Oscar Talk: Supporting Players

You sort of want to expect an upset to occur in some acting category, but you also don’t to circulate ridiculous predictions.

SUPPORTING ACTOR

 In all honesty, I’d love for some upset to happen in the supporting actor category (granted that upset comes in the form of Mark Ruffalo). Not because I don’t think Bale is fine, but I’m on Ruffalo’s side all the way. In fact, I wouldn’t mind an upset for Rush either, he and Bale go toe to toe for me.

NOMINEES: Christian Bale in The Fighter / John Hawkes in Winter’s Bone / Jeremy Renner in The Town / Mark Ruffalo in The Kids Are All Right / Geoffrey Rush in The King’s Speech Prediction: Christian Bale Alternate: Geoffrey Rush

I don’t see Bale losing this, though. Were there an upset, you’d sort of expect it to be Rush if only because he has the most likeable character of the five, and there’s nothing like goodwill behind a film. Add that to the fact that he was instrumental in bringing The King’s Speech to fruition and you have to anticipate some love...but I don’t see the upset happening here.

SUPPORTING ACTRESS

I can’t be too certain that this is where the upset is happening either. That being said, though, I think any of four persons could take this prize and I wouldn’t be surprised. There’s a bit of irony that the best performance of the lot (i.e. Ms. Weaver) has 0 chance of winning, and more and more persons seem to have an inkling that the least of the five (i.e. Steinfeld) could take the prize. It’s not that I think she’s awful, she’s more than serviceable – but I still find her nomination – in any category – somewhat vexing. I digress, though.

NOMINEES: Amy Adams in The Fighter / Helena Bonham Carter in The King’s Speech / Melissa Leo in The Fighter / Hailee Steinfeld in True Grit / Jacki Weaver in Animal Kingdom Prediction: Helena Bonham Carter Alternate: Melissa Leo

Am I crazy for predicting HBC? I don’t know, I just can’t see Melissa Leo winning the Oscar – I’d even be more willing to predict Amy – not only because I think she’s better, but I’m just not seeing it. I’m thinking back to instances of dual supporting nominees, and they rarely win. Didn’t Helen Mirren pick up more than a few nods (including the SAG) before losing to supporting wife Jennifer Connelly (who was horribly trite in A Beautiful Mind). I’d wager that not only is Helena much better than Jennifer, she’s also more in need of a nod – and Melissa is no Helen either, but I’m alone on that because almost everyone seems smitten with her Alice. It’s a tough game to decide what the voters would go for, and it would probably be more prudent to predict Melissa. I could see this prediction panning out, and then I could see it not. I’m going on a gut, here. Maybe, I’ll change my mind before Sunday....

What do you think will become of the supporting players?

Encore Awards: Memorable Scenes (Part Two)

It’s so hard choosing “best” scenes, or even “favourite” scenes. There are some films that are great, but unfold so organically it’s difficult to cite a single scene as “best”. Last year, I noted that my favourite scene of the year came from An Education, which happened to be my favourite film of the year (COMPLETE LIST). Even though I’d say last year had more to offer in overall film quality, this year seemed to have the more obvious showings of good scenes. So, my top ten goes like this (the 15 finalists HERE)

 

(click on the photos for reviews)

     

THE NOMINEES

Agora (Destroying the Library)

There are those rare moments where Amenabar seems to lose sight of his general objectivity, but at the height of its success Agora really is an objective attempt at the historical epic. The destruction of the library emerges as the centrepiece for the film in more ways than one. On the technical aspect, the scope of it is peerless. The production design, visual effects and cinematography are all essential in establishing that pandemonium as Hypatia and her lot make their attempts to salvage the “important” works. Then, there are the smaller thematic arcs – like the parting of ways between Davus and Hypatia. It’s the solitary moment where Weisz’s Hypatia is not calm, elucidating just how much she feels for knowledge. It’s a perfect coalescing of technical and emotional aspects and easily Amenabar’s strongest portion of Agora.

The Kids Are All Right (familial dinner So Blue)

One of my sisters said, of this scene, that it’s so good because each of the five actors is doing some of their best acting – and it’s true. It’s Annette’s scene, yes, but it’s not hers alone. From the onset of Nic’s attempts to be chummy with Paul, you already get the feeling that he’s a bit uncertain of himself and Huthcerson and Wasikowska’s facial responses to the opening of “Blue” is perfectly played. And, then, there’s Julianne – so guilty, and so vulnerable. The thing, it’s not just the acting (and writing) though – editor Jeffrey Werner and Cholodenko know just when to cut the shots and it all leads into Nic’s discovery of the hair. Everything works just brilliantly.

Let Me In (Killing The Police)

From the moment that Elias Coteas’s policeman raps on the door in Let Me In, with Owen inside you know that things are going to go awry. Reeves is a master of atmosphere, which is his most significant calling card in making the tension so palpable in Let Me In and the entire ensuing scene works because of the richness of the atmosphere. That doesn’t lessen the profundity of Kodi-Smit McPhee’s work, though. It’s his strongest scenes, and although it’s mostly a reactionary one he’s excellent. He has the difficult task of portraying that sort of bathos you’d expect from a child in this situation, and his aghast response to the Police’s death is one of genuine fear and sadness, and it’s all aided by Giacchino’s fine score.

