Alternate Best Supporting Actor 1954: Alastair Sim in An Inspector Calls

Alastair Sim did not receive an Oscar nomination for portraying Inspector Poole in An Inspector Calls. 

An Inspector Calls follows an upper class family as they face charges over their mistreatment of a recently deceased working class woman. 

Alastair Sim essentially portrays the master of ceremonies for this piece as the titular inspector we learn little of, rather he used for us to learn of each family member's relation, and in turn related "crime", with the young woman who he informs them has ingested a kind of poison. It is upon Sim's performance much to create what is captivating about the Inspector. An actor who has an advantage that being his distinctive face, which makes quite the impressive as he suddenly appears in the film without entering. Sim's initial delivery of the death of the woman is striking in his manner. Sim speaks bluntly of the invents with this certain though inherent sympathy within the death even as he is so matter of act. Sim speaks with more than one card to play as it seems. Still though he appears but an inspector until the patriarch of the family speaks to being unaware of the woman. Sim's expression changes to a kind ghoulish smile as he indicates that the man should most certainly know her. There is an accusation in the grin, and almost something quite sinister even in Sim's portrayal. There is more though than that as the man explains himself, shirking responsibility claiming it would be awkward to maintain any responsibility. Sim's speaking of "oh yes, very awkward" carries a duality of complete lack of sympathy for the man and irony for the statement of a man clearly trying to avoid any connection with the person he wronged. 

Sim's performance carries still this kind of nearly monstrous quality, as he almost seems like a shark when another member of the family enters the room who he is going to accuse of their crime against the young woman next. Sim's eyes carry a quick accusation in them, and this incisive stare. The grin that he carries with them seeming a man just waiting to reveal his truth, and knowing the weaknesses that will be revealed within the family. Sim though has this calm about him that is quite unnerving in this way, but what makes it so remarkable is the particular edge his performance sits on. This as we see his reactions towards the family with this vindictive joyful quality in his attacks, however that isn't all there is. This as he speaks of the woman, of any success, there is some greater sense of care about it properly to some one. He doesn't make it even then as an easy sympathy, rather almost this sort of tragedy within any notion of good news. Sim speaks the Inspectors news always with this certain almost laughing manner towards the woman, not out of hate, but this kind of bemusement that she could possibly attempt to find any success in this particular world. Sim brilliantly colors the exposition with dynamic depth within every moment of it. Sim as much as the inspector is just telling the story, never is doing it so simply as that. The texture he brings to every line creates such a palatable sense of the nature of this story through the seemingly lack of sympathy of the family and the tragedy in the young woman's story. 

Now the film itself, based on a play that makes its allegory even more obvious than it is here, I would is repetitious in its point and characters too much pawns per the scenario to exist. The one aspect of the film that is wholly successful is in the overarching dramatic device of the inspector, this as it grants a certain haunting mood to the whole drama, though with Sim being the most essential ingredient. Frankly director Guy Hamilton unnecessarily overplays the supernatural nature of the inspector (literally named Goole in the play which is painfully on the nose), because Sim already has it entirely in hand. Every scene with Sim is compelling due to Sim as you can just watch him throughout every one of these scenes, as he brings this quietly terrifying ethereal omnipotent quality within his work. This as Sim never simply sits and stare, rather there is this judgment that is being inflicted whether it is through a turn down of the nose to imply a bit of exhaustion at the family's dodges, to a penetrating glare when forcing a bit of information out of his given target in a moment. Sim himself is compelling to watch as this essential force for truth, which to his credit again finds the right balance. Sim plays the part perhaps as some supernatural force implying this inquisition, however he does so with the right humanity even as the inspector seems so all knowing. Sim brings, for the lack of a better word, this sort of nearly playful sense of exhaustion in the inspector. This sort of weariness upon his duties, less so as an obvious vengeful spirit, but rather a man there to deliver a painful message, a message he has seemingly delivered far too many times before. Sim gives a great performance, that really realizes every virtue of the material, and creates this captivating portrait of the accuser who both thrives within the allegory, but also successfully exists beyond it.

