Best Scene: Death bed of a friend.
Best Scene: Talking to his friend in prison.
Best Scene: Can't sleep.
Best Scene: Revealing the conspiracy.
Best Scene: Indianapolis reaction.
Next Year: 1987 lead
Showing posts with label Brian Cox. Show all posts
Showing posts with label Brian Cox. Show all posts
Sunday, 21 October 2018
Alternate Best Supporting Actor 1975: Results
Best Scene: Death bed of a friend.
Best Scene: Talking to his friend in prison.
Best Scene: Can't sleep.
Best Scene: Revealing the conspiracy.
Best Scene: Indianapolis reaction.
Next Year: 1987 lead
Saturday, 29 September 2018
Alternate Best Supporting Actor 1975: Alan Bates, Brian Cox and Bill Owen in In Celebration
Alan Bates did not receive an Oscar nomination for portraying Andrew Shaw in In Celebration.
In Celebration is a more than fine entry into the ennui-filled-reunion genre this time about a group of brothers coming home to celebrate their parent's 40th wedding anniversary.
Alan Bates plays the character quite needed for any such film in this particular genre. The man who intends to prod and pry at the ceremony, needed to create the conflict. Bates's performance is interesting in that there is almost a self-awareness of this he brings within the character. His whole physical manner has this certain excessive ease of a man rejecting the formality of a reunion from the outset. This idea could seem forced however this approach is essential in creating the nature of Andrew as a character. Bates appears first in the film as he hitches a ride with the youngest living brother, Colin (James Bolam), and makes a statement of self-deprecation proclaiming "he is a tramp" to which Colin reacts with what is essentially a knowing bit of exasperation. This is as something Colin has seen before, and Bates embodies a man who definitely is not happy with life. Bates though doesn't make this an overt depression with his portrayal of Andrew but rather as this rejection of normalcy. Bates captures in the very behavior this purposeful, though also honest in its own way, manner of a man who just won't be quite proper. Bates finds this fine line within this as he establishes from the outset that Andrew isn't quite an exhibitionist with his behavior, but he's not too far off.
Brian Cox did not receive an Oscar nomination for portraying Steven Shaw in In Celebration.
The very talented Brian Cox has had a long successful career, though he has a manged to do this, honestly to do this day, with a rather low profile. Why this is exactly, somewhat alludes me as his talent is ever present, however it perhaps caused by the way he is often in good films somehow forgotten by time. A much younger Cox has a rather challenging role here as that of almost what one might describe as the "other brother". His Steven is the brother who lives nearest to his parent's old home, and makes his career as a teacher, and as a not at all successful writer. Cox's Steven actually arrives first to the family home, and Cox's performance establishes a man who is nearly the polar opposite of Andrew. Cox keeps his externalized expressions particularly subdued, and speaks in rather unconfrontational tones. Cox establishes Steven as a man who in no way wishes to make a spectacle of himself, unlike Andrew, though this does not mean he isn't as well troubled. Cox's whole demeanor though stands in sharp and effective contrast as the passive brother who treats this reunion less as something that requires an "attack" but rather is an earnest responsibility of a dutiful son.
Bill Owen did not receive an Oscar nomination for portraying Mr. Shaw in In Celebration.
Bill Owen plays the role of the patriarch of the Shaw family, who is one half the titular celebration. The celebration being for his forty years of marriage while also nearing another milestone of nearly 50 years of being a coal miner with only one year left before his retirement. Owen's performance is wonderful in how he distinctly crafts it separately from the work of Cox and Bates. In that there is not a hint of dishonesty in his Mr. Shaw although technically speaking he too isn't quite as he seems. Owen though rather is wholly genuine in his presentation of the man as he greets each of his sons as he arrives at his home. This is with a most earnest smile, and true warmth as greets every one of them. Owen skewers a basic sentiment within the part at the same time though. It isn't though with a hidden motivation that defines the man, but rather presents a more straight forward nature of the man. A man who has worked quite literally within the earth, and this revealed in his way towards life and family. Mr. Shaw too isn't all that he seems from a first look, however in a very different way from how Bates and Cox present his two sons.
Each character does have more to say with every greeting as we hear the conversations before and after the celebration, we never witness the celebration itself. These conversations dig up the truths of the family's past, which sadly is not a simple one. Each actor is terrific though in realizing how each man broaches this material. Bates one might say is the simplest, though also requires the most bravado on his part. Bates again physically embodies the role playing nearly as a drunkard who just won't bare formalities fully. This naturally paints the man as we learn he went from being a lawyer to a wannabe artist, and Bates conveys this decision with this manner. This is opposed to Cox who is so wonderfully quiet in the part, and his role is largely reactionary. His reactions though are what reveal every truth of the character, and the reserve he finds in the role is marvelous. Owen though makes the most honest man of them all though, even with the secrets, of course these secrets are not something he hides, but rather something he wears. Owen bears them as just pains of life deep within his eyes, but never an overt constant, though certainly still a constant. Owen shows a man who has had a harder life than his sons who doesn't dwell, but also can't forget.
