Alternate Best Supporting Actor 1999: Results

5. Anthony Wong in The Mission - Wong manages to give a particularly impressive turn, as he manages to find depth in a paper thin role.

Best Scene: Relief after confrontation.

4. Gary Cole in Office Space - Gary Cole masters the art of malevolent indifference through his consistently hilarious turn.

Best Scene: Meeting the two Bobs.

3. Harry Lennix in Titus - Lennix gives a terrific turn as he revels in the insanity of his story and makes the most of his villainous part.

Best Scene: The Moor's confession

2. John C. Reilly in Magnolia - Reilly gives a beautiful turn managing to find such a genuine heart in his portrayal of a caring but lonely officer of the peace.

Best Scene: The date.

1. Robert Carlyle in Ravenous - Good prediction Michael McCarthy. Carlyle gives essentially several different brilliant performances in one. This as a haunted victim, a rabid scoundrel, a devious fiend or as a most peculiar philosopher.

Best Scene: Calqhoun goes loco.

Updated Overall

Next: Going on semi-hiatus until the Oscar nominations, though as is becoming tradition, I'd appreciation any recommendations for films from this year, years I've already covered or animated, TV films or documentaries from any year.

Alternate Best Supporting Actor 1999: Anthony Wong in The Mission

Anthony Wong did not receive an Oscar nomination for portraying Curtis in The Mission.

The Mission follows a group of hitmen hired as bodyguards for a marked for death triad boss. The film certainly has style, potentially a compelling plot even, but sadly it is a far too thin on character.

The idea of the hitmen working together seems prime for some colorful characters and some great interactions. Well unfortunately that's is not the case with either the former or the latter. All the hit-men are painfully underdeveloped with barely even a minor gimmick to set each one apart. The most compelling of them is Wong's Curtis, not because he's written any better or because there is anything particularly different about him in terms of the scenario, rather it is because he's played by Anthony Wong. Wong's a naturally magnetic actor so that helps of course, but it is really everything about his performance that grants the slightest hint of a substance to Curtis. There is nothing in the dialogue or anything more, but Wong manages to fashion a world weariness in his manner that grants  a history to him in every scene. This is as he brings the ease of the true professional but the way he maneuvers in the group he grants a sense of separation and exasperation of a man whose been through before, perhaps too many times. There is both of sense of cool that Wong brings to this, but also that sense of wear. Wong delivers so much in his eyes, in just the way he examines a situation and looks upon the other hit men. You see Curtis quietly examining the men and the situation, and again evokes the sense of the man's long time in the business. Of course none of this is actually seems to be in the script. Wong just seems to making the character up really with just some extremely perfunctory lines to go with, which are largely stand around and say one line of action or exposition. Wong though does everything in his power to make something of his part of the film, this includes the completely unearned climax where the hitmen have to face one another. Wong's emotional intensity in the scene is terrific and reflects a substance we sadly are not warranted in the film. His final scene is also a brilliant piece of acting of the face of satisfaction of the man finally being allowed to lose through the tension of the job and the situation, while being able to do so with his head held high. I have to commend Wong here, because he makes something out of nearly nothing and one can only imagine the great performance he could have delivered with an actual three dimensional character.

Alternate Best Supporting Actor 1999: John C. Reilly in Magnolia

John C. Reilly did not receive an Oscar nomination for portraying Officer Jim Kurring in Magnolia.

Magnolia follows the intertwined stories of the various desperate people heading towards a biblical connection. John C. Reilly is an actor who has had a rather atypical career. This in that he hasn't exactly ever been set within his place as a performer, even though he's not quite a character but isn't exactly a leading man either. What that does though I suppose is leave Reilly as an actor who can surprise, and was able to surprise throughout his career in terms of the roles he would play. Before the 2000's attempted to pigeonhole him somewhat as a comic sidekick, something he did well but even that has only been part of his career, he was more so directly a reliable character actor for mostly indie fair in the 90's. The highlight of this portion of his career being his collaboration with then up and coming wunderkind Paul Thomas Anderson. This in his secondary leading turn in Anderson's debut Hard Eight, a memorable supporting turn in Boogie Nights, that in someways would prelude his later comic turns, then finally here as one of the essential characters of the film, being the focus of his thread of the overarching tapestry. This thread perhaps attempting to give you the most hope in humanity in showing us Reilly as officer Jim who opens the film as he attempts to investigate a domestic disturbance.

Reilly is wonderful as Jim even in these scenes in the very professional respect as he does his job. This as Reilly makes the most of his voice, which often is used for comedy for a reason, with its certain softness and general affability. Reilly wields that particularly effectively here though in delivering his lines of the officer with that general affable quality though constricting it slightly. This making Jim's statements do command the appropriate authority as he speaks. This with Reilly making this very specific emphasis on words of Jim doing his job, portraying well this sort of confidence in attitude approaching doing his work while also presenting the man as attempting to disarm any hostilities at the same time. Reilly manages to make a convincing combination between a man who is enforcing the law but also attempts to do it in a way that does create hostilities if necessary. I especially love how Reilly manages this as it would been easy to make Jim come off as a jerk, but creates the right balance. This as even as Jim becomes rightfully flustered at a woman hiding a dead body from him, Reilly even asks the necessary inquiry of  "what the hell is this, Marcie?" regarding the body, he still suggests it as not an immediate judgement by rather offering the opportunity for explanation even as Reilly portrays him as rightfully shaken.

The crux of his performance though relates to when Jim comes across the daughter a famous game show host, Claudia (Melora Walters), based on a noise complaint. There is many a detail Reilly gets impeccably right about this, but the first of them may be his absolutely sincere expression of love at first sight when he initial opens the door and sees Claudia. It is a pitch perfect closeup by Reilly as he instantly expresses his instant infatuation with her. All the same though Jim attempts to do his job first and foremost, and again it is on the surface where Reilly does also excel. This is that Jim not only investigates the disturbance but also technically lectures on it. This seen earlier as he asks a little boy, attempting to give him clues, to not swear and when talking to Claudia and asking her to remember to keep her music low to respect her neighbors. The sort of lecturing tone though is one of the best things Reilly realizes though as he manages to deliver these with a sternness but this underlying warmth. It is just a bit though as Reilly manages to accentuate this positive sense of concern even as he pries about a visitor that upset her. Reilly is able to create again that balance that is definitely of a police officer who takes his position seriously, however no one who abuses his power, but rather someone who wants to make sure that everyone is safe and can live their lives.

