Alternate Best Supporting Actor 1987: Results

5. Roy Cheung in Prison on Fire - Cheung gives an effective, if limited turn, as the toughest guard of a prison who rules with quiet confidence and a pinch of sadism.

Best Scene: Making a false rat.

4. Bill Paxton in Near Dark - Paxton gives it his all, in only the way he can, in his portrayal of a monster just loving his living death.

Best Scene: Picking up some ladies (victims).

3. Kurtwood Smith in Robocop - Smith gives a marvelous atypical turn for a villain who just doesn't care much for anything or anyone, other getting to do what he wants.

Best Scene: "Bitches leave"

2. Robert Downey Jr. in Less Than Zero - Downey manages to overcome the weaknesses of his film to give a wholly heart wrenching depiction of drug addiction through a man whose charisma thinks can keep getting him by.

Best Scene: Asking his father for help. 

1. Will Patton in No Way Out - Good predictions Luke, Jackiboyz, Tahmeed, Emi Grant, Lezlie, and Matt C. Patton steals his film whole sale through his absolutely captivating portrayal of a man so controlled on the surface, yet in a way motivated by a powerful passion.

Best Scene: Men of power.

Updated Overall

Next: Well I'll be trying to catch up on the films of 2018 missed. Feel free though to again throw out a recommendation from the years I've covered in the bonus rounds already, or an animated, documentary or television film from any year.

Alternate Best Supporting Actor 1987: Roy Cheung in Prison on Fire

Roy Cheung did not receive an Oscar nomination for portraying Officer "Scar-face" Hung in Prison on Fire.

Prison on Fire is a decent, though somewhat unfocused, film about an unassuming man Lo Ka Yiu (Tony Leung Ka-fai) sentenced to a 3 year prison sentence where he befriends a fellow inmate Chung Tin Ching (Chow Yun-Fat) who helps him navigate the politics of the prison between the guards and the prisoners, especially those who are members of the Triad.

Of course what is a prison drama without at least one corrupt guard? I don't know...I'm not sure I've seen one yet. Anyway that role this time is designated to Roy Cheung as Officer "Scar-Face". That should probably be the setup for a rather over the top character, however right down to the scar on his face, Cheung is pretty low key in the role. This is to the point that he doesn't really have to much of an impact on the film for about half of it. He is occasionally there with a reaction or two, but not much more. I'll give Cheung credit though in that these reactions are at lot more interesting than they would be in lesser hands, as he portrays them with this certain observation in the eyes of Hung. He isn't just going through the motions, but rather he creates the sense of almost the Officer putting a plan into action even as he sees the new prisoners come in. This is not even as the head of the guards mind you, rather just the most "powerful" one in the prison.

Cheung effectively exudes the needed charisma to establish even without saying much. He has the right presence that creates a naturally sense of command in the man who watches, and seems to control even before any action takes place. Of course eventually the prison unrest is realized due to the Triad influence within the prison. Eventually Hung attempts to destroy any unrest through some fairly questionable means. Cheung plays his part with a considerable ease that translates to granting Hung the appropriate menace for the role. The casual manner observing the prisoners is the same as when he is talking to a snitch or making a threat. Cheung isn't one note in this rather makes this form of confidence in the man who believes he essentially rules the prison. Cheung also does add just a proper hint of sadism when he informs Ching that he's going to make him look like an informant. The certainty in his portrayal of the act, the sharpness of the delivery gives Hung the needed edge. His methods don't work though leading to a more overt riot, and more overt villainy. Cheung continues to stay true to his overall characterization as he only lightly builds the desperation in the man, that mostly reveals itself in a violent viciousness. This eventually explodes which Cheung grants a visceral sting to in a moment of brunt intensity, however even this he controls to a certain extent, fitting to Hung who has likely held his position of command for some time. This is a good performance by Roy Cheung however limited by the material. Cheung just is rather underutilized, though effective when onscreen he just isn't allowed to take Officer "Scar-face" past a certain point. 

Alternate Best Supporting Actor 1987: Will Patton in No Way Out

Will Patton did not receive an Oscar nomination for portraying Scott Pritchard in No Way Out.

No Way Out is a mostly decent remake of The Big Clock, despite its ludicrous bookends, about a naval officer in intelligence, Tom Farrell (Kevin Costner), finding himself in the middle of a duplicitous conspiracy.

As a remake No Way Out makes several changes to its "wrong man" plot, however the one major consistency is that there is a powerful man who has killed his mistress which his assistant decides to coverup by framing the man the mistress was with. In this version the powerful man is the secretary of defense named David Brice played by Gene Hackman. A major difference though is in this assistant here played by another "that guy" actor, in Will Patton. The character is expanded with his Scott Pritchard actually being responsible for bringing Costner's Farrell into the U.S. intelligence fold. Patton's performance here is heavily mannered, though in a wholly brilliant way that I'd say alludes less to the character's homosexuality and more so to his fastidiousness. Patton portrays Pritchard with a very exact presentation in every way, showing a man who seems to emphasize an exact control of the situation. The way he stands and conducts himself is with sly incisiveness, and a strict confidence about him. Patton grants an innate consistency with this, and specific method to this as even he blinks in a specific way of a man who knows exactly how he must conduct himself to best serve his boss.

Patton's setup I'll admit is already intriguing alone, and it is fascinating just to watch him here. This is an example of a great mannered performance to be sure as everything Patton does feel lived in within the character, and creates this as the natural state of the man Pritchard at the very least believes himself to be. He is atypical to be sure, but atypical in such a compelling way that never feels forced either. Patton is marvelous to watch, but he is also essential in creating this very specific operator within the film. This is even as we first meet him as he just simply introducing his old college acquaintance Farrell to some people around Washington D.C. Patton has a forcefulness even in this simple task. This is particularly remarkable in the way Patton maintains such a careful, technically affected, delivery with his voice that sounds almost Truman Capoteesque. Now this one can certainly say alludes to the character's homosexuality, however what is so notable about what Patton does is how he uses this so effectively in his work. The character carries an innate power in the way Patton fashions this altogether as very much the operative protocol for the man, that gives him a real menace even though he's not the typically menacing sort.

