2010...so far: The Men

I should be turning in my bloggers' license if there was such a thing. September has arrived and I've seen only a small number of films for the year. (check the sidebar). I'm still not sure what to make of 2010 so far, it's been fair but I've given out one A- for the year. My highest grade. Performance-wise, there have been some gems (or near enough). These five have done outstanding work in my book and could probably make it on my year end list of top Supporting and Leading Actors.

Which male performances have impressed you most thus far?

Movie Meme, Day 2: A Movie More People Should See

I’d probably say that all the movies I like are films people should see more, but there are some movies that just don’t earn much money. Eventually classics reach cult status and their viewership increases exponentially as the years go by, but with recent film it’s a different ballgame. Give or take 2001 or 2010, I’d say that 2007 was probably the best year for films for the last decade. It sucks that one of the three best films from that year managed to go by with little notice, earning a mere 25 million at the box-office and racking up zero Oscar, BAFTA, Golden Globe or SAG Award nominations.

I’ve singled out the screenplay as one of the decade’s best as Ethan Hawke’s performance as one for the decade too. And really, the movie’s that good. Two deadbeat brothers (one more obviously deadbeat than the other) hatch a misguided plan to rob a jewellery that leads to such tragedy that calling it a melodrama would just be mean. Before the Devil Knows You’re Dead is a film so tautly created that I respect it as much as I love it. Sidney Lumet has a knack for becoming second fiddle in his films. He’s always doing such a good job of making his actors shine that I forget he’s the one helming them. The thing is, though the actors shine here, it’s Lumet who defines the brilliance in Before the Devil Knows You’re Dead. He’s always been known for his almost painstaking love for realism and the film is handled so brilliantly. Yes, everyone was going wild for the other bit of visceral directing that year, and sure I was going wild for that period flick but Sidney Lumet was so obviously head and shoulders above all other directors that year. It really does suck that he’s never been Oscared…

I’ll praise the brilliance that is Ethan Hawke to my grave, but it’s unfortunate that so few get to enjoy him in this – which is probably his best performance. Speaking of which, this is probably the best work from Phillip Seymour Hoffman too. Unless you’ve been in jail for the last ten years (or living in a cave) you’d know that Hoffman singlehandedly ruled the latter half of the decade. Add that to the fact that Albert Finney, one of the legendary greats, turns in a tour-de-force performance as their father and that Marisa Tomei’s woman-in-the-middle turn is even better than her excellent turns in In the Bedroom and The Wrestler and add that to the fact that Oscar nominees Amy Ryan and Michael Shannon give brilliant cameos and you’re probably wonder why you’ve never heard of this film…

Kelly Masterson (the screenwriter) is a cruel mistress. To say that Before the Devil Knows You’re Dead doesn’t give a damn about its implications is a gross understatement. It keeps on surprising you at every turn, though it’s never for the “shock” factor and always in service of the excellent script. I’m a little in love with it in all its delicious irreverence and lewdness, and though it’s not one that will appeal to all it deserves to be seen just because it’s that good. It’s easily one of the twenty five best films of the last decade…and definitely one that more people should see. Have you seen it?

      

And the MEME continues…this is actually easier than I anticipated…

Brooklyn’s Finest

Any legitimate ad for Antoine Fuqua’s latest film, Brooklyn’s Finest, is intent on stressing that this is the man who helmed 2001’s Oscar winner Training Day. I’m not too certain that that’s a good thing. Structural and thematic similarities could easily belie the fact that Brooklyn’s Finest is not a Training Day redux, even if the parallels are existent. Brooklyn’s Finest is concerned less with the battle between the good men and the bad men and more interested of the battle of good and evil within oneself. One the film’s most appealing elements is its lack of judgment (in the first three quarters of the film, at least). Gere’s retiring policeman, Hawke’s devoted family man and Cheadle’s undercover policeman. Of course none of the men are defined by the labels I give them; it’s in the creation of the nuanced characters – something the actors should be lauded for – that makes Brooklyn’s Finest a success.