Scott Pilgrim vs the World (the battle)

Is it possible to resist the epic brilliance of that final battle in Scott Pilgrim vs the World? It’s the climax of the film, the one those videogame geeks (the film’s ostensible target audience) would have been waiting for, that scene that’s unashamedly indicative of its roots and you sort of get the feeling that Wright, too, can’t wait for this moment to toss out all his tricks. And, usually, you’d think that tricks don’t necessitate goodness, but it’s all part of the atypical way of Scott Pilgrim vs the World – the tricks are an essential part of it. Watching how Scott approaches the single situation (before and after) and seeing how his approaches lead to the domino effect of reactions from the characters is fine example of Wright ensuring that his moral themes hit home without being maudlin. Perfect.

Shutter Island (revelation)

I still maintain that Shutter Island would have been a much better film (albeit an unsatisfactory adaptation of the novel) if it ended here. Even if you’re not aware of what is going to happen, you know that the film is building up to a specific moment – this being it, and everything good about Scorsese and DiCaprio (as far as Shutter Island is concerned) occurs here. The atmosphere is potent, but not overwrought and Michelle Williams so just excellent opposite DiCaprio here. It’s a true credit to DiCaprio that he manages to make this moment play out without undermining the necessary emotional connection.

            

FINALISTS

The Kids Are All Right (Meeting Paul)

Then there’s our first meeting with that “awesome sperm donor”. Me and my mind can’t help going to dirty places when they start in on their tongue story (but they’re begging for it) and like everything in The Kids Are All Right we’re being prepared for every major plot point. Joni and her latent resentment of Nick, Paul and Jules potential bonding the vague discomfort of everyone – especially Paul. It’s one of the reasons I singled this out as the best ensemble, they’re always playing off each other – and so excellently, too.

The Social Network ("Lawyer up, asshole!")

Because The Social Network is so inextricably linked with the personality of its protagonist – ostensibly cold, vaguely mysterious, sometimes confusing – it’s essential that Garfield’s Eduardo is there to offer a semblance of balance. That’s why, despite the fact that Eisenberg is the film’s best actor, the film’s strongest scene (in my eyes) depends on Garfield just as much – more, perhaps. The way that The Social Network is written ensures that it’s all building up to that scene where Eduardo and Mark part ways, and you can’t fault Sorkin for pithy dialogue – it’s required here. There’s something great about that “lawyer up, asshole” line that’s all sorts of awesome.

SEMI-FINALISTS

Animal Kingdom (Craig's Death)

It’s not that Animal Kingdom is lacking in a wealth of strong scenes featuring the entire ensemble (both meetings in the café, for example) but when I think of the strongest moments in the film I can’t help but return to a moment that should play as just the slightest bit superfluous, but never fails to rouse my attention – Craig’s death. It’s possible that it’s because Stapleton gives my favourite performance of the film that makes me even more appreciative of this scene, but everything leading up to it – Craig’s argument with his friend, his growing paranoia and then the threatening advance of the police is proof not only of Stapleton’s performance but Michôd’s fine direction.

The Fighter (Charlene's Fight)

I find it hilarious that my favourite fight scene in The Fighter has little to do – directly – with Micky’s boxing career: Charlene vs the Seven Sisters from hell. The scene really begins at Alice’s home as she and her daughters prepare to wreak havoc on Charlene for derailing their plans with Micky. From the moment they get into that beat-up car you know that what’s imminent will be marked by that deliberate dry humour looming over some of the strongest moments of the film. Amy, so very fearless here, is brilliant as her Charlene clashes with the sisters. Russell is so smart, though, and he knows that the scene holds more importance than just the hilarity to be gotten from the hillbilly antics.

Rabbit Hole (Bowling Alley Birthday)

Even though Nicole, easily, gets best-in-show citations in Rabbit Hole, I still like to think of its ensemble as the heart of the drama – which makes that bowling-alley birthday of Izzie such a perfect scene to encapsulate all that I love about the movie. Teller and Oh (both good) don’t show up here, it’s all about the actual family. Blanchard, forever on the sidelines with her subtleties, is so good when she reacts to the gifts and Becca watching Izzie respond is a good example of Nicole being completely in tune with her character’s inclinations. I love that blink-and-you’ll-miss-it bit of conversation that Howie and Nat have (I wonder what their relationship is like) and of course that final blow-up between mother and daughter. Wiest and Kidman are so wonderful opposite each other.

           

Do any of these scenes strike you as a perfect symbol of the goodness (or lack thereof) of cinema in 2010

Encore Awards: Supporting Actresses

I always go overboard with the supporting women because year after year it’s always this category that offers the widest foray of good performances, most of which incidentally are not as lauded as they ought to be. Last year, my top three supporting women (Marion Cotillard in Nine, Samantha Morton in The Messenger, Rosamund Pike in An Education) all did great jobs in elevating potentially stock roles and this year there’s one again a gamut of supporting women to choose from. I single out five nominees, but I make mention of twenty more bringing the total to 25. Take a look:

            

(click on photos for review)

          

THE NOMINEES

Amy Adams in The Fighter (as Charlene)

Like Bale she’ll get the kneejerk support for all the wrong reasons. The fact that she’s brilliant here doesn’t hinge on the fact that she’s playing against type, Charlene’s toughness. Adams will always impress me because she always has the ability to appeal to my emotions with her facial expressions – and it’s a running thread in her performances that doesn’t make them any less worthy. She’s no saint, and she’s as interested in forwarding her own agenda in Micky’s life as his dysfunctional family – but her heart in the right place, and it’s that sort of internal conflict facing her that Adams is able to demonstrate. Like a cat, she’s always ready to fight but she’d much prefer to sit back and relax. (Highlight: “I’m Charlene, we just met. Do we have to do this again?”)

