Alternate Best Supporting Actor 2001: Alan Cumming in Josie and the Pussycats

Alan Cumming did not receive an Oscar nomination for portraying Wyatt Frame in Josie and the Pussycats. 

Josie and the Pussycats is a completely enjoyable silly comedic adaptation of comic/cartoon series of the same name, and basically succeeds where the following year's Scooby-Doo failed.

Why that is actually isn't some great mystery, as it basically takes the same overall approach as Scooby-Doo, which is to be both a sendup of the old while also still being the old. The difference is just that the jokes are better and so are the performances. To the point I do question what this film did to the critics who watched as it presents itself as silly fun, is silly fun, what more did they want? Anyway, the element that most realizes this fundamental fun is Alan Cumming, who is always a bit of a broad actor which is ideal for the over the top tone featured in this film. As we open with the presentation of a boy band that is every boy band of the period wrapped together as one and dictated terms by Cumming's Wyatt. Cumming's whole performance is going hard into a purposeful stereotype of the over the top English agent, with such an accent and just overt mannerisms in every choice. Choices that wholly work in this first scene where he's that, while also playing it as though he is a teacher handling some rowdy students as the band argue with one another. Cumming's directions to them being perfectly timed for some comedic gold, particularly his change to an extra stern voice when it seems like one of the band members might continue a conflict. Cumming easily accentuating each little bit of business in this opening. Something that immediately changes when the band asks about something weird in their album, to which Cumming's expression changes from exasperation of wrangling talent to overt evilness in his eyes as he immediately sets up the intended death for the band and literally parachutes off to find a new act to exploit. 

That brings us to the titular Josie (Rachel Leigh Cook) and the pussycats Valerie (Rosario Dawson) and Melody (Tara Reid), whom Wyatt doesn't find for their talent, just his ability to use them as he sees fit. Where Cumming again takes on the over the top agent demeanor as he offers them fame and fortune as though he is indeed narrating about fame and fortune himself. Cumming wonderfully plays around in the scenes with the knowing quality that his character is essentially this supervillain planning on putting them into a Faustian deal. Cumming riffs on the scenes brilliantly by often just accentuation of lines such as explaining why the band need to single out Josie, or whenever they question his swift dismissiveness of them consistently. My favorite bits though are his glances one way or another whenever he is directly alluding to his evil intentions whether that being a knowing glance one way, or just adding the right degree of sinister glee behind a certain line that speaks more so to the truth of his evil. Cumming playfully knows precisely what he is doing at every turn in just finding the hilarity in each bit. He's having the right kind of fun with it as being two types of over the top, villain and agent, and just running with it for some consistent comic gems every time he has pithy one liner delivered with venomous intention or swift side eye denoting his ever scheming nature. 

Cumming delivers a performance that I could just run down every moment to find something enjoyable there, but I'll limit to a few favorites. One where the band comments on former haters loving them now, and Cumming starting with the same phony reassurance that it is just a great part of being famous before noting getting back at one's high school peers usually requires ten year reunions, where Cumming's moment of looking inward for a moment, reliving some personal trauma in his silence for a moment before regaining his composure with a smile is absolutely hilarious. Another such bit when he, and co-conspirator head of the record company Fiona (Parker Posey) both laugh together in their evil scheme, and the two talented actors purposefully chew scenery together in trading their over the top maniacal laughs, and it is pretty glorious. My favorite bit however is when he's trying to isolate Josie from her potential boyfriend, and the other band mates, and to get her to listen to a brainwashing cd to turn her into an egomaniac. Cumming's great in his labored delivery of every lie to set-up that Josie's Alan M. isn't interested, before each time making a phone call to set up the line, with the most obvious immediate call each time, that again Cumming couldn't be more obvious in doing and couldn't be better. Highlighted though by his haughty phony anger when wagging his finger at Josie to cover up his obvious scheming. I'll even give credit to Cumming, and Posey by extension in their selling of a final bit where both villains reveal themselves to be old high school outcasts, a bit that on the whole didn't entirely work for me, but even then I enjoyed Cumming's one last change in his demeanor to suddenly have a extremely insecure American accent and a rather silly hangdog expression. One last bit however that exemplifies the entirety of his work, that knows exactly what film he's in and sells it to its fullest.

Alternate Best Supporting Actor 2001: Results

5. Justin Theroux in Mulholland Drive - Theroux gives an enjoyable turn by providing a reality of sorts within the film's mad dream as his hapless director.

Best Scene: Meeting the cowboy.

4. Ian Holm in Lord of the Rings: The Fellowship of the Ring - Holm manages to give a terrific balance between the warm father-figure and the pained man weighed down by a peculiar burden.

Best Scene: Letting go of the ring.

3. James Gandolfini in The Mexican - Gandolfini steals his film wholesale through his humorous, moving and surprisingly nuanced portrayal of an atypical hit man.

Best Scene: Reacting to the suicide. 

2. Paul Bettany in A Knight's Tale - Bettany gives a terrific turn that manages to find a proper mix between a classic orator and a barker cutting a wrestling promo.

Best Scene: *Scenes deleted*

1. Anthony Hopkins in Hearts in Atlantis - Hopkins delivers an especially moving turn showing his remarkable range in creating such a quietly warm character while also showing his great ability with child actors through his chemistry with Anton Yelchin. 

Best Scene: Helping Carol. 

Updated Overall

Next Year: 1952 Lead/Supporting (Not sure I'm going to do a lineup)

Alternate Best Supporting Actor 2001: James Gandolfini in The Mexican

James Gandolfini did not receive an Oscar nomination for portraying Winston Baldry in The Mexican.

The Mexican follows a low level criminal, Jerry (Brad Pitt), as he tracks down an ancient gun meanwhile he is being tracked by a hitman who has Jerry's girlfriend Samantha (Julia Roberts) in tow. The film actually is almost good and probably would've been far more successful if it embraced its more screwball leanings rather than its more serious ambitions, then again it could've approached the latter too however it would've required a far more assured hand. Its tonal imbalance is already found in the script but exacerbated by Gore Verbinski's equally awkward direction.

James Gandolfini plays Winston the hitman tracking Jerry via kidnapping his girlfriend. On the immediate surface this sounds like an expected role for Gandolfini best known for his portrayal of Italian American gangster Tony Soprano, and is also reminiscent of his underrated two scene wonder in True Romance, where he also shared the screen with Brad Pitt incidentally. This is as Gandolfini excels in this type carrying a striking menace with such ease. This finding this intensity he brandishes with the ease of a true career killer as he kidnaps Samantha while disposing of another potential killer. Gandolfini quickly and easily makes an impression as this killer, though the true nature of his character isn't as such. This is quickly found once Winston starts chatting with Samantha a bit about her difficult relationship with Jerry. Gandolfini's comedic chops quickly come out in his effortlessly incisive banter as he offers a bit of analysis. Gandolfini bringing the needed lack of shame in this finding the humor in it, but also managing to bring a certain honesty in the words. This is as even as he's listening Gandolfini's reactions show that Winston really is thinking about it before also delivering his own words of wisdom towards Samantha regarding his own opinion on their relationship woes.

