10. Keith Kupferer in Ghostlight - Kupferer gives a convincing and very moving portrayal of a man finding a healthy way to release his pent up trauma.
Best Scene: Court deposition.
9. Hugh Grant in Heretic - Grant elevates the entirety of the film just through his off-beat deliveries and quietly chilling moments.
Best Scene: Monopoly.
8. Daniel Zovatto in Woman of the Hour - Zovatto gives a terrifying performance by convincingly portraying both the false charm and brutal cruelty of his serial killer.
Best Scene: Letting a victim live.
7. Jesse Plemons in Kinds of Kindness - Plemons artfully manages the film's unique tone to deliver on the deadpan comedy along but with some genuine emotion buried within that.
Best Scene: Twisted request.
6. Timothée Chalamet in Dune Part II - Chalamet gives a properly charismatic hero's journey for much of the film but then takes it to the next level by twisting it into something nefarious by the end of the film.
Best Scene: Rallying the Fremen.
5. George MacKay in The Beast - MacKay gives multiple compelling performances, including a wholly convincing portrayal of repression and a terrifyingly convincing portrayal of the build up of a psychotic.
Best Scene: First vlog.
4. Josh O'Connor in Challengers - O'Connor gives a dynamic portrayal of one part of a love triangle, with a particularly effective weaponization of charisma both when it works and when it doesn't.
Best Scene: Failing to get a room.
3. Nicholas Hoult in Nosferatu - Hoult takes the traditionally thankless role of Jonathan Harker (here named Thomas Hutter) and running it through his sheer acting talent by making the emotional and actual horror he goes through so brutally real.
Best Scene: Ending.
2. Cillian Murphy in Small Things Like These - Murphy delivers such a modest yet wholly impactful portrayal of a man slowly committing to action and living up to his empathy.
Best Scene: Choosing to help.
1. Sebastian Stan in A Different Man - Good predictions Tony, Lucas, Robert, Matt, Tahmeed, A, Ytrewq, Luke, 8000's, Jonathan & Brazinterma. Stan easily tops this list for me, despite loving many other performances. Stan gave the only performance that gave me any doubt on who my #1 should be. As Stan through his entire output in 2024 has proven to be an immense talent. Here giving such a dynamic, tangible but also hilarious realization of a one of a kind journey for a character.
Best Scene: Pretending to be Oswald.
Overall Ranking:
- Adrien Brody in The Brutalist
- Sebastian Stan in A Different Man
- Colman Domingo in Sing Sing
- Cillian Murphy in Small Things Like These
- Sebastian Stan in The Apprentice
- Nicholas Hoult in Nosferatu
- Josh O'Connor in Challengers
- Mike Faist in Challengers
- George MacKay in The Beast
- Timothée Chalamet in Dune Part II - 5
- Ralph Fiennes in Conclave
- Jesse Plemons in Kinds of Kindness
- Daniel Zovatto in Woman of the Hour
- Hugh Grant in Heretic
- Keith Kupferer in Ghostlight
- Lars Eidinger in Dying
- Nicholas Hoult in The Order
- Joseph Quinn in A Quiet Place Day One
- Brian Tyree Henry in The Fire Inside
- Izaac Wang in Didi
- John Magaro in September 5
- Brandon Wilson in Nickle Boys
- Ethan Herisse in Nickle Boys - 4.5
- Daniel Craig in Queer
- Kyle Gallner in Strange Darling
- Missagh Zareh in The Seed of the Sacred Fig
- James Le Gros in Good One
- Andrew Garfield in We Live in Time
- Josh Hartnett in Trap
- Lakshya in Kill
- Jude Law in The Order
- Jason Schwartzman in Between The Temples
- Michael Keaton in Beetlejuice Beetlejuice
