Best Actor: 2019 Alternate Supporting

Showing posts with label 2019 Alternate Supporting. Show all posts

Sunday, 26 January 2020

Alternate Best Supporting Actor 2019: Results

5. Robert Forster in El Camino - Forster makes the absolute most out of every minute of his screentime to give a very funny, yet also quietly moving portrayal of a most unusual sort of professional.

Best Scene: "We're Open"

4. Robert Downey Jr. in Avengers: Endgame - Downey gives a worthy sendoff to his now most iconic role, offering the same charm, humor and charisma as Tony Stark that made him a star once again, though also continuing to take his character on an honest emotional journey.

Best Scene: Meeting Howard.

3. Sterling K. Brown in Waves - Brown gives an effective portrayal of an overbearing father that quietly and powerfully reveals the real vulnerability and love within the man.

Best Scene: Talking about it.

2. Sam Rockwell in Jojo Rabbit - Rockwell gives a hilarious portrayal of an exasperated soldier just running down the minutes of his existence that eventually becomes rather moving as well.

Best Scene: "Rosie was a good person"

1. Song Kang-ho in Parasite - Song gives a brilliant portrait of the slow descent of a man from a strange contentment towards rage and despair.

Best Scene: Birthday gone wrong.

Overall Rank:

Joe Pesci in The Irishman
Al Pacino in The Irishman
Song Kang-ho in Parasite
Choi Woo-Shik in Parasite
Tom Hanks in A Beautiful Day in the Neighborhood - 5
Sam Rockwell in Jojo Rabbit - 4.5
Lee Sun-kyun in Parasite
Baykali Ganambarr in The Nightingale
Sterling K. Brown in Waves
Timothee Chalamet in Little Women
Udo Kier in Bacurau
Robert Downey Jr. in Avengers: Endgame
Robert Forster in El Camino
Bill Hader in It: Chapter 2
John Lithgow in Bombshell
Eric Bogosian in Uncut Gems- 4
Chris Cooper in Little Women
Stephen Graham in The Irishman
Keith Williams Richards in Uncut Gems
Jesse Plemons in El Camino
Alan Alda in Marriage Story
Liu Kuan-ting in A Sun
Park Myung-hoon in Parasite
Jeremy Renner in Avengers: Endgame
Chris Evans in Knives Out
Mike Moh in Once Upon a Time in Hollywood
Chris Hemsworth in Avengers: Endgame
Don Johnson in Knives Out
Taika Waititi in Jojo Rabbit
Chris Evans in Avengers: Endgame
Willem Dafoe in Motherless Brooklyn
James Ransome in It: Chapter 2
Wesley Snipes in Dolemite is My Name
Ben Mendolsohn in Captain Marvel
Alessandro Nivola in The Art of Self-Defense
Paul Rudd in Avengers: Endgame
Stephen Merchant in Jojo Rabbit
Winston Duke in Us
Nicholas Hammond in Once Upon a Time in Hollywood
Christopher Plummer in Knives Out
Richard Madden in 1917 - 3.5
Andrew Scott in 1917
Benedict Cumberbatch in 1917
Mark Strong in 1917
Tzi Ma in The Farewell
Robert Pattinson in The King
Archie Yates in Jojo Rabbit
Robert De Niro in Joker
Charles Baker in El Camino
Vince Vaughn in Fighting With My Family
Bradley Cooper in Avengers: Endgame
Ben Mendelsohn in The King
Keanu Reeves in Always Be My Maybe
Ray Liotta in Marriage Story
Zahn McClarnon in Doctor Sleep
Lucas Hedges in Honey Boy
Asier Etxeandia in Pain and Glory
Sean Harris in The King
Thomas Haden Church in The Peanut Butter Falcon
Greg Hsu in A Sun
Roberto Benigni in Pinocchio
Jeff Goldblum in The Mountain
Joel Edgerton in The King
Nick Frost in Fighting With My Family
Jack Dylan Grazer in Shazam
Michael Shannon in Knives Out
Samuel L. Jackson in Captain Marvel
Lucas Hedges in Waves
Jiang Yongbo in The Farewell
Bokeem Woodbine in Queen & Slim
Al Pacino in Once Upon a Time in Hollywood
Leonardo Sbaraglia in Pain and Glory
Eric Stoltz in Her Smell
Jay Ryan in It: Chapter 2
Evan Alex in Us
Vince Vaughn in Dragged Across Concrete
Vilhelm Blomgren in Midsommar
James McAvoy in It: Chapter 2
Josh Brolin in Avengers: Endgame
Kevin Garnett in Uncut Gems
Jamie Bell in Rocketman
Bruce Dern in The Mustang
Tracy Letts in Ford V. Ferrari
Rob Morgan in Just Mercy
George MacKay in Ophelia
Lakeith Stanfield in Uncut Gems
Tom Waits in The Dead Don't Die
Dan Stevens in Her Smell
O'Shea Jackson Jr. in Long Shot
Ralph Fiennes in Official Secrets
Jacob Tremblay in Doctor Sleep - 3
Judd Hirsch in Uncut Gems
Keith Stanfield in Knives Out
Alfie Allen in Jojo Rabbit
John Slattery in Avengers: Endgame
Harvey Keitel in The Irishman
Jake Gyllenhaal in Spider-man: Far From Home
Lance Reddick in John Wick 3
Don Cheadle in Avengers: Endgame
Kristian Bruun in Ready Or Not
Bruce Dern in Once Upon A Time in Hollywood
Bryan Cranston in El Camino
Brian Tyree Henry in Joker
Ian McShane in John Wick 3
Colin Firth in 1917
Adam Brody in Ready or Not
Tom Bower in Light of My Life
Tim Blake Nelson in The Report
Ben Whishaw in Little Joe
Mark Ruffalo in Avengers: Endgame
John Malkovich in Extremely Wicked, Shockingly Evil and Vile
Jason Mitchell in The Mustang
Bruce Dern in The Peanut Butter Falcon
Caleb Landry Jones in The Dead Don't Die
Danny Glover in The Dead Don't Die
Bobby Cannavale in The Irishman
Sebastian Stan in Avengers: Endgame
Keegan-Michael Key in Dolemite is My Name
Richard Madden in Rocketman
Moisés Arias in Monos
Kurt Russell in Once Upon a Time in Hollywood
Ray McKinnon in Ford V. Ferrari
Henry Czerny in Ready or Not
