The Halftime Report for 2019 in Films continues with the boys and girls that have graced our screens (big or small), and left a lasting impression. We saw the Scenes yesterday, now here’s the Performances.
Once again selected by an enthusiastic bunch of film nerds. Yes, I too am scattered about these next four pages. So please go have a look over the 30 performances we thought deserved a mention. I’m sure you can all think of 30 different ones, well feel free to let us know in the comments. In the meantime – Action!
Kaitlyn Dever – Booksmart
Perhaps known for an unforgettable turn in Short Term 12, actress Kaitlyn Dever appears to have found a role match made in heaven with Beanie Feldstein. The two play Amy and Molly, respectively, girls with brains, about to graduate – and let their hair down. Dever seems perfect as such a booksmart soul, from her opening jig, to that impromptu karaoke. Amy fights her insecurities and inhibitions with reason and a kind of emotional safety buffer. The blatant anxieties on the actress’ face are as affecting as her smart wit.
Less cynical than her friend, for sure, and far more pensive. Amy is eager to explore her sexuality, pining for the skater girl. And those nervy interactions with her build a gradual courage. Though, the pool scene hits a heart-bumping wake-up call, followed by the revelatory argument with Molly. Soaking wet, emotionally exposed, utterly vulnerable, Dever makes us want to immediately wrap Amy in cotton wool. — Robin @Filmotomy
Tom Burke – The Souvenir
I’m still not sure how much I liked The Souvenir, but I undoubtedly loved Tom Burke’s performance as Julie’s (Honor Swinton Byrne) boyfriend, Anthony. When Julie first meets his character, Burke perfectly plays him as he portrays his interest in the young filmmaker and his confidence with revealing mannerisms and facial expressions. Which brilliantly tells the audience who Anthony is. These aspects of his performance are present throughout the whole film, as Burke always uses them to show Anthony’s development as a character.
Even when he isn’t describing how he feels, it is always clear because of how he speaks and how his facial expressions tell it. Whether it be while he’s falling deeper in love or when he sees Julie suffering. But all of this is best seen towards the end of the film, as his harmful and selfish decisions affect him and those around him. We see the sadness caused by it, that he tries to keep from his girlfriend, weakening him more – his once confident attitude now gone in favor of an uncertain one. In short, Tom Burke gives what is easily one of the best performances of the year so far, with his take on a man crippled by guilt and self-indulgence. — Aidan @dual_screen
Josh Brolin – Avengers: Endgame
“I am inevitable.” These three words sum up the layers of Josh Brolin’s second (and final?) feature-length turn as Thanos, the Mad Titan who wiped out half of all living things across the universe. And now wants to make sure the Avengers can’t undo the damage, courtesy of time travel shenanigans. The first time we hear that phrase, it’s uttered by a stoic, world-weary warrior who is ready to die, having accomplished his mission at great personal cost.
The second time, it’s a younger, time-displaced, pre-Infinity War Thanos who says it. He leaves all philosophical musings behind, driven by a selfish, petty desire to annihilate our planet. After painting a somewhat sympathetic picture in 2018, Brolin gleefully annihilates it this time around, making Thanos overtly, deliciously evil and adding further excitement to the moment everyone – as in, everyone – shows up to make him wish he’d stayed in his chair. — Max @IMDBorg
Brie Larson – Captain Marvel
Whereas most superhero performances are bigger and showier, Brie Larson’s performance in the titular role of Captain Marvel is refreshingly naturalistic and subdued. Having to portray Carol’s inner conflicts and struggles of wanting to flourish and emote despite being held back by the Kree, akin to an emotionally confused child trying to feel, is incredibly more complicated than your average superhero role. And Larson does so perfectly, while also bringing natural charisma and a dry sense of humor to Carol Danvers.
It’s a performance very much in the same league as her performances in Room (for which Larson won an incredibly deserved Oscar) and Short Term 12, and as great of a performance as we’ll ever see in a Marvel production. I say with zero hesitation that this is the by far the best MCU casting since Robert Downey Jr. as Tony Stark. — Simon @MOVIEFAN99_
Will Smith – Aladdin
Like many fans of the House of Mouse’s classic animated 1992 feature, I thought Will Smith playing a character the late great Robin Williams voiced spectacularly the first time around would be a colossal misfire. And another role that be on par with the actor’s turns in turds like After Earth and Suicide Squad. Imagine my surprise that the Guy Richie-led remake is not only the most vibrant and enjoyable of the studio’s attempt to remake every last animated classic into live-action form, but Will Smith’s portrayal of the wise-cracking mystical figure is his best performance in years.