Hawke’s Sal is a devoted family man, but this is merely one element of his tortured character. I’ve expressed my appreciation of Hawke time and time again, and he doesn’t disappoint here. Hawke is never content with acting in black and white always making for the shades of gray. I can’t refer to each of his performances as a superlative, but his work in Brooklyn’s Finest would be worthy of praise in a fair world. His moments at home (opposite Lili Taylor) are especially poignant. There’s no telling what will happen at the end of the year though, in fact I’m sure it would be forgotten. For the most part, the thin line between good and bad persists in the actions of Gere and Cheadle completing the unholy trinity. Cheadle has never been given a legitimate chance to impress since his impressive performance in Hotel Rwanda and I’ve never been impressed with the legitimacy of Gere’s classification as a good actor. However, both give excellent performances too. Gere’s is more of a slow burn, it’s not until the end we’re able to fully appreciate his technique but both men offer important shades to their characters.

What stops Brooklyn’s Finest from being truly excellent though is that as the film moves into its finale Martin seems content with doing away with  the cast (and the plot) in the most pedestrian of fashions. After having our three leading men in ruts the solution is unsatisfying and the audience is left there, waiting for an absolution that never comes. It robs the actors of the good work they’ve done so far and robs the many supporting actors giving good performances (Wesley Snipes, Will Paton, Lili Taylor, Jesse Williams, Brian O’Byrne) of any profundity. For a film that does so well in its first half, the film’s finale is done by the book. However, an array of good to excellent performances from the cast members makes this a worthy choice for viewing. Brooklyn’s Finest is not the greatest, but it’s a valiant effort from the production, and a brilliant effort from the actors.

   

B-

Performances of the Decade (Male)

Some actors are just easily forgotten. It matters not whether they land a leading role or a plum supporting part; it seems that they just end up being pushed to the sidelines. It becomes even more difficult when the film you’re starring in becomes forgotten too. I’ve long been a fan of this actor. He’s a favourite of mine actually, and this performance represents the pinnacle of that appreciation.

          

#3 Ethan Hawke in Before the Devil Knows You’re Dead (2007)

I’m not sure if Hank, or anyone in the film, is as morally corrupt as the narrative suggests. Sure, after some cajoling he agrees to rob his parents’ store with his brother, and sure he’s involved in an illicit affair with said brother’s wife, and yes he does make off with quite a large sum of money while his family is destroyed. Still, I’m never moved to indict him. Ethan has a sort of naïveté that when riddled with his adult whimsies only make him more pathetic. Because, like Hank is emotionally stunted. We see it as he lets his brother rules him, as he clings – almost manically to Tomei’s Gina and as he gives in to his desires as the film ends.

Marisa Tomei may be playing Philip Seymour Hoffman’s wife (and the two do play well off each other) but I really love the scenes she shares with Ethan Hawke. In a film that’s wrought with the dubious for a few moments I’m actually willing to believe that these two could have something special. The thing is, with Hawke’s Hank (yay for my alliterative tendencies) how sure can you be if it’s love, infatuation or need? As we see the final shot of him running off with the stolen cash I wonder if he’s going to find Gina…probably not. But Hank isn’t a bad guy. The film is morally corrupted, but the characters aren’t beyond redemption. As his ex-wife (an in form Amy Ryan) harangues him for the money he owes we never turn on Hank. He really does want to be a devoted father, he just lacks the means. It’s pathetic really as we watch the expression on his face as he realises he has to disappoint his daughter – for the umpteenth time.

Still, when it all comes down to it Ethan does his best work opposite Hoffman (lower down on my list). The first scene as the older Andy cajoles him into the robbery is memorable, even as we’re disgusted by Hanks’s weakness. But it’s not one we’re motivated to condemn, it’s sad really. It’s the same weakness he brings to his final scene – also opposite Hoffman. It’s a brilliant move from screenwriter Masterson and Lumet handles it well, never making it too ludicrous. Ethan has always been able to show fear in the most precise ways and the tension here is palpable. You almost here his sigh of relief as that (lucky) shot is fired. I don’t feel any remorse for Andy really, and as despicable as his getaway is – I don’t blame Hank. What will become of him? It’s anyone’s guess. Will he reunite with his father, help his daughter, move to the Islands? I’m not sure, but I do wonder because Ethan does an excellent job in making me care about this mouse of a man.

       

It’s easy to forget Ethan. Did you see Before the Devil Knows You’re Dead? Were you impressed with him?

