Alternate Best Supporting Actor 2005: Results

5. Jeffrey Wright in Broken Flowers - Wright gives a relatively brief yet enjoyable turn bringing such endearing enthusiasm to his role as a kooky wannabe detective.

Best Scene:Winston lays out the case. 

4. Min-sik Choi in Sympathy for Lady Vengeance - Choi has a limited role yet still gives a captivating portrayal of diabolical sleaze.

Best Scene: "Nobody's perfect"

3. Cillian Murphy in Red Eye - Murphy gives first a charming than rather chilling villainous turn that creates the needed sense of tension in the thriller, even if the third act of the film lets him down a bit.

Best Scene: Rippner reveals his true intentions. 

2. Ghassan Massoud in Kingdom of Heaven - Massoud gives a striking depiction of Saladin capturing the needed low key charisma and power of the wisdom of the man.

Best Scene: The parlay. 

1. Keanu Reeves in Thumbsucker - Reeves gives a hilarious performance in his portrayal of the destruction of a man's personal philosophy.

Best Scene: The final appointment. 

Updated Overall

Next Year: 1951 Lead (make any supporting suggestions as well)

Alternate Best Supporting Actor 2005: Min-sik Choi in Sympathy for Lady Vengeance

Min-sik Choi did not receive an Oscar nomination for portraying Mr. Baek in Sympathy for Lady Vengeance.

Sympathy For Lady Vengeance is stylistic and oddly upbeat, well at compared to its predecessors Oldboy and especially Sympathy for Mr. Vengeance, about a woman Geum-ja (Young-ae Lee) seeking revenge against the man who caused her to be wrongly imprisoned for a murder she did not commit.

Old Min-Sik Choi plays the man responsible for Lady Vengeance's sorrows, but he's not actually in the film all that much. In fact I'd say Choi's casting is part of director's Chan-wook Park's way to reference the previous two films in the thematic trilogy, as the leads of Mr. Vengeance Kang-ho Song, and Ha-kyun Shin play mere cameo roles as a pair of hitmen. Choi, the former lead of Oldboy, gets a slightly more substantial role as Mr. Baek the target for revenge. We only get glimpses of Baek for much of the film, pieces of Geum-ja's mind essentially, whether it is of Mr. Baek threatening her daughter, a fantasy of killing him as a dog, or a brief moment where we see him teaching a class through song. I'll admit that last scene does work quite well in creating a disturbing image, as there just seems something off when Min-sik Choi does it. In fact to his credit Choi is such a compelling actor that he manages to at least standout despite the extreme limitations of his role. There just something so innately magnetic about the way Choi works the screen that is always so impressive.

Unlike the targets of the previous two films, who also were motivated by revenge in some way, Mr. Baek is much more a disposable baddie, who we only learn is a child murderer and a rapist in addition to framing Geum-ja. We get again just few glimpses as he attempts to mount his defense, and to be fair Choi exudes menace with such as per usual. He is quickly caught though, and we finally get a bit of that Choi goodness, though not a lot of it. There's a particularly effective scenes where Choi isn't onscreen, yet does add a great deal to the scene as a kidnapped Mr. Baek translates messages into English for Geum-ja. Choi finds nuance within this such as his initial scoff when she threatens him, and his eventual fearful sigh as he begins to understand the severity of his situation. Baek has no hidden plans or tricks up his sleeve though, all his has left are a few words. Choi does his best to make the most of them. I especially love Choi's sleazy, "haven't seen you in awhile", reaction when he first see Geum-ja, as though Baek is attempting to try to not take her seriously.

This changes to fear when it is clear she is very serious, and again Choi probably far more compelling than any other actor in the role could be in portraying the physical fear and eventual pain throughout the scenes. Baek only get one more moment to himself, before his disposal, when one of the parents of his victims asks him why he did it. Choi does his absolute best with this being so beautifully despicable by so casually playing the moment as Baek shrugs off with "nobody's perfect". I'll admit I was a little disappointed with the allowance for Choi here, you can never have enough Min-sik Choi, but he's good with what has. The thing is though the film is more a revenge procedural than a thriller, in that everything basically works for the lady, rather than the terrible back and forth found in the other films in the trilogy. Again this is a good performance by Min-sik Choi despite the limitations, but in the end it feels like a warm up act for his turn in I Saw the Devil.

Alternate Best Supporting Actor 2005: Ghassan Massoud and Edward Norton in Kingdom of Heaven

Ghassan Massoud did not receive an Oscar nomination for portraying Saladin in Kingdom of Heaven.

Kingdom of Heaven is a fairly impressive epic about a Knight Balian (Orland Bloom) who travels to Jerusalem during the crusades, eventually becoming the defender of the city.

Now a weaker aspect of the film technically is Orlando Bloom's lead performance, though this in no way means Bloom is at his worst. In fact it is probably his best performance, well outside his guest appearance on Extras of course, but it is easy to see someone probably could have done more with the part, perhaps Niolaj Coster-Waldau who is featured in a bit role already. Luckily Bloom is surrounded by a strong supporting cast, well other than chronic over actor Marton Csokas as the chief villain whose physical appearance in this film kept making me think "come on Angus Macfadyen I know you can do better than this". Csokas is an exception though, and just about everyone else delivers whether it is David Thewlis as an otherworldly mentor, Liam Neeson as Balian's passionate father, Jeremy Irons and Alexander Siddig as two calm advisors on both sides. Then there are the leaders of the respective armies. The Muslims being lead by Saladin played by Ghassan Massoud.