The actor wisely avoids mimicking what Williams brought to the part and instead brings his natural charm, charisma and star persona that made him a household name. Watching him perform “Friend like Me” feels like he’s back in his “Fresh Prince of Bell Air” days, where he’s playing it fast and loose with the material, and it’s a blast to watch that Will Smith return here in this musical fantasy. — Jonathan @MisterBrown_23
Greider Meza – Birds of Passage
Virtually unknown young actor Greider Meza (his only IMDb credit is this film), portrays a slowly corrupted son and nephew in the Columbian masterpiece Pájaros de verano (Birds of Passage) from directors Cristina Gallego and Ciro Guerra. The latter of whom directed the universally acclaimed Embrace of the Serpent (2015). This is a striking example of the fact that Hollywood’s overused roster of acting talent all too often overshadows the vast diversity of incredibly gifted thespians around the world. Meza’s Leonídas, whose mother Úrsula (Carmiña Martínez), an indigenous Columbian woman who reluctantly allows her daughter Zaida to marry Rapayet, who, along with the matriarch’s cooperation, slowly destroys her family through the perils of trafficking marijuana.
Leonídas’s sense of morality and respect of tradition instilled by his formerly spiritual mother is eroded to the point of perpetual anger, and the insanity of want of total control. One terrifying scene that exemplifies Leonidas’s descent into pure evil is when he bribes a greedy man with a vast sum of money… only if he consumes dog excrement in full view of several people. The man, voluntarily divested of his self-worth, pathetically runs away with the cash, as Leonidas is sickeningly satisfied. — Jasmine May
Samuel L. Jackson – Glass
We are introduced to Elijah Price as a near comatose patient in a mental asylum. He doesn’t say a word, and if not for the occasional facial tick, you would think Price was braindead. Jackson perfectly times his ticks and utilizes his haunting stare to make Price interesting without saying a word. But it’s when Jackson begins speaking and becomes Mister Glass, over an hour into the film, where his performance really takes off.
Though Jackson is known as one of our more boisterous actors, his performance here is one of methodical restraint, carrying the last half of the film as he plays an evil genius executing his plan to perfection. Watching Mister Glass work is like watching poetry in motion and Jackson does it with confidence and ease. This is one of the best performances of Jackson’s career, that elevates Glass to one of the year’s best films. — Kevin @kevflix
Page Two > > >
Zain Al Rafeea – Capernaum
In the Lebanese film, Capernaum, we get not one, but two dazzling performances from children. Well, given many of the supporting players are also younglings, there’s praise to be had all round. Nadine Labaki’s poverty-riddled landscape, which scooped the Jury Prize at the Cannes Film Festival, is very much about children. Children forced to be strong in a world where they have very little.
At the center, is 12 year-old Zain, played by namesake Zain Al Rafeea. Who finds himself launched into the big bad world, to fend for himself, when his dear sister Sahar is sent away. The young actor is astonishing. Covered in grime, but also haunted by his unpriveliged life, Zain finds immeasurable courage to take a new path. His rapport with the one-year-old Boluwatife Treasure Bankoler, too, is a fascinating experience in the midst of turmoil. — Robin @Filmotomy
Jim Cummings – Thunder Road
Jim Cummings’ performance in his film Thunder Road is one of the most tender, tragic and heartfelt performances we’ve witnessed on the big screen in years. His character, officer Jim Arnaud, is close to a breakdown at the beginning of the film following the death of his mother, and his marriage has just ended too.
The film begins with a tragi-comic funeral scene, where Jim performs a dance number in honour of his late mother. The scene is proof of Cummings’ dramatic and comedic skills; his performance throughout the film tip-toes on the line of being too over the top and finding just the right amount of pathos. Cummings is at times like a child who isn’t afraid to stay inside the lines when drawing, pushing the limits of empathy we can reserve for such a flawed character. It’s a remarkable physical and emotionally layered performance from Cummings. — Maria @marialattila
Noah Galvin and Austin Crute – Booksmart
Noah Galvin and Austin Crute stole the show as George and Alan in Olivia Wilde’s directorial debut, Booksmart. The two create some of the most memorable moments amidst an already bubbling concoction of brilliance. From their first introduction in homeroom all the way to the end they are a complete delight to watch and not a single moment shared between the two is dull.
