Alternate Best Supporting Actor 2025: Jacobi Jupe in Hamnet

Jacobi Jupe did not receive an Oscar nomination for portraying Hamnet Shakespeare in Hamnet.

Jacobi Jupe plays the only son of William Shakespeare (Paul Mescal) and Agnes (Jessie Buckley), who is one of two twins along with his sister Judith. Jupe’s performance is a fairly brief one in the scheme of the film given so much is dealing with the death of his character. So for a kid he needs to make an impact pretty quickly while also hitting a very specific blend of needs which is pretty challenging as child performers go. As the first aspect is just being a believable child which Jupe isn’t only a believable child he’s also an incredibly endearing one. There’s just a spark in his performance where you get such a sweet sincerity about his character as we see him doing kid things like switching spots with his sister to try to trick their dad and just playing around with his parents. Jupe has a real charm that feels realistic to just a kid where there’s that sense of life about him. But being just a cute kid would be one accomplishment, an accomplishment which Jupe succeeds wholeheartedly, but there is more asked of him than that.

As we have a pivotal scene where his father is going back to London to continue working, and Jupe’s emotional nuance in his strained voice at recognizing his father is leaving is heartbreaking already but so much more. Jupe’s performance manages to convey in these emotional scenes, also one with his mother where she says she has a vision of him essentially on stage, a powerful combination between a degree of emotional maturity yet still filtered through wholly a child. Such as when his father asks if “he will be brave?” Jupe is equally convincing in his first affirmation, where we see him working through the sadness of not being able to see his father for a while combined though with the determination to be protector for the rest of the family, as he is when his father keeps asking in essentially leading to a father/son cuddle, where Jupe far more childish reaction of excitement of getting his father’s affection. Jupe is convincing in both moments but more importantly they do not feel disparate rather creating an honest complexity in his depiction of Hamnet. Jupe makes it hard not to love the sweetness of the kid but with that wish to also be strong.

So then when his sister comes down with a severe illness Jupe’s performance is rather astonishing. As again we get that uniquely potent combination of mature and the child. Portraying powerfully such genuine concern for his sister combined though with the inner strength in that little face of his that carries such a remarkable impact to it. So then when he has a scene where he literally asks to give his life for Judith, it is such a devastating moment because what Jupe manages to do is be a cute kid asking essentially for superpowers in the moment to save the day, while also conveying the gravity of the choice in the direct sincerity of his delivery as he offers himself for sacrifice to save his sister. An element that becomes all too true when Judith recovers but Hamnet comes down with the same fever. Jupe’s performance is frankly hard to watch in these scenes because he’s so convincing in delivering the harrowing visceral intensity of every bit of the sickness as he becomes deathly ill. Combining this with the sort of “out of body” scenes of him calling for his mother while he’s alone on a stage, Jupe’s work carries with it such emotional devastation. And that is technically almost the end of his performance except for a single silent moment at the end of the film, which is well performed in that silence, though more so a direction moment. What Jupe accomplishes in his screentime is such a tremendous impact and is what haunts the film. He isn’t just some random child and doesn’t accept essentially the cheat of the loss of a child, which is heartbreaking even without detail. Jupe creates detail, texture and emotional connection beyond just the idea. Making Hamnet such a winning presence, so when he is lost it is all the more painful, and within it finding this wonderful combination between the conviction of an adult and the levity of a child. He makes Hamnet far more than a name and gives him a remarkable life that makes you truly feel the depth of the tragedy of having it stolen so quickly and so mercilessly.

Alternate Best Supporting Actor 2025: John Leguizamo in Bob Trevino Likes It

John Leguizamo did not receive an Oscar nomination for portraying Bob Trevino in Bob Trevino Likes It.

Bob Trevino Likes It follows a struggling young woman Lily (Barbie Ferreira) connects with a man with the same name as her father after struggling to connect with her own. 

John Leguizamo is one of those actors who has been a mainstay of various character parts in so many different films for a particularly long time. I won’t quite say welcome presence as I’ve found him a bit inconsistent as a character actor, though I would say he typically has gotten more consistent as he’s gotten older. This might be a culmination of that trend as Bob Trevino, the Bob who is not the father of Lily, however is the man who happens to get connected with her on social media and as noted by the name likes her posts. Leguizamo’s performance is essential to any success of the film because what he does is convincingly bringing reality to the specificity of the situation. As Leguizamo’s early scenes have quite the wonderful “dad” energy for the lack of a better word where there’s a silly kind of fascination with social media and this humble kind of fun he’s just having. There’s no ulterior motive other than to share some joy with the young lady. Leguizamo manages to really hit this earnest note in a way that doesn’t seem simple but rather a natural realization of the guy’s straightforward goodness. 

