( "Don't Lose Your Head" is not the bop that either Catherine of Aragon or Anna of Cleves get, but I digress). For those of you who took British Lit in college OR have seen Six: The Musical recently, this is the first "beheaded" in the "divorced, beheaded, died, divorced, beheaded, survived" saga.
Thankfully, we’re here to give Andy the recognition that this year’s Oscars wouldn’t (the Academy couldn't come to their senses), by ranking all of his onscreen performances, from his niche early career TV spots to all his ass-out leading man moments.Ĭoming up dead last on this ranking is our horny Elizabethan drama about the incestuous love triangle of Anne Boleyn, her husband King Henry VIII, and her sister Mary Boleyn (the titular "other"). But I’m fully convinced that part of that respite will include recalibrating his plans to secure an EGOT after being passed over for so many awards this year. The actor recently told Variety that he would be taking some time off following his performance in Under the Banner of Heaven to “rest for a little bit” after the “washing machine” of awards season. There’s no way, especially post-Tony win, that Andy hasn’t allowed the possibility of procuring Emmy, Oscar, and Grammy Awards to cross his mind.
He kicked off his journey to EGOT status with a Tony Award for Angels in America back in 2018 , currently has two Best Actor nominations from the Academy Awards under his belt, the voice of a Grammy-worthy angel (as recently revealed in TTB) and now, a likely Emmy-bound limited series out. Boom! and an internet-dominating reprisal of his role as Peter Parker in Spider-Man: No Way Home, Garfield is back in the conversation yet again playing a doubtful Mormon detective in FX's Under the Banner of Heaven - his fourth recent performance in a deeply religious role, following Hacksaw Ridge, The Eyes of Tammy Faye, and Silence.īesides his great hair, impressive accent work, and reputation for serving ass - occasionally with a side of a crisis of faith - and then dying, our biggest takeaway from watching every single one of his performances is that this man will EGOT in his lifetime.
The only thing that looks reasonably professional are a couple of animated birds by German comic artist Rolf Koenig, but what they are doing here I'm at a loss to understand.Welcome, friends, fans, and chronically thirsty online folks to the Andrew Garfield renaissance! Following headline-grabbing performances in The Eyes of Tammy Faye and Tick, Tick.
I have no idea how Stephen Fry (whose phone call to France got some unintentional laughs) and Udo Kier let themselves be roped in. The two uncharismatic leads must have been purely cast for their abs, because the acting here is so embarrassingly bad, it would put a school play to shame. Everything is sign posted and spelt out in terrible dialog.
The main culprit here is the terrible screenplay, full of one dimensional gay stereotypes we have seen a billion times before. We get melodrama ( a death is foreshadowed by a clip of Sirk's Imitation of Life, just so we get it), garish flashbacks, a musical numbers, gross out humour, but all of it is done badly and nothing coheres into consistent tone.
Instead this sorry mess keeps aiming high only to fall short again and again. Why is the film set in Amsterdam when obviously nothing was shot there ? I'm all fine with low budget film-making but if there isn't any money, why not adjust the style of the film to the budget. The best I can say about the film is that is is professionally shot, but otherwise nothing here works. Unfortunately when a film is so ineptly conceived and made on every level, it ends up doing a disservice to the issues it raises and when it gets exposure in a prime spot at a major Gay and Lesbian film festival whose future is under thread, then it does a disservice to the future a gay film festivals as well. A comedy drama about the early years of AIDS set in a decadent Amsterdam cabaret/strip club. If good intentions were everything then this film would be great.