- Jesse Eisenberg in A Real Pain
- Dev Patel in Monkey Man
- Putthipong "Billkin" Assaratanakul in How To Make Millions Before Grandma Dies
- Nicholas Hoult in Juror No. 2
- Pierre Niney in The Count of Monte Cristo
- Aaron Pierre in Rebel Ridge
- Viggo Mortensen in The Dead Don't Hurt - 4
- Gabriel LaBelle in Saturday Night
- Jonno Davies in Better Man
- Glen Powell in Hit Man
- Ben Whitehead in Wallace & Gromit: Vengeance Most Fowl
- Kieran Culkin in A Real Pain
- Owen Teague in Kingdom of the Planet of the Apes
- JJ "DJ Próvaí" Ó Dochartaigh in Kneecap
- Tom Hardy in The Bikeriders
- Austin Butler in The Bikeriders
- Ryan Gosling in The Fall Guy
- Tommy Dewey in Your Monster
- Ben Whishaw in Paddington in Peru
- Brian Tyree Henry in Transformers One
- Taron Egerton in Carry-On
- Chris Hemsworth in Transformers One
- Ryan Reynolds in Deadpool & Wolverine
- Jake Gyllenhaal in Roadhouse - 3.5
- Raul Briones in La Cocina
- Egill Ólafsson in Touch
- Charlie Plummer in National Anthem
- Glen Powell in Twisters
- George MacKay in The End
- Joaquin Phoenix in Joker: Folie a Deux
- Josh Brolin in Brothers
- Eddie Peng in Black Dog
- Paul Mescal in Gladiator II
- Tom Hanks in Here
- Liam Óg "Mo Chara" Ó Hannaidh in Kneecap
- Naoise "Móglaí Bap" Ó Cairealláin in Kneecap
- Timothée Chalamet in A Complete Unknown
- Rene Perez in In The Summers - 3
- Adam Driver in Megalopolis
- Justice Smith in I Saw the TV Glow
- Eddie Murphy in Beverly Hills Cop: Axle F
- Peter Dinklage in Brothers
- Kelvin Harrison Jr. in Mufasa: The Lion King
- Aaron Pierre in Mufasa: The Lion King
- Isaac Krasner in Big Boys
- Ryland Tews in Hundreds of Beavers - 2.5
- Wagner Moura in Civil War
- Palmi Kormakur in Touch
- Julio Torres in Problemista - 2
Next: 1986 Supporting after the Oscars.
35 comments:
Louis: Your TOP 20s for Lead Actress and Supporting Actress, alongside any 5+ performances in each?
Tell from the year 2024 which are your TOP 10 best:
- Posters
- Cast
- Blockbuster Film
- Great Scenes
Louis: May you please do Top 30s for Best Actress and Supporting Actress with 4+ honourable mentions.
Over the moon with Eggers getting the win for Director.
My recommendation is Keith Michell in Henry VIII and his Six Wives (1972 Lead).
Louis: What gave Eggers the edge for you and your thoughts on the cast of Dying.
Louis: Thoughts on I'm Still Here's cast, screenplay and direction?
Louis: Your top 10 scenes and acting moments of 2024, you can do a top 15 for the former as I know there's a lot of great sequences amongst your favorite films.
My request is Nicol Williamson in The Seven Per Cent Solution.
Louis, your ranking of the 20 nominated performances this year?
Luke, your ranking of the Nicol Williamson performances you've seen
Louis: Your top 10 male leading performances of the 2020s so far.
Louis: Not to add too much to the pile of thoughts, but your thoughts on Guy watching Oswald sing at the karaoke?
Alongside Guy's complete breakdown, that is my single favorite scene from the film.
Anonymous:
1. The Bofors Gun/Excalibur
3. The Reckoning
4. Hamlet
5. The Wilby Conspiracy
6. The Seven-Per-Cent Solution
7. Inadmissible Evidence
8. Robin And Marian
9. Return To Oz
10. The Wind In The Willows
11. Spawn
For 86 Supporting with Stockwell recently requested:
Tom Noonan in Manhunter
David Bowie in Labyrinth
Ray Liotta in Something Wild
John Glover in 52 Pick Up
And if you have time, quick write-ups on Michael Caine in Mona Lisa, Lance Henriksen/Paul Reiser in Aliens and Vincent Price in The Great Mouse Detective.