Kristin Scott Thomas in Nowhere Boy (as Mimi)

 

I was prepared to like this performance, but at first I was sceptic. “No, Kristin, you’re overdoing,” I thought. “Too obvious with the coldness, too palpably prickly.” And then she surprises me, and keeps surprising. It’s sort a thin role, and then again it’s not when she plays it and she really manages to pull off the rapport with Aaron Johnson well even though Duff has the more “obvious” chemistry. Speaking of Duff, though, both women burn brightest against each other and it’s that sort of filial chemistry that can’t be forced (well in actuality it is, they are *acting*). (Highlight: Confrontation with her Sister)

Kerry Washington in Mother & Child (as Lucy)

Of the three main role hers seems to emerge as a caricature almost immediately. I immediately feel an eye roll coming on as I watch her talk about how much she wants a baby – and then amidst all the mannered ways of Lucy you sort of get the authentic of the character even though she’s still mannered and then those small moments like a dinner with her husband’s parents or watching her try (almost like it’s a physical exertion) to be the perfect wife it’s almost chilling in a Stepford wife sort of way. But Kerry still manages to make this character the most sympathetic of the three. Odd, and yet sort of awesome. (Highlight: “Who the fuck does she think she is?”)

Jacki Weaver in Animal Kingdom as (Janine Cody)

The thing I like most about Weaver’s work here is, incidentally, how difficult it is to read her. It’s no surprise that she’s been doing this for decades because the adeptness with which she approaches the character is impressive. Someone remarked, and I agree, that Weaver’s biggest credit is ensuring that Animal Kingdom doesn’t become bogged down by the barrage of maleness that surrounds it. She doesn’t “tower” above the narrative, but still looms – often in the background – but still in our consciousness ensuring that her agenda emerges as important – even if she’s really not as certain about everything as she pretends. (Highlight: “I’m trying to find my positive spin...”)

Dianne Wiest in Rabbit Hole (Nat)

I love her eyes , sure they look like she’s constantly squinting (it’s just her face) but she’s like a hawk in the way she takes note of everything and she shrouds her sagacity behind a smokescreen of congeniality. Case in point: her first scene where Becca brings the clothes to Izzy. She’s watching them closely, she knows what’s going on and then she injects her random bit of kooky mother humour and her soothsaying powers. You’re tempted to roll your eyes and this sort of lovable woman, but it’s just her brand of damage control. She spends the entire film being there for Becca and yet carrying around her own grief – with aplomb. (Highlight: too hard to pick.)

FINALISTS: Helena Bonham-Carter plays the officious Red Queen in Alice in Wonderland to brilliant results (more here). She succeeds in the overbearing loudness all the while ensuring that the character’s (admittedly vague) humanity is shrouded in the high comedic way of it all; Kim Cattrall and Olivia Williams don’t really play off each other in The Ghost Writer but their opposing viewpoints are an important part of learning about our protagonist. Cattrall’s ostentatious mannerisms do not indicate not a flaw in her performance but a clear realisation of her character and Williams’ pragmatism is brilliant to watch; Thandie Newton is riveting to watch in For Colored Girls so in touch with her troubled character easily doing some of the best work of her career; and Naomi Watts emerges from Mother & Child with a refreshingly good handle on a difficult character managing to deliver emotional poignancy in those last few minutes.

SEMI-FINALISTS: There are a whole slew of women who don’t make it to the finalists, but are instrumental in lending bits of hilarity, emotion or fun to their films. The most notable lot are: Helena Bonham Carter for being as perfect as necessary as the charming wife on the sidelines in The King’s Speech; Cher for putting her natural cadence to good use and being essential to the joie de vivre of Burlesque; Patricia Clarkson for doing the same thing in Easy A while always augmenting and never taking away from Emma Stone; Marion Cotillard for being the best-in-show in Inception while playing a woman that’s more memory than realism; Loretta Devine for impressing with the monologue work in For Colored Girls and reminding us why we fell in love with her assertiveness so many years ago; 

Anne-Marie Duff for being wonderfully charismatic in Nowhere Boy playing the role of exotic mother to perfection, but finding the heart beneath; Kimberly Elise for managing to turn what could be a hot mess of character into something worthy of our appreciation in ; Barbara Hershey for working the vaguely clichéd stage mother to better results than you’d expect in Black Swan; Keira Knightley for taking a humdrum character and presenting her as a sort of flawed anti-heroine in Never Let Me Go; Melissa Leo for being especially moving opposite her suns even amidst all the distractions of being loud in The Fighter; Vanessa Redgrave for turning a potentially tepid romance flick into something worthy of luminosity in Letters to Juliet; Anika Noni Rose for bringing an effusive charm to her character in For Colored Girls and maintaining that dignity throughout the lowest points; Susan Sarandon for being the best in show in The Greatest playing her grief more obviously than we’d expect from her, but succeeding nonetheless; Sissy Spacek for surprising with how she decides to show emotion in Get Low and then slaying you towards the end without even saying anything; Kierston Wareing for playing her potentially terrible mother as someone with more humanity than you’d expect.

               

I’m always fond of this category because there are so many brilliant supporting women to find who’re doing great stuff – I could, perhaps, collectively offer up the entire casts of For Colored Girls, Rabbit Hole and Scott Pilgrim vs the World. People are always lamenting the sorry state of female roles, but I don’t know I’m always being wowed by the work the work they offer up. This category always gets me excited, I offer up two dozen supporting women – do any of them appear on your list? Which supporting women made your 2010?