The first scene of Jim actually is preparing for his day, where we also hear him leaving a message for a dating service that helps to define the character, and Reilly's performance. Unlike many of the things that may cause a desperation, we don't actually see this in Jim truly, rather even in this opening this need is delivered as a hopeful statement, essential in creating what is at the center of the film a beautiful, if troubled relationship. After that initial reaction I love that Reilly doesn't pile on the infatuation but does portray Jim making sure he does his job first and foremost. This all except the immediacy of his concern of her earlier domestic disturbance, that Reilly delivers with such strict sincerity as he asks her not to joke about a murder police code. Reilly eyes evoke only the absolute concern, although even this is not of purely someone he is smitten with but also just as a caring police officer. This is until he leaves where he does ask her for a date, and I love basically how scared Reilly makes Jim in this moment. It is this wonderful combination of desperation and affection, of a man who knows the situation is not ideal, but also conveys this need to make a potential stand towards happiness. Although between then and the date, Jim unfortunately gets lost in the rain, into a fire fight and loses his gun. A moment of complete desperation where Reilly is moving by making this anxiety even has the same earnestness of a good man, in a rough situation. The date itself is one of my favorite scenes, in a film I love, given that both characters are operating on a different wavelength, yet the same one at the same time. I love it as clearly as Walters portrays Claudia on the verge of a breakdown, Reilly portrays solace in the complete and utter fascination he has in her as a man genuinely in love. This is even as he reveals his own desperation, Reilly is able to even speak the words with a sense of comfort not to explain himself as broken, but rather show he too is in no way perfect. Reilly throughout the scene is great because he portrays Jim's love so directly against the cautiousness of Claudia, right down to that perfect immediacy of his "yes I do", when she asks if he wants to kiss her. I love Reilly's work here as it carries such a real tenderness, particularly in his final narration that underlines each word as a man, a police officer, who doesn't define his life through judgement but rather concern.

Alternate Best Supporting Actor 1999: Gary Cole in Office Space

Gary Cole did not receive an Oscar nomination for portraying Bill Lumbergh in Office Space.

Hey what's happening. Umm, I'm gonna need you to read this review, okay, that would be great. Well, the thing is, it is important to make sure you recognize Gary Cole. Yeah, recognize him, because you don't want forget that, mmmkay. Yeah, it's his work here that's essential to the film. Right. You see his performance is one of those that works based on playing just so well into a one note, that defines the character, and doing this is what would make be great. You see, Cole's slow nearly monotonous delivery that borders between a indifference and a sinister disregard is what helps to make his lines just work so well okay. You see as a representative of corporate VP monotony Cole accentuates that monotony as insatiable and effortlessly consistent. A hilarious degree of indifference to common decency, that is malevolent while just so very relaxed and "approachable". But here's the thing, the hilarity of the performance very much exists within its strict consistency. I mean what's happening, is that Gary Cole is sort of underrated as the stylized comic turns go, and here's the thing, Cole's work is iconic for a reason. Mmmaky, see it's just great how he can just give such a wonderful portrayal of caring so little, with so much disregard for anyone other than his TPS reports. Hey, here's the thing, though I just need him to be funny in a few more situations, and he is by again maintaining that consistency, mostly. This in a fantastical nightmare scenario of Lumbergh having sex with the same degree of monotony as asking for someone to come in on the weekend. Yeahhh, and just take the moment for his one scene of defending his own job, where we get a break from the typical Lumbergh stability, with a great eye shift before returning to his old chestnut, of "yeah". So what I'm slowly saying here, this is a delightful portrait of pure evil.

Alternate Best Supporting Actor 1999: Robert Carlyle in Ravenous

Robert Carlyle did not receive an Oscar nomination for portraying F.W. Colqhoun or does he...in Ravenous.

Watching Ravenous once again, it once cemented itself as one of my favorite relatively modern films that was critically panned. This in its realization of a tone that tips towards just the right type of ridiculousness while still effectively telling this horror tale/western of sorts. Where I already covered Guy Pearce in his essential straight man performance as the conflicted Captain Boyd who is sent off to a remote army base after an act of heroism/cowardice in the Mexican-American War, I did not give the time to Robert Carlyle who first appears as a stranger who wanders into the base late into the night. A man who claims to be a survivor of an ill-fated trek into the mountains which led to cannibalism. Carlyle, using his natural Scottish, brogue at this point is merely the beginning of his brilliant performance that will stand on a ledge, however here though that doesn't appear to be the case This is as Carlyle delivers Colqhoun's recitation with the absolute sincerity and honesty. The crippling fear is real and grants the tale a truly haunting quality. This in his eyes of presenting a man who has seen an absolute horror in this experience and a man nearly broken by the experience. There is no reason to suspect anything is afoot with Colqhoun as not only do the character's words seem to ring true, as does Carlyle's performance which seems to be that of a damaged survivor. Of course the soldiers who decide to go to the cave where the horror occurs, as well as the viewer have no idea just what Carlyle has in store for them.