Jon Favreau in Spider-man: Far From Home
Jonathan Banks in El Camino
Will Smith in Aladdin
Tom Holland in Avengers: Endgame
Chen Han in The Farewell
Rob Delaney in Bombshell
Keanu Reeves in Toy Story 4
Timothy Olyphant in Once Upon a Time in Hollywood
Kodi Smit-McPhee in Dolemite is My Name
Craig Robinson in Dolemite is My Name
Mike Epps in Dolemite is My Name
Mark O'Brien in Ready or Not
Jeremy Strong in Serenity
Adam Driver in Star Wars: The Rise of Skywalker
Clifton Collins Jr. in Waves
Anthony Mackie in Avengers: Endgame
Scott MacArthur in El Camino
Corey Stoll in The Report
Tommy Lee Jones in Ad Astra
Damian Lewis in Once Upon a Time in Hollywood
Teach Grant in It: Chapter 2
Dwayne Johnson in Fighting With My Family
Chiwetel Ejiofor in The Lion King
Danny Glover in The Last Black Man in San Francisco
Donald Sutherland in Ad Astra
Tracy Letts in Little Women
Stephen Merchant in Fighting With My Family
Tom Courtenay in The Aeronauts
Jake Gyllenhaal in Velvet Buzzsaw
Luke Perry in Once Upon a Time in Hollywood
Ted Levine in The Report
Anthony Daniels in Star Wars: The Rise of Skywalker
Isiah Mustafa in It: Chapter 2
Scott Shepherd in El Camino
Frank Oz in Knives Out
Richard E. Grant in Star Wars: The Rise of Skywalker
John Hawkes in The Peanut Butter Falcon
Cliff Curtis in Doctor Sleep
Idris Elba in Hobbs and Shaw
Andy Bean in It: Chapter 2
Larry Hankin in El Camino
Bill Duke in High Flying Bird
Pedro Pascal in Triple Frontier
Tim Allen in Toy Story 4
Omar Dorsey in Harriet
Martin Starr in Spider-man: Far From Home
Jon Bernthal in Ford V. Ferrari
Billy Magnussen in Velvet Buzzsaw
Ian McDiarmid in Star Wars: The Rise of Skywalker
John Lithgow in Late Night
Tom Roth in Luce
Thomas Kretschmann in Dragged Across Concrete
William Jackson Harper in Midsommar
Steve Buscemi in The Dead Don't Die
Henry Hunter Hall in Harriet
Bruno Ganz in A Hidden Life
Josh Lucas in Ford V. Ferrari
Austin Butler in Once Upon a Time in Hollywood
Matt Jones in El Camino
Denis Lavant in The Mountain
Keegan-Michael Key in Toy Story 4
Jordan Peele in Toy Story 4
Mathias Schoenaerts in A Hidden Life
Stephen Graham in Rocketman
Jamie Foxx in Just Mercy
Tim Robbins in Dark Waters
Clarke Peters in Harriet
Michael Jai White in Dragged Across the Concrete
Bill Nighy in Detective Pikachu
Ibrahima Traore in Atlantics
Emile Hirsch in Once Upon a Time in Hollywood
Babou Ceesay in The Best of Enemies
Chris Cooper in A Beautiful Day in the Neighborhood
Carlo Cecchi in Martin Eden
Leslie Odom Jr. in Harriet
Mark Strong in Shazam
Charlie Hunnam in Triple Frontier
Jonny Mars in Bacurau
David Zelner in The Art of Self-Defense
Bruce Willis in Motherless Brooklyn
Haley Joel Osment in Extremely Wicked, Shockingly Evil and Vile
Jason Suedeikis in Booksmart
Matt Smith in Official Secrets
Kyle MacLachlan in High Flying Bird
Jon Hamm in Lucy in the Sky
Gary Oldman in The Laundromat
Antonio Banderas in The Laundromat
Patrick Stewart in The Kid Who Would Be King
Andy Serkis in Long Shot
Bob Odenkirk in Little Women - 2.5
Bill Skarsgard in It: Chapter 2
Ólafur Darri Ólafsson in The Vanishing
Clive Owen in Ophelia
Jim Parsons in Extremely Wicked, Shockingly Evil and Vile
Charles Dance in Godzilla: King of the Monsters
Daveed Diggs in Velvet Buzzsaw
Hamish Patel in The Aeronauts
Julio Diaz in La Llorona
Jaeden Martell in Knives Out
Bobby Cannavale in Motherless Brooklyn
Rufus Sewell in Judy
Jonathan Groff in Frozen II
F. Murray Abraham in How to Train Your Dragon 3
Billy Dee Williams in Star Wars: The Rise of Skywalker
John Boyega in Star Wars: The Rise of Skywalker
Jude Law in Captain Marvel
Oscar Isaac in Star Wars: The Rise of Skywalker
Samuel L. Jackson in Spider-man: Far From Home
Billy Eichner in The Lion King
Seth Rogen in The Lion King
Rhys Stone in Sorry We Missed You
Bruce McGill in The Best of Enemies
Ken Watanabe in Detective Pikachu
Bob Odenkirk in Long Shot
Laurie Davidson in Cats
Navid Negahban in Aladdin
Jason Clarke in Serenity
James Earl Jones in The Lion King
Keegan-Michael Key in The Lion King
Tony Hale in Toy Story 4
Hugh Dancy in Late Night
Ross Brewster in Sorry We Missed You
Finn Wittrock in Judy
Jon Hamm in Richard Jewell
Sterling K. Brown in Frozen II
Steven MacKintosh in Rocketman
Henry Thomas in Doctor Sleep
Garrett Hedlund in Triple Frontier
Idris Elba in Cats
Bradley Whitford in Godzilla: King of the Monsters
Josh Gad in Frozen II
Alec Baldwin in Motherless Brooklyn - 2
Billy Magnussen in Aladdin
Noah Segan in Knives Out
Jacob Batalon in Spider-man: Far From Home
John Oliver in The Lion King
Tony Revolori in Spider-man: Far From Home
Thomas Middleditch in Godzilla: King of the Monsters
Jason Derulo in Cats
Joe Alwyn in Harriet
Domhnall Gleeson in Star Wars: The Rise of Skywalker
Ike Barinholtz in Late Night
Will Poulter in Midsommar
Robbie Fairchild in Cats
Ryan Reynolds in Hobbs and Shaw
Mark Dacascos in John Wick 3
Dan Stevens in Lucy in the Sky
Rhys Ifans in Official Secrets
Skyler Gisondo in Booksmart
Noah Galvin in Booksmart
Marwen Kenzari in Aladdin - 1.5
Ian McKellen in Cats
Bill Camp in Dark Waters
Chris Geere in Detective Pikachu
Jack Reynor in Midsommar
Rafe Spall in Just Mercy
James Corden in Cats - 1