Best Actor Backlog Volume 3

 And the Overlooked Performances Are:

Kiefer Sutherland in Phone Booth

 

Alastair Sim in An Inspector Calls

 

Uttam Kumar in Nayak

Clint Eastwood in The Beguiled

 

Vincent Price in Theater of Blood

Alternate Best Supporting Actor 1942: Cecil Kellaway in I Married a Witch, Jules Berry in The Devil's Envoys & Results

Cecil Kellaway did not receive an Oscar nomination for portraying Daniel in I Married a Witch. 

 

Jules Berry did not receive an Oscar nomination for portraying the Devil in The Devil's Envoys. 

I Married a Witch a fairly enjoyable screwball comedy about the descendant of an old witch persecutor (Fredric March) cursed by a witch to fail in love, however things get in a bit of knot when the witch (Veronica Lake) escapes from her imprisonment and falls in love with the man. 

 

The Devil's Envoys is a splendid fantasy about two servants of the devil, tasked with seduction and then destruction, infiltrating the court of a castle.

Cecil Kellaway is a character best known really for his warm and affable characters, as found in his two Oscar nominations for example. This though is a far cry from that, and more evocative of his career best turn found in his guest spot on The Twilight Zone as a most unusual curator of sorts. Kellaway's performance here is as Lake's warlock father who we initially meet, along with Lake, as a disembodied voice. Kellaway's vocal performance alone is memorable in the sheer degree of the deviousness of it as he encourages Lake's Jennifer to essentially be her worst self. Kellaway playing this with a wonderful, and fitting devilishness within the character, and finds the right combination between the comical and the sinister. Kellaway really is the essential ingredient within the film as his consistent appearances take what is an enjoyable romantic comedy and really turning up the latter nicely. I mention these two performances in tandem though as much as the films are different, they are in some way companion pieces about supernatural "creatures" engaging in romance even though the intention is the opposite. As Kellaway is the wrench in the romantic clockwork, as is Jules Berry, who is the titular devil. Where first we establish each romantic pairing or triangle, that involves misleading and maybe some genuine love, this is turned on its head when the actual devil appears to mess things up for all. Berry's performance is one of literal devilishness. He comes in with the right fanfare of someone just loving his state as the prince of darkness and of all lies. Berry shows just the greatest of joys in this state of the man just eager to make all the lovers suffer in any way in which he devise. His expression only brimming with this sinister glee, similar to Kellaway in bringing this sense of fun within the nefarious nature of the character. 

As the romance goes along for both film these two act as the antagonists at any path that leads towards some sort of true love, though in very different ways. Berry's performance is one actually that is of a shift towards the more dramatic as the devil foresees a certain plan and has a distaste when it starts to go away from his chosen path. Berry bringing this quiet egotistical pompousness to the devil's assurance that all will be left unhappy and in his own words "belong to him". There is a certainty of the fiend, however he effectively brings a certain annoyed demeanor as the plan isn't quite going to plan. He still brings this confidence as though it is something that he's seen before and will again, and in that sense is sure, while still creating this slowly growing undercurrent of cause of concern that everything isn't in his power. Kellaway on the other hand is just whole lot of fun in portraying Daniel ever trying to be fiendish and keep anyone from falling in love as well, though his methods decidedly less suave or confident than the devil's. Kellaway is a hoot in portraying the sort of mania in Daniel as he goes about his schemes with this sort of craziness that is befitting a creature of a truly chaotic disposition. Kellaway is just fun to watch whether he's incompetently framing March's character for his own murder, or trying to drive the lovers to their doom. There is just this hilarious sort of insanity he brings to every line though with the right demonic glee of his own. Kellaway's performance brings the right extra ingredient overall to the film that really takes it up a notch overall by providing not just a proper antagonist, but also such a source of fun. Of course this is true for both performances which provide this nice swerve in both film's romantic narratives. Each giving their own memorable turns as sinners with a smile.

