Monday, 17 August 2020

Alternate Best Actor 2002: Results

9. Sol Kyung-gu in Oasis - Sol delivers a convincing portrayal of a man with disability, if only it was in a film I had more patience for. 

Best Scene: Bus.
8. Greg Kinnear in Auto Focus - Kinnear gives a fascinating depiction of a man living as a contradiction and the degradation that occurs as he tries to maintain this strange illusion.

Best Scene: Seeing his agent the last time.
7. Leslie Cheung in Inner Senses - Cheung gives a performance that leaves all the greater impact due to its real life connections, however even standing on its own it is a moving portrayal of dealing with guilt.

Best Scene: Ending.
6. David Gulpilil in The Tracker - Gulpilil excels in his off-beat portrayal of a man quietly taking control of a situation.

Best Scene: Making the turn.
5. Bill Paxton in Frailty - Paxton plays off his presence well in helping to create his southern Gothic horror story, in being both the seeming a genuine father and a deranged fanatic.

Best Scene: After the death of the sheriff.
4. Philip Seymour Hoffman in Love Liza - Although I found the film repetitive I found Hoffman as usual gives a convincing portrayal, here offering a moving portrait of a man suffering through his specific despair.

Best Scene: Reading the letter.
3. Olivier Gourmet in The Son - Gourmet gives a compelling portrayal of a normal man essentially dealing with a revenge scenario.

Best Scene: Confrontation. 
2. Chiwetel Ejiofor in Dirty Pretty Things - Ejiofor delivers a compelling leading turn portraying effectively a decent man trying to navigate a troublesome situation.

Best Scene: Airport goodbye. 
1. Hiroyuki Sanada in The Twilight Samurai - Sanada delivers a brilliant low key turn as a samurai who more than anything just wants to be able to live his life.

Best Scene: Talk before the final duel.
Updated Overall

Next: 2002 Supporting


Luke Higham said...

Louis: Your thoughts on Bloody Sunday with rating and thoughts on James Nesbitt and anyone else of note.

Ratings & Thoughts on the rest of the lead performances.

Your Female Lead and Supporting top 20s with ratings and any other 4+ honourable mentions.

2002 Wins

Luke Higham said...

Ralph Fiennes - Red Dragon
Timothy Spall - All Or Nothing
Brendan Fraser - The Quiet American
Leandro Firmino - City Of God
Matthew McConaughey - Frailty/Min Tanaka - The Twilight Samurai

Marcel Lures - Hart's War

Bryan L. said...

Whew, good thing I changed my request for Phoenix a while ago.


“3. City of God”

I look forward to the more in-depth analysis in an upcoming review :D

Emi Grant said...

Honestly, reading about Oasis, a film I've spent a very long time trying to find and watch, now I don't know if I want to pursue it anymore. I think it's at least something I have to experience on my own, but reading about those issues is really off-putting.

Also, I should have watched City of God ages ago. I'm interested in seeing what Louis thought of it.

Luke Higham said...

Well guys, Day-Lewis has Supporting in the bag. He got the Oscar win.

Michael McCarthy said...

Brendan Fraser-The Quiet American
Forest Whitaker-Panic Room
Ralph Fiennes-Red Dragon
Timothy Spall-All or Nothing
Leandro Firmino-City of God

Luke Higham said...

Michael: Your rating for Whitaker in Panic Room.

Luke Higham said...

I've no problem switching out McConaughey/Tanaka with Whitaker considering they were only saved for the moment.


Sam Mendes wins over Fernando Meirelles?
Come on Louis?!
This year would be a perfect time for Brazil to gain space on this blog.

Luke Higham said...

Oh come on, can you not be happy that he got runner-up. Also it's the first Brazilian film to make any top 5 or 10 on this blog.

Bryan L. said...

Brazinterma: Hey, I'm just glad Meirelles and the film placed in the Top Five, even moreso with the former being runner-up :D


Leandro Firmino - City of God
Timothy Spall - All or Nothing
Min Tanaka - The Twilight Samurai
Brendan Fraser - The Quiet American
Marcel Lures - Harts War


Luke and Bryan:
Of course I was very happy.
I have nothing against Sam Mendes. I just think Meirelles work is far superior to Mendes. Road to Perdition is just good and nothing much.

Emi Grant said...

I actually didn't expect Day-Lewis to take the Oscar win. Holy shit.

Anonymous said...

