Alternate Best Actor 2010: Philip Seymour Hoffman in Jack Goes Boating

Philip Seymour Hoffman did not receive an Oscar nomination for portraying the titular character of Jack Goes Boating.

Jack Goes Boating is Philip Seymour Hoffman's only film he directed about two couples and their growth or lack of growth over time. 

Hoffman himself plays Jack, the male half of one of the two potential couples, as he gets set up by his friend couple, Clyde (John Ortiz) and Lucy (Daphne Rubin-Vega), with the off-beat Connie (Amy Ryan). The film is very stagy, and attempts non-staginess, as we either get long conversational scenes ideal for stage, off-set by very obvious attempts to not be stagy which unfortunately are mainly musical montages that don't do all that much other than breakup the scenes. Hoffman is a performer I never mind seeing another film from because it means I get to see that much more of an actor who left us all far too young, and that is the case again here in Jack Goes Boating. I like seeing Hoffman as Jack, mainly because I like Hoffman so much, but I wouldn't say this role or this performance is exactly his biggest challenge, in fact I ponder if he chose this material for his attempt at directing because it didn't ask that much of him in the lead role. As Jack he's kind of a Marty type sad sack, who is a little lost in love and otherwise is just a workaday guy who we frequently see somewhat passively move through his life as limo driver. Hoffman was a great actor though, so even in that passiveness Hoffman does bring a sense of the man building this barrier of attempts protection for himself as he deals with questions that make him feel uncomfortable, such as his relationship status, but also being slightly more open when talking about something comforting like his reason for liking Reggae music with his friend Clyde. Hoffman is convincing, and even likable in his modesty that it certainly is believable at a moment's notice. 

The central relationship theoretically is where you think is going to be the big challenge for Jack, but it isn't really that. Hoffman mostly brings this modesty there too in his chemistry with Ryan, who is actually giving a fairly atypical performance from her as a more overt eccentric, and Hoffman often is the facilitator and the giver in these scenes together. Which makes sense as the director, and to Hoffman's credit it is believable in the way he constructs Jack to want to please as he can in a very gentle and humble way. He creates the easy sense of appreciation for the opportunity of the relationship and has a natural chemistry with Ryan by letting her go a bit bigger while he balances that with his smallness most of the time. I write most of the time because the one aspect we do get of Jack that is against the rest of his behavior is when something goes wrong or someone purposefully hassles him. There he will suddenly break out in anger and emotional distress. Something that again, Hoffman plays very well in performing it very much as this release valve of someone who contains too much so when there is something that wounds that state Hoffman reveals that extreme reaction. It doesn't feel like a break in the rest of the man, just a natural aspect of who this guy is and what he has been keeping inside. Otherwise we see Jack prepare to go boating by learning how to swim which Hoffman just plays as a dutiful task in a curious preparation to eventually go boating with Connie as a random dating option the two discussed equally as randomly. All of this doesn't lead to all that much other than one more emotional breakdown as Jack, training with cooking as well, burns a dish and has one more outburst. Again well performed as the man just losing his tight grip, that is though satiated by Connie, which Hoffman delivers as Jack using her calm as a way for Jack to find his bearings again. Hoffman gives a good performance, I liked seeing one more turn from him as always, but a great turn from him this is not. 

Alternate Best Actor 2010: Vincent Gallo in Essential Killing

Vincent Gallo did not receive an Oscar nomination, despite winning the Volpi Cup, for portraying Mohammed in Essential Killing. 

Essential Killing follows a member of the Taliban as he attempts to escape a detention center in Europe as he's pursued by the American military.

That creatively named member is named Mohammed, though really he could just be called the running man as that is the basic nature of the role played by Vincent Gallo. Vincent Gallo a director and actor who is known both onscreen and offscreen for his rather unappealing presence and personality. Gallo is a strange example because he's someone who when you see him and usually when he speaks there is just an innate unlikable quality that exudes from him, however there is something very strange about Gallo because he is oddly captivating to watch despite his presence to the contrary. His role in essential killing theoretically removes one of his most unlikable features being his unpleasant voice and his far more unpleasant words as the character of Mohammed is mute other than grunts and screams related to survival situations. We don't get a deep background on this guy, why he was fighting or anything like that. We just follow him as he kills a soldier, is captured, then needs to escape. The most we get in terms of some sense is a vision in one scene where he sees a woman in the desert, which doesn't say much other than the vaguest of spiritual beliefs. Gallo's performance just shows some awe, establishing I guess that the character has some religious conviction, maybe, but otherwise than that the nature of the role is one in the moment, in reaction and action towards the idea of escape and survival. 

The survival is much of the film as we see Gallo, we see Galllo run, see Gallo run, go Gallo go, see Gallo go, see Gallo step in a bear trap, see Gallo scream, scream Gallo scream, see Gallo breastfeed, breastfeed Gal...actually I'm done with this bit. The performance is a survival film performance where it is very much about the visceral reaction in the moment to the situation or moment. As performances of this ilk goes, I have to say, I don't find Gallo's performance especially captivating beyond a certain point. I think he's perfectly fine in terms of just portraying realistic reactions in terms of the physical wear of the situation, whether that is just general physical exhaustion of his constant running, or more specific intensity of falling through rocky terrain or getting his foot in a bear trap. Gallo's anguish is convincing enough, though I wouldn't say it kind of goes beyond a surface interest. I certainly don't turn my gaze from Gallo here, but he doesn't pull me into the psychological existence of Mohammed, I just see a man running for his life. His checkpoints of this idea are perfectly fine in the moments we get respite when coming across as a random French woman. He portrays that innate desperation and fear of the man in the race, less a dogged conviction of a man with a plan, but just the conviction of a man with the will to survive. The progression of his performance is just of the increased physical exhaustion. It isn't more or less than kind of what can be believable in a general sense. I don't feel I've come to know the character from the progression of this, I don't feel I see this natural change in the state of man's nature either, I feel Gallo just kind of *is* what he needs to be, but doesn't go beyond that. The moments where he is nursed to health by the French woman, we get maybe bits of silent tenderness there, almost like a childlike reduction in the manner of the man from overt fear, however I don't think it still amounts to all that much. It's a good performance, however it isn't more than that. For it to be great, I'd say it would've had to truly elevate the piece to me becoming fully invested in his silence, which I wouldn't say was quite true. 

Alternate Best Actor 2010: Results

5. William Shimell in Certified Copy - Shimell gives an effective if more simplistic, in comparison to his co-star, portrayal of the film's mysterious relationship.

Best Scene: The first stop.

4. Mads Mikkelsen in Valhalla Rising - Mikkelsen offers the right imposing yet otherworldly presence as his silent uncompromising warrior.

Best Scene: The pat.

3. Martin Sheen in The Way - Sheen offers the right balance to his film bringing a real emotional honesty to his character's journey of discovery while also doing the same for his less subtle co-stars.

Best Scene: Police Station.

2. Riz Ahmed in Four Lions - Ahmed is a proper Moe Howardesque straight man offering the right intensity, as well as sense of leadership in dealing with his incompetent underlings, while also humorously portraying his own failings.

Best Scene: Trying to talk Waj out of it. 

1. Casey Affleck in The Killer Inside Me - Affleck delivers an absolutely chilling depiction of a psychopath and realizes the logic of a disturbed even if his film's not very good.

Best Scene: Preparing a funeral pyre. 

Updated Overall

Next Year: 2010 Supporting

Alternate Best Actor 2010: Casey Affleck in The Killer Inside Me

Casey Affleck did not receive an Oscar nomination for portraying Deputy Sheriff Lou Ford in The Killer Inside Me.

The Killer Inside Me at a source material level is a pitch black noir that would require a deft hand to successfully adapt, well no such hand is to be found here.