Of course when Pritchard really steps up is when Hackman's Brice kills his mistress (Sean Young), who is also seeing Farrell. Brice goes to Pritchard for a personal counsel supposedly before going to confess to the police this crime. Patton is downright brilliant in this scene as he portrays a geninue concern in Pritchard, but also shows that gear kick in. He is not simply listening to the confession rather Patton shows the wheels turning in the man's head, making it when he suddenly springs in with an alternate path by making the murder seem to be part of a conspiracy of a secret Russian agent that they'll say was the last man to see the mistress alive. Again what is brilliant about what Patton does in this scene though is make it more than just a determined underling doing his job. That concern Patton mixes in with this wholly honest passion to helping his boss that he is firmly devoted to. A devotion that creates the essential motivation within the character of Pritchard as he is far from a typical sycophant. Now the film actually I would say as written seems to try to simplify this towards Pritchard being in love with Brice. I appreciate how Patton uses that partially but takes it much further. In that he creates this determined sense of respect as he speaks about Brice early on that shows that it isn't some simple lust, but rather Patton depicts Pritchard as caring about Brice on a deep personal level. 

This leads Brice and Pritchard to develop a manhunt, that they have Farrell ironically lead to find the "Russian agent" therefore finding a fall man for the murder. Meanwhile Farrell attempts to find something to incriminate Brice with in a race against time. This is where again Patton's performance is an essential facet to the film, and really quite the most compelling aspect of it. On one hand he is needed to be a proper villain for the thriller, as Brice is shown as hesitant towards the whole idea of the coverup initially, but the devoted Pritchard stands by the idea. I love again that passion Patton brings towards the investigation, though carefully placed within the calculated personal style of the character, that becomes so overwhelming that it creates a needed palatable sense of danger to the proceedings. Patton though is simply, again, just fascinating to watch particularly his physical performance where he slowly creates a greater strain on the man's style alluding so effectively that perhaps the weight of the gamble is even too much for him. A most riveting example of this is when Pritchard learns about Farrell connections to the woman, and knowledge of Brice's hands in the murder. Patton makes just the act of a few too many blinks, and slight raise of the voice have an impact, showing the man nearly breaking. His violent act being portrayed essentially his method of returning to his needed calm equilibrium. This ends up being but slight reprieve in the final confrontation between Farrell, Brice and Pritchard. Patton is downright brilliant in this scene as he begins with that controlled manner, now so painfully repressed and artificial in Patton's manner. This being something he quickly breaks once Farrell presents his evidence, and Patton brings such desperation as Pritchard tries to take hold of the situation. Sadly for him Brice decides to instead switch Pritchard to the scapegoat. Patton again is outstanding as he plays it as far more meaningful to Pritchard than just his boss abandoning him. Patton loses all control in manner and voice, showing a man whose world has come crashing around him. Patton conveys such a powerful sense of anguish that his friend he so deeply respected, and really loved has betrayed him, that I have to admit I actually felt sympathy for his villain. This is a great performance by Will Patton, as he takes the little nuggets of complexity in the part and expands them so effectively. He avoids turning into just a plot device, or a one note stereotype, but rather steals the film entire in what could've been just a role there to move the plot forward.

Alternate Best Supporting Actor 1987: Kurtwood Smith in Robocop

Kurtwood Smith did not receive an Oscar nomination for portraying Clarence Boddicker in Robocop.

Robocop is an entertaining action film, biting satire, and an emotional exploration into the mind murdered police officer who is revised through robotics.

Kurtwood Smith is a proper "that guy" actor of the 80's and on in television and film. An example of a talented actor who usually is in brief often unimportant roles, though makes them feels a bit less unimportant. It is then always fun to see such an actor get an actually a role to sink his teeth into. And I feel that is a properly appropriate description for the character of Clarence Boddicker the mob boss of the Detroit of the future. Clarence is not a villain with some grand master plan or some evil scheme to rule the world. In fact in perhaps the wrong hands Clarence might be a bit disposable in more ways than one. Smith's performance though is rather great by really embracing the idea of a villain who very much is in it for the money and the joy of being a criminal. This again seemingly could be boring, but Smith's approach not only makes it work, it makes the whole character come to life in a rather special way. Smith's approach is just to really embrace the sort of inner jerk of a criminal, and it is this that so enlivens the role. This approach is interesting in that it allows him to stand out in scenes that technically really he should not necessarily do so, but does so because of Smith's performance.

This is right from the first full scene he is in where he and his gang are being trailed by the still living, eventual Robocop, Murphy (Peter Weller) and his partner. Smith brings this very distinct approach in the way he approaches the scene. As he portrays almost this specific type of annoyance rather than an exact fear. This approach that Smith fashions making Clarence in a way sort of character who kind of treats the city as his little playground. This is as in the action scene Smith combines the intrusion as bothersome, though he doesn't overplay this to a unbelievable point of indifference. Smith instead makes it something far more entertaining, while still finding a definite menace in the sort of carelessness towards life that he portrays in this. Smith finds an actual menace by portraying such a lack of hesitation, and not doing in quite  detached or a traditional psychopathic way. It is rather this sort of fascinating way of playing as well just a bit of scum. His glee in the moment for example is not excessively viciously sadistic, even though that is indeed what his actions are, but Smith instead depicts it like it is all a game that Clarence loves to play.