Each performer layers the men so well in part in the interaction with who they are playing against. Bates again is the most obvious in this approach, such as when he first greets his mother with a bright face, and eager hello. Bates finds this proper combination of a honesty in his warmth, but also something bent within it. There's a troubling thing of any moment of eagerness in Bates, as goes a bit big, though I write this with praise rather than criticism. Bates lays the act on thickly too thickly that it is less an act, but rather a desperate need in a way. Bates plays it with venom, but not entirely so. Not a single moment is that of a true callousness as in his eyes there is always a certain sense of the family dynamic, that isn't defined by hate. There is also rather just the intensity of the emotion, even as he so often jokes around, that portrays a man nearly made grotesque in his attempt to laugh through the past and his current predicament. Bates makes the dishonesty part of the act of a man who must put on the facade of a false excitement, but it is never that simple. Bates shows instead a man still struggling with all himself, and this "performance" of Andrew's is his coping method.
Cox may deliver the most poignant performance in the capturing something very unique onscreen, and something that feels painfully honest. This is of course in such a low key approach though of the man who watches, and observes. Cox's work though is never of just the observer though as he's still part of this family. Cox makes so real the man's way of dealing with such a reunion which is through his own distant way. Again distant in not a cold way, which is what I love what he does here. He looks, and he smiles at his mother and father. When he does this it is wholly with love that small little smirk of his. His also will often feature that warmth of a loving son. That is not all he conveys though as even dealing with the confrontational Andrew Cox delivers the quiet disappointed stare from Steven that say more than a hundred words of hatred could. Cox in his reactions brings the weight of the family and his own hardship. There is a sadness in them, a sadness that only fully reveals itself in moments of complete solemnity so naturally realizing Steven as a man who lives in his troubles only at the most private point, which also keeps him as such an understated figure within his own family.
Back to Owen though who plays a man who really wouldn't know how to create a facade or to only observe. Owen shows a man who made by his difficult experiences but of course never destroyed by them. Owen delivers a real exuberance in his attitude towards life in moments, and showing his love at the right moments. There are darts of darkness, his own secret depression, but the key is that Owen doesn't play this as something he is hiding deep within. It is rather just part of who he is but never does define Mr. Shaw. He wears as a texture more than anything in his performance that will in a moment just linger a little more, or turn a certain line in his delivery that paints some old anxieties or troubles. This troubles such as the death of one of his sons, and the nature of his wife that came from a higher class family than his own. Owen's work is great by making essentially this flow of emotion of a man who has no real wish to dwell on the past, but the past still dwells with in him. Owen in the moment brings the most profound moments of truth, and the most vulnerable moments. This as also the briefest moments though in his work, in just a quick flash of anger, or heartbreak, that never change the man, but are always part of him.
Of course the real drama comes in the mix of these personalities coming together, particularly when the main conflicts of the death of their brother, and the realization that their mother purposefully raised her sons with a certain shame for their father's way of life and a requirement to live within a certain tradition. It is a fantastic scene for all three when this comes to a head by just wholly each grasps their parts, and how the emotion so genuine in all three of them, as well as from Bolam as Colin the most straight forward brother in terms of the presentation of his emotions. Bates makes Andrew a proper mess of a man as any facade of the "showman" hiding his real nature comes out in a more direct hatred towards the ways of his mother. There is only the hints of his phony cheeriness now revealing a man practically writhing in pain. This is against Cox and Owen who are both heartbreaking as two men directly relating to what Andrew is saying. Owen and Cox's reaction is that of a quiet yet devastated resignation in Steven and Mr. Shaw to what life they've had, as Andrew pours salt in the wound. I especially love the power of Owen's work as his is of man fighting hard not to give into this pain, as his eye lids seem to nearly deflect Andrew bringing the worst out into the open. Each in the film's end though shows almost the healthier state of Steven and Mr. Shaw in their way of embracing their existence against Andrew's way of attacking it. As we see Owen and Cox create such tender exchange in their parting of a father and son finding a true comfort, against Andrew once again returning to his ugly "playacting" as the sons depart. Bates, Cox and Owen each deliver a wonderful performance that so vividly depicts each man both in terms of their current state, their past, and how that defines who they are.
Alan Bates plays the character quite needed for any such film in this particular genre. The man who intends to prod and pry at the ceremony, needed to create the conflict. Bates's performance is interesting in that there is almost a self-awareness of this he brings within the character. His whole physical manner has this certain excessive ease of a man rejecting the formality of a reunion from the outset. This idea could seem forced however this approach is essential in creating the nature of Andrew as a character. Bates appears first in the film as he hitches a ride with the youngest living brother, Colin (James Bolam), and makes a statement of self-deprecation proclaiming "he is a tramp" to which Colin reacts with what is essentially a knowing bit of exasperation. This is as something Colin has seen before, and Bates embodies a man who definitely is not happy with life. Bates though doesn't make this an overt depression with his portrayal of Andrew but rather as this rejection of normalcy. Bates captures in the very behavior this purposeful, though also honest in its own way, manner of a man who just won't be quite proper. Bates finds this fine line within this as he establishes from the outset that Andrew isn't quite an exhibitionist with his behavior, but he's not too far off.
Brian Cox did not receive an Oscar nomination for portraying Steven Shaw in In Celebration.
Bill Owen did not receive an Oscar nomination for portraying Mr. Shaw in In Celebration.