Performances of the Decade (Male)

I liked the nineties more, even if I can’t remember them clearly (I was a babe) and even if I need to see more films from the period. Still, one thing about the aughts is seeing how many actors made their mark as inventible screen presences. Does anyone remember the guy who played Jude Law’s ally in Cold Mountain? I mean, he made my shortlist, but I don’t think anyone was expecting that guy to turn into one of the most important actors of the last half of the decade racking up three (almost) consecutive nominations – and a win, too. Personally, I think he’s brilliant. Yet, he was snubbed for his greatest contribution this decade – at least I think so.

        

#11 Philip Seymour Hoffman in Before the Devil Knows You’re Dead (2007)

Before the Devil Knows You’re Dead opens unceremoniously. Philip Seymour Hoffman and Marisa Tomei are having sex in what looks like the least romantic of styles. Lumet never was afraid to shock us and Before the Devil Knows You’re Dead is a close look at a family more pervasive than the usual family drama. It’s the kind of film where perspective is difficult to attain until we’ve stepped back and examined the entire film after the credits have rolled. Hoffman has always had the ability to unnerve the audience, his excellent Capote was a bit too suspicious and even though he made Father Flynn congenial enough the cards were already decided and there was no need to doubt his guilt. It’s this intimidating manner of his that he uses to full effect as Andy Hanson.

          

Andy is a tyrant in some ways and this is most perceptible in the brilliant scenes opposite Ethan Hawke. Hoffman has a way with flashy dialogue and from the most superficial of levels he thrives here. But, what makes him so invaluable to the screen is his ability to turn the tables. Forced to pin down one scene in particular to validate Hoffman’s inclusion on the list – I’d have to single out the tour-de-force battle against Albert Finney (playing his father). Someone said once it was like watching two wild animals go at it, and when it comes to the ferocity they’re not wrong. The similarities between Finney and Hoffman are not inadvertent and Hoffman’s breakdown is brilliantly executed. It’s unnerving, but in a different way. Notice how Maria Tomei is almost repulsed by the show of emotion in the car. Her Gina is notoriously weak and can’t handle this breakdown. I love how Hoffman responds in turn to her noncommittal reaction. Or how he goes to his drug supplier - so broken. But still not humane enough for us to feel anything other than discomfort.

Before the Devil Knows You’re Dead is – after all – a film about dealing with personal demons when life twists your life up. Hoffman’s confrontation with the conman at the end is brilliant like all else, it is in some ways more of a showcase for Hawke but even when he’s not the centre of the scene he never plays second fiddle. It’s a scarily brilliant turn and it’s a pity that such a well made film with all these great performances was ignored. Philip Seymour Hoffman has made some indelible contributions to cinema in the last decade and I only hope that he continues to be as prolific in this one. He’s not the typical leading man, and it’s strange when an actor hits their stride at his age. But he has the talent to pull it off.

           

Were you impressed by PSH in Lumet’s recent film? Or does another of his performances impress you?

Anticipating 2010: Part 3

Well we're getting slowly, but surely. Now for top half of the forty films that I'm anticipating for this year. By this time, these are the films that I'm expecting very much of. So here's the next ten.  I hope you read Part One and Part Two.

            

#20 The Tempest

Julie Taymor is not a favourite of mine. Her excellent work in parts of Across the Universe was eviscerated by some horrid parts. I’m not too keen on changing the sex of Prospero, who I’m already resenting as a woman, but it’s Helen Mirren and I can forgive her for anything. Despite the alleged racial overtones of Caliban [which I think are BS] Djimon Honsou could be a wickedly good Caliban and even though The Tempest is nowhere near my favourite work by Will, I’m expecting much of this. And Ben Whishaw is in this, so it's a plus.
                      

#19 Brooklyn’s Finest

Ethan Hawke probably takes the crown as the most underrated actor of his generation. He has a lead role in this cop drama which looks as if it could be a sleeper hit, and I’m hoping for that. I don't really know what it's about, which should make it somewhat lower on the list. But, that's me. Richard Gere and the talented Don Cheadle costar and the film is directed by Antoine Fuqua of Training Day fame. Here's to this.

             

#18 Dirt Music

I'm worried that this will not be completed for this year: three Weisz films this year does seem to be much. Weisz and Collin Farrell star as two broken people who share a tentative romance. The book is a bit of a thriller. This could be a good low-key drama, if it gets done.