Smith's approach is a touch askew and that is what makes Clarence memorable, when he is technically just a general thug in terms of overall conception. We see this in the essential scene where Clarence and his thugs massacre Murphy, which eventually turns him into the titular cop. Smith is brutally effective in the scene playing the whole thing up with a blunt bit of fun as he toys with the cop before killing him. The callous enjoyment that Smith delivers in every one of his scenes is what makes him stand out so well. Again Clarence isn't the man with the grand plan yet he doesn't become overshadowed by technically the main because Smith plays the part as a guy who is entirely fine with the way things are. Smith way of handling a scene then gives it a bit of different angle that makes far more memorable. Take the scene where he kills Robocop's creator, for his boss, where Smith is mostly silent in the scene. The little looks of "you're going to die soon", with a sly grin, or the almost sensuous way he removes the grenade pin to perform the coup de grace,  not only gives Clarence more character, but the whole scene. This approach even allows his scene, where he becomes a complete coward toward Robocop giving up his boss from a bit of intimidation, not to lose anything from the character. This is as Smith plays it with the exact same "who cares" selfish attitude as anything else fitting to the proper slime ball he is. This is not only a good villainous turn but really just a fun performance as well from Smith as he subtly gives a bit of an atypical energy to what could be a standard thug.

Alternate Best Supporting Actor 1987: Robert Downey Jr. in Less Than Zero

Robert Downey Jr. did not receive an Oscar nomination for portraying Julian Wells in Less Than Zero.

Less Than Zero follows a college freshman, Clay (Andrew McCarthy), returning to Los Angeles during his holiday to discover his old high school friends have fallen into a world of drugs and depravity.

Less Than Zero does not come together as a film mostly depicting its material without cohering a proper thematic understanding in the drama. This in part comes from the miscasting of two of the most central figures particularly Andrew McCarthy in the lead who largely gives a distant performance. I'll admit it is not helped that it seems they took off so many edges off of the character of Clay that he eventually became two-dimensional. The film is not entirely bereft of merit though largely due to the, sadly, perfectly cast Robert Downey Jr. as Clay's old high school friend Julian. This is though before we even brave towards the prophetic material as even within the opening scene of the main character's high school graduation, Downey delivers that dynamic presence that helped to launch his initial stardom. We get the young actor/young man, seemingly with his whole life in front him. Downey just exudes that grand charisma of someone who should only go up from there, with that ease and grace to his very existence that just makes him so immensely likable. The scene itself evidently added to help sympathize with the characters, but it is not wasted by Downey who establishes essentially Julian's potential before we find his future some months later.

We catch back with him as Clay returns to L.A. with already some bad blood preexisting as Julian slept with Clay's girlfriend Blair (Jami Gertz). Nonetheless things do seem excessively off as he finds the two enjoying high life in more ways than one. Downey of course brings with that one of a kind energy of his fitting to a make one who is high on more things than life. Downey's excellent though as the breaks in this become evident rather quickly. A great moment for him comes earl yon as he takes a car ride in Clay's convertible with both him and Blair. It all seems fun briefly as he dances and sings around in the car. Downey is without a doubt charming even in these troublesome antics, however his near slip out of the car, within his antics alludes to something far more problematic. His apology afterwards having this considerable unease that realizes that this us quite the literally a high wire act. Something that quickly expands itself as we see Julian trying to find success as he goes deeper in debt with his old classmate/drug dealer Rip (James Spader, also perfectly cast). Downey though almost convinces the viewer as well as he tries to work the deal as there is such a sincerity in that thrill he brings that adds towards his persuasive attitude.

The unfortunately prophetic elements begin to quickly express themselves as though as, like Downey himself, Julian is an out of control drug addict. Like Downey again, Julian seems as though he can control his life as a talented young man. Downey properly tempers his work even as he has this certain physical stress within his eyes conveying the drug addled state even when a bit more sober. Downey is excellent in the way he does not pigeonhole Julian immediately showing that even as he's in the thick of it, he still has it in a way. When talking to Clay of the good old days there such an assured sense of nostalgia as he ponders their old popularity, when he makes a deal with his Uncle the sincerity of his sales pitch is unquestioned. Downey realizes the facade of respectability even with the big cracks evident, there is that strained confidence that just allows one to believe Julian will somehow make it all work. There is still this undercurrent of desperation that only seems to fester as the way Downey makes it this constant, making it essential part of the eventual grotesque enthusiasm that tries to hold the man through each night living his life. In every morning, no matter where Julian ends up, we see a similar state that Downey realizes so vividly. The night itself with every drug and every bit of exasperation wearing on him.

That desperation now worn so directly in his very being as Downey shows a man simply spent right down to the charisma as Downey so quietly plays these moments as the man would rather hide away this state. The meekness he brings being so powerful in terms of showing the weight of his lifestyle. This only exacerbates as Julian takes more drugs while finding himself deeper and deeper in debt to Rip. Eventually going to Clay and Blair nearly in a broken state due to his abuse. Downey's work is absolutely harrowing as he does not hold back, and does not strike single false note in portraying the blunt physical decay. There is no charm, no potential, just a man festering away as he vomits his life out, and Downey makes every moment of this exceedingly visceral and honest. This is shortly followed by one of the best acted scenes of Downey's career where Julian begs his father for a second chance. Downey is wholly heartbreaking in delivery such pain in his eyes from his physical exhaustion, and the betrayal of his father's trust. That history of his life is all there, even if it was never depicted we know what it is that Julian has been through. The weight of every second of this is utterly heartbreaking as Downey is so brutally vulnerable in the moment in expressing the man's desperate need for help. Robert Downey's work is painful to witness at times, especially knowing the man's own trials that only became worse after this film. Downey's amazing performance so effortlessly captures this tragedy of a misspent youth and its descent through a short life of "pleasures" and failures. Although the film itself never realizes the potential of the material, Downey's work unquestionably does as he delivers a heart wrenching depiction of drug addiction that gives a real emotional poignancy to the film, that is only earned through Downey's unforgettable portrayal of Julian.

Alternate Best Supporting Actor 1987: Bill Paxton in Near Dark

Bill Paxton did not receive an Oscar nomination for portraying Severen in Near Dark.

Near Dark, although not anything too special, is a fairly unique horror film about a young man (Adrian Pasdar) randomly finding himself being taken in by a group drifters/vampires after being bitten by a young woman.