Louis, I've been looking at the my nominations post and you still have Michael Caine #5 for Alfie.

Luke Higham said...

Very happy that Akinshina and Huppert got the Actress wins.

Emi Grant said...

Adaptation taking Adapted Screenplay makes me a happy boi

Aidan Pittman said...

Surprised yet delighted to see Adaptation take Adapted Screenplay as well. Also happy to see another win for PTA.

Louis: Your Top 5 for Original Score and Cinematography of 2002?

Luke Higham said...

Also pleased to see Lord Of The Rings do a three peat with Visual Effects, Makeup and Score.

Louis Morgan said...


Bloody Sunday for me tipped to much into the documentary angle to the point I think the narrative too often gets lost, though I think it is more than decent nonetheless.

Nesbitt - 4(His performance is good in providing really the most humanity within the film in bluntly presenting the sort of conviction of his character early. This though changing later on within the final moments of outright anguish over what has happened. It is striking work when he is onscreen as he is the only actor who really is able to realize a character, and at the very least he doesn't waste it.)

Scott & Eisenberg - 4(Scott does a pretty good job of being largely and purposefully one note as the chief BS artist. Scott using particularly good use of his memorable voice to spout nonsense quite expertly, though with the just the right tinge of desperation the more his advice seems to be meaningless. This is an early good example of Eisenberg, very early in that it is his feature film debut. Easy enough to see why it was a breakout as it is him doing his thing well here effectively in portraying the awkwardness, the charm of that awkwardness but also the conflict in dealing with his questionable uncle in Scott.)

Peltola - 4(Just a quietly effective portrayal of a man slowly coming to himself basically. This in bringing more than anything the right earnest quality to his work. It is very minimalistic in that sense, but works well within the role.)

Coogan - 4(Doing his usual thing well, with a minorly serious edge at times, but mostly him doing his more comical angle. He does this well.)

Camara - 3.5(Again his character is the thing that I most have a problem with in Talk to Her, but I'll give him credit for having a go at it. This in that he at least brings the right sort of earnest innocence about his character. It still doesn't make the film work for me, but he does step in the right direction regarding his own work at least.)

Norton - 3.5(Far less interesting than William Peterson's portrayal of Graham where he came off as genuinely on the psychotic edge. Norton just portrays him as a guy who is dealing with dark things rather than being in darkness himself. In this more straight forward take though he is more than decent however.)

Rodrigues - 3.5(A very observant lead in more ways than one. I'll give him credit though in just bringing the right degree of naturalism within his performance. This just hitting the marks of his character being just this honest sort of decent presence within the harsh environment.)

Grandinetti - 3.5(He kind of is more there in the early scenes of portraying his character just being kind of out of the loop both in terms of his girlfriend's pre-coma state and his reaction to her comatose. He though is quite affecting later on in presenting what the friendship means for his character later on.)

Phoenix - 3(Not exactly the most pressing of his characters. Phoenix is fine in bringing a more atypical standard lead quality to his work. It isn't anything too notable but he's more than fine here.)

Louis Morgan said...

Dreyden - 3(I mean the whole film really is about its presentation which is notable however it didn't quite go past an experiment for me. Dreyden though is more than fine as sort of the guide of this atypical presentation.)

Gere - 3(He's actually pretty good in his scenes of portraying the internalized sort of anxiety of the affair. He flounders however in sort of his big breakdown scenes that are just overwrought particularly against Lane who is pitch perfect.)

Li - 3(I mean the film really isn't about him despite being the main character in a certain sense. His more stoic presence though delivers what needs to be delivered so to speak.)

Eminem - 3(There is a certain degree of kind of the amateurish qualities in some moments. Overall though I do think he brings enough of a comfort on screen that he manages to provide the right anchor of the film. Really though the rap scenes are his life lines where he does excel in bringing it in a way that delivers on his known ability, but in a way that feels honest to his character here as well.)

Hunnam - 2.5(I mean playing the Dickens titulars is always tough not to seem a bit dull, and well Hunnam is a bit dull. Not terrible but definitely dull.)


