Alternate Best Supporting Actor 2014: Ricardo Darin in Wild Tales

Ricardo Darin did not receive an Oscar nomination for portraying Simon Fischer in Wild Tales.

Wild Tales is an entertaining anthology film about revenge.

Ricardo Darin plays one of the leads of this anthology. His case for revenge is built upon his car being towed due to an unmarked no parking zone. This forces him to deal with a demon most of us know all too well...government bureaucracy. Darin fittingly actually plays his part in a very down to earth way even given the sort of tongue in cheek approach the film has overall. His performance though works in this regard as he really needs to do the simplest thing, which is to show the quite natural frustrations that come from the situation he is in. Darin is effective in this regard in creating the build within Fischer's slow degradation. This in starting with just the casual tones of trying to explain himself to the rather unfeeling workers. Darin naturally segueing towards overt frustration when they won't hear his case and just threaten more fees for him. Darin's performance being this properly slow dissolve in creating the right sense of exasperation in his expression and his shorter and shorter fuse as the situation continues. Darin creating that natural descent so many of us experience in dealing with the unstoppable, uncaring, force of bureaucracy until he eventually snaps. This leading though Fischer to lose both his job and for his wife to commit to divorce proceedings. Darin effectively sort of tips past that brimming point to show sort of the insanity brewing in his eyes as his situation only gets exacerbated at every second. Darin finding the darkly humorous qualities really by playing it straight, and just sort of showing the natural frustrations just going towards an extreme most wouldn't let it get to, we'd probably just pay the fine. Fischer does not though instead choosing to explode part of the towing garage, being a demolition expert by trade, without killing anyone, and leaving just a brief moment for Darin's performance. This as Fischer is hailed a hero by most for his acts against bureaucracy, to the point that even his family seems proud of him. I'll give Darin credit for his final moment in bringing just the right degree of smug satisfaction as though now Fischer has it all together through his act of domestic terrorism. This is a short performance, though one that gets the job done with nice degree of efficiency, and is enjoyable portrayal of a most unusual revenge seeker.

Alternate Best Supporting Actor 2014: Damián Alcázar in The Perfect Dictatorship

Damián Alcázar did not receive an Oscar nomination for portraying Governor Carmelo Vargas in The Perfect Dictatorship.

The Perfect Dictatorship is a largely effective satire, though longer than it needs to be and when it turns dark it becomes pitch black (though seemingly entirely appropriate to the events its riffing on), about a series of media maneuvers in order to cover up political screw ups.

Damián Alcázar who played the sympathetic cartel member in director Luis Estrada's previous film El Infierno, here plays perhaps the most duplicitous character in a film filled with the morally bankrupt. Alcázar portrays the extremely corrupt Governor of a Mexican state whose act of corruption is used as a coverup by the president of Mexico for a gaffe. Alcázar's initial appearance is one of full on comedy as we see footage of the man as he admires a bag of money that are ill gotten gains. His physical manner where he is embracing the cash, with this most glowing admiration of it is hilarious and instantly establishes the rather unsubtle ways of the governor. This continues verbally as he attempts to defend himself in a news broadcast. Alcázar's oh so insincere attempt at political affability is just perfect as the governor tries to explain that the footage of him isn't of him, and that there must have been some sort of digital manipulation. Alcázar is wonderfully incompetent initially in portraying the governor having this sort of expression that is two things, a complete lack of shame and even more so just this slight sense in his eyes of blame. Blame of course not for himself but for anyone else. This furrowing of the brow that Alcázar uses to emphasize a man who knows he's angry at everyone for causing him problems. He soon attempts to fix this problem by bribing the same television station that broadcast his bribe footage to help him. Alcázar's great though in portraying this as even incompetent this with this terribly misplaced confidence in his grin as he slides over the traditional briefcase of money for bribing.

The governor's problems though are fixed through another manufactured, though technically real story, of a kidnapping of two girls that the media will exploit for all that's worth, and so will the governor. Alcázar is a highlight then in the collage of abhorrent behavior whenever it returns to the governor to see how the situation will benefit him or how something is harming him in some way. Alcázar's terrific by just reveling in it all and being as ridiculous as the part needs, though never going too far overboard, rather having just the right amount of fun on that edge. I'll admit I have special affection for the moments where we see the governor watching his favorite soap opera and Alcázar's expression is a man absolutely gripped by the experience of the rather flimsy drama in front of him. Alcázar I'd actually say is the performer who is best equipped within the narrative to handle the rather extreme tonal shifts, that often involve his character. This is as he goes about ordering or doing himself, the deaths of others often rather suddenly. Alcázar makes these moments work by bringing the same sort of nearly brainless petulance in these actions more akin to a spoiled brat than a deeply intelligent man. Alcázar though manages to be unsettling the sense though of the danger of a spoiled brat with a great deal of power and violence at his disposal. This in portraying it with the same ease as he does in taking a bribe and just emphasizing that it is all a day in the life of the governor. I must give particular credit to Alcázar for managing to craft comic moments even out of these later on in his casual manner in which he threatens others later that he'll have them commit suicide as well, as the men he shot and had shot had done. Alcázar makes it work though by just owning the sleaze as a man who just thrives within the behavior by not portraying a hint of doubt or hesitation in it all. Alcázar excelling in a near final sequence where the governor is announcing the return of the twin children as his personal triumph. Alcázar's eyes beaming brighter than they could possibly be, and his smile at its most pure in its excrement eating. Alcázar brilliantly portraying a despicable man living his absolute best life, and showing that in triumph his disregard for all things decent becomes all the more blatant. This is a remarkable performance from Alcázar as he finds the right bite within the satire through comical, though still menacing, portrayal of a most amoral man.

Alternate Best Supporting Actor 2014: Chris Pine in Stretch

Chris Pine did not receive an Oscar nomination for portraying Roger Karos in Stretch.

Stretch is an entertaining off-beat film about a limo driver, Kevin (Patrick Wilson), trying to solve a series of problems in a single night.

Chris Pine is an actor most would take as someone who largely plays a certain variation of different traditional leading man roles, with different degrees of success, though in the past decade has shown some impressive work in that regard, but even within those it is definitely within a certain type of role. This is what most would see Pine as unless they've seen the films of Joe Carnahan. His work in Smokin Aces, one of the few things that truly works in that film, and this film, you see a completely alien side of Pine that has no connection with his other work. In the earlier film playing a deranged gun toting hill billy uses a dead Ben Affleck as a forgiveness puppet, and here something perhaps somehow even weirder than that. Pine appears as a client for Kevin randomly by falling from the sky nearly featuring...a different side of the actor to say the least, but nearly nude anyways. This dressed up in a way like someone hit random select for a "create a character" in a fighting game. Pine is basically unrecognizable even beyond the bizarre costuming, as again this isn't anything even remotely like what you've seen from him, even in his best straight forward. Pine here speaking with growling breath and pure unadulterated insanity in his eyes. I almost forgot how bizarre this performance was but watching again, it someone got even weirder. This almost something hard to look at in the traditional sense in that everything Pine is doing here is completely insane. His blathering through words with such randomness of voice and emphasis, and his whole movement that is just whatever it needs to be, is hard to describe at times. I suppose one can say he suggests he does bring to life a wealthy man who is doing whatever he desires to do, although somehow it seems even weirder than that. This is as Pine's initial scene really only he beginning with the only expectation one can create is to expect the unexpected. Pine suddenly appearing as a deranged geisha, BDSM, samurai...I think, sure it happens, and Pine doesn't wish to be overshadowed by his appearance. This as he randomly brims with a glee, then a strict conviction of a dire manner, than a cry out of some battle cry I suppose. It is all there and the one thing I can say for sure, is that Pine's work at the very least is inspired. What more is it though? Well he is nefarious, entertaining in a strange way, energetic, jovial, bizarre, sleazy, irreverent yet irreverent with conviction. I still don't know exactly what to make of this performance if I'm being completely honest. He's just basically everything at once, and completely brutally weird. It definitely is something that doesn't not work, but I can't quite say for sure what it does exactly either...something. I thought watching the film again would clear things up, but it didn't. All I can truly say is it's something else, and I guess I'll except my defeat, throw up my hands and give him a 4....sure why not.