When they even meet up Leguizamo finds the right tone in playing against her in each bit, where there’s a degree of shyness, a sense of the awkwardness of the situation between them but also just that direct bit of care for someone else. The connection between them forming just basically in trying to find some joy in life and Leguizamo articulates such a natural empathy in his performance in reaction to every bit of herself she reveals to them. One particularly powerful moment comes as Lily reveals that she accidentally miss handled a dog and was severely reprimanded as a young girl and mistreated by her father for the action. Leguizamo is amazing in the moment in his reaction first of disbelief than of such deep and profound empathy in his modest yet so powerful delivery of the word of reassurance that not only did she not do anything horrible, she also was horribly treated for the behavior. Leguizamo finds the essential sincerity through every interaction but also carefully showing as much as he’s offering such warmth she’s been denied by her own father for so many years, also showing the sense of joy and even confidence building in himself by being recognized for being a good man. 

As we do get brief moments of his Bob outside of the central relationship where we see him with his wife, where Leguizamo is quite effective in managing to the allude the history of the two’s sorrow over their son who died young, yet what Leguizamo is able to articulate is the man who is fighting against the sadness. Importantly shading it all that the sadness is in his eyes, but as a man who pushes through it. Leguizamo doesn’t play into conflict through the relationship with Lily, as his wife is somewhat suspicious of it, but rather presents a convincing certainty of the purity of it when he speaks of it, in a way making it all the more convincing that his wife wouldn’t be more suspicious of it. Leguizamo portrays an interesting change in his character, as Bob is already a good guy, but the relationship in a way presents the power from the acknowledgement of him being a good guy and being appreciated for it. Something he builds up naturally in his reactions to Lily’s appreciation as just finding more and more confidence, earning then the moment where Bob stands up to his boss wanting to use him as a scapegoat. A scene that in itself is well played by Leguizamo in showing Bob’s goodness fully weaponized but even greater is the moment right afterwards when he calls his wife. Leguizamo’s heartbreaking in the moment because you get such a palatable sense of pride as he describes what happens, combined with the physical stress of the moment weighing on him as he comes down afterwards. It’s a beautifully acted moment, just like all of this performance is. One that successfully sells the concept of the movie, that could easily have been far more cloying, totally unbelievable, or just ridiculous. The sincerity Leguizamo brings though delivers instead a genuine poignancy in his depiction of Bob Trevino.  

Alternate Best Supporting Actor 2025: Tyler Okonma & Abel Ferrara in Marty Supreme

Tyler Okonma did not receive an Oscar nomination for portraying Wally in Marty Supreme. 

Marty Supreme has an unusual collection of performers, per the Safdie way, where while there are some professional actors the distinct faces seems more so the focus of director Josh Safdie than their professional resume when it comes to the supporting cast. A tricky approach yet one that can pay such unique dividends. One such example is Tyler Okonma, evidently better known as Tyler the creator, who had some acting roles though usually random television appearances and cameo style of appearances. But his work here you’d think he was just as reliable a character actor as any as we find him as Wally, a taxi driver and fellow ping player with Marty Mauser (Timothée Chalamet). Who we find as his close confidants where Okonma more than holds his own against the more established cinematic presence of Chalamet. In fact I love the matching though slightly more subdued energy that Okonma brings in his reaction to Chalamet, essentially offering Wally as the version of Marty if Marty were a bit more down to earth. The sense of friendship and a history of that friendship in their quick interaction in their first scene together really speaks to years of some ball busting and general friendly rivalry in their games. Wally comes back into play as Marty is in need of cash and Wally isn’t only Marty’s playing partner, he’s also his table hustling partner. Where again Okonma in just a few line deliveries, even when just over the phone, manages to convey a mix of frustration, friendship and intrigue as Wally’s willing to go along with Marty but also is a bit tempered in his expectations. 

