10. John Cusack in Map to the Stars - Cusack might actually play his part too low key as he isn't able to overcome the weaknesses of his film.
Best Scene: Reaction to the fire.
9. Sam Claflin in Riot Club - Claflin is properly despicable but not much more than that.
Best Scene: Club at its worst.
8. Chris Pine Stretch in Pine is a whole lot of something, not quite sure what, but it is definitely something worth seeing.
Best Scene: Ending.
7. Irrfan Khan in Haider - Khan brings the right haunting quality and delivers the right impact in his brief screentime.
Best Scene: What happened.
6. Ricardo Darin in Wild Tales - Darin depicts an appropriate mental descent from dealing with the insanity of bureaucracy.
Best Scene: Losing it.
5. Taika Waititi in What We Do in the Shadows - Waititi gives an amusing performance by always being just so genteel as his vampire.
Best Scene: Wearing the pendant.
4. Michael Parks in Tusk - Parks is a far greater than his terrible film in his properly deranged turn as a walrus aficionado.
Best Scene: Doesn't need a wheelchair.
3. Damián Alcázar in The Perfect Dictatorship - He manages to be both hilarious and menacing as a politician who in no way hides the shame of his corruption.
Best Scene: Threatening "suicide".
2. Matthias Schoenaerts in The Drop - Schoenaerts gives a terrific portrayal of a wannabe threat in more ways than one.
Best Scene: "I killed Richie Wheeling"
1. Shia LaBeouf in Fury - Good predictions Anonymous, Robert, Tim, Maciej, and Emi Grant. LaBeouf delivers a performance worthy of a great war film. He's in Fury, but nonetheless LaBeouf gives it his all as a man scarred by war.
Best Scene: "Send me"
Updated Overall
Next: 1966 lead.
Showing posts with label Chris Pine. Show all posts
Showing posts with label Chris Pine. Show all posts
Wednesday, 1 July 2020
Sunday, 28 June 2020
Alternate Best Supporting Actor 2014: Chris Pine in Stretch
Chris Pine did not receive an Oscar nomination for portraying Roger Karos in Stretch.
Stretch is an entertaining off-beat film about a limo driver, Kevin (Patrick Wilson), trying to solve a series of problems in a single night.
Chris Pine is an actor most would take as someone who largely plays a certain variation of different traditional leading man roles, with different degrees of success, though in the past decade has shown some impressive work in that regard, but even within those it is definitely within a certain type of role. This is what most would see Pine as unless they've seen the films of Joe Carnahan. His work in Smokin Aces, one of the few things that truly works in that film, and this film, you see a completely alien side of Pine that has no connection with his other work. In the earlier film playing a deranged gun toting hill billy uses a dead Ben Affleck as a forgiveness puppet, and here something perhaps somehow even weirder than that. Pine appears as a client for Kevin randomly by falling from the sky nearly featuring...a different side of the actor to say the least, but nearly nude anyways. This dressed up in a way like someone hit random select for a "create a character" in a fighting game. Pine is basically unrecognizable even beyond the bizarre costuming, as again this isn't anything even remotely like what you've seen from him, even in his best straight forward. Pine here speaking with growling breath and pure unadulterated insanity in his eyes. I almost forgot how bizarre this performance was but watching again, it someone got even weirder. This almost something hard to look at in the traditional sense in that everything Pine is doing here is completely insane. His blathering through words with such randomness of voice and emphasis, and his whole movement that is just whatever it needs to be, is hard to describe at times. I suppose one can say he suggests he does bring to life a wealthy man who is doing whatever he desires to do, although somehow it seems even weirder than that. This is as Pine's initial scene really only he beginning with the only expectation one can create is to expect the unexpected. Pine suddenly appearing as a deranged geisha, BDSM, samurai...I think, sure it happens, and Pine doesn't wish to be overshadowed by his appearance. This as he randomly brims with a glee, then a strict conviction of a dire manner, than a cry out of some battle cry I suppose. It is all there and the one thing I can say for sure, is that Pine's work at the very least is inspired. What more is it though? Well he is nefarious, entertaining in a strange way, energetic, jovial, bizarre, sleazy, irreverent yet irreverent with conviction. I still don't know exactly what to make of this performance if I'm being completely honest. He's just basically everything at once, and completely brutally weird. It definitely is something that doesn't not work, but I can't quite say for sure what it does exactly either...something. I thought watching the film again would clear things up, but it didn't. All I can truly say is it's something else, and I guess I'll except my defeat, throw up my hands and give him a 4....sure why not.