There's quickly more than meets the eye to Winston as Samantha soon notices that he's checking out another man at a diner, figuring him successfully to be a homosexual hitman. That setup, especially in 2001, being prime for some serious overacting however Gandolfini wisely doesn't suddenly bring in any mannerisms, though he does successfully convey Winston's interest in the man in an honest way. This along with his certain shyness in admitting to the fact that he delivers with such a naturalistic mix of messy eagerness to be himself and hesitation to admit that all the same. Quite frankly I think the scene could've been terrible given exactly how the exchange is written, which skews towards the broad, however Gandolfini makes it work through his nuanced portrayal. Gandolfini doesn't trivialize the character at any point which is impressive, as the film quite frankly probably wouldn't have minded if that were the case. Gandolfini insists though on delivering a real honesty to the part worthier of a far better script. This as even as we see Winston engage with the mail man he and Samantha pick up, Gandolfini doesn't make it some camp relationship, as simplistic as it is written. Gandolfini offers a real emotional conviction within it portraying even the way Winston is swept up with this man to have this strict sincerity that grants a real tenderness and depth to the role. This is even as the script immediately says Winston found the love of his life, off screen, however the quiet joy in Ganodolfini's face does more than that as Winston explains a potential future for himself. The writing remains as thin when the mail man is soon murdered, however Gandolfini's heartbreak and anger is so real and quite frankly powerful he almost makes up for the weakness of the scenario as written. Gandolfini gives such a captivating turn as every little part of the character that feels like a lazy screenwriters short cut to creating a colorful character given to his part, he grants a real depth and vibrancy to. Sadly the truth of Gandolfini wholly stealing the film, without anyone else being aware apparently, becomes far too apparent as his character unceremoniously exits the film. I quite honestly sat there in disbelief as the film barely gave his character a second thought, and had the gall to go on without him. Thinking I suppose, that a random Gene Hackman cameo will save the day, I mean Hackman can do I lot, and is good as always, but the ending of the film feels so empty without Gandolfini. This is terrific work from him, even as the film fails to appreciate it, and makes me rather angry that this wasn't a film by say a Martin McDonagh or a Quentin Tarantino. This is as Gandolfini's work is deserving of a far greater film, but unfortunately he's stuck in The Mexican.

Alternate Best Supporting Actor 2001: Anthony Hopkins in Hearts in Atlantis

Anthony Hopkins did not receive an Oscar nomination for portraying Ted Brautigan in Hearts in Atlantis. 

The very same year Hopkins returned to his best known role, to the general public, as the sinister cannibal Hannibal Lecter, in a somewhat absurd reprise (Note: I've seen parts of that film, enough to know that there's no reason to return to it), he played a complete 180 of that part both perhaps in terms of quality and of course the nature of the role here. Hopkins portrays Ted Brautigan the newly arrived border to the home of widowed mother Liz Garfield (Hope Davis) and her young son Bobby (Anton Yelchin). There's something fascinating about Hopkins, and a testament to his range, as just as much he set one so easily on edge with his performance, he can as easily set one at ease. The idea of the older man interacting with the young boy, must be carefully realized, and any second thoughts are immediately assuaged by Hopkins's performance. There is a wonderful lack of concern as the somewhat shabby Ted arrives as the new border, just introducing himself with the impeccable demeanor of a kindly old man. This isn't the terrifying serial killer so many had come to know him for, but rather there is that grace about him that creates a wholly different presence. Hopkins finding this seemingly with such ease and sets up immediately that Ted will be a welcome guest for the rest of the film. 

The essential element of the film though, and what really is unquestionably the strongest element of the film, is the relationship between Bobby and Ted. Again this being something already so naturally realized by how Hopkins approaches this part. This will a welcoming manner, a quietly assuring voice, even almost a slight shyness though a shyness that creates a sense of honest humanity to Ted. His first scene major scene with Yelchin is just about perfect, and like in Shadowlands, it shows that Hopkins is natural when it comes to working with as well as helping to bring out the best of child actors. Hopkins exudes just this incredible warmth that is just part of his being as Ted that is something so very remarkable. Everything Hopkins does assures this real interest Ted has in the young boy, just as a friend, while offering a bit of mentoring in his own way. This as Ted encourages Bobby to enjoy his library card, a technically cheap gift from his mother, through his own knowledge of literature. Hopkins manages to be inspiring without becoming sentimental in his honest yet eloquent delivery. This as he accentuates but never overplays it. It is of course helped as Ted throws in a fart joke Bobby is sure to enjoy. That moment even though is so sincerely performed by Hopkins, as this natural bit of jest and true affability, which realizes the beginning of the relationship so effectively. 

Given that this is a Stephen King adaptation, not named The Shawshank Redemption, there ought to be a bit of the supernatural. That is found within Ted who seems to have a bit more natural of a foresight than even a well educated elderly man should have. This something he initially passes off as just a bit of insight, however early on Ted notes to Bobby he will have increasing moments of distance that seems connected with his unique abilities. These moments of being lost are especially well performed as Hopkins portrays just as possibly being lost to dementia as being lost to a supernatural power. Hopkins grounds that aspect, as he does the entirety of the power, which I love that Hopkins doesn't overplay his hand in this regard. Hopkins, instead, rather brilliantly, wielding his known intensity in a rather unique way. Obviously we've seen Hopkins brandish this most overtly in roles like Hannibal or as Richard the Lionhearted, but here Hopkins adjusts it naturally within the part of Ted. Hopkins has the intensity however he internalizes within himself and through very quiet, yet oh so incisive delivery. This most notably when confronting a bully of Bobby, where Hopkins calmly commands the moment. Again he does so with a stare that pierces right through the boy, similar to Lecter, but not quite as the righteous disgust defines Hopkins's modest method here. 