Their dedication to embodying their quirks so fully was inspiring. Perhaps one of the highlights of the whole film is their murder mystery party where Crute introduces himself as a widow who only knows “sorrow and grief” to which Galvin brings him down in dismay; “you’re at a ten and I need you at a two”. Watching the two of them go head to head to enhance one another’s impeccable comedic timing is one of the many great joys Booksmart has to offer. — Billie Melissa @billiemelissa_
Jharrel Jerome – When They See Us
If there is one thing that I look for when it comes to performances, it’s a complete transformation. Jharrel Jerome’s portrayal of wrongfully convicted teen, Korey Wise, is an excellent example of what a performance truly should be. Jerome becomes Wise, adopting his various speech patterns and mannerisms in order to perfectly achieve a raw, emotional, and stunning portrayal. Jerome’s reaction to being found guilty, despite his promised innocence after being coerced by authorities, is enough to bring tears to any viewer’s eyes.
Wise spent 12 years in various adult prisons and those 12 years are seen through Jerome’s range as he maintains the emotional beats and rawness of his performance from age 16 to age 28. This performance proves Jerome is one to watch; if this is his breakthrough, I can only imagine what is next in store for him. — Jasper @BaumannJasper
Jack Lowden – Fighting With My Family
Fighting With My Family is a strong showcase for Florence Pugh as WWE wrestler Paige. However, between both actors, Jack Lowden has the more devastating arc as Paige’s brother, Zak. Once Zak is denied a chance to join the WWE, he goes on a slow breakdown and Lowden presents him with a rather brittle vulnerability. While Zak is happy for what his sister has achieved, he still feels crushed seeing her accomplish the dreams he always wanted.
Even as Zak becomes more hostile to those around him, one can still sympathize with his self-loathing. In the hands of a less capable actor, Zak might’ve been portrayed as a cynical martyr but Lowden still gives him necessary three-dimensionality by making him a walking contradiction. After having more miniscule roles in Dunkirk and Mary Queen of Scots, Lowden has been given an expansive role for him to really sink his teeth into. — Matthew @filmguy619
Andrew Garfield – Under The Silver Lake
In Under The Silver Lake, Garfield displays a range of complex emotions with precision and seamlessness. From sheepish and stoned, to crazed focus, he tackles a character we would otherwise feel nothing for- and makes him relatable. The subtleties in his performance are everything, it’s clear he gave every word of the script appropriate contemplation. Even his accent is flawless. Watching this odd character dive down such a dark and mysterious rabbit hole is only made all the more satisfying by the clear arch defined in Andrew’s performance.
People will talk about this movie for a long time, and even now are picking it apart. This relies heavily on the lead. Every scene of the movie becomes different when you realize our main characters point of view and how the events taking place affect him. A film like this can only work with a truly fantastic actor taking the lead. — Gary @garysreview
Veronica Ngô – Furie
Though heralded for its laudable fight choreography in the thick of a familiar story, Furie ultimately succeeds because of Veronica Ngô. Whether she’s gra ppling tangible enemies or her own inner demons, Ngô seizes the audience’s attention in every scene. One second she’s pummeling the bad guys, the next she’s pleading for help in finding the one good thing she’s ever made. This kind of emotional journey is what lacks in other rescue op actioners of today.
Those films fail to convey the message that brutality and emotion aren’t mutually exclusive. In addition, Ngô’s dexterous and vulnerable performance never felt more stirring than when her character was confronted by her troubled past. That translation of pain felt by most anyone who’s never lived up to familial expectations is deserving of praise. Veronica Ngô could be the next big, international action star, but her prowess for drama should not be taken lightly. — Paul @AFinalBoy
Page Three > > >
Jessica Rothe – Happy Death Day 2 U
Surprisingly great for a horror-comedy slasher sequel flick, Happy Death Day 2 U hits home for me thanks to Jessica Rothe’s second bravado performance as Tree Gelbman. Although the film is a twisty, sharply edited rapid-firing comedy machine, it is surprisingly the moments with Rothe and Missy Yager as Tree’s mother that to me are the most effective moments. Rothe, who is hilarious in these films, taps wonderfully into her dramatic side as she portrays Tree’s attempts to grapple with the difficult and tempting choice of remaining in the alternate universe where her mother is still alive, as opposed to returning home to her Carter in her universe.