Maybe Bill Murray and Levi Stubbs in Little Shop too?
Louis: For the lineup page and review, could you use a screenshot of Clancy Brown's church scene from Highlander.
Louis: Could you add Elliott Heffernan in Blitz to your Lead ranking, and Benjamin Clementine in Blitz and Robbie Williams in Better Man to your Supporting ranking?
Louis, your top Lead and Supporting Actress Performances of 2024?
Nice list btw. Top 10 all 5’s.
Louis: Now that 2024 is over, tell us your Top 5 in the other categories: song, sound editing, sound mixing, editing, VFX, makeup & hairstyling and costume.
I loved the image of Corbet on the Best Director page.
You could put an image for Tarantino. If you find something more fun, I think you could put him as Deacon in Little Nicky.
Louis: Meant to say request for Keith Michell in Henry VIII and his Six Wives.
Also, where do you rank David Dastamalchain for LNwtD?
Luke:
I wouldn’t say there was an obvious “edge”, rather Eggers once again made something really hard look incredibly easy from him with an expansion on a bit as the particular emotional catharsis in the ending Nosferatu was a bit different from his previous films.
Eidinger - (His performance is one of quiet reflection however succeeds as such and I think importantly by playing it as modest as he does he keeps him from becoming sort of a smug type that he could’ve been in the wrong hands. His work very much is frequently in the reaction and interaction with his co-stars. As in within every relationship, despite always taking the quieter road within his performance you get such a distinct sense of the emotional stakes, whether that is his quiet devastation as his mother tells him the truth, the immediate complications with his sister, his attempts at support with his stubborn friend and his attempt to maneuver between his unusual romantic relationships. Eidinger naturally finds the connection each time in such a believable fashion where you sense the history in his modesty. He’s also terrific in the way of presenting the sort of artistic inspiration within his conducting in a way that brings us into his emotional state of heartbreak but also of finding that inspiration in such genuinely emotionally powerful ways.)
Stangenberg - (Her performance on the other hand is the opposite of modest and rather owns just the intensity of her character and basically her living in the moment every second of her existence. Something that she owns marvelously and creates such a wonderful force of personality throughout the film. It would’ve been easy to become a caricature but she balances so well between creating a real charisma where you do see her getting the joy in her life, while also conveying the underlying self-destructive tendencies within that way of throwing herself into any situation seemingly without care for what the impact will be. Stangenberg through the moments we see her is exceptional in essentially being able to be both the surface and the depth of her character’s journey. We see her finding the depth within the behaviors rather than just making them behaviors for the sake of it. Well also just being so very dynamic in every scene she is in. She is a ball of fire, but also a hot mess in equal measure where she is compelling to watch yet never is it just for the sake of it. You also sense where it is within her existence and history.)
Harfouch - (Although she’s good in her other scenes in presenting basically the wear of life as she’s dying and reacting while struggling herself in dying. Her performance really comes down to her extended scene with Eidinger where she is incredible in just laying out so much history in a particularly painful way because Harfouch presents with this not quite detachment but this kind of acceptance of herself in her choices in life even though they don’t make her son feel any better. Harfouch’s performance is always bluntly believable, crafting the sense of this coming to her conditioning of her own thoughts as just her making good on her beliefs without really caring what she is saying, since she is dying.)
Zehrfeld - (Mostly excels with his chemistry with Stangenberg, where he brings the right matching chaotic quality, though he balances it nicely with the sense of just a bit of reservation at times before being pulled right along with her particular kind of thrilling madness. Where you see in his performance that thrill she gets from her, even if you also see a certain quiet shame of letting himself get pulled in each time.)