1. Oksana Akinshina - Lilya-4-Ever
2. Diane Lane - Unfaithful - 5
3. Maggie Gyllenhaal - Secretary - 4.5
4. Nicole Kidman - The Hours
5. Doona-Bae - Sympathy for Mr. Vengeance
6. Julianne Moore - Far From Heaven
7. Naomie Harris - 28 Days Later
8. Alison Lohman - White Oleander - 4
9. Everlyn Sampi - Rabbit Proof Fence
10. Audrey Tatou - Dirty Pretty Things
11. Julianne Moore - The Hours
12. Sonja Richter - Open Hearts
13. Jodie Foster - Panic Room - 3.5
14. Nina Vardalos - My Big Fat Greek Wedding
15. Karena Lam - Inner Senses

Supporting Actress:

1. Isabelle Huppert - 8 Women - 5
2. Miranda Richardson - Spider
3. Nora Jane Noone - The Magdalene Sisters - 4.5
4. Emily Watson - Punch Drunk Love
6. Lesley Manville - All or Nothing
7. Samantha Morton - Minority Report
8. Meryl Streep - Adaptation
9. Catherine Deneuve - 8 Women
10. Geraldine McEwan - The Magdalene Sisters
11. Katie Outinen - The Man Without A Past
12. Fanny Ardant - 8 Women - 4
13. Kathy Bates - Love Liza
14. Eileen Walsh - The Magdalene Sisters
15. Ruth Sheen - All Or Nothing
16. Emmanuelle Beart - 8 Women
17. Renee Zellweger - White Oleander
18. Paprika Steen - Open Hearts
19. Anne Marie Duff - The Magdalene Sisters
20. Kathy Bates - About Schmidt


Stine Bjerregaard - Open Hearts
Maggie Cheung - Hero
Edie Falco - Sunshine State
Rie Miyazawa - The Twilight Samurai

All below rating are that rating.

Louis Morgan said...



1. Lord of the Rings: The Two Towers
2. Road to Perdition
3. Catch Me If You Can
4. Hero
5. The Hours


1. Road to Perdition
2. Hero
3. City of God
4. Gangs of New York
5. Far From Heaven

Great year for both categories.


Hey Louis and whoever is reading this comment!

Say your TOP 7 of 2002 in the categories:
- SCREENPLAYS (original and adapted)
- CHARACTER. In case you don't remember my definition: there is nothing to be at the top of the overall rank, the most memorable characters for the general public; say the names and your movies. Examples: Cathy Whitaker (Far from Heaven) and Barry Egan (Punch Drunk Love)

Matt Mustin said...

In addition to the requests:

Elias Koteas-Ararat
Brendan Gleeson-28 Days Later

Luke Higham said...

Louis: I'm happy to see Moore go up for Far From Heaven.

Your thoughts on:
James Spader in Secretary (with rating)
And the female performances you've mentioned save the All Or Nothing ladies plus Michelle Pfeiffer in White Oleander.

Luke Higham said...

And Emily Watson in Red Dragon (With rating, same for Pfeiffer)

Calvin Law said...

Ah ‘tis pity about Oasis but I get it. Guess I need to see Unfaithful then.

Very pleased to see Sanada take this.

Calvin Law said...

And I have to say having read the review I do understand the criticisms of Oasis and thinking about it, Talk to Her I had the same problems with so maybe I should judge it more harshly on that front.

I think I will probably stick with Moon as my win for now though.

Louis Morgan said...



6. Far From Heaven
7. The Twilight Samurai


1. Punch Drunk Love
2. The Twilight Samurai
3. The Two Towers (Towers poster)
4. The Pianist (Bombed city)
5. Panic Room
6. Signs
7. Spider-man (original)


1. City of God
2. Catch Me If You Can
3. Lord of the Rings: The Two Towers
4. Minority Report
5. Road to Perdition
6. Punch Drunk Love
7. Hero

Original Screenplay:

1. Punch Drunk Love
2. Dirty Pretty Things
3. Infernal Affairs
4. Narc
5. 28 Days Later
6. The Magdalene Sisters
7. Frailty

Adapted Screenplay:

1. Adaptation
2. City of God
3. The Twilight Samurai
4. Catch Me If You Can
5. Lord of the Rings: The Two Towers
6. Road to Perdition
7. The Pianist


1. 8 Women
2. Adaptation
3. Catch Me If You Can
4. Road to Perdition
5. The Magdalene Sisters
6. Dirty Pretty Things
7. Punch Drunk Love


1. Gollum (LOTR: The Two Towers)
2. Peter Parker/Spider-man (Spider-Man)
3. Samara (The Ring)
4. Jason Bourne (The Bourne Identity)
5. Norman Osborne/The Green Goblin (Spider-Man)
6. Aragorn (LOTR: The Two Towers)
7. Stitch (Lilo & Stitch)

Calvin Law said...

