Best Actor: 2021 Alternate Supporting

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Thursday, 24 February 2022

Alternate Best Supporting Actor 2021: Results

10. Andre Holland in Passing - Holland offers the right blunt quality that contrasts the more guarded performances of his co-stars.

Best Scene: Talking about a lynching.

9. David Strathairn in Nightmare Alley - Strathairn gives a brief but moving portrayal of a man with the slight spark of the former spiritualist, but now just a lost soul.

Best Scene: A warning to Stan.

8. Tony Leung Chiu Wai in Shang-Chi and The Legend of the Ten Rings - Though his film does not quite use him to his full potential, Leung brings so much depth and presence to what could've been a wholly stock villain.

Best Scene: The importance of names.

7. Jeffrey Wright in The French Dispatch - Wright gives a literal wonderful delivery of a story, but also gives a moving portrayal of the emotional woes behind the writer's work.

Best Scene: A new flavor.

6. Al Pacino in House of Gucci - Pacino once again delivers here bringing an endearing energy as the representation of the Gucci family empire, then a tragic power as the man sees that empire slip away.

Best Scene: Signing the company away.

5. Ben Affleck in The Last Duel - Affleck brings the right change of pace, that still fits within his film's tone, as the one man who seems to find joy in a mostly miserable world.

Best Scene: Discussing the rape charge.

4. Anders Danielsen Lie in The Worst Person in the World - The power of Lie's work slowly reveals itself in his portrait of a man defined by uncertainty who only finds certainty when it is too late.

Best Scene: Final scene.

3. Masaki Okada in Drive, My Car - Okada's work crafts a proper enigma which slowly reveals itself in both nefarious and strangely poignant ways.

Best Scene: Backseat revelations.

2. Mike Faist in West Side Story - Faist puts his all into his performance that is exceptionally compelling and creates a deeply moving portrait of a man defined by hate.

Best Scene: The rumble.

1. Bradley Cooper in Licorice Pizza - Good predictions Aidan and 8000's. Although working with the least amount of screentime, no other performance in this category left a greater visceral impact on me than this one. I simply laughed every moment Cooper was on screen through every insane variation he brought in his portrayal of certifiable lunatic Jon Peters, and Cooper for me delivered one of the very best purely comic turns in some time. I loved every second of this turn, and even though there's only so many seconds he has total, I never thought there was anything lacking for it. If I were not to give him the win here it would be lying to myself, because my favorite scene in my favorite film of the year is his sequence in Licorice Pizza, a sequence built upon the glorious madness of his performance. Yes he essentially only has one scene, but the same is true for the challenge, of only having one scene to be as memorable as Cooper is here. Although this is a year with many worthy candidates, despite what the academy would lead you to believe, and I certainly easily see the logic in choosing really anyone in my top five, my choice goes to Cooper without reservation for his work of 24karat comedic gold.

Best Scene: Peters returns.

Overall:

Bradley Cooper in Licorice Pizza
Mike Faist in West Side Story
Kodi Smit-McPhee in The Power of the Dog
Masaki Okada in Drive, My Car
Anders Danielsen Lie in The Worst Person in the World
Ben Affleck in The Last Duel - 5
Alex Hassell in The Tragedy of Macbeth
Ciaran Hinds in Belfast
David Alvarez in West Side Story
Al Pacino in House of Gucci
Jeffrey Wright in The French Dispatch
Tony Leung Chiu Wai in Shang-Chi and The Legend of the Ten Rings
David Strathairn in Nightmare Alley
Anthony LaPaglia in Nitram
Kelvin Harrison Jr. in Cyrano
Willem Dafoe in Nightmare Alley
Richard Jenkins in Nightmare Alley
Andre Holland in Passing - 4.5
Sean Penn in Licorice Pizza
Adrien Brody in The French Dispatch
Willem Dafoe in Spider-Man: No Way Home
Sean Harris in The Green Knight
Jason Momoa in Dune
Tom Waits in Licorice Pizza
Barry Keoghan in The Green Knight
Benicio Del Toro in The French Dispatch
Corey Hawkins in The Tragedy of Macbeth
John Cena in The Suicide Squad
Andrew Garfield in Spider-Man: No Way Home
Toby Huss in Copshop
Javier Bardem in Dune
Simon Helberg in Annette
Troy Kotsur in CODA
Terence Stamp in Last Night in Soho
Timothy Spall in Spencer
LaKeith Stanfield in The Harder They Fall
Richard Ayoade in The Souvenir Part II
Jamie Dornan in Belfast
Colman Domingo in Zola
Jon Bernthal in King Richard
Merab Ninidze in The Courier
Oscar Isaac in Dune
Issey Ogata in Onoda: 10,000 Nights in the Jungle
David Harbour in Black Widow
Robin De Jesus in Tick Tick...Boom
Fred Melamed in Shiva Baby
Chaske Spencer in Wild Indian
Jason Flemyng in Boiling Point
Mohsen Tanabandeh in A Hero
Richard Jenkins in The Humans
Danny McBride in The Mitchells Vs. The Machines
Herbert Nodrum in The Worst Person in the World - 4
Stellan Skarsgard in Dune
Ralph Ineson in The Green Knight
David Knell in Pig
Taigo Nakano in 10,000 Nights in the Jungle
Joseph Cross in Licorice Pizza
Ali Ranjibari in A Hero
Bill Murray in The French Dispatch
Corey Hawkins in In the Heights
Joel Kinnaman in The Suicide Squad
Brendan Gleeson in The Tragedy of Macbeth
Alireza Jahandideh in A Hero
Vondie Curtis-Hall in The Night House
Benny Safdie in Licorice Pizza
Jared Leto in House of Gucci
Timothee Chalamet in The French Dispatch
Jeremy Irons in House of Gucci
Jesse Plemons in The Power of the Dog
Steven Yeun in The Humans
Adam Arkin in Pig
Josh Brolin in Dune
Josh Andrés Rivera in West Side Story
Lucian-River Chauhan in Encounter
Joel Edgerton in The Green Knight
Ben Affleck in The Tender Bar
Kiyohiko Shibukawa in Wheel of Fortune and Fantasy
Lil Rel Howery in Judas and the Black Messiah
Sean Harris in Spencer
Yousseff Kerkour in House of Gucci
Rajkummar Rao in The White Tiger
Colman Domingo in Candyman
David Dastmalchian in The Suicide Squad
David Harbour in No Sudden Move
Peter Dinklage in I Care A Lot
Talid Ariss in After Love
Owen Wilson in The French Dispatch
Alex Lawther in The Last Duel
Peter Capaldi in The Suicide Squad
Stephen Park in The French Dispatch
Brian Tyree Henry in Eternals
John Leguizamo in Encanto
Toni Servillo in The Hand of God
Ben Kingsley in Shang-Chi and the Legend of the Ten Rings
Tobey Maguire in Spider-man: No Way Home
Ray Chase in Malignant
Fred Armisen in The Mitchells vs. The Machines
Beck Bennett in The Mitchells vs. The Machines
Babs Olusanmkun in Dune
Bertie Carvel in The Tragedy of Macbeth
Ray Liotta in The Many Saints of Newark
Mel Gibson in Boss Level
Skyler Gisondo in Licorice Pizza
Hiroyuki Sanada in Mortal Kombat
Paul Anderson in Nightmare Alley
Holt McCallany in Wrath of Man
Jack Huston in House of Gucci
Mahesh Manjrekar in The White Tiger
Michael Gandolfini in The Many Saints of Newark
Jimmi Smits in In the Heights
Izaac Wang in Raya and the Last Dragon
Stephen Henderson in Dune
Christopher Lloyd in Nobody
Sylvester Stallone in The Suicide Squad
Jon Favreau in Spider-man: No Way Home
Ethan Darbone in Red Rocket
Bill Camp in Passing
Jesse Plemons in Judas and the Black Messiah
Trace Adkins in Old Henry
Barry Keoghan in Eternals
Leslie Odom Jr. in The Many Saints of Newark
Danny Deferrari in Shiva Baby
David Dastmalchian in Dune
Alfred Molina in Spider-man No Way Home
Dan Aykroyd in Ghostbusters: Afterlife
Scoot McNairy in C'mon C'mon
Gregory Diaz IV in In the Heights
Benedict Cumberbatch in Spider-man No Way Home
Holt McCallany in Nightmare Alley
Enrico Natale in The Killing of Kenneth Chamberlain
Farrokh Nourbakht in A Hero
Stephen Root in The Tragedy of Macbeth
Stephen Dorff in Old Henry
Delroy Lindo in The Harder They Fall
Aditya Geddada in Encounter
Woody Harrelson in Venom Let There Be Carnage
Paddy Considine in Wolf
Benedict Wong in Raya and the Last Dragon
Ed Harris in The Lost Daughter - 3.5
Christopher Lloyd in The Tender Bar
Harry Melling in The Tragedy of Macbeth
Jim Beaver in Nightmare Alley
Joe Taslim in Mortal Kombat
Tony Goldwyn in King Richard
Tim Blake Nelson in Nightmare Alley
Taika Waititi in The Suicide Squad
Jon Bernthal in Those Who Wish Me Dead
Ron Perlman in Nightmare Alley
John Amos in Coming 2 America
Chris Messina in I Care a Lot
Jeffrey Wright in No Time to Die
J.K. Simmons in Being the Ricardos
Brian d'Arcy James in West Side Story
Don Lee in Eternals
Mathieu Almaric in The French Dispatch
Michael Smiley in Censor
Paul Walter Hauser in Cruella
Jesse Plemons in Jungle Cruise
Corey Stoll in West Side Story
Nathaniel Parker in the Last Duel
Ray Panthaki in Boiling Point
Macon Blair in I Care a Lot
Andrew Garfield in The Eyes of Tammy Faye
Matthias Schweighöfer in Army of the Dead
Jamie Foxx in No Way Home
Zeljko Ivanek in The Last Duel
James Earl Jones in Coming 2 America
Joel Fry in Cruella
Ethan Hawke in The Guilty
Bradley Whitford in Tick Tick...Boom
Ralph Fiennes in No Time to Die
Flula Borg in The Suicide Squad
Algee Smith in Judas and the Black Messiah
Mark Strong in Cruella
Brendan Fraser in No Sudden Move
Joshua Henry in Tick Tick...Boom
Joe Alwyn in The Souvenir Part II
Michael Rooker in The Suicide Squad
Matt Smith in Last Night in Soho
Garret Dillahunt in Army of the Dead
Jon Bernthal in The Many Saints of Newark
Ben Whishaw in No Time to Die
Matt Damon in No Sudden Move
Joe Keery in Free Guy
Matthew Goode in The Duke
Lambert Wilson in Benedetta
Vondie Curtis-Hall in Blue Bayou
Eric Andre in The Mitchells vs. The Machines
Bill Murray in Ghostbusters: Afterlife
Ernie Hudson in Ghostbusters: Afterlife
Rob Morgan in Don't Look Up
Harris Dickinson in The Souvenir Part II
Chang Chen in Dune
Tony Hale in Being the Ricardos
J.K. Simmons in Spider-man No Way Home
John Krasinski in A Quiet Place Part II
Willem Dafoe in The Card Counter
Jacob Batalon in Spider-man No Way Home
Yahya Abdul-Manteen II in The Matrix Resurrections
Idris Elba in The Harder They Fall
Djimon Hounsou in A Quiet Place Part II
Josh Hartnett in Wrath of Man
Bashir Salahuddin in Cyrano
Jamie Dornan in Barb and Star go to Vista Del Mar
Anders Danielsen Lie in Bergman Island
Max von Sydow in Echoes of the Past
Israel Elejalde in Parallel Mother
Jeffrey Donovan in Wrath of Man
Dave Bautista in Dune
Fionn Whitehead in The Duke
Eddie Marsan in Wrath of Man
Mike Rianda in The Mitchells vs. The Machines
Forrest Whitaker in Respect - 3
Ben Mendelsohn in Cyrano
Channing Tatum in Free Guy
Ray Liotta in No Sudden Move
Scott Haze in Old Henry
Casey Affleck in The World to Come
Scott Eastwood in Wrath of Man
Kit Harington in Eternals
Tyler Perry in Don't Look Up
Peter Sarsgaard in The Lost Daughter
Wyatt Russell in The Woman in the Window
Kyle Chandler in Godzilla vs. Kong
Cliff Curtis in Reminiscence
Stephen Graham in Venom Let There Be Carnage
Wesley Snipes in Coming 2 America
Rob Morgan in The United States vs. Billie Holiday
Benedict Cumberbatch in The Mauritanian
Brian Tyree Henry in Godzilla vs. Kong
Aleksei Serebryakov in Nobody
Paul Rudd in Ghostbusters: Afterlife
Haris Patel in Eternals
Nicholas Hoult in Those Who Wish Me Dead
Lil Rel Howery in Free Guy
Martin Sheen in Judas and the Black Messiah
Florian Munteanu in Shang-Chi and the Legend of the 10 Rings
Billy Magnussen in No Time To Die
Arsenio Hall in Coming 2 America
Demian Bichir in Godzilla vs. Kong
Ludi Lin in Mortal Kombat
Logan Kim in Ghostbusters: Afterlife
Thomas Haden Church in Spider-man: No Way Home
Michael Gandolfini in Cherry
Daniel Durant in CODA
Billy Magnussen in The Many Saints of Newark
Omari Hardwick in Army of the Dead
Ferdia Walsh-Peelo in CODA
Will Patton in Halloween Kills
Dwight Yoakam in Cry Macho
Timothee Chalamet in Don't Look Up
Michael Ajao in Last Night in Soho
Steve O'Connell in The Killing of Kenneth Chamberlain
Finn Wolfhard in Ghostbusters: Afterlife
Anthony Michael Hall in Halloween Kills
Julian Dennison in Godzilla vs. Kong
Gary Oldman in The Woman in the Window
Jonah Hill in Don't Look Up - 2.5
Danny Pino in Dear Evan Hansen
Eduardo Minett in Cry Macho
RZA in Nobody
Neil Patrick Harris in The Matrix Resurrections
Josh Lawson in Mortal Kombat
Ben Chaplin in The Dig
Tracy Morgan in Coming 2 America
Johnny Flynn in The Dig
Zachary Levi in The Mauritanian
Himesh Patel in Don't Look Up
Christoph Waltz in No Time to Die
Christopher Abbott in The World to Come
Cedric Joe in Space Jam: A New Legacy
Raul Castillo in Army of the Dead
Jonathan Groff in The Matrix Resurrections
Peter Sarsgaard in The Guilty
Alexander Skarsgard in Godzilla vs. Kong
Max Huang in Mortal Kombat
Kumail Nanjiani in Eternals
Finn Little in Those Who Wish Me Dead
George Young in Malignant
Tadanobu Asano in Mortal Kombat
John Michael Higgins in Licorice Pizza
Jake Lacy in Being the Ricardos
Colton Ryan in Dear Evan Hansen
Leslie Odom Jr. in Music
Emory Cohen in Blue Bayou
Charlie Heaton in The Souvenir Part II
Don Cheadle in Space Jam: A New Legacy
Mark O'Brien in Blue Bayou
Theo Rossi in Army of the Dead - 2
Jared Leto in The Little Things
Michael McDonald in Halloween Kills
Scott MacArthur in Halloween Kills
Chin Han in Mortal Kombat
Jack Reynor in Cherry
Douglas Booth in My Salinger Year
Ray Winstone in Black Widow
Tye Sheridan in The Card Counter
Jack Whitehall in The Jungle Cruise
Eugenio Derbez in CODA
John McCrea in Cruella
Ben Marten in The Killing of Kenneth Chamberlain
Fred Hechinger in The Woman in the Window
Mark Rylance in Don't Look Up - 1.5
Daniel Wu in Reminiscence
Taika Waititi in Free Guy
Max Martini in The Tender Bar
Garrett Hedlund in The United States vs. Billie Holiday
John Magaro in The Many Saints of Newark
Ben Schwartz in Music - 1
Rami Malek in No Time to Die - Wiseau
David Dencik in No Time to Die - 0

Next: 2021 Alternate Lead

Alternate Best Supporting Actor 2021: Alex Hassell in The Tragedy of Macbeth

Alex Hassell did not receive an Oscar nomination for portraying Ross in The Tragedy of Macbeth.

A masterstroke of this version of Macbeth is taking an idea first introduced in the 1971 Roman Polanski version, which was to take Ross from merely being an expository and functional role, and make him a co-conspirator with Macbeth. Joel Coen took this idea and expanded it even further to make Ross seemingly almost as essential of a character as the titular Macbeths. In the role of Ross is unknown Alex Hassell, which if a Coen casts an unknown actor in a role it is typically a sign of promise, and that is the case with Alex Hassell who gives a particularly unique Shakespearean turn. A turn where the amount of dialogue is limited, the soliloquies nearly nonexistent, and so much of the meaning is purely in the margins of the work. Now in part we do get the more traditional performance you'd expect at Ross, though still notable already in a way just by how incredibly piercing Hassell's eyes are as is. When speaking in general audiences Hassell emphasizes a most loyal servant ready to praise, to respond and deliver whatever must be heard with a precision in his delivery but also just an unquestioned sincerity. Hassell though immediately shows another side as we see him speaking of the treacherous thane that was defeated in the battle that took place before the film begins. Hassell's performance changing to the avenging anger for the king, even though just there to deliver more exposition that should mostly affect Macbeth, however there is another color that Hassell suggests another face of Ross per the audience at hand. A loyal servant for the king, a proper warrior for the warrior of Macbeth.