Gwisdek - (His performance honestly tests you as he does play an insufferable guy, and he doesn’t really hide that insufferable nature of him. Gwisdek though I think manages to get by because while he certainly plays into that note, he does so in a way that is convincing without every feeling like just playing the note. That is behind that note we see the very much messed up guy who is on the verge of a mental breakdown every second of his life, and basically tries to combat that through his degree of pompousness right down to his final choice that ends with the same type of pompousness. Although I’ll say he’s great in his exact final moment by showing all that front is gone in his last moments and just portrays the real humanity beneath it all.
A:
Torres - (What a tremendous performance that begins so quietly honestly because what Torres right does is not assume importance on the story of the character as it opens, we don’t have any sense that she will be important, rather what we see actually is the contrasting as the somewhat more reserved wife and mother compared to her husband who is a bit more outgoing. Torres though does so much even within that reserve to bring such a naturalistic quality that helps us enter so fully into the intimacy of the world and the household. We’re just part of this world, within it, with the children where we are granted an innate understanding within Torres’s performance of her relationship with each of her children and her husband. There is nothing dramatic about it, it's just reality in the best of ways and Torres wisely keeps her own work within herself for much of the film until the start. Her performance in the first night of the occupation essentially Torres is outstanding in just slowly realizing the growing concern and the eerie nature of the situation before she too is taken. She is absolutely stellar because we see that reserved woman forced out of any of it into this situation, where she brings you into her mind so viscerally within the surprise, disgust and horror of it all, while also reinforcing her intense concern for her husband and her daughter who was taken with her. Every second of the incarceration sequence Torres illuminates so potently because it isn’t just the emotion of the moment, as powerful as that is, but it is also the woman we feel we’ve come to know in the first act going through this hideous treatment. The sequence after her release within her bath to wipe off the filth of imprisonment is outstanding work because you feel all the trauma within the cleaning in just what is a fascinating fully physical moment, but feels absolutely emotional thanks to Torres’s performance. Her performance has a fascinating shift afterwards where we see no longer the reserved woman, though she often technically is, but rather the woman needing to hold up that reserve for the sake of her children. Torres is amazing the way she is able to grant so much nuance to the nature of someone holding it together, but showing where before she was just who she was, now she is in this constant struggle to try to maintain that normalcy in front of her family. Torres making any break in front of them of frustration or even a hint of her own heartbreak at what is happening has such a tremendous impact each and every time by the way she layers this work. That is however combined with
such naturalism in the practicality of the woman working to survive such upheaval in every sense, where she does bring this innate strength in her performance that is so captivating to watch, but it isn’t ever singular. You see rather the way she still needs to work for these shifts in order to enable her family to survive. Torres creating so potently the complexity of the circumstances by revealing where we see her having to make the tough choices and Torres bringing those into the emotional state behind them that she then tries to keep with her children, while also just bringing us intimately in her alone or nearly alone moments of the absolute devastation she is experiencing. Her work is heartbreaking and utterly inspiring in equal measure, and never does she feel like an intangible icon, rather a very real person going through all of this. And if that wasn’t enough, in the time jump she doesn’t change people but she so naturally reveals the changes of the character, in terms of her age, but also the sense of someone who not only continued to fight for the truth of her husband but also the fight against injustice in general. Her presence is different in the right way in that you feel those years in between in the way Torres presents her age, and herself. Creating a more sentimental element, but also even greater directed determination. And while I personally wouldn’t change this film as is, Torres’s performance is so fully realized that I certainly wouldn’t mind if she ever went about depicting the in-between years given she makes Eunice Paiva such a memorable protagonist.)
Montenegro - (Obviously a very brief performance, and the intention behind it is just the obviously perfect casting by filling in for her daughter in the most natural of aged up casting. And it was nice to see her in general, but her one bit of clarity in the moment still gives Montenegro a great chance to make her own impact in the role, where you still see that spark of the woman so wonderfully in that moment.)
The Children - (I’ll say collectively they are all so good in just making the family feel just completely real and honest in every respect. There isn’t a moment that feels inauthentic as each performer just feels so much honestly their own, which often is just portraying the life lived very much day to day without a great deal of emphasis, yet when there is something more traumatic, they are just as authentic in those moments. There’s no break in any of the children in terms of their performances; they all feel consistently real and are essential in helping to craft that intimate reality the film manages to achieve.)