For those of us such as myself who have wanted just another day with a lost loved one, this remains the most effective trick of the sequel. As Tree said her emotional final goodbye to her mom, it personally helped me along a little more with the years-long process of saying goodbye to my brother. That goodbye is very much like my own imagined “last day” in my head, and Rothe plays it perfectly. Thank you, Jessica, for helping me heal just a little more. And bravo. — James @jkchart
Adam Driver and Bill Murray – The Dead Don’t Die
That both Adam Driver and Bill Murray are amazingly talented actors, we already knew but the fact that they become even more superb when you put them together in the same movie, that we got to know thanks to marvelous The Dead Don’t Die from director Jim Jarmusch. Right from the very start, it becomes clear that the chemistry between Driver and Murray is the key element that will carry the film (alongside the great performance from Tilda Swinton).
Driver as the headstrong, skillful and ruthless officer who’s clearly convinced that the end is near and Murray as the heated, stubborn but also compassionate Robertson. From that extremely witty car scene to the dinner scene and don’t get us started on that graveyard scene. The chemistry becomes even better when director Jarmusch and his way of working are being criticized in a funny way. — Liselotte @liselotte_V
Juli Jakab – Sunset
Just like with the brilliantly subtle Géza Röhrig in Son of Saul, director László Nemes loves you to be right up close and personal with his protagonists. In his latest venture, the often exquisite, melancholy Sunset, it is even more the case with his main character, Írisz Leiter. in its well over two hour running time, as the audience, we spend so much time hovering over Írisz’s shoulder with the back of her neck for company.
Juli Jakab, who appeared in Son of Saul, still had to go through the intensive audition process, which spanned ten months. And that system paid off, as Jakab embodies the illustrious, mysterious, sometimes clueless, Írisz immaculately. There’s seldom any dialogue, the atmosphere is claustrophobic, and the beautiful Jakab has to illicit all manner of muted emotions. Mainly through her vivid face, fixed like a dagger, hardly a whimper of joy or relief to be seen. Marvelous. — Robin @Filmotomy
Beanie Feldstein – Booksmart
Booksmart is at the top of my 2019 movie list right now, and it will most likely remain in my top 5. Specifically because of Amy and Molly, and their relationship. They hype each other up, make sure each other is ok. Kaitlyn and Beanie have some awesome chemistry together, I hope to see them make more movies together.
Their relationship reaches a cataclysmic halt in the movie, in a scene that is wonderfully shot, where they both call out the other’s flaws, but end up better for it. Molly is probably my favorite character of the two, though Amy spoke to me a little more. Beanie just plays her so beautifully well, capturing the essence of a girl trying to “Save” her high school experience. “Just one more thing. One more” until she loses her best friend. She experiences so much growth, it was just perfect to me. — Katie @kgilstrap13
Taron Egerton – Rocketman
A huge aspect of why I love Taron Egerton as Elton John is due to the fact that I can hardly separate the two in my brain. Taron completely disappeared into the role. He brings a side to Elton John that I don’t think many actors could have. The quick switch of emotions while getting ready to be on stage, it adds to his belief that nobody will truly love the “true Elton John.”
Seeing him have to change himself when he goes on stage is what makes it feel less like you’re watching a performance and more like you’re seeing a real person with pain and struggles. The moment that truly shows this pain is where Elton has to go on stage, right after a fight, as he walks on stage he instantly puts on a smile and goes off to the stage, I can’t stop thinking about it. — Jeff @FantasticMrJeff
Lupita Nyong’o – Us
Oscar winner and two-time BAFTA-nominated actress Lupita Nyong’o is already well-established as one of the cinematic world’s most vibrant talents. In writer/director Jordan Peele’s Us, a follow-up to Get Out (2017), his critically acclaimed and Oscar-winning treatise on American racism, Nyong’o excels beyond many A-list talents of the present, opening a realm of character habituation that is rarely demonstrated today. Her dual role as loving mother and wife Adelaide Wilson, and her wrathful, primitive Tethered counterpart Red is a masterclass in acting for the screen. Lupita’s characters do not simply enmesh themselves in their settings to make for a fine performance; instead, they bring a vivid surrealism to settings and scenes that would almost be derivative of the horror and thriller genres without Adelaide and Red.