Massoud's performance realizes the stature of a certain type of leader in Saladin. He's not a man known for his grand speeches or dramatic charges into battle, rather he is known for his wisdom. Massoud exudes this sort of unassuming confidence. Massoud plays the part without ego yet still conveys a definite charisma in Saladin. He portrays an assurance in himself as a reasonable man, and creates the sense that his greatest concern is always what is best for his people. Saladin's early appearances in the film are rather brief, as he tries to avoid war with the Christians. In these scenes though Massoud does well to establish the man as a calm leader, yet with an underlying incisiveness about him. The calmness about him never is that of a fool or a fiend, rather Massoud finds the certain sense of contemplation in Saladin that defines the man. Massoud presents him as a man who is always thinking, never acting rashly, properly showing the leader who waits to only ever make the right move.

Eventually Saladin's hand is forced by the villainous forces among the Christians causing him to finally attack. Massoud never portrays a viciousness even as he has his enemies massacred, instead portraying just this certainty of righteousness in his anger as he executes men for their wrongdoing. Saladin though to finish the reign of his enemies goes to conquer Jerusalem from the Christians. Massoud's performance is technically limited during the siege, though when we do see him he is effective in internalizing essentially the loss in the battle. He subtly, yet poignantly reveals the way this weighs on Saladin as he sees so many die in the attempt to take the city. Eventually Saladin instead tries to parlay for a peaceful truce and this is Massoud's strongest scene. Massoud uses the moment essentially to show Saladin at the height of his ability as he reasons a solution rather than forcing one. Massoud adds so much just in his gaze as he gauges Balian while they attempt to reach some sort of solution. He finds the way Saladin reaches his conclusion to spare the Christians, despite being reminded of pass transgressions. Massoud brings such palatable yet understated passion in Saladin response as reaffirms his refusal to be the barbarian. After the surrender I love the almost humorous quality Massoud brings as he portrays Saladin almost laughing at himself for perpetuating the madness by keeping the city intact. Massoud gives a very strong performance as Saladin, though I must admit I don't think he gives the very best performance in the film.

Edward Norton did not receive an Oscar nomination for portraying King Baldwin IV in Kingdom of Heaven.

Edward Norton portrays the initial leader of the Christian factions in the holy land as the king of Jerusalem. Norton is unrecognizable in the film given he wears a mask through almost the entirety of the film, and the one scene we see him without his mask, it hardly matters. That is because Norton is portraying Baldwin who we meet as he is already ravaged from leprosy, though still the King. Edward Norton is not an actor that makes one immediately think of historical epic, however he seems the actor most comfortable with the material out of anyone in the cast. Norton doesn't do an overt accent per se, it is technically more of some akin to what say Harvey Keitel did in the Duellists, yet it still never seems like Norton behind the mask. In the end he seems unrecognizable even in voice, as he merely is Baldwin. Norton's there if you try to find him yet there is no reason for such distractions whenever Norton is onscreen. This is despite the technical limitations against him in this performance as the only part of his face that he is able to make use of are his eyes with the rest of his face being covered up by the lifeless mask, however that is not nearly as debilitating as one might assume.

Norton establishes Baldwin effortlessly from his first scene where Balian is introduced to him. Now Norton does not rely on anything to overt in terms of his body language. He brings the right grace of King, well still conveying the degradation caused by his condition, and effectively gradually showing the worsening of the condition every time we see him throughout the film. That is not what makes this such a remarkable performance though as Norton is absolutely as magnetic when he is standing or  when he sitting or laying down here. His first scene where he meets Balian Norton is utterly captivating in realizing the power of the figure. This is essential as Norton must make it convincing that Baldwin is still the respected King despite the ravages of his disease. Norton makes that wholly believable as he conducts himself with such assurance still, and his voice commands attention despite never seeking it precisely. There is simply this wonderful quality about Norton's voice as there is something contemplative about it yet with a profound assurance of a man who firmly understands the world he lives in. There is a humanity Norton brings yet the cunning is all the same, as Norton depicts a benevolent King yet a King who will do what is required to secure his Kingdom.

Norton though also utilizes well the only part of his face that he is allowed to use. Norton's eyes are truly expressive here as he gives them this piercing quality fitting for a leader, yet within them there is the sense of the constant suffering Baldwin must endure. Norton with only seemingly the most minor of resources is utterly fascinating to watch here. Baldwin through the film offers the most sage advice as he attempts to maintain civility with the Muslims, even while dealing with a form of insurrection in the ranks. Norton gives us this struggle, but also makes every success convincing through that eloquent sway in the man he realizes so beautifully. Norton though as keeps the idea of the man alive particularly near the end of his time in the film as he begins to finally die from his disease. There is one especially heartbreaking scene where Baldwin's sister finally goes to see him on his deathbed, after ignoring him in his terrible state for some time. Although we got very little to establish this relationship beforehand, Norton makes us understand it in an instance. The love that Norton expresses in his eyes as he sees her brings such poignancy to the moment suggesting how much she had meant to him. Norton is incredibly moving as he captures the pure joy of the moment as Baldwin has one moment of happiness before his death. Every single scene in which Baldwin appears is a highlight in the film a Norton so effortlessly gives the life to the King and the man, and is never overshadowed by the mere idea behind him. It is an excellent performance which, like John Hurt in the Elephant Man and Conrad Veidt in The Man Who Laughs, never seems limited in emotional impact despite the nature of the role.

Alternate Best Supporting Actor 2005: Cillian Murphy in Red Eye

Cillian Murphy did not receive an Oscar nomination for portraying Jackson "Jack" Rippner in Red Eye.

Red Eye is a pretty effective thriller, until it gets off the plane, about a hotel manager Lisa (Rachel McAdams) being blackmailed by a strange man, while on a plane ride, to help with a political assassination.