As good as Hopkins is in those moments of the supernatural, it is the down to earth relationship between Bobby and Ted that is so special. This is honestly that even as the film struggles itself to create something overall, each scene between Hopkins and Yelchin stand on their own. This largely dependent on the performances. Hopkins so carefully approaching every scene, even the moment of telling Bobby about his eventual proper first kiss, he avoids making remotely creepy in the abundance of warmth and understanding in his eyes. Hopkins accentuates a man who above else cares to help and encourage. This in part showing this careful joy in his face that grants the sense of an appreciation for the moment of just human interaction that Ted enjoys so greatly. Honestly quite a few of the lines given to Hopkins could've gone very wrong with the scenario however Hopkins finds his way around each of them. He  gives a masterclass on line delivery really, as he knows exactly when to adds a bit of comical edge, a little silliness, a bit of inspiration or the most direct honesty to each scene. Although I do wish there was a little bit more of a film around Yelchin and Hopkins overall, what they do together elevates the threadbare narrative. This as I found myself caring very much for their relationship and specifically for the quite old man that is Hopkins's Ted. This leading to the more dramatic moments rather powerfully. One being Ted consistently asking Bobby to watch out for "low men" looking for him, which finally realizes itself when the men appear while the two are visiting the city together. I love how Hopkins approaches this moment, as he manages to show how scared Ted is of being caught in the moment, while still being reassuring to Bobby as he helps him think "away" the men. The same is true for when Ted helps treat Bobby's friend Carol, after she is attacked by the bully Ted and they earlier had the confrontation with. Hopkins is fantastic in the scene by being so reassuring in his tone, and manner. This is showing a man unquestionably of goodwill trying to help an innocent abused, as he talks her through and Bobby through the difficult situation. Anthony Hopkins succeeds in creating such vibrant portrait of the kindly old man, that avoids the cliche of the supernatural mentor by bringing just that earnest humanity in every aspect of the character. This is probably one of Hopkins's most low key performances, but with that I think he shows his considerable range by making it is also one of his best.

Alternate Best Supporting Actor 2001: Ian Holm in Lord of the Rings: The Fellowship of the Ring

Ian Holm did not receive an Oscar nomination for portraying Bilbo Baggins in Lord of the Rings: The Fellowship of the Ring.

Ian Holm's role in the original LOTR trilogy is technically an essential, though in a way minor role as technically the hero of the previous book to the trilogy. That of The Hobbit where Bilbo was front and center the whole time, despite what overblown adaptations will tell you. Ian Holm then has an interesting role here in that he really must tell you a story you haven't seen within his own work as Bilbo, at least when the film originally came out, well really we still didn't see it. Ian Holm was the protagonist of the previous story, in fact it seems just the right for the role of any lead hobbit, and it is no surprise that he had in fact played Frodo (here played by Elijah Wood) in the 1981 radio adaptation. Holm's casting in itself was something that was just right from the very outset. Of course even the best casting can occasionally disappoint, however that is most certainly not the case here. The richness of Holm's work really is evident from his early narration explaining the nature of hobbits in general. Holm delivers the words with real texture of appreciation and warmth in explaining the quaint life of the denizens of the Shire. This sentimentality though nicely balanced with an equally sincere irascibility as initially mistakes Gandalf (Ian McKellen) for another "well wisher" for Biblo's birthday party that essentially opens the film, as brushes off Gandalf befitting an elder man who doesn't like to suffer fools. Holm's initial work has this sort of wonderful balance between the bitter and the sweet.

This is as we see a rather endearing sense of joy in his greetings and interactions to the old friend of Gandalf. This giving a sense of their old adventure even though we don't see it beyond glimpse. This being even more evident as he regales the children with his conflict with some trolls that Holm illuminates with a proper zest of living the dreams of the youth. In this though Holm effectively realizes shades of darkness, and not just a slight grumpiness to unwelcome "friends". This in the moment of reflecting upon his age, even though he doesn't look it, Holm evokes both a melancholy of age but also a painful weight upon his existence. That weight of course being the one ring of power he has been using on and off since his journey in The Hobbit. This becoming more evident when Bilbo decides to leave the Shire to "retire", thought not before one final confrontation as Gandalf insists Bilbo leave the ring behind. Holm is fantastic in the scene and very much indicates towards the eventually much praised work of Andy Serkis as Gollum, the previous twisted owner of the ring by the ring. Holm is terrific in portraying this fixation, that is obviously weaker than it what we eventually see in Gollum, yet conveys well the obsession as an addiction. This in portraying his accusations towards Gandalf as a vicious irrational reaction of the moment. When snapped from this by Gandalf, Holm delivers such an honest moment of clarity in his poignant delivery of Bilbo plea for forgiveness. His greatest moment in the introductory section of the film though is actually a silent one, as he manages to leave the ring on the ground and walk out the door away from it. Holm brings for a moment this fierce frustration and angry in his face, before this moment of purging it himself to almost looking to his future. Holm makes it such natural moment, and essentially creates this humanity to this fantastical concept of the lure of the one ring. Holm makes a proper impression helping to establish the world of the film, but through textured character. His Bilbo not only grants sight of what the ring means, but we also get sense of who he is and really the nature of hobbits. There is also Bilbo's return later in the film, when Frodo and his group find refuge in the Elvish valley of Rivendell. There Bilbo finally seems his age, and there is a brief but special moment between he and Elijah Wood. There in just a brief reaction from Holm you see both a sense of acceptance, though not without a twinge of somberness in Holm's eyes, of his old age. We are also granted just the utmost tenderness in his reunion with Frodo evoking if for a few seconds the sense of the relationship of a surrogate father to his adopted son. Holm's final scene in the film coming shortly there after as he prepares Frodo for his adventure. A similar scene to his confrontation with Gandalf, though technically the most extreme moment of temptation is handled by a puppet, nonetheless Holm's expression of regret towards Frodo is heartbreaking as he conveys the intensity of this burden he's place upon his beloved nephew. Holm's character here is but a minor role in the scheme of the epic, yet alluding the strength of the film, he still leaves a striking impression.

Alternate Best Supporting Actor 2001: Justin Theroux in Mulholland Drive

Justin Theroux did not receive an Oscar nomination for portraying Adam Kesher in Mulholland Drive.

Mulholland Drive is a masterful film seemingly about a Hollywood hopeful trying to solve a mystery surrounding a woman with amnesia she befriends.

Justin Theroux runs parallel to that story, as a director also living in Hollywood, though certainly not the dream. Theroux is an actor I haven't covered before, however mentions in the past haven't been particularly favorable. Theroux however is in the hands of David Lynch, who knows his way around finding the right actor for a given part, and Theroux seems onto the right part here. Although I should for a moment drift the eventual reality of the film, where we see Theroux in the traditional role of a Hollywood director. He's fine, he's confident with an expected undercurrent of smugness. That's all there really is to him, in that nightmare, or truth, but it is the dream that is more fun, or more remarkable as Theroux is concerned. Although Theroux must meet the requisite need to be within the moment of Lynch's world. Although Laura Elena Harring and Naomi Watts in particular do more of the heavy lifting in this regard, Theroux does do his part in offering sort of the reality in the surreal. This in two pivotal moments, one meeting the very mysterious and seemingly otherworldly "the cowboy" and spotting Watts's Betty as he tests actresses out for the central role in his film. Theroux's work in each is effectively straight forward in granting the very real anxiety and fear to the strange man, and the needed awe to the greatness that seems to be Betty. As always with Lynch, this grounding is essential to the effectiveness of these moments and Theroux more than delivers in these scenes.