Perhaps Ms. Nyong’o’s identity, holding citizenships in both Kenya and her native Mexico, and who graduated from American universities gives her a unique perspective on American society and culture as both insider and outsider. This double duality as Kenyan/Mexican and American immigrant certainly is an asset in studying human behaviors. Regardless, Lupita is a frontrunner for all of the Best Actress trophies come awards season. — Jasmine May
Ray Romano – Paddleton
A mix of humor and heartbreak, Paddleton gives us two unlikely friends, Andy and Michael, willing to do what it takes to help one another, even when you don’t want to. Ray Romano, as Andy, is fantastic throughout this dra-medy, honing in on a man who is in an arrested state of youth. When he’s not working, he’s eating sandwiches, watching martial arts movies and playing a made-up game with his neighbor/best friend.
When Michael is diagnosed with an incurable cancer, Andy is forced to reckon with Michael’s choice of going out on his own terms and losing the only connective tissue he has to a normal, albeit bland, life. Most awards guilds will overlook this Netflix film, and Romano may not get recognition for this performance but his acting in the final act, alongside Mark Duplass, is one of the toughest, most emotional scenes you’ll see this year. — Rodrigo @alwayscriticpod
Page Four > > >
Samal Yeslyamova – Ayka
As soon as the social realist film begins, you are asked in no certain terms to distribute your sympathies accordingly. That is, the first scene of Ayka, from writer-director Sergey Dvortsevoy, has a young woman get up in hospital and abandon her newborn baby. The grim circumstances that can face the poverty-stricken migrants of Moscow, make this horrid act much more relatable than me using mere words. Especially so given the incredibly nuanced, blood, sweat and tears performance from Samal Yeslyamova, who won the Best Actress prize at Cannes.
As she makes her escape into the devouring snow outside, Yeslyamova sticks to the camera like glue. A volatile creature, who wins us over amidst the turmoil. She bleeds, she lactates, she trods through the bitterly cold blizzard, as the people around her are cruelly indifferent, juxtaposing the social injustice they all might face. Yeslyamova exudes a desperate longing from every pore, demonstrating a true sense of how natural motherhood could really be – or not. — Robin @Filmotomy
Tilda Swinton – The Souvenir
Tilda Swinton is known for playing big, out-of-this-world characters, but that isn’t the case in Joanna Hogg’s coming-of-age drama The Souvenir. Swinton plays Rosalind, the sophisticated, loving mother of Julie (Swinton’s real-life daughter Honor Swinton Byrne) who helps her daughter financially and supports her art and relationship with the troubled Anthony (Tom Burke). It’s a quiet performance, but Swinton stands out, playing Rosalind with tenderness and class.
Swinton’s key scene comes towards the end of the film, as Rosalind informs Julie about the whereabouts of a missing Anthony. With two words and a look, Swinton tells us everything Rosalind is feeling. All the sadness, worry, and shock run across Swinton’s eyes and delivery and we feel every bit of it. It Is yet another sensational, committed performance from one of the best actresses working today. — Kevin @kevflix
Zac Efron – Extremely Wicked, Shockingly Evil and Vile
Pretty boys can have a tough time of it in Hollywood. A recognizable face will get you far in life, but it tends to weigh you down, leading to a string of box office hits, but very little credibility. Which is why Zac Efron, who began in Disney’s High School Musical series (perhaps the most wholesome product to be ejected from that corporations thought glands in the last 20 years), is probably not the first person you would think of to play one of America’s most notorious serial killers, Ted Bundy, in Extremely Wicked, Shockingly Evil and Vile.
The film focuses, for the most part, on Bundy’s court case, and these scenes (which were televised in real life) are re-enacted with great precision. Efron never misses a beat, capturing Bundy’s remarkable self-confidence (those sly, sweet smiles he would give to the TV cameras, or his enthusiasm when stepping up to be his own defence attorney.) The film garnered criticism for being insensitive to the victims. Indeed, they are an after thought (just as they most probably were to Bundy), and the film’s focus is on him, and to a lesser extent his one-time girlfriend Elizabeth Kendall, played by Lily Collins.