Salles’s direction genuinely surprised me, and I certainly liked his work in Central Station, the level of detail in his sense of place and the visual choices to convey this I found extremely impressive throughout. So many moments are defined by the framing and composition, or the blocking of the actors in such ways that amplify this tangible feeling of the interior of the house, the intimacy of the family that felt almost Ozu like in just how easy it became to connect to the inside of this house, and exact nature of the time they exist in with the certain touches when we leave the house. It isn’t a direction about the big swings but this quiet connection for much of it, so when there is the removal of an essential facet we feel that and how he plays with that visually is remarkable in such a modest way. I particularly speak of the final sequence before the time jump where he gives you such a striking sense of the central loss by just showing the house with the life of the family removed from it.
The screenplay I will say is great and I bristle so terribly when I saw someone describe the film as a standard biopic. As if it was, it would go through the life of Eunice Paiva with a “then this happened” but that isn’t the approach. The approach is to focus fully on the family and what we get within the first act is just being part of the family, there are the edges naturally of the discussion of the political situation but it is just part of the dialogue as one would typically discuss. It is as focused on giving us the moments of each of the family members just living their lives, so we kind of become quite comfortable in these lives, giving far more time than any standard biopic would to this segment and by doing so makes us feel truly part of the family, before that gets ripped out from us. But even the writing behind that is great because it unfolds matter of factly, and from Eunice’s perspective. So then when she is taken to, the sudden shift is something that happens to her and to us, as we too feel trapped and interrogated. And the result then is not a story about righteous indignation, though that element is there, but it is only a natural aspect of how Eunice would react. It still stays with the family, now though we see how the family continues and in some ways falters with the lack of their dad. It gives the detail to this new experience and we feel that loss. Building towards the finale of leaving the house which is the climax of the film in its tremendous exploration of the family not Brazil. Some might’ve wanted the latter, but I think by not doing that, it gives us a genuinely unique film but also makes us feel the latter by seeing it through such visceral and intimate terms. Now the first time jump, I don’t understand why anyone describes it as sudden given there is such a build up to leaving the house and ending that phase of their life. And the first time jump I feel is a great extended epilogue in showing how the family continued and just giving the bits and ending on such a powerful note of the home footage of a final reflection and acceptance. Now I’ll say I probably didn’t need the final, final time jump, but I certainly didn’t mind it at all, since I won’t say no to Montenegro, and also just shows the continuation of the family with the new family portrait as an echo of the old one.
Brazinterma & Luke:
Lead Actress:
1. Fernanda Torres - I'm Still Here
2. Mikey Madison - Anora
3. Marianne Jean-Baptsite - Hard Truths
4. Lilith Stangenberg - Dying
5. Ariana Grande - Wicked
6. Angelina Jolie - Maria
7. Lily-Rose Depp - Nosferatu
8. Demi Moore - The Substance
9. Margaret Qualley - The Substance
10. Nathasha Lyonne - His Three Daughters