           

#17 You Will Meet A Tall Dark Stranger

Woody Allen. That’s enough to make me watch.The film centres on a family and the drama in their lives which isn't much, but Woody never lets on about his films - plot wise. I sure would have liked if Nicole Kidman was still attached, but the cast still looks strong. Anthony Hopkins, Naomi Watts and Antonio Banderas are actors I like and Josh Brolin is rising in my esteem, so I'm particularly hopeful for this. I like Woody's drama as much as his comedy actually.

           

#16 Agora

I’m still not sure if it’s only this country that doesn’t have this or not. Is this even a 2010 release? Well, it’s Rachel Weisz who is enough of a pull for me, but the entire premise is quite interesting and it looks to be quite a provocative drama and it's directed by Amenabar who was the director of the underrated, but wonderful The Others.I expect this to be a good one.

                   

#15 Iron Man 2

As The Mad Hatter said it’s Iron f***ing man. Of course it’s not that high on my list, but I’d be lying if I said I wasn’t expecting this to be good. Robert Downey Jr. is a whole lot of fun, Gwyneth Palthrow is fun when she’s having fun, Mickey Rourke is flippantly cool. And then there’s Scarlett: va va voom. It’s wrong that she’s my biggest draw her, but she is. Blame it on the hormones, but Scarlett Johansson in leather. Count me in.

             

#14 Wall Street 2: Money Never Sleeps

To be honest, I was not a big fan of the first Wall Street since Michael Douglas is still a question as far as I’m concerned and Charlie Sheen is just ugh. Still, I’m interested to see what Oliver Stone can do twenty years after the fact and with Susan Sarandon and Carey Mulligan joining on with Shia LeBouef, who I believe has more potential than we can discern from Transformers, I’m excited for this. The plot follows Gekko [Douglas] who is now out of prison and trying to repair relationships with his estranged Daughter [Mulligan].

                   

#13 The Way Back

The film is inspired by a true story that traces the escape of a group of Russian soldiers from a Siberian iprison n 1942 and the passage they take to India. Peter Weir, an accomplished director, writes and directs and the film stars Collin Farrell [he's going to be having quite a year, no?], Ed Harris [who is underrated], Jim Sturgess and Saoirse Ronan. This could be a very nice drama. I expect it to be, at least, aesthetically satisfying.

                 

#12 London Boulevard

This could have been higher,  but form here on out it's all a toss up. William Monahan, writer of the almost  perfect The Departed adapts this novel and makes his directorial debut with this piece. It centres on a reclusive actress [Keira Knightley] who befriends  a London criminal played by Collin Farrell. Yes, this is Colin's fourth film in my top 40. Told you, he's going to be having quite a year. I'm very excited for this. Keira Knightley is broadening her horizons, and I like it. She's underrated, same goes for Farrell. I'm unsure about Monohan, I hope his debut is not too gratuitous.               

        

#11 Black Swan 

The film chronicles two rival ballet dances - Natalie Portman and Mila Kunis. Portman's character's world falls apart when she loses the lead in Swan Lake to her rival. Hence the title. This looks good, I'm a fan of Portman and this also has Winona Ryder and Barbara Hershey. Darren Aronofsky is yet to completely wow me, but I know he has the potential. Perhaps, this is it?

                     

So the top ten is a few posts away? Any one here you expected to crack the ten? Which Farrell film are you looking forward to more? Waiting for Agora? Black Swan?

2001: The Men

I hope you're not getting tired of my year be year process of reviewing the decade. I care if you do. Honest, I do. No one? Good. So, on to the actors of 2002. I didn't see a few of the films with the outstanding males, and when I did I made some different choices. Oh well. Who wants generic picks?

               

Supporting Actor

Tier Two

Matt Damon in Ocean’s Eleven

Colin Firth in Bridget Jones' Diary

James Gandolfini in The Mexican

Ed Harris in A Beautiful Mind

Clive Owen in Gosford Park

Damon, Firth and Galdolfini rise above some incredibly stock characters and make magic. Damon especially is a hoot as Linus showing some incredible comedic skills. His rapport with the cast [especially Pitt] is delightful to watch and just makes Ocean's Eleven a success. Harris is good in A Beautiful Mind and Owen only just misses the mark as the enigmatic Parks in Gosford Park. 