Alternate Best Supporting Actor 2014: Shia LaBeouf in Fury

Shia LaBeouf did not receive an Oscar nomination for portraying Technician fifth grade Boyd "Bible" Swan, tank gunner in Fury.

Fury, about a tank crew invading Europe during World War II, is one of David Ayer's few films I'd qualify as not terrible, though even this film suggests his many weaknesses as a filmmaker. This is overall as it is far less than the potential shown in certain elements through some underwhelming and outright bad performances, and some random silliness thrown in throughout.

Fury isn't a great war film, though David Ayer appears to think he's making one, the problem is his own faults as a writer and his ability with performances suggest otherwise. This is as Michael Pena and Jon Bernthal, as stereotype 1 and 2, are terrible as the hard-edged members of the tank crew, Logan Lerman is a bit underwhelming trying to do his best Jeremy Davies impersonation, and Brad Pitt, who I think I appreciated a little more on re-watch for his silent work, still is an actor who needs a great director to utilize his potential fully. Then there's Shia LaBeouf, who I've previously mentioned my change in perspective on for his work in Honey Boy so I won't go over this again, though that change began after seeing his work here. LaBeouf differs from most of the rest of the cast in that he seems to believe he's making a great war film.The thing is I think LaBeouf's role was as primed for a simplistic stereotype as on paper he's the "religious one" cliche that goes at least as far back as Boris Karloff in The Lost Patrol. LaBeouf's performance though refuses to be within such confines as he seeks to make a reality within the character of Bible. We have the opening scene where the men are reeling from a lost crew member and what LaBeouf will be doing in this role becomes evident. This as each of the men are reacting in different ways, Bible speaks towards the good graces of their existence as given by God. LaBeouf delivers these words with a fervor and conviction, but not a simplistic zealotry. There will be more towards this idea, but before that I think it essential to mention a different element just as the men go off to return to base. This as LaBeouf doesn't stay on the same note as some of his co-stars do. Although he carries within his eyes and manner, an inherent intensity that suggests the history of conflict the man has suffered, that isn't all there is to his performance.

LaBeouf excels here in finding the right balance in his work, even within crafting a more innately introverted spirit against the rest of the crew. We see this in the traveling scene though LaBeouf's work naturally segues to a bit of camaraderie as they laugh together and at Bible at more affably argues with Pitt's Wardaddy about his religious convictions. In these moments LaBeouf grants effectively the sense of the good with the bad of their experience. He shows that Bible has been through a lot, but also been through a lot with the men. He conveys in these more jovial moments the time spent with them granting a friendship even though Bible is probably the most insular of the men overall. The group is shaken up a bit with the introduction of the wet behind the ears former clerk Norman (Lerman), in which the stereotypes treat with hostility, and it seems Bible was probably written that way to do so as well. LaBeouf doesn't play it that way though rather his eyes dart towards Norman seemingly analyzing him, and even asking him if he's been "saved", he doesn't do it with the overt note this sort of fundamentalist approach is taken. LaBeouf takes it seriously within his performance asking the question as wholly genuine in the moment as it is to Bible, but again still doesn't solely define the moment. He too grants the sense of Bible taking in who this young soldier is, and what he will be within their crew. The actual battle scenes I'd say probably feature the best acting of the entire cast, and the few where anyone is really inline with LaBeouf. This is as largely everyone is "in the moment" and convey the visceral intensity of it. LaBeouf in particular excelling within the scenes, raising the tension of them by bringing the sort of hectic insanity, yet still controlled, needed in the battles.

One of the best acted sequences for LaBeouf comes as the crew arrive in the German town where most of the crew engages in pillages and some debauchery of different types. The stereotypes engaging in blunter prostitution situation, and LaBeouf carries such a power in his whole manner as he sits reading his Bible instead with the searing sense of judgement within his refusal to take part. At the same time Wardaddy has Norman take part in some higher class debauchery with some some German women in an apartment, though it might be even lower class, as it feels a bit like a Dennis Reynolds approved approach where Norman's dalliance with one of them seems perhaps a little too built upon the implication. Anyways though the stereotypes and eventually enter the apartment for a tense meal, where I have to say the scene became unintentionally hilarious for me due to the chasm between the performances. This is as Lerman and Pitt are playing the scene more akin to an action based war film like The Dirty Dozen, Pena and Bernthal, are doing something, hard to describe exactly that just seem to be completely directionless honestly, and then there's LaBeouf who granting the gravity to the scene as though he's in a film like Come and See. LaBeouf barely says anything in the scene but is amazing, even if in his own better movie, through his extremely piercing eyes. Within them conveying really all the harrowing anguish the man has been through seemingly in judgment as someone who refuses to imagine himself outside of their current situation through the sort of make believe of the meal with the women that they aren't at war. LaBeouf in the moment suggesting Bible on the brink of a complete breakdown as his work conveys a man that the act of escaping their situation seems to only make it all the more painful. This is where I can go back to LaBeouf's portrayal of Bible's religious conviction. This in as we see it LaBeouf emphasizes always in moments of something extremely harrowing happening and near death. The way LaBeouf speaks in these moments he brings a blind hope, and fittingly faith, in each word. This though in revealing Bible's manner as his religion as the only thing he can hold onto in order to allow him to cope with the insanity and death around him. Now for much of the film we see this at the distance of the way it separates Bible, however again we see the attempt at optimism in his voice and the near mania in his eyes of a man desperately holding onto it. The one scene where he connects this with the other men is when they are about to engage in a last stand, for some reason...really doesn't make much sense...I mean have it they needed to delay the SS for a particular reasons or something....anyways...LaBeouf is outstanding in this scene. This where he directly speaks his convictions to them through quoting a bible verse about a man taking the vanguard. LaBeouf speaks the words with such profound belief that he makes it a truly inspiring moment. In his eyes he grants the emotional anxiety of his upcoming demise, but also such poignant sense of the comfort the words still bring to him. This is a great performance, and the one that made me say, no I was wrong, LaBeouf did have potential after all, and here it is realized. Although even as written the film is a lot of caricatures, LaBeouf voids that making a honest and powerful portrait of a man broken by war, who goes about his trials through his faith. Is his work sometimes in scenes that aren't great? Yes, but in a way it makes his work all the more impressive as he delivers greatness even within much mediocrity. 

Alternate Best Supporting Actor 2014: Taika Waititi in What We Do in the Shadows

Taika Waititi did not receive an Oscar nomination for portraying Viago Von Dorna Schmarten Scheden Heimburg (né von Blitzenberg) in What We Do in the Shadows.

What We Do in the Shadows is an entertaining mokumentary about a group of roommate vampires living in a house in New Zealand.