2010 in Review: Filial Love

The entirety of Conviction depends on us believing that Betty Anne Waters is so devoted to her brother that she spend her life studying to get him out of prison. In theory, it seems like something any sibling would do, but it’s a special sort of devotion and though Sam Rockwell’s charisma suggests that he’s the type of rebel that people want to help I hate that Goldwyn does a disservice to his story by providing us with a stronger clarification for that arc. The occasional flashbacks touching on them as children don’t suffice, although I give him (grudging) credit for it. And, it’s not that he errs in not devoting enough time to it – it’s just one of the (many) ways that Conviction doesn’t sell itself as a cinematic entity. Compare that relationship to Becca and Izzy in Rabbit Hole. That relationship isn’t at the forefront of the film, but in two short scenes Lindsay-Abaire and Mitchell give us the strengths and weaknesses in that liaison – of course, buoyed by the good work being done by Blanchard and Kidman (more on Tammy). Filial love is probably a disingenuous title for this article, though I’d intimate that in any sort of rapport between siblings could be traced back to filial love – let’s examine 2010’s crop.

One of the singular deficiencies in Animal Kingdom, which I’m even wary of calling an actual deficiency, is the relationship that J’s mother had with her siblings and mother. “Mum kept me away from her family” is striking in its vagueness, and Janine’s bit on why they stopped talking is obviously a smokescreen for something else – but what? I often found myself thinking what sort of a relationship she had with her brothers. It’s a bit difficult to extrapolate anything close to love among the three brothers. Craig, in his sincerity, grieves for Baz – but Baz isn’t a brother. And in that subdued scene where Darren and Pope prepare for the funeral the dejectedness seems less about grief for Craig and more of a general discontent with their lives. Aaron Johnson’s Graham – the eponymous Greatest of his film – dies and leaves a grieving family, and a wayward brother, and I feel a bit awful for not even mentioning Johnny Simmons as a semi-finalist for his work here. He’s still an actor learning the ways, but it’s interesting watching the way he decides to show grief for his brother.

        

Thandie Newton is all sorts of fabulous in For Colored Girls, and there’s an arc where she sees her sister (Tessa Thompson) heading down the same path as she did. Newton has always had a natural prickliness in her performances and that makes her work even more striking here as she responds not with sympathy but with a laugh at a key moment in the narrative. It’s the sort of bottling of emotions that defines most of the women in For Colored Girls, but Newton’s Tangie is especially dangerous because these emotions burst out at the strangest points. In a way, that way in which she cares for her sister by not caring is indicative of Dicky and Micky in The Fighter. I keep getting the urge to give The Fighter a new and more interesting title (The Family, Brothers) and the second one especially would suffice here. It’s not incidental that the very first image of the film is Dicky and Micky together, since it’s that relationship that functions as an impetus for every other plotpoint in the film. And by omission you could probably say the same of the sisterly rapport between Anne-Marie Duff and Kristin Scott Thomas in Nowhere Boy. It’s difficult to deny that the two women are golden opposite each other, and it’s wrong to hope they had more scenes to do so – it’s not their story. But Mimi’s attitude towards Julia (and by extension John) is a significant arc of the story.

           

One of my favourite running arcs in Scott Pilgrim vs the World is those phone calls Stacey makes to Scott in his lowest points. I still don’t buy Stacy as Scott’s little sister – but the chemistry between Kendrick and Cera sell what should be an example of a terrible sibling relationship, but in actuality is not really. And, I sort of don’t want to say that Bertie and Edward have an awful relationship in The King’s Speech though that significant moment at Edward’s party where Pearce so wonderfully imitates his stutter is almost horrific – not because of its teasing way, but because it’s so glibly done – as if it’s the usual way to treat Bertie (wish that arc could have been examined more). And then I think of The Kids Are All Right. Hutcherson and Wasikowska are so obviously on the same wavelength – another example of how brilliant this cast is. It’s difficult for me not to call them my favourite sibling relationship of the year even though they have few actual scenes together – those moments when they’ll catch each others’ eye across the table for a slight roll of the eyes underscores – perfectly, and promptly – that tenuous thing called filial love.

           

Any sibling pairings stood out as significant for you in 2010?

Encore Awards: Supporting Actors

The first acting category...last year this category was overflowing with brilliance, and truth be told my five nominees from last year would probably knock every single nominee of this year out, Schneider's work in Bright Star is sooooooo good (not better than Whishaw, of course, but still great). Still, the supporting men were good this year and I like each of these performances. They didn't all get that Oscar love I wish they could have, but that doesn't negate the goodness of their work.

(click on the pictures for reviews)

THE NOMINEES

Christian Bale in The Fighter (as Dickie)

Bale avoids the most obvious of pitfalls and avoids turning Dickie into one of those usual walking powder-keg drug addicts. Sure, he gets the physicality of a user down excellently – with every bodily twitch, but the performance has much more to offer. As riveting as he is in those moments, it’s the emotional bits where he shines. As good as he is with Mark his best moments are opposite Melissa Leo (a dynamic I’d have loved to see more of) and despite his overt lack of restraint his devotion to his family rings throughout the drama. (Highlight: “I Started A Joke”)

Andrew Garfield in The Social Network (as Eduardo Saverin)