The first half of the original trailer for Red Eye actually plays as a romantic comedy, this is made possible by the first act of the film where we get a meet cute between Lisa and a stranger well waiting in the airport. Unfortunately for her the stranger is named Jack Rippner a name almost as ridiculous as KILLian Murphy. Seriously though Murphy actually gets a bit of chance to show his range beyond the expected as Jack attempts to befriend Lisa. Murphy actually is quite the capable charmer. Murphy proves that he could have been in the airplane set romance instead, as he does have the requisite charisma needed. He makes it absolutely convincing that Jack could get into Lisa's good graces, even though Murphy does have just enough fun when alluding to the character's true nature such as his devious glance when claiming he killed his parents for naming him Jack, all in jest of course. Murphy successfully builds the relationship even as he slowly creates a growing sense of warmth and concern in Jack as he continues to speak to Lisa, and even attempts to comfort her to help her through her fear of flying. Of course this all to set up the turn as Jack suddenly reveals his true intention, and Murphy calls upon his side he also showed in his other villainous turn in 05 as Jonathan Crane aka the Scarecrow in Batman Begins.

Jack initiates his plan which involves forcing Lisa, by threatening to have her father killed, to change a VIP's hotel room in order to position him for an assassination. Murphy is great in the turn as he switches so effortlessly from calmly charming to an incisive menace. Murphy in this role is not merely giving the same performance as in Batman Begins. As Crane in Batman Begins, Murphy emphasized a more outward creepiness portraying him as essentially a psychopath just  holding it together enough to be psychiatrist. Murphy's approach here is different, though he certainly makes Jack creepy, he presents a man who does not necessarily take that much pleasure in what he does, but rather has a job to do and knows how to do it. Murphy though instead is rather chilling by showing the directness of the man as part of his plan is to make sure that Lisa complies due to fear of what he might do. Murphy creates the tension so well by bringing this off putting conviction in Jack as he goes about his plan. Murphy commands the scenes so effectively as he shows Jack switching to accommodate the situation. This includes going back to the charmer when interacting with the other passengers, but there's more to it. In his interactions with McAdams Murphy is terrific the way he manipulates every moment.

When it seems like he's getting Lisa going along, Murphy becomes almost soothing, as Jack essentially tells her it will all be over soon enough, however when she attempts to thwart him Murphy brings the real viciousness in Jack with such ease to get her to be complacent once again. Murphy is careful, in these scenes anyways, to never make Jack one note. He emphasizes the professionalism, so to speak, and never makes him just simply evil. There is just the slightest hint of humanity, perhaps a trick to make things easier, that Murphy brings in a few reactionary moments suggesting Jack has no real ill will towards her, her father or even the target, he just is doing his job. Unfortunately the film kind of falls apart once the plane lands and Lisa stabs Jack in the throat to stop his plan. The film explodes with a whole bunch of goofy moments and a general ridiculousness, and any nuance Murphy brought to Jack is lost. I don't believe this is Murphy fault mind you, in terms of what he's given to do, it basically is run after McAdams with a weapon while getting into more slapstick than one of the Three Stooges. Murphy is not even allowed to speak normally, needing to speak with cracked voice of man with throat injury. The character becomes what he might have been if a weaker actor had been in the role which just a straightforward violent killer. Murphy is more than fine in terms of going through these motions, but seems a bit of waste of the better villain he had established beforehand. Of course this is out of Murphy's hands, and he deserves credit for his very compelling work up until that point. Murphy gives a strong performance that elevates the film, the film unfortunately ends up falling a bit too far for him to be able to prop it up.

Alternate Best Supporting Actor 2005: Keanu Reeves in Thumbsucker

Keanu Reeves did not receive an Oscar nomination for portraying Dr. Perry Lyman in Thumbsucker.

Thumbsucker tells the coming age story of teenager Justin Cobb (Lou Pucci) who compulsively sucks his thumb.

Keanu Reeves is  an actor that I will admit I've come to appreciate to the point that even in his objectively bad performances there's something worth noting in the way only he could give that very terrible performance, in that way. Reeves has a one of a kind presence, which is worth something all on its own. Now that might not be the best for every role, but with the right role it can do wonders. The latter is the case here in Thumbsucker where he plays the orthodontist Perry to our main character, who attempts to help Justin with his thumb related dilemma. Reeves plays the part of the orthodontist as though he is some sort of zen master. Reeves delivers every line as though it is an essential part of his sage philosophy, as he attempts to help Justin get to the root of his problem. Reeves's approach is downright hilarious as he keeps this air of greater importance about him, with his otherworldly detachment as though he knows all the secrets that the universe may contain. In this though Reeves offers just the slight sense of desperation about it, as though it just might be an attempt to act like he knows everything rather than that he actually knows everything. I particularly like the subtle anxiousness he brings when Perry refuses to tell Justin his "power animal", despite having pictures of wolves all around his room.

After Justin rejects Perry's teaching rather forwardly, by running him off the rode in a bike race, Reeves is absent for awhile. Perry though returns unexpectedly, which a good thing because Reeves continues to be pretty amazing. Reeves drops the whole act completely only leaving just the slight leftover traces of that hippie guru personality of before. Perry is now a changed man, who has dropped his old philosophy for something new. Although what Perry is saying seems positive enough, as he even thanks Justin for incurring this change and seems to ask him about his family as though a friend or a mentor would, Reeves brings this brilliant absurdly palatable passive aggression throughout the scene. In every technical pleasantry, there is such a powerful undercurrent of venom through Reeves eyes and expression, that suggests maybe Perry isn't so happy in his new state of mind. Reeves is great as he serves the character, while being so effortlessly amusing at the same time. We unfortunately don't see Reeves again until the end of the film, but once again the wait is worth it due to Reeves's performance. Justin, after apparently "coming of age" goes to visit Perry for one more check up and "pep" talk. Perry once again offers his advice though this time the advice being that there's no real correct answer in the end. Again the way it is worded seems positive enough. Reeves once again is wonderful by creating the subtext within it. Reeves provides this overwhelming despair in Perry throughout the scene, presenting almost a husk of a man as he despondently looks off, and the only possible hope is the broken smile of a man who has given up on life. This is fantastic work by Reeves as he gives a consistently entertaining performance that also so effectively transforms Perry from a man who thinks he knows all the answers to a man who is all too aware that he knows nothing.