Bill Paxton plays one of the vampires, and perhaps is the best expression of the different sort of tone that Kathryn Bigelow's direction is trying to create as this sort of grunge horror. Now don't get me wrong, I'm all in for the dark and more directly evil portrayal of the lead drifter Jesse played by Lance Henriksen. Henriksen isn't too far off a more typical Dracula in some ways. Paxton though offers something a bit different. This is, I suppose, should be expected as Paxton, for better and worse at times, was a unique performer. There's an energy, an off-beat quality inherent in Paxton that ensured he stood out in his films, though these results were sometimes mixed. Near Dark offers the right type of avenue for Paxton's boundless enthusiasm, where he so often seemed to refuse to phone anything in. This in the role of Severen essentially the punk rocker vampire, where Paxton makes a rather wonderful choice for the role. This is to play Severen as someone who just is absolutely having a blast in being a vampire, lacking the qualms of some of his younger (looking) compatriots, and the pretense of the older Jesse.

Paxton plays the part as just some sleazy dude who became a vampire, and just is loving the life. Paxton oozes these carefree amorality that he dips with a certain darkly tipped humor in this smiling indifference. What is probably my favorite scene in the film isn't really a horror scene involving Severen, though it does have some terrible implications, where he prepares himself for a night on the town, while practicing some quick draws, before hitching a ride with his eventual victims. It's a marvelous bit of physical acting of Paxton who simply owns the display like a lounge lizard. Paxton's work has this distinct lack of shame in the right way as it so effortlessly realizes Severen as a unique monster, by playing him as a man who thinks he has nothing to lose. Paxton dials it up, and manages to be menacing in this approach by showing what can be so threatening of, for the lack of a better word, a scumbag who has nothing to lose. Paxton verbalizes this unabashed glee in the life of the night which typically involves lots and lots of killing. The near lack of any pathos in Paxton's work, besides a moment of frustration towards the pathos of one of his companions, is what makes Severen truly come to life as a character. Paxton brings a bit of anarchy to every single one of his scenes making the whole film better for it. I especially enjoy him in the action showdown near the end of the film where Paxton plays it as though Severen is having the time of his living death, even when he's about to be run over by a truck. His "come at me bro" as pictured above, is simply a magnificent expression by Paxton that might as well sum up this performance. It is just an entertaining turn by Paxton, which throws a crazed curve ball at a well worn type of villain.

Alternate Best Supporting Actor 1987

And the Nominees Were Not:

Bill Paxton in Near Dark

Will Patton in No Way Out

Robert Downey Jr. in Less Than Zero 

Kurtwood Smith in Robocop

Roy Cheung in Prison on Fire

Alternate Best Supporting Actor 1987: Results

6. Robert De Niro in Angel Heart- De Niro being the weakest of this bunch doesn't really say much of anything as he gives a very eerie turn as the ultimate evil.

Best Scene: Cyphre prepares an egg for consumption.

5. Vincent D'Onofrio in Full Metal Jacket- D'Onofrio gives a great performance first being rather moving as man not capable enough in the rough boot camp, then downright terrifying once he gets into the swing of things.

Best Scene: Late at night in the latrine.

4. Dennis Hopper in River's Edge- Hopper gives a cohesive portrait of a complex man and despite playing a drug dealer murderer somehow becomes the moral center of the film.

Best Scene: Feck's confession. 

3. R. Lee Ermey in Full Metal Jacket- Ermey gives a relentlessly brutal as well as slyly satirical performance as the drill sergeant that would make an average drill sergeant squirm.

Best Scene: Hartman's introduction.

2. Richard Dawson in The Running Man- Richard Dawson turns his work on Family Feud askew brilliantly in making a menacing and entertaining 80's action movie villain who steals his film without question.

Best Scene: "Only in a Rerun"

1. Mandy Patinkin in The Princess Bride- This year is one of the all time greats for supporting performances that goes even beyond the six I reviewed here and the fairly solid line up offered by the academy. My favorite performance from the year though has to go to Mandy Patinkin's extremely endearing, very funny, and even quite moving portrayal of Ingio Montoya.

Best Scene: "Hello my name is Inigo Montoya you killed my father prepare to die."

Overall Rank:

1. Mandy Patinkin in The Princess Bride
2. Richard Dawson in The Running Man
3. Morgan Freeman in Street Smart
4. R. Lee Ermey in Full Metal Jacket
5. Alec Guinness in Little Dorrit
6. Dennis Hopper in River's Edge
7. Will Patton in No Way Out 
8. Vincent D'Onofrio in Full Metal Jacket
9. Robert Downey Jr. in Less Than Zero
10. Robert De Niro in Angel Heart
11. Peter Falk in Wings of Desire
12. Peter O'Toole in The Last Emperor
13. Daniel Roebuck in River's Edge
14. George Wyner in Spaceballs
15. Kurtwood Smith in Robocop
16. David Strathairn in Matewan
17. Christopher Guest in The Princess Bride 
18. Andre The Giant in The Princess Bride 
19. Ying Ruocheng in The Last Emperor
20. Chris Sarandon in The Princess Bride
21. James Earl Jones in Matewan
22. Wallace Shawn in The Princess Bride 
23. Bill Paxton in Near Dark
24. Richard Griffiths in Withnail and I
25. Ian Bannen in Hope and Glory
26. Vincent Gardenia in Moonstruck
27. Bob Gunton in Matewan
28. Billy Crystal in The Princess Bride 
29. James Spader in Less Than Zero
30. Denzel Washington in Cry Freedom 
31. Lance Henriksen in Near Dark
32. Gene Hackman in No Way Out 
33. Ralph Brown in Withnail and I
34. John Goodman in Raising Arizona  
35. Mel Smith in The Princess Bride
36. Erik King in Street Smart
37. Danny Aiello in Moonstruck 
38. Roy Cheung in Prison on Fire 
39. Miguel Ferrer in Robocop 
40. John Malkovich in Empire of the Sun
41. Robert Prosky in Broadcast News
42. Mel Brooks in Spaceballs
43. Tom Waits in Ironweed
44. John Candy in Spaceballs 
45. Peter Falk in The Princess Bride 
46. Otto Sander in Wings of Desire
47. Kiefer Sutherland in The Lost Boys
48. William Forsythe in Raising Arizona
49. Gary Busey in Lethal Weapon 
50. Ned Beatty in The Big Easy
51. Forest Whitaker in Good Morning, Vietnam
52. Dick Van Patten in Spaceballs 
53. Ronny Cox in RoboCop
54. Jack Nicholson in Broadcast News
55. Hal Holbrook in Wall Street
56. Bill Duke in Predator 
57. Bruno Kirby in Good Morning, Vietnam
58. John Mahoney in Moonstruck 
59. Barnard Hughes in The Lost Boys 
60. Danny Aiello in Radio Days 
61. Vincent Price in Whales of August
62. Frank Langella in Masters of the Universe
63. Richard Jenkins in The Witches of Eastwick 
64. Donald Pleasence in Prince of Darkness
65. John Mahoney in Tin Men
66. William Ho in Prison on Fire 
67. Leslie Nielsen in Nuts
68. Fred Savage in The Princess Bride
69. Robert Englund in Nightmare on Elm Street 3 
70. Esai Morales in La Bamba
71. Victor Wong in Prince of Darkness
72. Ian Charleson in Opera
73. Joshua John Miller in Near Dark 
74. Robert Picardo in Innerspace 
75. Dennis Dun in Prince of Darkness
76. Gene Hackman in Superman IV  
77. Corey Feldman in The Lost Boys
78. Sean Connery in The Untouchables
79. J.C. Quinn in Barfly  
80. Yaphet Kotto in The Running Man 
81. Fred Gwynne in Ironweed
82. Ben Mendelsohn in The Year My Voice Broke
83. John Goodman in The Big Easy
84. Andy Garcia in The Untouchables
85. Nigel Havers in Empire of the Sun
86. J.T. Walsh in Good Morning Vietnam
87. Dean Stockwell in Beverly Hills Cop 2 
88. Kevin McCarthy in Innerspace
89. Laurence Tierney in Tough Guys Don't Dance
90. Joshua John Miller in River's Edge 
91. Ricky Jay in House of Games
92. Robert De Niro in The Untouchables
93. John Rhys-Davies in The Living Daylights  
94. Liam Neeson in A Prayer for the Dying 
95. Karl Malden in Nuts
96. Victor Wong in The Last Emperor
97. Judge Reinhold in Beverly Hills Cop 2
98. Mick Fleetwood in The Running Man
99. Terence Stamp in Wall Street
100. Carl Weathers Predator  
101. James Naughton in The Glass Menagerie
102. John Ashton in Beverly Hills Cop 2
103. Noble Willingham in Good Morning, Vietnam
104. Trey Wilson in Raising Arizona
105. Brownie McGhee in Angel Heart
106. Michael O'Keefe in Ironweed 
107. Arliss Howard in Full Metal Jacket
108. Martin Sheen in Wall Street
109. Dann Florek in Angel Heart
110. Billy Drago in The Untouchables
111. Joe Don Baker in The Living Daylights  
112. Jason Robards in Square Dance
113. John C. McGinley in Wall Street
114. Kurt Fuller in The Running Man
115. Randall Cobb in Raising Arizona
116. Charles Martin Smith in The Untouchables
117. Will Oldham in Matewan
118. Christopher Connelly in Strike Commando
119. Andreas Wisniewski in The Living Daylights
120. Wallace Shawn in Prick Up Your Ears   
121. Michael J. Pollard in Roxanne
122. James Tolkan in Masters of the Universe
123. Jeroen Krabbe in The Living Daylights
124. Jesse Ventura in The Running Man
125. Frank Stallone in Barfly
126. Jay Patterson in Street Smart
127. Marvin J. McIntyre in The Running Man
128. Sam McMurray in Raising Arizona
129. Jim Metzler in River's Edge 
130. Alan Bates in A Prayer for the Dying
131. Andre Gregory in Street Smart
132. David Hayman in Hope and Glory
133. Jesse Ventura in Predator
134. Alex Vitale in Strike Commando 
135. Rick Rossovich in Roxanne
136. Jon Cryer in Superman IV
137. Billy Barty in Masters of the Universe
138. Wings Hauser in Tough Guys Don't Dance
139. Rob Lowe in Square Dance

Next Year: 1978 Lead

Alternate Best Supporting Actor 1987: Robert De Niro in Angel Heart

Robert De Niro did not receive an Oscar nomination for portraying Louis Cyphre in Angel Heart.

Angel Heart is an effective thriller about a private eye Harry Angel (Mickey Rourke) given the fairly simple task of finding a man, although there is not anything simple about the task.

Robert De Niro plays the man who hires Harry to find the elusive Johnny Favourite. It is obvious from his appearance though that he is not just a run of the mill sort rather something far more sinister, a 70's era Martin Scorsese, which means the most frightening creature of all, the devil. This really is not something hidden in anyway instead it is abundantly obvious right down to his name, his ring and his long finger nails which he uses to tear apart open the shell of an egg which Cyphre does not mind explaining that the egg often is used to represent the soul.

With the way Louis Cyphre is set up as a character De Niro doesn't mind playing the part of the devil in a rather blunt manner. De Niro plays off the fact that Cyphre obviously is the devil by giving the right type of knowing style of a performance. De Niro does not play it as knowing toward the audience but rather knowing in terms of what Cyphre knows. De Niro always has an off putting assurance in his performance that establishes well the fact that Cyphre clearly knows more then he is letting toward Angel, and that in every twist and turn that Cyphre knows exactly why they are occurring even if he won't let on.

De Niro actually has a few scenes but he is a strong highlight of the film through his simple but very effective portrayal of Cyphre. De Niro makes Cyphre basically the fate of the film. His devil is the ultimate manipulator who doesn't only move the chess pieces but own the chess board the whole time. De Niro's performance has the intelligence of the all knowing beast in it. De Niro instead of going really big in the role is very terrifying by staying so very chilling through just how relaxed Cyphre is during every single dark turn in the film which Cyphre knows will happen when he wants it to happen.