I hate that his obvious “actor” scenes are the ones that people keep remembering because the reasons I like this performance so much comes to the smaller bits. He knows Mark is an asshole, but he also knows they’re both similar in that desire for kinship (even though Mark is adamantly against social contact). He responds to every action from Mark, but he doesn’t really respond to Mark – and I’m not sure if its Fincher’s direction or his sensibilities but with every wince (blink and you’ll miss them) or slight intake of breath he’s making Eduardo more than the just token wronged friend and into a real person, which sounds sort of clichéd but is true nonetheless. (Highlight: The Chicken incident, at the deposition and at Harvard)

Mark Ruffalo in The Kids Are All Right (as Paul)

I think I tweeted sometime towards the end of last year that Paul is probably the most sympathetic character in the narrative. They’re all moving in their way, but this bathetic man child becomes the most stirring because Ruffalo is doing so much with it. It’s not that he gives my favourite performance of the film (he doesn’t) but it’s a classic example of script and actor finding a perfect match. He doesn’t even seem aware of Paul’s insecurities because Paul isn’t even aware of his insecurities, and those lingering glances and bits of stilted conversation only underscore the sort of wandering soul he is. And he does it all without EVER going over-the-top with it. (Highlight: First Meeting with Moms)

Geoffrey Rush in The King’s Speech (as Lionel Logue)

Rush avoids his usual theatricality (which I’m actually fond of) for a surprisingly tender portrayal of Logue here. Even though a significant portion of the narrative examines his relationship with the King, Seidler doesn’t explain his arc fully which leaves Logue as something of an enigma at times and Rush has no problem doing that. Sometimes it seems as if he’s usual tricks but that soft empathy with which he approaches Bertie is significant allowing him to dig deeper. One of the lasting things about the film is that you get the feeling there’s more to the man – but neither he (nor the film) is interested in going there. He’s willing to step aside.

(Highlight: First Meeting with “Mrs. Johnson”)

Sullivan Stapleton in Animal Kingdom (as Craig)

He has the sort of “open” face that makes it distressing to watch him, especially when you take into consideration how much he underplays the addiction arc – saving all that pent-up desperation only to completely destroy you when he unhinges in that final scene – well more than he was before. He’s already unhinged, not in the same manner as Mendehlson’s Pope, but just as much. His entire final scene played on a loop after coming out of the movie and it’s startling how with the absence of dialogue and even without the very overt facial tics that you’d expect, he manages to convey that nadir of despair that’s responsible for thrusting the narrative in a new destroy. (Highlight: his death)

                           

FINALISTS: Joel Edgerton leaves Animal Kingdom early on but that doesn’t prevent his Baz from having a lasting effect. ; Rhys Ifans gives a performance to rival the already good cast in Greenberg; Miles Teller functions as well as Eckhart, Wiest and Blanchard as a scene partner for Kidman in Rabbit Hole. He’s fortunate because Becca’s breakthrough moments come opposite him, and he plays excellently off her offering up a not clichéd example of how more than the grieving parties are victims of accidents.

SEMI-FINALISTS: Don Cheadle plays on the angry policemen in Brooklyn’s Finest to excellent results, showing again why he’s one of the best underrated actors at the moment; Kieran Culkin ends up stealing the show from everyone in Scott Pilgrim vs the World because even if his acerbic sidekick is a stereotype his line readings are hilarious; Andrew Garfield in Never Let Me Go; with just a few scenes to work with in The King’s Speech I finally get what people are talking about with Guy Pearce. He’s the right amount of EVERYTHING in the film and works so perfectly against Firth; Jonathan Tucker’s introverted psychiatric patient is one of the saving graces of Veronika Decides to Die. It’s more than his remarkable chemistry with Gellar – his attention to detail (which the script demands in those scenes where he has no dialogue) is impressive.

        

What do you think of my nominees? Who would you toss out? Who would you bring in?

Oscar Talk (FINAL PREDICTIONS): Supporting Players

Oh yes, the acting categories. I'll submit my own ballot soon, inevitably after Oscar because I am LAZY, but what will Oscar go for?

        

SUPPORTING ACTOR

If there’s one thing I can congratulate the general unoriginality of the current awards’ season for it’s for their good choices in the supporting actor category. I’ve long been less than a fan of this category that’s always smattered with co-leads, life-time achievement awards and downright terrible performances. And even though there’s only a slight crossover between my own list and the potential Oscar shortlist, I’m not too mad at them. I’ll admit, it’s more than a little boring seeing Christian Bale sweep through the entire race when there’s a wide variety of great performances – but it’s difficult to deny the goodness of his performance. More than just being a baity performance, it’s actually a good performance – and it’s difficult to deny the goodwill of the very convivial Fighter family. They always seem so welcoming of awards’ attention. I’ve given up on expecting Ruffalo or Rush to pull an upset, and though the Foreign Press Association stupidly ignored him – along with Bale are the holy trimester of this category.