                            

The Nominees

Sean Bean in The Lord of the Rings: The Fellowship of the Rings

Jim Broadbent in Iris

Jim Broadbent in Moulin Rouge

Ian McKellen in The Lord of the Rings: The Fellowship of the Rings

Ryan Philippe in Gosford Park

I suppose Philippe seems like a dud here, but if Gosford Park did anything it was proof that he could act. He had an oddly fascinating chemistry with Kristin Scott Thomas and lent a definite charm to the film. So in the battle of Gandalf vs Boromir, Gandalf is the winner. Obviously. Boromir is a mere human. And Jim Broadbent faces off against himself with his Zidler from Moulin Rouge prevailing.

                

Lead Actor

Tier Two

George Clooney in Ocean’s Eleven

Heath Ledger in A Knight’s Tale

Guy Pearce in Memento

Sean Penn in I Am Sam

Mekhi Phifer in O

Maybe I'm easy on him, but Heath Ledger was oddly charming in A Knight's Tale, and Clooney whom I usually despise works his charm with much aplomb in Ocean's Twelve. Though I never really got into Memento Pearce was fine, and Penn had a tough job with that hammy character in I Am Sam. I'm glad he was nominated at the Oscars actually. He and Phifer are the best of this bottom five.

                 

The Nominees

Russell Crow in A Beautiful Mind

Ethan Hawke in Training Day

Ewan McGregor in Moulin Rouge

Denzel Washington in Training Day

Tom Wilkinson in In the Bedroom

I suppose it is surprising that Crow is there, but I did feel he was one of the truly strong things about the film. Of the two Training Day guys I’ve already pledged my allegiance to Ethan Hawke who emerges as the winner [surprise, no?] with Tom Wilkinson close behind for heart wrenching turn in In the Bedroom. Ewan McGregor secures the bronze for an underrated and exceptional piece of acting in Moulin Rouge.

                 

So, surprised at Ethan Hawke, Sean Bean, Ryan Philippe? Who are your choices?

Cinematic Romance: The Nineties

 

 

 

 

 

 

 

2007: Wrapping Up

Damn. It's been loooooooong week. My computer keeps dropping the bloody internet connection, my flash drive has destroyed all my valuable information: don't trust technology. And I have a test on Wednesday for a class where I'm taught nothing. So yeah, it's all great. But hey, the world goes 'round, and 'round. So here's to wrapping up 2007. I thought it was a good year in film. what of you? Here are my winners in the major categories with the runners up in parentheses. Click on the title links for my assessment of the categories.

                  

Costume Design

Atonement [Sweeney Todd: The Demon Barber of Fleet Street; Elizabeth: The Golden Age]

The green dress was hot, hot, hot. But it was the simpler clothes like Briony's white dresses [irony?] and this dress below in particular that seemed very original.

               

Art Direction

Sweeney Todd: The Demon Barber of Fleet Street [Atonement; Hairspray]

Each of these three films had good set design. But Sweeney came out on top. Just a genius production. Well deserved Oscar win.      

                  

Makeup

La Vie En Rose [Sweeney Todd: The Demon Barber of Fleet Street; Harry Potter & the Order of the Phoenix]

                  

Sound Editing

The Bourne Supremacy [Sweeney Todd: The Demon Barber of Fleet Street; The Assassination of Jesse James]

                  

Special Visual Effects

The Golden Compass [The Bourne Supremacy; Transformers]

       

 I was so psyched when this upset.

           

Cinematography

The Diving Bell & the Butterfly [Atonement, The Assassination of Jesse James]

Sure the shot above is not 'cinematic' much, but even in simple moments...the camera works so well.

                       

Editing

The Diving Bell & the Butterfly [Atonement; There Will Be Blood]

                 

Score

Atonement [The Assassination of Jesse James; The Diving Bell & the Butterfly]

I used to study to Briony's theme. Is that sad?

           

Song

Once “Falling Slowly” [Enchanted “So Close”; Enchanted “That’s How You Know”

              

Adapted Screenplay

Atonement [The Diving Bell & the Butterfly; No Country for Old Men]

I am so biased to Hampton and whatever he does…but still it’s a good script.

                 

Original Screenplay

Before the Devil Knows You’re Dead [Lars & the Real Girl; Enchanted]

- What we got here is good.

- I want more.

- So did Oliver Twist.