Updated Overall Lead

Updated Overall Supporting

Next: Backlog Vol. 3 & Recommendations 

Alternate Best Actor 1942: Chishū Ryū in There Was a Father

Chishū Ryū did not receive an Oscar nomination for portraying Shuhei Horikawa in There Was a Father.

There Was a Father tells the story of a single father raising his son, however rare is it that he finds time to spend with him regularly. 

Frequent collaborator of director Yasujirō Ozu, Chishū Ryū stars here and it is no surprise that he was so frequently cast as Ozu seeks the simple truths of life, Ryū's a performer who does the same with his wholly sincere and always authentic feeling presence. This is a film on the surface that is very muted, yet in that muted tone is what is so special, and what we also find within the ending of the film. For much of the film we follow Ryū's Shuhei as he raises his son with a simple dignity, however within the simple dignity of Japanese culture of the time where he must uphold certain values of consistent hard-work over the natural needs of familial connection. What then is the film as we follow the ease in which Ryū's creates really the conflict with this without actually ever denoting it towards more expected melodrama or even drama really. Ryū's delivery after all is one of calmness as he explains each time to his less understanding son of why the two must be so frequently separated, as he must pursue work while also having his son be raised. The two's presumed duties leaving them in this state of perpetual separation through the years. This as this film is one through years not days, a week or a month. We rather see the long extension of this practice as the father does what he believes is right by his son, and right by his family, which is two so commonly not be among him. As off-putting as this even seems as though it may be Ryū's performance is what makes it work, and creates this understanding within the logic of the father. 

 

Ryū's delivery is of a calm passion towards the belief and speaks it as an expected truth. It is with a calm duty and an unassuming belief. It isn't something that he has randomly come up with, rather with Ryū he speaks it as though it was just speaking towards any responsbiltiy one would just assume is part of life. I am honestly surprised Ozu was able to get away with this film during World War II in Japan, given what for example Kurosawa's typical individualistic spirit was reduced to in The Most Beautiful. Although it is perhaps because while the text says one thing, and perhaps that is all potential government officials really read into this piece, this being that one should work hard in life, the subtext seems to indicate otherwise. Although Ryū's Shuhei repeatedly speaks one's devotion to work. That though would be ignoring the whole of it, which is every silent moment within Ryū's work. This as even as he doesn't speak his love towards his son, as they interact when he's a boy, to when he's a young adult, to an adult, but it is ever apparent in every moment of interaction in Ryū's performance. The happiness within Ryū's portrayal is of pure warmth when the two go fishing together or just speak towards one another in their home. It is with a gentle love that is simply the truth of their relationship. There is a sense of conflict in Ryū's performance even though it is never something that is emphasized specifically. It is rather within how much appreciation and pride we see in Ryū as he has his moments with his son. There are no moments where there is a more powerful sense of happiness then in these scenes. Again though the beauty of this work is that it is in the briefest of moments, such as his son attending to the shrine of his mother, we in just a look Shuhei's deep affection for his wife, and the love for his son in a singular moment. We see this as a truly loving father who embraces every moment of being a father with his son, while always being trapped within the beliefs of societal expectation. Again this where one could argue quite the subversion, as the true happiness of Shuhei's life and as expressed within Ryū's performance is when the father and son are reunited, not when he is elsewhere. Again though this is never spoken within the film rather in the silence, where there is the truth of it all. In turn we are also granted the classic devastating ending from Ozu that hits you in a way that is most unexpected, yet so palatable when it does. This isn't through theatrics however, it is rather through that calm. Here in really understanding this relationship, and seeing every intimate moment of connection, so wonderfully realized here by Chishū Ryū. We find the loss of the two's time apart not from a big speech to say this, but rather through every gentle reminder that the father and son simply love one another. Ryū's work not defined by every big scene, rather every quiet moment that reveals the moving intimate truth of this reserved man.

Alternate Best Actor/Supporting Actor 1933 Update

Updated Overall

 

 Next: 1942 Lead/Supporting again a lineup is unlikely.