Hassell's performance in the early crowd scenes is so particularly notable as there is this state of calculation between his lines still of general exposition, Hassell shows a man not just stating things for the King, he's considering every element in his own mind. After Macbeth has killed the king for his own, we get a scene that in the play just is there to establish that Macbeth has been made king and Macduff is entrusting of this new event. Ross is merely there to facilitate. It takes a whole new color just even in the way Hassell awaits with steely and sinister eyes of his denoting a tempered ambition. An expression that shifts on this dime in Hassell's performance a wonderful performance as his face goes from sinister cunning, to a sympathetic unease for the death of the King once Macduff approaches him, Hassell presenting Ross as just a man considering the developments with no thoughts of it in terms of his own fate. His face returning to its former state the moment Macduff leaves. We get a scene that exists as written yet takes a new meaning and even nearly gives Ross a soliloquy as he speaks to an old man (here played by Kathryn Hunter who also plays the witches, and is perhaps still the witches). Hassell gives the commentary on the situation a different tone, a meaning, a consideration for the potential of what has happened perhaps for one's self, as exemplified by Hassell's final reaction that is this brilliant movement of his eyes as though Ross has conceived his plan.

A plan we see in action as Ross in this version is the third assassin sent to assist the other two in killing Macbeth's old confidant Banquo and his son Fleance, the boy destined to be king by the witches. Another masterstroke of this version is instead of Fleance escaping to fulfill some historical need as Shakespeare left it, Coen changes it as Ross searches for the boy and finds him. Hassell's expression in the discovery this enigmatic and nefarious stare, followed by a slight smile denoting more than a thought, a conspiracy. Hassell afterwards becomes this presence, this dark presence, that represents this dagger in the night, the truly brilliantly ambitious man who acts not bluntly like Macbeth or the previous treacherous Thane, but with precise and covert action. Every reaction of Hassell's becomes a treasure therefore, such as when seeing Macbeth chasing a ghost and Hassell's delivery is the proper expository Ross as he speaks of only surprise and concern, followed again by this hint of glee as seeing a weakness in the current King. Hassell's greatest scene is perhaps visiting the Macduff family just before their massacre which he is clearly part of. Hassell speaking towards the family with warm assurance as his eyes darting towards the windows awaiting for the murderers to the kill the very family he's talking to. Hassell becoming this demonic presence that prophecies this doom. Despite helping with the murder he is the one who tells Macduff of the deaths of his family, and one can just watch Hassell's eyelids to see an acting masterclass. This as his whole stature, and his voice do not falter, yet in just the way he positions his eyes switches from the caring bearer of bad news, to the fiend manipulating the situation to prep the downfall of Macbeth to insert himself in his stead. The promise of such as Hassell enters to bring Malcolm the new king Macbeth's crown and his head. Now the new loyal servant, which is immediately followed by Ross retrieving Fleance, the next boy in line, who no doubt will be in his sway. Again the true cold ambitious fiend as he rides off towards his quest to become king, or at least the true mind behind it all. The concept itself is such a fantastic piece of writing in the adaptation, which yes why Coen should've been nominated even though he didn't change the dialogue, but Hassell takes the seed and grows it into something truly special. A performance in which every moment speaks multiple voices and multiple states of mind. Creating the true conspirator, the true man seeking power by standing behind it, with a knife tightly grasped to end one's life from behind.

Wednesday, 23 February 2022

Alternate Best Supporting Actor 2021: Anders Danielsen Lie in The Worst Person in the World

Anders Danielsen Lie did not receive an Oscar nomination, despite winning NSFC, for portraying Aksel in The Worst Person in the World.

The Worst Person in the World follows the relationships and choices of a young woman Julie (Renate Reinsve) who struggles with the direction of her life.

Anders Danielsen Lie plays Aksel one of the several relationships we see Julie go through throughout the film, though their relationship is the most substantial one within the film. Aksel is a successful underground comics artist which includes edge humor and has what is considered sexist tone. Danielsen Lie portraying a Robert Crumb type, in artwork only, Danielsen Lie actually plays Aksel as a pretty normal guy more or less. Danielsen Lie and Reinsve have fantastic chemistry with one another, and the nature of the chemistry is so much of the film. This is because while we certainly see the moments of ease in their relationship in terms of mutual attraction to one another and their intensity sexual chemistry, it is very much just a given within their performances. What the film ends up really being about though is the challenges for Julie to really stick to a decision in her life and not change her mind. This creating a challenge in the relationship with Danielsen Lie's Aksel, as a man who is trying to find some consistency in his life as he approaches middle age. Their initial breakup of many breakup Danielsen Lie delivers as this in a way overly logical though with the undercurrent of emotion, decision to trying to move on from Julie to find a greater maturity himself, while in turn this only leads Julie right back to him and their relationship becomes only more aggressive.

Lie, though not being the central focused character, portraying basically a similar experience as Julie is going through but just in a slightly different way. Danielsen Lie too portrays that Aksel's defined too by uncertainty of his choices, even as he speaks towards his desire to settle down exactly, there is that same inconsistency of the needs and desires in the way he articulates them. What Danielsen Lie does in his work is effectively present the sort of more potent emotional need about this uncertainty in a way compared to Julie where Reinsve portrays many of her more questionable choices as these sorts of flights of fancy. Danielsen Lie's performance accentuates a man who believes he wants this consistency yet in a way he is just as inconsistent as the woman he accuses of doing the same thing that he says is because of her youth. This as Danielsen Lie shows the natural push and pull in his performance of a greater emotional desperation and need that will randomly develop in the man as suddenly he seeks for a certain thing in his relationship even if a moment later he'll drop the very same thing as being essential the next. Together with Reinsve they show why their relationship is in a way doomed because both of them portray people who have no idea what they want, but they certainly are sure they want something. In turn their chemistry creates the natural sense of the cycle of the two of people who are consistent in their uncertainty, yet the troubles are in a way created that their points of changing what they want are never consistent with one another.

The key really with both Danielsen Lie and Reinsve's work is making this state so tangible and really emotional in their interactions with one another despite the natural consistency of it. They do have that potent connection but at the same time just as potent is their moments of random distress because it is basically impossible for them to be on the same page for long. Their second breakup scene being an excellent example of really both the pains and the joys of their relationship. This as Julie wants to move on, yet still gives herself up to him sexually as he pleads for her to stay. Danielsen Lie throughout the scene portraying the desperation of the need in the mode but also the lack of articulation in him, that matches Julie's own lack of articulation, that leads them to both in a way display their ever still need for another even in the middle of a breakup. What is so remarkable about both performances is every step in this unfortunate, and theoretically illogical display, is wholly logical in terms of the emotional place both Julie and Aksel are. Throughout the scene each change where one is in terms of who is more invested, and in this instance Danielsen Lie portrays the intensity so well in terms of the desperate need he has for Julie in this moment, even though earlier moments he seemed to take her presence for granted while his delivery stays filled with an inconsistency of someone who truly has no idea what to say. Danielsen Lie's performance succeeds in creating the sense that there is no hypocrisy because it is all emotionally honest in his work, even if there is hypocrisy in terms of the character's actual actions.

After this breakup we see the downward spiral of Aksel which we first see him trying to defend the edgy humor of his comic book. Danielsen Lie's terrific in the scene in portraying of someone completely failing at trying to articulate their point they're trying to make. Danielsen Lie presenting the fall into emotional ad hoc attacks as he tries to deliver his message initially with a strict attempt at logic before falling into this deep emotional turmoil. His delivery being this cascade from passionate artist, to defensive artist to just angry man so naturally as this breakdown. We find that likely part of that breakdown might've come as we learn that Aksel is suffering from a terminal illness. And it is in this last act where it basically forces both of our lovers to confront their relationship without compromise in a way, since now Aksel has no time to change his mind or turn his mind around. Danielsen Lie is very powerful for his particularly somber if not wholly morbid delivery of his life as he tells about his ways of passing his time and realizes what he sees as the waste of it. Danielsen Lie's work is truly stunning in the way his voice shakes and there is such a palatable sense of a man who believes he's waste so much time now dealing with that fact with the little time he has left. His speaking of his fate Danielsen Lie is heartbreaking as portraying the man without pretense as his eyes are that of someone looking towards an unpleasant void he is so desperately fearful of.