The first inkling comes as Colqhoun comes in with the most unexpected behavior of licking the wounds of one of the soldiers on the trek to the cave. This even though Carlyle portrays this effectively as a madness related to a trauma. Again though Carlyle depicts this with earnestness of this through expressions of a self-loathing and fear of the spoken action. An anguished admission of a man pained by seemingly this overwhelming guilt, more than willing to be bound by the man to ensure their safety. When they arrive to the cave of cannibalism and murder, we see Colqhoun fall upon his knees in gripping terror, which again Carlyle presents as the sheer truth of it that disarms any concerns. This becomes a fantastic bit of physical performance by Robert Carlyle though as this initial writhing of a man earnestly in pain slowly segues to this strange madness. This as grips this animalistic, wolf like, manner in his flaying hands, an jutting motions that is just great in creating this transformation in the man, as it is revealed that he is in fact the murderer and cannibal having led the man into a trap. That it is just hunting season for the man, and just fair game for a bit of insane entertainment in Carlyle's wild performance. This as he quite fittingly becomes quite rabidness, practically drooling as he bears his teeth in great delight to literally seek the blood of the men.

I love Carlyle's balance here as he does purposefully go into the heightened, to the point though that it is just is marvelous for the film's intentions. This as he does carry a genuine menace as he reveals himself as this monster, but is also just a blast to watch as he goes about it. This in that amazing grin that bears his face, and darting eyes that are both of a blood thirsty psychopath, and a man having the time of his life. What makes it so special to me though is it is a brilliant darkly comic performance all at the same time, with he exact timing of reactions. I especially adore his wild smirk just after the man revives from a gun shot that should've killed or at least severely injured a normal man. The Carlyle's sheer joy is that of perhaps the joy of performance, but also just a perfect fit for this cannibal enjoying every last moment of the hunt. Essential in the success of this I feel though is Carlyle doesn't become one note, as extreme and potentially, and somewhat purposefully, absurd of a note he is working with. Carlyle though knows exactly how to play with this absurdity, by offering that balance and knowing exactly when to amp it up and tone it down a bit. Another favorite of mine of the sequence being his hilarious delivery of "that is so annoying" when a gun misfires on his target, that Caryle brings such a great casual manner to, before returning to his diabolical predator eyeing his kill before telling him to "run".

I mean I would probably already be satisfied with Carlyle's performance here as he already delivered the believable portrait of a survivor, then a completely deranged turn as a man consumed with animal lust for humans, but Carlyle still has not one but two more shades to play. This is after Pearce's Boyd, the sole survivor, returns to the camp, and finds that his new commanding officer is one Colonel Ives, who just happens to be Colqhoun. Carlyle is fantastic in demonstrating yet another character here portraying a cool and collected manner, further amplified by now fashioning a refined accent for a proper soldier it would seem. Of course no one believes Boyd's outlandish stories, leaving him as the only one to accuse Ives of being the psychopathic cannibalistic murderer. Carlyle is once again quietly hilarious in his overly unassuming manner as the "innocent" Ives just seems confused by the questions and suspicions of Boyd. Again though I love how Carlyle moves between the face of such innocence, to these perfect little knowing glances towards Pearce, saying without saying "Yes, I know exactly what I'm doing here, and you can't do a thing about it". This eventually leaves Boyd in the sparsely populated camp with Ives as the commanding officer, and it is in this where we get what might be my favorite single "performance" of Carlyle within this performance, although that's hard to say for certain. Carlyle nonetheless is amazing as he portrays the man in his most devious form, though also seemingly most civilized no longer burdened by a fake anguish nor currently lusting after blood, being quite satiated at the moment.Carlyle though now fashion almost a whole new villain, even if it feels like a natural extension of the rabid cannibal we had met before, in portraying this sinister charisma as he essentially preaches the worth of eating other humans. Carlyle is magnificent in that he brings such understated yet palatable passion and conviction within these statements. He absolutely dominates these scenes with this overwhelming presence of a man with far greater power at his disposal. This creating a sense of an absolute command of a man truly made virile by his most unorthodox means, and now quite assured in his path to conquer through cannibalistic ways. This as he attempts to tempt Boyd into joining him, while also mocking him a bit, which Carlyle portrays with such maniacal glee. This is again as it is just fun to watch Carlyle perform here, even as he also completely sells this completely ridiculous idea in a way that works for the film and for creating a truly striking and memorable villain. This is every phase of the characters though as Carlyle gives a great performance whether he is the broken man, the growling monster, the confused soldier, and the uh...life style guru.

Alternate Best Supporting Actor 1999: Peter Sarsgaard in Boys Don't Cry

Peter Sarsgaard did not receive an Oscar nomination for portraying John Lotter in Boys Don't Cry.

Peter Sarsgaard portrays the central role of the film of one of the eventual rapists and murderers of the central character of Brandon (Hilary Swank) after discovering Brandon to be transgender. Sarsgaard's performance, though overall small within the overall scope of the film, is an essential facet of it. Sarsgaard's performance is interesting in that he has a limited amount of material to work with however does make a striking impact, well beyond the obviously horrible actions of the man. Sarsgaard's work isn't that of the traditional timebomb, that of the slow descent, but rather that of a landmine. This is as we first meet John as appears to be at least a slightly charming good old boy who befriends Brandon. Sarsgaard manages to deliver a very convincing charisma in the role. It isn't something that is too overt, yet it penetrates his scenes effectively with this strange allure. We see this particularly early on where he encourages Brandon to break the law by attempting to out run police through a dirt road. Sarsgaard's prompting has this cunning ease about it in that he is very much tempting the situation however Sarsgaard does well to downplay the moment. This in this particularly lurid prompting that makes his suggestions to do bad seem like the right thing to do as it seems just so easy. Of course Sarsgaard is also just good in portraying the seeming comfort of the man in the moments of cordiality between seeming friends and family. Sarsgaard portrays an amiability of a man when all things appears to be just fine for everyone, most importantly himself.