Alternate Best Actor 1955: Masayuki Mori in Floating Clouds & Results

Masayuki Mori did not receive an Oscar nomination for portraying Kengo Tomioka in Floating Clouds. 

Floating Clouds another artfully realized melodrama by Mikio Naruse, here about a lonely woman seeking stability after the war.

Masayuki Mori is perhaps the enigmatic of the great Japanese actors of his period. When discussing the nature of presence as related to an actor Mori was one of the actors that came to my mind who almost seems to erase his given presence per film and starts over. This as watching this film I honestly had no memory of his bitter samurai from Rashomon, his hapless potter in Ugetsu or his heartless businessman from The Bad Sleep Well. He might as well be a whole different actor, well other than Mori has an innate ability to become whatever it is that his role is, and does so without a hint of fuss. That is the case here once again here as we meet him through the perspective of his lover, Yukiko Koda (Hideko Takamine), as her lover during the war. The two would later be paired in similarly tense circumstances in When a Woman Ascends the Stairs, also by Naruse, however again even there Mori seemed so different as the distant though intrigued wealthy man cheating on his wife. He is a man in an affair again, however his manner denotes a different kind of man then in that later performance. 

 

Mori makes his Kengo kind of lost in himself in his ways about himself, there is a lack of certainty in his interactions so much, and portrays a man also lost who perhaps finds himself at times with Yukiko. The film looks upon this unique relationship through glimpses of different phases of both of their lives. Mori, while I would say is co-lead, he is in general the more distant of the two as we often see him through how Yukiko is seeing him. Mori's performance is one of shades in turn. Shades of the man which Mori portrays well in this kind of balance between giving some sense of love to her, while in the same moment seeming to drift more from her. The first romantic scene in a way summing up their relationship to a degree in the matter of fact and blunt way Mori projects his affection for her. This almost a matter of fact though just as he seems to struggle. As we see him throughout the man is shown as someone weighted by all things other than perhaps his most obvious choices in a way. 

 

Mori in turn is a performance that is basically defined by a constant conflict. Mori bounces back from genuinely seeming to have compassion towards Yukiko and care for her, but as quickly he will show the shattered state of the man ripped apart in the other factors of his life that stop him from really any consistency. Mori's portrayal is granting a kind of knowable quality to the unknowable. This as much as Kengo seems all over the place, he never seems truly random rather he is what the world allows him to be in a way. This as in the moment he can be the lover, but in another he is the grieving husband. Where Yukiko is defined so much by the relationship, Mori shows a man who unfortunately defines himself by anything other than the relationship. The power of the performance is creating the logic of Kengo with this, and never making the character as random as his interactions often appear to be. Mori's performance is really tremendous at times by showing how much the man is going through in just the briefest silent interactions, and as hard to comprehend he is at times, Mori grants a difficult understanding to the man's complexities. Mori delivers a frustrating performance in the right way. This as much as Kengo never lets us in fully in an emotional sense, much as he does not for Yukiko, he does allow us to see the repressions of the man within his defenses and evasions in the name of duty, or just for himself. Mori's portrait of this man is appropriately difficult and near impenetrable, but not entirely impenetrable. This making the moments of the truth of the men particularly powerful, as subtle as they are, yet still so keenly felt, such as his surprisingly heartbreaking final reaction that is so simple yet so powerful. He reveals the complexities of the man even within this state, creating a fascinating and very atypical lead for a seemingly well worn tale of two star crossed lovers.

Updated Lead Overall

Updated Supporting Overall

Next: 1933 Lead (Doubt it will be a lineup)

Alternate Best Actor 1955: Jean Servais in Rififi

Jean Servais did not receive an Oscar nomination for portraying Tony "le Stéphanois" in Rififi. 

Rififi is an excellent heist film about 4 men devising the perfect crime...but complications ensue. 