There's something especially poignant though that even in this monologue of a fatalistic depression there is these moments of glints of his love towards Julie even as he is fixated naturally on his desperate woes. When the two finally speak abut their relationship Lie continues to be so moving by in a way delivering the words of what he saw in Julie more cogently than he ever did in their relationship. Danielsen Lie portraying the man no longer fixated on that uncertainty but rather now just speaking with the authority of the certainty that he will die soon. As quick as this shift is in terms of the narrative, which I'd say is wholly intentional and wholly works as the film is from Julie's perspective, we don't see the change in Aksel, however what we do see is the result of the man who never quite made his decisions and now it is too late. This is realized with a tragic potency through once again the chemistry between the two actors, who are as convincing in their final desperate scene together as they were of the two lovers just blithely having their fun with one another. While we see in Reinsve the regret and struggle of suddenly dealing with such a situation, Danielsen Lie is incredible in his final moment in the film. This as he delivers now this certain clarity in his words, the sadness still so potent, but also the thoughts of happiness as he speaks to Julie one more time. Danielsen Lie finding such power in the man in a way finally knowing what to say in this most important relationship of his life, clearly articulating his needs as Danielsen Lie accentuates in his delivery filled with sorrow but also conviction, yet doing so in what are the final moments of the relationship because they are the final moments of his life.

Alternate Best Supporting Actor 2021: Sean Penn, Tom Waits & Bradley Cooper in Licorice Pizza

Sean Penn did not receive an Oscar nomination for portraying Jack Holden and neither Tom Waits did not receive an Oscar nomination for portraying Rex Blau in Licorice Pizza.

Licorice Pizza has its various vignettes one of them involves our leads Alana (Alan Haim) and Gary Valentine (Cooper Hoffman) broken apart slightly by Alana trying out for a film starring one Jack Holden, who is William Holden all in except half of his name. Penn is well cast with a proper grizzled voice for your William Holden type, and the right steely world weary stare as we see Alana acting with him for an audition. On the way out though Holden asks Alana out by comparing her to Grace Kelly. In the date where we get the real insane meat of the material. Now this might be surprising to everyone but it seems like Sean Penn might have some experience at being a pompous self-absorbed actor, because he really plays one well. Penn is great by having no chemistry with Haim whatsoever kind of looking through her as though he's looking at himself in her eyes, and speaking literal lines from an old film of his with such strong conviction, however not towards anyone or anything. Penn rather playing it as a man entirely stuck in his old performance, this is only broken by seeing Tom Waits as his old director Rex Blau, a stand in for Mark Robson, and this might be surprising to everyone but Waits might have some experience at being a complete kook, because he really plays one well. Together you get a mixture of pure wonderful insanity.

Penn and Waits both doing the proper good old boy banter and interactions that can only be truly deciphered by the two men stuck in the conversation. When not speaking to each other in pure nonsense the two kind of only do one thing, that is live out their glory days through remembrance. Penn literally speaking every word as though he's on set with an unshakable conviction. Waits in turn is the mad director, who literally directs everyone out at the restaurant, is proper kooky madness. Now maybe Waits just wandered on set and did this himself, I wouldn't say that was impossible, either way its quite the sight. I love Waits waving around his arms performing his direction, looking at everything as though he's seeing just the perfect shot, and is a mad bit of Waits, which is always appreciated. Both performances are indulgent in the best way possible as two men just lost in their past and what they love. I have particular affection for the sheer madness on Penn's face in his final expression just as he's about to perform an old stunt, and the face that only brims with an even greater lunacy as he goes to make his jump with his delivery of "I'm coming Nancy" one of pure unadulterated exuberance. Waits and Penn delivering two lunatics meant for each other in short but oh so entertaining order, as two men past their prime but more than willing just to live in their past whatever way they can.

Bradley Cooper did not receive an Oscar nomination, despite being nominated for a SAG award, for portraying Jon Peters in Licorice Pizza.

Well Penn and Waits are but a warmup act for the real showstopper Hollywood weirdo in hairdresser turned giant spider loving movie producer Jon Peters. A character, who unlike Mark Robson and William Holden, goes by his real name, and apparently the real Jon Peters was cool with this whole portrayal, except apparently wanted to be even creepier. That says a lot and suggests a man with an even greater insanity than our previous Hollywood crazies. Cooper even walking onscreen suggests what he's doing here is going to be something special with the unique sashay of his as he approaches Gary and Alana who are delivering him a waterbed. Just the way Cooper walks says too much about Peters as it can only be a 70's hairdresser who could quite walk the way he does, it is hard to quite describe what the walk is other than perfection. It's fascinating because it is both this more feminine sort of flamboyance but with this sort of overly masculine stride. It by itself already makes this a hilarious performance but that's just him walking into the scene. Cooper's scene then of pseudo interrogating/instruction Gary on how to approach dealing with his house is the definition of flawless comedic work by Cooper. Cooper's delivery is genius as it is this kind of hostile yet casual, intense yet hippie style breezy. Cooper some how is both, however the one thing it is, is comic gold. Cooper's frustration with Gary's inability to pronounce his girlfriend's name, Barbara Streisand, is beyond perfect somehow.

Cooper playing it as this essential need that Gary pronounce it right or else it's somehow a waste for him to date Streisand to begin with. What I love so much is that Cooper throws in the asides so naturally as he breaks his fixated stare to comment on that Gary would probably find her even more intolerable than Jon Peters is himself in his own measure. Cooper like natural yet insane switching of gears in the moment is wholly fascinating and also again hilarious. This in his clear disregard for Gary's excuse for the lateness of the delivery to quickly question the size of his penis hole. Before turning it into a threat, that Cooper speaks with as much ease as the first question, as he threatens to put the excuse up in that hole, followed by calling him a "cocky motherfucker" like it's just a natural name of endearment for him, though probably more likely one of hatred. The way Cooper is looking down at Gary, it is with this zen hatred, for the lack of a better word. This as his eyes are piercing yet he still gives off that hippie air of peace. Cooper showing this one of a kind stream of consciousness so articulately but also just so humorously. This is to the point you need to watch Cooper's work more than once just to catch every little tidbit of his performance like his quick insert "we're both from the streets" to Gary as some strange camaraderie suggestion. This before returning to being confrontational with his extreme ego as he tells Gary about his car and that his only problem is "that he loves tail" to much as though this is a routine admittance for him. Then Cooper's way of saying "I love it so much" as though he's having a miniature orgasm just in the description of it, before switching immediately to question Alana's status in relation to Gary's is again just insane perfection. Asking him the questions as part interrogator part horny mad man. I adore thought he kind of doubt in himself as he ask Gary if he likes Barbara Streisand. There being this weakness for a moment as he says to himself "I do too" as though he's not quite sure in his relationship despite all that he puts into it. This before Cooper ends with that same zen ease as he threatens to murder Gary's family if they mess with his house before he leaves to go to the movie theater.

Absolutely brilliant work from Cooper, would be the greatest purely comedic performance of the year from that alone...but wait there's more. As much as I would've been happy with what we got of Cooper Peters, he walks back on the scene to which I'll admit I was tempted to applaud on my initial viewing of this film in the theater. Cooper's first act was already great, but he decides to come back with additional variations on this theme, and I must say just the sight again of him walking back up the street with his ridiculous gait fills me with such joy. Cooper now shows a slightly wounded Peters, having been stranded for not having enough gas in his car. Cooper shows a rage that KNOWS NO BOUNDS, now if I'm comparing a performance to Dennis Reynolds at his peak, you know I love it. Cooper announcing "There's no GASO in the GOD DAMN CAR-O motherfucker" to his housekeeper(?) with hysterical intensity is true comic greatness, as Cooper so aggressively retrieves a gas can before taking off in the truck with Gary and Alana. To be repetitive I love everything about Cooper's ride down the road, as after getting the indication that she's not with Gary Cooper switches to flirt mode in Peters. His voice softens and his head turns as he demonstrates value by acting as though he is deeply caring about finding out more about Alana. Cooper turns on the charm, and the most ludicrous part about it, is it is easy to see how his method could easily work. This as he speaks to her with the brightest of smiles and looks at her as though she's the only person in the world for him at this moment. My favorite part of the spiel being his compliment on her driving skills and with the same smile dismissing his "competition" with his disregarding "Gary can't" regarding Gary's driving ability. Peters ending this by creeping fully on her as he "Helps" her avoid his car down the road. Cooper leans in and uses his whole voice as though he's decided to attempt to turn the whole thing into a porno for a moment, and is perfect at being so shameless in his sleazy method as literally crawls on top of Alan.