Every single movement and physical gesture that he gives are striking and captivating in both their oddness but as well in the way in which they creation the demonic puppet master. De Niro in every  one of his appearances builds the grim atmosphere that overpowers film. When De Niro finally unleashes the true devil it has a truly fierce some quality and works particularly well because De Niro crafted in such an eerie fashion to begin with. In his few scene De Niro realizes the devil in this world and when his eyes glow a most unnatural quality, De Niro has made only a natural transition.

 De Niro is listed in credits as giving a special appearance in the film. This is probably the perfect description for his role in the film. De Niro does not have a lot of screen time, but he makes a tremendous impact with each and everyone of his scenes. Louise Cyphre is actually far more difficult role then it might seem as the way he dresses and the way he looks could easily have illicit the wrong kind of laughter. De Niro is in top form though making a vivid depiction of the prince darkness and giving a very compelling performance where De Niro unassumingly controls the entire film without really even seeming like he's trying to.

Alternate Best Supporting Actor 1987: Mandy Patinkin in The Princess Bride

Mandy Patinkin did not receive an Oscar nomination for portraying Inigo Montoya in The Princess Bride.

The Princess Bride is an extremely enjoyable fairy tale about a hero Westley (Cary Elwes) who must save his one true love Buttercup (Robin Wright).

Practically the whole cast is worth mentioning as their performances make up this delightful film. Chris Sarandon is the perfect weasel as the cowardly yet egotistical Prince Humperdink, Christopher Guest out Rathbones Basil Rathbone as Humperdink's far more competent second in command Count Tyrone Rugen, Wallace Shawn is at his very best at doing his Wallace Shawn thing as a villain who thinks he is much smarter then he actually is, and even Andre the Giant is incredibly endearing as a giant who is far too gentle for his task as an evil henchmen. Even though I enjoy all of those performances a great deal my favorite performance in the film without question is delivered by Mandy Patinkin.

Mandy Patinkin plays Ingio Montoya who at the beginning of the film works for the evil schemer Vizzini (Shawn) who kidnaps Buttercup to start a war. Ingio is a henchmen to the bad guy although he is not bad himself merely because otherwise he would just be a drunk. Patinkin establishes the nature of Ingio very effectively early on as a noble figure who is far greater than his current job. Patinkin is effortless in his creation of the heroic nature of the man. Every line he has has such a beautiful conviction about everything that he says. Patinkin is incredibly endearing in being an absolutely true man of honor.

Patinkin though also gives a very comedic performance which he seamlessly blends with the straight forward elements of his portrayal. Patinkin has such an ease with his comic timing here that it flows flawlessly with the technically more serious moments given to the character of Ingio. Patinkin is just hilarious though and plays the perfect sort of game with his performance where he is always so straight forward yet some of his moments are just hilarious in a much more broad way.  Patinkin always puts just the right emphasis to make every funny moment really fly freely to the point of comedic goal without ever making his character seem even slightly over the top.

Everything works about Patinkin's work here including his chemistry with both Andre the Giant and Cary Elwes. With Andre the Giant they are the perfect group of side heroes in the story who together try to save the day even though they have a problem with a half dead hero. Patinkin and Andre the Giant have the right natural friendship and every one of their scenes together are just a delight to watch. The same is true for he and Elwes who are pure perfection at the witty banter when they sword fight early on the film. The two really make a proper exciting dance of it not only in their physical performances but as well in their mixing of words as the two get to know each other well they fight to the death.

The true greatness of Patinkin's performance though can be summed in one line "Hello. My name is Inigo Montoya. You killed my father. Prepare to die.". He first says it quietly to Westley and describes his quest to avenge his father's death by the man with six fingers on one hand. Patinkin brings such conviction as he espouses Ingio's desire and creates such a sympathy for Ingio's desperate struggle. Patinkin in his lovely delivery though suggests the love Ingio had for his father and the sadness that his death brought to him. In just this one speech I wanted him to get his revenge even though we are only told the story and technically at this point Ingio is just a henchmen to a villain of the piece.

The very best scene of the film and maybe the very best scene of 1987 comes when Ingio finally meets the six fingered man Count Tyrone Rugen (Guest) for a duel to the death. Patinkin is flawless in his performance of the scene making it a perfect blend of drama and comedy. Patinkin very movingly finds the drama as Ingio faces several setbacks through wounds he suffers and is quite heartbreaking when for a moment Ingio seems to accept defeat. This only succeeds in making his comeback all the greater as he gains the upper hand as he repeats the immortal line again and again. Patinkin find brings such humor in his line through his increasingly heroic delivery of the line even while Ingio is suffering from several wounds. 

The greatest moment comes when Ingio has the Count cornered and Ingio forces the Count to beg through bribes building up to the moment of ultimate satisfaction with the line of "I want my father back, you son of a bitch!". Patinkin's delivery gives me chills every time I watch the scene and it makes Ingio revenge so sweet. This is a great great performance by Mandy Patinkin who does not just steal every scene he is in but steals the film itself as I found myself more invested by Ingio's story then even the main storyline. I just love this entire performance by Patinkin that is a magnificent combination of a pitch perfect comedy and a real dramatic passion.

Alternate Best Supporting Actor 1987: R. Lee Ermey and Vincent D'Onofrio in Full Metal Jacket

R. Lee Ermey did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Gunnery Sergeant Hartman.

Full Metal Jacket is an effective film, although I've always felt it peaks with the boot camp, about a group marines as they go from boot camp to Vietnam.

Although Matthew Modine as Private Joker is technically the lead of the film as a whole R. Lee Ermey is the star of its first third as the men go through boot camp. Ermey owns the picture and for most of the first third it is a constant stream of his voice in the role of the drill Sergeant who intends to shape every man his way. R. Lee Ermey actually helped Lou Gossett Jr. prepare for his Oscar winning role in An Officer and A Gentleman as a drill Sergeant. Ermey though doesn't repeat Gossett's performance, Goessett's character had a heart, Ermey plays Sergeant Hartman as the penultimate soulless drill Sergeant who will make killing machines at any cost.