The main crux though of his work involves Theroux obviously breaking reality himself a bit for predicting, or perhaps inspiring the existence of J.J. Abrams, who at the time this film was mostly unknown having not yet adopting his existence as Adam Kesher. Perhaps call me illogical myself for presenting this theory, however it is the truth, and I think Abrams himself is trying to tell us all that with his consistent mention of his "mystery box" storytelling ways. What film also features a mystery box, well Mulholland Drive of course, coincidence, I'll let you, and any local municipal psychiatric workers decide that. I believe my theory though holds true within Theroux's portrayal of the director that is Adam within the "dream", where he's not exactly having the best of days. This is obviously reflective of J.J. Abrams own lauded career of doing often hollow recreations of other better films, in that we see Adam experiencing of well weathered scenes though as a person, though also a bit more twisted than usual. We have the director having his dreams of control of his project rejected by coffee snob gangsters, not unlike a visionary director who in fact simply lives within the whims of a preconceived vision of other true visionaries and corporate overloads. Theroux's performance though works in capturing this weak willed disobedience in the moment with his flustered delivery of his objections. This is even as he physically wrecks the car of the men, via stealing a technique from Jack Nicholson, Theroux's way of running away from his vandalism isn't of some passionate artist, but of a child trying to get away with his pettiness. Theroux's performance works as this hilarious, near parody, of this sort of false artistry. This is continued as he lives through another tired scene, given vibrant life through the Lynch madness, of the director coming home to find himself cuckolded by a mulleted dude bro. Again Theroux's performance works in how underwhelming he is in his attempted act of defiance as he tries to ruin his wife's jewelry. There's no confidence, no strength, just this pathetic and very comical manner of a very weak man. Theroux's performance working as proper overwhelmed fool, who in the end falls in line delivering the expected despite claims to the contrary.

Alternate Best Supporting Actor 2001: Hayden Christensen in Life as a House

Hayden Christensen did not receive an Oscar nomination, despite being nominated for a SAG and Golden Globe, for portraying an emo punk...I mean...Sam Monroe in Life as A House.

Life As A House follows an architect (Kevin Kline), as he tries to reconnect with his family and build a house before he dies from terminal cancer. I must say this film, while watching/-re-watching films from 2001 there are some interesting dated aspects to certain films that do scream early 2000's, despite many other films achieving a more timeless quality. This is not one of those latter films with its musical interludes in particular. The film itself treads difficult material, and does not achieve greatness hoped for in attempting an Ikiru style story. I will say though I wouldn't quite call it a failure either, and is better than other overly sentimental films from the year like the cinematic abomination that is I am Sam for example. 

Hayden Christensen's nominations for this film are slightly difficult to decipher given the film was not a critical nor a commercial success. I do ponder the "I got there" first mentality may have played a role, as though he had yet to debut as Anakin Skywalker, to some infamy, but at the time there was still quite the possibility that all would've turned out well. With that perhaps there was a desire to designate the "new star" early, a star that would never come as we all know how his work in the Star Wars films went. Now I've mentioned before that Christensen did eventually give a good performance in Shattered Glass, however in that film, he successfully played a man who we shouldn't believe a single word from. In that he succeeded at being phony, which isn't something to hand wave, the film also played into his weaknesses in a way. I'm going on about these other things, because really Christensen here isn't some revelation of a misspent talent, or of potential wasted talent. He's pretty much the Christensen we've all come to exist with in his middling, to be somewhat generous, talents.

Christensen is a bit of a bland performer with a stilted way of delivering lines. That doesn't make him ideal for troubled emotional teenager, though perhaps a little better off then future menacing warlord. This is to say that Christensen's work here is in a role that many a viewers will quickly dislike as we open with him moody and angry towards everyone without much explanation early on. Christensen has a hump there in that his vocal diction and voice just sound a little hollow, and doesn't suggest any truth. So when he starts whining, not only doesn't it create empathy, it also leaves him a bit overcooked all the same. Christensen when he starts yelling finally a bit of emotion does peer through his wall of seeming disinterest. In those moments he borders on being okay, just don't leave the scenes where he says "I don't like" because one has instant flash forward to lines about sand. I'm really being more sarcastic than I should be because this isn't a terrible performance, even as it exists with Christensen seemingly fighting with his own presence, which is he carries a certain anti-charisma typically.

Christensen does get better as the film goes on, as honestly Christensen does best when he's not speaking, not the best praise one can give an actor, but it is positive mind you. Christensen's reactionary moments to hearing his father's thoughts on his own father, and not all bad. In fact he at is within the scene, and manages to carry some reflective emotion well. It benefits him though that Sam's emo phase that would make Mason from Boyhood blush (okay probably not) ends half way through the film, and Christensen is allowed a more straight forward turn as a earnest teenager trying to help out his father. Here Christensen does better, if not extraordinary work by any means, in just portraying this growth as a lack of overt emotionalism. Unfortunately once Sam is told the truth of his father's diagnosis we have a return to that which is not Christensen's strong suit. Christensen's breakdown scene again teeters towards the overcooked as again acting emotional leads to a bit of a stilted mess. Having said that, his scenes of reflecting on a greater appreciation towards his father, which Sam express through finishing his father's house, is Christensen's best in the film. The unsaid sense of sorrow but love is well realized looking upon his dying father. This as we see a matured individual and a better performance, even if the whole ending of the film honestly feels a little  rushed. Perhaps too little too late to save this turn as the weaknesses of Christensen as a performer are evident, but so is some talent as well.

Alternate Best Supporting Actor 2001: Paul Bettany & Mark Addy in A Knight's Tale

Paul Bettany did not receive an Oscar nomination for portraying Geoffrey Chaucer nor did Mark Addy for portraying Roland in A Knight's Tale.