The film follows several different vampires within the house, this includes the four initial ones each one based on a different type of movie vampire. We have the rat like Nosferatuesque Petyr briefly, the Gary Oldman Draculaesque Vladislav (Jemaine Clement), the Tom Cruise's Lestatesque Deacon, and Waititi's Viago who's most akin to Bela Lugosi's classic Dracula. Later we get a Twlightesque vampire in the newly turned Nick and also some time devoted to Nick's friend Stu, a computer programmer. We get some vignettes with each in this film that is entirely comic in its intention. I mention that because this is a bit different from Waititi's other films, perhaps in part because it is co-directed by Jemaine Clement (a fact frequently forgotten by most), where there usually is some underlying attempt at something relatively dramatic within the comedy. Here it is just about the absurdity of the situation. This brings us to Waititi's own performance in the film, who is only Bela Lugosi in that his manner suggests some earlier type of class and expectation. The comedy of Waititi's performance is very much that he isn't at all that you'd expect from a vampire. This right within his only pseudo Hungarian accent, that seems halfhearted on purpose. He's consistent with it, but it is more goofy than anything. This being part of his overarching approach that is of this overly affected sort of manner of his Viago. This in speaking every word with a genteel quality fitting a foppish aristocrat type. The comedy of this comes in as Waititi plays it the same way whether he is gathering the boys up for a flatmate meeting, killing a victim or coming afoul some werewolves. Waititi's performance's comedy comes from the consistency in this manner throughout the film, though with few sort of Oliver Hardy takes towards the camera when commenting on the absurdity of certain situation. These moments enjoyable while still keeping with Viago sort of always half unsure manner as a vampire out of time. A lot of the comedy is really even just some of his random comments as Viago off to the side while the other vampires are doing things, this with Viago as the perpetual peace keeper. Now everyone except Petyr gets there own little story. Vlad dealing with his the beast (aka his ex-wife), Nick dealing with being a vampire, Deacon dealing with another "young" vampire around, and Viago longing after his now elderly former girlfriend which was his original reason for going to New Zealand. Now this might sound dramatic, it's not. It too is for comedy, whether it is his story of his servant sending his coffin to the wrong place, dealing with his now elderly servant over skype and even the resolution involving Viago commenting on the literal age difference between them rather than the physical. The whole situation is still comical and built on that same manner by Waititi. It is all enjoyable, though for me doesn't hit comedic greatness in being purely comic nor is there something else to amplify it unlike his work in Boy, which I think is actually both funnier and has far more meat to it. This in part I suppose goes into this being actually my least favorite of Waititi's films that I've seen, though I do quite enjoy it, but honestly the idea I think even achieved greater comedic heights in the TV series, which I highly recommend.

Alternate Best Supporting Actor 2014: Sam Claflin in The Riot Club

Sam Claflin did not receive an Oscar nomination for portraying Alistair Ryle in The Riot Club.

The Riot Club I suppose can make one truly appreciate the work of Martin Scorsese particularly Goodfellas and Wolf of Wall Street. I mention those somewhat randomly in that both films are absolutely captivating despite technically depicting despicable characters. The Riot Club is like this as well about a rich college fraternity, however unlike those films the company of these men becomes intolerable almost immediately. The film technically presents them as wrong, however it doesn't present any reason to spend more than a second with them.

Sam Claflin portrays one of the young men who is part of the titular riot club. I'll admit this is one performance that I don't have too much to say about. We see Claflin in the early scenes seemingly somewhat shy and slightly disinterested by visiting his accommodations at college. This shifts a bit though when we see the men actually getting into their activities. This is as Claflin keeps the general idea but speaks with cold overtones when anything turns political. Claflin's performance largely just emphasizes this idea of Alistair as an angry and privileged patrician. Claflin displaying certainly enough venom in his performance as he goes on and on about his low view of the working class. He delivers the needed insidious quality within his work in showing Alistair to be perhaps even more despicable as the group goes about being obnoxious louts. Claflin to his credit I suppose gets off the best of the riot club boys as his performance at being horrible is effective as is intended. There is no needed attempt of sympathy for Alistair, he's horrible and Claflin makes him as such. This with the unabashed ease in his aggressive and vicious manner though all with an ease as though the whole thing is still boring him a bit. Claflin gets off the best because at least his work basically doesn't hide his horribleness with any frat boy manner, he plays it as just an evil man.This doesn't make the character real any more interesting mind you but at least Claflin delivers on the needs of the role. The role in which we just see the man glorying in his own debauchery and cruelty. This is to the point that as soon as he's against the wall for his behavior his attitude stays the same though blames everyone else for his faults. His ending being just seeing a new path to be horrible, though I'll grant Claflin for doing a properly despicable smug smile at his seemingly never failing fortunes. This isn't a great performance, but a decent enough one in a film that doesn't appear to have any particular reason for existing.

Alternate Best Supporting Actor 2014: Matthias Schoenaerts in The Drop

Matthias Schoenaerts did not receive an Oscar nomination for portraying Eric Deeds in The Drop.

Matthias Schoenaerts still remains in sort of what is colloquially known as the Guy Pearce or Ben Foster zone, that is an extremely talented actor that can't quite seem to make that next step towards wide acclaim. Like those two he's on just the border of that breakout, finding much praise in places, but never seemingly in the exact place needed for it. Although he's still on the cusp, finding plenty of off the beaten path praise for The Mustang, just last year. Hopefully this won't go on indefinitely though as it is always a shame to see him plugged in throwaway roles that make some throwaway roles look good. This as he's an extremely talented performer with an incredible range. Now for most actors coming from a French speaking country there is typically a struggle to make the transition due to the accent, at least beyond playing certain types of roles like a Vincent Cassel for example who is typically cast a sleazy European type. Schoenaerts though has no issues, in that if one were to see any of the film he's been in that haven't been set in Belgium or France, you'd think he was from whatever that country was. That is the case here as New York lowlife in the Drop where there is no reason to second guess he is any less foreign than James Gandolfini in the film. Schoenaerts's accent work is simply impeccable and he just fits right into the New York setting. Although I don't think one should hand wave that accomplishment on its own, it would not be enough to make this a notable performance but there is more than that. This as Schoenaerts appears as a somewhat mysterious figure initially in the film after we've met Bob (Tom Hardy), whose taken a seemingly stray dog with Nadia (Noomi Rapace). That is going on while also we see Gandolfini's Marv attempting to retake his place into the criminal underworld by robbing his bar, now owned by Chechen gangsters, where both he and Bob tend bar.

Eric shows up randomly showing interest in the dog that Bob found in a garbage can abused. Schoenaerts here is brilliant in just crafting this part once again as it goes beyond just his brilliant use of his accent, his whole manner has this quietly wired quality to it. He conveys his Eric as seemingly something is not quite right about him as he paces around talking to Bob, something wired in his movement whether on some drugs or just his typical mental state. His manner towards Bob though with this purposeful hectoring an ease that Schoenaerts brings suggesting that Eric sees Bob as an easy person to exploit. This as he points it out as his dog and his owner with this casual menace that Schoenaerts pulls off so effectively. This as his whole manner is the menace and he doesn't throw anything extra in there. The man seeming just off as he appears is enough that Schoenaerts creates a threat through the idea that he is unpredictable. Schoenaerts appears next as Marv tries to recruit him to further his plans to steal from the Chechen gangsters by having him be his gunmen. Schoenaerts is terrific in this scene by showing Eric less in control of the scene and shows this strong strand of paranoia when around someone he can't bully. Schoenaerts delivering Eric's motivation for messing with Bob and questioning Marv is with the right sort of chaotic quality. This in Schoenaerts suggesting a man sort of questioning everything with this scattered sense of attempted pride. Schoenaerts makes Eric pathetic but also creates a threat about him as he grants the needed unpredictable quality to the man. Schoenaerts threatening Bob later we again see the danger of the man peacocking over Bob, and Schoenaerts emphasizing the confidence as it relates to standing over Bob. Schoenaerts again showing a man who has no respect for Bob, and the danger of him in the casual threat Schoenaerts underlines when blackmailing Bob for the dog. His mentions of abusing the dog is with an ease in Schoenaerts shows the power of the low life in that he's with a man he believes to be no threat so tries to control the situation. We see this again as he forces Nadia to go with him to rob Bob at Marv's bar. Again Schoenaerts doesn't make Eric this cunning villain rather thrives in emphasizing just the ease of the scum that he is in threatening what he sees as easy targets.