In the world of the French gangsters of the 50's and 60's, you frankly see much timidness in their American counterparts when compared directly, as typically the "heroes" themselves aren't exactly savory figures, though often compelling despite that fact. We have such an example here in Jean Servais as expert jewel thief Tony who is just out of prison, and obviously gets quickly offered a job by a friend/associate to rebound from his luck. Technically a brutal gangster as we see relatively early on where his initial motivation, that also compounds later complications, is his frustration with his old girlfriend shacking up with a local gangster to which he reacts rather mercilessly to. Nonetheless Servais remains this compelling figure in what really is within a performance that would be more common, this as the tightly wound turn. Servais has a tremendous presence here alone and with that he conveys that sort of professionalism of the character of Tony. When he speaks towards his wisdom, such as not bringing a gun on a job, or how to approach the job of cracking the pivotal safe, Servais has this calm and conviction of a man who knows exactly to which he speaks. There's a tremendous incisiveness of just his eyes even, as we see when the men are prepping the job Servais shows a man constantly calculating and finding ways in which to successfully crack this difficult job. 

The job itself is depicted in a great detail in a music and wordless sequence that is downright brilliant. An essential facet to this in Servais's performance where we see the true strength of his work which is in as this strict internalized, yet still human character, that frankly would be a better represented type after this film with this character somewhat pioneering in a certain sense. This as Servais contains so much within his performance in the sequence. This is not just the professionalism where his eyes kind of denote each choice and movement, but also creating the tension. Every reaction of his, and his growing sense of concern and the quietest anxiety show the stress of the situation even within a man as calm as Tony technically is in this situation. Each step of the process is amplified by Servais's performance as he brings you so subtly into Tony's mind in the heist and brings you right along as they go about carefully removing their treasure. There is no second of the sequence that Servais's performance takes for granted by showing the steps of the process we are in. This even in an expected events of coming across a policemen investigating the getaway vehicle. Servais's tells us every decision Tony makes to deal with the new event through solely is silent reactions that show the man take the moment to calculate and bluntly react to what needs to be done. 

Of course as much as the men seem to get away with one part, due to the greed and cowardice of one of the members, the group of four quickly find themselves the target of the gangster boyfriend of Tony's old flame. The gangsters who want the prizes for themselves and don't mind letting the blood for all involved. Here is where Servais's performance shows really what can be so striking about a quiet turn like this, this being when the emotions start to come out it really is impactful in such remarkable way. That is the case here as Servais does many things, and in each instance so palatable reveals the nature of the man in this situation. This as we see genuine heartbreak as glint, yet still so potent, in his eyes as he goes about seeing the harm done to some of his men, while also equally showing the brutality of the man that is ready to be unleashed against his enemies or his former allies who have betrayed. Servais's work though properly differentiates between the two this as the latter Servais portrays the violence as this blunt sort of duty, there is a sharpness of anger, but the emotion is more disappointment than hate. We see something else entirely as Tony's closest partner's son is kidnap by the gangsters to get the cash. Servais is amazing throughout the film's final sequence as we see the very real concern the man does have for the child and his partner. It is just the greater intensity that has this emotionalism that almost leaks out in his performance, but when it does it is volcanic even in its brevity. When he kills the men responsible for the harm of those he loves, the professional demeanor fades just a bit as we see genuine hate for these men, and there is such a power to these momentary revelations. This in showing as much as he seems the cold professional there are things Tony cares about. This is summed up in the final sequence of the film, which I have to imagine heavily influenced the final drive of Jake Gyllenhaal in Prisoners, where a wounded Tony needs to get the kidnapped boy back to safety. Servais is outstanding  in capturing the fading state of the injured man, but also that tension in himself as he tries to keep himself together long enough to get back. Servais is absolutely gripping in the sequence as he brings us into the man for every second of the desperate drive. This is not a performance that stops ever to develop itself, Servais must move with the near constant progression of the film, and this challenge is wholly meant. This as Servais is more than part of the action, he amplifies all of it, by through creating this compelling portrait of thief who has more than just money on the line by the end of it.

Alternate Best Actor 1955: Danny Kaye in The Court Jester

Danny Kaye did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Hubert Hawkins in The Court Jester. 

The Court Jester is actually a very charming semi-send-up of Ivanhoe and The Adventures of Robin Hood, about the entertainer for a Robin Hoodesque bandit group who ends up by chance impersonating the tyrannical king's jester.