Alternate Best Supporting Actor 2005: Jeffrey Wright in Broken Flowers

Jeffrey Wright did not receive an Oscar nomination for portraying Winston in Broken Flowers.

Broken Flowers is an enjoyable and moving film about the an old womanizer aptly named Don Johnston (Bill Murray) trying to discover which of his old flames sent him a letter indicating that they had a son together.

Jeffrey Wright is one of those actors who is always already giving very interesting performances, yet always flies under the radar for one reason or another, though that may be changing at least at the TV level due to his outstanding work Westworld, but I digress. Wright here plays the neighbor and friend to Bill Murray's Don. His character is a very amateur detective who loves crime fiction, and who takes a particular interest in the letter sent to Murray's character. The character is technically here to serve the purpose of sending Murray on his mission of sorts, and he in turns bookends the film with his "investigation". In perhaps the style of director Jim Jarmusch no one can simply serve just a purpose there always has to be more than that, there is certainly more than that to be had with Winston particularly with Wright in the role. Wright is a delight, and hey that rhymes but don't pay too much attention that statement. The point is though that Wright certainly makes Winston quite a character to say the least, which is not saying enough in this case.

Wright plays the part with a somewhat overt, though I wouldn't quite say broad accent, that already fills Winston with an abundance of color from the outset. Wright absolutely makes this accent his own and just adds to the very idea of Winston is this somewhat kooky neighbor. Wright plays the part as one almost completely comedic side of this dramatic comedy, most of the other major characters are filled with more than a little pathos in one way or another, offers the right presence with that in mind. There's a real sense of fun that Wright brings as he shows so much honest enthusiasm in Winston going about the task of investigating the letter and cracking the case. I love just how brightly optimistic Wright is throughout his performance that plays off Murray's dour style so well. Wright is quite amusing because of just how earnest he makes Winston in every moment as he dissects the case for Don, as though he really is in the middle of a truly important situation. This is all with this unabashed sweetness to Wright's work that presents Winston as a friend who only wants to help his friend, even if he perhaps gets too much joy out of the investigation itself. He's especially effective in realizing that in a moment near the end of the film, as Wright infuses such genuine concern as he apologizes for the problems he inadvertently causes. Wright isn't in the film all that much, though I enjoyed every minute he appeared and missed him when we left him. This is a role that could have been easily overblown but Wright finds just the right approach to make Winston only ever one endearing screwball.

Alternate Best Supporting Actor 2005

And the Nominees Were Not:

Jeffrey Wright in Broken Flowers

Keanu Reeves in Thumbsucker

Min-sik Choi in Sympathy for Lady Vengeance

Cillian Murphy in Red Eye

Ghassan Massoud in Kingdom of Heaven

Edward Norton in Kingdom of Heaven

For Prediction Purposes:

Massoud From Kingdom of Heaven

Alternate Best Supporting Actor 2005: Results

5. Jeff Daniels in The Squid and the Whale- Daniels is terrific at being one of the most self indulgent character's ever, he never strives from the indulgence instead reveling in it creating a rather entertaining performance.

4. Val Kilmer in Kiss Kiss Bang Bang- Kilmer is just excellent in giving a deliciously amusing and cynical performance that compliments Robert Downey Jr's leading work marvelously.

3. Mickey Rourke in Sin City- Rourke unlike so many of his co-stars finds just the right tone for the material giving an effective turn that is easily the best part of the film.

2. Barry Pepper in The Three Burials of Melquiades Estrada- Pepper is great here giving a moving performance as a foolish man who is forced to change when confronted with his crime.

1. Ed Harris in A History of Violence- This was an extremely difficult year to choose as I loved all of these performances, and the top two of Pepper and Harris were very hard to choose just one. For the moment though I will go with Harris who despite having the least screen time out of all gives performances he has just as great impact with his powerful villainous turn in this film.

1. Ed Harris in A History of Violence 
2. Edward Norton in Kingdom of Heaven
3. Val Kilmer in Kiss Kiss Bang Bang
4. William Hurt in A History of Violence
5. Keanu Reeves in Thumbsucker
6. John Hurt in The Proposition   
7. Ghassan Massoud in Kingdom of Heaven
8. Cillian Murphy in Red Eye
9. Cillian Murphy in Batman Begins 
10. Danny Huston in The Proposition
11. Donald Sumpter in The Constant Gardener  
12. Heath Ledger in Lords of Dogtown
13. Min-sik Choi in Sympathy of Lady Vengeance
14. David Thewlis in Kingdom of Heaven 
15. Jeffrey Wright in Broken Flowers
16. Donald Sutherland in Pride and Prejudice
17. Peter Sarsgaard in Jarhead
    
