Best Scene: His reintroduction.
Best Scene: Patrick sees his father.
Best Scene: The reunion.
Best Scene: The Beach.
Best Scene: The shootout.
Showing posts with label 2016 Best Supporting Actor. Show all posts
Showing posts with label 2016 Best Supporting Actor. Show all posts
Saturday, 28 January 2017
Best Supporting Actor 2016: Results
Best Scene: His reintroduction.
Best Scene: Patrick sees his father.
Best Scene: The reunion.
Best Scene: The Beach.
Best Scene: The shootout.
Best Supporting Actor 2016: Dev Patel in Lion
Dev Patel receive his first Oscar nomination for portraying Saroo Brierley in Lion.
Lion is a more than decent heart string tugger about the true story of an Indian boy who loses his family, though is adopted by an Australian family, but attempts to rediscover them many years later.
Dev Patel in the past has not been a favorite actor of mine, finding he has the tendency to be both over the top yet somehow bland at the same time. I will say though in 2016 I found his first halfway decent performance in The Man Who Knew Infinity, so I guess this is now the upswing in his acting. Dev Patel here once again plays the lead role of an Indian without a home, after doing the same in his breakout role in Slumdog Millionaire, luckily his performance here is much better. This is a lead performance, even more so than his turn in that earlier similair film, as we see the younger Saroo, played by Sunny Pawar for one half of the film, and then we shift to Patel for the rest of the film, he's not supporting anyone. With that out of the way though let's actually look at the performance itself. Dev Patel picks up with Saroo 20 years after his adoption by the Australians Sue (Nicole Kidman) and John (David Wenham) Brierley, and is essentially living his life rather well having become quite comfortable with his new found home and parents.
I suppose it should be said that from now on Patel should only do Australian accent, wear his hair long, and keep his facial hair growing because of all it suits him very very well. I don't know if it had anything to do with any of that, but this easily his best performance. Now in his early scenes the film is pretty low key in just showing how Saroo's life is at this point. Patel has some very sweet and authentic chemistry with Wenham and especially Kidman. You really feel the love they share which is in no way compromised, and just have the genuine rapport of a real family. There is a complication though with his troubled adopted brother, Mantosh. Although on the whole I felt that character seemed like an underdeveloped aspect of the film, Patel though deserves credit for realizing the troubled past in Saroo's interactions Mantosh. Patel brings kind of this underlying understanding, suggesting their time together, yet still effectively brings the right current of frustrations in disapproving glances, and sharpened words towards him.
Saroo's life though is shown to be a relatively easy one as we continue to follow him including a romance with an American Lisa (Rooney Mara). The two have more than decent chemistry as well, to Patel's credit he has a low key charm in him, although I will say Rooney Mara never seems quite right in the role of a normal love interest. Saroo begins to run into more people from India though which reminds him of the family he lost, this sets him on a path to try to locate he where he was lost from. This creates a certain conflict as he begins to focus on the past which makes him forget about his future to an extent. This conflict is what defines Saroo during the later portion of the film, and Patel does a good job of realizing this in a natural way. Patel manages to internalize much of the pain of these thoughts in an intensity that grows within Saroo, which causes him to ignore and lash out at his loved ones to a degree. Patel makes these scenes feel honest by showing the way the unknown of his past is a burden he just cannot bear any longer. This is even satiated partially by his adoptive parents being fully supportive of his quest once they hear about it. Saroo though finally leaves to personally find them, after having located the approximate area on Google Earth. Saroo reaches there and is reunited with his mother. I have to say the scene got me, I'll admit it. Patel's work contributes greatly to the emotional resonance of the scene as he captures the joy upon seeing his mother, but also the heartbreak of it all particularly when he learns that his brother died long ago. It's a poignant heartfelt moment and Patel is there for every second of it. Patel is there for the whole half of his film though. This is a good leading turn by him in a fairly understated way. Patel though succeeds in never mistaking that for blandness, nor does he try, through unneeded quirks, to "liven things up". Patel does so well by simply giving an authentic and moving portrayal of a normal man recovering what was lost to him.
Dev Patel in the past has not been a favorite actor of mine, finding he has the tendency to be both over the top yet somehow bland at the same time. I will say though in 2016 I found his first halfway decent performance in The Man Who Knew Infinity, so I guess this is now the upswing in his acting. Dev Patel here once again plays the lead role of an Indian without a home, after doing the same in his breakout role in Slumdog Millionaire, luckily his performance here is much better. This is a lead performance, even more so than his turn in that earlier similair film, as we see the younger Saroo, played by Sunny Pawar for one half of the film, and then we shift to Patel for the rest of the film, he's not supporting anyone. With that out of the way though let's actually look at the performance itself. Dev Patel picks up with Saroo 20 years after his adoption by the Australians Sue (Nicole Kidman) and John (David Wenham) Brierley, and is essentially living his life rather well having become quite comfortable with his new found home and parents.