We get a great banter scene when he meets Marty up at a dingy hotel and Okonma beautifully plays lower energy against Chalamet’s heightened. I especially admire his hilarious and down to earth delivery of “that’s how you get a bladder infection” after Marty claims his particular ability to restrain himself in a certain very private respect. Okonma really plays up to every down and vice versa with Chalamet, where they have excellent chemistry and you just sense these two truly go way back. An element only further amplified where each plays their parts at a bowling alley where they enact their hustle. Okonma’s so much fun in playing up his sad sack part as a seemingly injured man. Okonma brings the right lost quality to every bit and just plays up the pleasantly sorrowful man who just wants money to get home. Where you can see how he might endear himself to the patrons enough to bet on his behalf in order to show Marty playing the part of the racist jerk heel who will take a man’s last few dollars just for the sake of it. 

Leading to their successful hustle where both are magnificent in their jubilant singing and dancing around Wally’s nearly empty gas taxi cab, and each capture a sense of friendship but also the sense of the specific victory of their plan. Although there are a few exceptions as Marty asks for more money and again in just a brief exchange Okonma’s delivery of asking Marty not to screw him over is with knowledge of a man who does like Marty but knows he can only trust Marty up until a point. The trouble with Marty rears its head as those hustled find the two together, and the two make a rapid egress that leaves Okonma’s taxi damaged. A quick scene but important in the anger with attachment in Okonma’s voice where it is with the connection specifically for taking care of his family. It’s not pure hatred though, as even in his anger Okonma still conveys a bit of kid gloves he does give his friend. Something emphasized by his last brief scene in the tennis table hall where after it all Wally couldn’t be more cheerful in calling out Marty’s name. As much as I love Marty Supreme I would not have minded more Wally because Okonma picks up the part so perfectly so quickly. He doesn’t have a ton of screentime but in that screentime he fully breathes life into the part, particularly in that chemistry with Chalamet. Okonma doesn’t waste a second and if the film had been just the adventures of Wally and Marty, there’s no question Okonma could’ve carried that as well. 

Abel Ferrara did not receive an Oscar nomination for portraying Ezra Mishkin in Marty Supreme. 

Speaking of memorable faces there are few people with less memorable faces than off-beat director Abel Ferrara who pops into the film as a random dingy hotel denizen who has a dog that’s quite beloved to him. Casting a director weirdly seems always a wise decision as the great examples of it you do get such an idiosyncratic presence, which is certainly the case for Ferrara, who you probably could’ve shot just hanging around the set and that would’ve been interesting footage. As you have his particular way of the always non happy grin, that more than a slight daze in his eyes and of course his way of talking right through his teeth. Making every moment he does have onscreen just kind of interesting on its own. But Ferrara’s performance is more than visual casting, which is a lot because he seems like just the guy you’d see in this particular time and place in a way that enlivens those details. Ferrara’s performance though is on point regardless as we get his immediate pain when Marty accidentally drops a bathtub on him while he’s washing his tub, Ferrara doing some great pain acting, by not only doing the direct visceral reaction but even managing to convey his hurriedness as he tries to hire Marty to take his dog to the vet, bringing appreciation and concern within the pain so naturally. Of course Marty being as he is the dog runs away yet he and his “not” girlfriend Rachel (Odessa A’Zion) try to get money from Ferrara Mishkin. Ferrara’s vocal work in the phone call scene alone is just so great in its idiosyncrasy, where he’s very funny in his particularly direct and earthy way of being baffled by her overpriced request, though finding nuance even when describing that his dog cost him nothing, which Ferrara plays pretty brilliantly as you sense the facade of it a bit as Mishkin does care about his dog despite the front. As we see as he’s willing to meet to get his dog as Rachel attempts a con, where Ferrara’s performance manages to be combination of hilarious and genuinely menacing with particularly his delivery of “Fuck this” as he quickly sees through the scheme. Where Ferrara brings this natural dangerousness as he goes about casually stabbing someone and Ferrara makes it unnerving in the convincing ease of this guy’s willingness to stab essentially. Which extends as he kidnaps the pregnant Rachel and honestly his threat of taking a hammer to her stomach, to get Marty to come along, is bone chilling because the casual way Ferrara says it sells it completely as something Mishkin would totally do. Leading to a literal gunfight to get his dog back where I love how much genuine concern there is in Ferrara's voice as he calls for his dog. It's a wonderful bit of work because everything about Ferrara suggests a whole world and history that we get just a memorable glimpse of here. 