Each character does have more to say with every greeting as we hear the conversations before and after the celebration, we never witness the celebration itself. These conversations dig up the truths of the family's past, which sadly is not a simple one. Each actor is terrific though in realizing how each man broaches this material. Bates one might say is the simplest, though also requires the most bravado on his part. Bates again physically embodies the role playing nearly as a drunkard who just won't bare formalities fully. This naturally paints the man as we learn he went from being a lawyer to a wannabe artist, and Bates conveys this decision with this manner. This is opposed to Cox who is so wonderfully quiet in the part, and his role is largely reactionary. His reactions though are what reveal every truth of the character, and the reserve he finds in the role is marvelous. Owen though makes the most honest man of them all though, even with the secrets, of course these secrets are not something he hides, but rather something he wears. Owen bears them as just pains of life deep within his eyes, but never an overt constant, though certainly still a constant. Owen shows a man who has had a harder life than his sons who doesn't dwell, but also can't forget.
Each performer layers the men so well in part in the interaction with who they are playing against. Bates again is the most obvious in this approach, such as when he first greets his mother with a bright face, and eager hello. Bates finds this proper combination of a honesty in his warmth, but also something bent within it. There's a troubling thing of any moment of eagerness in Bates, as goes a bit big, though I write this with praise rather than criticism. Bates lays the act on thickly too thickly that it is less an act, but rather a desperate need in a way. Bates plays it with venom, but not entirely so. Not a single moment is that of a true callousness as in his eyes there is always a certain sense of the family dynamic, that isn't defined by hate. There is also rather just the intensity of the emotion, even as he so often jokes around, that portrays a man nearly made grotesque in his attempt to laugh through the past and his current predicament. Bates makes the dishonesty part of the act of a man who must put on the facade of a false excitement, but it is never that simple. Bates shows instead a man still struggling with all himself, and this "performance" of Andrew's is his coping method.
Cox may deliver the most poignant performance in the capturing something very unique onscreen, and something that feels painfully honest. This is of course in such a low key approach though of the man who watches, and observes. Cox's work though is never of just the observer though as he's still part of this family. Cox makes so real the man's way of dealing with such a reunion which is through his own distant way. Again distant in not a cold way, which is what I love what he does here. He looks, and he smiles at his mother and father. When he does this it is wholly with love that small little smirk of his. His also will often feature that warmth of a loving son. That is not all he conveys though as even dealing with the confrontational Andrew Cox delivers the quiet disappointed stare from Steven that say more than a hundred words of hatred could. Cox in his reactions brings the weight of the family and his own hardship. There is a sadness in them, a sadness that only fully reveals itself in moments of complete solemnity so naturally realizing Steven as a man who lives in his troubles only at the most private point, which also keeps him as such an understated figure within his own family.
Back to Owen though who plays a man who really wouldn't know how to create a facade or to only observe. Owen shows a man who made by his difficult experiences but of course never destroyed by them. Owen delivers a real exuberance in his attitude towards life in moments, and showing his love at the right moments. There are darts of darkness, his own secret depression, but the key is that Owen doesn't play this as something he is hiding deep within. It is rather just part of who he is but never does define Mr. Shaw. He wears as a texture more than anything in his performance that will in a moment just linger a little more, or turn a certain line in his delivery that paints some old anxieties or troubles. This troubles such as the death of one of his sons, and the nature of his wife that came from a higher class family than his own. Owen's work is great by making essentially this flow of emotion of a man who has no real wish to dwell on the past, but the past still dwells with in him. Owen in the moment brings the most profound moments of truth, and the most vulnerable moments. This as also the briefest moments though in his work, in just a quick flash of anger, or heartbreak, that never change the man, but are always part of him.
Of course the real drama comes in the mix of these personalities coming together, particularly when the main conflicts of the death of their brother, and the realization that their mother purposefully raised her sons with a certain shame for their father's way of life and a requirement to live within a certain tradition. It is a fantastic scene for all three when this comes to a head by just wholly each grasps their parts, and how the emotion so genuine in all three of them, as well as from Bolam as Colin the most straight forward brother in terms of the presentation of his emotions. Bates makes Andrew a proper mess of a man as any facade of the "showman" hiding his real nature comes out in a more direct hatred towards the ways of his mother. There is only the hints of his phony cheeriness now revealing a man practically writhing in pain. This is against Cox and Owen who are both heartbreaking as two men directly relating to what Andrew is saying. Owen and Cox's reaction is that of a quiet yet devastated resignation in Steven and Mr. Shaw to what life they've had, as Andrew pours salt in the wound. I especially love the power of Owen's work as his is of man fighting hard not to give into this pain, as his eye lids seem to nearly deflect Andrew bringing the worst out into the open. Each in the film's end though shows almost the healthier state of Steven and Mr. Shaw in their way of embracing their existence against Andrew's way of attacking it. As we see Owen and Cox create such tender exchange in their parting of a father and son finding a true comfort, against Andrew once again returning to his ugly "playacting" as the sons depart. Bates, Cox and Owen each deliver a wonderful performance that so vividly depicts each man both in terms of their current state, their past, and how that defines who they are.
Monday, 24 September 2018
Alternate Best Supporting Actor 1975
Alan Bates in In Celebration
Brian Cox in In Celebration
Bill Owen in In Celebration
Bruce Dern in Smile
Richard Dreyfuss in Jaws
Nicol Williamson in The Wilby Conspiracy
Ugo Tognazzi in My Friends
For Prediction Purposes:
Bates in In Celebration
Sunday, 18 September 2016
Alternate Best Supporting Actor 2011: Results
Best Scene: Matt talks about his injury.