I suppose it should be said that from now on Patel should only do Australian accent, wear his hair long, and keep his facial hair growing because of all it suits him very very well. I don't know if it had anything to do with any of that, but this easily his best performance. Now in his early scenes the film is pretty low key in just showing how Saroo's life is at this point. Patel has some very sweet and authentic chemistry with Wenham and especially Kidman. You really feel the love they share which is in no way compromised, and just have the genuine rapport of a real family. There is a complication though with his troubled adopted brother, Mantosh. Although on the whole I felt that character seemed like an underdeveloped aspect of the film, Patel though deserves credit for realizing the troubled past in Saroo's interactions Mantosh. Patel brings kind of this underlying understanding, suggesting their time together, yet still effectively brings the right current of frustrations in disapproving glances, and sharpened words towards him.
Saroo's life though is shown to be a relatively easy one as we continue to follow him including a romance with an American Lisa (Rooney Mara). The two have more than decent chemistry as well, to Patel's credit he has a low key charm in him, although I will say Rooney Mara never seems quite right in the role of a normal love interest. Saroo begins to run into more people from India though which reminds him of the family he lost, this sets him on a path to try to locate he where he was lost from. This creates a certain conflict as he begins to focus on the past which makes him forget about his future to an extent. This conflict is what defines Saroo during the later portion of the film, and Patel does a good job of realizing this in a natural way. Patel manages to internalize much of the pain of these thoughts in an intensity that grows within Saroo, which causes him to ignore and lash out at his loved ones to a degree. Patel makes these scenes feel honest by showing the way the unknown of his past is a burden he just cannot bear any longer. This is even satiated partially by his adoptive parents being fully supportive of his quest once they hear about it. Saroo though finally leaves to personally find them, after having located the approximate area on Google Earth. Saroo reaches there and is reunited with his mother. I have to say the scene got me, I'll admit it. Patel's work contributes greatly to the emotional resonance of the scene as he captures the joy upon seeing his mother, but also the heartbreak of it all particularly when he learns that his brother died long ago. It's a poignant heartfelt moment and Patel is there for every second of it. Patel is there for the whole half of his film though. This is a good leading turn by him in a fairly understated way. Patel though succeeds in never mistaking that for blandness, nor does he try, through unneeded quirks, to "liven things up". Patel does so well by simply giving an authentic and moving portrayal of a normal man recovering what was lost to him.
Friday, 27 January 2017
Best Supporting Actor 2016: Jeff Bridges in Hell or High Water
Jeff Bridges received his seventh Oscar nomination for portraying Marcus Hamilton in Hell or High Water.
Hell or High Water is a brilliant film about two brothers, Tanner (Ben Foster) and Toby (Chris Pine), who plan a series of bank robberies in order to pay off the debt on their deceased mother's ranch, and the two Texas Rangers trying to catch them.
Now I say and the Texas Rangers trying to catch them because the film in the end is as much about the lawmen as the outlaws. Yes the film opens with a robbery, but the majority of its final moments focuses on the investigator. Jeff Bridges plays the investigator, Marcus Hamilton, who along with his partner Alberto (Gil Birmingham) goes about investigating a series of robberies. This is obviously a well worn role, particularly with the addition that Marcus is but a few weeks until retirement. Hell or High Water is a neo-western but Bridges was previously Oscar nominated for playing a lawman in the traditional western, True Grit. That was not a favorite performance of mine, and Bridges actually carries something similar over to his work here. That is his grumbly west accent, though he reduces it considerably here making feel far more natural to the character, time and place. Although both characters are lawmen, Bridges's approach diverges greatly from that earlier performance, in his portrayal of Marcus.
Again with the whole setup being that this is going to be Marcus's last case this might seem similar to Tommy Lee Jones's work in No Country For Old Men, a film this one is often compared to, despite being very different in terms of theme and tone. The comparison of the two lawful characters is particularly mistaken as Jones's Sheriff Bell has become spent working the job where that's not the case for Marcus. Bridges from his first scene importantly adds this certain energy about the man when he hears about the case. I rather love the approach as he's not tired to hear of another crime, rather he's kind of excited about getting something to do. Bridges brings a real enthusiasm to the role suggesting that Marcus very much enjoys being a lawman. In the scenes where Marcus investigates what happened at the bank there is a real comfort that Bridges brings. He not only gives the sense of the wisdom that Marcus has garnered over the year, but also the sense of ease as he does his duty with. Bridges presents a man who is most home when he's tracking down law breakers.
The film is presented as dueling stories with two sets of duos. The brothers, and the two Texas Rangers. Although the story moves forward in both it also fleshes out the relationship of each pair. On the law side with have Bridges's Marcus and his "supportive" friend of Birmingham's Alberto. The two are great together because what they offer is years of an old friendship in the perfect chemistry they have together. Honestly these scenes might not have worked at all if you did not believe their relationship. After all Marcus spends much of the time riffing on Alberto in every way he can think of including make various racial jokes about his Mexican and Comanche heritage. Every word spoken between them and just every reaction feels just so genuine with both actors. The effortlessness of it is all key in that Bridges technically doesn't exactly sugarcoat the insults by any margin, but it is balanced so well by Birmingham's reactions of just a slight smile and a head shake. In turn Bridges matches that by portraying only a real joy in Marcus when Alberto manages a good comeback or insult himself.