Sarsgaard though is a landmine though in that this in the portrayal of man slowly swallowed by his worst intentions. Sarsgaard rather reveals the real threat of the man throughout the film in moments of outbursts, aka any situation in which anyone causes John the slightest inconvenience. Sarsgaard depicts a chilling immediacy to these moments with a viciousness in the moments merely where John becomes slightly annoyed. In those instances though Sarsgaard depicts the intensity of a killer just set in a different direction. Sarsgaard delivers the vile hatred even in the moments of just kicking people out of a car showing the true nature of the man simply as something dormant, but also ready to come out at the slightest push. That push coming out in full force once John discovers the truth about Brandon leading first gang rape then the eventual murder. Sarsgaard is terrifying in these scenes of sheer brutality by delivering the visceral hate of the actions, but also just the lack of any hesitation. Sarsgaard portraying the ease of the act due to it simply being the nature of the man he had shown throughout the film, but had not allowed one to realize its true terrible potential until it was far too late. Sarsgaard avoids any cliche regarding the character, particularly for basically a psycho hillbilly, rather presenting directly both a real man and a real killer.

Alternate Best Supporting Actor 1999: Bryan Brown in Two Hands

Bryan Brown did not receive an Oscar nomination for portraying Pando in Two Hands.

Bryan Brown plays Pando the head local gangster, whom Jimmy (Heath Ledger) is attempting to get in the good graces of, though does anything but throughout the film. Brown's performance on the immediate surface seems to be right in the line of the mentor gangster characters. Of course Pando really isn't too much of a gangster, though seen by such as Jimmy, however Brown emphasizes this idea in his performance. This as even as we see him seemingly in his "might", Brown adds a bit of posturing in his manner of calling Jimmy for a job. Brown showing a man who certainly believes in his own power, though perhaps isn't so much if you scratch the surface at all. Brown emphasizes this furthermore as we see him in his place with his men, where he plays board games, rather than any typical gangster fair. Brown's portrayal of this though is just with the slightest bit of intimidation, as lightly as possible, and really not far off from a standard boss rather than a legitimate gangster. Brown portrays a rather casual manner, that effectively borders at first between a man just comfortable in his space, as questionable as that is, but also perhaps too comfortable in perhaps just being a layabout going in for easy money. The latter perhaps becoming the truth the more we get to see of Jimmy. After Jimmy accidentally fails his first mission to deliver 10,000 dollars, we begin to see the bad side of Pando. Although again Brown is hilarious by still keeping the same manner as really essentially just a lazy man, as he casually discusses needing to kill Jimmy with the same manner as he speaks to one of his kids.

Brown is terrific in that he does create a slight menace merely in that casual discussion of "doing" a guy, while still at the same time slowly revealing that Pando is far less than Jimmy had thought of him in more ways than one. What I like most of Brown's performance though that in the technically pathetic nature he brings out of Pando, he also does reveal a bit of humanity, even if misspent in a way. This in his delivery of treating Jimmy's girlfriend, even as he intends to murder Jimmy, with the absolute courtesy and even a bit of sadness at the whole thing. He emphasizes this all the better as he and his crew take Jimmy to be killed. This where Jimmy offers a real alternate, Brown expression of a real fear and worry, as though he may being doing the wrong thing. Brown in a sense portrays both how at the same time he's both a terrible gangster and human being, even though he is attempting to be both. That sequence opens the film, however we eventual return to it into a scene of wonderful dark comedy as Pando and his crew fail to kill Jimmy due to having only a corroded gun to use. Brown is hilarious in his delivery of his frustrations as he questions his men, again being so earnest in his concentration while also so lacking in any real menace. Brown portraying a man trying and really failing even to be a proper, non-gangster boss.The final nail of this though is in Brown's final scene where Jimmy comes back, with the money. This with Pando initially misunderstanding as an attack, and the all too weak delivery Brown offers as he tries to instruct his men to kill Jimmy before he pulls out the money. Brown's wonderful in the shift to overly accommodating in praising Jimmy for doing a job well done, and again the failure of the act is what makes Brown's performance works so well. This as we see nothing but a fool pretending to be so far more than he is, which is only confirmed when he finally has a gun in his face, and Brown shows only but petrified fear in his "cool" gangster. This all being one wonderful long act of Brown portraying his mob boss who the more we see of him, it all becomes an obvious act by Pando himself to be a mob boss.

Alternate Best Supporting Actor 1999: Harry Lennix in Titus

Harry Lennix did not receive an Oscar nomination for portraying Aaron the Moor in Titus.

As I mentioned in my review of Anthony Hopkins's lead performance in this Shakespearean adaptation, Titus is a whole lot in every way right down to the original source material that is Shakespeare's most insane play. This requires one to absolutely try to own their space of it then in terms of the acting, which brings me to Harry Lennix. Aaron the Moor initially appears as one of the prisoners taken by general Titus (Hopkins), along with Tamora (Jessica Lange), Queen of the Goths and her two sons. Where Tamora's villainous ways are propelled technically by Titus killing one of her sons, Aaron the Moor is a villain basically because, why not. This idea something that Lennix holds onto, and runs with it, which is the best decision he could've possibly made. Of course as needed for such an approach Lennix reveals a mastery of the Shakespearean verse with the ease of his performance, this to the point he quite nearly sings the part. This making the most as the conspirator in the film whom we are given his direct thoughts as he goes about bringing about Tamora's vengeance. This including his earliest scene of rounding up Tamora's ridiculous sons, this Lennix delivers with an impeccable command in his manner that evokes the control Aaron seizes towards the plan, with piercing eyes with a focus on some specific target of his that is without noble intention.

Now the one argument one can make for his great motivator is his affair with Tamora, however even this Lennix delivers as something Aaron brandishes. This lust not defining his own motivation, but rather just some further enjoyment in his living experience that is that of the fiend. I love Lennix's physical manner in these early scenes where he portrays this calm manner. This that does two things. The first that is that of the man to avoid suspicion as he seems as though he is but an observer, however also in this Lennix offers also a man seemingly in the perfect seat to enjoy the chaos he has wrought. My favorite instance of this being as he encourages Titus to cut off his own hand in order to receive a pardon for his condemned son. Every single one of Lennix's reactions plays beautifully into the absurdity of the situation, however by granting a sense of sinister son. The highlight of this being his sort of sly glance of joy of "here we go"just before cutting off Titus's appendage. Lennix portraying Aaron as basically living his best life in the moment, that brings the needed heightened style really both to the film's style but also really the absurdity of Shakespeare's story as well.