But there's more as we see Peters approach a crowded gas station to get gas. Walking again but now with these random knee snaps forward of a man reading to rumble...for some reason. Cooper's level of aggression is that of a beautiful insanity. Cooper stealing of the nozzle is pure hilarity through the sheer ferocity he brings as though he is ready to kill the guy at the pump if he doesn't step back. Sadly PTA cut the rest of the scene, because it wasn't about Alana and Gary, I'm not one to question as talented of filmmaker as PTA, but I'm questioning him a little bit on that decision. We do thankfully get just one more delicious morsel of Cooper as Peters is walking the streets terrorizing the local stores and coming onto the local women. It's brief but the intensity of both acts, and the shift of gear between them is once again flawless. And there is something that feels just right as we hear Cooper exiting while using the flirting soft voice while asking about the best peanut butter from two women then quizzing them on their tennis skills with the utmost interest. Now did I just ramble on and on to describe every second of this performance, yes you better believe I did, because every second of this performance should be describe and cherished for the comedic greatness it is. This is from someone who hasn't even always loved Cooper's comedic turns, but this is how you do it. I'll be honest I haven't laughed at performance quite so hard or so consistently in sometime as I did at Cooper here. I was worried, well not really but it's a thing you say, that the impact might be diminished on re-watch, but no, it only became all the potent. Yes he's only in the film for a few minutes, but so what, they are the most entertaining few minutes of 2021 as far as I'm concerned, so what's missing in Cooper's performance? Absolutely nothing. So if you didn't notice, yes I adore this performance, every second of the nuttiness worthy of comparison to the golden god, therefore the highest praise one can give...at least according to the golden god.

Tuesday, 22 February 2022

Alternate Best Supporting Actor 2021: Mike Faist and David Alvarez in West Side Story

Mike Faist did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying Riff nor did David Alvarez receive an Oscar nomination for portraying Bernardo in West Side Story.

Steven Spielberg's West Side Story is the rare remake that just simply improves on the original, in its musical retelling of Romeo and Juliet via 50's New York street gangs.

Mike Faist and David Alvarez represent, if not in a way lead, the decidedly less romantic side of the story as the heads of the two gangs featured in the story, the Jets and the Sharks respectively. Where I've been told the actors in these roles in the original films were triple threats, actors/dancers/singers, the actual performances seemed a bit less threatening. That is not the case though for Mike Faist and David Alvarez who right in the opening orchestral number as we see the two gangs clash, these guys are ready to make a statement with their performances on all three fronts. And really let's just talk physically first, and I don't mean anything about dancing at this moment. These two guys just seem to bring so much more to these roles than was the case in the original film. Alvarez carries himself with this controlled intensity in the opening scene, just his stance in itself speaks power, and speaks towards Bernardo who in this version is also a boxer. Faist embodies a fighter too, but just of a different sort. There's an innate kind of scrapper just from the way he holds himself, moves his jacket, holds his belt, even the way he holds or smokes a cigarette. Faist suggests a guy whose been through more than a few things in his life. Both Faist and Alvarez embody an innate kind of hostility in themselves, fitting to two gang leaders, and really this is just from their initial physical performance alone.

But hey let's get them to actually speak, which occurs when the police come in to stop the Jets and the Sharks from fighting, and we get some striking if very different charisma from both actors. Both though clearly establish themselves though in very different ways. Alvarez is all about this personal power and strength of his being. When he stands up to Lieutenant Schrank (Corey Stoll) Alvarez's delivery is precise and deliberate. He emphasizes the character's very much standing as this force and fierce leader. He speaks with both this discontent in his place but also this pride in his Puerto Rican heritage and leads a song verbalizing such, Alvarez creates a clear sense of purpose and power of self as related to his heritage in Bernardo. Faist obviously is far less physically imposing, to the point that Faist purposefully accentuated it all the more reflecting gang members from the time with almost aggressively slender frames. And I have to say there is something incredible about Faist, as everything about him seems like he stepped right out of the 50's. Faist even as such has just as much power of presence, just in an entirely different way. Faist rather does it within his unique voice and his cutting when always saying the right or perhaps wrong remark and the right or wrong time. Faist's delivery is something special in that the timing of the comic and sardonic remarks are pitch perfect, but the incisive nature of them is what is so fascinating. When he speaks he's owning his space, even for a moment, and even, unlike Alvarez who looks right at the officer, looking away Faist makes Riff just as confrontational in his more indirect sneaky way.

Where Riff really is kind of just a punk in the 61 film who wants to start trouble, there is far more here both written by Tony Kushner and performed by Mike Faist. We see this from his first scene with Tony (Ansel Elgort) as he's trying to bring him back into the Jets. Faist's performance really is this brilliant balancing act as he doesn't make you instantly hate Riff, even though what he is doing amounts to racial hatred, and how he pulls this off is quite something. What Faist does is so articulates the humanity of the character, as low as his character is in many ways. In the scene with Tony in one part he's just inviting his friend and every delivery of him trying to get Tony to come along Faist speaks just as earnestly as he can as one friend to another. There's really even a certain vulnerability about it trying to make sure his friend is part of it, even as he wants him to come to the dance really to stand with him as he sets up the rumble with the Sharks. Faist shows very much that he needs Tony not just as pseudo muscle, or a cooler head, but more so for a friend. When Tony initially refuses Faist's reaction is tremendous just in his little head shake as he moves it is almost a man who needs to switch to another emotion or he might cry. Riff explaining basically his motivation as seeing everything of his being taken away by people he doesn't like and they don't like him, leaving only the Jets is really the key to the character, made so by Faist's stunning performance. His delivery of the subtext of the line is so powerful because Faist articulates in it this mix of hate for these people, sadness for what is being destroyed, loneliness as he notes "who don't like me" but the it comes around to this pride for the Jets. The latter element denoting this inherent desperation of someone who needs to hold onto anything at this point, even if that thing might be nothing more than a street gang.

What is so great in this adaptation is this version spends more time in granting also the sense of the Sharks and we see this in Bernardo's home life with his girlfriend Anita (Ariana DeBose) and his sister Maria (Rachel Zegler). Alvarez wisely doesn't overplay the gangster or overprotective brother as he brings Chino (Josh Andrés Rivera) over to take Maria to the dance. Alvarez accentuates a real warmth as he speaks words of encouragement towards Chino even explaining that he should stay away from any gang life. Alvarez's way of saying its "stupid but he has to do it" conveys his own motivation as this sort of prideful requirement and what he sees as a needed defense, even as he tries to downplay it. His words of encouraging Chino on how to win over his sister, Alvarez is wonderfully sincere and suggests the brother who does genuinely want what is best for his sister. And even in his following moment with Maria and Anita, Alvarez suggests what is a loving family as far as he can go. He does bring a bit of macho bluster as he tells Maria to watch out for the "gringos" at the dance, but even there Alvarez plays into the bluster as not entirely intense in the moment. And even the glimpse of his relationship with Anita, you see a sense of their strong chemistry and just understanding of the lust and love for one another. Alvarez is terrific in this scene because in the moment he shows within his home there is a sense of comfort, the problem for him is everything outside of it.

The first scene that they directly share are as Bernardo and Riff are discussing the specifics of the rumble at the dance. Faist and Alvarez are great together and in a strange way have fantastic chemistry in the moment of discussing how to violently fight one another. Both Faist and Alvarez though suggest where both men feel they are in their element, which is threatening one another and trying just that bit more of bravado. Again with the contrasting styles of Alvarez's more stoic intensity against Faist's slippery intensity for the lack of a better description. The two together in way show the way both men are of the same mind in this way, and articulate the way it is a shame that they are odds, when in fact the reasons for their woes lay elsewhere since in a way you see a connection between them as strange as it may seem. The two so successfully though articulate the conflict both in themselves and towards each other. There is a far greater drama here than I'll say in the 61 version, where with Alvarez and Faist you really understand where both men are coming from, whether or not you agree with them, making that conflict between them far more potent. The more there is of them the deeper that conflict gets. Alvarez is again fantastic as he "counsels" Maria to avoid gringos for her husband even as he apologizes for harassing Maria for having danced with Tony. Alvarez avoids one note, in fact he's anything but one note, in articulating really moments of familial warmth, almost flirtation fighting with Anita, and the more direct over the top macho older brother posturing when being overprotective. All of it one scene, and all of it making Bernardo the overprotective brother, but also something far more complex than just the overprotective brother.