I have yet to cover Danny Kaye one of the comedic stars of the period, though when I have run into his films I've more or less typically enjoyed his presence as this all at once kind of entertainer, and is ideal for a farce such as this. Now all at once I speak to Kaye really going for everything and anything required for a comic performer at the time, as he acts, sings, dances, performs much of a physical act, and really does everything, all at once, to try to entertain the audience. Ideally cast here then of course as the entertainer who has to do just about every different facet of an adventure film of the time, while also singing, dancing and getting into all sorts of comedic hi-jinks. And would I mean by that is in part at the core of it we get Kaye as the unlikely hero who wants to prove himself, as find romance in his fellow bandit Maid Jean (Glynis Johns), by keeping safe the rightful, infant, heir to the throne. Kaye has this shy charm about him and works in creating an endearing low key quality to his Hubert in providing essentially the core to the story. Not too much time is spent on this however it is important in terms of really giving the backbone to the character, who will have to go through a many of changes, and succeeds as such. This particularly with his chemistry with the equally likable Johns, as the two share just a sweet energy with one another, particularly with their similarly "timid" delivery style. 

Once the actual adventure begins by Hubert finding himself in the castle of the king and basically being mistaken for, or wanted for every little thing, we get really Kaye basically doing whatever he can to entertain. This is occasionally in the most straight forward way possible with his quick patter songs with more straight forward dances where Kaye always brings a great zest to. However what The Court Jester does so well is never really make it all that simple for him. This as the patter songs here are usually part of several different things as typically Hubert has to worry about another task within the performance, while also considering another threat, and while pretending to be the court jester and perhaps someone else. That is where the fun is and Kaye delivers on that fun through the incredible energy contained in this performance. Kaye really doesn't lose a step, unless that is of course the intention, in playing these scenes with such a fluid kind of haphazard quality to it all. I think where the film goes further though is by making use of these skills by playing on these adventure tropes, which is particularly well handled via a subplot where Hubert is hypnotized to also be the outwardly brave version of himself. There Kaye is fantastic really in getting to go full Flynn in his outwardly and aggressively confident manner, and frankly is convincing as such a force. There being some particularly wonderful moments where we get Hubert switching out from his haphazard self to the aggressively confident one and Kaye making the most of it. This in particular with his final sword fight with Basil Rathbone of course, where he puts every part of himself into the moment. This as he goes from such cowardly and frantic antics as Hubert himself, to the supreme perfection parring every sword swing from Rathbone as though it was nothing. Kaye excelling in playing off both sides with such magnificent ease, by showing that and also such hapless tomfoolery. This being the film's strength in having Kaye's chaotic energy as part of an adventure film and just going with that. This in his physical comedy here that is so key in bringing something atypical to each set piece, by having his movements so seemingly random yet in a way so precise in creating a hero who has no idea what it is that he is doing. This is just a wonderful performance this is an ideal pairing between star and role. This as Kaye gets to show really everything he has in his creative tank, but also more through the unorthodox means it is often expressed here.

Alternate Best Supporting Actor 2000: Results

10. Jeremy Irons in Dungeons & Dragons - The best part of his atrocious film, however doesn't achieve the true brilliance of a performance of its ilk.

Best Scene: Blood in the sky.

9. Lucas Black in All The Pretty Horses - Brings a moving authenticity that is bluntly missing from the rest of his film.

Best Scene: Being taken off.

8. Stephen Tobolowsky in Memento - Tobolowsky in his brief screentime finds the humanity in his odd state.

Best Scene: Insulin.

7. Sean Connery in Finding Forrester - Connery one last time brings out his actor in delivering a properly charismatic yet also troubled turn as a recluse.

Best Scene: Explaining why he is recluse.

6. Kyle MacLachlan in Hamlet - MacLaclan gives a powerful portrayal that manages to modernize the role of Claudius while also mine the greatness of the character in his traditional form.

Best Scene: Limo phone call.