Supporting Actress

Romola Garai in Atonement [Marisa Tomei in Before the Devil Knows You’re Dead; Cate Blanchett in I’m Not There]

Easy decision for me actually. She carries most of her sequence alone on her shoulders. The conversation with the French solider always tears me up [yes, I am WEAK]. She’s good.

Supporting Actor

Ethan Hawke in Before the Devil Knows You’re Dead [Casey Afleck in The Assassination of Jesse James; Tom Wilkinson in Michael Clayton]

I like Ethan Hawke, that much is known. Maybe it was the character that drew me in, but played by someone else I don’t think I’d have liked Hank much. Why doesn’t Hawke get more roles? The man is so emotive!

             

Actress

Angelina Jolie in A Mighty Heart [Keira Knightley in Atonement; Helena Bonham Carter in Sweeney Todd: The Demon Barber of Fleet Street]

It was actually a really close call between Keira and Angelina. I kept going back and forth, back and forth and eventually I came out with Angie on top. It’s my favourite performance of hers, as with Keira and I think both ladies deserve to be appreciated for their talent and not only for the aestheticism. And HBC at least deserved the Globe win for Musical/Comedy.

                      

Actor

Brad Pitt in The Assassination of Jesse James [Philip Seymour Hoffman in Before the Devil Knows You’re Dead; Daniel Day Lewis in There Will Be Blood]

James McAvoy was just behind Day Lewis as the fourth. It was a good group and it wasn’t nepotism that had Pitt at the top of the list. I think there’s a reason he won that Venice Cup and it was well deserved. He was perfectly cast and he delivered well. At least a nod would have been good.

                                       

Director

Julian Schnabel for The Diving Bell & the Butterfly; Joe Wright for Atonement; Sidney Lumet for Before the Devil Knows You’re Dead]

See me, thinking that the Golden Globe nod meant something; I thought he had an actual chance despite being a lone director. See where that got me? I can’t pick a winner though. Close my eyes and I’ll pick randomly, it’s Schnabel. Thought today I feel all Wright. But they’re equal.

Picture

 Atonement [The Diving Bell & the Butterfly; Before the Devil Knows You’re Dead]

 I cannot resist this movie. I cannot resist it. It's my number one as you see.

                   

So what are your thoughts? See there wasn’t a sweep…it was good year. Thoughts?

The Supporting Actor Nominees: Favourites

So I’m back to give you a list of some favourite nominees in the acting categories. Third on the list are The Supporting Men. Here are twenty five nominees that I think of when I think of good Supporting Performances…beginning with the ten runners up.

                

25 – Ed Harris in The Hours

24 – Tom Wilkinson in Michael Clayton

23 – Jeff Bridges in The Last Picture Show

22 – Denholm Elliot in A Room With A View

21 – Clive Owen in Closer

20 – Casey Afleck in The Assassination of Jesse James by the Coward Robert Ford

19 – Omar Sharrif in Lawrence of Arabia

18 – Montgomery Clift in Judgement at Nuremberg

17 – Maximillain Schell in Julia

16 – Willem DaFoe in Shadow of a Vampire

                                 

15 – Rod Steiger in On the Waterfront

The ‘I coulda been a contender’ scene is always regarded as the Brando showpiece, but we forget to remember that Steiger holds his own in that taxicab. He doesn’t have as much lines but his physical reactions to his brother’s accusations are well done. And that pivotal moment where he lets him out the cab – it’s good stuff and well deserving of the nomination. Sure I wish that Hoffman won the 67 Oscar for The Graduate instead of him [In the Heat of the Night]; but he's a good actor nevertheless.

                         

14 – Pete Postlewaite in In the Name of the Father

As I had already stated I am a fan of this film. Playing Daniel Day Lewis’ almost saintly father this role could have come off as a little one not, but Postlewaite is a better actor than that. He wasn’t old enough to be Lewis’ father, but he is able to convincingly portray a man who has had his back permanently bent. He comes out of the film as the most profound character and he’s missed after he leaves the screen but he doesn’t try to overshadow Day Lewis. The true mark of a good supporting player.

                            

13 – Lee J. Cobb in On the Waterfront

What can I say about this? Every scene he has is juicy and showy and he handles it well. From the first time we meet him the charm with a hint of brutality is evident and with the dénouement of the film we realise that the brutality is more than just a hint. It's a startlingly good performance from him and that lost shot of him is  just pathetic. A true journey for his character.