This naturally climaxes as Eric takes Nadia with him to Marv's bar on the Superbowl to rob Bob of all the money sent to the bar as local criminal drops. I love this scene as more than anything what it gives us is two of the very best actors working going directly at another as Eric and Bob face off. This as both carry an inherent intensity in their performances and I love the way they both carry it here, but in clever indirect wavelengths. In that you have Hardy who is steadfast in it, against Schoenaerts is all over the place in the best of ways. This as you get the fear of the robbery in his work, he moving around too much, he's entirely jumbled in his speech, he shows that Eric is nervous in the moment even as he is still attempting to menace Bob, this in marvelous contrast to Hardy with the dead stare. Schoenaerts's miserable confidence is terrific as his eyes glint with a despicable pleasure again as he speaks every word as this attempt to beat down the seemingly passive Bob into submission. As the robbery goes on Bob tells the story of how Marv had Bob murder a man to retain a debt. Schoenaerts is amazing in this scene as he says so much in the moment as he gradually loses that confidence as this fear grasps nto him. This as Schoenaerts slowly seem to grant an understanding of Bob's story, and his hurried delivery suggests a man finally realizing the severity of his situation. My favorite moment of this scene though is that Bob reveals the man he murdered to be the same man that Eric Deeds has been claiming to have killed for street cred. Schoenaerts reaction in this moment is perfection because he doesn't show Deeds to be more scared than ever, he rather shows the man go back to the false bravado as he claims to have been the one to killed the man. Schoenaerts makes it work by his delivering is as this autopilot the man has developed as though he's been claiming to be a killer so long he's believed himself though only as this recited bit of posturing. In the moment though it is a brilliant juxtaposition in that you have Hardy's stone cold honest speaking of the killing, against Schoenaerts that is all false confidence of a fake killer lying to himself as he is to everyone else. I wish we'd get more scenes like this in film in general nowadays, as it is just two great actors working with each other. Neither "Steal" the scene, but rather what makes it so remarkable is together they realize the power of the situation. The situation being the quiet real deal versus the loud phony. Schoenaerts is a great phony here, in giving such a detailed and convincing despicable performance that most of all is such a proper match for Tom Hardy's work.

Alternate Best Supporting Actor 2014: Michael Parks in Tusk

Michael Parks did not receive an Oscar nomination for portraying Howard Howe in Tusk.

Tusk is a terrible film about a man turning another man into a walrus.

Michael Parks though is on call to attempt to make a much better film about this terrible joke idea for a film. Parks being an actor who was just kind of in...whatever...for much of his career as a working actor. Of course in this sense we can see the talents of such actor who given the quality of the film he was in seemed determined on such a random factor he might as well give it his best every time anyways. Well we have that here, in that we have a film about a man who will be turned into a human walrus which is as dumb as it sounds, but sadly not as funny as it could possibly be. This as the film has no sense of tone, however the one thing it does have is Michael Parks to try to impart some wisdom on the proceedings through the virtues of his performance. Parks appears as a strange man in an estate that is visited by a podcaster for the Not-See Party (yeah...that's the level of comedy for this film), Wallace (Justin Long) looking for a weird story. Parks appears initially as a man in a wheelchair with an oddly genteel demeanor. Parks already showing a devotion to the idea of quality film-making that would seemingly be quite foreign when compared to the direction/screenplay of the film. The point is though Parks is instantly on a different level entirely as he creates a curiosity within his own work instantly. Parks suggesting something is not quite right however doing it initially as though he is a man just perhaps a bit lost within his own mind.

Parks though is wonderful in that initially doesn't even overplay the off-beat note. He rather instead brings a bit of warmth in his interactions with Long. Parks finding a slight affability that would ease most into thinking Howard isn't as nefarious as his house would suggest. Parks's performance bringing initially as just a nearly kindly old man as he regales him with a tale of Ernest Hemingway. Parks brings a sincere recollection of the scene of both a comic moment with Hemingway, but also a somber recognition in his for the fallen associated at the time of their meeting, d-day. Honestly it is Parks who gives the dialogue here seemingly a greater quality than is actually evident in it through the sheer conviction and nuance he offers it. It would have been easy enough to play him as just ridiculously sinister, but Parks takes the role seriously, more seriously than the film deserves frankly, but I appreciate nonetheless. Parks later speaking on his experiences with a walrus, his eyes gazing as though he is looking into a far away past. His words efficient with the manner of a true raconteur telling his tale of being saved by a Walrus when he was lost at sea. Parks bringing a certain mania within the story through eyes that detail the man's madness before he slowly begins to reveal his real nature.

This begins with first drugging Wallace and cutting off one of his legs claiming it was to save his life. Howard initially plays it off as though he's just helping Wallace. Parks still playing the part as though a supportive old man, though now his eyes darting with that darkness that reveals the hidden menace of the man. Parks though soon revealing the actual direct menace, as Howard can in fact walk with ease, and Parks is terrifying within his own work. This now directly playing the insanity of the man with a sheer comfort and belief in every word. This even in giving walrus tips Parks offers an unnerving passion to the concept as though he is a fanatic to the idea of a man being a walrus at heart. Parks falling into the blithering insanity with great ease particularly in his screams to match Long's, making a proper villain for a much better horror film than the one he is in. Now the man turns Wallace into a Walrus and if one thinks the film had little creative inspiration before this point, well it's completely bankrupt after this point resorting to Johnny Depp doing his best Inspector Clouseau impression as an investigator to try to get something going. This including flashback between Depp and Parks, where Depp almost caught Howard in an earlier Walrus related exploit. Although I'm quite sure the scene is 2 years long in actual screentime because of how long it feels, I can still give credit for Parks throwing himself into a different variation in the role as a disguise of Howard as confused sort of hillbilly. Parks is terrific though in fashioning this other personality with his vacant eyes and slurred speech, as a seemingly different harmless old man. It's a shame the scene is written so terribly as Parks has something going on his end even if the work is in vain as the scene is too poorly written to be salvaged. Although if one thinks that scene is bad the film is filled with so many more, the worst of them being Parks being forced to go around with Long in the Walrus suit. There really is barely even an idea for these scenes, but I'll give Parks credit for not embarrassing himself in them. This as he still brings that strict devotion to his performance here as a guy wanting to get killed by a man walrus...I guess....it's really bad. Honestly I can't even recommend watching the scenes with Parks in this film because of how horribly directed, written and edited they are. They are well acted though, I'll even grant Long some credit there too. Parks is the true professional as he gives the very best performance one could imagine in a film of this quality. Does it make the film watchable? No. It does show that an actor can be capable of being good even in the almost entirely worthless material of an atrocious film.

Alternate Best Supporting 2014: Irrfan Khan in Haider

Irrfan Khan did not receive an Oscar nomination for portraying Roohdaar in Haider.