The film follows a corrupt lawman from his perspective, solely from that perspective and unlike say a Bad Lieutenant of some kind this lawman is wholly evil. The film falters in part because much of it feels like an exercise in replicating the hard boiled noir films of the 40's and 50's like a Double Indemnity, Kiss Me Deadly or The Postman Always Rings Twice. The film is an exercise in that however it does not succeed in even replicating the weakest of those three films in part because the exercise itself feels obvious but also in the way it deals with the characters. The supporting characters, partially in writing often in performance, feel like caricatures we are wholly detached from leaving the only successful character and performance being the one there is suppose to be a level of detachment from to begin with. That is obviously Casey Affleck in the lead role as Lou Ford our villainous protagonist. The majority of Affleck's notable roles in his acting career are at some level anti-social. This is a fascinating performance in Affleck's work since this is once again anti-social however the way he reveals it is very peculiar here, yet reveals itself in exactly the nature of Lou Ford.

Affleck's work is interesting though in that it isn't about facades exactly, but rather the meaning he attaches to Lou Ford's behavior that we know however no one else knows until it is too late. When we open the film we see Lou Ford as he sent out to evict known prostitute Joyce Lakeland (Jessica Alba), where we see Lou Ford as this unassuming if not slightly charming deputy. Affleck is not a naturally overtly charming performer however what he does here is quite fascinating in the sort of elfish charm he does find in that mischievous smile of his as he lets himself in. Affleck doesn't actually portray this hint of charm as a facade exactly since in that smile there is already exactly what he is, the problem is only Ford knows this. In that smile he charms Joyce long enough yet Affleck in that even brings his intention which isn't to pleasant towards her or even evict her, it is far worse. He goes about instead starting a sadomasochistic relationship with her where he routinely physically abuses her in perverse sex acts. Affleck doesn't reveal some evil side rather knowing what he intends to do grants a very different reaction from Affleck's slight grin given its meaning.

Affleck's performance here is apart from the rest of the film both in terms of quality but also in the way he portrays the psychosis of Deputy Ford. Ford is merely a man who does things throughout the film seemingly with little sense, even with a backstory of encouraging it but not creating it. Ford is mentally ill from the start and that is not going to change. What Affleck portrays throughout the film is merely such a man interacting with his surroundings, which unfortunately results in many deaths, and general destruction. Affleck's depicts Ford without even a hint of guilt portraying this purity of the madness of a man that is truly chilling because of the level of comfort Affleck depicts in this. In his actions of inflicting pain or killing Affleck portrays some to be sure in Ford as he does this, but also a hollowness within the ease in which he does it. There are no lingering thoughts that Affleck portrays rather a man completely comfortable in himself at every point throughout the film no matter what danger he may be putting himself in or how close he might be to getting caught for his many horrible actions throughout the story.

Ford's actions don't make a lot of sense throughout as he seems to almost actively work to getting himself caught by the end of the film however it is given any sense through Affleck's portrayal of his particular sort of craziness. Affleck always makes Ford the man he as this deranged pleasure seeker. He isn't even wholly without emotion as Ford speaks to some love he holds for Joyce, and although Affleck shows this to be true he also shows that this love means for him stabbing her to death. Affleck's performance here is terrific as he is most disturbing in so honestly realizing the man's sinister nature at every point no matter how illogical, since Affleck shows that it is wholly logical to Ford. In those eyes there is the man who holds such pleasure from just inflicting harm to others with that carefree genuine attitude that Affleck finds in this that makes it so off-putting. Affleck's work here on its own is compelling but it truly stands alone. He remains intriguing even as the film never really becomes as such. Affleck's performance is what would be needed for any adaptation of The Killer Inside Me, as he brings to life the man in eerie detail, even if the film itself fails to capitalize on the strength of its lead.

Alternate Best Actor 2010: Byung-hun Lee in I Saw the Devil

Byung-hun Lee did not receive an Oscar nomination for portraying Soo-hyun Kim in I Saw the Devil.

The first time I watched I Saw the Devil I took very strongly to Min-sik Choi's performance as the central villain Kyung-chul, a serial killer who randomly targets the fiancee of Lee's secret service agent Soo-hyun Kim, and perhaps took Byung-hun Lee's performance somewhat for granted. On re-watches though I noticed my mistake in this, and the brilliance of the pairing of Choi and Lee, perhaps the two most talented Korean actors. The reason being they are such opposites in style and frankly everything else, though similair in their considerable talent. Where Choi certainly does not have the look of the traditional leading man, and his very flamboyant energetic performer, Lee on the other hand is very much the traditional leading man however with a very particular often restrained approach to his roles. These two provide for a most fascinating dynamic as we have Choi on the ledge, brilliantly so, as a complete madman, against Lee's very internalized performances Kim seemingly our hero ready to get revenge for his murdered fiancee. Now again, I quite wrongly, believed Lee to be overshadowed where in fact his work is just as pivotal as Choi's to the overall success of the film.

It is always interesting to see how a film will play differently when re-watching it, and the earliest scenes of the film have all the greater impact when you are aware of what is coming soon. Lee in the brief scene where Kim speaks with his fiancee is actually rather devastating with this knowledge in that he does provide a real warmth in the brief scene where Kim attempts to find a moment to romance her while doing his security scenes. It is a genuinely sweet moment where Lee just reveals a normal guy in love, which naturally in this film is not meant to be given that she is murdered as the opening scene of the film. In discovering the murder Lee is moving in portraying the honest grief of Kim as he initially discovers his painful loss. This however changes from the moment he decides to exact revenge by finding the killer. Lee puts that obvious gentle humanity to Kim in his very quiet portrayal of the state of Kim once he begins his descent into hell. Lee's fashions this exact state of Kim as this man filled with vengeance, and is outstanding what he does with his restraint in the role.

Lee shows a man no longer seemingly broken by his loss rather completely in charge of his existence. There is this undeniable  power to the presence of Lee as he is frankly more menacing than the killer he assaults. Lee portrays this with the right limited emotions at times of a man who is essentially focusing himself away from his sorrows, and into the path that gives himself purpose. This is not to say it is unemotional in the slightest. Lee is incredible in the way he stays so quiet yet brings such a palatable intensity in his eyes. His eyes that suggest this hatred that fuels the man on his quest. This though again often has this certain calm and in doing so Lee does not make Kim some otherworldly hero simply doing the right thing, for him it's unfortunately far more complex. In that intensity there is this confidence, and seemingly some ease in his being. A contentment most of the time in his drive to get revenge. In the early scenes where he directly faces the other criminals, or Choi's Kyung-chul Lee brings this detachment within the intensity as though he is acting as some spirit of vengeance who is beyond their limits of understanding. Lee's terrific as this technical facade is actually made properly believable, and what makes him so menacing.

That state is always Lee's point of return in his performance and it so effectively reveals the frame of mind of the man who is finding some strange solace in his quest. This is not to say there are not moments of breaking, Lee in fact brings this at the right moment, such as when he finds his wife wedding ring he naturally reveals a bit of the pain again. That though he wisely keeps restrained still keeping Kim as the properly stoic "hero" that you would find in most revenge thrillers. He returns though always back to seeming in a place away with it whenever he is on his quest. This is to the point in his initial confrontation with Kyung-chul Lee stays almost without emotion in the fight, until he has knocked the killer unconscious and is about to be able to kill him. Lee reveals just a bit of his pain seeping in even within the apparent satisfaction as he is about to commit the coup de grace, and in this Lee makes the strange choice to let Kyung-chul live convincing. In that moment Lee suggests the thought of a man about to lose everything falling back into his despair, and makes sense of the man letting the killer live since if he tortures him it gives him something to keep him going and away from his despair.