11. Usha "Taew" Seamkhum - How To Make Millions Before Grandma Dies - 5
12. Willa Fitzgerald - Strange Darling
13. Soheila Goelstani - The Seed of the Sacred Fig
14. Masha Rostami - The Seed of the Sacred Fig
15. Setareh Maleki - The Seed of the Sacred Fig
16. Nell Tiger Free - The First Omen
17. Zendaya - Challengers
18. Lea Seydoux - The Beast
19. Lily Gladstone - Fancy Dance
20. Zendaya - Dune Part II
21. Emma Stone - Kinds of Kindness
22. Katy O'Brian - Love Lies Bleeding
23. Shahana Goswami - Santosh
24. Ryan Destiny - The Fire Inside
25. Cynthia Erivo - Wicked
26. Preeti Panigrahi - Girls Will Be Girls
27. Vic Carmen Sonne - The Girl With The Needle
28. Lupita Nyong'o - A Quiet Place Day One
29. June Squibb - Thelma
30. Florence Pugh - We Live in Time
And:
Kani Kusruti - All We Imagine As Light
Lupita Nyong'o - The Wild Robot
Saoirse Ronan - The Outrun
Hunter Schafer - Cuckoo
Divya Prabha - All We Imagine As Light
Renate Reinsve - Armand
Kristen Stewart - Love Lies Bleeding
Sophie Thatcher - Heretic
Chloe East - Heretic
Sarah Snook - Memoir of a Snail
Anna Kendrick - Woman of the Hour
Mia Goth - Maxxxine
Lily Collias - Good One
Elizabeth Olsen - His Three Daughters
Carrie Coon - His Three Daughters
Vicky Krieps - Dead Don't Hurt
Jessie Buckley - Wicked Little Letters
Nitanshi Goel - Laapataa Ladies
Pratibha Ranta - Laapataa Ladies
Amy Adams - Nightbitch
Daisy Ridley - Sometimes I think About Dying
Nykiya Adams - Bird
Winona Ryder - Beetlejuice Beetlejuice
Olivia Colman - Wicked Little Letters
Maika Monroe - Longlegs
Supporting Actress
1. Felicity Jones - The Brutalist
2. Trine Dyrholm - The Girl With The Needle
3. Joan Chen - Didi
4. Emily Watson - Small Things Like These - 5
5. Michele Austin - Hard Truths
6. Kanu Kusruti - Girls Will Be Girls
7. Carol Kane - Between the Temples
8. Autumn Best - Woman of the Hour
9. Renate Reinsve - A Different Man
10. Corrina Harfouch - Dying
11. Alicia Witt - Longlegs
12. Dolly De Leon - Ghostlight
13. Monica Barbaro - A Complete Unknown
14. Aubrey Plaza - Megalopolis
15. Sunita Rajwar - Santosh
16. Martina Scrinzi - Vermigilio
17. Maya Hawke - Inside Out 2
18. Aunjanue Ellis-Taylor - Nickel Boys
19. Danielle Deadwyler - The Piano Lesson - 4.5
20. Anna Baryshnikov - Love Lies Bleeding
21. Rebecca Ferguson - Dune Part II
22. Toni Collette - Juror No. 2
23. Chhaya Kadam - All We Imagine As Light
24. Isabella Rossellini - Conclave
25. Darya Ekamasova - Anora
26. Isabel DeRoy-Olson - Fancy Dance
27. Tanya Maniktala - Kill
28. Elle Fanning - A Complete Unknown
29. Alba Rohrwacher - Maria
30. Kiernan Shipka - Longlegs
And:
Shirley Chen - Didi
Fernanda Montenegro - I'm Still Here
Adria Arjona - Blink Twice
Leonie Benesch - September 5
Pretty great year for the Lead Actress category.
Great List! Interesting you take Zendaya in Dune Part II as lead. That’s one I debated in my head, but ultimately settled with supporting. But she could easily go lead.
And in the and section the actresses playing the daughters in I'm Still Here.
Brazinterma:
Posters
1. Anora (Black Red)
2. Challengers (Sunglasses)
3. The Brutalist (Statue of Liberty)
4. Anora (Red bed)
5. The Brutalist (Sparks)
6. Kinds of Kindness (Triangles)
7. Memoir of a Snail (Large shell)
8. The First Omen (Black and White Cross/Church)
9. A Different Man
10. Sometimes I think About Dying
Cast:
1. Sing Sing
2. Anora
3. Dying
4. I'm Still Here
5. The Brutalist
6. Nosferatu
7. Hard Truths
8. A Different Man
9. The Apprentice
10. Dune Part II
Blockbusters:
If we're saying over 150 million.
1. Nosferatu
2. Dune Part II
3. The Wild Robot
4. A Quiet Place Day One
5. Inside Out 2
6. Wicked
7. Kingdom of the Planet of the Apes
8. Alien: Romulus
9. Beetlejuice Beetlejuice
10. Twisters
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