Contrasting the loving family setting of Bernardo, though it is never specifically shown, the desperate existence of Riff seems noted in Faist's performance. This is perhaps most bluntly revealed in the scene where Riff goes to get a gun for the rumble. Riff outlines his plan for it with Faist speaking every word with an unearned assurance of its protection, even as he ignores that it might be some kind of mutually assured destruction. When the seller points it at Riff's head to suggest the severity of it, Faist, with an improvised move, pushes his head further against the barrel and says "might as well". Faist is amazing in the moment not only because it captures so well the intensity of the scene, but as he says those words it is with an absolute belief in them. Faist isn't playing it that Riff is trying to act tough in the moment but rather genuinely thinks his death would be as about as good as his life is anyways. Faist wearing that desperation that is behind Riff as basically a badge of truth of the man, and while we never see what Riff's home is, everything about Faist's performance suggests there isn't much of one, if one at all. Faist showing entirely that Tony and the Jets are everything to him, because they're really all that he has in life. I love though the contrast after the gun buying scene to Riff and the Jets basically playing with the gun as they would if they were a bunch of boys in the playground playing cops and robbers. Faist's performance creating a believable hypocrisy the previous scene, by playing it as a boy with a brand new toy. With still Faist suggesting this fixation on the gun carrying it as a need, a fascination with it, as again the protection for the scared kid that is Riff behind it all.

Of course I've given all this praise and have not even mentioned their singing and dancing yet, which was intentional as frankly Bernardo and Riff would've compelling as is, just as they are without singing or dancing. Having said that, the actual musical elements of their performances are fantastic and only make them all the better. I love Alvarez's dancing with DeBose as you really get a sense of their red hot chemistry just in their dancing together, which is just wonderful. Not to diminish anyone else, but Faist's dancing here I think is especially something remarkable with how it is used within the film, and what he brings with his performance. Faist is absolutely magnetic in every single dance number or moment he gets. The fluidity of his performance and just the dynamism of every one of his movements is just incredible particularly as someone it feels so attached to his character as technically a street thug. The greatest moment in this regard being his brief solo dance at the end of "cool" as kind of this mockery towards Tony, after Tony tries to take Riff's gun. Faist manages to make a dance move this act of dominance, and not seem ridiculous, but rather absolutely captivating and wholly impactful in that intent. That is an achievement all in its own, and just reveals the greatness of Faist's whole portrayal of Riff. I mean I'll say the idea of the singing and dancing gang member, is inherently a silly idea, but it is all about how you pull it off and the quality of the technique. The technique of it being that of mastery in the work of Alvarez and especially Faist.

The final confrontation between the two is absolutely stellar. This as you take out their posturing and what you see in both Faist and Alvarez's performances is this searing rather illogical emotion. Though I love the difference between the two as Tony interrupts the rumble. Alvarez putting in all the left over bluster to "protect" his sister, and Faist going a mile a minute in his head as a man who has no idea what even to say or do in the situation; Faist so articulately conveys a complete mess of emotions all at once. The knife fight being absolutely gripping as Faist expresses such terror in his face now that he's actually in a life or death situation, against Alvarez who portrays a desperate kind of violence in their choreographed knife fight. The literal final moments of both performances being amazing moments of acting from both. Alvarez's immediate shame at seeing what he is done is powerful albeit brief moment of tragic regret. Faist though does leave the most painful impression of all in his reaction to being stabbed this bright smile as though it is what Riff wants, while his eyes fill with tears of a man who doesn't want to die after-all and it is absolutely devastating. Faist is simply outstanding in this final moment, however that is simply true for every moment Faist is onscreen. Both actors here represent the thrill of this new version by taking the concept further than what was done in the original film. They are effortlessly compelling as singers and dancers, which is already a lot of an accomplishment in itself, however there is the next step there in mixing those elements naturally with their acting that delivers two tragic portraits of men who allow their lives to be defined by hate.

(Alvarez)

(Faist)

Alternate Best Supporting Actor 2021: Ben Affleck in The Last Duel

Ben Affleck did not receive an Oscar nomination, despite being nominated for a SAG award for the wrong performance, for portraying Count Pierre d'Alençon in The Last Duel.

The Last Duel is a fantastic film by Ridley Scott that depicts the final officially sanctioned duel in France which resulted from the rape of Sir Jean Carrouges's (Matt Damon) wife Marguerite (Jodie Comer) by Jacques Le Gris (Adam Driver).

While the film is brilliantly presented through the three different perspectives of the principals involved with the crime, Ben Affleck isn't really part of that whole structure, because as the saying goes "once a frat bro, always a frat bro". Ben Affleck seems atypical casting for a historical piece of this ilk, though he acquitted himself well enough in his previous foray via a supporting role in Shakespeare in Love. Affleck does so again, as once more in crafting one's presence in a historical piece it often isn't about being strictly accurate to reality rather feeling natural in the film's reality. Affleck doesn't fashion an English accent, or a French accent that would be far more accurate, he takes the same technique as former all American leads in a film about French duelists, Scott's other fantastic film about duels The Duellists, of Harvey Keitel and Keith Carradine, it is rather by the reduction the stronger Americaness of his natural voice. A technique that wholly works honestly and Affleck as much as he isn't the first you'd think of for the material, he ends up fitting right into the world that Scott creates, though in his own way. Affleck after all doesn't play one of the people, or even one the knights working hard to maintain their castle and lands via war-craft, he rather is one of the few people who just gets to enjoy life being a Lord who simply waits for others to bring him money and more power.

As mentioned before Affleck is a consistency in the stories in terms of who Pierre is, however how much we see of him changes substantially. Affleck's appearances in the first recounting, which is Jean's, are brief but terrific in the passive dismissiveness of his performance towards his off-screen friend in Matt Damon. Every time Jean enters a room Affleck does this perfect near eye roll, like, "oh he's this guy again". His delivery of "closer" when Jean is pledging his loyalty is with the pitch perfect complete disregard for whatever the man may be presenting to him. In Jean's version you get one thing clear, that Pierre thinks very little of him and Affleck accentuates that wonderfully well. Affleck really takes much closer to center stage when we see Jacques's version of the tale, which where we got a straight forward story of the noble hero, an epic of old with Jean, in Jacques we get more of the modern Game of Thrones style take where there's more than little bit of debauchery required. Affleck's Pierre is right at home in this version of the tale where his role is its most substantial, and I think essential in terms of his placement in the film. Being a tale as it is, in a time as it is, it is difficult to find too much levity, thankfully Affleck provides just that by offering us a medieval frat boy for the ages.

Affleck is terrific in his first substantial scene by in a way playing the part so differently from the far more serious turns of the rest of the cast. Affleck doesn't over do it, but he has just the right amount of fun with it, fittingly as one of the few people at the time who seemingly was allowed to have fun within a horrible system. Affleck in the scene is arguing against any defense of Jean's failures as a commander to Jacques, who actually wants to defend the man, which Affleck doesn't accentuate based on seemingly any reasonable loss rather based on just how boring Jean is. Affleck is less passionate about losing land and is more so as he speaks of his low view of Jean in every regard, showing a man who the one thing he really can't stand is someone as dour as Jean. This emphasized all the more as Affleck puts as much passion into his brief moment afterwards as he questions Jacques about his shoe options, something obviously as important to Pierre as anything else might be. This moment is quickly topped as we see Pierre as the Lord at a dinner party and is a hilarious lout. Affleck so pompously speaking Latin words as this great thinker, though said with all the cunning of a lecher reading a salacious novel. This particular obsession seemingly only shared as much by Jacques, and Affleck's reactions show that Pierre's favoritism towards Jacques comes more than anything just is on his same frat bro wavelength. That of the man who likes to present himself as a great thinker, but he only greatly thinks about one thing, how to get laid.

Affleck provides the right comic relief at the right time by showing a man wholly interested in just his vices and showing the mutual companionship with Jacques that comes from just that mutual fixation. Affleck is hilarious by showing that anything other than that, is to him a bit of an inconvenience. When speaking of his business interests Affleck's delivery is rambling, mumbling, something Pierre barely likes to even talk about even when he must. I especially love his moment over overseeing his sons on some hunting expedition, with Affleck just so passively looking on and putting in the barest effort as he praises his son. Especially love his moment of hesitation and near double take when having a second thought on whether he got his second son's name right or not. A wonderful scene for Affleck is when Jacques comes to Pierre with concern that Jean is suing him over a property dispute, while Pierre is naturally in the middle of an orgy. Affleck throughout the moment is great by showing the sleaziest smile on his face as he just wants Jacques to stop moping and join in on some debauchery already. Affleck's reactions in the moment are great as though he's just barely listening and just bemused by the whole situation of the lawsuit. His reaction of it not even as inconvenience, completely summing himself up as a man who always gets what he wants. His moment of "fixing" the situation by simply giving Jacques even more power, with this phony grand gesture, as a quick fix of the man, who really just wants to get back to the sex already.