Lennix above all captures a needed sense of fun to the material, which is essential as to take Titus Andronicus too seriously would be as serious of a mistake as writing serious too many times in short succession. This even in the reveal of his affair with Tamora through Aaron's child with her, with Aaron bluntly putting to her unknowing sons that he had indeed "done their mother", which Lennix delivers with a perfect shamelessness. Aaron deeds though eventual do meet their natural end as he becomes the prisoner of Titus's noble son, Lucius (Angus MacFadyen), although Lennix's performance is only just getting started at this point. This as Lennix reveals his "deeds" in order to save his son. Lennix to his credit naturally brings just a bit of sincerity within his expression of concern for his son, and effectively connects that concern as the only humanity the Moor has to offer. Lennix is marvelous as subverts that only humanity instantly as Aaron begins his confession. This instantly with such insatiable glee in every word in describing not only his affair with empress but also the destruction of Titus's family including the rape of his daughter. Lennix delivers each line with such devilish jubilation and such intense venom in every breath. Lennix captures this spirit of evil, not defined by a specific vengeance, but rather this thrill as though this endeavor has been the man's life calling. Lennix is absolutely magnetic throughout his speech of a true misanthrope, as he speaks of his thousand evil deeds with his only regret not committing a thousand more, which Lennix offers with the swagger ill-fitting of a confession however ideal for a boast. Although Titus frequently doesn't work, every moment in which Lennix takes center stage it does. Lennix offering such an entertaining work, which finds the ideal tone for the material, in creating the one fiend in the story who suffers no delusions regarding his fiendish ways.

Alternate Best Supporting Actor 1999

And the Nominees Were Not:

Harry Lennix in Titus

Robert Carlyle in Ravenous

John C. Reilly in Magnolia

Gary Cole in Office Space

Anthony Wong in The Mission

With Additional Reviews of:

Bryan Brown in Two Hands

Peters Sarsgaard in Boys Don't Cry

Alternate Best Supporting Actor 1999: Results

6. Laurence Fishburne in The Matrix- Fishburne is mysterious in his first scene, and a fine mentor in the rest of the film.

5.  John Malkovich in Being John Malkovich- Malkovich playing Malkovich is rather enjoyable to watch as he portrays Malkovich no matter who happens to be in his head.

4. Christopher Plummer in The Insider- Christopher Plummer gives a strong performance as Mike Wallace portraying the differences between the performer and the man in the case of a television journalist.

3. Alan Rickman in Galaxy Quest- Rickman gives a very entertaining deadpan performance that delivers.

2. Philip Baker Hall in Magnolia- Hall gives a powerful performance as a dying regretful man that stands well among the greatness of his film. 

1. Sam Rockwell in Galaxy Quest-Well no one predicted Rockwell would win so no one wins! Just Kidding. Good Prediction koook160 (Robert MacFarlane). Sam Rockwell actually was easily chosen by me as I loved every moment and every facet of his performance. He makes the most as the former red shirt, who does not want to go as quickly as his character. He is absolutely hilarious in every scene, but even manages to be honestly believable in the fears of his character as well.

Overall Rank:

1. Robert Carlyle in Ravenous
2. Sam Rockwell in Galaxy Quest
3. Tom Cruise in Magnolia
   
4. John C. Reilly in Magnolia
5. Alan Rickman in Galaxy Quest
6. Philip Baker Hall in Magnolia
7. Harry Lennix in Titus
8. Bryan Brown in Two Hands
9. Jude Law in The Talented Mr. Ripley
10. Philip Seymour Hoffman in Magnolia 
11. Michael Clarke Duncan in The Green Mile
12. Gary Cole in Office Space
13. Michael Jeter in The Green Mile
14. Harry Dean Stanton in The Straight Story
15. William H. Macy in Magnolia 
16. Hugo Weaving in The Matrix
17. Sam Rockwell in The Green Mile
18. Christopher Plummer in The Insider
19. Timothy Spall in Topsy-Turvy
20. Angus Macfadyen in Titus
21. John Malkovich in Being John Malkovich
22. Jason Robards in Magnolia 
23. Robert Carlyle in Angela's Ashes
24. Stephen Rea in The End of the Affair
25. Doug Hutchison in The Green Mile
26. Bruce McGill in The Insider
27. Stephen Root in Office Space
28. William Sadler in The Green Mile 
29. Tony Shalhoub in Galaxy Quest
30. Peter Sarsgaard in Boys Don't Cry
31. Anthony Wong in The Mission
32. Jefferey Jones in Ravenous 
33. Martin Savage in Topsy-Turvy
34. Paul Giamatti in Man on the Moon
35. Philip Seymour Hoffman in The Talented Mr. Ripley 
36. Ving Rhames in Bringing Out the Dead  
37. Jeremy Blackman in Magnolia 
38. James Woods in True Crime
39. Donnie Wahlberg in The Sixth Sense 
40. John Goodman in Bringing Out the Dead
41. Chris Cooper in American Beauty
42. Ron Cook in Topsy-Turvy
43. William H. Macy in Mystery Men
44. James Coburn in Payback 
45. Greg Kinnear in Mystery Men
46. Enrico Colantino in Galaxy Quest
47. Joe Mantegna in Liberty Heights
48. Vin Diesel in The Iron Giant
49. Kevin McKidd in Topsy-Turvy
50. David Herman in Office Space
51. Ray Winstone in The War Zone
52. Tom Waits in Mystery Men
53. William Hurt in Sunshine
54. Max von Sydow in Snow Falling on Cedars
55. Tommy Flanagan in Ratcatcher
56. Sidney Pollack in Eyes Wide Shut
57. Orson Bean in Being John Malkovich
58. James Cromwell in The Green Mile 
59. Geoffrey Rush in Mystery Men
60. Spike Jonze in Three Kings
61. Daryl Mitchell in Galaxy Quest
62. Cliff Curtis in Bringing Out the Dead
63. Orlando Jones in Liberty Heights
64. Danny Devito in Man on the Moon 
65. Wes Studi in Mystery Men 
66. Laurence Fishburne in The Matrix
67. Philip Baker Hall in The Talented Mr. Ripley 
68. Cliff Curtis in Three Kings
69. Orland Jones in True Crime
70. Ajay Naidu in Office Space
71. John Tormey in Ghost Dog: The Way of the Samurai
72. Chris Cooper in October Sky
73. Kris Kristofferson in Payback 
74. William Devane in Payback 
75. Isaach de Bankole in Ghost Dog: The Way of the Samurai
76. Tom Sizemore in Bringing Out the Dead
77. Christopher McDonald in The Iron Giant
78. Barry Pepper in The Green Mile
79. Dennis Leary in True Crime
80. Willem Dafoe in Existenz
81. Colm Feore in Titus
82. Ice Cube in Three Kings
83. Michael Gambon in The Insider
84. David Morse in The Green Mile
85. Philip Baker Hall in The Insider
86. Joe Pantoliano in The Matrix
87. Danny Aiello in Summer of Sam
88. James Woods in Any Given Sunday
89. Jay O. Sanders in Tumbleweeds
90. Alan Cumming in Titus
91. Fabrizio Rongione in Rosetta
92. Henry Silva in Ghost Dog: The Way of the Samurai
93. Delroy Lindo in The Cider House Rules
94. Jay O. Sanders in Music of the Heart
95. Simon Yam in The Mission
96. Frances Ng in The Mission
97. Lam Suet in The Mission
98. Roy Cheung in The Mission
99. Samuel L. Jackson in The Red Violin
100. Jamie Kennedy in Three Kings
101. Anthony Ray Parker in The Matrix 
102. Jamie Foxx in Any Given Sunday
103. Michael Caine in The Cider House Rules
104. Meat Loaf in Fight Club
105. Gavin O'Connor in Tumbleweeds
106. Jared Leto in Fight Club
107. Billy Connolly in The Boondock Saints
108. Rhys Ifans in Notting Hill
109. Alec Baldwin in Notting Hill
110. Matthew Rhys in Titus
111. Jonathan Rhys Meyers in Titus
112. Dan Hedaya in The Hurricane
113. Wes Bentley in American Beauty