Lee shows this as allowing Kim to continue his state of that confidence, that power as he follows and pesters the man trying to drive him insane, well...more insane. Lee brings that detachment, that what would usually be described as sort of a cool bad ass detachment, of the man whose going to make life for the villain a living hell. Lee constantly appears with that intensity, and absolute control as Kyung-chul's personal judge dispensing punishment viciously, and without mercy. Again this is not truly without emotion however Lee brings it through that palatable contempt to destroy the man. That intensity is as such through Lee's performance that he allows Kim to seemingly become almost the monster himself as he stalks his prey of the killers, with the piercing eyes of a different kind of killer as he seems to stare into their souls, and his voice in these moments which reinforce this unshakable determination in his uncompromising pointed delivery. The more time we spend with Lee portraying Kim on the moment the less simple it become, as he indeed seems less the hero seeking revenge, and man becoming not far off the man he's seeking revenge against.

As with Byung-hun Lee's work in his other leading collaboration with director Jee-woon Kim A Bittersweet Life, Lee is springing a bit of trap with his performance. In that while he is compelling in portraying this more subdued, and withdrawn performance it is building to something. We have hints of this throughout as there are the moments where just a bit of Kim's pain reveals itself, however Lee always portrays this is as only very subtle momentary lapses such as single tear where the emotion pushes itself just slightly through, until the very end of the film where he sets a final death trap to end it all. When Kim leaves Kyung-chul to fate Lee is ice cold as he walks away without emotion until finally the end comes, and the trap is sprung with Lee's performance. Again Lee has stayed reserved for the rest of the film but he finally lapses in this scene revealing finally the full extent of all the pain from the events of the story, and the hollowness he's left with. Lee gives one of the most heartbreaking depictions of grief that has all the greater impact as he shows this usually guarded man finally losing any sense of control. Lee in the scene just lets it all go in such powerful way in this messy combination of tears, and laughs, not laughs of joy rather of a horrible madness stemming from his damaged state. Byung-hun Lee gives a great performance that while perhaps his impact is not immediately as obvious as Choi's it holds the same importance in providing a real emotional depth within the carnage through his complex realization of what revenge does to a man.

Alternate Best Actor 2010: Mads Mikkelsen in Valhalla Rising

Mads Mikkelsen did not receive an Oscar nomination for portraying One-Eye in Valhalla Rising.

Valhalla Rising follows a silent warrior who follows with a group of soldiers in a crusade that leads them to an unknown land.

Valhalla Rising is film that seems to encourage polarizing reactions from those who watch with its minimalist, contemplative style. The only point of any agreement should come from the film's striking technical elements particularly its cinematography, although these are perhaps just a little diminished by the bizarre choice to use terrible and very distracting Photoshop blood splatter effects, especially given the amount of practical effects already utilized. The rest though will be how one takes to the stark story, and storytelling methods that features intense yet cold emotions. This is perhaps best personified through the central character of One-Eye played by Mads Mikkelsen. Mikkelsen has not a single line in the entire film, as his One-Eye is a man of actions only. This is from the outset of the film where we see him used by a chieftain for fights to the death in between being locked in a cage. Now often a silent performance does not mean unemotional however even here One-Eye is purposefully made to be an enigmatic character, and somewhat distant in his rather mystical presence within the film. That is right down to his moniker and physical attribute that alludes to Odin the Norse god, which extends as far as One-Eye having the power to foresee the future.

This performance is not exactly the usual type of challenge these performances are since part of the intention of the character is to be a bit impenetrable particularly against the other characters who wear their emotions far more openly and broadly. Mikkelsen's One-Eye is suppose to be set as a stone in a way, a man above and beyond those around him in someway. Mikkelsen's work is not particularly emotional, and really his character is rather static once again acting in contrast to those around him. Mikkelsen's portrayal falls largely upon his own presence which is remarkable in its own right. There is something naturally compelling about Mikkelsen to the point that even when he's not saying anything verbally or non-verbally for that matter, there is something striking in Mikkelsen's very being. Mikkelsen becomes an impressive conduit of interest throughout the film, as he does compel one to watch One-Eye even though he gives very little to explain the man. What truly defines Mikkelsen's performance is what is it that he brings within this almost set condition of One-Eye that defines the character throughout the film.

Mikkelsen's presence is worthy of the demi-god, or just simply god within the story. Mikkelsen brings that natural intensity of his, particularly through that incisive single eye of his here that indeed seems to see beyond all those around him. There is a mercilessness about this, yet not exactly an evil that Mikkelsen portrays. Mikkelsen for much of the film doesn't depict One-Eye as good or as evil, but something that simply is. Mikkelsen is able to capture a being who acts upon some will greater than the normal man even in the way he kills Mikkelsen portrays with this exactness not of a skilled warrior rather as a deity dispensing his judgment. Mikkelsen nor the film desires more from the character than this exact state which continues as he joins a crusade to the unknown. Mikkelsen acts as the only point of stability in the journey although even then this is in a purposefully cold and distant fashion. One-Eye even as he has visions of a certain doom does not wither from this, rather treats this as his inevitable fate. The only slight break we are granted is in his final moments where he awaits this fate with a boy who gave him food in captivity, and he acted as protector to on their journey to the unknown. Mikkelsen still portrays this true to the state of One-Eye as in simple comforting pat there is the only warmth to be found anywhere within the film. Mikkelsen even depicts this though as part of the otherworldly nature still even in the human act, it is still seemingly a pardon towards the boy from a god. This performance is exactly as it should be in this specific realization of the omnipotent One-Eye, to be more emotional, would be dishonest to the role. Mikkelsen delivers all that he is able within the confines, and is far more compelling than most actors would be in the role. He is however still subservient towards the overarching vision which leaves him in that exact distant state that is still only as absorbing as the film allows him to be.

Alternate Best Actor 2010: Riz Ahmed in Four Lions

Riz Ahmed did not receive an Oscar nomination for portraying Omar in Four Lions.

Four Lions surprisingly somehow works as a comedy about a group of rather westernized jihadists in England.

Riz Ahmed who seems to be slowly breaking out, most notably with his very dramatic role in the mini-series The Night Of,  despite being a terrorist leader this is not dramatically minded role...for the most part. Ahmed instead plays essentially Moe Howard of the Three Stooges as the "brains" of a group of the dimwitted fanatics. Ahmed's performance is therefore to be the wrangler among the group more or less. Ahmed's performance is interesting in turn, like Moe Howard actually, he has to be sort of the straight man but also comedic in his own way as well. There is much of it as purely the Moe of the group in terms of dealing with the overt stupidity of the rest of the group particularly the constantly angry convert Barry (Nigel Lindsay) with a varied amount of dumb ideas on how they should go about being a terrorist cell. Ahmed brings the right type of exasperation in every little reaction to this, but also the more direct vicious anger proper for a Moe Howard type. He's especially hilarious when he breaks down Barry's idea of bombing a mosque to the moderates to become radical, as Ahmed brings nothing but the most extreme disbelief and derision in every breath as he explains how stupid the idea is.

He's also the straight man to the other idiots in the group though Ahmed brings as much of a certain confusion towards their incompetence he handles it a bit differently particularly towards the simpleton Waj (Kayvan Novak). It is here though he is again the Moe as he has to wrangle them towards the cause though again Ahmed portrays a certain way. This is very important in terms of maintaining the tone of the film as Ahmed never portrays Omar, the most competent of the men, still realistically as a jihadist. When Omar goes about encouraging, or really manipulating, the other men Ahmed doesn't bring the passion of a true fanatic, as that really wouldn't be funny. Ahmed instead approaches it basically as a guy trying to almost form kind of a band, a band he takes seriously yet can't quite get his guys to work properly together. He doesn't deliver his words to them as these passionate views of a mad man, but rather of a fairly stressed out guy just trying to make what they're doing work. This is right down to an early scene where he sees his men's terrorist videos, where Ahmed reacts again less as a man looking at horrifying propaganda, but rather a front man being very disappointed in his band members' music videos.