Stretch is an entertaining off-beat film about a limo driver, Kevin (Patrick Wilson), trying to solve a series of problems in a single night.
Chris Pine is an actor most would take as someone who largely plays a certain variation of different traditional leading man roles, with different degrees of success, though in the past decade has shown some impressive work in that regard, but even within those it is definitely within a certain type of role. This is what most would see Pine as unless they've seen the films of Joe Carnahan. His work in Smokin Aces, one of the few things that truly works in that film, and this film, you see a completely alien side of Pine that has no connection with his other work. In the earlier film playing a deranged gun toting hill billy uses a dead Ben Affleck as a forgiveness puppet, and here something perhaps somehow even weirder than that. Pine appears as a client for Kevin randomly by falling from the sky nearly featuring...a different side of the actor to say the least, but nearly nude anyways. This dressed up in a way like someone hit random select for a "create a character" in a fighting game. Pine is basically unrecognizable even beyond the bizarre costuming, as again this isn't anything even remotely like what you've seen from him, even in his best straight forward. Pine here speaking with growling breath and pure unadulterated insanity in his eyes. I almost forgot how bizarre this performance was but watching again, it someone got even weirder. This almost something hard to look at in the traditional sense in that everything Pine is doing here is completely insane. His blathering through words with such randomness of voice and emphasis, and his whole movement that is just whatever it needs to be, is hard to describe at times. I suppose one can say he suggests he does bring to life a wealthy man who is doing whatever he desires to do, although somehow it seems even weirder than that. This is as Pine's initial scene really only he beginning with the only expectation one can create is to expect the unexpected. Pine suddenly appearing as a deranged geisha, BDSM, samurai...I think, sure it happens, and Pine doesn't wish to be overshadowed by his appearance. This as he randomly brims with a glee, then a strict conviction of a dire manner, than a cry out of some battle cry I suppose. It is all there and the one thing I can say for sure, is that Pine's work at the very least is inspired. What more is it though? Well he is nefarious, entertaining in a strange way, energetic, jovial, bizarre, sleazy, irreverent yet irreverent with conviction. I still don't know exactly what to make of this performance if I'm being completely honest. He's just basically everything at once, and completely brutally weird. It definitely is something that doesn't not work, but I can't quite say for sure what it does exactly either...something. I thought watching the film again would clear things up, but it didn't. All I can truly say is it's something else, and I guess I'll except my defeat, throw up my hands and give him a 4....sure why not.
Saturday, 20 June 2020
Alternate Best Supporting Actor 2014
And The Nominees Were Not:
Chris Pine in Stretch
Matthias Schoenaerts in The Drop
Irrfan Khan in Haider
Taika Waititi in What We Do in the Shadows
Ricardo Darin in Wild Tales
Predict those five, these five or both:
Sam Claflin in The Riot Club
Shia LaBeouf in Fury
Michael Parks in Tusk (Do not Watch)
John Cusack in Maps to the Stars
Damian Alcazar in The Perfect Dictatorship
Chris Pine in Stretch
Matthias Schoenaerts in The Drop
Irrfan Khan in Haider
Taika Waititi in What We Do in the Shadows
Ricardo Darin in Wild Tales
Predict those five, these five or both:
Sam Claflin in The Riot Club
Shia LaBeouf in Fury
Michael Parks in Tusk (Do not Watch)
John Cusack in Maps to the Stars
Damian Alcazar in The Perfect Dictatorship
Wednesday, 8 February 2017
Alternate Best Actor 2016: Results
5. Adam Driver in Paterson - I approach the keyboard to write the results of the year. I ponder if I chose Driver because he's the only actor from Silence I left off on the supporting shortlist. I continue to think and realize that this is a performance worth writing about.