This version of Hamlet takes many creative choices of the material, some of them quite inspired, but perhaps none more inspired than in the character of the ghost. The ghost typically being Hamlet's father's apparition that details his death at the hands of his brother to his son. This version removes the supernatural by instead giving this news to an additional character. This as a man essentially appearing to set off the second act of the film, this man Roohdaar played by the gone far too soon, Irrfan Khan. Khan's initial appearance that can only be described as cool, and quite striking. This as he appears indeed, though obviously a man, but as an apparition in the way he glides through crowd with a manner of seemingly divine purpose. This only amplified by his costuming, in his his thick sunglasses and white robe, that seems to suggest a man on alternate plain. Although this man is indeed real but Khan's performance is one built upon the idea of haunting the proceedings in his few minutes of screentime. There is something so remarkable of that presence of his, as is typically the case from the few films I've seen him in, that he uses to offer the sense of a man on a mission. The mission though technically just being to inform Haider (Hamlet)'s family of his story, which involved being the same prison camp as Haider's father. Khan's performance carries this inherent weight within it, what is so notable about it is how with so much ease that Khan is able to evoke this. He speaks with a clarity that actually makes all the more haunting. This in his eyes reflect his experience yet his manner with the words is with this calm of a man with real purpose in his story. His story, which involves revealing that Haider's uncle had Haider's father killed in an execution that almost killed Roohdaar as well, is presented by Khan with careful emotion. This as it is with a sense of directing Haider to the truth, but with a glint, just a glint, of warmth within it. This with a sense quite but very powerful conviction in his delivery of the message as Roohdaar as someone who less is self-pitying or even revenge seeking, rather wants to ensure the truth is known. Khan doesn't have a lot of screentime however he is absolutely captivating in that time. His work delivering the needed switch within the film by offering the essential impact of this very different kind of "ghost".

Alternate Best Supporting Actor 2014

And The Nominees Were Not:

Chris Pine in Stretch

Matthias Schoenaerts in The Drop

Irrfan Khan in Haider

Taika Waititi in What We Do in the Shadows

Ricardo Darin in Wild Tales 

Predict those five, these five or both:

Sam Claflin in The Riot Club

Shia LaBeouf in Fury

Michael Parks in Tusk (Do not Watch)

John Cusack in Maps to the Stars

Damian Alcazar in The Perfect Dictatorship

Alternate Best Actor 2014: Results

10. Ethan Hawke in Predestination - Although Hawke ends up being crushed by the machine of his film, he still gives a largely compelling portrayal of grounding mind bending time travel.

Best Scene: Outlining the truth. 

9. Jesse Eisenberg in The Double - Eisenberg is less effective as the "confident man", though not bad, but is engaging in presenting his nebbish protagonist dealing with particularly odd circumstances.

Best Scene: Cyrano date

8. Shahid Kapoor in Haider - Although almost static, though sensibly so, in the first half of his performance, Kapoor in the second half unleashes a brilliant atypical take on Hamlet. 

Best Scene: Song number

7. Dan Stevens in The Guest - Although his film is lesser than, Stevens is a delight and absolutely captivating as a killer who seems strangely invested in a family.

Best Scene: Bully takedown. 

6. Jeremy Renner in Kill the Messenger - Renner gives a powerful portrayal of a man whose convictions slowly destroy him.

Best Scene: Final speech. 

5. Tom Cruise in Edge of Tomorrow - Cruise plays with his star persona by brilliantly subverting it in a multitude of ways, but also by living up to it as a natural progression of his character.

Best Scene: You don't make it any further

4. Oscar Isaac in A Most Violent Year - Isaac gives a brilliant portrayal of an atypical character in presenting a man quietly attempting to maintain his morality while also attempting to maintain power as a boss in a cutthroat business.

Best Scene: Confronting the thief. 

3. Channing Tatum in Foxcatcher - Tatum shatters any expectations on him through his powerful and intense portrayal of a man who has great potential but only can follow.

Best Scene: Breakdown.

2. Tom Hardy in The Drop - Tom Hardy gives one of his best performances in a brilliant high wire act that pays off as you're watching, but even more so with the revelation that gives you a greater sense for the overall accomplishment of his performance.

Best Scene: "You embarrass me"

1. David Gulpilil in Charlie's Country - Good predictions Luke, RatedRStar, Michael McCarthy, Anonymous, Aidan Pittman, Omar, and Mitchell. Gulpilil gives a portrait of just sheer honesty that reflects such a purely genuine person yet endearing in the unique qualities and life within this naturalism.

Best Scene: Seeing his dead friend.

Updated Overall

Next: 2014 Supporting

Alternate Best Actor 2014: Shahid Kapoor in Haider

Shahid Kapoor did not receive an Oscar nomination for portraying the titular character in Haider.

Haider is a largely effective re-telling of Hamlet, in some ways closer to The Bad Sleep Well in its first half, in it is loosely adapted, taking elements of the text to craft a more unique narrative, though the second half hews closer to the original text.

This "version" of Hamlet takes place instead in India in a time of political strife. This version does not begin with the death of Haider's, this version's Hamlet, father, rather we see his political imprisonment. His father not being a king though rather a doctor, though we still see the immediacy in which Haider's mother (Tabu) is finding comfort with her husband's brother Khurram Meer (Kay Kay Menon). Although the first half of the film is technically about Haider his role is somewhat limited as it is more focused in setting the political and personal tensions around him. Kapoor's performance is limited as a young man coming back from college to find his father. His performance evoking, effectively, a more generalized smolder through an intense glare fitting a man with only one thing on his mind. Kapoor shows a man who only cares about what happened to his father and nothing else. He creates that sense of the singular mindset and is effective in this even if the note is purposefully limited here. This only changes when a mysterious stranger comes into town Roohdaar (Irrfan Khan). The man being "the ghost" in this version, though alive as a haunted political prisoner who by chance survived when he and Haider's father were taken out for execution. The man giving Haider the knowledge he needs to break his sort of state of inaction. This reflected well within Kapoor's portrayal that senses the immediate grief in his expression but also the anger within it as he learns that his uncle was involved with his father's fate.

Kapoor makes an extreme, fitting, shift as we now enter into really the game of Hamlet, in this version with the interpretation that he is purposefully acting insane. We get this with the shaven head of Kapoor immediately after the revelation in a mad rant. Although less the traditional form and done here more as a performance art piece. I have no hesitation though to say that is brilliantly performed by Kapoor though as he throws himself into this curious rant. A rant that is so artfully done again as his whole manner is that of a slight dance, and is just so effectively done as both this act of seeming madness while also being so incisively potent as an attack on the situation he is living in. This scene only best within Kapoor's work as instead of the traditional "play within a play" we instead get a song and dance number pointed towards his uncle's guilt. Although I often hold reservations towards the Bollywood musical numbers which often lead films to a standstill, here it not only is intertwined within the story it creates a natural progression within it by it being within story. Kapoor is amazing in this sequence as he delivers on the song as he should in terms of just being captivating within the performance however he goes so much further than that. This as the intensity of the notion and the projection of the anger of the scene is portrayed so effectively by Kapoor. This as he wholly embodies within the performance the striking emotion with Haider as he doesn't just sing the song but rather makes it this full accusation towards his uncle within the song.