Then there’s one more performer who I won’t include his picture or name for the sake of certain readers but he didn’t receive an Oscar nomination either for portraying Milton Rockwell. But it would be disingenuous of me to review performances of Emil Jannings and Robert Blake but skip this one. As the performer in question also is not a professional actor, though heavily featured on “reality” pitch show Shark Tank, which I’ve seen a few episodes via being in company with fans of the show. Playing the role of a horrible rich guy which maybe isn’t the biggest stretch but downplaying someone as “playing themselves” is something I always bristle at. As easier said than done. For me this was a curious casting that worked for me wholly, maybe because my exposure was only as the guy offering the most parasitic deals on potential entrepreneurs. As much of it is playing right into the same type and use of what we see in Shark Tank, which let’s be honest is also a performance, essentially where he delivers a tone not of a mentor, or really even a teacher, rather a patronizing dictator of his business acumen that you should just listen to and that’s that. Honestly if you cast a more seasoned actor you probably would get more hidden depths to this guy, but weirdly I think it works maybe better in presenting Rockwell as a particularly hideous force. For example, even when he’s bringing up his dead son, the emotion behind it isn’t sorrow more of this like this annoyed repetition of a man who had his property stolen. And that isn’t an emotionless performance, rather he does play different levels of annoyance towards Marty who doesn’t listen to him, and builds from scene to scene showing a growing intensity of distaste for Marty. Leading to Marty begging for a second chance from the man by submitting to a fixed tennis match which Rockwell only allows if Marty will succumb to a literal paddling. Where the performance of gratification of each hit has such intense smarmy that is pretty remarkable, something extends to the watching of Marty’s humiliation in the fixed match, where the performer's smile is filled with such a vile pleasure. Playing towards the notes with variation but instead of a way to make you like Rockwell, you see even more how horrible he is, which may or may not have been the intention however it works. And simply put, since the performer, during the climactic match that Marty refuses to throw, evidently came up with the line "I was born in 1601. I'm a vampire. I've been around forever. I've met many Marty Mausers over the centuries. Some of them crossed me, some of them weren't straight. They weren't honest. And those are the ones that are still here. You go out and win that game, you're gonna be here forever too. And you'll never be happy. You will never be happy." I must say the casting wholly worked for me. That line is great, but the matter of fact delivery of it works as this man either being one or at least believing himself to be a representation of this force of control and exploitation that makes dictations on the world as he sees fit.

Alternate Best Supporting Actor 2025: William H. Macy in Train Dreams

William H. Macy did not receive an Oscar nomination for portraying Arn Peeples in Train Dreams. 

William H. Macy plays one of the men on the logging jobs that our central character Robert Granier (Joel Edgerton) works with, an old timer, the oldest on the jobs, who we come across for a brief section within the film. Macy's performance for me is one where I find the extent of the work goes beyond the character beautifully so as his screentime is fairly limited overall. Macy though seeks to give as much life as he can for Arn in just a few scenes. First portraying the specific type of age of the character, which Macy himself is 75 but a modern 75 not the 75 of the far rougher living age of the men of the turn of the century of Train Dreams. Macy specific aged manner, his voice, his movements they are all reflective of the very specific period. His vocal work is quite impressive with making the specificity of the period dialogue particularly natural, but also natural within the idiosyncratic man that is Arn. Macy pulling off the trick marvelously in being of this period so distinctly, because he manages to be so of the period while also wholly tangible of that period. Macy fashioning such specificity in the way he sits, the way he smokes his pipe, the way even walks back and forth when checking his dynamite job, that appears to be Arn's main purpose as he seems to rarely do much actual logging. Macy walks right out of that past in such a wonderful way because none of it feels like a put on rather he captures the man as though we are just transported through time to meet Arn and get to know him just a bit. His rambling delivering in itself speaks so much to someone who frankly has gotten used to frequently speaking to himself even though he speaks it in a way as though he's offering the conversation for anyone who would like to hear it. To the point Macy's reaction is almost of a bit of surprise when Edgerton's Robert shows a bit of genuine interest in one of the man's random songs he' singing. Macy's delivery has this constant internalization of even when he starts speaking to Robert, he's always looking down, still expressing the words towards himself, though with this quiet hints of warmth and attempt at a shaky wisdom of the man wholly enjoying this connection for a moment. We see within Arn's reaction to the death of a few men, a history of experiencing deaths, Macy not projecting disconnect but rather a painful acceptance of the suffering with as much grace as he can. Something he explores a bit more in the philosophical discussion about tree cutting, Macy brings such a beautiful simple passion towards describing the history the trees represent, Macy speaks with a distinction and a connection to the trees. Selling the idea powerfully in his eyes of a man looking beyond his own life in a way and having this sense of a deeper reflection. A reflection not of a modern sensibility but Macy finding it so soulfully for a man of this period. The most revealing moment of Arn though as Robert asks about his family, and Macy's delivery of "Wherever there's a smiling face" has such an artful combination of warmth and pathos of a man who means yet does suffer from it in a way well. Bringing then a direct sincerity in his appreciation for getting to know Robert beyond temporary meeting. Macy finding the man of Robert's ilk before Robert and the end of such a man, when a random branch lands on Arn's head. I love his death scene because Macy doesn't make it this big drama, rather showing the man very much lost in his thoughts from the head injury to a degree, but just trying to appreciate what's around him one last time with his modest yet heartbreaking delivery of seeing the beauty one last time. This is an extremely brief performance, which should not be a criticism but rather a reason to praise Macy all the more. Macy transforms himself here, in a way that I have not seen before from him, so specifically to embody such a distinct sense of period and setting, but also so specifically this man and his unique philosophy. 