To A Knight's Tale benefit beyond Heath Ledger's charismatic leading turn, is having a wonderful ragtag crew to tag along the way. One of these being Mark Addy's Roland who is loyal to helping Ledger's William Thatcher take him, and his crew to the top in the jousting circuit. The underrated Mark Addy really is here to do some right proper character actor work, and make the most out of whatever he can bring. This in part just giving such a winning and charming turn. This with this natural warmth within his performance that brings such an appropriately assumed friendship within the group. Addy delivers just the right earnest quality in this even in the moments of disagreement, which he portrays with just this genuine concern and care. This also though with the right enthusiasm within seeing his "boy" succeed or at least attempt to do so. This is with at time almost being the sort of "coach" character to Thatcher advising him towards his jousting career. Addy is an expert at really the  digestible type of exposition, where every line no matter how obvious it may be to setting of scene, is given a bit more color thanks to Addy's always spirited delivery. He never just says anything, but adds a nice bit of character in Roland. Of course this is with the needed bit of just the approach of enough cynicism within that as a friend who isn't exactly 100 percent assured of his friend's plan.  This making it so he can underline any given a moment with a bit more than there would be otherwise by offering either a bit in Roland's concern whether it be in a loving way, or more of a friendly bit of doubt.

Paul Bettany is eventually part of the ragtag group as well, but with a bit more "prestige" playing the eventually famous Geoffrey Chaucer evidently in a less successful time as he is initially found nude trudging a foreign country side. This role seems ideal for Bettany as he appears here in really what is just a fun film, for an actor who, for this brief period, would be best known for his more prestigious work. This sort of dynamic one can perhaps be seen at all from Chaucer's clothes, or lack thereof, even as speaks of a man of the highest academic class. Bettany makes it rather abundantly clear from the outset he will be a wonderful delight in his manner as he walks with a seeming purpose, and dictates every line as though he is speaking words towards which will be eventually cherished by all of mankind. This of course while obviously being a man without a single piece of gold to his name. Bettany though brandishes himself with this style of the great writer nonetheless, and is effortlessly entertaining as he ingratiates himself in the crew, for his own financial well being, or at least a decent pair of clothes. This though is partially a front as we see as despite helping Thatcher get into a tourney he also in turn runs up a debt almost immediately. Here though Bettany though is effective in portraying the desperate modesty of the man. This he portrays particularly well with this timidness of a man who hates himself to be in this state of weakness.

Chaucer off course prefers to be a man in his element, and it is most enjoyable to have Bettany in his in portraying Chaucer as a grand orator to "sell" the greatness of William. This being an arc in itself as Chaucer essentially builds up his showmanship throughout the film. An early example in the fighting pits that Bettany delivers with a bit rougher manner, but still a proper sale. Though Addy must be given credit for stealing the moment in his delivery out the side of his mouth the "yeah" to get the crowd going. A moment that apparently was needed during filming to get the non-English speaking crowd of extras going, though the particulars are vague, either way Addy's delivery is nonetheless hilarious no matter the precise context. Before the joust though we get a bit grander bit from Bettany, as Chaucer rallies the commoners rather than the royalty to cheer for royalty. Bettany is terrific in his precise "rabble rousing" delivery as he explains the great "deeds" of William. Bettany is fantastic as a proper storyteller in his moment of raising the spirit of the crowd, but also going quiet to bring them in. Bettany sells the scene magnificently in a combination of a historical recitation and a professional wrestling promo. One shouldn't forget though Addy's reactions in the scene of partial befuddlement and exasperation at Chaucer's way with the "truth".

A lot of what makes this film work as an entertainment though is just being with the characters with Chaucer and Roland being two particularly delightful ones. Bettany often in his more bombastic redirection fitting to Chaucer as he tries to make William into a proper knight, and Addy consistently offering a bit more of a common and modest touch. A enjoyable example of this being his so sincere shyness when attempting to communicate with William's love interest's lady-in-waiting communicating a message. Addy though throughout doesn't waste a reaction shot, or a short line in just making Roland stand out as a funny yet loyal sidekick. Bettany on the other hand is very much there to "steal the show" as the showman that is Chaucer. This eventually climaxing in Chaucer's introduction for William in the final tournament, technically as a time diversion. Bettany lives up to the finale in his grandiose approach where he is soaking up every word both in his overjoyed exuberance at his own confidence but also with such a supreme passion for the man he's calling out. Of course I would be remiss if I didn't mention Bettany's best scene that was left on the cutting room floor initially though restored in the director's cut. This where Chaucer defends William having been placed in the stockade for falsely claiming his status as nobility.  This is truly the highlight of Bettany's work as it is finally Chaucer without any pomp and circumstance to his speech. Bettany delivers it more quietly and with an even greater conviction. This with nearly an emotional breakdown in the moment as Bettany shows the man not selling something, but rather stating without exception an essential truth. It's a powerful moment, that should've been in the original cut. This is as it takes Bettany's work beyond that of just one of the best hype men you could ask for, and reveals this hope for the acceptance of the commoner. Both performances that I mention here are well worth praising with Addy making most of a fairly meager part, and Bettany not wasting a bit of the juicy role that is Geoffrey Chaucer.

(For Addy)

(For Bettany)

Alternate Best Supporting Actor 2001

And the Nominees Were Not:

Paul Bettany in A Knight's Tale

Mark Addy in A Knight's Tale

Ian Holm in Lord of the Rings: The Fellowship of the Ring

Justin Theroux in Mulholland Drive

Anthony Hopkins in Hearts in Atlantis

James Gandolfini in The Mexican 

Bettany for prediction purposes.

And a review of:

 

Hayden Christensen in Life As A House

Alternate Best Supporting Actor 2001: Results

5. Steve Buscemi in Ghost World- This is an entirely solid performance by Steve Buscemi, but for me it is just that.

4. Viggo Mortensen in The Fellowship of the Ring- Mortensen gives a strong performance balancing well both the strength and underlying weakness in his character. He never becomes the highlight of any of the individual films, but his Aragorn is a highlight of the trilogy as a whole.

3. Brian Cox in L.I.E- Brian Cox plays a very risky role to say the least and Cox maybe plays it too well being a complete creep, but still a charming and very down to earth sort of creep.

2. Jude Law in A.I. Artificial Intelligence- Law is very effective here being quite artificial in his showman's manner. but still having a decent amount of humanity that brings out in his character's warmth and wisdom.

1. Sean Bean in The Fellowship of the Ring- When I watched this film for the first time over ten years ago Bean probably would not have been the first actor I would have mentioned when speaking about the strengths of the film. It was not that I did not like him, I liked him but I took what he did in the role for granted. Bean goes beyond his call of duty here in his portrayal of Boromir who could have easily just been a prideful dupe. Instead he brings a great deal of honest emotion to the role and turns Boromir's folly into the tragic portrait of a patriotic career soldier whose emotions slowly overwhelm and get the best of him.