             

I just have this weird feeling that there’s going to be a shakeup in this category – it’s the most susceptible to shakeup I think because it’s really the only category that seems ironclad (more so than Best Actor). Sure, Renner and Garfield have turned up places but I can see them both getting snubbed. Garfield, because he’s young as good as he is The Social Network is not his film – and Oscar always has this tendency to make the young supporting actors wait for nomination love (case in point Mortensen and Astin in The Two Towers and The Return of the King). But, then, if love for The Social Network is strong then he could be swept in on the coattails. Renner’s a bigger puzzle for me because I still don’t see what’s propelling this apparent widespread love for The Town. And good as Renner is, there just seems to be something precarious about his nomination pool. What of Hawkins? Hmmm. I know that the SAG nod made him seem like a plausible candidate, and he can be a spoiler but love for the Winter’s Bone seems really tapered – he is still a potential candidate

Predictions (alpha): Christian Bale in The Fighter / Andrew Garfield in The Social Network / Jeremy Renner in The Town / Mark Ruffalo in The Kids Are All Right / Geoffrey Rush in The King’s Speech Alternates (by probability): John Hawkes in Winter’s Bone / Bill Murray in Get Low

SUPPORTING ACTRESS

So, is Melissa Leo still going to take this thing? I suppose we can be assured that Melissa, Helena and Amy are heading to nominations and – irrespective of actual performances – I’m happy to see those three getting nominated. It’s impossible to not like Amy and it’s nice seeing not-so-old gals like Melissa and Helena enjoying second nominations in Best Picture candidates. I’m just predicting nominees, so I’ll think about potential winners when I actually have a definitive group to pick from. It’s weird, though, but it’s also normal that the supporting actress race has a gamut of performances to choose some and yet they’re not all getting love. In theory, Jacki Weaver is an obvious nominee – sure, Animal Kingdom hasn’t got the widespread love it would have gotten had it been an American piece, but she’s popped up at enough critics’ awards and has even won a few so despite the SAG snub (stupid) and the BAFTA won (even more) I don’t see her getting snubbed at the AMPAs. But then, it makes me wonder – does she have a better chance of a nomination than Mila Kunis who’s riding the wave of Black Swan? Honestly, that’s the biggest scare I’m having right now – the thought that Kunis could get in over such a wide field of deserving ladies is seriously giving me goose bumps (and not in a good way). And the thing is, right there, we could have a slot of nominees – and sure it’s not that bad because even though I don’t love Leo she’s nowhere terrible in The Fighter...but that sounds too easy, no?

             

I don’t know why something is telling me to not write off Manville (and include her here instead of Leading), I haven’t even seen Another Year and the last lock Leigh seemed to have (paging Sally “Poppy” Hawkins) didn’t come to fruition despite a Golden Globe nomination and win. But, I sort of want to think they’ll push her here... and then, there’s the biggest category fraud this side of the millennium – Hailee Steinfeld in True Grit, which is another exasperating possibility that just depresses me. If she doesn’t make it in the lead race – I don’t see her making it anywhere, because I don’t see the voters being silly enough to reward her here, if they pushed Kate in lead, heck they pushed Meryl Streep in The Devil Wears Prada as a lead (which it wasn’t) so I think we’re safe from her here – the Actress category is another story. And, finally, there is the pair of ladies from Made in Dagenham – Rosamund Pike and Miranda Richardson. Rosamund has had a nice year (or so I heard) apparently being a shining light in Barney’s Version and this biopic, and Miranda is the sort of affable screen presence it’s difficult to ignore. Could there be an upset nomination for either? I wouldn’t be against...but I just don’t know. But, here goes.

                   

Predictions (alpha): Amy Adams in The Fighter / Helena Bonham Carter in The King’s Speech / Mila Kunis in Black Swan / Melissa Leo in The Fighter / Jacki Weaver in Animal Kingdom Alternates (by probability): Hailee Steinfeld in True Grit / Miranda Richardson in Made in Dagenham / Leslie Manville in Another Year

         

Are you sensing an upset (nomination) for the men – a la Michael Shannon or William Hurt? Am I crazy for ignoring the possibility of the studios lying through their teeth and earning Steinfeld a nomination? Who’d you love to see pop up in either categories?

Long Overdue Review: The Fighter

For all the ostensible theatrics of a man making a comeback and potentially forced dramatic plot-points that you know will end in a painful road to success, The Fighter is essentially a quite placid tale of prospective victory, and in the moment that can most easily be defined as a climax (tentatively used) Micky turns to everyone in the room and gives what’s potentially his most striking bit of dialogue – “I’m the one fighting; not you, not you and not you”. Even without the propensity for that to be regarded as a tongue-in-cheek delivery, I still chuckle at it because one of the striking things about The Fighter is how little Micky seems to be fighting. It’s not so much that his introverted personality doesn’t present him as a credible “fighter” but the way that Russell shoots those scenes (which in theory you’d expect to be important) is not very personal or  intrusive at all. Going on the belief that this is Micky’s “fight” one would expect the actual fights to be staged as such, which made The Fighter for me immediately reminiscent of Ron Howard’s Cinderella Man – an unfortunately ignored boxing drama that set itself up the same way as David O. Russell’s The Fighter – a familial drama with boxing undertones. The thing with Russell, though, is that he seems to flip-flop as to whether or not he’s content to make a family drama or a boxing film in disguise, or some eccentric amalgamation of the two.

And there’s more than just a little going on the family side of things. Micky’s career seems to be designed from the same mettle of his brother Dickey – former boxing would-be turned drug addict who may, or may not, have knocked over Sugar Ray Leonard how many years ago. You get the way that the unassuming Micky might have been cajoled into the business less out of a viable interest in the sport and more because of household inclinations. His officious mother plays his manager and his six sisters sit around the house doing nothing, if occasionally getting underfoot. You’re not even sure that he has a father until you notice Jack McGee’s George standing the backgrounds and you think – “Oh yes, someone had to give sperm to make him.” There’s already so much going on in Lowell that as docile as the first act lopes through it sets us up for a potential climax and conclusion complete with a barmaid love interest who’s simultaneously just as limited as Micky and his family (which is not necessarily a bad thing) and yet more ambitious. The thing is, Micky doesn’t seem like someone defined by his losses or defeats and Russell doesn’t even shoot the fights as especially pivotal so they sort of end up seeming like token set pieces framed in an apologetic way as if to imply that the necessary boxing piece must be included – just for the hell of it.

