Roman Coleman, the career-defining role that journeyman Matthias Schoenaerts (Rust and Bone, The Drop) has been waiting for, does not disappoint. Finally, the 42-year-old actor who you’ve seen in the background here and there and everywhere gets his opportunity to truly lead a movie. As the hardened felon-turned-horse trainer, anything can happen to anyone given the right circumstances, The Mustang, a brilliantly directed movie from first-time director Laure de Clermont-Tonnerre. Roman seems to have just one desire to serve his time as quickly and with as little human interaction as possible, nearly unrecognizable with his shaved head, chiseled and tattooed body. But his problem with the latter leads to a longer than expected stay, and the explosive anger he possesses to go with that machine of a body suggests that he might not be going anywhere anytime soon.
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Category Archives: Matthias Schoenaerts
Red Sparrow (2018)
Lots to unwrap with Francis Lawrence’s (The Hunger Games: Catching Fire, I Am Legend) ambitious spy thriller Red Sparrow, a 2018 early summer release that flew, mostly, under the radar domestically ($46 million) but excelled internationally ($150 million). Jennifer Lawrence (Silver Linings Playbook, American Hustle) is, as of 2018, probably the actress who can command the most money per movie. If not number one, she’s pretty darn close. But, obviously, that doesn’t mean that every movie she does will earn her an Oscar nomination or earn $100 million. And she’s not exactly choosy. Since bursting onto the scene with 2010’s Winter’s Bone, the first of her four Oscar nominations and one of the best breakout performances in the last 25 years, Lawrence has gone on to star in more than 15 movies before the release of Red Sparrow. And while she can excel at portraying various characters, a Russian spy will not go down as one of her Top 10 performances of all time. It’s not that she was bad as Dominika Egorova, a Russian ballet dancer who is more or less forced into the life of being an undercover operative after a terrible leg injury ruins her dancing career and leaves her needing money to pay for her mother’s medical expenses.
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The Danish Girl (2015)
The closer that each of my reviews is to awards season, the more unconventional they become. For the past four or five years, I’ve tried to see absolutely everything I can. If a movie gets nominated in one of the big six awards, I will see it regardless of how I feel about it. Sometimes this can be a painful experience, but it’s part of what I’m trying to do. So before I get into my review of The Danish Girl, I want to talk about the Best Actor Academy Award nomination category. In a year where the male lead performances have been far below the caliber that they have been in recent years, the battle for Best Actor comes down to two people. These include Eddie Redmayne (The Theory of Everything, My Week With Marilyn) for this movie and Leonardo DiCaprio for The Revenant. When Matt Damon (The Martian) or Michael Fassbender (Steve Jobs) are the next guys in line behind these two, you know it’s a two-dog race. I am a massive fan of both Damon and Fassbender, but they each have at least three movies in their filmography in which they delivered better performances than the ones they gave this year.
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The Drop (2014)
In my review of Enough Said, I write that the performance of Albert by James Gandolfini was the perfect role for his final movie. Albert was such a likable character in that movie. There were no hidden agendas. The man had some flaws, but those flaws weren’t any worse than the flaws you or I have. I wrote that review when I believed Enough Said was Gandolfini’s final movie before he passed away. I still love his role in this movie, but I’m so glad there was still a movie in post-production that I did not know about. The Drop was a fantastic final film for him, and it could earn him a posthumous Best Supporting Actor Academy Award nomination. In this film, Gandolfini returns to what he is most known for as an actor. He’s a little shady, and there always seems to be more about him than meets the eye. With that sly smile of his eyes, his under-the-breath chuckle, and his ability to say something to one person that is so very endearing one minute, but something to another character that is so brutally honest that it makes the person who is speaking feel stupid the next, Gandolfini is a master of disguising his characters and their intentions. He may have turned in the best big screen performance of his career with his final one.
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