Next Year: 2019 Lead

Alternate Best Supporting Actor 2019: Robert Downey Jr. and Chris Evans in Avengers: Endgame

Robert Downey Jr. and Chris Evans did not receive Oscar nominations for portraying Tony Stark aka Iron Man and Steve Rogers aka Captain America in Avengers: Endgame.

Avengers: Endgame is the satisfying closure to many a threads of the marvel cinematic universe, a properly entertaining sendoff, unlike a couple other cinematic and televised anticipated closing acts of 2019.

One of the longest threads in the series coming when the now ever expanding universe was founded in the solo film of Iron Man, which also notably came as a gamble of sorts on the seemingly faded star of Robert Downey Jr. taking upon a leading role in a big budget film. That risk payed out dividends close to literally for Downey, and for the cinematic universe itself that just kept expanding from there. Downey's appearances here differing from other actors with continued appearances of the character like say Sean Connery as James Bond where most of the films essentially reset the character to baseline after each film, or Hugh Jackman as Wolverine where the X-Men films rebooted so many times in his tenure that he really was only able to find pay-dirt in the part by his last appearance. Although there were the relatively minor hiccups of Iron Man 2 and Age of Ultron, that focused too much on world building, it has been basically smooth sailing for Downey and the character of Tony Stark. This with a notable difference in that we do see an ever growing character throughout the films, with a particular uptick in this in the third phase of the film, incidentally when Downey no longer had any solo films to star in but became an essential figure in so many of the films. The base of Downey's work, in this film, came from his first appearance which in many ways redefined the comic book hero, which in films like Batman, Superman even Batman Begins, were defined by their earnest and intense heroes ready to face their more flamboyant villains. Well with Downey in the original Iron Man this was turned on its head. This as Stark was a sardonic comic figure who subverted the usual tropes, usually making the situations more tangible with a degree of pointing out their ridiculousness rather than strictly owning it This gamble, which according to one Jeff Bridges was driven by a nearly non-existent script, worked by virtue of Downey's talent honestly at entertaining yet somehow cohesive rambling. This ability of Downey's was perhaps at its prime in the first film, and has never soured, well maybe in Iron Man 2 a bit, though he occasionally hits autopilot. Here in Endgame, it is relatively limited use given the severity of the situation of the story and hte expansive cast, but Downey brings his A-Game here, whether his casual referring to a less in shape Thor (Chris Hemsworth) as Lebowski, or questioning whether or not talking Rocket Racoon is a Build-A-Bear.

Now Downey's approach to the role has been very influential in terms of the casting and performances of many of the later heroes to come. This with many a quippers, snarkers sarcastic types, and sometimes goofy group of leading men in Marvel movies. One throwback to the old standard, very fitting to be the one to fit to the old standard, is Chris Evans as Captain America, who has played his role just about as many times as Downey, though not for quite as long. Evans also had a shakier start in the role playing the covertly difficult role of Captain America, given the performer must not only have the physique for the part, but also must be able to act, a combination that isn't always the easiest to come by. Evans, I'll even say, took a bit of time to fully find his groove in the role, something that greatly helped him is when the material allowed a bit more complexity than a pure boy scout, while carefully leaving that factor as the essential core of the character. Once this was figured out though Evans began running with the idea of the character. This as he uses sort of the boy scout idea as the back bone base of his character, rather than just the surface of it. This as Evans found presence within the role by emphasizing the inherent goodness and resourceful qualities within the character. This bringing a defined earnestness of a man who believes everything he says, and is defined by the fact that he'll always do the right thing. Evans importantly, here and all his strongest work as Steve Rogers, emphasizes this to be the nature of the man that basically motivates him. This isn't just as he speaks with optimism but rather his delivery of it is with the conviction of a man who has no idea how to think any other way. Evans's realization of this conviction has allowed him to be a particularly strong counterpoint to Downey's work, and acts as both a straight man and pillar within the later entries of the series. This one included where at this point in the series, we just accept Evans in the role, which I'll say wasn't the case for me in the first film, but here he absolutely just is Captain America in the strictest sense.

