out of sight and out of mind for me in the last twenty years. I have minimal exposure to her music career and she literally hadn’t made a single movie I’d seen since the turn of the millennium until she came out of nowhere to star in the film Hustlers. Here she sets aside the glamourous image she’d been developing and channels “Jenny From the Block” persona again, this time to more convincing ends. I wouldn’t go so far as to say she seemed “real” but it was certainly fun to watch. Florence Pugh – Little Women: The character of Amy March is supposed to be twelve years old at the chronological start of Little Women and I don’t think the character has really been aged up to be played by twenty three year old Florence Pugh, but there is something to be said for the fact that the movie really manages to avoid making this too much of a problem and Pugh deserves definite credit for this as she really manages to tap into that childish energy in those scenes. Even more impressive is that you really see her mature in her scenes as an adult where she really brings out the layers of sadness in the character. Margaret Qualley - Once Upon a Time in Hollywood: It maybe says a lot about the power of celebrity that despite having such a small role in the film Margot Robbie has gotten a lot of awards buzz for her work in Once Upon a Time in Hollywood while the name “Margaret Qualley” almost never comes up. Qualley also has a small role as a hippie girl who goes by the name Pusseycat and is a fictional member of the Manson Family, but her scenes with Brad Pitt are incredibly charming. Her character just feels so full of life and you can see why Cliff would be seduced into what proves to be something of a trap. Cho Yeo-jeong – Parasite: There were several female supporting performances that I was impressed by in Parasite, but the one that seemed the most important and crucial was the performance that Cho Yeo-jeong gave as the ditzy matriarch of the rich family who set off the events of the film by hiring the Kims. I’m not very familiar with Cho’s previous work but she knocked it out of the park when given the difficult task of making her character seem dim in a way that was believable but also not completely condescending. If she hadn’t been up to that the whole film could have fallen apart. Taylor Russsell – Waves: Taylor Russsell’s placement in the supporting category is a little dubious as she is for all intents and purposes the lead character for half of the film, but it didn’t exactly make sense to place her in the lead category either. Whatever category she belongs in there’s little doubt that this twenty five year old actress does a great job in an emotionally tricky role. ( Spoiler) Like the entire family in the movie, Russell has to react to a big tragedy at the film’s midpoint and then spends that second half in a state of trauma and grief before slowly recovering. And the Golden Stake goes to…
Little Women
These five choices are pretty evenly matched to me and after I assembled them I didn’t have overly strong feelings about which one should win. Pugh might benefit a bit from the fact that I can so easily compare her work to what she did this year in Midsommar and she reportedly shot these two films back to back which must have been quite the emotional whiplash. She also has a lot of stuff to overcome here, her character has long been someone people love to hate or just hate and she needs to find the humanity in her.
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donny
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Post by donny on Jan 24, 2020 9:09:07 GMT -5
The right choice. The only choice.
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Doomsday
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Post by Doomsday on Jan 24, 2020 16:42:53 GMT -5
Hoping to finally watch that this weekend.
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Neverending
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Post by Neverending on Jan 24, 2020 16:44:36 GMT -5
Hoping to finally watch that this weekend. Little Women? You're late to the Florence Pugh train.
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Doomsday
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Post by Doomsday on Jan 24, 2020 16:55:52 GMT -5
I keep seeing her name thrown around and still have no idea who she is.
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Dracula
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Post by Dracula on Jan 24, 2020 17:01:09 GMT -5
I keep seeing her name thrown around and still have no idea who she is. Midsommar?
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Neverending
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Post by Neverending on Jan 24, 2020 17:29:57 GMT -5
I keep seeing her name thrown around and still have no idea who she is. You know WWE’s Paige? From PG Cooper’s favorite sex videos. She played her in the movie.
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Deexan
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Post by Deexan on Jan 24, 2020 17:57:03 GMT -5
I haven't seen Neverending this hot for a broad since Kirsten Dunst. I'm shook.
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Neverending
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Post by Neverending on Jan 24, 2020 18:00:51 GMT -5
I haven't seen Neverending this hot for a broad since Kirsten Dunst. I'm shook. Kirsten Dunst or Natalie Portman or Florence Pugh?
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Deexan
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Post by Deexan on Jan 24, 2020 18:02:58 GMT -5
I haven't seen Neverending this hot for a broad since Kirsten Dunst. I'm shook. Kirsten Dunst or Natalie Portman or Florence Pugh? Portman every time.
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PG Cooper
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Post by PG Cooper on Jan 24, 2020 18:03:51 GMT -5
Pugh definitely deserved her win here. Fantastic work.