18. Vincent D'Onofrio in Thumbsucker
19. Chiwetel Ejiofor in Serenity
20. Kevin Costner in The Upside of Anger 
    
21. Clifton Collins Jr. in Capote
22. Matt Dillon in Crash  
23. Brendan Gleeson in The Goblet of Fire 
24. Gary Oldman in Batman Begins
25. Stephen McHattie in A History of Violence
26. Ciaran Hinds in Munich 
27. Jeremy Irons in Kingdom of Heaven
28. Christopher Plummer in The New World  
29. Stephen Dillane in Nine Lives
30. Boris Leskin in Everything is Illuminated
31. Chris Bridges in Crash   
32. Tom Hollander in Pride and Prejudice 
33. Liam Neeson in Kingdom of Heaven
34. Paul Giamatti in Cinderella Man 
35. Danny Huston in The Constant Gardener
36. Rockmond Dunbar in Kiss Kiss Bang Bang
37. Joe Mantegna in Nine Lives
38. Alexander Siddig in Kingdom of Heaven
39. Vince Vaughn in Thumbsucker 
40. Mathieu Kassovitz in Munich 
41. Kenneth Nkosi in Tsotsi
42. Jack Black in King Kong 
43. Michael Caine in Batman Begins  
44. Jamie Foxx in Jarhead 
45. Christian Bale in The New World 
46. Hugh Dillon in Down to the Bone
    
47. Jared Leto in Lord of War
48. Liam Neeson in Batman Begins 
49. Powers Boothe in Sin City 
50. Linus Roache in Batman Begins 
51. Richard Jenkins in North Country
52. Hanns Zilcher in Munich 
53. Ian McShane in Nine Lives
54. Ralph Fiennes in Wallace and Gromit Curse of the Were Rabbit
55. Paddy Considine in Cinderella Man
56. Michael Anganaro in Lords of Dogtown 
57. Mothusi Magano in Tsotsi
58. Michael Pena in Crash  
59. Wes Studi in The New World
60. Tom Wilkinson in Batman Begins   
61. Beau Bridges in The Ballad of Jack and Rose
62. Clive Owen in Sin City 
63. Daniel Craig in Munich
64. Julio Cedilla in The Three Burials of Melquiades Estrada   
65. David Wenham in The Proposition 
66. Zenzo Ngqobe in Tsotsi
67. Ethan Hawke in Lord of War
68. Don Cheadle in Crash 
69. Mathieu Amalric in Munich
70. Alan Rickman in The Hitchhiker's Guide to the Galaxy
71. Ryan McDonald in The Ballad of Jack and Rose
72. Benecio Del Toro in Sin City
73. Skandar Keynes in The Lion the Witch and the Wardrobe
74. Woody Harrelson in North Country
75. Nick Stahl in Sin City 
76. Billy Nighy in The Hitchhiker's Guide to the Galaxy
77. Frank Langella in Good Night and Good Luck
78. Chris Cooper in Capote 
79. Graham Greene in Transamerica
80. Rutger Hauer in Sin City
81. Omar Metwally in Munich
82. Elijah Wood in Sin City
83. George Clooney in Good Night and Good Luck 
84. Dwight Yoakam in The Three Burials of Melquiades Estrada
85. Brian Geraghty in Jarhead
    
86. Terrence Howard in Crash  
87. Kurt Russell in Sky High
88. Sam Rockwell in The Hitchhiker's Guide to the Galaxy
89. Ralph Fiennes in The Goblet of Fire  
90. Tom Hollander in The Libertine
91. Chris Cooper in Jarhead
    
92. Jason Isaacs in Nine Lives
93. Dave Foley in Sky High
94. Ian Holm in Lord of War 
95. Bruce Campbell in Sky High
96. Christopher Lawford in The World's Fastest Indian
97. Corbin Bernsen in Kiss Kiss Bang Bang 
98. Kevin Mcdonald in Sky High
99. Craig Bierko in Cinderella Man
100. Robert Downey Jr. in Good Night and Good Luck 
101. Alan Tudyk in Serenity
102. John Malkovich in The Libertine
103. Morgan Freeman in Batman Begins  
104. Jon Finch in Kingdom of Heaven
105. Geoffrey Rush in Munich
106. Michael Sheen in Kingdom of Heaven
107. Christopher Lee in Corpse Bride
108. Mos Def in The Hitchhiker's Guide to the Galaxy
109. Brendan Gleeson in Kingdom of Heaven
110. Jason Lee in The Ballad of Jack and Rose 
111. Jeremy Renner in North Country
112. John Malkovich in The Hitchhiker's Guide to the Galaxy
113. Walton Goggins in The World's Fastest Indian
114. Christopher Walken in Wedding Crashers
115. Brian Cox in Red Eye
116. Albert Finney in Corpse Bride
117. Brian Cox in Matchpoint
118. Burt Young in Transamerica
119. James Cromwell in The Longest Yard
120. Sean Bean in North Country
121. Bruce Willis in Sin City 
122. Matthew Goode in Matchpoint
123. Michael Chiklis in Fantastic Four
124. Michael Clarke Duncan in Sin City  
125. Peter Stormare in The Brothers Grimm 
126. Chris Evans in Fantastic Four
127. William Baldwin in The Squid and the Whale
128. Tim Robbins in The War of the Worlds
129. Ryan Phillippe in Crash
130. Owen Kline in The Squid and the Whale 
131. George Clooney in Syriana  
132. Jonathan Pryce in The Brothers Grimm
133. Ashton Holmes in A History of Violence
134. Michael Gambon in The Goblet of Fire 
135. Marton Csokas in Kingdom of Heaven
136. Paul Dano in The Ballad of Jack and Rose
137. Robert Dawson in The Sun
138. Brendan Frasier in Crash 
139. Bradley Cooper in Wedding Crashers
140. Ian Mcdiarmid in Revenge of the Sith  
141. Julian McMahon in Fantastic Four
142. Kevin James in Hitch
143. Kevin Zegers in Transamerica
144. Kyle Schmid in A History of Violence
145. Chris Rock in The Longest Yard
146. Keir O'Donnell in Wedding Crashers 
147. David Tennant in The Goblet of Fire 
148. Michael Madsen in Sin City

 Next Year: 1988 Lead

Alternate Best Supporting Actor 2005: Mickey Rourke in Sin City

Mickey Rourke did not receive an Oscar nomination for portraying Marv in Sin City.