There is rich history established by both actors and you just feel it in every moment they have together. Although there is never a "you know I love yah you big lug moment", the real love between the two is just an unsaid truth. Bridges and Birmingham in turn actually really make the more philosophical dialogue of the film also work. In that they both essentially find any tone works because of how real the friendship feels and just breaking off into any given discussion seems normal. They don't only make them come about in a honest way though but it helps to ensure some real gravitas to these conversations. Whether it is Marcus pondering on a group of cowboys actually alone in the world, or Alberto pondering on the way it seems one group just merely steals everything from another, they earn them. They never come off as too much because of the conviction in their delivery but also in the reaction of each man understanding the other. Although they can just as easily be more than a little humorous such as with Bridges's annoyed breakdown of a television preacher, against Birmingham's portrayal of Alberto's exasperated reaction to essentially being preached at himself. They are such an endearing pair.
The main story is never forgotten, and I love the way Bridges's work so effectively attaches why it seems personal to him. As Marcus talks about potential retirement opportunities with Alberto. Bridges is great as there is no future in his eyes as he speaks about how none of the ideas really are suitable to him. What's so good though is that Bridges does not depict this as depression for Marcus rather it's simply not something that will suit him. Bridges gives us Marcus as someone who just really was meant always to be a lawman. There is one particularly pivotal moments when Marcus jokes about getting killed in a gunfight in order to die in a what he describes as a blaze of glory. Again Bridges's delivery of this is key in that it is technically more than half joking, but Bridges also carefully doesn't deliver it as though this is some suicidal death wish. Bridges brings this pride in it, as he knows something like this won't happen, but that he knows what he's doing now is the only thing he can connect with. This is only reinforced when it seems they might have figured out the robbers' plan, as Bridges brings such an earnest thrill of a man doing not only what he's good at but also what he loves to do.
Eventually all of this leads to two showdowns, the first being with Tanner in a sniper's position, acting as a distraction for Toby to get away. Marcus and Alberto arrive on the scene where Alberto is shot and killed by Tanner. Bridges's reaction is absolutely devastating as you see the years of friendship in his face as he writhes in anguish looking down at his dead friend. I have to say what the two actors did makes this scene all the more potent, and knowing the end result only made it hit me all the harder upon second viewing. Marcus though is forced to react quickly in order to stop Tanner, getting into a duel of sorts by flanking him at another sniper's position. Bridges is downright amazing in the scene. In the moment he portrays the physical exhaustion of the climb to reach the position, the violent anger at the man who killed his friend as pulls the triggers, then even the thrill of his accomplishment after he successfully avenges Alberto, Bridges though in the moment of triumph so brilliantly then breaks this into such a terrible sadness as he shows that once again he is only left with the loss of his friend. Quite honestly in that moment Bridges does more to realize the hollowness of revenge through a performance, than some actors that have an entire film do. The film still has one more showdown, between the two lead characters of the film, as a now retired Marcus goes to confront Toby who he's sure was the mastermind behind the robberies. Bridges is outstanding in this scene. Although no blood is spilled, and the actual direction of the scene is fairly low key you could cut the tension with a knife. The actors provide it offering such intensity with Bridges so quietly realizing Marcus's disgust towards Toby's since his actions indirectly caused Alberto's death. I love the way Bridges handles the scene as he presents the "Sheriff" as he has this assurance in front of Toby exhibiting a confidence fitting for a man with a real sense of justice. Bridges doesn't simplify it though as he carries an underlying nervousness in his being. Bridges suggests in this that Marcus is contemplating in his mind whether or not to take action. They do not exchange gunfire but they do exchange words with almost as much power ending with veiled threats that they will trade more than words at a later date. Bridges is incredible as he gives the strength to Marcus's words as he returns the offer to "give peace" to Toby, but also infuses it with this bleak pathos in his eyes showing that this is all Marcus has left to look forward to in his life. This is a phenomenal performance by Jeff Bridges. He transcends the trope of the old law man, elevating it to another level to give such a vivid and powerful depiction of man, not just the idea of one.
Now I say and the Texas Rangers trying to catch them because the film in the end is as much about the lawmen as the outlaws. Yes the film opens with a robbery, but the majority of its final moments focuses on the investigator. Jeff Bridges plays the investigator, Marcus Hamilton, who along with his partner Alberto (Gil Birmingham) goes about investigating a series of robberies. This is obviously a well worn role, particularly with the addition that Marcus is but a few weeks until retirement. Hell or High Water is a neo-western but Bridges was previously Oscar nominated for playing a lawman in the traditional western, True Grit. That was not a favorite performance of mine, and Bridges actually carries something similar over to his work here. That is his grumbly west accent, though he reduces it considerably here making feel far more natural to the character, time and place. Although both characters are lawmen, Bridges's approach diverges greatly from that earlier performance, in his portrayal of Marcus.