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Dracula
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Post by Dracula on Jan 24, 2020 18:39:42 GMT -5
Spoilers for 1917 and Waves Best Supporting Actor
The concept of a supporting actor should be pretty clear, though I should probably point out that I’m being a little more strict about who qualifies than some awards bodies are. From where I sit, Brad Pitt, Anthony Hopkins, and Willem Dafoe are all co-leads rather than supporting actors and will be eligible in that category rather than this one. Dean-Charles Chapman – 1917: At the start of the film Dean-Charles Chapman seems like he’s going to be the film’s lead or at least its co-lead. You get that impression because he is established as the brother of someone who could potentially die if the mission doesn’t go as planned and also because he’s able to establish himself well in that first half as this young and slightly cocky soldier with a real determination to make this mission happen. Then in a blink of an eye he’s dying in George MacKay and you can really feel the pain and desperation as he’s bleeding out. Tracy Letts – Ford V. Ferrari: In this wacky award season where a whole bunch of lead performances are being passed off as supporting it’s been pretty rough on actors like Tracy Letts who truly are in supporting roles. In Ford V Ferrari Letts plays Henry Ford II in a way that makes him seem affable and intelligent without completely sugarcoating him. It would have easy to just make him a bit of a grump or to make him seem a bit dumb but instead Letts finds ways to give him interesting reactions to various ideas and to make it naturalistic when he gets annoyed at various points. Then of course there’s that scene where he’s given a ride in one of the racecars and reacts in quite the interesting way. Joe Pesci – The Irishman: Over the course of three previous movies that Joe Pesci made with Martin Scorsese he developed a sort of “out of control Italian loudmouth” persona and while he would bend that persona slightly here and there in his other work he would mostly stay in that lane. So it was a bit of a surprise to find that for this movie, one that be basically came out of retirement for, he’s kind of working against that persona and is instead playing a character who is very calm and collected. Even more surprising is that he very much still had “it” and managed to really knock it out of the park. Timothée Chalamet – Little Women: Laurie is a big enough role in Little Women that this placement of him as a supporting actor is a touch questionable but it’s enough of a gray area that I’ll allow it. I’m guessing that Chalamet’s casting was a bit of a no-brainer for Gerwig given that she’d worked with him before and given his status as a slightly effeminate heartthrob. However being appropriately cast is only part of the battle and Chalamet does a great job of portraying this slightly re-envisioned version of the character who is more of a child early on and more of a rascal later. Kelvin Harrison Jr. – Waves: Like his co-star Taylor Russsell it might be a bit dubious to place Kelvin Harrison Jr. in the supporting category because he certainly seems like the lead when the film begins but given that he’s gone for most of the second half it seems like the fair place to put him. Harrison is twenty five but he’s playing a rather troubled teenager here and he needs to be able to really capture that teenage angst in order to help explain some of the very teenage mistakes that the character makes over the course of the film. By late in the half in particular he really brings an intensity to his work. And the Golden Stake goes to…
The Irishman
When I first heard that Scorsese was going to be working with Joe Pesci once again my first thought was “stunt casting.” And to some extent there may be a shred of truth to that but Pesci sure rose to the occasion. Whenever Russell Bufalino shows up on screen he makes an impact and you can just feel his power he quietly exerts. But what really puts the performance over the top is how he’s able to age Bufalino and Pesci really manages to bring this guy low late in the film when he’s at his weakest.
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PG Cooper
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Post by PG Cooper on Jan 24, 2020 18:59:46 GMT -5
It's what it is.
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Dracula
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Post by Dracula on Jan 25, 2020 8:55:49 GMT -5
Best Actress
Award for best female actor, probably doesn’t take a whole lot of explanation. I will disclose that as of this writing I have not seen Clemency, Diane, Portrait of a Lady on Fire, Harriet, or Gloria Bell. Awkwafina – The Farewell: The Farewell is a film which suggests that Awkwafina is an actress who has perhaps outgrown her jokey bottled water inspired stage name. In the film she is given her first primarily dramatic role and has to play someone who is young and unsure of her place in the world and who’s dropped into something of a tricky family situation. Like a lot of the film’s cast she has to spend a lot of time visually withholding emotions, which is hard. It should also be noted that she spends a lot of the film acting in a language she does not speak natively. Elisabeth Moss – Her Smell: Playing a 1990s punk rocker named Becky Something, Elisabeth Moss pretty radically transforms herself from the television characters that made her famous. Where Peggy Olson and Offred are rebellious women forced into relative conformity, Becky Something isn’t conforming to shit, often to her detriment. The wild self-destruction on screen can be rather painful to watch at times but Moss does capture a certain something about the character that keeps you from completely hating her and you do root for her relative redemption at the end. Scarlett Johansson – Marriage Story: In award season discussions Scarlett Johansson’s work in Marriage Story has been somewhat overshadowed by Adam Driver’s work in the film and to some extent her own work in Jojo Rabbit but that’s probably a mistake because her work making Nicole a memorable and likable character despite having less screen time is pretty important to the film’s success. Her very presence in the film with the androgynous haircut and affect makes her pretty lovable from the beginning and when she’s finally in a shouting match with Driver you aren’t really sure who to root for. Florence Pugh – Midsommar: Ari Aster is quickly getting a reputation for making horror movies that put actresses through a bit of an emotional ringer and if Hereditary showed that he could get great work out of a veteran like Toni Collette Midsommar shows that he can also get great work from newcomers like Florence Pugh. In the film Pugh really needs to start from a place of extreme trauma and then spends the rest of the movie making a certain psychological numbness look interesting on screen. You then follow her along through this journey right up to that final shot where she says a lot without using any words. Lupita Nyong'o – Us: It is pretty wild that this role in Us is basically the first big starring role that Lupita Nyong’o has gotten since her Oscar winning turn in 12 Years a Slave. In the film she is playing a double role as both the mother of the film’s central family and her tethered equivalent Red. As Red Nyong’o needs to adopt a raspy voice and put on a sinister face but I think it’s really the more straightforward performance that really impresses as she’s playing someone who has been rather tortured from a young age and has come to really block out part of her past in interesting ways. And the Golden Stake goes to…UsThis was a pretty close match and I think a combination of degree of difficulty and novelty probably propelled it to the top. Unlike other situations where actors are forced to play double roles and try to make the two parts seem as different as possible, it’s the similarities here that make this particularly interesting. It’s also notable that she manages to be menacing in the Red role in a much different way than most horror villains are.