In the midst of the fighting I end up paying keener to attention to what goes on around the ring than what’s going on inside, as far as reacting to the realism of the fighting Melissa Leo manages to make Alice’s responses work more than anyone during these scenes. But, it’s not effusive praise from me because I’m constantly going back and forth as to what I think of her performance. I’m more immediately impressed by Amy Adams, not for the more obvious against-type performance she gives, but because Charlene in her quiet belligerence (almost paradoxical) emerges as the realest characters of the lot – she’s lucky because she gets to observe and participate in the dysfunctional tendencies surrounding everyone. Leo seems fond – too fond – of playing loud and garish in a way that makes for entertaining (stretching the meaning of that word) viewing but isn’t really substantial and in the larger picture makes the narrative just a little jarring; I sort of grit my teeth when she’s at her most bombastic because she seems more interested in delivery than authenticity. But, then she surprises me with some wonderfully astute decisions – the first of which, a beautiful moment opposite Christian Bale in a car is just thrilling to watch. It’s easily the strongest point in the film for both actors, and it’s a shame it comes so early – and is so short. It’s that sort of dissonance that gets to me because she ends up turning Alice into a bit of an anomaly which might be accurate but doesn’t make her character very lucid – which is, perhaps, not her fault but still annoying.

If the biggest compliment I play Adams is her realness, I’ll credit Bale for being the most natural of the performers. Even if I’m not wholly smitten with what he does he manages to make even the most overbearing and exaggerated of tics seem like facets of the character and not the actor and even in his obviousness he’s at his best when playing on the scale of a favoured son and idolised brother and not as a drug addict – in the same way that Wahlberg Micky is notable not for his boxing but for his introspection. Although there’s nothing definitively better about the third act than the first The Fighter feels like the type of experience that has to find its footing before it succeeds. It’s because the narrative is not about the plot, but about the characters and its only after prolonged exposure to them that we’re able to appreciate their value. The ending might feel a little too docile, but if you pay enough attention you’d notice that it’s the only way the thing could end. The victory is not in the ring, even though Russell seems like he wants to set it up as such he seems to have a change of heart at the end when he realises (and the audience, too) that even before Micky gets into the ring for that pivotal fight you get the feeling that he’s already on the road to success with a family that’s broken but still trying; which makes me think that Micky is wrong – he may be the only one in the ring, but they’re all fighters.

                                  

B/B+

Oscar Talk: Supporting Actor, Revisited

True to form, after the general summer appreciation for The Kids Are All Right passed Mark Ruffalo’s performance has failed to “stick its landing”. After hearing a tetchy commenter accuse him of playing the same hackneyed stoner in all his films I realised just how much of a pipedream it was for me to consider him a contender for the Supporting Actor trophy six months ago. It’s probably a tad supercilious of me because I like the performance, but everything that works for Ruffalo’s Paul depends on keen perusal something that’s not explicitly needed to appreciate the performance of the current frontrunner in the race – Christian Bale’s scenery-chewing brother in The Fighter. Reserving judgement on the veritable worth of either performance, one can appreciate how Bale’s Dicky has an edge. The Fighter is altogether more interested in forwarding Dicky’s agenda than Choledenko and Blumberg are with establishing Paul as any sort of fallen hero. And though Ruffalo, like Bale, is the type of actor yet to earn a nomination but constantly turning in films Bale’s is more peppered with the obvious and easily recognisable (which is not inherently bad). In theory Ruffalo is the only potential nominee I can see winning the statue, but for the fact its low-key nature makes it an unlikely contender.

                                                       

If The King’s Speech were still holding onto its former frontrunner status I’d have entertained the idea of a Rush upset. There’s no one who has seen The King’s Speech that doesn’t seem to appreciate his charismatic turn. But it’s not the sort of fussy supporting turn that demands attention and Rush already has a statue. If The Town were a better film, or if more were smitten with it, Renner could have emerged as another candidate for an upset. He’s fresh off a best picture winner, he’s still at that age where he’s finally getting his dues but still young enough to be considered fresh and he’s easily the best thing in his film. But, even though The Town may be heading to a Picture nomination with a ten-wide field that isn’t that much of an accolade and maybe I’m underestimating the ability but I still don’t see it being indiscriminately embraced by all. Considering the year he had Andrew Garfield seems like someone to keep your eyes on – but I think not. A number have praised him effusively, and he is excellent in The Social Network but that one seems to be all Eisenberg’s show. And I don’t know if it’s mob psychology and all voters do it, but there’s a tendency for supporting actor front runners to be less “supporting” and more of a type of a stealth co-lead. That makes Bale resurface as the obvious one to beat here, and the critics seem to agree. Those five actors seem like a good bet for the eventual nominees, although I have an inkling feeling that there could be an upset nomination here. Perhaps John Hawkes who made an appearace at the SAG – I don’t know. I’m predicting these five, though.