This is a case of the act of insanity though as we do otherwise then have scenes between Haider and the Ophelia equivalent Arshia (Shraddha Kapoor). These are very much traditionally romantic moments where the Kapoor's, neither related or married, do have a strong chemistry with one another. These moments are brief however Kapoor uses them well to suggest the young man we saw at the beginning of the film, and the chance for normalcy if he chose it. Of course knowing the play things don't turn out that way, though here with less cloak and dagger, and more machine guns/explosions. This leading to the climax to be a bit more abrupt and direct to say the least. For example instead of Rosencrantz and Guildenstern trying to have him covertly executed, they instead killed with rocks instead by Haider. I'll say though Kapoor is terrific though in becoming really the spirit of vengeance in these later moments. Finding really a balance between the false insanity we saw earlier and the single focused man who arrived home. Kapoor finding this sort of vicious determination as he goes about killing or trying to kill the traitors within his midst. Kapoor bringing sort of the right undercurrent of emotional desperation within the task, particularly in the moments of accusing his mother. Kapoor exuding in it the pain of the act flawlessly while also conveying the sort of thrill of being able to release his pent up anger. The climax actually doesn't leave too much time for reflection however I'll grant that Kapoor uses the time he does have effectively. This particularly in his final moment, which goes a bit differently, Kapoor silently expresses the conflict of the moment between revenge and clemency. Although the focus of this Hamlet is rather different, Kapoor delivers on giving a captivating, off-beat and powerful version of the oft played character.

Alternate Best Actor 2014: David Gulpilil in Charlie's Country

David Gulpilil did not receive an Oscar nomination for portraying the titular character in Charlie's Country.

Charlie's Country is an effective character study following an aborigine man trying live life his way in Australia.

This is perhaps one of the more interesting progression of reviews as the last time I covered Gulpilil was for his work when he was a teenager in Walkabout. Here though we make a great leap forward to a much older Gulpilil as Charlie. Gulpilil's performance here is one of those performances that could only be given by the man performing it, not only due to his obvious heritage, but far more in what he brings to the role. This being this strictest honesty in finding his character, in a way that bars you from even second guessing a suggestion of it. From the first frame Gulpilil simply is Charlie and anything he does or acts is a given. There is neither a false or performed note in his performance. Of course this isn't to say that this is just a naturalistic turn, even if it is that, but the character of Charlie is actually quite idiosyncratic, and part of what makes it so wonderful is how Gulpilil finds this so truthfully. This in his weathered face is a man who has lived a life of a different kind of hardship and just is trying to plug along as he can initially. Gulpilil's work though doesn't fall upon easy martyrdom, in fact what I love is how much life and spirit he brings to the part rather than being a potential one note of somberness. This as even as we see the often dismal state of his existence Gulpilil does not portray it as this simple state of being downtrodden.

There's a real charm that Gulpilil brings to this performance that is just delightful. This in the manner of the man as he interacts with his fellow people, and even initially in his interactions with local badgering police force. The eccentricity that Gulpilil is something quite unique in that he manages to craft it in that same honesty as the rest of his work. This in this slight bit of kookiness, for the lack of a better word, as sort of the man attempting to maintain a bit of wildness within a world that demands a particular kind civilization from him. The sort of wily manner Gulpilil has this glint of mischievousness but also something almost inspirational within it. This as we see the man going about hunting with one of his friends, it is with an eagerness and daring. This in the moment Gulpilil showing in such an endearing manner a man living his best life at least for a moment. This even as the police initially crush these endeavors Gulpilil creates such an earned sense of frustration given how joyous the act he shows, and how natural it is to his very person. In this work I love the way Gulpilil embodies this state of empathy though within the character as we see Charlie interact with the other downtrodden. Although he doesn't speak on it a lot at first, there is such a powerful sense in his eyes and his reactions how he truly takes in this plight. Again it is with this piousness but rather this genuine sense of man being so connected within, fittingly, his country.

Gulpilil's performance is one here that manages to achieve that particular sort of success of being compelling within himself. In that just to watch him here becomes rather fascinating by so inherently authentic his work is. This is as we just see him creating a spear for himself to hunt, after the police take away his gun, the act of it being made is something special through Gulpilil;s nuanced performance that shows the certain dedication in the act, along with the curious yet always endearing eccentricity within it. This can be seen in every act of Gulpilil throughout the film. Gulpilil's work emphasizing very much how Charlie very much lives through attempting to just be as really would've his traditional calling at one time with always this sense of pride within these activities. Again though this even I think could box in the work here as that is not the case with Gulpilil as he doesn't become just a symbol of this type of man. This is as he in equal measure brings such natural humor to his performance as well. Whether this be in his interactions with a couple of local drug dealers, or acting as a "tracker" for the police to get those dealers, Gulpilil has these delightful blithe moments, most often in his English, delivery where we grants this sense of intelligence within his brief, seemingly, simple responses to men. Gulpilil's work always emphasizing all the more the thorough amount of life in his performance. This being essential in that he shows within the world that is often downtrodden there is the sense of the natural urge just to be allowed to live in the bush, in a way that wouldn't cause anyone harm. 

The police become insistent as they even confiscate his spear and kick him out of the wilderness. I love initially how Gulpilil doesn't play it as bitter right way rather this sense of disappointment and befuddlement that they would get in the way of his harmless way of life. Gulpilil's work showing the way the actions essentially are getting in the way of the natural existence of the man. When placed within the city Gulpilil with the same naturalism slowly shows a change in manner though with that same striking empathy. This first being when he discovers one of his friends dead in the hospital. Gulpilil's reaction is downright heartbreaking as he handles the most so subtle, it isn't a big cry, but rather this so intensely somber of sense of near confusion at the seeming unfeeling around the death. Gulpilil's performance then is one of this painful degradation as it seems there's something to get in the way of him living his life at every point. The point of finally lashing out has such an impact as Gulpilil is this instinctual pent up reaction. It isn't exacted with an obvious hate but rather within the moment it is filled with a potent exasperation at the treatment. This leading Charlie though to be sent to prison, where the transformation of the man is wholly within Gulpilil's performance. This in that just in his eyes he grants the needed sense of examination of the existence, before he is allowed to leave again. This with a brilliant scene Gulpilil as he meets with a parole officer. Gulpilil bringing so much charm in his honest yet also cutting responses regarding the difficulty of not associating with known drinkers particularly among cops. Gulpilil managing to be so genuinely funny while doing it in this way that just is again who Charlie is. After getting out of prison rather than trying to push the strange limits against him we instead see Charlie teaching aboriginal about his past as a dancer on a world stage in front of Queen Elizabeth. Gulpilil is amazing in this scene as he delivers that undercurrent that was always there of that pride of the man, but now here in full view. This in his work capturing such poignancy by portraying so earnestly the man's sense of love for the accomplishment but even more so the sense of that care to deliver this pride to the children. The scene being essentially Charlie fully being himself without being stopped by anyone and in that act there is something magical within Gulpilil's work. The scene exemplifying his work so beautifully. This as Gulpilil's work achieves greatness through a quiet but oh so powerful portrayal of just a portrait of an idiosyncratic man in which there is not a single false moment. This being a work were you feel as though you've just spent time with him on his journey, and were happy to do so.

Alternate Best Actor 2014: Dan Stevens in The Guest

Dan Stevens did not receive an Oscar nomination for portraying David Collins in The Guest.

The Guest is a largely effective thriller, though it falls apart in the third act, about a veteran who visits a family claiming to be a friend of their deceased son.

Dan Stevens is an actor I have already praised considerably for his work on the television series Legion. This film came though before as Stevens made his attempted jump towards film from Downton Abbey, a series I can perhaps guess about but have no actual knowledge of. Anyways though this seems like perhaps a jump for him either way, in this attempt at a leading role here as this American veteran, as opposed to I'm going to assume an English chap in some estate setting, perhaps a well to do sort? I don't know. Anyway though Stevens shirks any notions of any kind in just an obvious screen presence from his first scene where he arrives to the home of the Peterson family claiming to have known their son who died in the army. Stevens here with a convincing accent, but more than anything a convincing manner, although this manner is something he'll be subverting soon enough. Stevens though is wonderful in creating this pattern of the seemingly ideal "son who has come home for the parents". This in his respectful and quiet demeanor. His words spoken with soft comforting sort of authority. This with eyes filled with a care and concern for those he is interacting with, which naturally quickly ingratiates himself with the Peterson father (Leland Orser) and mother. Stevens speaking every "yes mam" or "yes sir" with the sort of consistency that is both believable and "too good" to believe in equal measure.