Next Year: 1974 Supporting

Alternate Best Supporting Actor 1999: Laurence Fishburne in The Matrix

Laurence Fishburne did not receive an Oscar nomination for portraying Morpheus in The Matrix.

The Matrix although certainly is not a favorite film of mine, I will admit it is pretty well done.

Laurence Fishburne portrays the elusive Morpheus who tries to convince Neo (Keanu Reeves) that he is in fact not living in reality. At first Fishburne is heard only over the phone, finding very little about him, until then he finally meets Morpheus in a strange dank room, with Morpheus dressed in black, with even darker sunglasses. I will give Fisburne credit in this scene in that he conveys a great deal of mystery with his delivery of every line, and certainly make the scene very compelling, as well making Morpheus a character you want to learn more about.

As soon as Neo wants to learn more of the truth though, in fact right after he chooses the pill Fishburne completely changes his performance from that of mystery man or mentor. Although to be fair to Fishburne this does fit Morpheus's motivation, since once Neo will join him, he really does not need to draw him anymore, and just needs to train him. Fishburne though drops all the mystery and becomes a tough, but still warm mentor in the film. He handles it well in that as he tells basically the whole plot of the film to Neo he does it with a considerable degree of conviction.

Through the rest of the film he is the Mr. Miyagi offering advice, and training Neo. Fishburne does this well enough always delivery the way he needs to in his role, even if there is anything particularly special about his method though. Later on in the film he has the scene where he is psychologically tortured which again Fishburne does handle well, but it is not exactly an amazing scene. Fishburne is consistently fine in his role from one scene to the next, and fulfills the mentor fairly well. It never amounts to much more than just performing the role well enough. 

Alternate Best Supporting Actor 1999: Alan Rickman and Sam Rockwell in Galaxy Quest

Alan Rickman did not receive an Oscar nomination for portraying Alexander Dane in Galaxy Quest.

Galaxy Quest is quite enjoyable Star Trek parody about a group of has been actors who find themselves in a situation much like one they would have been in their old show.

Alan Rickman portrays Alexander Dane a former Shakespearean actor best known by his role of Dr. Lazarus on the Star Trek like show Galaxy Quest. Long after the end of the show he only finds work doing appearances as the character with the rest of the cast. Although none of them are especially happy, Rickman portrays Alexander Dane as particularly frustrated by his lot. Rickman's performance emphasizes just how much Alexander hates having to best known for his role that he hates, despite what he believes he was capable of. Rickman is deliciously dead pan with his role as the actor who can barely hold back his disdain for his job of repeating his character's famous lines he despises, and as well for Jason Nesmith (Tim Allen) the actor whom he has no respect due to Nesmith's pompous self absorbed attitude. Rickman performance for quite awhile is filled with exasperated angry remarks, or reactions of the very same. Rickman technically speaking does not go for laughs with his part obviously, yet Rickman is hilarious with his performance utilizing excellent timing throughout the film.

As the situation becomes far worse for the actors Rickman actually stays firm in his portrayal for quite, awhile. Although he keeps up fairly the same manner, except with some moments where he must in genuine horror or concern for his own being, he still stays pretty dead pan. Rickman's act is so enjoyable though it never does get old. His performance manages to stay consistently funny through every situation, and he shows how a performance like this is done. Fairly late in the film as the situation becomes very dire though, and for a key moment Rickman brilliantly breaks the dead pan completely to deliver the line Dane hates, but due to the extreme circumstance delivers it with all his heart. It is a masterful moment for Rickman because he manages to make the moment both still very funny, but oddly poignant as Dane becomes his role in that moment. This is a very enjoyable performance by Alan Rickman, who takes his approach and goes with it marvelously. I can't say after watching it again that this is the best performance in the film.