Best Scene: Clas at the meeting.
Best Scene: Loki reveals his plan.
Best Scene: David and Rachel at the party.
Best Scene: Menenius makes his final plea to Caius.
Next Year: 1960 Lead
Thursday, 1 September 2016
Alternate Best Supporting Actor 2011: Brian Cox in Coriolanus
Brian Cox did not receive an Oscar nomination for portraying Menenius in Coriolanus.
This version of Coriolanus removes itself from its original ancient times setting by placing it in a modern state in its telling of the rise and fall of the troubled soldier Caius Martius Coriolanus (Ralph Fiennes). Now this has been done before to a degree with Ian McKellen's Richard III, still made period just a different period, and of course how could one forget Baz Luhrmann's Romeo + Juliet, as I much as I'd like to. Now treating Shakespeare with a modern bent is a challenge in itself. I will say playing the roles of a blunt and intense soldier the more traditional approach seems wholly fitting. A soldier is one thing though, but a senator is another. A politician of then is not exactly equal to the politician of now. So who to find the proper approach, well none other than the one and only Brian Cox. By the way on rather unrelated note would someone get the man a part on Game of Thrones. If Brian Cox of all people wants a part on your show, get the man a part, come on! Anyway back to Brian Cox in this film.
Cox plays the role of Menenius a leading Roman senator and a definite supporter of Caius Martius. We first meet Menenius as he goes to visit the home of Caius well he is away and sees Caius's mother Volumnia (Vanessa Redgrave), wife Virgilia (Jessica Chastain) and his son. From this first scene one can see that Cox is magnetic as usual. There is just something about the way he maneuvers a scene it's captivating, now Cox goes even further here with his approach to Shakespeare. Now I have to admit even before seeing this film Cox is someone you'd expect to do well with the Bard anyways. Cox's ability though perhaps surpasses that expectation. This is because he successfully modernizes it in every sense except literally changes the words to modern equivalents. Cox masters the words in a most remarkable fashion. There is such an effortlessness and ease about it. Cox makes every word seem so utterly natural. The man of modern clothing speaking the old words, which Menenius is always in, never seems a gimmick or out of place due to Cox. Cox makes it so it seems this is exactly how the man should speak.
Cox's ability in the role goes past that mastery though, as he takes the part of Menenius who seems like he is there often to delivery exposition or perhaps set up the more emotional moments for the other characters, particularly Caius. Cox never allows this to be a limitation, through his exceptional approach to the part. Again the idea of modernizing the character is key to Cox's work. Cox does not play Menenius as a senator of old, but rather as a modern elder statesmen. Cox brings that grace that you'd expect from such a man. Cox finds the needed eloquence about him, in there is even this lightness to him fitting for man who specializes in easing situations rather than exacerbating them. Cox presents the right type of confidence in the man in that it's not confrontational. Cox instead exudes the pivotal quality of a different kind of leader, as the emphasis is not on command but rather a definite charm underlined with a definite sense of empathy for those he speaks for.
Now something I love about Cox's work is how honest he makes Menenius as a character throughout the film, it's especially nice change of pace considering how often Cox plays the duplicitous sort. There is such a warmth in every scene with Caius's family. You really feel his history with every family member, and Cox gives understanding to Menenius's motivations throughout. In the moments where Caius acts out in such anger, Cox is so effective in realizing a genuine concern in Menenius, not only for the state but for a man he cares for. There's a great scene for Cox where he speaks to other politicians of the state, less supportive of Caius, and Cox nicely downplays the overt charm revealing a more directly incisive sort ready to deal with those who wish to stab Caius in the back. This is no unveiling a facade by Cox instead he only reinforces the earnestness of Menenius's support of Caius, as he portrays the intensity of the man's passion as he argues to support Caius. Again there is very little time exclusively spent on the development of Menenius's character, luckily that the little there is more than enough for Cox. Cox does not waste a reaction or a line, as he portrays the gradual decay of Menenius in a different way from Caius's decay. As the Roman authorities continue to betray Caius, Cox gradually reveals a growing depression in the senator as he sees everything he worked for is crumbling around him. After Caius is banished, only to come back to wage war against Rome, Menenius is sent as the envoy to attempt to negotiate a peace with the man. Cox's outstanding in the scene as he plays a definite desperation in Menenius as he tries to bring back his old charm, and warmth as he attempts to call upon his old friendship with the man. Cox is affecting in the way he shows this to all fall apart as Caius's cuts off his old friend with a simple "away". Cox depicts a shock in Menenius and a real pain as his face wears a true sense of despair. After the meeting Cox is heartbreaking as presents Menenius as man without place or purpose, haunted by his failure to serve either his country or his friend. This is a truly inspired Shakespearean performance by Brian Cox. This is not only in terms of his new approach to the old text, but also in the complexity and poignancy he finds in his portrait of character who would be nothing in the wrong hands.