Stevens performance though slowly reveals itself in two ways, one in an understanding of what it is that David is doing, even if the film itself is a bit shaky on that ground, and the other in offering an immensely captivating lead in Dan Stevens. This is as we see him with their son (Brendan Meyer) who is being bullied at school. Stevens shifts gears again in a way as though he is on another operating field. Stevens is downright brilliant in these scenes of helping the son as he portrays this sort of precision of a true assassin though in a unique way. Stevens owns these scenes in what is best described in a true star making fashion. This as he just dominants them with just a glint of the eye, and just his whole manner controls his space with such ease. Stevens though going further though in there is that charming warmth of sorts towards the son that he depicts with a manner as though he is really trying to teach the son best he can. This with an earnestness within it even if the level of intensity Stevens brings suggests something is off that charm carries the moment in creating the sense of how he wins the teenager over. Stevens findings this fantastic connection in sort of the support of a big brother as he teaches a lesson, like assaulting local bullies, with both the grace of a loving family member in every word, and a killer's edge as he goes about it in a way that is at such an extreme.

We see similar with the Peterson's daughter (Maika Monroe) where David conducts himself in sort of this method of the seducer. Again Stevens portrays this by making it a switch in gears, this to the point that when he has sex with the daughter's friend, he is initially distant until almost commanded to perform then suddenly he brings the requisite animalistic lust. Stevens creating in this a peculiar dynamic as he is convincing in each phase, while being purposefully artificial in the switches between each one, much like a soldier who has to set his mind a certain way for each and every mission. This is even as we begin to see the darkness of the character. This when he kills a local gun dealer and one of the daughter's friends, Stevens does so with the same detached ease and portrays it in a chilling fashion as both something he just intends to do and intends to do with as much lethal efficiency as possible. Stevens making this manner both captivating and properly menacing as a most unusual "perfect man" who will be whatever his "family" seems to need him to be. Of course as the film progressed into its lesser third act, it reminded me a lot of The Stepfather, which is not a comparison you want made...unless I guess if you're the lead of the film. While this film even in its third act is a better made film than that one it has a similar failing where it drops its intriguing ideas to hit slasher movie tropes in its bloody climax. This isn't even in terms of explanation, where there was apparently some in the original cut of the film, but rather exploration of the idea of the relationship between the killer and the people. We drop any ideas of "careful what you wish for" and individual connections with the family, even the sense of why David is there is left vague, and the "in the script" explanation is not really any less vague. The real problem with this is it leaves Stevens just to become a standard killer. Now he does that well mind you, and brings as much style as he can to it, even tries to connect the relationship idea just a bit, like his proud expression when he sees one of the family members has tricked him. Unfortunately the film doesn't really do anything with what the first two acts setup instead opting for general mayhem until a particularly dumb final moment. Having said that Stevens is captivating to that final frame and this is a terrific performance. I only wish the film had developed as interesting of a character as the one he seemed to be playing.

Alternate Best Actor 2014: Tom Cruise in Edge of Tomorrow

Tom Cruise did not receive an Oscar nomination for portraying Major William Cage in Edge of Tomorrow.

Edge of a Tomorrow is a very entertaining action film about a recently demoted officer reliving the say day over and over again just before the last stand against an alien invasion.

Tom Cruise is one of the last true movie stars around in the traditional sense where his name alone carries a certain pull for most viewers, though these days more international than USA viewers, which is isn't always combined with that of an actor. That is sometimes earned particularly in certain action stars, however Cruise was someone who frequently attempted to push himself as an actor even while maintaining a steady of stream of studio blockbusters as well. Now a star who can actually act creates actually a very unique opportunity that only exists with true stars, which is one can play with their expected star presence. This is something we are granted here as the film opens we are not given the typical confidant hero common for current era action Cruise. This as the film opens with his Cage as a professional PR soldier mainly there to sell the idea of the war rather than do any fighting. This is before he meets the main general (Brendan Gleeson) who wants Cage to lead a PR campaign on the front. Cruise is brilliant in this scene. This as any notion of Cruise we had become accustom to is thrown out the window. Cruise instead in a way brings a bit of that early Cruise egotistical swagger with great big grin on his face of disbelief as he hears about the general's idea. Cruise's delivery magnificent in the sort of hollowness that emphasizes a false sincerity of a selling any idea, other than himself going to the front. Cruise though going even further though in showing a different side as that smile, and falsely confident delivery, wavers a tad to reveal just a coward as he explains himself as just an ad man essentially. When the general refuses to waver though Cruise's return to the sleazy confidence as magnificent as selling again with that questionable confidence a blackmail plan to the general, which naturally leads Cage to a more severe punishment.

Cruise in that opening scene wholly subverting what had become expected of him, in such a fantastic way that managed to both grant us the sense of Cage being anything other than a hero while also just being quite entertaining in the approach. This idea continues though as Cage finds himself now setup as a private in a random squad with a particularly unsympathetic drill sergeant (Bill Paxton) watching over him. Cruise continues with the subversion as Cruise most often is seen as the expert of a given thing in most of his action films. Here on the other hand Cruise is wonderful at portraying a man being completely out of his depth. This with his slightly confused expression at his sudden railroading that slowly segues towards intense fear as they actually begin the attack. Cruise is great here because he finds the right balance between showing a guy genuinely out of his element while also being quite hilarious in portraying this befuddlement. This all though having a little extra impact as we see the usually confident Cruise bumbling around his initial action scene, only just lucking out in killing a creature before his own death, though that creature leading him to repeat each day at the time of his death. This leading to his first day back where Cruise is again wonderful this time in a different type of befuddlement that is all the more extreme as in this constant state of deja vu. Cage's initial attempts to use his knowledge of the future are great comic beats, with Cruise being essential in the sort of actual sheepishness he brings at times, as well as the genuine, though hilarious, fear at some of his upcoming demises. Cruise finding the right balance in bringing fun to this guy dying again and again.

Eventually Cage finds seems to find a path via newly minted war hero Rita (Emily Blunt) who previously had the day repeating power before losing it. The chemistry being essential to the success of the film which is not at all standard, particularly not for Cruise. This as Cruise is still this great bumbling fool as she is initially training him, and brings just the right qualities of sleaziness to Cage, personify the old Cage, which Cruise uses to great effect. The best perhaps being Cage's inquiries if the power can be transferred by sex, and Cruise's unabashed delivery of "how many times did you" try is sheer perfection. Cage begins to learn his ways about the battlefield, through much effort in his interactions with Blunt. This with Blunt being the slightly berating quality against Cruise is more sloppy manner. This though that they articulate so well in their chemistry that changes in dynamic and in that we get a greater sense of their relationship. This as Cruise begins to show a greater real confidence within the action scenes, that is particularly well earned here, we also see a greater mutual respect between he and Blunt. Cruise beginning to become the more expected Cruise presence though in a way where we see it as this natural transition to a man with a mission and purpose. This would be already a terrific turn from Cruise, however I am happy to say that it is not the end of really the strength of Cruise's work as he delays setting on Cruise control, fitting to who Cage is.