Now in proper Moe Howard form Ahmed, though the most intelligent of the men, is also a bit of an idiot he's just better at hiding it from himself. This is right down to their motivation where they are group yet couldn't be more westernized themselves. This is actually especially true to Ahmed's portrayal of Omar, which is again never exactly true to his intention. Again what makes this work in a comedic sense is that Ahmed stays pure to this throughout the film, and plays it as being perhaps somewhat oblivious to this contradiction. In turn Ahmed is consistently funny in portraying just how comfortable technically Omar in this such as his full embracing of a jogging neighbor while he and the men are transferring their explosions. Ahmed carefully shows not a hint of actually hating anyone, other than his own men, which I feel is key to making the film's tone work. The whole time Ahmed portrays this as less something he truly deeply believes in a dogmatic sense, but rather because it is something that has been decided for him. Even when he announces his intention to go about suicide bombing to his wife, Ahmed delivers his veiled statement as though he's decided to finally go on vacation or something.

A pivotal element in Ahmed's performance actually though is that he doesn't wink at any point and stays true to his character of Omar, which makes both the character and the tone of the film cohesive. This is as Ahmed portrays Omar most at ease at essentially not be a fundamentalist terrorist or even a fundamentalist in any way. This is particularly important to the few scenes Ahmed shares with a more religiously observant Muslim, who is not a potential terrorist, where Ahmed brings such a petulance in his treatment of the man. Again this should almost seem nonsensical however Ahmed makes it entertaining yet somehow natural to the character, and his skewed views towards his own religion. In every moment where he's actually trying to be terrorist Ahmed's great by showing Omar frankly at his most idiotic, such as his classical prat fall when firing a bazooka, or the whole final sequence where the men go to blow themselves up wearing ridiculous costumes. Ahmed makes for the right type of physical embodiment of awkwardness, however he goes even further to slowly throughout the sequence portraying the realization in Omar over his mistake. He ends up creating a bridge the film to a more dramatic intention as he attempts to talk Waj out of it. Ahmed manages to make this transition work, without somehow going too heavy, despite the film ending the way it does. Ahmed's performance, much like the film, is this incredible balancing act that manages to be quite entertaining while somehow making light of the dark material, yet somehow also create some depth to it. It shouldn't work, but it does, and Riz Ahmed's astute performance is one of the greatest contributions in making it so. 

Alternate Best Actor 2010: Martin Sheen in The Way

Martin Sheen did not receive an Oscar nomination for portraying Dr. Thomas "Tom" Avery in The Way.

The Way is fairly predictable however I ended quite liking the film in its inspirational intentions following a father following his deceased son's footsteps by taking a pilgrimage on an ancient spiritual tale that his son died on.

Martin Sheen after his period during the 70's as a leading man came to become perhaps best known mostly for often unassuming supporting roles in terms of his cinematic output. This is a notable exception naturally coming from a collaboration with his son Emilio Estevez as the film's director. Incidentally though the last time I covered a Sheen performance was also in a film about a rather different kind of trek in Apocalypse Now, however this one seems to evoke an attempt to transcend towards a certain heaven rather than a descent into hell. In a film about such a journey though we don't begin with Martin Sheen's Tom Avery as a deeply unhappy man. Instead we just see him briefly living his life, and Sheen shows him just to be an affable enough man before being devastated from hearing about the sudden death of his son Daniel (played by Estevez of course). Sheen is terrific though in portraying the sheer weight of his original sorrows from hearing about the death of his son. Sheen is moving yet he carefully approaches these scenes in showing just how lonely and cold the sadness in the scene. He internalizes very effectively by portraying directly the way all Tom can feel over this and his relationship with his son is that sorrow. Sheen establishes well this state of Tom's grief before and while he collects his son's remains in Europe.

In Europe though he discovers how his son died, and decides to help him finish the way of St. James by taking his ashes while walking it himself. On the journey I must say how much I appreciated Sheen's performance because of how he does not allow the film to veer off into excessively sentimental or corny material. Naturally there are elements to basically turn this film into that sort of thing as par for the course he comes across a few other pilgrims including an acerbic chain smoking divorcee Sarah (Deborah Kara Unger), a goofy Dutchman Joost (Yorick van Wageningen), and a slightly daffy philosophical writer Jack (James Nesbitt). These three could easily lead the film astray, and not so much due to the performances, but just the nature of the characters. Sheen though offers just the right balance by carefully never becoming flamboyant in that way, and there are certainly opportunities for some over the top "seasoned old guy" lines. Sheen though stays reserved properly and plays off them well by offering such a down to earth portrayal. In turn Sheen stays true to the character by keeping alive his grief as the underlying factor in the character. Sheen rightfully keeps this as a weight right down to his very physical performance that creates the sense of that sorrow even in the lighter moments.

Sheen captures so well the spiritual and religious journey of the character. Again this is where another actor may have gone very broad but Sheen does so well to keep the journey a fairly subtle one. He creates a real sense of the pilgrimage in portraying Tom trying to come to terms with his sons death throughout the film, rather just being a simple fix at any point. In turn Sheen does well in that he grants moments where there seems joy is coming from the experience, but just as well makes his moments of exasperation as well as confusion of his state just as natural. The one broader scene by Sheen is one I actually thought he pulled off well. In that it is the scene where Tom lashes out at the other pilgrims for their inadequacies after failing to really respect his loss in a proper way. Sheen I felt earned this as in those previous moments where they bring up his son his reactions properly take in some of that distress from their somewhat accidental carelessness, and disregard for his real loss as they get so caught up in themselves. Sheen in the outrage scene instead delivers the proper outburst who has just enough of their little asides, as well as still suggests the anger is part of that same anguish from the death of his son. It is far more cathartic as it might have been as Sheen builds towards in all of the previous interactions making it feel as a natural growth in his relationship with the others.

The most powerful aspect of the film for me though is the continuing portrayal of dealing with the direct grief from Sheen, and surprisingly made the potentially ridiculous moments of Estevez randomly appearing to him throughout the journey rather poignant since he makes you understand what this really means. This is helped by a pivotal flashback scene where we see the two talking before his son originally left to Europe. The two together in that single scene is something special as they manage transport such a genuine relationship into this moment, and sense the history between the two. Although it is a tense scene there is still a sense of warmth, and love between the two even within the words of the conflict. Sheen's performance takes this further throughout the journey though as he depicts the changing state in Tom. Sheen brings such real power to every moment where he leaves some of his son's ashes at one of the landmarks or has to retrieve them from a thief and raging water. In those moments the intensity of the grief Sheen grants to his passion towards his son so beautifully. Past that though throughout he gradually loses that isolation that defined his original sadness. Sheen slowly shows in his eyes a man no longer only looking at the loss, but rather the memory and appreciation for his son as he makes it further on his trek. Sheen never loses sight of this idea and brings such a real heart to center of the film. His devoted and earnest portrayal in every moment of the film anchors it, and makes it resonate far more than it would have otherwise.

Alternate Best Actor 2010: William Shimell in Certified Copy

William Shimell did not receive an Oscar nomination for portraying James Miller in Certified Copy.

Certified Copy follows a British writer as he goes along with a French woman (Juliette Binoche) through an Italian village.

Now that description of the film's plot sounds excessively simple as it does not articulate the complexity within the film, which on one hand seems like a chapter of the Before series with two people talking in a European locale however, this film lacks the context of those films on purpose. The most context we are given before the initial direct meeting between the man and the woman is that the man is a British writer who has written a popular book, in Italy, on the nature of copied art, meanwhile the woman is at his public reading with a disruptive son. That is all we know before they later meet seemingly as strangers. We are never given the name of the woman, making the man's name technically equally meaningless in this story. It is then in what they speak to one another and the performances in which we are to gather some sort of understanding of the pair's relationship. This is a notable pairing at the center as we have the seasoned actress Binoche as the woman with William Shimell. Shimell is not a seasoned cinematic actor or even a traditionally dramatic actor. His background being as a baritone opera performer with his only previous onscreen credits being in TV filmed performances of operas and oratorios. This choice may seem strange but seems pointed to the intentions of the film.