Alternate Best Supporting Actor 2025: Jack O'Connell in Sinners

Jack O’Connell did not receive an Oscar nomination for portraying Remmick in Sinners. 

Jack O’Connell plays the lead villain of the film the vampire Remmick who literally jumps into the frame to interrupt the main action with his presence, as he first sees him seek refuge from Choctaw vampire hunters via a pair of Klu Klux Klan members. Where essentially we see what is so much of O’Connell’s performance, which he excels with consistently, which is the various “sells” Remmick delivers throughout the film in an attempt to get let into different places and try to convince others to buy into him in one way or another. In this first instance basically playing a “hat in hand” southern traveler “mistreated” by the Choctaw as he pleads with his “good ole boy” southern accent for this scene to the husband and wife Klan members, which gets him in before revealing his true nature where O’Connell consistently brings the biggest of smiles of Remmick in a way loving what he does as he “invites” people to join him in his “family” so to speak. O’Connell finding the perfect kind of demonic glee as you see him loving him see the spread of himself essentially as he converts the two to his cause. 

Unfortunately for those on the first night of the juke joint, particularly inspiring musician Sammie (Miles Caton) who has given a musical performance that called upon the ancestors which Remmick could see from beyond the home, Remmick takes more than a liking to Sammie. O’Connell’s eyes in the scene of discovery are essential as you see suddenly the drive and real lust for Sammie, not sexual or even bloodlust, but just the desire for that power to connect with his ancestors which becomes his fixation. Where we get the first musical performance of O’Connell which he makes strong use of everyone that he gets, the first being presenting himself to the owner twins Stack/Smoke (Michael B. Jordan), among others, as merely a folk trio as they play “Pick Poor Robin Clean”, which is a wonderful moment where the performance, particularly O’Connell’s delivery of the song where he manages to have this combination of wholesome and creepy at the exact same time particularly in that smile of his. And O’Connell is quite charming to the point you could believe he’d convince everyone to let him in, as brings such a passive delivery and almost an “aw shucks” manner to everything he says as just a leader of the white trio who just wants a moment of equality. He manages to be creepy, charming but also naturally funny in presenting the sides of Remmick’s pitch. Two separate standout moments, one when noting Sammie, and O’Connell demeanor changes towards that lust just a bit as though Remmick can’t quite help himself, and the other moment when Smoke asks if they’re Klan members. O’Connell is hilarious in the stammering in the moment, where Remmick personally is surprised at the accusation yet also with the sense of needing to sidestep the issue because his companions were Klan members even though he was not. 