5. Song Kang-ho in Joint Security Area - Song gives a brilliant portrayal of man who puts on a facade of the cold soldier, and reveals the empathetic human within.

Best Scene: The Event.

4. Joaquin Phoenix in The Yards - Phoenix proves his measure early on here in his remarkable and intense portrayal of a wannabe gangster coming to terms with himself. 

Best Scene: Final scene.

3.  Emilio Echevarria - Amores Perros - Echevarria gives a terrific portrayal of man struggling with empathy so naturally seguing from a broken animal lover and a callous hitman.

Best Scene: Finding the dogs.

2. Paddy Considine in A Room For Romeo Brass - Considine delivers an absolutely stunning debut turn that manages to be equally every bit of the mess of a man both terrifying yet also heartbreaking.

Best Scene: The threat.

1. Malcolm McDowell in Gangster No.1 - Good predictions Razor, Ytrewq, Shaggy (X2), and Brazinterma. McDowell delivers a proper ferocious portrayal of a vicious gangster, yet is also oddly heartbreaking in his portrayal of a man realizing the meaningless of his life.

Best Scene: "Number one"

Updated Overall

Next: 1955 Lead

Alternate Best? Supporting Actor 2000: Jeremy Irons in Dungeons and Dragons

Bad Actor Struggling not to laugh at Good Actor's HAMMM

Essential awkward boot shot

Jeremy Irons did something in 2000's I think, to say he did not receive anything would be a bit silly in this instance he's playing Mage Profion or something I think, I'm shoe give a sjit. Thora Birch certainly doesn't who gives the greatest performance of someone not caring about anything evne slightly since Bunny Breckinridge in Plan Nine Frm OIuter S[ace. How about that CGI dragon as well, and to think this was mde only a year befroe Fellowship of the Ring, even by the same studio. Anyway I guess Im';m ahere ot trtiteiona baout Jeremy Irons in this film. H'e's argeat actor I think that is obvious, thiss isn't his finest work infa ct you could say you see a man who is eyeing his pay check the whole time and can obviously tell is director's sddnest particualry careaobuanta kkmcuh of anything bit like youtrs truly trightn now. Nw I've covereed performances of great actors in abad films before, although suprirsekd to say this, Robin Hood Prince of Thieves and Street Fighter are both much better films than this rare is the day you can say that. Irons also unlike Alan Rickman and Raul Julia isn't in this film much so how much entertainment the talented actor can bring to garbage is limted anyaways. I actually I'll amdit aafiafand Birch's reading slowly off cue cards more entertaining by its level of lifeliness. 

Random Guy: Remember the Paycheck Jeremy, Jeremy: I Know.

 

This image speaks for itself.

Unrelated Image of Bob Newhart

"I'm Sleepy"

 

"I know this is a bad movie...but that's your take Thora? Maybe I'm trying too hard"

"Eh, screw it! let's live it up!!!!!"

Okay okay, I'll try a little harder than this film....though then why did a do so many pictures....just a little harder though in terms of writing because I want to praise Raul Julia and Alan Rickman a bit who I think pulled off something Irons doesn't quite do here. This is as much as both those performances are riffing on their films there is devotion to their audience in a way all the same, and their conviction within a scene actually is evident despite their purposeful lack of subtly at times...to put it subtly. They both want to entertain us despite their less than stellar material. Irons on the other hand is mostly doing whatever to entertain himself mostly it seems, in the basic exposition scenes Irons goes for a general gravitas, but he'll randomly grit his teeth and "RAGE", which is kind of funny, but also maybe a little too random. These are too brief, I'll give it to him for his "LET THE BLOOD RAIN FROM THE SKY" he was clearly entertaining himself as he earned his castle payment, but I was entertained too. Mostly though Irons is doing more than this film deserves, but not quite enough for him to truly go beyond its awfulness. He's hamming it up, but...not quite that honey glazed good stuff. It's a little fatty, a little chewy, a couple of good bites, but....eh not quite there. And that's why you're chopped...or you get it a three on the Shaw scale.