                           

12 – Al Pacino in Dick Tracy

Next to Pfeiffer’s Cat Woman, this is my favourite performance is a Superhero flick. Joe Pesci deserved his Oscar, but it would have been cool to see him win for this atypical role. The role was good on paper, but he just made turned it into something wonderful. The man has the talent, it’s undeniable.

11 – Russ Tamblyn in Peyton Place

Nepotism? Quite possibly. Peyton Place is not a perfect film, and yes it’s quite soap opera like, but it’s enjoyable. And I enjoyed the performance. It’s sad that this represents his only Oscar nomination and he had no chance of winning, but playing this somewhat introverted character Tamblyn does demand a large part of your attention. A great addition and a palpably good performance in a large cast.

                  

10 – James Caan in The Godfather

I particularly enjoyed this performance. Caan really was on to something back then. Sure I always wish he’d have gotten a nod for Thief, and perhaps this was just one of those additional nods Oscar gives to a film that their enamoured with. But it always pleases me to think that he was nominated. Well deserved in my opinion.

                                      

9 – Jack Nicholson in Reds

I believe that this is the BEST Supporting Performance from Jack. Terms of Endearment didn’t call for that much from him, as enjoyable as it was. I believe he deserved this award. In such a large ensemble film he does leave an impression. It’s a perfect example of how talented this man really is. There is a reason that he is so revered in the business.

                         

8 – Benicio Del Toro in 21 Grams

2003 had two smashing supporting turns – Robbins and his. Either would have been worthy. It’s better than his excellent work in Traffic. He comes out as the best of the cast.  This man needs to get more roles, he really is a talented actor.

                         

7 – Ethan Hawke in Training Day

Yes Ethan is one of my favourite actors, and one of the more underrated ones in the business too. It’s category fraud at its worst [best?]. But there was no other way he was going to get nominated. He has that certain quality that you can’t help rooting for and he functions as the audience’s slate for judging Alonzo. He and Washington depend on each other and though it was co-lead it was supporting still.

                           

6 – Ian McKellen in The Lord of the Rings: The Fellowship of the Rings

How can anyone not love Gandalf? I like to pretend that he won though I have no problem with Broadbent in Iris. Actually I like him in Iris. But how is it that this man doesn’t have an Oscar? Everything the great wizard should be, he’s formidable in the big moments. But in the small parts, as when Frodo takes on the burden of the ring, the look on his face alone is able to tell us much. That’s good acting.

                     

5 – Ralph Fiennes in Schindler’s List

He plays villainous as well as he plays heroic. It’s just a great performance, there’s no two ways about it. As good as Neeson was Fiennes gives the best performance in the film, and it's probably true that nothing he's done since has been able to be this good. It's a chilling performance and he makes it more than a caricature, which is what it could have been.

                  

4 – Leonardo DiCaprio in What’s Eating Gilbert Grape?

Notice how this is the third nominee from 1993? And who did they give the Oscar to? Tommy Lee Jones! Ugh. Ridiculous. If hard-pressed I’d probably name this as the best thing that he’s done. Only in his teen years the realistic nature of the performance is startling. It doesn’t transcend into showboating or a pity nod. It’s a well deserved nomination, and all things considered I’m a bit surprised that he was even given the nomination.

                          

3 – Al Pacino in The Godfather

What do we have here? Another example of category fraud? Just to clear up, I don’t think Pacino should have won – Joel Grey deserved it. But that goes to show you how good a line-up there was in 1972. It’s the quintessential Pacino performance; and it's only ehanced by the chemistry he shares with the cast - particularly Brando and Keaton.

                      

2 – George Segal in Who’s Afraid of Virginia Woolf?

He deserved such a better after career and he deserved that Oscar too. He’s assisted two Leading Actresses to Oscars [three in all], shouldn’t he more recognised? He has more to do than the typical supporting player. Nick’s transformation will not always elicit sympathy from us, and he’s not afraid to play the character as a real dick. It’s a good performance.

                                             

1 – Jude Law in The Talented Mr. Ripley

This was so simple. It’s the best thing that Jude has done – and from Anthony Minghella no less. In retrospect it’s strange when you realise that he really didn’t have that many lines or that much screen time. But it just goes to show how great he was. He made a huge impact on the film and in a way the film hinged on his performance and he completely pulls it off.

So there you have it? Who'd make your list? Any surprises on mine?