4. Michael Keaton in The Founder - Keaton gives an entertaining performance as Ray Kroc but also manages to take his film to the darker places it needs to go in his revelation of the true nature of a cutthroat businessman.
Best Scene: Bathroom meeting.
3. Chris Pine in Hell or High - Chris Pine has an unassuming role yet gives a powerful portrayal of his character's motivations without being overshadowed by his more colorful co-stars.
Best Scene: Final scene.
2. Joel Edgerton in Loving - Edgerton gives a brilliant understated performance internalizing so effectively both the character's turmoil due to his hardship but also the love for his wife.
Best Scene: First meeting with Cohen.
1. Andrew Garfield in Silence - Good Predictions Calvin Law, and Robert MacFarlane. Due to only having five slots this may seem a weaker year, but that's in large pat because the Academy really did their job this year. It was a strong year for lead actor with Andrew Garfield giving the crowning achievement. He gives the most powerful performance of the year. It is an emotionally devastating performance to watch, but so much more in his profound realization of his character's unique journey of faith.
Best Scene: Garupe's test.
Overall Rank:
4. Michael Keaton in The Founder - Keaton gives an entertaining performance as Ray Kroc but also manages to take his film to the darker places it needs to go in his revelation of the true nature of a cutthroat businessman.
Best Scene: Bathroom meeting.
3. Chris Pine in Hell or High - Chris Pine has an unassuming role yet gives a powerful portrayal of his character's motivations without being overshadowed by his more colorful co-stars.
Best Scene: Final scene.
2. Joel Edgerton in Loving - Edgerton gives a brilliant understated performance internalizing so effectively both the character's turmoil due to his hardship but also the love for his wife.
Best Scene: First meeting with Cohen.
1. Andrew Garfield in Silence - Good Predictions Calvin Law, and Robert MacFarlane. Due to only having five slots this may seem a weaker year, but that's in large pat because the Academy really did their job this year. It was a strong year for lead actor with Andrew Garfield giving the crowning achievement. He gives the most powerful performance of the year. It is an emotionally devastating performance to watch, but so much more in his profound realization of his character's unique journey of faith.
Best Scene: Garupe's test.
Overall Rank:
- Andrew Garfield in Silence
- Jeff Bridges in Hell or High Water
- Viggo Mortensen in Captain Fantastic
- Joel Edgerton in Loving
- Denzel Washington in Fences
- Shahab Hosseini in The Salesman
- Hiroshi Abe in After the Storm
- Andrew Garfield in Hacksaw Ridge
- Chris Pine in Hell or High Water
- Casey Affleck in Manchester by the Sea
- Ryan Gosling in La La Land
- Michael Keaton in The Founder
- Adam Driver in Paterson
- Song Kang-ho in The Age of Shadows
- Tom Hanks in Sully
- Russell Crowe in The Nice Guys
- Ryan Gosling in The Nice Guys
- Robert Downey Jr. Captain America: Civil War
- Ryan Reynolds in Deadpool
- Trevante Rhodes in Moonlight
- Ethan Hawke in Born to Be Blue
- Luke Treadaway in A Street Cat Named Bob
- Adrian Titieni in Graduation
- Jarkko Lahti in The Happiest Day in the Life of Olli Mäki
- Julian Dennison in Hunt for the Wilderpeople
- Lewis MacDougall in A Monster Calls
- Ashton Sanders in Moonlight
- Anton Yelchin in Green Room
- Nate Parker in Birth of a Nation
- Don Cheadle in Miles Ahead
- Nawazuddin Siddiqui in Raman Raghav
- Jesse Plemons in Other People
- Daniel Radcliffe in Swiss Army Man
- Paul Dano in Swiss Army Man
- Oscar Martínez in The Distinguished Citizen
- Benedict Cumberbatch in Dr. Strange
- Jake Gyllenhaal in Demolition
- Chris Evans in Captain America: Civil War
- Jeremy Irons in The Man Who Knew Infinity
- Jonah Hill in War Dogs
- David Oyelowo in A United Kingdom
- Dan Fogler in Fantastic Beasts and Where to Find Them
- Jim Broadbent in Ethel & Ernest
- Bryan Cranston in The Infiltrator
- Hugh Grant in Florence Foster Jenkins
- Cillian Murphy in Anthropoid
- Mark Rylance in The BFG
- Dave Johns in I, Daniel Blake
- Michael Fassbender in The Light Between Oceans
- Sunny Pawar in Lion
- Dev Patel in Lion
- Gong Yoo in Train to Busan
- Mel Gibson in Blood Father
- Josh Brolin in Hail Caesar!