So here we get each of these actors' the last foray into the roles they defined, and have helped to define their careers. Fittingly both are stressed within the role, and part of the strength of their work is that they so naturally realize the characters, that it just feels as though we are exploring yet another chapter with them, though this being a particularly important chapter. Downey isn't all snark in the role, even if that is his own thing to rely on here, and again this is more limited in that sense. His best work as Iron Man, hasn't been without his own sense of conviction. In fact he's been particularly adept within the tone of the films in knowing when to bring his own earnestness to the role. This though he utilizes selectively typically when it matches a strictly serious situation, which most of the situations are in this film. The film opens with such a situation where Stark is stranded and nearly dying, leaving a final message to his love Pepper (Gwyneth Paltrow). The strength of Downey's work is evident there, as he has a way of showing sort of the hidden heart of Stark in these moments, with a greater emotional vulnerability. This is usually something more momentary in nature, but we get an explosion of it here as he manages to make it to Earth. This in his confrontation with Cap. over their mutual failures, and this part of Stark, Downey is quite effective in more bluntly exposing the desperation fitting for a man whose finally seen complete and utter failure for the first time. This is against Evans who is more stoic in the scene, though he too is effective, by again showing that Rogers's natural optimism still is alive, and he delivers his words of defeat with a heavy heart however still with the sense that there must be a way somehow to solve it.

These two portrayals of the character then work well as a starting point as it appears they must initially live with their failures. This is where these films aren't strictly roller coaster rides (Sorry Scorsese, although I will be agreeing with him to an extent later in this review), because they do bother to realize these heroes as people going through the fantastical situations as people. In Evans you have an interesting portrayal as we still see Rogers doing good in any way he can, from heroics, to just leading a survivors group therapy session. Evans finds this effective way in his expressions in this as a man who should be breaking down, as the sadness is there, but still with a reserve as though his optimistic nature cannot let him fall apart. This as any moment of happiness in speaking, Evans conveys a real joy of the conversation and with the enthusiasm towards any potential of something better on the horizon. This is opposed to Stark who has moved on, given his more cynical nature, there can be such an acceptance and in that we see that in Downey's performance. This as we see Stark having had a daughter and married Pepper, and Downey's good in reflecting a man who has found joy in his life by moving onward. This isn't to say his work is indifferent to the past, and Downey does underlie the sadness in brief moments of reflections however it is not overpowering. This again works best in contrast between him and Evans, as the two sides of this coin. This working as Evans creating the optimist who cannot move on lest he lose hope, to Downey as the cynic who found hope by moving on. Each performer finds the reality within the fantastical, making what they are going through as people tangible even when dealing with intergalactic gems of power, a mad titan and eventually time travel.

The actual time travel plot is where we do also get to see where Evans and Downey each succeed. In that Downey thrives with the one liners at the expense of the bizarre nature of so many of the characters when you break them down, against Evans who brings that utmost conviction to every word particularly when Cap speechifies. Evans offers the right combination of intensity and inspiration to these speeches. The actual time heist we get some fun beats here and there. Evans actually has a couple of nice moments showing the more loosened up Captain America we've gotten to know, such as his sly smirk when fooling a couple of future traitors by pretending to be one, or his exasperation at his past self who is even more gung-ho than himself. Downey's of course right at home in quipping between the lines, but really the brunt of his performance comes as they must go further back in time where Stark accidentally meets his own father. It's really a wonderful bit of acting from Downey as he manages to bring out some low key humor in the moments of surprise and an excessive, though fitting, emotion in speaking with his father. Downey does go further in the moment though in portraying the brief seconds of earnest appreciation of his father, and creates such a sense of love in the moment, a sort of love he never had shared openly with his father before. The time heist results in success, but also potential failure as the mad Titan Thanos returns to try to kill all the universe.

Here, I guess is where I'll agree with Scorsese. This in that watching the film again, as is the case with almost all Marvel films for me, it didn't have as much of an impact. This is something that doesn't happen with truly great films for me. It does feel more as though you feel the machinery of it all as it gets into action overdrive, and the whole thing diminishes a bit, for me. This is not to knock anything really, as the performances are still there to be sure. Evans is very good in the scene of all the returning heroes, this starting with where everything seems to be lost, and his face bears the brunt of defeat though still with that optimism in his eyes of a man who will fight to the death if he must. Then seguing to portray a slowly growing joy at seeing his returning friends, before returning to the true determination of the Captain as he announces for the Avengers to "assemble". The same can be said for Downey, he has a very sweet moment with Tom Holland as Spider-Man where we just see the most genuine portrayal of a paternal love as he embraces the son he never had. His most pivotal moment though is in the end of the fight where he sees he must make the final sacrifice. Downey's reaction of acknowledgement of the moment is great, as he creates the real sense of gravity of the choice in the moment, with a bit sadness but also perseverance. His final line, matching his last line of his first portrayal of Tony Stark, the declaration of "I am Iron Man", as much as it is a fan service line, it is spectacularly delivered by Downey. This as he captures a certain anger towards Thanos, a hesitation of the sense of his fate of the moment, but also determination to live out his destiny of saving all. Downey even makes the most out of his final scene, that even with slightly dodgy effects, his eyes capture both a sense of physical pain from his last act but with tenderness towards all those loved ones he saved. It's definitely a well delivered sendoff for the character on a performance level, and a character level. Less so in my book for Captain America's sendoff, where he chooses to live in the past and shows up as an old man. This whole scene is a bit "eh" for me in every respect, and honestly even Evans's performance in the moment feels like someone getting something over with then really finding a true poignancy in the moment. It just feels less like the actions of Steve Rogers and more so that of a wrap up for an actor who wants to stop working out all the time. For Evans overall, it is still a reprise that reveals the success of his work in the role, though I think he has had higher heights overall (Civil War, Winter Soldier), it is still a height for him. Downey delivers on the promise of the role in this film, from his performance and really the idea of the cinematic universe. This as his work here not only shows why he worked so well in the part of Tony Stark, but also capitalizes on everything that came before with the character, to create this worthy sendoff, realizing a career achievement for an actor that really has never been seen before, certainly not in this way.

(For Downey)

(For Evans)

Saturday, 25 January 2020

Alternate Best Supporting Actor 2019: Song Kang-ho & Choi Woo-shik in Parasite

Song Kang-ho and Choi Woo-shik did not receive Oscar nominations for portraying Kim Ki-taek and Kim Ki-woo respectively in Parasite.