As Sam Rockwell also did not receive an Oscar nomination for portraying Guy Fleegman in Galaxy Quest.

Now this is simply a problem that can happen when watching a film in the first time, or in this case watching a film for the first time in quite a while. Watching the film again I saw that it would be quite the injustice not to review his performance as well, as if I watched the film before I listed the nominees I would have chosen Rockwell actually instead.

Sam Rockwell actually does not play one of the has been actors, although Guy was on the show but only as crewman number 6 killed in the first act of episode 81. He actually seems to be a wannabe has been star himself when he first approaches the crew. Rockwell is very enjoyable as he tries his best to attempt to act cool, and be part of the crew even though being part of the crew really is not something particularly to be part of. Rockwell combines an honest enthusiasm with just the right amount of a pathetic quality. Rockwell really starts to shine though when his character gets far more focus when the crew, who he decides to join, go on the alien craft designed based on the old show. Rockwell proves from the first instant on the craft as four of the crew react in horror to meeting the aliens in their true form, how he will be the best part of the film. As his reaction is an intense but hilarious scream of horror that absolutely steals the scene, which certainly will not be the only scene that he steals.

In every scene that he is Rockwell is extremely enjoyable in each and every moment that he comes in. Just one great example of this is when they first take the ship off from a star base, and pilot is less than successful. Rockwell though to me acts as the funniest part of the entire scene in just his reaction of telling the pilot to move right. His little gesture is just perfect, and Rockwell consistently has great moments like that all through the entire film. The basis of Rockwell's story in the film is that the aptly named Guy believes that since he was just a nameless crew member on the show who was quickly killed off that he will likely be killed as well. Rockwell is just fantastic in his portrayal of Guy's fears, that keep him on a manic edge through a great deal of the film. Although the fear is a prevailing factor Rockwell's performance never becomes repetitive or one dimensional but instead is always entertaining.

One reasons this is that Rockwell plays with all the facets of this fear so well. Whether it is his more depressed, and hopeless screaming scene asking the rest of the crew if they even know his last name, which could come across as annoying but Rockwell method is only ever comedic gold. His screams of pains although are entirely convincing as screams of pains also are done in just the right way by Rockwell to make me laugh every single time. He just as efficiently more subtly portrays the fear as a internal dread within Guy as he goes on a ground mission with the crew. I particularly love the moment in which he looks at another alien species instantly recognizes what will eventually happen, with his great delivery of  "Did you guys ever watch the show?" to the rest of the crew due to his this time in a quietly intense and frightened manner that again still manages to be very funny.

Rockwell even manages to bring this fear into a rather strange heroism when the situation becomes quite dire. His speech about might as well go out a hero rather than a cowardly red shirt is superbly handled with strange by effectively degree of passion and fatalism. This is just a wonderful performance by Rockwell in every way though because he is able to be an entirely comedic performance while still managing to be entirely believable considering Guy's situation. I absolutely love this performance that is incredible in the scenes that focus on him, but as well by the way he seems to steal almost every other scene he is in through just the slightest reaction. He is the best part of the film, and I just had to review him.

Alternate Best Supporting Actor 1999: John Malkovich in Being John Malkovich

John Gavin Malkovich did not receive an Oscar nomination or portraying John Horatio Malkovich in Being John Malkovich.

Being John Malkovich which has quite a bit going on it is mainly about a puppeteer (John Cusack) who finds a portal in the mind of John Malkovich. I like parts of the film, but I do think it takes too many indulgences.

Despite getting some recognition for the role it should have been no surprise that John Malkovich was not Oscar nominated for the role of playing John Malkovich. After all a common, usually mistaken, criticism of many performances of certian actors is that they are merely playing themselves and deserve no credit. Well Malkovich seems to play himself, except of course for the fact that this movie John Malkovich has a different middle name from the regular Malkovich. Malkovich is suppose simply be Malkovich though in the film, but that does not mean this is a do nothing performance.

Although the film is certianly does not mind deprecating Malkovich in the way no one seems to know who he is, and do not really think much of him as an actor, as well as the scene where we go into his subconscious, Malkovich still plays the part of himself in a rather straight fashion early in the film. It really should be noted that the actually personal life of this Malkovich really is not gotten into, where only see him really reacting to everything else in the film, and being used by the other character. He really is not a particularly active character.

In the first half or so of the film Malkovich actually goes for playing himself in a rather realistic fashion, and there is not anything strange or out of the ordinary about his portrayal, other than of course he is John Malkovich which means this is a least some degree of strangeness anyways. Malkovich though actually is quite good in being how one would imagine a man in his very bizarre situation might be. Malkovich is not boring in anyway though, and through being a more realistic man standing within the oddness he actually able to effortlessly bring a great deal of humor in his performance.

Malkovich honestly shows a confusion at first as the strangeness goes on around, than slowly morphs into some degree of horror and anger over finding about the portal to his mind. Malkovich does well in portraying in a believable fashion while making it quietly funny, although he does this without ever making any jokes with his performance. It is not obvious comedic performance by Malkovich, but it work extremely well, although later on in the film Malkovich gets to do that sort of performance after the puppeteer takes control of Malkovich's body.

Malkovich has a lot of fun in the role embodying Cusack's performance from the film, although with one key by very brilliantly handled by Malkovich. The difference from Cusack's is that he is quite enthusiastic where Cusack was consistently depressed although it fits because the puppeteer has reached his dreams within Malkovich. It is an enjoyable and energetic performance by Malkovich playing a lot with the overly pretentious quality within the puppeteer as well as his amusingly emphasizing the pathetic qualities of the character.