Sin City is a film that has effective elements but frankly its style wears thin and the numerous problems of the film start to wear down heavily on re-watch. 

One of the major flaws of the film is the acting. Many of the performances are just awful as they struggle to read the lines, and sound as wooden as possible. Also the way the film tries to replicate the scenes from its source material make many of the actors stand and moves in ways that makes their performances seem extremely stilted. Also sometimes a performance can switch from awful to effective in the same scene like Bruce Willis at the beginning of the film. Some of his physical pain is well handled but his early scene where he talks with Michael Madsen's character it feels like both of them are reading off of cue cards.

Where so many of the actors get swollen whole by the overwhelming style of the direction and the rather cumbersome script, particularly its dialogue, its amazing that Mickey Rourke manages to avoid all of the problems that so many of the other actors suffer from. The film basically consists of three stories of equal importance and they each have a lead character the first being Rourke's, the second being Clive Owen's and the third being Bruce Willis's. They are each the lead in their own story, and due to that none of them drive the entire film making it more of an ensemble all together. Out of the three though Rourke's story is easily the best mainly because Rourke easily gives the best performance.

Out everyone in the cast Rourke just meets the material perfectly, and wears it perfectly from his elderly Kirk Douglas makeup, to even his place in the stylized background, Rourke just fits. I don't know frankly how he does it here, but where so many of the actors seem stiff in the recreations of the comic book scenes Rourke seems entirely natural, even if stylized. He meets the style just right that it really works only to amplify the effectiveness of the character and the story. He meets the style not only in a physical sense but he does so equally within his performance. Where so many of the actors struggle with the faux noir style of the language Rourke is just a master of it.

What perhaps works so well about Rourke's performance is that even though he embraces the style to the right degree, he in his own still goes about giving a convincing performance as Marv. Marv's story is about him having a one night stand with a beautiful woman Goldie who he finds is dead in the bed right next to him unaware of how it happened. After finding out he has been framed for the murder he goes about trying to discover who did it and get revenge for her death. This is a performance that very much has to move quickly as Marv is rarely given any time to talk. Rourke very much has to create Marve from scratch as fast just as he runs through the plot, and he does a marvelous job of it.

Mickey Rourke makes Marv an intensely likable hero who does all his mayhem with a certain bit of humor that is well utilized. He has a lot of fun in the role and makes us be able to take a ride with Marv through the film nicely, and actually does well to make the overly grim aspects of the film not as overwhelming due to the lighthearted fashion that he takes with the part. The lines that are so forced coming from the other actors just fly off the tongue out of Rourke, he just knows exactly what to do with the material. It all really comes down though to mixing just the right amount of realism with the style, sure his part is larger than life, but Rourke keeps him grounded in just the right degree in the right area.

Rourke combines well the physical humor aspects flawlessly with portraying the emotional drive in Marv that comes from him losing the only woman other than his mother that ever seemed to honestly love him. Rourke honestly is very subtle in the brief moments of portraying the very real pain and doubts of his character. These scenes are quick and to the point but Rourke does well to make the emotions honest, and not at all stylized. This great entertaining work by Rourke, and it easily makes his section of the film the most watchable. He is one of the few actors to really not get in engulfed by the material, and is the only actor to make his very own distinct mark on the film, although that is obvious since he is easily the best part of the film.

Alternate Best Supporting Actor 2005: Val Kilmer in Kiss Kiss Bang Bang

Val Kilmer did not receive an Oscar nomination, despite winning a Satellite award (yes that award is considered a bit of a joke but hey they awarded Javier Bardem for Skyfall so they can reward a good performance), for portraying  "Gay" Perry van Shrike in Kiss Kiss Bang Bang.

Val Kilmer here portrays a private detective who work for a film studio. In the beginning of the film he takes on our hero and accidental actor Harry (Robert Downey Jr) on an investigation to supposedly prepare him for a film role. Val Kilmer's character is named Gay Perry for a reason, and its not because he is happy all the time. Playing a character who is explicitly gay certainly is place for pitfalls as shown by the likes of Ed Harris and Tom Hanks. Kilmer though luckily does not fall into this. He uses a slight accent, and mannerisms in his performance but in a very low key fashion that only amplifies his character.

I might as well not beat about the bush and say that Kilmer is a joy to watch in this film as he, like Robert Downey Jr, knows just how to play the material. As Downey does in his lead performance he finds just the right tone for his performance being slightly comic throughout yet displaying such an ease with the more dramatic moments as well. Kilmer though is slightly different here as he is the supporting player whereas Downey is the lead. Kilmer properly makes Perry less sympathetic than Harry, although still very likable, but he properly has a more cynical edge that causes him to differ from Downey' performance.

Kilmer is great in the role as he takes a bit of a rougher approach to some of the material that work particularly well for the film, as well as does a lot to emphasize the experience that Perry has in the sort of matters that take place in the film oppose to Harry who is a bit more of a freshman. Kilmer is properly convincing in the role as Perry and Harry deal with the mystery. Kilmer has the proper conviction and strength in the role to properly suit the mentorish properties of Perry. Kilmer exudes just the right degree of confidence in the role that works well in the film, almost being a comforting factor at times because he shows Perry to be just about always on the ball.

Val Kilmer most importantly has terrific chemistry with Robert Downey Jr. They are just a great duo throughout the film, and they play off each other wonderfully making all of their scenes together delightful. Kilmer is excellent playing Perry as the smarter older, although less passionate of the two. He is particularly great in any scene where Perry straightens out Harry a little bit for the dumb decision he makes time to time. Kilmer is always hilarious in these moments having just the right bluntness in the moments. The two are just perfect together in their antagonistic scenes always bringing out the humor in their conflict brilliantly.