Again with the whole setup being that this is going to be Marcus's last case this might seem similar to Tommy Lee Jones's work in No Country For Old Men, a film this one is often compared to, despite being very different in terms of theme and tone. The comparison of the two lawful characters is particularly mistaken as Jones's Sheriff Bell has become spent working the job where that's not the case for Marcus. Bridges from his first scene importantly adds this certain energy about the man when he hears about the case. I rather love the approach as he's not tired to hear of another crime, rather he's kind of excited about getting something to do. Bridges brings a real enthusiasm to the role suggesting that Marcus very much enjoys being a lawman. In the scenes where Marcus investigates what happened at the bank there is a real comfort that Bridges brings. He not only gives the sense of the wisdom that Marcus has garnered over the year, but also the sense of ease as he does his duty with. Bridges presents a man who is most home when he's tracking down law breakers.
The film is presented as dueling stories with two sets of duos. The brothers, and the two Texas Rangers. Although the story moves forward in both it also fleshes out the relationship of each pair. On the law side with have Bridges's Marcus and his "supportive" friend of Birmingham's Alberto. The two are great together because what they offer is years of an old friendship in the perfect chemistry they have together. Honestly these scenes might not have worked at all if you did not believe their relationship. After all Marcus spends much of the time riffing on Alberto in every way he can think of including make various racial jokes about his Mexican and Comanche heritage. Every word spoken between them and just every reaction feels just so genuine with both actors. The effortlessness of it is all key in that Bridges technically doesn't exactly sugarcoat the insults by any margin, but it is balanced so well by Birmingham's reactions of just a slight smile and a head shake. In turn Bridges matches that by portraying only a real joy in Marcus when Alberto manages a good comeback or insult himself.
There is rich history established by both actors and you just feel it in every moment they have together. Although there is never a "you know I love yah you big lug moment", the real love between the two is just an unsaid truth. Bridges and Birmingham in turn actually really make the more philosophical dialogue of the film also work. In that they both essentially find any tone works because of how real the friendship feels and just breaking off into any given discussion seems normal. They don't only make them come about in a honest way though but it helps to ensure some real gravitas to these conversations. Whether it is Marcus pondering on a group of cowboys actually alone in the world, or Alberto pondering on the way it seems one group just merely steals everything from another, they earn them. They never come off as too much because of the conviction in their delivery but also in the reaction of each man understanding the other. Although they can just as easily be more than a little humorous such as with Bridges's annoyed breakdown of a television preacher, against Birmingham's portrayal of Alberto's exasperated reaction to essentially being preached at himself. They are such an endearing pair.
The main story is never forgotten, and I love the way Bridges's work so effectively attaches why it seems personal to him. As Marcus talks about potential retirement opportunities with Alberto. Bridges is great as there is no future in his eyes as he speaks about how none of the ideas really are suitable to him. What's so good though is that Bridges does not depict this as depression for Marcus rather it's simply not something that will suit him. Bridges gives us Marcus as someone who just really was meant always to be a lawman. There is one particularly pivotal moments when Marcus jokes about getting killed in a gunfight in order to die in a what he describes as a blaze of glory. Again Bridges's delivery of this is key in that it is technically more than half joking, but Bridges also carefully doesn't deliver it as though this is some suicidal death wish. Bridges brings this pride in it, as he knows something like this won't happen, but that he knows what he's doing now is the only thing he can connect with. This is only reinforced when it seems they might have figured out the robbers' plan, as Bridges brings such an earnest thrill of a man doing not only what he's good at but also what he loves to do.
Eventually all of this leads to two showdowns, the first being with Tanner in a sniper's position, acting as a distraction for Toby to get away. Marcus and Alberto arrive on the scene where Alberto is shot and killed by Tanner. Bridges's reaction is absolutely devastating as you see the years of friendship in his face as he writhes in anguish looking down at his dead friend. I have to say what the two actors did makes this scene all the more potent, and knowing the end result only made it hit me all the harder upon second viewing. Marcus though is forced to react quickly in order to stop Tanner, getting into a duel of sorts by flanking him at another sniper's position. Bridges is downright amazing in the scene. In the moment he portrays the physical exhaustion of the climb to reach the position, the violent anger at the man who killed his friend as pulls the triggers, then even the thrill of his accomplishment after he successfully avenges Alberto, Bridges though in the moment of triumph so brilliantly then breaks this into such a terrible sadness as he shows that once again he is only left with the loss of his friend. Quite honestly in that moment Bridges does more to realize the hollowness of revenge through a performance, than some actors that have an entire film do. The film still has one more showdown, between the two lead characters of the film, as a now retired Marcus goes to confront Toby who he's sure was the mastermind behind the robberies. Bridges is outstanding in this scene. Although no blood is spilled, and the actual direction of the scene is fairly low key you could cut the tension with a knife. The actors provide it offering such intensity with Bridges so quietly realizing Marcus's disgust towards Toby's since his actions indirectly caused Alberto's death. I love the way Bridges handles the scene as he presents the "Sheriff" as he has this assurance in front of Toby exhibiting a confidence fitting for a man with a real sense of justice. Bridges doesn't simplify it though as he carries an underlying nervousness in his being. Bridges suggests in this that Marcus is contemplating in his mind whether or not to take action. They do not exchange gunfire but they do exchange words with almost as much power ending with veiled threats that they will trade more than words at a later date. Bridges is incredible as he gives the strength to Marcus's words as he returns the offer to "give peace" to Toby, but also infuses it with this bleak pathos in his eyes showing that this is all Marcus has left to look forward to in his life. This is a phenomenal performance by Jeff Bridges. He transcends the trope of the old law man, elevating it to another level to give such a vivid and powerful depiction of man, not just the idea of one.