Despite being quite tossed around in the role particularly at the end when he goes through three personalities in a matter of minutes, Malkovich makes all of it work out for the best. Although I do feel aspects of the film do go into self indulgence mostly on the part of Charlie Kaufman, but Malkovich despite the fact that he is in fact portraying John Malkovich falls into these problems with his personality. He seamlessly moves between the personalities that Malkovich must undergo, and makes sure to give an engaging performance no matter who happens to be using Malkovich at one time.

Alternate Best Supporting Actor 1999: Christopher Plummer in The Insider

Christopher Plummer did not receive an Oscar nomination for portraying Mike Wallace in The Insider.

Christopher Pummer despite winning and being nominated for several critical awards for his performance in this film. The academy though apparently did not find Plummer was someone who needed to be awarded for another ten years. This made particularly strange in that the film was nominated for best picture, so it is not that he was not on their radar. I suppose the veteran spot was merely taken by Michael Caine's wholly undeserving work in The Cider House Rules.

Christopher Plummer portraying 60 minutes interviewer Mike Wallace who works with Lowell Bergman (Al Pacino) to bring hard hitting news stories like that of a tobacco company whistle blower Jeffrey Wigand (Russell Crowe). Plummer really does not necessarily try to imitate Mike Wallace in his performance exactly, instead he more effectively becomes the role that Mike Wallace should be. Plummer has quite a well handled voice, and presence he puts on into his scenes in the film particularly when Wallace is in the process of interviewing someone.

Interestingly Plummer shows Wallace to actually put on a bit of a show when he is in action as an interviewer. It is not that it is a facade, but Plummer makes it abundantly clear that Wallace does in a way give a performance when he interviews someone. Plummer has a particularly strong method in the interview scenes as he creates a certain warmth within Wallace that would pull you into listening to him, yet underneath the warmth there is a great deal of sharpness as well that portrays well the way Wallace gets to the fact of the matter.

Christopher Plummer actually rather well even pulls in the performer of Wallace in other moments presenting the idea that Wallace's on screen persona comes in at times even off screen when it is required. Plummer handles this especially well, and it feels entirely natural since Plummer only does it when it fits the moment. For example when Wallace greets someone in public, or quite brilliantly when Wallace becomes the great newsman he claims to be near the end of the film, when he tells his boss he is going to do the right thing after all.

When Wallace is not on Plummer paints a different portrait of the man. What really becomes missing in his portrayal is the warmth of the interview scenes, and Plummer actually portrays him in what is a more down to earth, and flawed manner. Plummer does not strive from the flaws, although importantly he does make it clear that Wallace is an intelligent man, and the sharpness of his style is still apparent although in a far less charming fashion.

An important aspect of the film is that Wallace does not keep with Bergman all the way, when legal threats mount from telling Wigand's story. Plummer believably shows that Wallace does not really want to screw Wigand over, but rather he plays it as Wallace simply taking the easy way out. There is some redemption for Wallace as he does eventually try to show his protest through an interview even though even that is squashed, although Wallace does not take this lightly. Plummer makes the scene where he tells his distaste to the corporate weasels especially passionately and powerfully, making the scene a highlight of his performance and the film.

Technically speaking this performance is not one that is given a great deal of time within the film as the film is not the story of Mike Wallace after all. Plummer though makes the role his own, by firstly not just being some sort of imitation but in a far more striking fashion by giving his own take on the character. Secondly though whenever Plummer is on screen he does his best to give a compelling portrayal of the journalist that succeeds in pulling Wallace out of being just part of the background as he very easily could have been. If Plummer had to win an Oscar it most certainly should have been for this performance, since with this performance it would have been a much more deserving veteran win.

Alternate Best Supporting Actor 1999: Philip Baker Hall in Magnolia

Philip Baker Hall did not receive an Oscar nomination for portraying Jimmy Gator in Magnolia.

Magnolia interweaves several stories, and the reason it is such a great film though is that almost all of the stories are interesting and contain some strong performance from the great ensemble. Philip Baker Hall story is that of a legendary game show host who is dying from cancer. Jimmy Gator unless some of the other characters really is not man of transformation in any way, he certainly is not changed by the occurrence at the end of the film other than in a purely physical fashion. Gator's transition really has already occurred before we first see him.

Philip Baker Hall portrays Jimmy as a man really on his ropes end, but tries to continue on his life while knowing that he is dying. Hall is very effective as he shows Jimmy do his best to try to be his game show personality on the air, even as his past, and his current pains from the cancer are barring down on him. Hall though is very believable as he has Jimmy pushing through as well as he can, still having the energy for the job as the host of the game show, yet he subtly portrays that all is weighing down on him slowly becoming worse and worse.

Hall is particularly powerful though when his thoughts about his cancer and his past actions eventually come through. The seemingly far more competent and in control man of before losing everything about him, and Hall becomes a very sad portrait of the true distraught and regretful man Jimmy really is. His breakdown scene as he tries to continue hosting the show, but is unable to keep his thoughts together is made especially moving by Hall. It is a brilliantly played moment by Hall, as he is entirely genuine in the emotion of the moment.

The truth of Jimmy though is not exactly heartbreaking so to speak in that Jimmy is absolutely a bad man, and all of the regrets he does feel are caused by his own selfish and immoral actions. Hall though does not just portray Jimmy's regrets as something that is actually honest despite his past. What makes his performance stand out though other than the brutal emotional honesty, is as well that he still shows even in his regretful state that Jimmy still is too weak of a man to truly face his flaws as a man.

As with all of the stories within the film Hall comes in and out of the film, and he always manages to make to make a striking impact in all of his scenes. He creates in his interweaving scenes a complex portrait of the heavily flawed Jimmy. Although I would not say that Philip Baker Hall gives the strongest performance in the film, after watching it again that definitely goes to Tom Cruise, but Hall effectively makes his moments meaningful adding to the strengths of film.

Alternate Best Supporting Actor 1999

And the Nominees Were Not:

Alan Rickman in Galaxy Quest

John Malkovich in Being John Malkovich

Christopher Plummer in The Insider

Philip Baker Hall in Magnolia

Laurence Fishburne in The Matrix