Cox plays the role of Menenius a leading Roman senator and a definite supporter of Caius Martius. We first meet Menenius as he goes to visit the home of Caius well he is away and sees Caius's mother Volumnia (Vanessa Redgrave), wife Virgilia (Jessica Chastain) and his son. From this first scene one can see that Cox is magnetic as usual. There is just something about the way he maneuvers a scene it's captivating, now Cox goes even further here with his approach to Shakespeare. Now I have to admit even before seeing this film Cox is someone you'd expect to do well with the Bard anyways. Cox's ability though perhaps surpasses that expectation. This is because he successfully modernizes it in every sense except literally changes the words to modern equivalents. Cox masters the words in a most remarkable fashion. There is such an effortlessness and ease about it. Cox makes every word seem so utterly natural. The man of modern clothing speaking the old words, which Menenius is always in, never seems a gimmick or out of place due to Cox. Cox makes it so it seems this is exactly how the man should speak.
Cox's ability in the role goes past that mastery though, as he takes the part of Menenius who seems like he is there often to delivery exposition or perhaps set up the more emotional moments for the other characters, particularly Caius. Cox never allows this to be a limitation, through his exceptional approach to the part. Again the idea of modernizing the character is key to Cox's work. Cox does not play Menenius as a senator of old, but rather as a modern elder statesmen. Cox brings that grace that you'd expect from such a man. Cox finds the needed eloquence about him, in there is even this lightness to him fitting for man who specializes in easing situations rather than exacerbating them. Cox presents the right type of confidence in the man in that it's not confrontational. Cox instead exudes the pivotal quality of a different kind of leader, as the emphasis is not on command but rather a definite charm underlined with a definite sense of empathy for those he speaks for.
Now something I love about Cox's work is how honest he makes Menenius as a character throughout the film, it's especially nice change of pace considering how often Cox plays the duplicitous sort. There is such a warmth in every scene with Caius's family. You really feel his history with every family member, and Cox gives understanding to Menenius's motivations throughout. In the moments where Caius acts out in such anger, Cox is so effective in realizing a genuine concern in Menenius, not only for the state but for a man he cares for. There's a great scene for Cox where he speaks to other politicians of the state, less supportive of Caius, and Cox nicely downplays the overt charm revealing a more directly incisive sort ready to deal with those who wish to stab Caius in the back. This is no unveiling a facade by Cox instead he only reinforces the earnestness of Menenius's support of Caius, as he portrays the intensity of the man's passion as he argues to support Caius. Again there is very little time exclusively spent on the development of Menenius's character, luckily that the little there is more than enough for Cox. Cox does not waste a reaction or a line, as he portrays the gradual decay of Menenius in a different way from Caius's decay. As the Roman authorities continue to betray Caius, Cox gradually reveals a growing depression in the senator as he sees everything he worked for is crumbling around him. After Caius is banished, only to come back to wage war against Rome, Menenius is sent as the envoy to attempt to negotiate a peace with the man. Cox's outstanding in the scene as he plays a definite desperation in Menenius as he tries to bring back his old charm, and warmth as he attempts to call upon his old friendship with the man. Cox is affecting in the way he shows this to all fall apart as Caius's cuts off his old friend with a simple "away". Cox depicts a shock in Menenius and a real pain as his face wears a true sense of despair. After the meeting Cox is heartbreaking as presents Menenius as man without place or purpose, haunted by his failure to serve either his country or his friend. This is a truly inspired Shakespearean performance by Brian Cox. This is not only in terms of his new approach to the old text, but also in the complexity and poignancy he finds in his portrait of character who would be nothing in the wrong hands.
Monday, 29 August 2016
Alternate Best Supporting Actor 2011
Brian Cox in Coriolanus
Nikolaj Coster-Waldau in Headhunters
Patton Oswalt in Young Adult
Tom Hiddleston in Thor
Sam Worthington in The Debt
Monday, 7 April 2014
Alternate Best Supporting Actor 1986: Results
Best Scene: The Revelation.
Best Scene: "Dentist!"
Best Scene: Hannibal's introduction.
Best Scene: Lucy breaks off the engagement with Cecil.