- Gong Yoo in The Age of Shadows
- Taron Egerton in Eddie The Eagle
- Joe Alwyn in Billy Lynn's Long Halftime Walk
- Eddie Redmayne in Fantastic Beasts and Where to Find Them
- Miles Teller in Bleed For This
- David Oyelowo in The Queen of Katwe
- Diego Luna in Rogue One
- Dwayne Johnson in Moana
- Paddy Considine in The Girl With All The Gifts
- Ferdia Walsh-Peelo in Sing Street
- Alex Hibbert in Moonlight
- Joe Seo in Spa Night
- Jean-Pierre Léaud in The Death of Louis XIV
- Matthew McConaughey in Free State of Jones
- Michael Shannon in Elvis & Nixon
- Vicky Kaushal in Raman Raghav 2.0
- Joseph Gordon-Levitt in Snowden
- Denzel Washington in The Magnificent Seven
- Mark Wahlberg in Patriots Day
- Majd Mastoura in Hedi
- Casey Affleck in The Finest Hours
- Jason Bateman in Zootopia
- Ben Affleck in The Accountant
- Stephen Lang in Don't Breathe
- Markees Christmas in Morris From America
- Miles Teller in War Dogs
- Michael Shannon in Midnight Special
- Blake Jenner in Everybody Wants Some
- Peter Simonischek in Toni Erdmann
- Matthew McConaughey in Gold
- Keegan-Michael Key in Keanu
- Mark Duplass in Blue Jay
- Lucas Jade Zumann in 20th Century Women
- Chris Pine in Star Trek: Beyond
- Ben Affleck in Live by Night
- John Krasinski in 13 Hours
- Casey Affleck in Triple Nine
- James Badge Dale in 13 Hours
- Mark Wahlberg in Deepwater Horizon
- Jamie Dornan in Anthropoid
- Jack Black in Kung Fu Panda 3
- Art Parkinson in Kubo and the Two Strings
- Jordan Peele in Keanu
- Ulrich Thomsen in The Commune
- Dev Patel in The Man Who Knew Infinity
- Mungau Dain in Tanna
- Oakes Fegley in Pete's Dragon
- Ben Affleck in Batman v Superman: Dawn of Justice
- Jesse Eisenberg in Cafe Society
- Kwak Do-won in The Wailing
- Max Records in I am Not a Serial Killer
- Ewan McGregor in Our Kind of Traitor
- Chris Pratt in Passengers
- Jaeden Lieberher in Midnight Special
- Logan Lerman in Indignation
- Chris Pine in The Finest Hours
- Neel Sethi in The Jungle Book
- Henry Cavill in Batman v Superman: Dawn of Justice
- Brad Pitt in Allied
- Eddie Murphy in Mr. Church
- Jake Gyllenhaal in Nocturnal Animals
- Will Smith in Collateral Beauty
Sunday, 5 February 2017
Alternate Best Actor 2016: Chris Pine in Hell or High Water
Chris Pine did not receive an Oscar nomination for portraying Toby Howard in Hell or High Water.