Parasite is the perfect cinematic sendoff for the decade by director Bong Joon-ho, a film that I loved upon first viewing and has only grown in my estimation on each subsequent viewing, following a poor family who attempts to infiltrate a rich family by taking all their service jobs. This is a film, where if you have not seen it, I would just say read no further, and just see it already. Though as much as I've loved it every time I've watched, one should never forgo the great experience of discovering this film for the first time.

Regardless of what aspect of the film one examines, Parasite is great, a trademark of a masterpiece I'd say, one of the aspects that carries this greatness is the cast. Everyone fills their parts out so well, making it perhaps the most deserving SAG ensemble winner, ever. Two of the essential performances come in the men I've chosen to focus on here, though as Song Kang-ho plays the father and Choi-Woo-shik plays the son of the poor family. The poor family we first meet as they seem like they can only go up, living in the basement of a building where they struggle to find wi-fi support, and are "treated" to bug spray and a serial unrinator as regular sights. The family, which also includes the mother Chung-sook (Chang Hyae-jin) and the daughter Kim Ki-jeong (Park So-dam), eking out a more than meager living as pizza box makers. So in this sense we get the family in sort of their purest form, which is essential in creating really the state of each character established so well in the performances. With Choi Woo-shik, similar to his not particularly loyal corporate truck driver in Bong's previous film Okja, brings a sort of foolish energy of sorts. This in there is an inherent haplessness in his manner. Choi portraying a lack of certainty with really every interaction in the basement, suggesting the young man unable to build up even the slightest hint of success in his life, having failed university exams multiple times. Bong's frequent collaborator Song Kang-ho, of course is right at home in the director's style, but also makes this important portrayal of the dad's state in the home. This as he brings a sort of goofy enthusiasm of just a typical dad, who actually may be a little too content in his surrounding scenery, this as even though we don't know how the family got here, Song gives a good idea how. This as when the basement is sprayed for bugs, while the other shudder, Song takes in almost a cleansing embrace of what his life is.

Their chance in a turn around comes as the son is offered a chance at a tutoring gig with a wealthy family by his friend, largely because his friend thinks he'll be less romantic competition for the daughter in the rich family. Choi's great in this scene of hearing of the prospects by in a way being everything his friend is not, portraying a certain fear almost at the prospect, and this consistent physical approach that accentuates the son's apparent lack of potential on the surface. He finds himself invited though into the home of the rich family and the particularly gullible rich mother (Cho Yeo-jeong). Choi's performance creates the sort of operation that defines the first act of the film. This as he sees just how quickly she accepts his ideas, we see an immediate change in his manner, and Choi loses his more unassuming demeanor to create a more striking manner, closer to his visiting friend who recommended him for the job. It isn't though as the man is showing a great confidence as himself, but rather it is essential in the way Choi portrays this as a placed in facade over the apparent sort of fearful young man otherwise. This is most evident within his first tutoring session, where Choi portrays this sort of breakout that is as a performance as some great thinker, where he is just really putting on an act. This act that gets his sister a job as an art tutor for the rich family's son, and eventually his father to replace the rich father's driver. Song is terrific as he continues showing the way the poor father is by far the most at home in the basement, with his proud goofy demeanor. This as we see him take on the job for the father, he is by far the "worst" actor of the bunch. Song's brilliant though in his comic way of bringing to life Song's methods as a proper seasoned driver, who really isn't that great. This with an over eagerness he brings to every word, and a far too casual ease with the rich father, that frequently pushes boundaries. We see more of this as the three attempt to get their mother a job replacing the rich family's housekeeper. Song's terrific in the scenes of preparing for the "performance" in his over the top delivery as he practices it, showing very much the effort the poor father must put into every ounce of the scheme, compared to his children who are a little more prepared. I do though also love the brief moments of pride that Song expresses with such an affectionate grin as he speaks of his children's success with the scheme as though they had all gotten successful jobs without subterfuge, and grants the sense of it being almost a dream beyond any expectation.

The family pushes their success though by using the family's home when they're out for a trip. This is an essential scene though for both Choi and Song. Choi in reverting to more meekness though with this quiet hope as he speaks of his belief that he'll be able to marry the daughter and get the riches for himself. Choi speaking with this earnest delivery, and this way of looking towards some future in the moment, that is an essential seed. Speaking of essential seeds though, when the poor mother, speaks of the father's likely cowardice in the face of the rich family potentially discovering them, he lashes out. Song portraying the moment with a real intensity of a deeper anger, though that he quickly laughs off as though it was all a joke. This release though being an important seed as Song uses that moment to suggest a bit more within the father's certain state of being poor. What happens next though is a sequence of insanity as the family discovers the first housekeeper was storing her deeply in-debt husband into a dark basement, just before the rich family unexpectedly returns home from a flood, which gives the rich house a rather serene appearance. The ensuing chaos is really tour de force for every actor within the cast in terms of portraying the different moments of the scene, and adding so much to the craziness and comedy of each moment. They highlight each instance brilliantly and makes the whole sequence all the more compelling. I have particular affection though for Song's reaction as he witnesses his wife purposefully push the old housekeeper, though accidentally cause great injury, as it instantly evokes the terror of the change in severity of the situation. Eventually the situation leads much of the poor family to hide for some time under the rich's family's table, whilethe rich couple watch their son camp out in the rain. This as the rich father (Lee Sun-kyun) comments on the poor father's smell. Song's silent reaction to just taking this in, and just a moment of quiet sadness and anger, is fantastic bit of acting essential to the story, as we'll see.