Best Scene: "In Dreams"
- Dennis Hopper in Blue Velvet
- Tom Berenger in Platoon
- Daniel Day-Lewis in A Room With A View
- Alan Ruck in Ferris Bueller's Day Off
- John Goodman in True Stories
- Willem Dafoe in Platoon
- Dean Stockwell in Blue Velvet
- Ray Liotta in Something Wild
- John C. McGinley in Platoon
- Michael Caine in Hannah and Her Sisters
- Tom Noonan in Manhunter
- Brian Cox in Manhunter
- Steve Martin in Little Shop of Horrors
- Michael Caine in Mona Lisa
- Levi Stubbs in Little Shop of Horrors
- Vincent Price in The Great Mouse Detective
- Forest Whitaker in The Color of Money
- Raul Julia in The Morning After
- Lance Henriksen in Aliens
- Dennis Hopper in Hoosiers
- Allan Edwall in The Sacrifice
- Corey Feldman in Stand By Me
- Woody Allen in Hannah and Her Sisters
- Michael Biehn in Aliens
- Jerry O'Connell in Stand By Me
- Chow Yun-Fat in A Better Tomorrow
- John Glover in 52 Pick Up
- Denholm Elliott in Defence of the Realm
- Robbie Coltrane in Mona Lisa
- Paul Reiser in Aliens
- Clancy Brown in Highlander
- Bill Paxton in Aliens
- Ted Sorel in From Beyond
- Rutger Hauer in The Hitcher
- Jeffrey Jones in Ferris Bueller's Day Off
- Pops Staples in True Stories
- John Kraaijkamp in The Assault
- Michael Hordern in Lady Jane
- James Hong in Big Trouble in Little China
- Max von Sydow in Hannah and Her Sisters
- Bill Murray in Little Shop of Horrors
- Helmut Qualtinger in The Name of the Rose
- Vincent Gardenia in Little Shop of Horrors
- Spalding Gray in True Stories
- Clarence Williams III in 52 Pick Up
- George Dickerson in Blue Velvet
- Sven Wollter in The Sacrifice
- Dennis Farina in Manhunter
- John Ingles in True Stories
- Kiefer Sutherland in Stand By Me
- Forest Whitaker in Platoon
- Dennis Dun in Big Trouble in Little China
- Keith David in Platoon
- William Hope in Aliens
- Michel Piccoli in Mauvais Sang
- Robert Loggia in That's Life
- Conrad Roberts in The Mosquito Coast
- Carey Elwes in Lady Jane
- Ray McNally in The Mission
- Victory Wong in Big Trouble in Little China
- Kevin Dillon in Platoon
- Ken Foree in From Beyond
- F. Murray Abraham in The Name of the Rose
- Francesco Quinn in Platoon
- Val Bettin in The Great Mouse Detective
- Liam Neeson in The Mission
- Val Kilmer in Top Gun
- Sean Connery in Highlander
- Anthony Edwards in Top Gun
- David Bowie in Labyrinth
- Stephen Lang in Manhunter
- Chris Penn in At Close Range
- Denholm Elliot in A Room With A View
- Ron Perlman in The Name of the Rose
- Charles Dance in The Golden Child
- Simon Callow in A Room With A View
- Barry Miller in Peggy Sue Got Married
- Philip Bosco in Children of a Lesser God
- Brad Dourif in Blue Velvet
- Tom Skerritt in Top Gun
- Leonard Nimoy in Star Trek IV: The Voyage Home
- Bill Pullman in Ruthless People
- Michael Lonsdale in The Name of the Rose
- DeForest Kelley in Star Trek IV: The Voyage Home
- Victor Wong in The Golden Child
- Patrick Stewart in Lady Jane
- Rupert Graves in A Room With A View
- John Turturro in The Color of Money
- Michael Ironside in Top Gun
- Kevin O'Connor in Peggy Sue Got Married
- Reni Santoni in Cobra
- Jim Belushi in Salvador
- Hippolyte Girardot in Manon des Sources
- Yuj Okumoto in The Karate Kid Part II
- Martin Scorsese in 'Round Midnight
- Alan Young in The Great Mouse Detective
- James Hong in The Golden Child
- Danny Kamekona in The Karate Kid Part II
- John Savage in Salvador
- Alfonso Arau in The Three Amigos
- David Byrne in True Stories
- John Getz in The Fly
- Nicolas Cage in Peggy Sue Got Married
- Mario Van Peebles in Heartbreak Ridge
- Mark Blum in Crocodile Dundee
- David Kagen in Friday the 13th Part VI
- Andre Gregory in The Mosquito Coast
- Andrew Schofield in Sid and Nancy
- Austin Pendleton in Short Circuit
- Fisher Stevens in Short Circuit
- Tom Fridley in Friday the 13th Part VI
- Brian Thompson in Cobra
Monday, 31 March 2014
Alternate Best Supporting Actor 1986: Brian Cox in Manhunter
Brian Cox did not receive an Oscar nomination for portraying Hannibal Lecktor in Manhunter.
Manhunter is an effective thriller.
Brian Cox was the first actor to play the role of one of the most famous onscreen serial killers Hannibal Lecter. Right from the outset there are some differences though not only because his last name is spelled Lecktor for some reason, but as well the film does not really make much of a mention in regard to his cannibalism even if he has the same first name. The character though does serve the same purpose of being the man an investigator goes to try to find out about something about another serial killer currently at large. This time the investigator is Will Graham (William Peterson) who successfully caught Lecktor and is seeking his help to try to understand a new killer nicknamed the Tooth Fairy (Tom Noonan).
Cox honestly goes for less the larger than life villain, although that probably contributed greatly to Hopkins turning the role into an iconic one, and more bluntly as a down to earth serial killer. Cox also plays him as a maniacal genius but in a far different way. In his first scene when he talking to Will in prison Cox plays his Lecktor as much more aggressive in his attack. He is less sneaky about it rather putting up his psychological games right to the forefront first thing. Cox delivers the game as much more a fast talking constant array of harassment toward Will. Cox method is particularly effective in making his Lecktor as man who is just constantly pestering and prodding for some sort of weakness, and rather interestingly does so with out the suave qualities Hopkins utilizes.
Both of them use there eyes very specifically in their performances and it is rather interesting to see the differences in their approaches. Hopkins keeps a constant stare as if Lecter is looking at their soul and that is his natural state. Cox rather shows it to be a put on just for will and it is quite chilling though. It adds to the blunt force intensity he brings in his Lecktor as it only adds to what he is trying to do Will. Both Hannibals want to be play a game, but Cox plays it like Lecktor honestly more like a real man who just wants to get as much pain out of a man he hates as possible. The intelligence of Hannibal is there too with Cox, but in oddly a less likable way as he is really more realistic suggesting a completely smug man who also is a psychopath to boot.