Although thinking more about it Akinshina might deserve the win. I think I’ll settle on Oasis as a film where I loved the filmmaking but I wholeheartedly agree with the film having a problematic nature, and that I did not advocate the scene in question. Although it didn’t linger for me over the rest of the plot I definitely get both Louis and Michael’s views on it now.

Aidan Pittman said...

Louis: Your Top 11-20 films of 2002?

Louis Morgan said...


Well starting with leads.

Spader - 4(It is pretty much Spader in his wheelhouse in playing up the sleazy side of his character. In this film that one must assume is the good version of 50 Shades of Gray, I mean Spader's character's name is even Mr. Grey...although I guess I'd have to watch the film to find out if it is bad...but I won't be doing that...I'll take everyone's word for it. Spader though is good though in excelling within the film's certain style managing to be properly unwieldy in his moments of swinging moods from being dominant to suddenly self-hating in the seconds notice. Film easily works best when it is Spader and Gyllenhaal together as the two just have the best grasp on the material.)

Akinshina - (Her performance one is of great tragedy honestly through her approach in the role. This in that basically hers is one of optimism that is slowly destroyed throughout the film. This as she does go through every single point of exploitation with this poignant sincerity in the sense as though things will get better for it. This make it all the more painful as she is mistreated by one after another. This as she makes the humanity of Lilja so honest in every moment of the film. This making the pain of what she experiences all the more tangible and heartbreaking as one sees it as this act of destroying that optimism. This making her work this painful descent towards her last act that is harrowing as Akinshina's work details every moment of it so intimately and in such a powerfully convincing fashion.)

Lane - (Okay I have particular affection for this performance as I don't think the film really is all that good. Lane is honestly is what makes it watchable. This as she just is in every moment of it so to speak. This in every moment of her performance avoids simple sort of thriller tropes but rather so effectively shows what the woman is going through. This with the sense of exasperation of contentment that segues towards the overt lustful moments. Lane is wonderful though in no scene is simply just left there as she so vibrantly realizes the experience in every moment. This making it all the more remarkable in the latter half as her heartbreak is so sincerely realized within her work. It is outstanding work as I don't think she runs away with a great role, she honestly is what makes the role work, and the film work. This as she finds a person out of a conceit and it is beautiful work from Lane.)

Gyllenhaal - (Well the film in particular where you can see just how much she and Jake are siblings as they both can get that deranged look in her eyes. This that she wields brilliantly here in creating the off-kilter state of her character. What I love though is she doesn't drain sympathy from the character in creating style. This as she has a basis in showing the character's very real vulnerabilities in the opening and in turn makes the process of the film far more than a freak show of some kind. Now when it gets to the bdsm relationship, Gyllenhaal is an essential facet in making this work. This in her work has this great comic energy in showing the strange relationship that develops, but there's even more in the way she realizes it as this growth in confidence within the usually scared woman. It is terrific work and I have to give credit to the Golden Globes for quite the inspired nod there.)

Lohman - (Always liked Lohman's presence and she's good here in a film that I don't think quite overcomes its a little too manufactured structure at what should be a reality based story. Lohman though acquits herself well within it, even in the more artificially crafted moments Lohman brings an honesty in her own work. I can't say she covers every shift perfectly, she covers most well in just a generally moving portrayal of the shifts of her character.)

Louis Morgan said...

Sampi - (Just a strong child performance in terms of portraying the distress but also confidence that is needed for her character who takes the step to escape. Although the film quickly runs out of material, she's quite good in bringing the needed honesty to one of the attempted victims of the government.)

Foster - (In what must say is Fincher's most "eh its fine" work, Foster, in a terribly underwritten character given the film lacks almost any thematic weight, does deliver a needed anchor to the film. This in trying to fill in the gaps of the character, which there are many, just by bringing an honesty within her own work. She achieves this even though I wish the film really gave her character any meaning. Even the claustrophobia angle is barely exploited.)

Vardalos - (While I'll say the love for the film seemed a bit overblown, she gives a nice charming turn as the "ugly duckling" turned confident woman. Although that whole setup even is a bit, she handles it with a nice grace and charm to be sure.)