Chris Pine and Gil Birmingham have gone to be somewhat unsung elements of Hell or High Water playing the less flashy side of the central duos of the robbers and the cops. Pine, despite his fairly high profile as an actor, went unnoticed for the most part where Jeff Bridges as the Texas Ranger Marcus Hamilton, and Ben Foster as Toby's brother Tanner basically were the only actors to receive best supporting actor wins from critical bodies without the name Mahershala Ali. What about Pine though, a slightly underrated actor actually since some just take him as a bland leading man, evidently those people have never seen him in his collaborations with Joe Carnahan. This though does gives himself the chance the prove he can thrive without going partially insane. This is the type of role though that does not often get an actor noticed though, even though he plays the co-lead, some even argue sole lead, along with Jeff Bridges, he is the far more understated role when compared to the flashier nature of Bridges's and Foster's characters.
Pine plays the role of the lead robber Toby who actually is the one that sets the story in motion by coming up with the plan to steal from the bank that holds their family's ranch's mortgage in order to pay off the debt to the same bank that was accrued by their recently deceased mother in order to also keep the recently discovered oil on the land. Toby though is new to this recruiting his ex-con brother Tanner, with a past in robbery, in order to pull off the jobs. In this Pine is very effective in portraying this straight shooter attempting to be a criminal. In the robbery scenes, even though his face is covered, Pine is very good in just bringing this physical awkwardness to everything he does. The way he holds a gun on the people in the bank has this lack of confidence alluding to the the idea that the man not only hasn't done it before, but is not at all comfortable with endangering others. Pine brings the right hesitation in it, making so even when he finally fires a gun during the robbery he shows it to be such a flimsy desperate act, as he is clearly still trying not to hurt someone who is definitely trying to hurt him.
Although it is also easy enough to overlook that, what really makes this performance special is its Gary Cooperesque quality, though of course I mean more that idea of a Gary Cooperesque quality that is apparently suppose exist in Gary Cooper. Pine work so well in the limits of his portrayal of Toby, which purposefully never breaks the style of the character. In that Toby is a man of few words, and Pine respects that with his minimalist portrayal. He keeps his approach as very internalized and feels very authentic of this Texan man who is just trying to do what he believes is the right thing to do. Pine portrays no real thrill in the act itself, even creating the sense of a certain reluctance to it despite the fact that it is Toby's idea. Pine makes this make sense though as his portrayal captures this specific individualistic morality in Toby. Pine in the way he speaks of the plan creates the sense of the righteousness of his passion but also his understanding that what the act entails is not wholly moral. There is a great moment where Toby tells one of his sons that he should believe whatever they say about him, its an incredible moment for Pine as in his voice there is this conviction that what he is doing is the right thing but has to do it in the wrong way.
I will save some of what I have to say in regards to the central relationship of Toby and Tanner for another review. I will say though Pine on his end is absolutely fantastic as the "good brother". He never simplifies the relationship. He portrays the connection, even with some surprisingly effective bit of humor in there, but also the distance as they are men of a very different nature. Again more on that soon enough, but it should be sufficient to say that Pine is excellent on his end of crafting this layered and rich history the two men share. The main conflict though being that Tanner's motivations are not nearly as pure as Toby's. Pine again, in his so subtle way, keeps this conflict as a constant. In the robberies, only when we see Toby's eyes, Pine is terrific in portraying that concern as he believes that his brother could possibly go too far at any given point. When he does go too far we get really the only moment where Pine breaks from his more understated approach, which is wholly earned since Toby is suffering from bullet wound as well at the time. Pine delivers the palatable anguish in his scream, as well as the direct pain, as Toby realizes it has gone too far.