The only problem with Cox's performance is there is not much of it. He's only in three scenes and two of them are relatively brief. He's great in all in his own personal creation of Lecktor that manages a strong presence in the film despite the limited nature of the part that makes Hopkins in Lambs seem far more substantial in comparison. I really would have liked to have seen his Lecktor in the Silence of the Lambs storyline, as Cox definitely leaves his Lecktor with more areas to explore than what is seen in Manhunter. As it was though Cox in his brief time gives a disturbing depiction of the killer, and it is fascinating to see this rather different, but certainly a very effective take on the character.
Brian Cox was the first actor to play the role of one of the most famous onscreen serial killers Hannibal Lecter. Right from the outset there are some differences though not only because his last name is spelled Lecktor for some reason, but as well the film does not really make much of a mention in regard to his cannibalism even if he has the same first name. The character though does serve the same purpose of being the man an investigator goes to try to find out about something about another serial killer currently at large. This time the investigator is Will Graham (William Peterson) who successfully caught Lecktor and is seeking his help to try to understand a new killer nicknamed the Tooth Fairy (Tom Noonan).
Cox honestly goes for less the larger than life villain, although that probably contributed greatly to Hopkins turning the role into an iconic one, and more bluntly as a down to earth serial killer. Cox also plays him as a maniacal genius but in a far different way. In his first scene when he talking to Will in prison Cox plays his Lecktor as much more aggressive in his attack. He is less sneaky about it rather putting up his psychological games right to the forefront first thing. Cox delivers the game as much more a fast talking constant array of harassment toward Will. Cox method is particularly effective in making his Lecktor as man who is just constantly pestering and prodding for some sort of weakness, and rather interestingly does so with out the suave qualities Hopkins utilizes.
Both of them use there eyes very specifically in their performances and it is rather interesting to see the differences in their approaches. Hopkins keeps a constant stare as if Lecter is looking at their soul and that is his natural state. Cox rather shows it to be a put on just for will and it is quite chilling though. It adds to the blunt force intensity he brings in his Lecktor as it only adds to what he is trying to do Will. Both Hannibals want to be play a game, but Cox plays it like Lecktor honestly more like a real man who just wants to get as much pain out of a man he hates as possible. The intelligence of Hannibal is there too with Cox, but in oddly a less likable way as he is really more realistic suggesting a completely smug man who also is a psychopath to boot.
The only problem with Cox's performance is there is not much of it. He's only in three scenes and two of them are relatively brief. He's great in all in his own personal creation of Lecktor that manages a strong presence in the film despite the limited nature of the part that makes Hopkins in Lambs seem far more substantial in comparison. I really would have liked to have seen his Lecktor in the Silence of the Lambs storyline, as Cox definitely leaves his Lecktor with more areas to explore than what is seen in Manhunter. As it was though Cox in his brief time gives a disturbing depiction of the killer, and it is fascinating to see this rather different, but certainly a very effective take on the character.
Saturday, 29 March 2014
Alternate Best Supporting Actor 1986
Daniel Day-Lewis in A Room With A View
Dennis Hopper in Blue Velvet
Brian Cox in Manhunter
Steve Martin in Little Shop of Horrors
Raul Julia in The Morning After
Thursday, 2 May 2013
Alternate Best Supporting Actor 2001: Results
- Anthony Hopkins in Hearts in Atlantis
- Ian McKellen in The Fellowship of the Ring
- Sean Bean in The Fellowship of the Ring
- Jude Law in A.I. Artificial Intelligence
- Brian Cox in L.I.E.
- Ben Kingsley in Sexy Beast
- Alan Cumming in Josie and The Pussycats
- Paul Bettany in A Knight's Tale
- James Gandolfini in The Mexican
- Ian Holm in The Fellowship of the Ring
- Luke Wilson in The Royal Tenenbaums
- Teruyuki Kagawa in Devils on the Doorstep
- Justin Theroux in Mulholland Drive
- Tsutomu Yamazaki in Go
- Viggo Mortensen in The Fellowship of the Ring
- Ben Stiller in The Royal Tenenbaums
- Tony Shalhoub in The Man Who Wasn't There
- Mark Addy in A Knight's Tale
- Héctor BenjamÃn Alterio in Son of the Bride
- Mark Pellegrino in Mulholland Drive
- Steve Buscemi in Ghost World
- Timothy Spall in Intimacy
- Ed Harris in A Beautiful Mind
- Geoffrey Rush in Lantana
- Monty Montgomery in Mulholland Drive
- Sean Astin in The Fellowship of the Ring
- Robbie Coltrane in Harry Potter and the Sorcerer's Stone
- Paul Bettany in A Beautiful Mind
- Clive Owen in Gosford Park
- Kenya Sawada in Devils on the Doorstep
- Ian McShane in Sexy Beast
- Christopher Lee in The Fellowship of the Ring
- Martin Landau in The Majestic
- Ricky Jay in Heist
- Peter Boyle in Monster's Ball
- James Gandolfini in The Man Who Wasn't There
- Mickey Rourke in The Pledge
- Yuan Ding in Devils on the Doorstep
- Heath Ledger in Monster's Ball
- Jim Broadbent in Moulin Rouge!