O’Connell’s presentation of Remmick is a fascinating use of essentially using good to do bad. As his second musical performance of “Will Ye Go, Lassie Go”, there is such sincere devotion to the song, just as is his overtures to Hailee Steinfeld’s Mary who just lost her mother, where O’Connell presents it less as a lie, but rather leaving out the whole truth. Presenting basically vampirism as a cure for all ills, and O’Connell in trying to pull in the mark bringing this meek earnestness to each note just as he did the song. Only when it is clear she is passing on the note, O’Connell instant switch to violence has such a remarkable ease as you see the real vicious intention who won’t give you a choice on his healing. Which then we get a domino effect of most of the patrons, Mary and Stack getting converted, and we get another aspect of O’Connell’s performance. Which is testament to some great blocking from Ryan Coogler, and the work of O’Connell in conveying this specific puppet master he is. Something we see both in his last sell to the survivors, where the formerly human people also all sell the notion of the vampire community but also as we literally see in O’Connell’s last musical performance “Rocky Road to Dublin” where the vampires are all dancing around his lead where O’Connell wonderfully dances to the tune as someone fully embracing this night. O’Connell’s movements with the other vampires is also in this calm center of power, but also with this lack of surprise to every word or movement they say. O’Connelly delivers these subtle gestures and movements that reinforce the way that everyone is under his beckon call even when they are supposedly speaking for themselves. 

O’Connell has a confidence of tone throughout the film. Where has an ease to be menacing, to find some genuine depth in certain moments but also can even be quite funny as well. As he has so many great touches throughout. One that requires mention is continuing that excitement towards converting Sammie, with his particularly fervent delivery of “SAMMIE!” when surprising poor Sammie, among others, by flying around the back of the juke joint to attack them. A moment that is funny but also alarming in equal measure. There is even remarkable attention to detail in his accent, which is how to utilize one brilliantly. Where O’Connell allows the real Irish origin of Remmick to be a hint throughout, which in itself is not O’Connell’s own accent. Allowing himself to reveal it in the most personal moment, such as when the escaping Sammie starts reciting the Lord’s Prayer only for Remmick to join in gleefully. O’Connell brings this demented quality as he mocks Sammie’s attempt, but also interwoven with a certain long dormant pain as he recounts the words from the men who took his father’s land. Even within the finale itself, which I will admit I do find a little straightforward in the actual method of the vampire’s destruction, O’Connell does his best to make it as interesting as he can. The first being when Sammie, to survive, slams the guitar against Remmick’s head where the silver of the guitar jams into Remmick’s face. O’Connell’s delivery of “Shit” is absolutely hilarious as he grants you the sense of an immortal, who is a bit taken aback by one injury he’ll survive but is going to be leading a lasting mark for quite awhile. Followed by the light burning Remmick up, which a theoretical standard moment of the vampire burning up, yet even this O’Connell makes a bit more interesting as his cries are of pain, yet there’s more to them than that, there’s a complex sorrow he brings not from the death but rather potentially finally being freed or seeing the sun after so many years. It would be easy enough just to make it “bastard gets his” moment but even that O’Connell uses to bring a bit more character to the film. As strange as it is that I might’ve preferred a Sinners without vampires, O’Connell is the best argument against this claim. As he consistently impresses in creating such a magnetic villain, who fashions an honest argument, while bringing genuine vicious menacing and just so many memorable little moments within his relatively limited screentime. The fact that he’s in the film for less than 15 minutes only speaks to the incredible impact he has on the film. 

Alternate Best Supporting Actor 2025

And the Nominees Were Not:

Russell Crowe in Nuremberg

Jacobi Jupe in Hamnet

Jack O'Connell in Sinners

Tyler Okonma in Marty Supreme

William H. Macy in Train Dreams

Best Actor 2025: Results

5. Michael B. Jordan in Sinners - Jordan effectively carries his film in two separate ways one through charisma and one through stoic conviction. 

Best Scene: Epilogue.

4. Ethan Hawke in Blue Moon - Hawke gives his most showoff performance to date, and I found it largely effective as the showoff yet sorrowful Lorenz Hart. 

Best Scene: Argument with Rodgers.  

3. Wagner Moura in The Secret Agent - Moura gives a subdued and moving depiction essentially of one normal man trying to live in a mad time.

Best Scene: Testimony

2. Leonardo DiCaprio in One Battle After Another - DiCaprio delivers one of his best performances that manages to be both a very funny and moving journey from revolutionary to burnout dad. 

Best Scene: In the car with Sensei. 

1. Timothée Chalamet in Marty Supreme - Good predictions Kevin, Robert, Tim & John Smith. Chalamet is a live wire of cinematic charisma in delivering a captivating yet challenging depiction of one man's ego and ambition. 

Best Scene: Final game. 

Next: 2025 alternate supporting.