This is a very entertaining performance bringing the best out of the script of the film, and even out of Robert Downey Jr. They both just play the scenes so well that they do not overshadow each other than just amplify each other. Val Kilmer turns his mentor/partner character into just an extremely likable character throughout the film. Kilmer's performance here just works to the point that I have to admit I was very relieved when Perry was alive for no sensible reason at the end of the film other than Perry is just awesome. Kilmer is the one who makes Perry as awesome as he is. Kilmer gives another fantastic characterization here, and shows along with Tombstone that it is shame his talent is not exploited more often.

Alternate Best Supporting Actor 2005: Jeff Daniels in The Squid and the Whale

Jeff Daniels did not receive an Oscar nomination, despite being nominated for a Golden Globe for portraying Bernard Berkman.

The Squid and the Whale is an intriguing and entertaining film about the conflict that develops when a literary family is broken apart by divorce.

Daniels anyway is brilliant in this performance in just the way he creates this character. This is a performance that can be taken as almost one note in the broad strokes, though that is not true due to the subtleties of Daniels's work. What Daniels does here is take self absorption to an all new level with his performance here as a once great writer who still considered himself so, even though no one else seems to. Daniels always is reassuring the fact that Bernard is as much into himself as a man possibly can. Daniels doesn't show a hint of doubt as he says such things as the Tale of Two Cities being "lesser Dickens" or than Kafka was one of his predecessors.

Daniels makes it clear throughout the film that he has no concerns in any way if people even doubt his genius because he is so self assured. Daniels is terrific here because there is not ever a doubt in our minds that he has no doubt about himself. Daniels is actually quite hilarious in how pure the self absorption is in his performance. Daniels portrays Bernard as a man very much in love with himself without the need for anyone else's approval because they are not geniuses like him anyways. It is almost a derangement considering how sure of himself he really is, but Daniels of course shows it only ever to be a calm very very collected derangement that Bernard has.

It is a brilliant note that Daniels plays the part at and really it would be wrong for Daniels to ever get off that note as Bernard never does lose his intense devotion to himself, even at the end of the film Daniels still stays firm in support of Bernard's derangement. Daniels shows that Bernard simply is incapable of losing his superiority complex. Daniels is pure as whether it is trying to teach his kids a lesson, or fighting with his wife Bernard never stops with his own approach of quiet reserved smugness. The only time he really breaks this frame is when he is shown not to be the best, and Daniels is quite good that only when pushed into a corner that exposes an inferiority does he break out in anger.

Daniels is brilliant in his broader creation of course, but his best moments perhaps are in the silent expressions of his performance. He is particularly excellent in any scene where someone praises Bernard's wife's writing in his presence. Daniels always portrays a deep wound in his face in Bernard anytime that he hears that his wife may be a better writer than he. Daniels is equally strong in his moments of interacting with his kids particularly when he expresses love to them. Daniels is particularly interesting in these seems as when Bernard tries to talk warmly to them he does and he doesn't. Daniels finds just the right difficult tone needed as Bernard does love his kids, but never enough to love them more than he loves himself.

This is a terrific performance by Jeff Daniels where he succeeds in making an extremely unlikable character extremely enjoyable to watch. The challenge of this character really is a big one in that Bernard could easily just be obnoxious with his constant self promotion, or dull with his relaxed manner of doing so. Jeff Daniels though more than meets the challenge presented by the character with such an effortless assurance with his performance. He simply has a grasp on the part, which is essential for this character to work as he really cannot have even the slightest doubts to be believed. Daniels makes the character his own being the entertaining despicable "genius" Bernard Berkman should be. 

Alternate Best Supporting Actor 2005: Barry Pepper in The Three Burials of Melquiades Estrada

Barry Pepper did not receive an Oscar nomination for portraying Mike Norton in The Three Burials of Melquiades Estrada.

Barry Pepper plays someone here who is best described as a bit of an idiot. Mike Norton is a border guard who basically spends his time looking at Porno magazines when he is not beating up Mexicans trying to cross into the United States. He spends time at home mostly watching television and unceremoniously having sex with his wife. Playing an idiot is something that actually is far more a challenge than one would think as it commonly can be used to give a one dimensional performance, but Pepper although most certainly is playing Mike as an idiot he makes him a compelling character nevertheless.

In all truth Pepper's approach is what makes not only his performance work but really the film work as a whole. Mike Norton is the man who killed Melquiades Estrada, and one could try to say that he is therefore the villain of the film. Pepper certainly does no portray him as a villain in any respect though, and instead portrays him as a thick headed man who honestly did something very bad simply because he just is not very smart. As strange as it sounds Pepper is honest in his portrayal of Norton's stupidity, he never plays it for laughs, but instead establishes it as really the motivating factor of most of his behavior.

For example when we see Mike actually perform the act of Melquiades Estrada there is no hate in his face or anything remotely similar to that. Instead Pepper shows it as entirely an act of desperation, and he emphasizes the lack of understanding in Mike. Mike jumps too quickly to firing back from a stray bullet, and Pepper shows that this action comes from Mike's lacking skills as a frankly just responsible person let alone boarder guard. When Mike see what he has done, Pepper allows us to actually sympathize with Norton to some degree as he portrays instantly the regrets of Mike over the situation, because his face shows that he honestly did not mean to do it.