This is as Cruise's performance as much as he brought out the comedy of the situation of the man living, dying and repeating, we also find the very real hardship that would come from this. This in particular seeing Rita die again and again in each failed attempt. Cruise is outstanding in his moment of just very much moving with action, however in his performance, through his eyes and the sense of frustration  in his voice, we see the very real anguish in each death. Cruise offering a real humanity within the ludicrous idea, in portraying a true sense of the weight of the situation. This though along with Cage getting to know the hard-bitten Rita better. I love how Cruise doesn't portray it at this point with any sleaze, or even a romantic overtone. It is with this almost meek manner he just tries to insert little connections when he can, with this underlying sense that he is trying to find some comfort within his peculiar situation. An amazing scene for Cruise comes when the two seem to get a minor respite at a farm house deep in enemy territory. Cruise is great in this scene by portraying so much towards Blunt rather within himself in the sense, he portrays the whole scene as supportive and comforting as possible towards her rather than anguish within himself. This showing again so effectively this growth in Cage as Cruise effortlessly conveys Cage's emotional pain by the way he is trying to ease her away from her seemingly inevitable demise. Cruise displaying not it as this vague action cliche, but rather this genuine sense of heartbreak of it, that is so beautifully performed by him.

Before the final phase of his performance, there is an excellent scene for Cruise where Cage goes alone to attempt the mission. Cruise doesn't portray this as normal Cruise conviction rather this almost detachment in the determination as his eyes are of a man who has seen so much death that at this point he is trying just to eliminate in almost as this mechanical act. When even that doesn't work a different direction is finally taken towards the right path with Rita to potentially destroy the enemy. Here is where we get Cruise control, but some of the best Cruise control you will see. This as it is wholly earned in his moments as this time lord, and we have that Cruise delivering of Cage's knowledge that just is really this sort of perfected confidence that could only come from a performer with the presence of Cruise. Cruise though still doesn't coast as when Cage finally loses the power, leading him and Rita to have to attempt a final action with full life or death stakes, Cruise brilliantly pulls back a bit. This again showing now Cage as a man, a far better trained and prepared man, but still a man. This though with his sense of fear no longer as this selfish cowardice but rather towards the fate of Rita. This in their final conversation that is again work from Cruise that exceeds expectation. This as he attempts to dissuade her sacrifice Cruise eyes are filled with this very real empathy finally showing a changed man, not as this perfect super hero but a man who cares. This for me even making the kiss between them work not as this declaration of love, but rather a final bit of human connection in a more general, yet very pure, sense. This is a great performance by Tom Cruise. This as it is an exceptional example of him as a star, as he's magnetic, endearing and funny here, but he goes further. This as he never glides over the story of Cage, rather he brings you into each detail of his days, for laughs, but also in crafting a real portrait of a man changing, not at all unlike Bill Murray in Groundhog Day (which SIDE NOTE: I just realized both female companions to the main character are named Rita) which this film is so often compared to for obvious reasons. It's a great star turn, and a great performance, that uses that star quality in a way that would've only been possible with Cruise in the central role. This by subverting the expectation of what we've come to expect from Cruise, while also fulfilling that promise as the film goes along as well. Of course as much as this review is done, I would remiss if I did not mention Cruise's final reaction shot when Cage meets Rita for the first time, and the last time, after succeeding in his mission finally but resetting back in time. His bemused grin is just one of sheer comic perfection as a man whose been through everything, yet doesn't quite know what to say at this point.

Alternate Best Actor 2014: Ethan Hawke in Predestination

Ethan Hawke did not receive an Oscar nomination for portraying the bartender in Predestination.

Predestination follows a temporal agent as he attempts to find a criminal that has consistently alluded him throughout time. While I don't think the film is bad, its potential seems far greater than its result, particularly in terms of its attempt to blend genre tropes with an attempt at an insightful examination of self.

Ethan Hawke is an actor that I have consistently praised on this blog, which was a less popular opinion initially, however thankfully the most recent completed decade has seemingly improved his status in general. I personally don't know why that was ever in question, as even though he didn't always give great performances his work was typically good often leaning towards greatness, and arguably has only improved with age. Hawke is someone who tends to always seems to care regardless of what he's working with, which actually makes his dismissive comments for Logan a little silly, since Hawke is obviously someone who knows that one should take any material seriously. This takes us to this film which is science fiction, though in many ways an interpersonal drama in its examination of the story of the character of John/Jane (Sarah Snook). Hawke, despite his presence on  the poster looking like a time wizard, is the secondary lead here. Hawke though from the outset suggests that same sort devotion to his work as one would typically expect from him. This even in the odd opening where it seems he's a man, working for some shadowy government institute, with a new face. Hawke's eyes grab that mental anxiety, but also the strange almost eerie conviction as the man takes upon his mysterious mission even with grave consequences if he falls outside of the strict confines of the mission.

The opening scene, and the synopsis of the film gives a bit of the wrong ideas as it takes a backseat almost immediately to that interpersonal drama as the agent, posing as a bartender, listens to the story of a patron John/Jane who tells of  a rather unusual life story. Hawke's performance in this sequence, which focuses on Snook, I suppose more than illuminates his ability in acting as a largely more literal supporting manner. This as Hawke delivers a certain empathy within his reactions, but there is a bit more than that. Hawke's performance throughout the story showing concern, but more with shades of a knowing or understanding that goes beyond just listening as a bystander. This until he begins to reveal himself a bit more to the patron. Hawke immediately fashioning perhaps the more expected sense of what the poster alludes to, this in a domineering and curious manner. Hawke delivering an offer to the patron to kill the man that wronged John/Jane, this as this professional but with a stylish riff within his delivery. Hawke making this shift with such ease and granting this immediate sense of gravity towards the odd proposition as the bartender reveals himself to be a time traveler. Hawke both playing it as procedure for the bartender, but also spoken with that utmost expected condition as he explains the method. This technical perposterousness of it all made most digestible through Hawke's ease within the role, and that conviction in every word of the conceit...well except for maybe the moniker of the criminal "the fizzle bomber" but that one is tough.

Of course time travel isn't so easy and naturally more than a few things get a bit confused. The emotional material is largely left to Snook, where Hawke remains this seeming deuteragonist of sorts stuck in his twilight zone episode (don't mean that in a bad way), against what's going on with Snook. This is as Hawke largely needs to sell the concept with just vague shades of a character. This what Hawke does more than what he can with, creating an undercurrent of emotion within his character largely through his performance as a man purposefully crafting a paradox. Unfortunately for me I found the film, which is 66% a first act, then the other two acts squeezed int 30 minutes, turns into less of the characters dictating motion in the plot, and more of the plot dictating the acts of the character, less per natural motivation and more so per need of satisfying the twists of the narrative. Twists that shouldn't be too obvious but will be as the amount of characters determines the fates in this regard. So naturally spoilers the bartender is the fizzle bomber, with all that time you'd think they could've come up with a better name. Anyway though we get the determined agent finding his future self, which is Hawke giving his best unabomber impression. The scene feels hollow mainly because the development is paced with such immediacy, and as rules of reduced characters enables on a single path. Having said that Hawke is terrific in the anxiety of understanding the situation, where as the extremist, I'd say he's more fine, though this in part the introduction is instant. Hawke though has a sense of mania within it to be sure, but the concept is something more interesting, well in concept, than execution, though no way in terms of being the fault of Hawke. Sadly the revelation doesn't strike into something extraordinary, rather causes one to think of a Rube Goldberg machine. This limiting what Hawke can do, still this is a nonetheless a good performance from the remarkable actor.