- Danny DeVito in Heist
- Zhijun Cong in Devils on the Doorstep
- Patrick Fischler in Mulholland Drive
- Richard Harris in Harry Potter and the Sorcerer's Stone
- Owen Wilson in The Royal Tenenbaums
- Delroy Lindo in Heist
- Federico Luppi in The Devil's Backbone
- Alan Tudyk in A Knight's Tale
- Aries Spears in Josie and the Pussycats
- Cast of Black Hawk Down
- Bill Murray in The Royal Tenenbaums
- Hugh Bonneville in Iris
- Jon Polito in The Man Who Wasn't There
- Andy Garcia in Ocean's Eleven
- John Lone in Rush Hour 2
- Holmes Osborne in Donnie Darko
- John Rhys-Davies in The Fellowship of the Ring
- Nick Stahl in In The Bedroom
- Carson Daly in Josie and the Pussycats
- Peter Falk in Made
- William Hurt in A.I. Artificial Intelligence
- James Whitmore in The Majestic
- Hugo Weaving in The Fellowship of the Ring
- Angelo Badalmenti in Mulholland Drive
- Alan Rickman in Harry Potter and the Sorcerer's Stone
- John Hurt in Harry Potter and the Sorcerer's Stone
- Patrick Swayze in Donnie Darko
- Kurt Russell in Vanilla Sky
- Gene Hackman in The Mexican
- Alan Bates in Gosford Park
- Marlon Brando in The Score
- Lindsay Honey in Last Resort
- Seth Green in Josie and the Pussycays
- Breckin Meyer in Josie and the Pussycats
- Donald Faison in Josie and the Pussycats
- Billy Boyd in The Fellowship of the Ring
- Noah Taylor in Vanilla Sky
- David Duchovny in Zoolander
- Mario Van Peebles in Ali
- Sam Rockwell in Heist
- Seymour Cassel in The Royal Tenenbaums
- Eduardo Noriega in The Devil's Backbone
- Paul Reubens in Blow
- Moni Moshonov in Late Marriage
- Ed Harris in Enemy at the Gates
- Pete Postlethewaite in The Shipping News
- James Gandolfini in The Last Castle
- Simon Cowell in No Man's Land
- Sam Rockwell in Made
- Richard Jenkins in The Man Who Wasn't There
- Brendan Gleeson in A.I. Artificial Intelligence
- Christopher Plummer in A Beautiful Mind
- Scott Glenn in The Shipping News
- Will Ferrell in Zoolander
- Richard Griffiths in Harry Potter and the Sorcerer's Stone
- Tom Noonan in The Pledge
- Owen Wilson in Zoolander
- José Dumont in Behind the Sun
- Cavan Kendall in Sexy Beast
- Carl Reiner in Ocean's Eleven
- Jason Lee in Vanilla's Sky
- Michael Gambon in Gosford Park
- Kumar Pallana in The Royal Tenenbaums
- Bob Balaban in Gosford Park
- Benecio Del Toro in The Pledge
- Michael Badalucco in The Man Who Wasn't There
- Gabriel Mann in Josie and the Pussycats
- Don Cheadle in Swordfish
- Paul Blackthorne in Lagaan
- William Mapouther in In The Bedroom
- Christopher Walken in Joe Dirt
- Elliot Gould in Ocean's Eleven
- Danny Glover in The Royal Tenenbaums
- Stephen Dillane in The Spy Game
- Jon Voight in Zoolander
- Ron Silver in Ali
- Michael Jeter in Jurassic Park III
- Ian Hart in Harry Potter and the Sorcerer's Stone
- Ryan Phillipe in Gosford Park
- Jerry Stiller in Zoolander
- Orlando Bloom in The Fellowship of the Ring
- Bran Renfro in Ghost World
- Bernie Mac in Ocean's Eleven
- Bob Balaban in Ghost World
- J.K. Simmons in The Mexican
- Aaron Eckhart in The Pledge
- Tom Felton in Harry Potter and the Sorcerer's Stone
- William H. Macy in Jurassic Park III
- Steve Buscemi in Domestic Disturbance
- Eddie Murphy in Shrek
- Cuba Gooding Jr. in Pearl Harbor
- Hayden Christensen in Life as A House
- Rupert Grint in Harry Potter and the Sorcerer's Stone
- Matt Damon in Ocean's Eleven
- Dominic Monaghan in The Fellowship of the Ring
- Don Cheadle in Ocean's Eleven
- Oded Fehr in The Mummy Returns
- Vince Vaughn in Domestic Disturbance
- Joseph Fiennes in Enemy At the Gates
- Mark Ruffalo in The Last Castle
- Paulo Costanzo in Josie and The Pussycats
- Alec Baldwin in Pearl Harbor
- Sam Robards in A.I. Artificial Intelligence
- Rufus Sewell in A Knight's Tale
- Jon Voight in Ali
- Arnold Vosloo in The Mummy Returns
- Jamie Foxx in Ali
- Jon Voight in Pearl Harbor
- Iain Glen in Tomb Raider
- Richard Roxburgh in Moulin Rouge!
- Alessandro Nivola in Jurassic park III
- John Hannah in The Mummy Returns
- Trevor Morgan in Jurassic Park III
- Freddie Boath in The Mummy Returns
- John Leguizamo in Moulin Rouge!
Monday, 29 April 2013
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.
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.
Thursday, 25 April 2013
Alternate Best Supporting Actor 2001
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
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