Ermey's performance is a non stop charge of intensity as he rips out every insult known to man to demean and break down each man to meet his firm requirements. Ermey doesn't hold back and his performance has a visceral sting like few performances ever have. Ermey string the film along through his, mostly ad-libbed, insults he lobs toward each recruit. Ermey does not even seem to blink in his unending intensity that is perpetual in every scene that he is in. Each of Ermey's results cut right down to each matter and the way each man falls directly in line is not even a slight question because Ermey absolutely controls all in every single scene he is in, besides his final scene of course.

This performance would see one that is one note in that Hartman really does not change nor should he, but Ermey brings so much in the yelling of the drill Sergeant. He always brings that violent threat and a forced dehumanization in his almost sometimes demonic eyes. In that though Ermey even manages a very odd yet extremely effective pitch black comedy in his performance too. Ermey never does wink even slightly in his performance and his extreme nature of his character is always kept intact. Within the unquestionable drive of his performance Ermey technically does have a satirical take by being the drill Sergeant that would cause most drill Sergeants to cower in fear.

One of Ermey's best moments is when he gives a lecture to his men about the Kennedy assassination as well as well as a sniper massacre. He talks about both and Ermey has Hartman speak of them with the utmost pride as he basically praises both events simply because the men who did the killing were both trained by the marines. Ermey's delivery of it is flawless because he allows the absurdity to be there without paying any direct attention to it himself. He keeps an absolute conviction in his performance and even though the statement is completely insane Ermey is great because obviously it is perfectly sensible to his deranged idea of pride. 

The man given the worst treatment of all is Private Leonard "Gomer Pyle" Lawrence played by Vincent D'Onofrio. Leonard starts out the film as clearly the weakest of the recruits who is just one big softie who does not seem ideal to become the killing machine that Hartman wants. D'Onofrio is quite good in being the softie at first and gains quite a bit of sympathy just being the guy who just should not be where he is. D'Onofrio is very earnest just in his portrayal of the ineptitude. D'Onofrio's keeps it fairly simple but he is rather moving because he always makes it obvious that Leonard is trying and that he does feel terrible about every one of his failures.

Leonard's ill treatment never stops as Hartman's ridicule always continues and eventually he is hazed by the other men when Hartman decides that the other men will have to suffer for every mistake Leonard makes. This results in a change in him that is rather extreme and sudden. This is not D'Onofrio's fault as he does have slight indications that this could happen beforehand, but once he changes there is no going back. D'Onofrio becomes almost entirely silent for most of his remaining scenes as Pyle is left by everyone and internalizes everything into himself. D'Onofrio is excellent showing the closed off Pyle and the insanity clearly building within him as he goes by himself to complete the task of becoming a killing machine.

This leads to the final scene where Ermey's and D'Onofrio's performances converge. D'Onofrio is amazing in the scene showing a full changed Pyle as he finally bursts out into his emotions in a truly frightening scene. D'Onofrio is chilling as he shows the formerly soft Pyle a man driven by insanity as Pyle loads and prepares his gun with actual ammunition. D'Onofrio explosion is only made more startling by the way he build in the proceeding scenes in which Pyle was clearly repressing something as he went about his duties to finally pass the trials of the marines by being the monster Hartman always wanted him to be.

Ermey comes in this scene and is also great as he dials back on the intensity of Hartman for just a moment when he notices what Pyle is planning. It is a very subtle moment as Hartman perhaps sees what he has created before he tries one more time to return to his intimidation that results very poorly for both Hartman and Pyle. It is a fantastic scene as Ermey and D'Onofrio basically play Frankenstein and his monster with Hartman having to face what he created. Both actors are brilliant in their uncompromising performances that go all the way with their characters right to their very bitter end. They both give performances that are madness incarnate, one controlled one not, and both succeed in creating the unforgettable opening act of this film.

Alternate Best Supporting Actor 1987: Dennis Hopper in River's Edge

Dennis Hopper did not receive Oscar nomination for portraying Feck in River's Edge.

River's Edge is a mostly effective film, the school teacher is a bit on the nose and I've never cared for Crispin Glover in anything other than Back to the Future, about a group of troubled teenagers who try to hide the fact that one of them murdered his girlfriend.

Dennis Hopper plays one of the few adults in the film and is just as disturbed as the kids. Hopper plays Feck a hermit who also acts as the local drug dealer for the local kids. Feck is a strange man who does not mind greeting someone at the door while brandishing a gun, telling them openly that he murdered a woman and referring to his sex doll as a person. Dennis Hopper is definitely not a stranger to playing unhinged characters but this performance has a very different feeling then his earlier work in Apocalypse Now and Blue Velvet. Hopper internalizes the derangement of this character and gives quite an intriguing portrayal.

Hopper is excellent in portraying the mess of the man that is Feck in his early scenes when one of the teenagers come by to buy drugs from him. Hopper mixes up the man flawlessly inter splices the different sides of his troubled psyche. Although everything is insane about him Hopper is very natural in his performance as the shut in. In his initial scene Hopper weaves a portrait of Feck's derangement as he seems slightly amiable as he welcomes one of the teenagers but at the same time still threatens with his gun. Hopper is perfectly disconcerting as he makes Feck with an oddly warm personality that all the while still always has the threat of being completely deranged at the same time.

Hopper plays each side brilliantly while keeping such possibilities in every scene. Hopper never outright explains what exactly is the deal with Feck yet he creates a very compelling portrait of the insane individual. There is nothing simple about him. It would be easy just to play him as just insane but Hopper gives him such a depth of character. Hopper has Feck an insane man but a very lonely insane man. Feck's best friend is a sex doll he acts is alive and Hopper even brings a complexity to this relationship showing his insanity in this regard as something he does for a need to try to cope with his horrible situation.