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PG Cooper
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Post by PG Cooper on Jan 25, 2020 9:38:47 GMT -5
I'm 100% on board with all of your acting choices ao far.
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Dracula
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Post by Dracula on Jan 25, 2020 17:27:10 GMT -5
Best Actor
It should be known that the Best Actor award this year is an absolute bloodbath and no one should feel bad if they didn’t make the cut. Cutting Adam Sandler and Joaquin Phoenix off of this thing was painful but there were a handful of other actors that easily could have been here in a weaker year. Brad Pitt – Ad Astra: Ad Astra is in many ways a movie that sets out to deconstruct the hero archetype and to do that James Gray cast an A-list star and at the start of the hero essentially makes him everything you theoretically want from an action movie protagonist. He’s a tough but disciplined guy who’s calm under pressure and knows how handle himself in tough situations. But as the movie goes on you start to realize the toll that being like that has taken on him and when he realizes what it’s done to his father he starts to rethink everything and really comes to an epiphany at the end. Robert De Niro – The Irishman: Robert De Niro was reportedly the one who first discovered the “I Heard You Paint Houses” book and brought it Martin Scorsese. In a lot of ways this feels like the role he’s been building toward for most of his career. De Niro has of course played gangsters several times in the past but Frank Sheeran is different in a number of ways. He’s more of a foot soldier than his characters in Goodfellas and Casino but not as wild than his character from Mean Streets. Early on it isn’t necessarily the most challenging thing he’s ever done but when things get emotional towards the end he does rise to the occasion and I also think there’s something to be said for how he handles the voice over. Willem Dafoe – The Lighthouse: In The Lighthouse Willem Dafoe plays a crusty former sailor who now works at a lighthouse and is slowly driving his fellow lighthouse keeper insane. For the whole movie Dafoe needs to speak with this heavily exaggerated accent that’s one part New England and one part fucking pirate. One is tempted to compare him to the sea captain from The Simpsons and there’s even a line in the film that says he’s like a parody and yet Dafoe manages to keep things just on the right side from too over the top. He also deserves some special kudos for managing to memorize and deliver some of the speeches that Eggers writes for him because they are quite elaborate. Adam Driver – Marriage Story: It took me a while to really see the appeal of Adam Driver and in some ways I’m still not his biggest fan but there’s little doubt that he delivers some of his very strongest work in Noah Baumbach’s Marriage Story. Here Driver has the rather challenging job of portraying a guy who is rather flawed but flawed in subtle ways that aren’t immediately apparent and to portray him in a way that the audience generally sympathizes with the whole time. There’s a real range of emotions he needs to hit from screwball comedy to seething rage and he even has to show off a singing voice for one scene. Leonardo DiCaprio - Once Upon a Time in Hollywood: I think Quentin Tarantino knows something about Leonardo DiCaprio that we don’t. When I think of DiCaprio I think of a millionaire playboy who lives a life of infinite joy and luxury but Tarantino seems to have tapped into some vain of insecurity in him because he’s discovered that the real way to tap into the guy is to cast him in roles where he’s wildly insecure beneath the thinnest of demeanors. For Once Upon a Time in Hollywood Tarantino makes him a nervous wreck of a man who is both funny and sympathetic. And the Golden Stake goes to…Once Upon a Time in Hollywood
This was a tough choice between five fairly evenly matched performances and I think I ultimately went with the one that I had the hardest time imagining any other actor pulling off. Di Caprio’s status as what is in many ways the last remaining movie star with “drawing power” adds a certain meta element to this story of an actor who thinks he’s past his prime but Di Caprio is perfectly positioned to both seem believable as a pretty face for television and an alcoholic sad sack who’s having a bit of a breakdown. Then there’s the fact that Tarantino is once again having one of his characters deliver a performance within a performance in the TV shoot scenes which are probably a lot harder to do than they look.
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PhantomKnight
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Post by PhantomKnight on Jan 25, 2020 17:44:42 GMT -5
You can easily swap out Pitt and DiCaprio in this category for Phoenix and Sandler.
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Deexan
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Post by Deexan on Jan 25, 2020 18:04:39 GMT -5
You can easily swap out Pitt and DiCaprio in this category for Phoenix and Sandler. Pitt's performance looks like child's play next to Joaquin's.
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