The film never informs the viewer what is going on exactly. The pair appear to be strangers, or at best minor acquaintances, at first yet the conversation gets increasingly familiar between the two of them as the film goes on.  Of course this directly relates to the title of the film as well as the novel that James has written. In that it examines that issues of authenticity in art are meaningless as all art must be copied from somewhere. This gathers doubt to the nature of this relationship that we are witnessing whether it is authentic, or is it a copy, which by the charge of the book, perhaps the film as well, is just as meaningful as the real thing. Then again of course it is a copy of real relationship if one were to also keep in mind the nature of a fictional film. This eventually brings me to Shimell's performance, which that context is needed to understand fully his work, as well as I'd say his casting across from Binoche.  Shimell's performance is not on the same level of Binoche's. Binoche's work is fascinating as she plays the part from so many angles, sometimes with the playfulness of a game, sometimes deadly seriously, and with so many in between. She allows multiple interpretations yet never seems vague in her approach. Shimell's allows for the interpretations however his work is far more direct and precise in this sense.

Where Binoche's performance is in this state of constant flow, Shimell portrays more of an exact set of phases, though with this they do carry their own ambiguity because of this. Although he's certainly subdued most of the film you could almost describe as operatic in that Shimell focuses on the overtones. Initially Shimell is quite good honestly in presenting just the straightforward intellectual writer giving his views first in the formal way at a public reading, then later when he initially encounters the woman. Shimell delivers his lines with a casual quality even within philosophy or even if it is approaching sensitive material. The man seems careless as though he is just with a stranger, even a fan of his work, but of course the conversation continues. Shimell does bring one overarching quality in his performance is there is a detachment about it, and presents everything seemingly exactly as you should see it. Although what makes this ambiguous in his own way is his transitions throughout the film. As we continue Shimell becomes more distant the more intimate the conversation becomes. Shimell actually allows you to read two ways, properly so, in that he is a man either tired of this charade, or he's tired of his situation with who is potentially his wife.

Shimell is consistent in the way his detachment defines the man relationship with the woman as really the woman's investment defines her relationship with him. She seems to be after something from the conversation, while the man avoids it. In turn Shimell only portrays a greater investment in terms of greater frustration seemingly seeking detachment. He more or less becomes less affable than anything even towards the end, when there seems to be any sort of reconciliation between the two. Even in that moment Shimell only really reduces his frustration seemingly giving in to whatever he is giving in to only a moment, but still with a detachment as he essentially says he has to leave soon no matter what. This performance honestly probably wouldn't quite work on its own yet it does as a foil to Binoche's performance. What she does works effectively in creating this strange window into this mysterious relationship, and she almost works against him as this wall of sorts. Again it comes back to the casting as Shimell's work isn't that of a seasoned veteran actor. His work isn't on the same level as Binoche's yet it works nonetheless in creating this particular dynamic. Now is it possible that an equally complex turn could have worked with Binoche's performance? Yes. Would that have been better? Maybe. Nevertheless Shimell's performance in tandem with Binoche's succeeds in creating this fascinating if enigmatic relationship that essentially is the film entire.

Alternate Best Actor 2010

And the Nominees Were Not:

Casey Affleck in The Killer Inside Me

William Shimell in Certified Copy

Martin Sheen in The Way

Mads Mikkelsen in Valhalla Rising

Riz Ahmed in Four Lions

Alternate Best Actor 2010: Results

5. Andy Serkis in Sex & Drugs & Rock & Roll- Serkis is terrific in his portrayal of Ian Dury reminding me of the real man who I only knew from a brief not very memorable scene in Judge Dredd.

4. George Clooney in The American- Clooney gives possibly his best performance by toning down his usual mannerisms and giving a restrained as well as powerful portrait of an assassin who has seen too many double crosses.

3. Ryan Gosling in Blue Valentine- Ryan Gosling gives a very strong performance in both his portrayal of the exuberant charmer as well as the bitter man he becomes.

2. Robert Duvall in Get Low- Robert Duvall once again knocks it out of the park in his portrayal of his old hermit who he creates a beautiful portrait with warmth, humor and sadness all while properly being this man who has exiled himself from the world.

1. Choi Min-sik in I Saw the Devil- This was one very close for me between the top three who all give great performances with stand out moments throughout their films. My favorite though goes to Choi Min-sik for his chilling portrayal of a serial killer who ends up being tortured himself. It is an amazing performance meeting the challenge of his character all the way through even as his character undergoes several extreme changes.

Overall Rank:

1. Choi Min-sik in I Saw the Devil
2. Robert Duvall in Get Low
3. Lee Byung-hun in I Saw The Devil  
4. Jesse Eisenberg in The Social Network
5. Ryan Gosling in Blue Valentine
6. Ewan McGregor in The Ghost Writer
7. Lambert Wilson in Of Gods and Men
8. Casey Affleck in The Killer Inside Me
9. George Clooney in The American
10. Riz Ahmed in Four Lions 
11. Jakob Cedergren in Submarino
12. Martin Sheen in The Way
13. Damián Alcázar in El Infierno
14. Eddie Marsan in The Disappearance of Alice Creed
15. Christian Bale in The Fighter
16. Paul Giamatti in Barney's Version
17. Michael Douglas in Solitary Man
18. James Rolleston in Boy
19. Geoffrey Rush in The King's Speech
20. Andy Serkis in Sex & Drugs & Rock & Roll
21. Joaquin Phoenix in I'm Still Here 
22. Tommy Lee Jones in The Company Men
23. Mads Mikkelsen in Valhalla Rising
24. Jiang Wen in Let the Bullets Fly
25. Peter Plaugborg in Submarino
26. Tyler Labine in Tucker & Dale vs Evil
27. Alan Tudyk in Tucker & Dale vs Evil
28. Ryan Reynolds in Buried
29. Jim Broadbent in Another Year
30. Jim Carrey in I Love You Philip Morris
31. Leonardo DiCaprio in Inception
32. William Jøhnk Juels Nielsen in In A Better World
33. Nicholas Tse in Stool Pigeon
34. William Shimell in Certified Copy
35. Otto Jesperen in Trollhunter
36. James Franco in 127 Hours
37. Philip Seymour Hoffman in Jack Goes Boating
38. Vincent Gallo in Essential Killing
39. Mel Gibson in Edge of Darkness 
40. Mikael Persbrandt in In A Better World
41. Jeff Bridges in True Grit 
42. Bruce Willis in Red 
43. Trond Nilssen in King of Devil's Island 
44. Francois Cluzet in Little White Lies
45. Ge You in Let The Bullets Fly 
46. Aaron Eckhart in Rabbit Hole 
47. Denzel Washington in The Book of Eli
48. Markus Rygaard in In A Better World
49. Ben Affleck in The Town
50. Colin Firth in The King's Speech 
51. Jeffrey Dean Morgan in The Losers 
52. Zachary Levi in Tangled
53. Edward Norton in Leaves of Grass
54. Colin Farrell in Ondine
55. Ben Stiller in Greenberg
56. Robert Downey Jr. in Iron Man 2 
57. Jay Baruchel in How To Train Your Dragon
58. Mark Wahlberg in The Fighter   
59. Martin Compston in The Disappearance of Alice Creed
60. Benjamin Helstad in King of Devil's Island
61. Ben Affleck in The Company Men
62. Ryan Gosling in All Good Things 
63. Javier Bardem in Biutiful   
64. Mark Wahlberg in The Other Guys
65. Daniel Radcliffe in Harry Potter and the Deathly Hallows  
66. Michael Cera in Scott Pilgrim vs. The World  
67. Shia Laboeuf in Wall Street: Money Never Sleeps
68. Sean Penn in Fair Game
69. Will Ferrell in The Other Guys
70. Gleenn Erland Tosterud in Trollhunter 
71. Robert Downey Jr. in Due Date 
72. Leonardo DiCaprio in Shutter Island  
73. Aaron Taylor Johnson in Kick-Ass
74. Skandar Keynes in Voyage of the Dawn Treader
75. Sylvester Stallone in The Expendables  
76. Benicio Del Toro in The Wolfman
77. Logan Lerman in Percy Jackson  
78. Zach Galifianakis in Due Date
79. Jaden Smith in The Karate Kid
80. Nick Cheung in Stool Pigeon
81. Johnny Depp in Alice in Wonderland
82. James Frecheville in Animal Kingdom

Next Year: 2010 Supporting 

Alternate Best Actor 2010: Ryan Gosling in Blue Valentine

Ryan Gosling did not receive an Oscar nomination, despite being nominated for a Golden Globe as well as several critic awards, for portraying Dean in Blue Valentine.