We also get a few more moments with Jean and Affleck is again delightful by being as broadly as dismissive as he can be towards Jean. What I really love though is Affleck's reaction each time is with this certain boredom and disbelief as though saying "oh look it's the bore again". Affleck's terrific by playing every moment as just barely being offended rather almost just amused by how angry and to him boring Jean is at every point. His delivery of pointing out Jean's poor strategy to build favor is with this casual manner of "you serious dude, this isn't the way to get ahead with me". Affleck's greatest scene actually though isn't overly comic, though there is kind of a humorous undertone within Affleck's own performance, where Jacques and Pierre discuss the rape charge against Jacques. Affleck is a little quieter emphasizing that even within Pierre he knows the charge is something serious and not even something he can bring his usual blitheness to. Affleck's delivery is fantastic in the scene because he is able to say it with his hesitation as though Pierre is hoping that it can be dismissed immediately as nonsense, yet there's kind of a slight unease that it won't be. When Jacques admits to it, but as something he claims is consensual, Affleck's reaction is flawless as though he's saying "dude, come on, it's me". When Jacques basically admits to it, again Affleck's reaction is great by saying it without saying it as "really dude, why?". Affleck doesn't quite make Pierre any less than despicable still, but I do love that he shows that even Pierre isn't fooled by Jacques's claims, even if he will help cover it for him. The cover up which Affleck plays as Pierre in a way at his most formal as he states the charge as a rumor and just something that should be ignored, which he believes it will be if it falls only on his authority. Unfortunately when Jean circumvents Pierre by going straight to the King for appeal, Affleck's performance is pure gold in the intensity of his anger and the perfection of his exasperated delivery of "cuuuunt" referring to Jean, showing the man's frustrations knowing that now the charge will not be going away anytime soon nor his troubles. Affleck again is limited in Marguerite's telling, though we do get him watching the final duel from the stands, where I do adore Affleck's investment in the entire affair, and especially his final reaction of "oh man, he was my dude" when things don't go his way. Despite what some organizations will tell you, which should've been defunct before they were even funct, Ben Affleck delivers a great performance here. He finds his place within the style of the film, but finds just the right variation to offer a perfect breath of fresh air within its proceedings, even if probably smells of wine...among other things.

Monday, 21 February 2022

Alternate Best Supporting Actor 2021: Tony Leung Chiu Wai in Shang-Chi and the Legend of the Ten Rings

Tony Leung Chiu Wai did not receive an Oscar nomination for portraying Xu Wenwu in Shang-Chi and the Legend of the Ten Rings.

Shang-Chi and the Legend of the Ten Rings feels like a compelling martial arts saga stuck somewhat in the confines of the marvel formula, leading it to be a somewhat middle of the road film for the studio, where a greater film seemed possible if it leaned a bit more into being different.

Tony Leung is the man who needs no introduction here and also requires no de-aging technology no matter when a scene takes place. I'll admit I was somewhat bemused by the amount of viewers discovering the charismatic Leung for the first time, as with even a cursory knowledge of Hong Kong cinema, one will be well aware of the remarkable performer that is Tony Leung. For the longest time, despite having a natural command of the English language, Tony Leung had not taken a western role, so this was a notable event for anyone with an interest of Leung as a performer. And the film in its opening seems aware of this as we follow Leung, in a nearly silent performance, as Xu Wenmu, with his ten rings, as he defeats and conquers various enemies. And in this sequence, even with all the visual effects, Leung is the most compelling aspect just as the magnetic performer he is even when just portraying a direct menacing kind of determination. Leung never leaves it to a singular note even as he is just showing a man basically seen as the unstoppable one. The introductory sequence ends with Xu meeting Ying Li (Fala Chen) in the mystical land Ta Lo. Leung is wonderful in this scene by managing to show even in the action scene the way Xu is both baffled and wholly impressed if not quite intrigued by this woman who is able to to defeat him despite his power. Leung naturally establishing in this sequence the two essentials of the role, the ruthless ambition of the character and the love for his wife that will be Ying Li. He does so with ease and that charisma of his, while also setting up a great villain.

Leung however doesn't really appear again, despite a few very brief flashbacks of him, as we establish our hero, Xu's son Shang-chi (Simu Liu), until he comes to find his children after they left him. The moment Leung re-enters a scene, he instantly owns the screen. Leung uses his natural charisma here so effectively, as never the literal tallest man in a scene, he nevertheless has the most commanding presence. Leung captures one's attention with ease, but does more than that. Just the way we see him as he captures his two children, Leung does so with that ease of menace, but also the clear pride in his eyes of the man appreciating his children's skills even as they technically defy him. "The family gathering" scene is exceptional work from Leung, and goes to show what an actor can bring to a scene. This as the scene ostensibly is there to establish Xu as the technical "Mandarin" while deriding the previous iterations of the character both in the films and the comics. While one can immediately appreciate just how commanding Leung's voice is in English, to the point I would love to see him act in the language again, he also shows how much one can convey with the subtext of performance. Leung just as he is playing the villain in the derision of the situation, there's also this patriarchal wisdom as accentuates the importance of one's name, and shows as much as Xu is a villain there is a convincing belief in one's past. Leung as naturally evokes the still potent sense of grief for the loss of his wife in this speech, that there is no simplicity to, rather it is essentially the reckoning of his moral character as man whose hate is defined by love in a way.

We are then granted more substantial flashbacks where we see the married life of Xu and Ying, where there is a sweet chemistry, and Leung brings a natural warmth both in those interactions we see and the moments of Xu seemingly content as a family man. Leung's best scene in a way might be a kind of brief one, where after the death of Ying due to Xu's enemies, we see Leung just contemplating on what has happened. Leung portrays the grief, the sense of guilt, but also the intensity of revenge as he decries the changes his wife tried to make out of him. Although really only like a minute long Leung shows the entire emotional distress of the man in the moment and the change to becoming a worse self. This followed by Leung emerging as just the cold villain who encourages his son to only live life through violence and for revenge. Leung's performance accentuating hatred rather than love, though always in the hate there is this sort of vulnerability in it of a man suffering for it. These are not even long scenes, or really all that deep as written, it is Leung's performance that finds such real nuance and complexity that it is pretty outstanding given how short these scenes are. Although I'll admit this creates also a point of frustration because while we see what Leung can do with this limited material, one can't help but wonder, why they don't give Leung more to do.

Where the film suffers is when half way through the film they introduce CGI monsters, who have no motivation other than they're evil, who show up even later, and whose main purpose is to release an even bigger CGI monster who is just bluntly evil. Not only does this feel sloppy because they're introduced so late, it also feels so tacitly connected to who we thought was the real villain in Xu. The way the film establishes its conflict is within the family, and the climax should be between Xu and Shang-Chi, and while that is in the film it seems somewhat rushed and the complexity removed that way we can instead get to the fight against the CGI monster. The worst sin of this decision is that it really undercuts the complexity of Leung's turn. He does his best to bring something between the singular determination to bring his wife back and the final glimpse of love for his son, however so much feels left on the table because of the rush to get to soul sucking demons. The balance isn't found between the two, and instead Xu sadly seems like a foot note to the real conflict against the big monsters, which again feels more formulaic, and whole lot less interesting. Every time a great actor is cast in a Marvel film I always am concerned that they may be easily wasted in some lame expository role, rather than properly utilized for their talents. Well thankfully this was not the case with Tony Leung's whose talents did nicely comes across still, however the choices of the third act did leave some wasted potential. It's a shame because honestly with a lesser actor I think Xu could've been an entirely forgettable villain. Leung prevents that, but his performance in a way shows what is lacking in this film. There was so much more to explore in the father/son dynamic if it stuck with dealing with the idea of your father as the villain, who does love you, but that is part of the issue. Instead this is too easily abandoned in favor of a more mainstream digestible conflict of "evil scary monsters are evil". If the film had stuck to a smaller scale finale, it could've stayed with the central conflict, and I think we would've gotten a far more potent ending, at the very least we would've gotten more Leung. Instead we get some Leung, which is in a way enough, but still not enough.