Overall Rank:

1. Anthony Hopkins in Hearts in Atlantis 
2. Ian McKellen in The Fellowship of the Ring
3. Sean Bean in The Fellowship of the Ring
4. Jude Law in A.I. Artificial Intelligence
5. Brian Cox in L.I.E.
6. Ben Kingsley in Sexy Beast
7. Alan Cumming in Josie and The Pussycats
8. Paul Bettany in A Knight's Tale
9. James Gandolfini in The Mexican
10. Ian Holm in The Fellowship of the Ring
11. Luke Wilson in The Royal Tenenbaums
12. Michael Caine in Last Orders
13. Teruyuki Kagawa in Devils on the Doorstep
14. Justin Theroux in Mulholland Drive
15. Tsutomu Yamazaki in Go
16. Viggo Mortensen in The Fellowship of the Ring
17. Ben Stiller in The Royal Tenenbaums
18. Tony Shalhoub in The Man Who Wasn't There
19. Mark Addy in A Knight's Tale 
20. Tom Courtenay in Last Orders
21. Héctor Benjamín Alterio in Son of the Bride
22. Mark Pellegrino in Mulholland Drive
23. Steve Buscemi in Ghost World 
24. Timothy Spall in Intimacy
25. Ed Harris in A Beautiful Mind
26. Geoffrey Rush in Lantana
27. Monty Montgomery in Mulholland Drive 
28. Sean Astin in The Fellowship of the Ring
29. Robbie Coltrane in Harry Potter and the Sorcerer's Stone
30. Paul Bettany in A Beautiful Mind
31. Clive Owen in Gosford Park
32. Kenya Sawada in Devils on the Doorstep
    
33. Ian McShane in Sexy Beast
34. Christopher Lee in The Fellowship of the Ring
35. Martin Landau in The Majestic
36. David Hemmings in Last Orders 
37. Ricky Jay in Heist
38. Peter Boyle in Monster's Ball
39. James Gandolfini in The Man Who Wasn't There
40. Mickey Rourke in The Pledge
41. Yuan Ding in Devils on the Doorstep
    
42. Heath Ledger in Monster's Ball
43. Jim Broadbent in Moulin Rouge!
44. Danny DeVito in Heist 
45. Ray Winstone in Last Orders
46. Zhijun Cong in Devils on the Doorstep
    
47. Patrick Fischler in Mulholland Drive
48. Richard Harris in Harry Potter and the Sorcerer's Stone
49. Owen Wilson in The Royal Tenenbaums
50. Delroy Lindo in Heist
51. Federico Luppi in The Devil's Backbone 
52. Alan Tudyk in A Knight's Tale
53. Aries Spears in Josie and the Pussycats
54. Cast of Black Hawk Down
55. Bill Murray in The Royal Tenenbaums
56. Hugh Bonneville in Iris
57. Jon Polito in The Man Who Wasn't There
58. Andy Garcia in Ocean's Eleven
59. John Lone in Rush Hour 2
60. Holmes Osborne in Donnie Darko
61. John Rhys-Davies in The Fellowship of the Ring
62. Nick Stahl in In The Bedroom
63. Carson Daly in Josie and the Pussycats
64. Peter Falk in Made
65. William Hurt in A.I. Artificial Intelligence
66. James Whitmore in The Majestic
67. Hugo Weaving in The Fellowship of the Ring
68. Angelo Badalmenti in Mulholland Drive
69. Alan Rickman in Harry Potter and the Sorcerer's Stone
70. John Hurt in Harry Potter and the Sorcerer's Stone
71. Patrick Swayze in Donnie Darko
72. Kurt Russell in Vanilla Sky
73. Gene Hackman in The Mexican
74. Alan Bates in Gosford Park 
75. Marlon Brando in The Score 
76. Lindsay Honey in Last Resort
    
77. Seth Green in Josie and the Pussycays
78. Breckin Meyer in Josie and the Pussycats
79. Donald Faison in Josie and the Pussycats
80. Billy Boyd in The Fellowship of the Ring
81. Noah Taylor in Vanilla Sky
82. David Duchovny in Zoolander
83. Mario Van Peebles in Ali 
84. Sam Rockwell in Heist
85. Seymour Cassel in The Royal Tenenbaums
86. Eduardo Noriega in The Devil's Backbone
87. Paul Reubens in Blow
88. Moni Moshonov in Late Marriage
89. Ed Harris in Enemy at the Gates
90. Pete Postlethewaite in The Shipping News 
91. James Gandolfini in The Last Castle
92. Simon Cowell in No Man's Land
93. Sam Rockwell in Made
94. Richard Jenkins in The Man Who Wasn't There
95. Brendan Gleeson in A.I. Artificial Intelligence
96. Christopher Plummer in A Beautiful Mind
97. Scott Glenn in The Shipping News
98. Will Ferrell in Zoolander
99. Richard Griffiths in Harry Potter and the Sorcerer's Stone
100. Tom Noonan in The Pledge
101. Owen Wilson in Zoolander
102. José Dumont in Behind the Sun 
103. Cavan Kendall in Sexy Beast
104. Carl Reiner in Ocean's Eleven
105. Jason Lee in Vanilla's Sky
106. Michael Gambon in Gosford Park
107. Kumar Pallana in The Royal Tenenbaums
108. Bob Balaban in Gosford Park
109. Benecio Del Toro in The Pledge
110. Michael Badalucco in The Man Who Wasn't There
111. Gabriel Mann in Josie and the Pussycats
112. Don Cheadle in Swordfish
113. Paul Blackthorne in Lagaan
114. William Mapouther in In The Bedroom
115. Christopher Walken in Joe Dirt
116. Elliot Gould in Ocean's Eleven
117. Danny Glover in The Royal Tenenbaums
118. Stephen Dillane in The Spy Game
119. Jon Voight in Zoolander
120. Ron Silver in Ali
121. Michael Jeter in Jurassic Park III
122. Ian Hart in Harry Potter and the Sorcerer's Stone
123. Ryan Phillipe in Gosford Park
124. Jerry Stiller in Zoolander
125. Orlando Bloom in The Fellowship of the Ring
126. Bran Renfro in Ghost World
127. Bernie Mac in Ocean's Eleven
128. Bob Balaban in Ghost World
129. J.K. Simmons in The Mexican
130. Aaron Eckhart in The Pledge
131. Tom Felton in Harry Potter and the Sorcerer's Stone
132. William H. Macy in Jurassic Park III
133. Steve Buscemi in Domestic Disturbance
134. Eddie Murphy in Shrek
135. Cuba Gooding Jr. in Pearl Harbor
136. Hayden Christensen in Life as A House
137. Rupert Grint in Harry Potter and the Sorcerer's Stone
138. Matt Damon in Ocean's Eleven
139. Dominic Monaghan in The Fellowship of the Ring
140. Don Cheadle in Ocean's Eleven
141. Oded Fehr in The Mummy Returns
142. Vince Vaughn in Domestic Disturbance
143. Joseph Fiennes in Enemy At the Gates
144. Mark Ruffalo in The Last Castle
145. Paulo Costanzo in Josie and The Pussycats
146. Alec Baldwin in Pearl Harbor
147. Sam Robards in A.I. Artificial Intelligence
148. Rufus Sewell in A Knight's Tale
149. Jon Voight in Ali
150. Arnold Vosloo in The Mummy Returns
151. Jamie Foxx in Ali
152. Jon Voight in Pearl Harbor
153. Iain Glen in Tomb Raider
154. Richard Roxburgh in Moulin Rouge!
155. Alessandro Nivola in Jurassic park III
156. John Hannah in The Mummy Returns
157. Trevor Morgan in Jurassic Park III
158. Freddie Boath in The Mummy Returns
159. John Leguizamo in Moulin Rouge!