Mike troubles grow though when Melquiades Estrada's best friend Pete (Tommy Lee Jones) decides to kidnap Mike to go on an expedition to properly bury his friend. Pepper is excellent in his scenes with Jones by playing the reactions of Mike very much close to the bone. Pepper is very good in simply playing the role as realistically as possible in his reactions to Pete demands of him. He is convincing through the entirety of their journey and Pepper matches the jumbled emotions of Mike all the way. Whether it is his anger at being taken, his pain from the various displeasure he suffers along the way, the regrets he feels when the point of Melquiades death comes up, and most powerfully his fearful uncertainty over what Pete is going to do to him. 

Mike seems to undergo a transformation during their journey. It is not that he necessarily that he becomes any smarter exactly, but he seems to slowly break the stupor he seemed to be in at the beginning of the film that really lead him to the unfortunate events that caused Melquiades's death. Pepper is excellent here because he makes Mike's apparent transition something that honestly feels quite natural. He never overplays it nor does he reject the old Mike, as even near the end he still suggest some of the old Mike as he still acts defiantly to Mike. His transition though is made moving by Pepper as he portrays it coming from both a greater understanding of something other than himself as well as in part the psychological and physical trauma he faces through the journey.

This really is not a quiet by nature character, but really the power of Pepper's performance is very much in his face. At the beginning of the film it is a stubborn indistinct expression that he carries mostly that sums of Mike as a person. As the film proceeds though the expression opens up though and he allows us to emphasize with Mike, as he truthfully portrays Mike's changes throughout with particularly strong moments when he opens up fully. These moments are earned, and used perfectly by Pepper as his performance show exactly what Mike is going through. The moment he breaks into tears from a soap opera is extremely well handled he is understated even in the breakdown where Pepper expresses finally an actual understanding of his relationship with his wife.

Pepper builds incredibly though to his final scene where Pete forces him to ask for forgiveness to Melquiades. He starts well though by still showing some of the old Mike as he almost teases Pete. Pepper though is terrific as he genuinely portrays the regrets and sadness Mike does feel for what he has done, even though he pressured Pepper shows what does come is the truth. The only moment better than this in his performance is his final short line asking if Pete will be okay. In this single short sentence Pepper shows us a changed Mike. His expression empathetic, with Mike's wanting to understand know about someone else, and no longer in that stupor. This is an outstanding performance by Barry Pepper creating a fascinating portrait of a stupid man.

Alternate Best Supporting Actor 2005: Ed Harris in A History of Violence

Ed Harris did not receive an Oscar nomination for portraying Carl Fogarty in A History of Violence.

Ed Harris portrays the Philadelphia gangster who comes looking for diner owner Tom Stall who recently killed two men trying to rob his diner. Fogarty though believes Tom Stall (Viggo Mortensen) to actually be Joey Cusack who was involved with the criminal underworld in Philadelphia. He is one of the two major villains, the other being William Hurt who shows up only at the very end of the film. Where William Hurt portrays Richie Cusack Joey Cusack's brother. Forgarty knows Joey from the same period, but where Richie and Joey seem to have a love hate relationship, the only seems to be the latter when it comes to Forgarty relationship with Joey.

Harris is not always my favorite actor as he sometimes can either overact or just not make any sort of distinction with his performance. Harris tears right into the film though as Carl Fogarty as he walks into the diner. Harris as he walks in takes our attention as the man who most certainly seems out of place in this place as he sits to question Mortensen's character. Harris is particularly effective here because he does not show for a moment that Carl Fogarty might think that Tom is Joey, Harris makes it clear that Fogarty entirely knows that this is Joey. Harris portrays Fogarty's questions not as Forgarty trying to find out if he is Joey, but rather waiting to see if Tom will admit it.

Harris is a great villain here in the way he conveys the threatening quality of Forgarty as something always there, but very much below the surface. He is excellent the way he portrays the slight bemusement that Fogarty has over finding Tom's attempts to deny his accusations as pathetic. In a way Harris shows that Fogarty attitude toward Tom is one of a great deal of familiarity. Although it entirely comes from Harris, as Tom of course only keeps denying things, Harris creates Forgarty's troubled relationship with Joey through his performance. He both is able to create the sense of familiarity with Joey showing that they go way back, but that their history is quite a troubled one.

The threat comes in his performance in the subtle way Harris looks at Mortensen in their scenes together that always presents an underlying hatred in Fogarty for what Joey did to him, which was trying to rip out his eye with barb wire leaving his eye dead. Harris always keeps Fogarty very calm and collect in a dangerous fashion but he is especially fierce when his hatred comes out fully. Harris is particularly powerful when he confronts Tom's wife Edie (Maria Bello) as the full amount of hate for Tom he feels comes out as he describes what happened to his eye. Harris is excellent though as he shows Fogarty as well controlled man who returns to his conviction that Tom is Joey as he pressures Edie with questions in regard to Joey's violent abilities.

Harris actually is only in four scenes total in the film, but he makes the most out of each of them. Through his performance he creates the dark world that Joey came from in his ease in which he makes himself a threat to Tom, while never outwardly being so. Harris dominates all of scenes in his portrayal of his character's determination to get what he wants. Fogarty is a character that could have been just a one note forgettable villain considering his screen time, but Harris just does all he can with the role. Harris with ease infuses each scene with both a cryptic intensity as well as even a dark humor. Harris manages to make both the line "There's no need for that kind of Language" in a slightly comic fashion and in the same scene the line “Ask your husband, why he's so good at killing people” work perfectly without any hesitation in his performance. This just outstanding work from Harris that makes Carl Fogarty a truly memorable antagonist.

Alternate Best Supporting Actor 2005

And the Nominees Were Not:

 Barry Pepper in The Three Burials of Melquiades Estrada

Jeff Daniels in The Squid and the Whale

Ed Harris in A History of Violence 

Mickey Rourke in Sin City

Val Kilmer in Kiss Kiss Bang Bang