Sunday, 20 February 2022

Alternate Best Supporting Actor 2021: Al Pacino & Jared Leto in House of Gucci

Al Pacino did not receive an Oscar nomination for portraying Aldo Gucci nor did Jared Leto, despite being nominated for a SAG and Critic's Choice award, for portraying Paolo Gucci in House of Gucci.

House of Gucci I find is a largely successful, though imperfect, film that follows ambitious social climber Patrizia (Lady Gaga) as she infiltrates the famous fashion house by marrying Maurizio Gucci (Adam Driver).

I think what might be a major factor in determining whether someone merely thinks this film is just okay, dislikes it wholly, or genuinely likes it, as I do, might actually come down to these two performances. I say that as these two performances most represent the film's particular shift into the more operatic and overtly extravagant, compared to Adam Driver's straight man turn, or Lady Gaga, who is generally praised, despite being more overt however as the lead has more internal monologue to grant us a more obvious depth within her flamboyance. Al Pacino, no stranger to epics about an Italian family's troubles with power and succession, plays the Uncle to Maurizio and the father to Leto's Paolo, and seems like someone who would've been cast before the film was even thought of. Pacino though isn't even remotely like Michael Corleone here, in fact he might in fact cause one to question why Maurizio has such a hesitation to join the family business, as Aldo represents the most direct business side behind the Gucci fashion company. Pacino very much plays into the Italian with a knowing glee, and more so emphasizes the rather inviting qualities within his character. Pacino plays this without sinister intent, right down to his first major scene where Aldo speaks to his brother Rudolfo (Jeremy Irons), who disowned his son and is adamant the company stays as it is. Pacino though brings a warmth even within the fraternal relationship, as he explains that he should embrace his son and embrace family.

Of course that is all in contrast, or so it seems, to Aldo's relationship with Paolo Gucci, who might as well be called Fredo Gucci, particularly as performed by one Jared Leto. Leto's performance here one might say defies logic, good taste, or just basic sensibilities of most things that make a good performance good with his choice in accent. Although to say any of the Italian accents in this film are accurate, is a stretch, though not really the intention with the tone of the film, however Leto's seems to consider less any reality of well reality, and rather considers the exploits of Mario the plumber, or should I say super Mario. "It's a me Paolo Gucci" isn't ever quite said, but it would have been quite fitting to the general choices of this performance. The question then to most people reading this would probably cause one to say "well why are you reviewing this performance then", well I will eventually get to that. And to be fair, though this is not the reason why I'm reviewing him, Paolo, as considered within this film, is supposed to stand out like the sorest of thumbs, considered the fool by all, and Leto certainly, if anything else, he is most certainly that. Leto might just be as ridiculous as many performances come, but you'd be wrong to say that you don't instantly understand his dynamic in his "Mamma Mia" expression as he gets hit in the face in a field of play as he attends his father's birthday. He is indeed Aldo's idiot if nothing else.

Anyways back to Pacino, who is a great actor and for anyone to question him as such is wrong, and therefore it is easier to always accept what he is doing is with intention. Of course whatever it may be that he is doing is always attempting to bring something to his films, even when it is the lowest of the low. House of Gucci is far from that, and I'll say the "train-wreck" descriptions of this film are honestly quite baffling to me outside of Leto's performance which again I'll get to the "why" around him. Pacino though while this is definitely a performance where he's playing into a bigger style, it isn't without purpose in fact it is with great purpose I'd say. In fact a few minor tweaks this would be a realistic performance, but that isn't really at all Pacino's intentions, and I'd say for the entertainment value of the film Pacino's choice was the better one. Pacino's performance though wholly works in expressing the man who, other than his son, loves to embrace the family and even more so has such a pride in the name of Gucci. Aldo has fun with the idea of Gucci and Pacino brings the sense of fun with the film, Gucci. I love the charm Pacino brings as the "fun" Uncle, who hits the right flirtation tone in his scenes with Patrizia, who has no ill intent but loves to adorn praise upon his pretty niece-in-law, as he's just as inviting to his nephew. Pacino is wonderful at being a showoff by playing the showoff that is Aldo. Aldo wants everyone to know he loves his life, son aside, and brings the right flamboyant flavor to each and every moment of "selling" the idea of his Gucci to all.

Of course the complications of the film ensure from Patrizia pushing her husband towards a greater ambition and poor Paolo and Aldo's tension is used as part of a point for manipulation. This coming from the belief that Aldo's guidance can only push things so far, which when confronted Pacino is excellent in the calm way he puts down the idea reminding all that Aldo is where all the wealth comes from. Pacino's delivery is terrific in that he shows an actual menace not by removing the warmth from Aldo's speech, rather just taking some of it away to show that the man's kindness has its limitations. Here's where Paolo comes into play and Leto's performance is that of a clown clowning around. This in his delivery that is absurd as he tries to show his wares to Rudolfo for praise instead receiving condemnation and his face fashioning the stubbornness of a misunderstood genius while being that of just actually the fool. Leto in these moments of the fool is wholly pathetic yet as the comical court jester kind of way. I'll admit I had these whiplash moments with this performance where for one second I just roll my eyes at that voice that Leto's doing, that it becomes actually kind of funny, then ridiculous again and it goes on and on like this. Although this isn't even in itself why I'm reviewing this performance, however that in itself is something, even if it is hard to exactly praise it, yet if it is entertaining and meant to be entertaining, one can't completely frown upon it, even if it seems like one should.

Where the plot thickens is as Patrizia and Maurizio manipulate Paolo in giving them info that will jail Aldo temporarily and at the very least kick him out of the head of the company. Here's where my defense must continue, and yes your honor, my client is guilty as hell of scenery chewing and overacting, but to that judge, I must say, what if it still works. Now your honor, I must contend that even within his Mario Mario accent or perhaps Luigi Mario, there is more genuine acting you can find within Leto's performance, and yes, subtlety, yes subtlety. When not speaking, there are moments of genuine expression of sorrow and concern for his father, even when throwing him to the proverbial wolves. It is here your honor that I have to reckon with this strange admission, which is as much as Leto makes Paolo a cartoon, I ended up caring about that cartoon in some strange turn of events I don't understand myself, but whatever Leto did, I can't say failed. The scene where Paolo's fashion show gets cancelled by Maurizio's lawyers or he has to admit he sold his shares to his father, I was honestly moved by Leto's performance to the point I couldn't quite explain it. When you hear the wail of Paolo, I felt sad, and to my own disbelief, the self-indulgent performer that is Leto somehow pulled it off. Not in a way I would recommend to anyone, but if it worked emotionally, well I can't criticize a performer at doing that, particularly when some how he did it while also being completely ridiculous. This performance defies reality your judge, and in that sense, it succeeds in breaking my own and some how leaves me praising Leto in this film...I didn't expect that to happen judge.

Now as much as I feel I've become a lobbyist for some nefarious group by endorsing Jared Leto's work here, I don't feel that at all for Pacino's work, which honestly I don't see what anyone dislikes about it other than if you get fixated upon his technically inconsistent accent. As I feel the strongest scenes of the film belong to him after Aldo is released from jail, and he and Paolo are these kind of lost souls dealing with the shambles of the former empire that Maurizio has stolen from him. I love the warmth that Pacino finally unabashedly shows as he and Paolo support each other out of jail, and there is this fatherly patience even as Paolo continues to be dumb. The biggest challenge of their relationship when Paolo reveals he sold his shares in the company, essentially making it so Aldo will be unable to reclaim it. Pacino's reaction is fantastic as it delivers both this realization that he's finished and anger towards his son, before so poignantly seguing towards embracing his fool even finding some genuine affection in delivering the line "You're an idiot, but you're my idiot". Pacino and yes Leto finding something truly moving in Aldo and Paolo finding love at the bottom, contrasting against Patrizia and Maurizio betraying each other once they reach the top. Pacino's final scene is the one that makes me a little baffled that anyone would consider this less than strong work from the great actor. This as Aldo must sign away his final shares to the corporate group who are aligned with Maurizio. Pacino is pitch perfect in the scene from the way he comments first on some old shoes of his gifted to the company head by Maurizio. Pacino is both penetrating in the description of the shoe, to reveal Maurizio's treachery, but also there is such a broken sense of pride in his delivery. The real dream is in the shoe and Pacino's delivery brings this sense of nostalgia even with this undercurrent of pain as the dream is but a memory. When still Aldo is forced to sign, Pacino's physical reaction is truly incredible as he shakes in clear complete despair at losing his family's company, but we see in his face a man just barely holding it together enough to get through having had his legacy stolen from him.

(Really in many ways me throwing my hands and having to give Leto something, as I am in no way certain that this is the appropriate rating, but Leto defies the scale just as he does the typical logic of reality)

Best Actor