Next Year: 1975 Supporting

Alternate Best Supporting Actor 2001: Viggo Mortensen and Sean Bean in The Lord of the Rings: The Fellowship of the Ring

Viggo Mortensen did not receive an Oscar nomination for portraying Aragorn/Strider in The Lord of the Rings: The Fellowship of the Ring.

The Lord of the Rings trilogy despite being nominated for best picture each time only received one Oscar nomination for acting that went to Ian McKellen in this film despite the large ensembles of the films. Apparently if the Academy is going to nominate someone from a fantasy or a science fiction film they better be the old wise mentors of the character like McKellen as Gandalf or Alec Guinness in Star Wars. The two performances I am looking at here though don't fall in those categories though they are important to the success of the film. I'll start with Mortensen who plays Aragorn who in most stories would be the main character of the film though he is not.

Frodo played by Elijah Wood is actually the lead of the film but Frodo is not physically imposing and his main method is to avoid danger rather than face it. Aragorn comes along as their guide some time in their film and tries to help them best he can. In McKellen's review I said that he made the character exactly as I pictured him when I read the book, Mortensen's Aragorn is not exactly how I pictured the character, but nevertheless his take on the character still is successful. Mortensen plays Aragorn quite effectively as most certainly a hero in the film yet not a perfect hero which is essential for his character's path that moves across all three films.

Mortensen's quite good showing strength well at the same time concealing greater strength. One of the biggest aspects of his character is the shame he feels due to the actions of his ancestors, and Mortensen brings this into his performance by showing a certain distance in his heroics. Yes Aragorn is a completely heroic character literally throwing himself into danger to save others, but still his manner with others withdrawn and hesitant. Mortensen makes a nice balance showing exactly how he became the ranger in that he does not have the strength to fulfill his destiny yet will still will do whatever good he can in his own way.

Mortensen delivers a very important need in terms of the film is that he stands as certain support to Frodo and the others. He is strong but far from perfect. When he shows up he is able to help the hobbits but he does not really act as a comforting factor which properly keeps the intensity of those that threaten the hobbits. Mortensen is a strong presence and always believable in the action scenes honestly showing an effort in them. His work adds nicely to the tapestry of this film as well the whole trilogy where his character arc lies. He may not quite be the highlight of any of the films, but is one of the highlights of the epic trilogy.

Sean Bean did not receive an Oscar nomination for portraying Boromir in Lord of the Rings: The Fellowship of the Ring.

I have to admit this is a performance that I really took for granted for the longest time. I certainly thought he applied himself admirably, but he was not the performance I took away from the film. Really looking critically at this performance though there is a great deal to be admired by Bean's portrayal of Boromir. Boromir easily could be a throwaway role and could be seen just as part of the background then eventually an obstacle that needs to be overcome by the other characters (as he basically is in the Ralph Bakshi animated version, he's also viking for some reason but the less said about that the better). Bean though very much invests himself fully in the character and does his best to bring humanity to Boromir.

Boromir easily could be just a bully frankly whose want for power is pretty blunt, but Bean does not portray him as such. Bean has him very close to Aragorn actually, but with the key difference being that Boromir is a far more emotional man whose pride can override his better judgment. Bean importantly in any of the moments where he speaks of his homeland has a great intensity in this pride. We can even sense his feelings of both accomplishment and even sadness in what he and his people have been doing and what they have lost to protect the rest of the world from the forces of evil. Bean is great in honestly creating a history in the man, a man who has faced the evil directly for so long on the front lines, and cannot forget that.

Whenever Boromir speak of the ring and his own ideas for it, it never is of evil or greed. Bean is quite effective in the way Boromir seems drawn to in such a primal way, but is almost poetic in the manner in which he speak of the ring. Although he may be wrong about the ring Bean never shows his fallacy to come from evil. Instead Bean has such a genuine passion in what he speaks about, he shows him as a man who honestly believes that the ring will save his land and his people he cares so much for. When Boromir does finally betray his pledge to help Frodo in an attempt to steal the ring for himself Bean is excellent portraying it as an act of desperation above else, and importantly afterwards allows us to see the sadness in Boromir that comes when he realizes what he does.

Bean's absolute devotion in the part when it comes to realizing that underlying motivation of the man humanizes Boromir beautifully and even manages to show just how it was his overpowering emotions rather than evil that drives him to attempt to steal the ring. Bean finds a truth in the character that makes his final scene far more powerful than it would be otherwise. I personally love his reactions in his last stand as he fights on even it becomes quite clear he is losing the fight. Bean's has such heart in his expressions showing the last stand of a man who will try to his last breath. Bean makes Boromir's final moments quite poignant in creating this man who deep down inside only did desire good in his soul. In close examination this is great work that turns what could have been just a simple display of a prideful idiot, into a tragic portrait of a true patriot.

Alternate Best Supporting Actor 2001: Steve Buscemi in Ghost World

Steve Buscemi did not receive an Oscar nomination, despite being nominated for a Golden Globe and being nominated for and winning several awards from critical awards including the NYFCC and NSFC, for portraying Seymour in Ghost World.

Ghost World is an enjoyable enough quirky film about social outside Enid (Thora Birch) who after playing an anonymous prank on a a middle aged man she strikes up a friendship with him.

The still never nominated Steve Buscemi must have been close to being nominated for this performance considering his Golden Globe nomination and great number of awards he received for his performance. He certainly was the closest of the five I have chosen to review as Law played an android in a science fiction film, the Fellowship was apparently covered by Ian McKellen only, and despite the critical love Brian Cox was never going to be nominated for his performance in that film. Putting all that aside though just what is so great about Buscemi's performance in this film.