Blue Valentine is a mostly effective film about both the building of a relationship as well as the painful destruction of it.

Something that commonly occurs with Oscar nominations is films where it seems the actors performances are inseparable the Oscars go and separate them. This is occurred most recently with Amour where Emmanuelle Riva was nominated but Jean Louis Trintignant was nominated. This has happened several times despite it seeming like one could get along the way they do without the other but this did occur for Ryan Gosling as well. Michelle Williams was nominated for portraying the female side of the relationship Cindy while Ryan Gosling as the male side Dean was not despite the film being primarily about their interactions while they are beginning their relationship as well as while they seem to be ending it.

Gosling portrays Dean who is the more explosive of the two in the relationship. Williams's portrays Cindy as somewhat restrained and she emphasizes the distance cold manner of her. Her change between her is really the level of coldness she has. Gosling gets the more flamboyant role as Dean who early on the film is a bit of a hopeless romantic. Gosling definitely does not play the role like your traditional hopeless romantic in any way, even if he is one. Gosling takes his very own approach to the character who he plays him as not exactly the most stable sort. Gosling does this really quite well because he makes Dean a quirky energetic fellow in everything that he does has a certain quirk yet Gosling feels very down to earth with his performance.

Gosling emphasizes the spontaneity of his performance which he does as both the young and the old Dean quite effectively. As the young Dean he is a man of his very own style as shown in the romantic scenes between Dean and Cindy. Gosling is honestly very charming in a very different fashion in just  how much that he expresses Dean's beliefs in the idea of love that he holds. As the young Dean Gosling suggests him honestly working toward some sort of substantial relationship with Cindy even though mostly what he does technically speaking is very much just on an the surface attraction and connection. The truth is they never do get right down to the matter of love, and both actors probably accentuate that disconnect within the connection.

Importantly Gosling is not at all fun and games as Dean. Dean is not a stable man by any means. Gosling makes Dean a man who is a bit in his own world at times even though when there is something that breaks it Gosling powerfully shows that it really does hurt him. Gosling interestingly makes his flamboyance almost a way just make himself happy as there is a great deal of sadness in Dean from his inability to live the life he wishes to live. Gosling is excellent the way he gets across the rapid changes in Dean's emotional state throughout the film, that can even change to an extreme extent in a single scene. He gets across the small moments of joys but as well as the pains that he goes through with his relationship with Cindy.

The scenes with the young Dean are shown inter spliced with the scenes of the older Dean after he and Cindy have gotten married. Gosling again still keeps that unpredictability in Dean yet now he has lost any joy that seemed to be in him before. Dean no longer is the exuberant charmer but rather a bitter overly possessive man. Gosling absolutely succeeds in this changed and makes the change as disheartening as it should be since he makes him the same man with time. It is quite disconcerting because he still exhibits some of the same behavior as he did before but now it frankly has lost the heart. There isn't any charm any more in his portrayal which adds so much in presenting the loss of life in Dean as he sees how his dream relationship has turned out.

Gosling and Williams both succeed incredibly well in portraying the death of the relationship by amplifying that disconnection between the two of them. William's making the coldness in Cindy only growing more and seeming more uninvolved than ever, and Gosling showing the insecurities that Dean has over his ideas for life have only grown more and more. The two of them together are great as they succeed in making the two people who do not seem like they were meant to be together, but they what they do so well is able to convey the tragedy of the relationship. The tragedy that they create is that in their severe problems in their disconnection is that in their past there was honestly something between them.

Gosling gives a very strong performance as this troubled man in both his youth and after having aged into bitterness. He gives credence to every aspect of the man from the more positive moments involving his unique charming but as well the terrible behavior that surfaces in the man within time. It is a great individual performance, but where the film succeeds most is in the creation of the relationship between the two actors.  His portrayal of the changes that Dean goes through along with Williams portrayal of what Cindy goes through leaves a memorable impression. They create together a unique relationship that never shy away from going into the blunt details of it all from the scenes of happiness to the uncompromising scenes of despair.

Alternate Best Actor 2010: Robert Duvall in Get Low

Robert Duvall did not receive an Oscar nomination, despite being nominated for several critical awards as well as Sag, for portraying Felix Bush in Get Low.

Get Low is an intriguing film about an old hermit who requests a funeral home to give him a funeral while he is still alive.

Robert Duvall unlike some of his contemporaries never has given up on giving his all in his performances. Duvall has kept showing passion in his portrayals throughout his career and it is a real shame the the academy failed to recognize him for his work here as he would have been the best of nominees had he been nominated. Duvall once again shows himself to be the great actor he is in his portrayal here as the hermit Felix Bush who lives in a lonely cabin in the woods advising all to keep away, until suddenly he comes to the nearby town to explain his wish to make some sort of peace through his strange idea to have his own funeral party without having to be dead.

Early on the film Bush is a scraggly sort with a long unkempt beard and the general appearance of the type of man you would expect from a hermit who lives in a cabin in the woods. Duvall instantly sinks his teeth into this character right away finding just the right way to play the part as Duvall usually does. He meets the demands of the hermit in an interesting and effective fashion. On one hand he does convey very much the hermit everyone wants to keep away from. He is cold in his own way, and he suggests a certain danger in the man. Duvall makes it entirely understandable why everyone would keep away from him as well as why so many would believe some of the stories that have been heard about him.

Duvall at the same time though shows that Bush probably is not all that they see either. Yes there is a coldness and a bluntness in his method of dealing with outsiders but there is not any cruelty in Duvall's eyes though either. When one of the towns people harasses Bush causing Bush to give him a quick beat down, Duvall very much shows it very much as just a quick reaction to dealing with behavior, and their is no real ill intent in him. Anything about him that is distance is not a distance formed of hate or anything even remotely close to as played by Duvall, it is something entirely different that Duvall perfectly alludes to early on. He keeps what keeps Bush away an undeniable mystery, but Duvall makes it clear that once you know Bush it is not due to him being a monster.

Like the funeral home director (Bill Murray) and one of his employees (Lucas Black) when we get to spend a little more time with Bush he makes all the more apparent that he is no monster. Duvall actually as we meet Bush more takes a rather gentle approach as Bush. He even has a nice bit of humor in his performance which he brings naturally in his portrayal of the old loner. Duvall knows how to bring this semi comedic elements well into the part by just blending it into his distinct personality with such flawless ease. This humor also is important to show that Bush is a complex man who is not only defined by his past, and Duvall establishes through this humor that there was once probably a very lively man that lived with the name Felix Bush.