Indeed, all the cast work well here, but the film belongs to Efron, sublime in the part, portraying Ted as if he was the star of his own romantic drama (a fantasy not a million miles away from how Bundy probably considered himself anyway). Playing on his good looks, he never once reveals the monster that lurked within the man, which was one of the many facets of Bundy that made him so fascinating. Nobody ever suspected that this sweet young man had it in him. Appropriate, really, as the same could be said about Efron. Make no mistake, this is one of the best performances of the year. — Chris @thechriswatt
Robert Downey Jr. – Avengers: Endgame
Avengers: Endgame is on its way to being the highest grossing movie of all time. All actors gave great performances, with the greatest from the godfather of the MCU, Iron Man himself, Robert Downey Jr. Not only was Downey’s performance one of his best in the MCU, but it could potentially earn him an Oscar nomination. It is uncommon for the Academy to award superhero acting performances, but they occasionally award a body of work. With Downey’s previous nominations for Chaplin and Tropic Thunder, plus his decorated MCU filmography, do not be surprised if he gets nominated for Endgame next year.
Downey easily embodied Tony Stark throughout the years of the MCU movies and delivers consistently good performances. However, his performance in Endgame was on another level, every scene he was in was spectacular, no matter his reunion with Pepper at the start or Peter Parker at the end, his relationship with Morgan Stark, or in the end when he sacrificed himself for the world and uttered the famous words “I am Iron Man” that kicked off the MCU. These scenes were powerful, heartwarming and heartbreaking, with Downey’s subtle but brilliant portrayal elevating them. — Justin @captainvidicjc
Elisabeth Moss – Her Smell
In Alex Ross Perry’s criminally underrated Her Smell, Moss plays Becky Something, lead singer of a ’90s Riot Grrrl band reuniting for a US tour. But damaged Becky is wracked by mental illness and chronic addiction. A whirlwind of grievance, fury and violence, she turns making everyone’s life a misery into an artform, as she spits poison at her band mates, young protegees and estranged husband (Dan Stevens).
At times, it’s like a weird version of The Exorcist, with Courtney Love in Pazuzu’s thrall rather than Regan MacNeil. Despite her relentless awfulness, though, you pity Becky and wonder what on earth has happened to turn her so toxic. It is an ugly, excoriating and genuinely upsetting performance from Moss, her puffy, tear-stained face contorted in a permanent snarl, as she careers from one unhinged backstage confrontation to another. Rarely has living the rock ’n’ roll life seemed so unbearably sad. — Andrew @andywinter1
Mel Gibson – Dragged Across Concrete
In S. Craig Zahler’s grueling and ambitious Dragged Across Concrete, Mel Gibson stars as Brett Ridgeman, an overzealous cop who feels chewed up and spat out by the system. Following an occurrence of police brutality that leads to suspension, Ridgeman plots out a robbery with his younger partner in order to, “acquire proper compensation.”
Gibson manages a red hot simmer for this entire film, conscious of how close he could get to a boil. Ridgeman is the kind of cop who we see lauded on Fox News, refusing to acquiesce to the sensitivity that has emerged in society. By embracing his own problematic public image, Gibson’s Ridgeman is a complex anti-hero who’s simultaneously vile and sympathetic. It’s the exact inverse of the role that made Gibson a star – Martin Riggs in 1987’s Lethal Weapon – and the perfect bookend to a jagged career. — Michael @MykeMurfee
Florence Pugh – Fighting With My Family
The bright, shining star that is Florence Pugh, pretty much walked through Lady Macbeth without hardly moving a muscle and crowned herself the Queen of England. Right now, she is swamped with acting praise for her role in Ari Aster’s Midsommar.
In one of the year’s best comedies, Pugh, whose face devours the screen, manages to still meek herself down to play, and sound like, a proper Norwich gal with a big dream. Based on the real events that would launch Paige into the WWE, the actress shows fire, sensitivity, passion, pain – much of what you need I suspect to even make it to the professional wrestling try-outs. From a small, exuberant family of wrestlers, Paige is certainly a fighter, and a loyal ambassador of the family unit (long before she actually names herself Paige).
Pugh does conflicted and enthused and bemused and star-struck at a heartbeat, through the most natural of facial gesture or a look of those eyes. Writer and director, Stephen Merchant, clearly offers the kind of awkward comedy revitalised by his work with Ricky Gervais (Jack Lowden sounds just like Gareth from The Office at times). And Pugh is up to that for sure. She can be funny during cringey moments, just as much as she can spew out catchy insults and witty comebacks. And the heart of an ordinary girl with extraordinary ambition, my God she has that too. — Robin @Filmotomy