The family escapes though only to find that their basement home is flooded, leaving them to take refuge. Although Choi is very good in his reactions to these scenes, Song's work is remarkable in showing the loss of that sort of contentment and pride of the father. There taking hold more of an exasperation within him that in Song's expression creates the sense of a penetrating loss. This creates a terrific contrast though between Song and Choi, this as Choi speaks still with some optimism of a plan to handle all their problems with this youthful wish again, against Song who speaks each word so bluntly that plans are basically without purpose, as they always go wrong. All of this comes to a head as the poor family is called in by the rich family for their son's birthday party, oblivious to their lost home from the flooding. Choi has a marvelous bit of physical comedy actually as we see him exploring the hidden basement in some foolish attempt to resolve the situation with a rock of his, and his fumbling around expertly realizes his plan going the opposite of fruition. This is against Song who is first needed to slowly prepare the party by driving around the wife, before being made by the rich father to pretend to be a bad native for a birthday celebration. Song's face says it all as just this simmering silent bitterness and hate. This not a man wounded so by his experience, and his reactions that show a very real pain that seems as defined by the lack of empathy from those he is looking at as it is his own suffering. All of course does not go to plan in the party as the husband from the basement goes on the attack first, delivering a near fatal blow to the poor son's head, via his own rock, before stabbing the poor daughter. Everything Song does in this scene is downright amazing, but also realizing quite the challenge in what he needs to do. It's effortless though and powerful. This in his portrayal first of sheer horror at seeing his daughter stabbed, and disbelief at the violent chaos. This though as the rich father stepping once too far himself, by not only showing no concern whatsoever over the bleeding Ki-jeong, but also his revulsion at the basement dwelling husband's smell as he picks up the car keys tossed by the poor father. There's a break in Song's eyes as he moves almost in this detached state as he outright murders the rich father. This is such a brilliant moment as we see the spark of anger and intensity, seeded before, but portrayed as this almost instinctual release of pent up rage by Song in the killing. This that he makes as this temporary insanity as his stare the moment afterwards is this incredible realization of what he has done, one of both fear of the consequences but a despair of that he went through with such an act.

The film's epilogue is one of the greatest endings of a film that I've seen in sometime, and two of the reasons for this are the performances of Choi and Song. We see Choi as he recovers from his brain injuries, though with initially a broken laugh, that is so well realized in Choi's nearly vacant expression of a man whose mind just isn't quite fully together yet. This as he finds he and his mother just barely avoiding jail time and falling right back into their basement home once again. This compared to against where we see the father who managed to avoid arrest by retreating into the hidden basement. Song is outstanding once again as we see the immediate desperation after the act, and the moment of realization expanded to a true shame for the act. This now portraying that man without any contentment just now living within a fear of a life lower than the one he had seemingly come to accept in the opening of the story. The son learns of this through Morse code from a light operated by the father, leaving the son to plan an escape for his father. The escape scene that we first see depicted as the son appears rich, and now earnestly confident as himself. This with one particularly brilliant glimpse from Choi as he's just about to enter the house, of a quiet eagerness and almost disbelief at the prospect. Then we witness the father apparently come from his layer, with his son and wife ready to greet him, where Song wears such a haunting expression of years of a form of captivity as he moves to embrace his loved ones once again. This before we cut back to still just the son stuck in his basement thinking of that plan, with Choi's expression being this so poignant combination of that optimistic wistfulness but also an underlining hopelessness as well. Both actors great such emotional detail, largely in silence, and help to create the unforgettable ending it is as this cruel dream that is likely to never exist. Both actors deliver great performances in Choi's portrait of a youth attempting to find the plan that will save his family, and Song's tragic realization of a poor man somehow slowly descending down a path he cannot return from.

Friday, 24 January 2020

Alternate Best Supporting Actor 2019: Sam Rockwell in Jojo Rabbit

Sam Rockwell did not receive an Oscar nomination for portraying Captain Klezendorf in Jojo Rabbit.

Sam Rockwell plays the role of technically one of the central Nazis in the film, about the Hitler youth Jojo (Roman Griffin Davis), whose imaginary friend is also Hitler (Taika Waititi). Rockwell's performance is largely a comedic one though here is an instance where it is a comic work from him that is a bit less of his manic Rockwellian work, as I expected going in. This however is essential to the realization of his character's reveal that is in plain sight throughout the film, you just don't notice it. Rockwell first enters the film in opening the Hitler youth camp, where technically Rockwell tells you everything about his Captain Klezendorf in his delivery of the scene. This as he remarks first on his eye injury that leaves him to run the camp it is with a marvelous sarcastic exasperation that Rockwell underlines each word. Rockwell does a great thing of saying almost every word in this long breath of someone just tired of the whole routine. This as he espouses the Nazi line it is as perfunctory as possible, along with a great physical manner far from the proper soldier. This with an always relaxed stance as though he is just about completely spent by the experience at this point, but is there enough just to do his job. This even allowing himself to get away with his sort of sliding German accent here, as it manages to just go along with every thing that Klezendorf does. This in only the small bit of pride in his manner as he shows off his crack shot skill, with a bit more zest from Rockwell with his way of saying he's just as good as any two eyed soldiers. There Rockwell manages to wholly accentuate in just his intro as the state of Klezendorf as a proud soldier but disenchanted with the cause of his country.

Well as much as Rockwell's work in bringing to life Klezendorf's state of being, this is also just a very funny performance where Rockwell comedic timing comes in handy just to earn some of the better laughs in the film. One being when Jojo, attempting to show off his devotion to the cause, tries to be the first to throw a grenade only to injure himself in the process. Rockwell's deadpan delivery of "don't do that" is absolutely hilarious, as is his only real anxiety shown as he comments that Jojo's mother is "going to kill him". Rockwell's a delight from there on as we see his now demoted position of trying to run Jojo's town, and give Jojo a job by the insistence of his persistent mother Rosie (Scarlet Johansson). I mean one must give proper commendation to the delivery of the crotch injury performance, which Rockwell does wonderfully in his anguish ridden, yet still so pleasant introduction of everyone to Rosie after she knees him in a man's most sensitive area. Rockwell in these scenes is pretty much always doing something, something rather entertaining. Whether this being his continued portrayal of the exhausted soldier just randomly doing things as he awaits the end of the war he know he's going to lose. Rockwell delivery with such lack of sincerity as he describes training soldiers to fight underwater, or illustrating the city's defenses. The one point of passion though is showing of Jojo his final battle uniform, that Rockwell brings a low key infantile glee as though it is one of the few things Klezendorf can find any joy in. Rockwell though is also terrific though in his reactions as sort of the straight man to both Davis's performance of childlike naivety and Rebel Wilson as a far more devoted Nazi. Rockwell finds a right balance though in his quiet warmth, yet still comical, bemusement at Jojo's various ideas he comes to him with, such as a book on Jews. Rockwell is also considerably funnier than Wilson's broad performance, just through his great reactions of "this lady is crazy" as she comes up with a great mania than the childish Jojo. Rockwell's own work nicely mediates between these performances with his own. I would also be remiss though if I did not mention his brief interactions with Alfie Allen as his second in command, probably more, Freddie Finkel, where he portrays Klezendorf's, we'll say, very strong affection for his loyal soldier, particularly in his oh so earnest apology after he yells at Freddie for a mistake.