Thursday, 26 January 2017
Best Supporting Actor 2016: Lucas Hedges in Manchester By The Sea
Lucas Hedges received his first Oscar nomination for portraying Patrick Chandler in Manchester By The Sea.
Lucas Hedges plays the nephew of our lead character, the troubled Lee Chandler (Casey Affleck), and is the son of Joe Chandler (Kyle Chandler) whose death is used basically as the starting point for the film. This leaves Lee to attempt to put all his affairs in order and find some way to take care of Patrick, which is not overly difficult given that Patrick is only a few years away from adulthood. Hedges's first scene technically would seem to be a rather harrowing one where Lee comes to inform Patrick that his father has died. This is done literally at a distance visually, and the whole scene is handled seemingly in order to keep a certain space between us and the grief. Hedges's reaction actually is fairly subdued in the scene, and the succeeding moments just after his father's death. Hedges's approach though is fitting to the character though since he's in public, among his friends, and even it alludes to the idea that Patrick has in some way been preparing himself for it given that Joe's illness was already well known. Hedges's portrayal of this is affecting since he does realize the grief still, just in a very internalized way. There's one particularly effective moment when he first goes to see what Lee has to say, and Hedges wears the dread to hear the inevitable news in his eyes.
The focus of the film isn't really dealing with the death of Joe, that again is just a starting point. In fact the major moment on that end is still early on and very brief as Lee takes Patrick to see his father's body at the morgue. The scene is only a few seconds long, but I find to be one of the stronger moments in the film. Patrick just walks in then walks immediately upon seeing his father, and Hedges is quite moving in again realizing the hidden sadness as he's too pained to look for long. After this point, until one pivotal moment later, we see Lee going through the motions of making funeral arrangement but the death still is not given that much focus even in regards to Patrick. The film instead shows Patrick's life is still going forward in a pretty normal way. Although as we learn more of about Patrick's normal life we kind of discover that he is a bit of a, well for the lack of a better word, *ahem* a douche. Patrick, as written, is a fairly self-absorbed teen and for some reason a major aspect of the film is Patrick attempting to have sex with his girlfriend, except it's his second girlfriend that he keeps a secret from his first girlfriend. That is Patrick at his worst, and I will admit that aspect of the film I hardly found to be the most engaging.
I ponder if we are suppose to like Patrick in these scenes, they are shown without a critical eye, and it does seems set up to be some sort enjoyable teenage hijinks. It is a challenge then to make Patrick still engaging in these scenes, and it is a challenge that Hedges does not meet. I still question their need within the story, I think if you trimmed all those scenes it would only help the film. Past that though we are mostly given Patrick in fairly low key scenes of just being a teenager, and Hedges is a believable teenager. That doesn't sound like an achievement but it is. He brings the naturalism needed, even when he's being kind of obnoxious Hedges still makes it a believable obnoxiousness. He's also good in his scenes with Affleck, which are interesting in the way their essentially buttressed by flashbacks, with a much younger Patrick, where we see the warmer relationship between two. Those scenes though feel somewhere in the distance, yet still alive, in the detached but not cold interactions between the two of them. Hedges has that ease of interaction as though he still looks up to the guy, even if he no longer reciprocates in quite the same way. There is another subplot regarding Patrick's alcoholic mother that is briefly touched upon. I mention it though because it contains one of Hedges's best scenes as he manages to realize the tension of the scene through just the slight unease of his manner, while portraying the effort to attempt to reconnect in some way through his earnest delivery. This performance works best when it's at its most unassuming but unfortunately there is one major scene, basically his "Oscar scene", where Patrick finally breaks down over his father due to him needing to be kept in refrigeration before he can be buried. There is only one way I can say, that is I just didn't believe it, he goes for it, but all of it felt like a put on. The scene falls flat and I actually find it is the weakest scene of his performance. Hedges's performance works best when he doesn't seem to be "trying", and instead simply gives an honest depiction of a teen just trying to get by.
The focus of the film isn't really dealing with the death of Joe, that again is just a starting point. In fact the major moment on that end is still early on and very brief as Lee takes Patrick to see his father's body at the morgue. The scene is only a few seconds long, but I find to be one of the stronger moments in the film. Patrick just walks in then walks immediately upon seeing his father, and Hedges is quite moving in again realizing the hidden sadness as he's too pained to look for long. After this point, until one pivotal moment later, we see Lee going through the motions of making funeral arrangement but the death still is not given that much focus even in regards to Patrick. The film instead shows Patrick's life is still going forward in a pretty normal way. Although as we learn more of about Patrick's normal life we kind of discover that he is a bit of a, well for the lack of a better word, *ahem* a douche. Patrick, as written, is a fairly self-absorbed teen and for some reason a major aspect of the film is Patrick attempting to have sex with his girlfriend, except it's his second girlfriend that he keeps a secret from his first girlfriend. That is Patrick at his worst, and I will admit that aspect of the film I hardly found to be the most engaging.