Although it is a given fact from his first scene that Feck is a murderer, Hopper strangely makes him the moral center of the film. Hopper importantly distances Feck from the kids as Feck does not have that emotional distance the teenagers have. The difference is especially notable and quite fascinating once the murderer John (Daniel Roebuck) hides out in Feck's home. They both have murdered women John treats it as nothing to him rather something he just did, Hopper though is incredible showing Feck's murder as something that truly haunts him all the time. Feck's a murderer and Hopper does not shy from that in his performance, but Hopper always emphasizes in a bizarre poignancy that Feck felt the murder unlike John.

The scenes shared by Roebuck and Hopper are easily the best as they interact with their conflicting personalities even though they share the same horrendous deed. Hopper is absolutely great in these scenes portraying Feck as having a most unusual reaction to John. On one hand there is a warmth he brings that is very strong portraying once again that Feck to try to deal with his loneliness will reach out to even to John's hollow soul. On the other hand though Hopper builds in Feck a slow building very quiet disbelief in Feck as John consistently shows no remorse. Hopper is amazing as he pour so much emotion into his portrayal of the way John's soulless outlook tears him apart as Feck's murder is something he could never forget.

Hopper's single best scene comes after Feck has murdered John and he explains why. Hopper is so beautifully somber in the scene as Feck mourns the death of John as well as he slowly explains that he had to kill him as John's behavior was impossible to understand even to a fellow murderer. Dennis Hopper completely realizes this character and there is not a moment to be disbelieved. Hopper somehow brings the whole mess that is Feck together in his performance. Not only does he realizes his character's conflicting behavior into a cohesive whole he also gives an honestly sympathetic performance as Feck that stands as a powerful contrast to the emotionally distant performances by much of the cast particularly Daniel Roebuck.

Alternate Best Supporting Actor 1987: Richard Dawson in The Running Man

Richard Dawson did not receive an Oscar nomination for portraying Damon Killian in The Running Man.

The Running Man for the most part is a somewhat underwhelming action movie about an innocent man in a dystopian future  who is forced to compete in a life or death game show. It is mostly underwhelming because the action scenes just aren't that great, and Schwarzenegger is far from top Schwarzenegger form. There is one element of the film that made me not mind watching the film one bit though, and that is where Richard Dawson comes in.

Richard Dawson plays the lead antagonist of the film a game show host just like Dawson himself was for many years as the host of family feud. The game show Running Man though is not family feud, and Dawson takes on the role with a brilliant satirical turn. In his game show scenes Dawson brings on his performance from Family Feud which he uses to great effect. He has such a perfect seeming warmness with audience the way he flirts with the women holding them all so close when letting them play along with the game. Dawson uses every trick he had on Family Feud and flawlessly brings them to this performance.

Dawson is a great showman and he makes every scene he is worth while in some way. His whole rousing of the audience is always terrific in creating the world of the show built around a true bloodsport. Dawson doesn't just repeat what he did on Family Feud, although his replication of it is remarkable and should not be taken for granted, Dawson puts just the right tinge of menace along with the jovial host who loves everybody. One of his best moments is when he is building the crowd up, but for a moment he pulls out the true villain to respond to Schwarzenegger's catch phrase "I'll be back" which Dawson responds with the perfectly delivered response of "Only in a re-run".

Richard Dawson is masterful as the game show host. He simply could not be better in the way he plays along so well to the crowd and honestly can even make you even believe in the concept of this type of game show. Dawson play every aspect of the show like an expert pianist playing a difficult piece. He extremely efficient in the way he is able to change through the course of the game from his early scenes where he is building the crowd up, to even portions where Dawson makes Killian a pseudo empathetic sort as he tries to calm the audience as the games are not going how they usually do, but most importantly always the strong resilience of a man who will put on a good show no matter what.

We don't only see Killian only when he is performing and Dawson is wonderful in showing the real man behind the showman. Dawson takes an excellent approach by very much easing down on the flamboyance of his performance as Killian takes care of the behind the doors dealings to get the ratings he wants. Dawson is exceptionally blunt in portraying Killian as the unscrupulous man who doesn't mind a few underhanded dealings if it were to mean just one more point for his show in the ratings. Dawson removes any of the jovial qualities before giving a very dark side of the man who is quick and to the point about his demands as well as in making his threats if anyone fails him.

Dawson deserves so much credit for his performance because he gives a disturbingly authentic portrayal of a game show host when it would have been so easy to way over play the role given that it is an Arnold Schwarzenegger action movie. Dawson goes all the way with his performance though being completely believable as the man who can change on a dime from the seemingly charming and energetic host to the blunt and very harsh businessman. Dawson is effortless in creating the sleazy host who can play either to the audience to support any single thing he does or manipulate any one of his underlings or contestants to do his bidding. He brings this dynamic together to make Killian an entertaining and menacing villain.

This is far more then just some inspired stunt casting as just any game show host would not have done. For one Richard Dawson was probably one of the very best in that field, but as well because Dawson delivers in every aspect of the role of Killian. Every scene he is in lights up the film and enlivens it in a way the action scenes can't. Dawson does not waste a single second of his screen time making the most of every moment in his portrayal of the evil game show host. Dawson goes the distance with it and really Dawson clearly could have given a very similar performance in an entirely serious film about an egomaniac game show host.

Its a shame that Richard Dawson's creation of Damon Killian was not in a film that was as inspired as his performance because merely saying that Dawson is the best part of the film is not quite fair. His performance goes above and beyond the call of duty for his role as the central villain. Dawson's work doesn't just rise above the film he elevates the film itself from being completely dispensable to having one aspect that is well worth watching. This is just stellar work from Dawson as he gives a deliciously sinister turn that works both as being an entertaining villain but as well a rather oddly believable portrait of a television personality who will do anything to be number one in the ratings.

Alternate Best Supporting Actor 1987

And the Nominees Were Not:

R. Lee Ermey in Full Metal Jacket

Vincent D'Onofrio in Full Metal Jacket

Dennis Hopper in River's Edge

Mandy Patinkin in The Princess Bride

Richard Dawson in The Running Man

Robert De Niro in Angel Heart

For prediction purposes I'll give the honor to Ermey out of the two Full Metal Jacket men.