It would have really easy for him to have been just a grumpy old man, or just a very sad one but Duvall gives a nice portrait of variety with the old man. One particularly great way Duvall handles the part is in the way that Felix asks about the stories about him. Even though the stories are never positive Duvall subtly suggests a bit of a curiosity in Felix as well as even a bit of a bemusement that he would be able to create such gossip with his life. Duvall honestly actually has a great deal of warmth in his performance more than one would expect from the old hermit. He does though always in a quiet manner that never compromises the nature of the man. There is a warmth but a shy retiring one almost like he tries to close it off a bit just like he tries to be closed off from the world.

There is an overarching sadness in Duvall's performance though that suggests why Felix closed himself off from the world. Although it is not always overwhelming Duvall never makes it the only part of Felix but he does make it an essential part. He establishes a pain there a sorrow that is very much deep in his bones. It is not that he is just sad but rather there is a true tragedy suggested by his eyes something that he cannot completely forgot about even when he is having a fine time. His scenes with Sissy Spacek, as Felix's old girlfriend as well as the sister of the woman who he has a picture of in his own, are all terrific. The two great actors together tell the past of the two both the fond memories but as well very much the shared memory of the sadness they share which haunts them both.

Duvall builds quite effectively to what exactly pains Felix so much to the scene where they finally do hold the funeral party where Felix finally offers his confession of what precisely haunts him. Duvall is absolutely brilliant in this scene as he recall the terrible memory and this scene can be put up there with the greatest moments in his illustrious career. It is a beautiful scene as Duvall has Felix vividly recall what happened to him in all of its heartbreaking deal and it is a wondrous moment as an overwhelming amount of emotion pours out from the man who refused to reveal his pain for so many years. Duvall is outstanding as he completely earns the moment and it truly feels like a man finally letting go of something that has kept so sheltered for so long.

It really shows the quality of this performance that Duvall does not just stop after the pivotal moment and he has one more terrific moment as we see Felix finally being a man of contentment. The pain is lost and it is in a way almost as powerful as the speech itself by portraying what his confession has finally given him. This is an another amazing performance by Robert Duvall create a fascinating character out of the hermit. The idea of the funeral is interesting all on its own, but Duvall is the one who makes it something so special by delivering with this great character. It is terrific just to watch Robert Duvall knock a role right out the park once again with that same ease and naturalism that he has brought to his characters throughout his long career.

Alternate Best Actor 2010: Andy Serkis in Sex & Drugs & Rock & Roll

Andy Serkis did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Ian Dury in Sex & Drugs & Rock & Roll.

Sex & Drugs & Rock & Roll plays more of a tribute to English rocker Ian Dury more than anything else particularly with its abrupt ending. Although it tries a little too hard to be stylish at times, I must say I certainly enjoyed much more than Ray and Walk The Line.

Andy Serkis is best known for his motion capture performance especially as Gollum in the Lord of the Rings, but he managed to get a Bafta nomination for this strictly live action portrayal. He actually was nominated for the year of 2009 before the film actually had a public release date anywhere. The Bafta voters must have loved his performance to be quite so enthusiastic about it, or maybe they wanted to make up for the fact that they did not nominate him for best supporting actor for the Two Towers in 2002 despite having nominated Eddie Murphy for his voice only portrayal in Shrek in 2001.

Serkis plays Ian Dury who was apparently a famous face in Britain although I must admit I never heard of him before watching this film. Serkis takes on the role in a fashion of really inhabiting the role from Dury's accent, to his polio induced limp, and of course a very certain style. Serkis is completely natural in his portrayal and everything he does to become Dury merely feels like he becomes Dury. Never does his performance feel like that and he makes all his mannerisms all part of his total characterization. Serkis despite tasking himself with taking on the role of this very particular man he never seems like he is just trying to play the part like say Jamie Foxx did in Ray.

I have to give Serkis the utmost credit in his characterization as even though I had no idea who Dury was well watching the film, but Serkis did remind me of someone I saw in a film at one time before. I thought and who came to my mind was the shop keeper in a rather brief scene in the film of Judge Dredd. Well it turns out that shopkeeper was in fact played by Ian Dury. I have to praise Serkis a great deal here as he managed to remind me of Ian Dury through his performance even when I did not even recognize the name. That takes some doing, and it quite a testament to the strength of Serkis's portrayal where he so seamlessly establishes Dury's physical traits.

This particular biopic is quite different that the usual one in that it does not follow the rise to success heavy drug period, than either a comeback or death afterwards. This one follows a different approach kind of jumping around to times of success times of failures, times of warmth and times of heartbreak. It does not exactly sit on a single one for great deal of time, and even when it is focusing on one aspect it might cut to another, or at least a musical performance well doing so. Serkis really has to juggle the different directions the film takes to be able to bring out the emotional power in each of them, and actually he does this all fairly well.

Serkis moves from moment to moment all well and whatever he does always seems fitting for Dury. In the performance scenes Serkis really throws himself into them and has the presence he should. The musical scenes all on their own are very entertaining to watch by the way Serkis delivers in each of these scenes and they never feel repetitive as he does something unique in each one of these scenes. Serkis though does show these to be performances and properly dials down Dury in his personal scenes. He actually stays fairly restrained as Dury in his personal life, and really there is not an arc exactly with his performance. Yes there are ups and downs but the film and Serkis really portray them in a more day to day fashion.

Serkis taking the day to day approach for Dury actually works and he makes him just a normal human being through the way he deals with his own past as well as his present issues. Serkis meets the demands of every situation. In the scenes with Dury's family Serkis is very effective showing a great deal of warmth at times that is quite moving, but as well showing a certain self absorption that creates troubles. Serkis plays it all very realistically and makes all of the complexities of his relationships believable. The same goes in the scenes where he is working with his band. Serkis makes the temper tantrums as well as the moments of genuine creativity all work as the methods of one man.

Serkis's best moments come when Dury's reflects on his past involving his father and his troubles due to contracting polio. Again Serkis mixes the emotions brilliantly as he conveys the pain and sorrow in Dury over these matter, but in equal effectiveness shows the perseverance and strength in the man from his experiences as well. Serkis matches every challenge involved in the film's manner of telling Ian Dury's story quite efficiently. He is able to find the rhythm necessary for the part in terms of both Dury's public and private personality. This is very strong work from Andy Serkis showing that he is a capable actor both when he has the aid of computer graphics as well as in this film where he must stand entirely on his own.

Alternate Best Actor 2010: George Clooney in The American

George Clooney did not receive an Oscar nomination for portraying Jack in The American.

The American is the epitome of a slow burn which tells the story of an over the hill assassin doing one more job. I personally thought it is quite compelling and reminded of The Day of the Jackal in a good way. I can see why it is divisive as it does take its time.

George Clooney is not one of my favorite actors as you may have been able to decipher from my reviews of all of his Oscar nominated performances. All of four of his performances I felt lacked conviction in terms of trying to portray an actual character, and besides Syriana he relied to much on just his own personality. Then with Syriana he relied to much on his weight gain and one single expression to convey the troubles of his character. Clooney seems like an actor who just can do no right for me, well that is not true, and I believe that his work here actually vindicates by own opinions regarding his other performances, especially since this sort of is almost the exact type of performance he should have given in Syriana. 

Clooney plays here an assassin, and thankfully takes a decidedly non Clooney esque route for the character of Jack. From the first scene where Jack kills two potential assassins, and an innocent woman he was with, it is rather clear that this is a very different character for Clooney. Clooney also takes a very different approach here and manages to actually internalize the emotions within Jack, and realizes Jack as a character. Clooney never loses his character here and he always stays with Jack through the film never compromising once for his usual manner he takes with many of his performances. This time there is the conviction in his performance that brings Jack to life as a character, and makes him particularly compelling character at that.