The key to Rockwell's performance though is with Jojo where Rockwell gradually brings a greater paternal sense of tenderness in each word towards the boy, and his eyes grants a real sense of concern for him. This coming into play when the gestapo visit Jojo's home, which is housing a Jewish girl Inga (Thomasin McKenzie). Klezendorf "happens" to also arrive. Honestly this scene is a showcase for Rockwell, even with rather sparse amount of lines total for himself, as he is doing a whole lot throughout the scene. This as when the gestapo are directly looking at him Rockwell reveals an affable, almost dumb, smile of a soldier just ready to listen and respond to this house call properly. When it looks like the Gestapo is being official, Rockwell again responds with a more serious tone towards Jojo and Inga, pretending to be Jojo's sister, suggesting a more loyal soldier than perhaps he really is. With the gestapo's harder inquiries, Rockwell subtly alludes to a greater concern, in just this faint hints in his eyes, particularly in a moment, I did not notice the first time I watched the film, of unease when he thinks the lead gestapo agent will double check Inga's papers, after he already has. Rockwell again doing this in plain sight that is rather impressive as it is not immediately noticeable at hinting the better nature of Klezendorf. The highlight of Rockwell's performance though comes in the film's climax as the allies attack the town, leading to a last stand among the Germans. This as we get the best of both worlds of Rockwell's performance, first his hilarious "the hell with it" expression and wink as we see the Captain donned in his ridiculous final battle uniform and charging through the carnage. This representing a soldier who's still a soldier, but has lost any purpose other than the fight alone. This soon is followed up by Klezendorf and Jojo being rounded up by Russians, after having been defeated. Rockwell is brilliant in this scene by delivering on that underlying warmth, as he speaks the words of comfort so tenderly for Jojo's losses. I love how Rockwell begins with that same sort of humoring tone we heard before towards the boy, but as the scene goes on this breaks away to just reveal a genuine emotion directly. This losing that exasperated tone as his voice breaks a bit to reveal his real affection and care for the boy. This as Rockwell naturally finds a real poignancy and is rather heartbreaking in the moment as he makes the concern for Jojo in the moment so honest, yet doesn't compromise the more absurd moments involving the character. This is a wonderful performance by Sam Rockwell as he manages to firstly be very funny in the absurd nature of the role, but also manages to find the right bit of humanity in it to be rather moving as well.

Thursday, 23 January 2020

Alternate Best Supporting Actor 2019: Robert Forster in El Camino

Robert Forster did not receive an Oscar nomination for portraying Ed Galbraith in El Camino.

Upon the release of El Camino, the low key yet terrific epilogue to the series Breaking Bad, viewers were subjected to a cruel whiplash. This as we just finished enjoying another turn by the wonderfully unique Robert Forster, we sadly learned of his death marking that as one of his final performances. This being a loss of a great character actor in Robert Forster, who wasn't given enough chances to really show off his talent, though it was always appreciated when he did. Also will note here, that my review of his Oscar nominated turn in Jackie Brown, is in the severe need of an update. Anyway though let's take a look at his work here, that is actually a reprise of his work in Breaking Bad, which spoilers for the series, he played the man who specialized in making wanted men disappear without a trace, for a price. Although this might be a shorter performance, he only has two scenes, I think it is actually a more substantial performance given that for teacher turned meth kingpin Walter White, it was strictly business. We get something else here with Jesse Pinkman (Aaron Paul) on the run from the law, after having escaped being a prisoner of militant Aryans, trying to find some escape through a vacuum cleaner salesman he's sure is the man with a special set of skills.