Huppert - (Although I'll say the film just misses greatness unfortunately, particularly due to the denoument, there is plenty of greatness to be found. Huppert is the highlight in a performance that really gets her to play into her expected presence but also subvert. This in that we get some classic ice cold Huppert which she excels with as the spinster style sister. This with particularly immaculate comic timing on her part where she is a wonderful shrew in every bitter line delivery and sneer on her part. She has a mischievous quality she brings that is just wonderful and she's a hoot every second of it. She gets to go further though in moments of genuine vulnerability that she makes both funny and sincere. Sincere in the moment of her character asking how he can change, but quite funny in her outrage towards the nonsense in her family. She then completely sells her transformation within the change of the character.)

Noone - (Fantastic work in creating the most antagonist woman in terms of dealing with imprisonment of sorts. This bringing the sort of coquette qualities as just so naturally part of her that is charming though put down upon. She great though in being as heartbreaking in showing the immediate wear of the mistreatment she quickly suffers. She's great in bringing such an incisive quality as she begins to rebel against the system more directly. She has a wonderfully acidic quality in her work, though what I really love is the way she sort of wavers of a brief uncertainty, as someone just sort of throwing it all in as though she has nothing to lost. Absolutely splendid work.)

Deneuve - (Classic sort of Deneuve role I would say, perhaps right down to the singing. She's wonderful though in portraying her own sort of biting personality that plays particularly well against Huppert and Ardant. There's just something particularly wonderful about seeing her do a sway dance and there is a lot of fun just to be had there. Deneuve though otherwise is splendid in dancing around this state of trying to be gracious with being defensive and of course suspicious.)

McEwan - (Proper successor to Gladys George this as she is fantastic in just being absolutely horrible. This with just a strict cold manner that she speaks every line with this phony grace yet a cutting quality within this. This with a sense of judgment in every moment but also a shamelessness of the woman unwilling to recognize her obvious hypocrisy.)

Louis Morgan said...

Outinen - (A wonderful atypical love interest performance. This as she presents her part almost as a dead pan cold woman. Her ability to find the warmth within that though is great. This in that she doesn't even do it as a revelation of warmth. She rather presents it as part of the woman's rather calculating style yet still potent in its own way.)

Ardant - (Excels naturally of course with being both vivacious and cutting. That is basically her two notes she needs to play, and well doesn't waste them in the least. Wonderful work.)

Beart - (Terrific in actually downplaying the character within the others though effectively being in between the lines. This in presenting herself as sort of off to the side yet completely obvious at the same time. This as she doesn't hide herself nor does she purposeful show off about it. There a great confidence she delivers with it that is fantastic.)

Walsh - (On a rather brutal high wire the whole time, however she thrives with this. This as presenting the sort of mentally off state of the woman while also showing the growing insanity even beyond that through the mistreatment. She's heartbreaking in presenting the growing desperation of the state of her while also showing the slowly growing discontent. Her cries against the horrible priest is brilliantly performed as this rage through a reaction of pure mental dissolution.)

Zellweger - (For my money easily the best performance from the film, and Zellweger's best work from the year, in playing to her strengths. This being a natural charm. This that she excels with in just portraying the modest charm of her character, but within that charm the sensitivity that alludes to the fragile state she is in. This as Zellweger effectively grants a real earnest humanity within the character that could've been more caricature as I felt a few of the foster parents were.)

Falco - (The film is a repetitive slog, and honestly I think her critic wins were probably over-love for the Sopranos, but she's good. This in just creating a reality within her relationship that is the highlight of the film, even if I still wouldn't recommend it, she's good.)

Cheung - (While I didn't need to see her stab Tony Leung 500 times, okay it was less but really they stayed on that plot point way too long and way too many ways, she though brings a really striking presence. This as both the sort of spitfire we see in the "red" version, but also the more graceful humanity within the "blue" and the real versions as well.)

Pfeiffer - 3(I actually found her performance overly calculated here. Yes she's charismatic as per usual, but her performance is a little much. This as she portrays her less so a genuine manipulator and more so this sort of overt villain. It just came off as a little too much of a character, rather than a person who is controlling her daughter. There is an artifice that honestly Pfeiffer knows how to play, however I don't think it was really the right approach for the part.)


11. Narc
12. Confessions of a Dangerous Mind
13. The Magdalene Sisters
14. Frailty
15. Hero
16. 25th Hour
17. 28 Days Later
18. Dirty Pretty Things
19. Lilya-4-Ever
20. 8 Women