Well nothing especially comes off great about this performance. Steve Buscemi plays Seymour a middle aged man who loves his record collection and has a hard time connecting with anyone or finding himself in a romantic relationship despite wanting one. Buscemi goes about making a particular characterization than sticking with it. He makes Seymour a likable enough fellow though one who always seems to have a certain malaise due to his loneliness yet Buscemi does portray him as being able to compensate for it well enough due to his little joys that gets from listening and collecting vintage records.

When the other younger outsider Enid starts spending time with him Buscemi stays consistent in his portrayal. In their relationship Buscemi shows Seymour to certainly like the fact that she is interested in his interests yet still has a certain unease about the whole thing suggesting properly that Seymour does not exactly know how to deal with the attention she is giving him. He continues on in this fashion pretty much throughout the film, and even when Seymour has some changes like getting a girlfriend, or getting frustrated when learning that how he met Enid was due to a cruel prank he still stays pretty much the same man.

Buscemi handles the highs and lows of Seymour's personal journey pretty well and is believable in the way he shows him as he'll spike one way or another but can easily settle to his usual self. It's a good performance because he finds just the right characterization for Seymour to make the fact that Seymour does not really learn anything both seem natural and even satisfying as he shows that is simply the way Seymour is. This is solid from Buscemi, enjoyable with a certain charm and realizes exactly who Seymour should be. At the same time though this never feels like a great performance in anyway, and it is far from Buscemi's best work.

Alternate Best Supporting Actor 2001: Brian Cox L.I.E

Brian Cox did not receive an Oscar nomination, despite being nominated for and winning awards from several critics groups, for portraying John "Big John" Harrigan in L.I.E.

L.I.E is a film about a teenager Howie (Paul Dano) who slowly becomes involved in a relationship with a pedophile. This is one of those very edgy films, but honestly I found it mostly dull that seemed to rely too often on its edginess rather than making a truly compelling film.

Brian Cox plays Big John which is likely the aspect of the film that caused it to be rated NC-17, as Big John is the pedophile who slowly becomes interested in Howie after Howie and his friends stole from him. Cox initially is full on creep, the very definition of it. Unlike say Stanley Tucci in The Lovely Bones, Cox plays the part very realistically and is very unnerving because of that. He does strive away from this man's method instead being quite blunt about it as he portraying Big John as the man who seems so nice as he approaches the boy with his big smile, and gentle charm yet with those very unpleasant thoughts clearly going around in his mind as well.

Cox doesn't hold back in his portrayal of Big John the pedophile. He does not to try to make him extra colorful, or even say a villain making actually far more disturbing in a way in that he is the day to day pedophile. Cox is so unbearably natural as he both threatens as well as comes onto to Howie at the same time. Cox is all too effective really because he doesn't hesitate, and there is just a great deal of casualness in his performance. This seems all standard for Big John, its what he does and Cox doesn't show him to have second thoughts when he is doing his come on. He makes it clear that this is not something new for Big John rather something he does all the time.

Big John is not a man like Stuart Whitman in The Mark who knows he has some serious problems and can barely live with it. Cox portrays Big John as a guy who lives his actions just fine, there is some regret that Cox brings to Big John to show him as a human being, but Cox makes it abundantly clear that his shame never is enough to rid him of his sunny demeanor. Cox never takes an easy route with his performance making a very strange yet always believable portrait of Big John who most definitely is a creep, but at the same time not as some sort of pure evil psychopath either. He never cops out in terms of the filth of the man's mind yet still seems natural whenever Big John is charming or seems to honestly care about Howie and not in a sexual fashion.

Brian Cox gives a compelling turn here that is easily the highlight of the film. He mixes different elements of what could be entirely separate characters, but he is able to meld them into one single man. Cox is able to fully be the creepy pedophile never shying away by how intense he will be at times or just how unabashed he will be about the whole matter. In the same man Cox does show a man though and he is honestly does bring charm into his performance, and even seems natural in the moments where Big John acts as much more of a mentor. Cox manages to make it so neither part of his portrayal compromises the other succeeding in realizing Big John as a complex character who easily is the most intriguing as well as sickening aspect of the film.

Alternate Best Supporting Actor 2001: Jude Law in A.I. Artificial Intelligence

Jude Law did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Gigolo Joe in A.I. Artificial Intelligence.

A.I. Artificial Intelligence is an intriguing film, although a far from perfect film that wears out its welcome by the end, about an artificial boy named David (Haley Joel Osment) who wishes to become real to be loved by his human mother.

Jude Law plays Gigolo Joe an artificial prostitute who befriends David after David has been abandoned. Joe himself is in a precarious place by being framed for the murder of one of his clients. Joe acts as David's guide to the real world and the world of the robots as they both travel along as David searches for the blue fairy he believes will be able to turn him into a real boy. Law much like Osment is very good in making the android. They both are good in making certain tics that seem unnatural and that of a robot yet still seeming very human as well, and create the androids as truly strange things that both seem like real humans but are not quite.

Law is great as being the hustler selling his "wares" with his own particular and rather sensual style. Law does not play the part as the usually sort of selling himself, as he is not the usual sort, after all he was only ever programmed to do such things. Law instead shows Joe as a performer above else, and does this with considerable style and charm. He does not show Joe as a troubled man, but rather something selling its trade using his charisma and abilities to do so. Law is very effective showing that for Joe being a prostitute is merely something he was born to do therefore he will be don it with plenty of pleasure, and never a single thought questioning his "life" path.

Law has a great presence here making Joe very likable, and adding some much needed humor to a film that is pretty harsh otherwise. He is great in his scenes with Osment and the two make a rather particular pair. They form an unusual friendship that never seems like the mentor/protege, but instead they strike up a rather unique dynamic that is rather interesting. Law mixes well the various emotions that Joe comes with when it comes to dealing with David's journey. He has a nice warmth though still in Joe's hustler style that comes with the information he lends to David as David attempts to help David find his blue fairy. Law makes the connection between Joe and David moving as well as believable.

The balance of their relationship comes with that Joe is also aware of the hatred humans have for the artificial beings. Law balances a certain coldness from Joe's experiences with the warmth in being caught up with David's dreams quite brilliantly. It is difficult to be both the optimist and the cynic but Law manages it in a rather memorable fashion. His scenes total not a great deal of time but Law makes his stamp on the film with his performance despite this film being easily one where the acting could be overshadowed by the writing, and direction. Law finds just the right path with his character making him a certainly a robot but one where humanity lies as well. This is strong work, and honestly I wished his exit from the film was a little less abrupt as Joe could have easily lead a film.

Alternate Best Supporting Actor 2001

And the Nominees Were Not:

Sean Bean in The Fellowship of the Ring

Viggo Mortensen in The Fellowship of the Ring

Jude Law in A.I. Artificial Intelligence

Brian Cox in L.I.E

Steve Buscemi in Ghost World