Predicted 5

Christian Bale in The Fighter

Andrew Garfield in The Social Network

Jeremy Renner in The Town

Mark Ruffalo in The Kids Are All Right

Geoffrey Rush in The King’s Speech

                                              

All things considered it doesn’t seem like a particularly bad roundup of nominees – especially considering the clunkers that often get nominated here. But, like with most things this season I’m particularly enthused. I can immediately think of three performances that I’d have loved seeing considered but the entire male ensemble of Animal Kingdom have gotten no love, and the same goes for everyone but Nicole Kidman in Rabbit Hole – so Miles Teller’s name has gotten no consideration. It's one of the things that you can count on - especially in this category. This is always the category where I'm nonplussed about the decisions that all the usual precursors go running with, but even though there are some contenders I could get behind that are getting no love, I’ll still maintain that the four performances of the lot I’ve seen are worthy of consideration – and Rush is always golden, so I’ll put my faith in that. It's a better batch of potential nominees than years gone by.

                            

So Bale seems headed to glory, but who could you see pulling an upset?

"The Links Are Gonna Have Their Way..." (A Vaguely Oscar-ish Edition)

I’m shining the spotlight on two pieces this week, the first an article Jose wrote over at the Film Experience. I still find it  amusing that he manages to write so much on something as ineffectual as an Academy Awards’ poster – but there’s creative writing for you. And while we’re on the note of Oscars’ Nick writes an especially profound ten points (part 1, part 2) on what could very well be the next Best Picture winner – The Social Network.

So, will True Grit be a heavy hitter at the Oscars? I say no, but Paolo offers up a nice review of it. I didn't like the John Wayne version, so I'm dubious of how much I'll like this one...we shall see...(speaking of the original Yojimbo offers up a scene-analysis from the original True Grit).

 

I had something close to love for Animal Kingdom when I saw it a few weeks back (people, get on that) and Jacki Weaver is getting effusive praise for her role, Walter doesn’t love the film as much, but I still love his review of it.

The Fighter sort of came out of no where and is now looking like a heavy frontrunner, Castor seems to be particularly fond of it, and Tim offers up a nice review of it too (I especially love what he has to say about Adams, though alas I can't say if he's right - I've yet to see it) and to make it a trinity check out Joe's insightful take on the supporting women in The Fighter who won't be remembered come Oscar night.

Remember The Town? Of course you do, it seems like it may build steam and lead Jeremy Renner to a second Oscar nod. It's not that I hated The Town - I just didn't care much for it. That's why I like CS' review of it so much.

Oscar Talk: Supporting Women

People are making claims left and right, but of all the acting races the Supporting Actress one seems to have the least direction. I think that’s a good thing, though. I’m having an especially difficult time whittling down my personal ballot to five, and I haven’t even seen all of the heavyweights. True, I’ve already cast my Oscar vote blatantly to Helena Bonham Carter, and I’m still backing her all the way. If Helen Mirren, Jeff Bridges, Morgan Freeman and (insert gag) Sandra Bullock can win Oscars for lifetime achievement I have no problem with HBC doing the same – what a career it’s been. I have no idea if she’s a veritable threat, though – she’s obviously on her way to a nomination and from the looks of it she’ll be joined by The Fighter duo – Amy Adams and Melissa Leo. Perhaps it’s because I’ve yet to see Russell’s feature, but I keep on doubting that both ladies will turn up at the Oscars, but all indications point to that they will, I can be a bit headstrong in my stupidity sometimes. Melissa Leo is getting a lot of support for a win, but I’m even more doubtful of that – unless she stream-rolls the precursors. If Christian Bale ends up getting the push to go all out and take the win I can’t imagine Leo taking the Oscar too. I’d be more likely call Adams as a potential threat in the race; she’s been especially ubiquitous these past 5 years.
                      

Jackie Weaver, from Animal Kingdom (a film which should be receiving much more laurels than just Weaver) is another one being touted as a serious threat. She got a Globe nod, but SAG didn’t come knocking. I could see it happening, but I could just as easily see it not happening – and really, the lack of love from the SAG doesn’t help. True, Marcia Gay Harden took the Oscar without even a nomination from SAG or FPA but that was ten years ago and there are some key distinctions between Animal Kingdom and Pollock. Not only was the latter an American biopoic, but legendary thespian Ed Harris was helming the project (and starring in it), there was obvious goodwill there - Animal Kingdom doesn't have that obvious industry support. SAG gives support to Mila Kunis in Black Swan and Hailee Steinfeld in True Grit, who I heard is being fraudulently campaigned here – but it’s never stopped them before. Kunis has a Globe nod too, but that’s one prediction I’m tentative of supporting. Like the Best Actress race there’s that fifth spot that could go to anyone, and I’m yet to see Black Swan, but all the citations for Kunis still surprise me. Speaking of category fraud, though, maybe I shouldn’t count Julianne Moore out of the supporting category just yet. I’m predicting her in my Lead Actress spot, but who knows....perhaps she could show up here. If pushed, I’d predict Kunis over Steinfeld – though – because I have a feeling that True Grit is not going to be that much of a heavyhitter at the Globes. I can’t explain for the lack of love for Dianne Wiest who’s a perennial supporting actress, and a standout in a talented ensemble. It could be a surprise nod (a la Ruby Dee in American Gangster) but then, this year is much more packed a race than 2007. For now I’ll say Adams/Bonham-Carter/Leo/Wiest/Weaver – I’m gunning on the belief that the hundred or so actors who've worked with Woody Allen will support Wiest’s bid for a nod.

Shame that neither the ladies from Nowhere Boy (Kristin Scott Thomas or Anne Marie Duff) or The Ghost Writer (Kim Cattrall or Olivia Williams) have a shot, and Rosamund Pike has two supporting roles in Made in Dagenham and Barney’s Version that I’m looking forward to...but neither looks likely.

               

Which lady would bet on? Which lady would you like to see sidle into that fifth spot?