Jack is in many ways much the Jackal so well played by Edward Fox in The Day of the Jackal. Clooney like Fox did in that other film about a meticulous assassination shows very much the attitude that the day to day hit man. Clooney like Fox did portrays the routine effectively, and properly shows the operatives history through the meticlous manner employed. It is quite nice to Clooney actually handle a role with so much subtlety, and for it to honestly pay off as it does here. Clooney is great in the manner that he brings in through his eyes that fierceness one would expect from a killer. He portrays Jack as a man always of the mind. He makes him a man who is always clearly thinking and calculating as the trained killer should.

There is a great difference between Jack and the Jackal though since the Jackal was a soulless man willing to kill anyone to complete the job, Jack actually has a soul. Clooney is very affecting in his portrayal of this man who frankly has just killed too many and seen to many double crosses in his time. In this vein he reminded me of Richard Burton as Alec Leamus in The Spy Who Came in From the Cold particularly by the subtle method in which he expresses the pain Jack is going through. This is probably the least that Clooney has ever spoken in a film, and he handles the often silent role so well. He is great in just the scenes of Jack listening particularly in the presence of a kindly priest. Clooney powerfully shows Jack's regrets simply in his expression as the priest talks about sin.

This is a strong performance from Clooney throughout but he especially succeeds in the part near the end as Jack sees things closing around him. One single stunning moment comes in his performance as he believes he once again has to murder someone who has become close to him. The moment is brilliantly played by Clooney as he makes despair mounts as Jack is forced to prepare for the kill. It is a beautiful moment so quietly played and realizes the troublesome condition of this man so effectively. At the end of the film as Jack rejects the mission this could easily be the time for Clooney to drop Jack's nature and go to his old tricks as an actor but he doesn't. He keeps going within this downplayed approach where we really can truly feel the struggle that Jack is facing.

The final moments of his performance are terrific, and Clooney could not play them better frankly. Jack's true feelings finally come out, but Clooney does not reject his portrayal of Jack for these moments. He stays with the character still and succeeds in bringing the poignancy at the end by subtly showing the intensity of Jack's emotions slowly builds as he sees his future slipping away. It is a very moving end to the film, and Clooney delivers. So there, here is a performance by George Clooney honestly gives a very strong portrayal of a character because he goes straight through the film with the character. He carries this film not through his usual method, but by dialing back his own manner and gets to the core of his character.

Alternate Best Actor 2010: Choi Min-sik in I Saw The Devil

Choi Min-sik did not receive an Oscar nomination for portraying Kyung-chul in I Saw The Devil.

I Saw the Devil is an engrossing and stylish thriller, although definitely not one for the squeamish, about a secret agent who goes about seeking revenge against a serial killer who murdered his fiancee.

Choi Min-sik, who I last reviewed in his terrific no holds barred performance in Oldboy, plays the serial killer of the film and certainly has a somewhat different approach here. Choi has a terrific screen presence and he owns the film in the same way as he did in Oldboy. This time though he does not portray the loopy hero of Oldboy, instead he plays the extremely sinister murderer here. Choi is horrifying here in his two early scenes where he murders two women. Choi's manner of portraying the killer is particularly frightening because of how much he downplays these scenes, especially the second scene where Kyung-chul actually sort messes up his way as he struggles to find his murder weapon in the back seat of his car while his soon to be victim looks on.

Choi is especially disturbing because he doesn't show the murders as anything special to Kyung-shul they are just kind of a day to day thing for him from the casual manner he approaches them. Choi has Kyung-shul go about it in a slow not all rushed way he smokes he takes his time, and he never seems to rush. Choi by taking this approach is especially chilling because it is clear that  he has done this before, many times in fact, and to certain degree it has become basically a routine for him. There is a soullessness in Choi's performance that is quite unnerving. The only time he seems all that active is when he goes in his attack where the inner monster comes out and the full brutality of Kyung-shul is seen, and that all he is quite obviously a maniac.

Choi makes Kyung-shul especially off putting because of how nonchalant he is in portraying the killing. This is actually trickier than it sounds as it could be played wrong and it would seem just like a disinterested actor, Choi handles it brutally well in really allowing us to see that there is a history of this killer and it is a very long one indeed. What compels him to commit such atrocities is never exactly stated in the film, but Choi alludes to it well in his portrayal. Firstly through just that complete lack of empathy in his performance, there is such a harrowing quality Choi brings to the role that paints Kyung-shul as a truly hollow man. Choi as well suggest that in Kyung-shul there is a hatred in him toward women that Choi does not shy away from showing it to be as despicable as it is.

The tables are turned on Kyung-shul though when the secret agent Kim Soo-hyeon (Lee Byung-hun) tracks him down. The twist is though when the agent finds him he doesn't kill the serial killer instead to act revenge he purposefully lets him live to keep torturing him. As Choi so brilliantly changed in Oldboy whenever his character had to massively change very quickly, he is just as efficient here although the change this time is far from permanent. Choi changes a bit showing Kyung-shul's confusion at the situation more than anything, but also a bit of a revelation as he almost seems firmer in his resolve to do whatever he feels likes, and again Choi is scary as hell when he intimidates a doctor and nurse shortly after having been treated by them. Kyung-shul's joy is short lived though as the agent makes it clear the first beat down Kyung-shul was only the beginning.

Choi Min-sik is terrific as Kyung-shul stops being the hunter and instead is instead the hunted. Choi is very effectively as he shows that Kyung-shul quickly loses his confidence of before and increasingly becomes a man filled with desperation. Choi is able to bring the fears alive in him, and interestingly as he starts to show him as the mouse begins to at least to allude to some humanity although only in its most basic form. Kyung-shul becomes a frightened man himself, and Choi brings this fear alive brilliantly by making it a counterpoint to the earlier behavior of the killer. When the killer had the power there was nothing but the hollow inhuman shell, but as soon as he faces being the victim Choi believably changes him into a cowering with honest human emotion.

After learning of how the agent is keeping tabs on him Choi again transforms Kyung-shul once again. Kyung-shul gains his confidence back again, but he keeps his humanity, though not in a good way. Choi portrays Kyung-shul at his fiercest as he determines to specifically target the agent for revenge. Choi now turns him into a very imposing villain and makes it clear that Kyung-shul is not a man you want to give a task to. Miin-sik is marvelous just to watch as he shows Kyung-shul become a man entirely in his element and is truly disturbing as portrays the extent he will go to seek his revenge. Kyung-shul's final murder is very personal suddenly and Choi shows the difference in the intense manner he portrays both Kyung-shul's anger and glee in his new situation.

This brings Kyung-shul to the final scene when he and the agent finally face off man to man by this point both having a great deal of blood on their hands. Although Lee Byung-hun is fine as the agent the scene absolutely belongs to Choi the entire time as he gives the full portrait of a man who is coping with the fact that he going to be killed very soon. It is all in one scene but Choi runs through the emotions powerfully without a moment of disconnect between the phases for Kyung-shul. He shows a whimpering man pleading for his life as he sees it closing around him. Choi brings this to him becoming defiant and very chilling as Kyung-shul basically tells the agent that all of his efforts have been a waste, and Choi succeeds in bringing the central theme about the hollow nature of revenge to life. At last though he is left as a man holding on to life literally by his teeth, and he loses that last ounce of defiance he had left. 

The very last scene is an amazing scene even though you get none of the gratification one would expect when the villain of a film gets his comeuppance. Choi holds nothing back and brings the unflinching horror of the moment through his performance. It is one last moment for Kyung-shul as Choi shows him reduced to be the opposite of what he was at the beginning. Where he was at first a soulless killer Choi leaves him as just a ball of emotions of sadness and pain as he struggles not only not to die, but as well to spare his family from seeing what the end of his monstrous actions has brought. It is an unforgettable scene, and it works because Choi absolutely earns the moment through his portrayal of Kyung-shul's transformation throughout the film. This is a tremendous performance by Choi Choi as he is a terrifying, imposing, and disturbing villain, while never once failing to meet the needs of the extreme emotional changes of his character.