I ponder if we are suppose to like Patrick in these scenes, they are shown without a critical eye, and it does seems set up to be some sort enjoyable teenage hijinks. It is a challenge then to make Patrick still engaging in these scenes, and it is a challenge that Hedges does not meet. I still question their need within the story, I think if you trimmed all those scenes it would only help the film. Past that though we are mostly given Patrick in fairly low key scenes of just being a teenager, and Hedges is a believable teenager. That doesn't sound like an achievement but it is. He brings the naturalism needed, even when he's being kind of obnoxious Hedges still makes it a believable obnoxiousness. He's also good in his scenes with Affleck, which are interesting in the way their essentially buttressed by flashbacks, with a much younger Patrick, where we see the warmer relationship between two. Those scenes though feel somewhere in the distance, yet still alive, in the detached but not cold interactions between the two of them. Hedges has that ease of interaction as though he still looks up to the guy, even if he no longer reciprocates in quite the same way. There is another subplot regarding Patrick's alcoholic mother that is briefly touched upon. I mention it though because it contains one of Hedges's best scenes as he manages to realize the tension of the scene through just the slight unease of his manner, while portraying the effort to attempt to reconnect in some way through his earnest delivery. This performance works best when it's at its most unassuming but unfortunately there is one major scene, basically his "Oscar scene", where Patrick finally breaks down over his father due to him needing to be kept in refrigeration before he can be buried. There is only one way I can say, that is I just didn't believe it, he goes for it, but all of it felt like a put on. The scene falls flat and I actually find it is the weakest scene of his performance. Hedges's performance works best when he doesn't seem to be "trying", and instead simply gives an honest depiction of a teen just trying to get by.
Wednesday, 25 January 2017
Best Supporting Actor 2016: Mahershala Ali in Moonlight
Mahershala Ali won his Oscar from his first Oscar nomination for portraying Juan in Moonlight.
Moonlight tells the story of a young black man, Chiron, through three different points in his life.
Mahershala Ali is one of those actors who in the past offered consistently good work in very minor roles, where when watching him one can't help but ponder why he wasn't given a bit more to do. That was especially true recently in the bizarre way he was utilized in the series Luke Cage. In Moonlight though it seems Ali is given his due through the character Juan. The film actually opens with his character as we briefly see him in a short exchange that alludes to Juan's background. The focus quickly shifts towards his central purpose as he discovers the young Chiron (Alex Hibbert) hiding from bullies in an apartment building. Although Juan's method of discovery is to actually tear down a window, one can quickly see that Juan only has the best intentions for the boy. This is made all the more evident through Ali's performance that exudes such a warmth from his presence, through that slight smile and a curious set of eyes as Juan attempts to decipher Chiron's problem. Ali is only genuine in his realization of Juan's charity as he attempts to help the boy by feeding him and giving him a place to stay for a night. Ali brings this ease in the behavior suggesting a natural goodness within the man.
The highlights of the film for me come in the scenes where Juan continues to attempt to help Chrion, and allow him to break out of his shell a bit. Ali's approach to these scenes is very effective in the way he keeps a distance yet at the same time feels welcoming. Ali is careful not to overplay or overemphasize the charity in Juan. He instead shows his charity that is fitting for a man of his rough background, although that is in no way to say his charity worth any less. Ali's restraint is important in that he never makes Juan an unbelievable saint yet makes his good works wholly convincing. Ali keeps a more casual quality in Juan as he portrays him not ever trying to force something out of Chiron instead Ali shows Juan attempting calmly to inspire the change in the boy. There is one truly special sequence where Juan takes Chiron to a beach. He tries to teach the boy how to swim which is particularly authentic moment since Ali was in reality teaching Alex Hibbert how to swim. He also offers a bit of advice on making choices for one's own self. The history of a life feels expressed in Ali's delivery and he earns the wisdom in Juan.
Unfortunately Juan is not just a nice man in the neighborhood, but is also the neighborhood drug dealer. Working as such he discovers that Chiron's mother (Naomi Harris) is one of his customers. Ali is excellent in the scene in bringing out his intense anger as he questions her behavior, and her inability to provide for her son. She counters though that Juan is the one selling the drugs, and Ali is very moving in showing the sad realization in Juan's silence as he is unable to really excuse his own behavior. This leads to a final visit to his home by Chiron where Ali conveys a certain change in Juan. Ali in no way loses the warmth that helps to define his relationship with the boy, but throughout the scene he conveys the underlying shame in Juan as he recognizes that he is in some way responsibility for the boy's hardships. Ali is altogether heartbreaking when Chiron directly asks him if he is a drug dealer, as he so somberly admits to it. Ali is especially affecting in the way he suggests how deeply this pains him, as he reveals the quiet devastation in the man. That is Ali's final scene in the film, which seems unfortunate as it does not feel like we even get to say goodbye, and I will admit I do find the first third of the film to be the strongest part. That is to say nothing against Ali's magnetic work, he is a supporting player after all, and it is the testament to the power of his performance. His charismatic portrayal stays with you long after, his exit and leaves a lasting impression on the film.