Forster I'll say is someone who doesn't need to try that hard to be compelling on its own, even seeing him discuss a potential vacuum sale is a lot more interesting than would be for most actors as there is such a vibrancy to his presence as a performer. The greatness of his work though is in this scene through such a brilliantly subdued turn that does a whole lot with so little, in more ways than one. This as Jesse approaches Forster's salesman in his empty shop, by closing his shop for him. Forster's initial portrayal of just a shop owner gently reminding the man that his shop is open, is as just an average vacuum store salesman nothing more. Forster has a great nearly deadpan expression of just ever so slight confusion as Jesse attempts to speak to the man and insists that "you're the guy". There's a great bit of subtle genius here by Forster though as only after Jesse accidentally reveals the scars of his imprisonment, is it that Forster shifts from the slight confusion to this clear knowing of a different kind of businessman. There though in this is just the brief glint of sympathy in his eyes, that is fantastic bit of acting by Forster. Forster turns on a dime with so effectively though otherwise in becoming wholly convincing as the specialist who makes people disappear with his so very exact delivery of explaining to Jesse that they can have a deal, only if Jesse is willing to pay double his usual price. Forster is great in revealing the great detached method that isn't quite unemotional, but rather this marvelous way of acting towards the situation like an older mechanic would be in dealing with an unpaying customer. This as Jesse is unable to deliver on the needed amount of cash, leading to Forster's wonderful delivery of a few words of wisdom that in his delivering is this perfect combination of both genuine and dismissive as he advises Jesse to use the money to run away. When Jesse though attempts to restate his plight, Forster is again fantastic in the nuance he brings in the slightly more forceful way he shuts it down in the way he reminds Jesse that he made his choices. This as Forster grants the sense of a hidden sympathy, but also a sympathy that only goes so far. Forster's work though also becomes comic gold though as Ed calls the police in order to get Jesse to leave. His just ever so slightly bemused expression is hilarious as he doesn't flinch slightly as Jesse lists all the reasons why Ed wouldn't have called the police. This until the police do arrive with the pitch perfect delivery of Ed's satisfaction at noting the police's swift response time. This leaving Jesse to run away, and just one more great bit of low key comedy for Forster, as he so earnestly gives the police a false report, as the unassuming salesman again, with his ridiculous version of Jesse as a extremely tall man with a tattoo of a strange insect. That last point something Forster accentuates in his delivery to great effect. Jesse eventually gets his money and Ed offers him a new life in Alaska. It also grants us one more great scene for Forster, making him a bit more than a one scene wonder. This as Ed once again gives Jesse the rundown as a true professional, with Forster's way of having this ease while also a strict method about it. This now with just a bit more of a genuine inspiration that Forster inflects in the words in reminding Jesse at his second chance in life. This ends though as Jesse gives Ed a letter of goodbye to the son of Jesse's old girlfriend who was murdered by the Aryans. Forster again does so much in just the minor change in his eyes, this that conveys the small yet poignant hint that Ed is moved by Jesse's letter, just as he showed the slight sympathy within his reserve earlier. This as Forster so quietly yet powerfully reveals the modicum of humanity in the man as he helps Jesse. Although his role is indeed small, Forster makes a remarkable impact in what is technically a role there to serve a function. In just his few lines and minutes of screen time though, Forster calls far beyond the call of his duty in his funny yet also subtly emotional work that is a welcome reminder of his talent.

Wednesday, 22 January 2020

Alternate Best Supporting Actor 2019: Sterling K. Brown in Waves

Sterling K. Brown did not receive an Oscar nomination for portraying Ronald in Waves.

Waves follows a brother (Kelvin Harrison Jr.) and sister (Taylor Russell) as their lives are connected and separated by tragedy.

Sterling K. Brown plays the father of the two siblings, as he continues to work after his breakout a few years ago in television's the People V. O.J. Simpson. Brown has a rather unique presence as an actor, that perhaps has helped him to stand out. This as he is this near zen chill in his general manner and voice, yet is capable of so much intensity in his work, without really stressing that voice much at all. That ability is well used here in his portrayal of the father Ronald who we get glimpses of in the first few scenes of the film as the domineering father. Brown is effective in this in creating the sense of his really just a glance of the eye that immediately creates the sense of the dominating presence of the man. This as we see a balance he almost immediately crafts within the father who loves his kids yet asks much of them. In his first few scenes Brown's performance carefully avoids accentuating either side of the man. This as he delivers this steely determination as he firmly requests his son pushes himself to his very best in order to succeed, while having natural moments of affection with these minor jovial moments where he is working out with his son or arm wrestling. Brown carefully shows that sort of that drive is even in these moments by carrying that intensity, but doesn't make it the only quality of the man, keeping from becoming a one note caricature of the overbearing father. Although our perspective on Ronald is limited, Brown grants a strong sense of both how his ways are a burden to his children, while not being an overtly bad father either, even when within those ways.

The film somewhat sidelines him, however Brown still makes a striking impression each time we see him, from his portrayal of a fierce disappointment as his son lashes out against all of those around him, to his immediate visceral portrayal of his heartbreak as his son commits an unforgivable act. Brown only has really a few moments after this point. Two relatively distant ones however still impeccably delivered by Brown. This as we see the strain of his relationship with his wife from the situation. Brown is great in the portrayal of the sheer disbelief and anger of the moment in his delivery. His face evoking a denial of any contribution to what had occurred and just the festering emotion from the brutal events. Brown's most substantial scene in the second half though, which is quite honestly is the best scene of the film. Brown is absolutely incredible in the scene that he shares with Russell. This as both performers are allowed to just able to have the moment to realize the sheer messy complexity of the situation. Brown is heartbreaking in his more subdued portrayal, as his expression bears both the heartbreak of his loss but also the shame of his own input in the situation. His portrayal just brimming of a man ready to breakdown, but just barely keeping together, as Brown's eyes just barely hold back the tears. This in creating the sense of strain in it, as man who knows if he lets one go it will be difficult to hold them back. Brown is amazing in the way in the scene he shows the certain awkwardness of trying to reach out to his daughter with this deep seeded anguish within it all. The little bit of affection we still sense in his words as he asks if she is alright, is revealed with such tender honesty of man truly struggling to find the right way to speak in the moment. Brown has the most beautiful way in the scene of stressing that anguish, but then turning it around to such a palatable sense of love, in just a glance towards Russell in the scene. He's as good in his reactions to hearing Russell's words though, that just in that say so much. This as he reflects the sense of the sort of betrayal of the act, but with still that shame of his own mistakes as related to it. Brown naturally finds the, in the end inspirational, words in his softer way of speaking, filled with love as he finally comforts her. That is a downright incredible scene, I do wish Shults had the restraint to allow more scenes to play out as this one does, as Brown and Russell do so much in the moment with such heartbreaking truth revealed in the situation. Brown 's overall screentime is limited, however he makes a striking impact in his portrait of a father both trying to find a way to cope while also wrestling with his own guilt.

Alternate Best Supporting Actor 2019

And the Nominees Were Not:

Robert Downey Jr. in Avengers: Endgame

Chris Evans in Avengers: Endgame

Sterling K. Brown in Waves

Song Kang-ho in Parasite

Choi Woo-shik in Parasite

Sam Rockwell in Jojo Rabbit

Robert Forster in El Camino

For prediction purposes:

Downey Jr. from Avengers

Song from Parasite

Best Actor