Mahershala Ali is one of those actors who in the past offered consistently good work in very minor roles, where when watching him one can't help but ponder why he wasn't given a bit more to do. That was especially true recently in the bizarre way he was utilized in the series Luke Cage. In Moonlight though it seems Ali is given his due through the character Juan. The film actually opens with his character as we briefly see him in a short exchange that alludes to Juan's background. The focus quickly shifts towards his central purpose as he discovers the young Chiron (Alex Hibbert) hiding from bullies in an apartment building. Although Juan's method of discovery is to actually tear down a window, one can quickly see that Juan only has the best intentions for the boy. This is made all the more evident through Ali's performance that exudes such a warmth from his presence, through that slight smile and a curious set of eyes as Juan attempts to decipher Chiron's problem. Ali is only genuine in his realization of Juan's charity as he attempts to help the boy by feeding him and giving him a place to stay for a night. Ali brings this ease in the behavior suggesting a natural goodness within the man.
The highlights of the film for me come in the scenes where Juan continues to attempt to help Chrion, and allow him to break out of his shell a bit. Ali's approach to these scenes is very effective in the way he keeps a distance yet at the same time feels welcoming. Ali is careful not to overplay or overemphasize the charity in Juan. He instead shows his charity that is fitting for a man of his rough background, although that is in no way to say his charity worth any less. Ali's restraint is important in that he never makes Juan an unbelievable saint yet makes his good works wholly convincing. Ali keeps a more casual quality in Juan as he portrays him not ever trying to force something out of Chiron instead Ali shows Juan attempting calmly to inspire the change in the boy. There is one truly special sequence where Juan takes Chiron to a beach. He tries to teach the boy how to swim which is particularly authentic moment since Ali was in reality teaching Alex Hibbert how to swim. He also offers a bit of advice on making choices for one's own self. The history of a life feels expressed in Ali's delivery and he earns the wisdom in Juan.
Unfortunately Juan is not just a nice man in the neighborhood, but is also the neighborhood drug dealer. Working as such he discovers that Chiron's mother (Naomi Harris) is one of his customers. Ali is excellent in the scene in bringing out his intense anger as he questions her behavior, and her inability to provide for her son. She counters though that Juan is the one selling the drugs, and Ali is very moving in showing the sad realization in Juan's silence as he is unable to really excuse his own behavior. This leads to a final visit to his home by Chiron where Ali conveys a certain change in Juan. Ali in no way loses the warmth that helps to define his relationship with the boy, but throughout the scene he conveys the underlying shame in Juan as he recognizes that he is in some way responsibility for the boy's hardships. Ali is altogether heartbreaking when Chiron directly asks him if he is a drug dealer, as he so somberly admits to it. Ali is especially affecting in the way he suggests how deeply this pains him, as he reveals the quiet devastation in the man. That is Ali's final scene in the film, which seems unfortunate as it does not feel like we even get to say goodbye, and I will admit I do find the first third of the film to be the strongest part. That is to say nothing against Ali's magnetic work, he is a supporting player after all, and it is the testament to the power of his performance. His charismatic portrayal stays with you long after, his exit and leaves a lasting impression on the film.
Tuesday, 24 January 2017
Best Supporting Actor 2016: Michael Shannon in Nocturnal Animals
Michael Shannon received his second Oscar nomination for portraying Lt. Bobby Andes in Nocturnal Animals.
Nocturnal Animals is a glossy hollow film about an art gallery owner Susan (Amy Adams) who receives a manuscript from her ex-husband Edward (Jake Gyllenhaal), which was written from his heart, a broken heart no doubt!!!!
Nocturnal Animals tells two stories, one of the vapid woman who reads the manuscript and ponders on the vapid choices that lead to her vapidness. A wholly inert story filled with terrible overacting from the majority of the cast, awkward dialogue, a jump scare, and people in their late thirties as college students, which attempts to get by through asking the audience to think of what does it all mean??? We also are given the story of the manuscript about a man Tony (Gyllenhaal as well) whose family is abducted by three men after their car is run off an isolated rode. This half of the film is the stronger half, but that isn't saying much. Alone it is an excessively straight forward and derivative thriller. Anyways in the story Tony finds help in the local law enforcement and this is where Michael Shannon comes into the picture as the lawman tasked to try to help the man find his family. Now in the film there is an attempt by most of the supporting players to give a stylized performance a la a David Lynch film, and I don't like even mentioning Lynch's name in connection to this film since it fails so miserably to replicate that type of style.
Michael Shannon is a very good actor, though now if you only knew him by his Oscar nominations you'd think he only ever played quirky supporting roles in not very good films. He's capable of much more, but he does know how to make at least something out of weak material. Again there is that stylized quality to all the supporting performances and it is found in Shannon's work as well, he's just better at it. Shannon plays the Texan police officer who likes to get justice done his way. Shannon delivery automatically is a little atypical and plays it up here just a bit in his casual drawl as he investigates the disappearances that quickly are revealed to be murders. Shannon's a man with presence, a naturally intriguing one, to the point that you expect more from one of his characters even if there is very little to them. That does come in handy here just as Andes goes about asking Tony various questions about the crime. There is something naturally engaging about Shannon asking the questions with those steely eyes of his along with that slight lisp.
On that point I will admit upon my initial viewing of the film I found Michael Shannon to be the strongest element of the film, and perhaps that hasn't changed, yet it does not mean a great deal. This is not a great performance by Michael Shannon, though he is no way helped by the rote character he is given. He's the gritty officer who has the occasional one liner to deliver some exposition, then later gets to go all Death Wish on the criminals to help the man avenge his family. There is little depth past that even his eventually revealed fatal cancer is more of there for a plot device to enable him to go full Death Wish. Shannon's task therefore is just to kind of be there to make some very banal notes sing. He does so by playing into the style, which does not make a realistic performance, but in a film where the tone doesn't work anyways, you have to take what you can get. Shannon is indeed somewhat entertaining in playing into the type, I have to say on re-watch his entertainment value decreased though, and I fear if I ever saw the film again its terribleness may infect his work all the more. I will also grant a bit of credit in that there is some nuance in his work. In the moment where he finds Tony's family, he grants a bit of emotion in his melancholy glance, after Tony inquires about his daughter's fate, and later offers some anguish behind the intensity as he says that he's changed indicating towards his fatal condition. It doesn't add up to all that much but I appreciate that it is there. He's mostly there to grumble out a few choice lines, which he does well enough, and give some deadly intense stares, which I'm pretty sure is Shannon's resting expression. It's not a great performance, but for me he at least offered something in an otherwise unpleasant experience.
Nocturnal Animals tells two stories, one of the vapid woman who reads the manuscript and ponders on the vapid choices that lead to her vapidness. A wholly inert story filled with terrible overacting from the majority of the cast, awkward dialogue, a jump scare, and people in their late thirties as college students, which attempts to get by through asking the audience to think of what does it all mean??? We also are given the story of the manuscript about a man Tony (Gyllenhaal as well) whose family is abducted by three men after their car is run off an isolated rode. This half of the film is the stronger half, but that isn't saying much. Alone it is an excessively straight forward and derivative thriller. Anyways in the story Tony finds help in the local law enforcement and this is where Michael Shannon comes into the picture as the lawman tasked to try to help the man find his family. Now in the film there is an attempt by most of the supporting players to give a stylized performance a la a David Lynch film, and I don't like even mentioning Lynch's name in connection to this film since it fails so miserably to replicate that type of style.
Michael Shannon is a very good actor, though now if you only knew him by his Oscar nominations you'd think he only ever played quirky supporting roles in not very good films. He's capable of much more, but he does know how to make at least something out of weak material. Again there is that stylized quality to all the supporting performances and it is found in Shannon's work as well, he's just better at it. Shannon plays the Texan police officer who likes to get justice done his way. Shannon delivery automatically is a little atypical and plays it up here just a bit in his casual drawl as he investigates the disappearances that quickly are revealed to be murders. Shannon's a man with presence, a naturally intriguing one, to the point that you expect more from one of his characters even if there is very little to them. That does come in handy here just as Andes goes about asking Tony various questions about the crime. There is something naturally engaging about Shannon asking the questions with those steely eyes of his along with that slight lisp.
On that point I will admit upon my initial viewing of the film I found Michael Shannon to be the strongest element of the film, and perhaps that hasn't changed, yet it does not mean a great deal. This is not a great performance by Michael Shannon, though he is no way helped by the rote character he is given. He's the gritty officer who has the occasional one liner to deliver some exposition, then later gets to go all Death Wish on the criminals to help the man avenge his family. There is little depth past that even his eventually revealed fatal cancer is more of there for a plot device to enable him to go full Death Wish. Shannon's task therefore is just to kind of be there to make some very banal notes sing. He does so by playing into the style, which does not make a realistic performance, but in a film where the tone doesn't work anyways, you have to take what you can get. Shannon is indeed somewhat entertaining in playing into the type, I have to say on re-watch his entertainment value decreased though, and I fear if I ever saw the film again its terribleness may infect his work all the more. I will also grant a bit of credit in that there is some nuance in his work. In the moment where he finds Tony's family, he grants a bit of emotion in his melancholy glance, after Tony inquires about his daughter's fate, and later offers some anguish behind the intensity as he says that he's changed indicating towards his fatal condition. It doesn't add up to all that much but I appreciate that it is there. He's mostly there to grumble out a few choice lines, which he does well enough, and give some deadly intense stares, which I'm pretty sure is Shannon's resting expression. It's not a great performance, but for me he at least offered something in an otherwise unpleasant experience.
Best Supporting Actor 2016
Jeff Bridges in Hell or High Water
Michael Shannon in Nocturnal Animals
Mahershala Ali in Moonlight
Lucas Hedges in Manchester By The Sea
Dev Patel in Lion
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