Pine's work though is so much quieter but this in no way mutes his impact at any point. Although again more on that relationship later, but it is Pine who finalizes it. It is a heartbreaking moment for Pine as he portrays the sadness in hearing about his brother's final end. What makes it so moving though is the way Pine shows it is less as a surprise but more of an acceptance of something he knew was going to happen eventually. Now in my review of Bridges's work I praised his final scene in particular, which is one of the best scenes of 2016 in terms of writing, directing and acting. That acting includes Pine just as much as it does Bridges. Something that makes the scene so compelling is how we understand exactly what is going on with both man. Pine is amazing in the scene as he matches Bridges in bringing that underlying intensity. Both actors are so good at essentially giving this understanding between the two men even though it is never precisely stated. It's quite something that it is one of the most tension filled scene in years but there's basically no music, no one raises their voice, and no violence occurs. Bridges and Pine again are so pivotal to this. There is a glint of hatred in his eyes that conveys exactly what Marcus took away from Toby. Pine does not let that define his work though. There's far more as he portrays an unease in Toby as though he is attempting to decipher the old man's intentions exactly as they speak. When Marcus presses Toby for his motivation, Pine is truly remarkable as subtly portrays the moral compromise but also the moral conviction in just the most minor facial gestures, and his gentle delivery. We know exactly where both men stand due to their performances, and that is what makes their final trade off leave such an impact. Pine and Bridges allows us to sympathize with both man as they leave with their haunting offerings of "peace". Pine's work here should not be overlooked when discussing the film. He gives a captivating performance, that is not overshadowed which very easily could have been when ole Ben Foster your co-star. Pine though also makes us emphasize wholly with Toby as he never simplifies the man, or the decision that he makes.
Chris Pine and Gil Birmingham have gone to be somewhat unsung elements of Hell or High Water playing the less flashy side of the central duos of the robbers and the cops. Pine, despite his fairly high profile as an actor, went unnoticed for the most part where Jeff Bridges as the Texas Ranger Marcus Hamilton, and Ben Foster as Toby's brother Tanner basically were the only actors to receive best supporting actor wins from critical bodies without the name Mahershala Ali. What about Pine though, a slightly underrated actor actually since some just take him as a bland leading man, evidently those people have never seen him in his collaborations with Joe Carnahan. This though does gives himself the chance the prove he can thrive without going partially insane. This is the type of role though that does not often get an actor noticed though, even though he plays the co-lead, some even argue sole lead, along with Jeff Bridges, he is the far more understated role when compared to the flashier nature of Bridges's and Foster's characters.
Pine plays the role of the lead robber Toby who actually is the one that sets the story in motion by coming up with the plan to steal from the bank that holds their family's ranch's mortgage in order to pay off the debt to the same bank that was accrued by their recently deceased mother in order to also keep the recently discovered oil on the land. Toby though is new to this recruiting his ex-con brother Tanner, with a past in robbery, in order to pull off the jobs. In this Pine is very effective in portraying this straight shooter attempting to be a criminal. In the robbery scenes, even though his face is covered, Pine is very good in just bringing this physical awkwardness to everything he does. The way he holds a gun on the people in the bank has this lack of confidence alluding to the the idea that the man not only hasn't done it before, but is not at all comfortable with endangering others. Pine brings the right hesitation in it, making so even when he finally fires a gun during the robbery he shows it to be such a flimsy desperate act, as he is clearly still trying not to hurt someone who is definitely trying to hurt him.
Although it is also easy enough to overlook that, what really makes this performance special is its Gary Cooperesque quality, though of course I mean more that idea of a Gary Cooperesque quality that is apparently suppose exist in Gary Cooper. Pine work so well in the limits of his portrayal of Toby, which purposefully never breaks the style of the character. In that Toby is a man of few words, and Pine respects that with his minimalist portrayal. He keeps his approach as very internalized and feels very authentic of this Texan man who is just trying to do what he believes is the right thing to do. Pine portrays no real thrill in the act itself, even creating the sense of a certain reluctance to it despite the fact that it is Toby's idea. Pine makes this make sense though as his portrayal captures this specific individualistic morality in Toby. Pine in the way he speaks of the plan creates the sense of the righteousness of his passion but also his understanding that what the act entails is not wholly moral. There is a great moment where Toby tells one of his sons that he should believe whatever they say about him, its an incredible moment for Pine as in his voice there is this conviction that what he is doing is the right thing but has to do it in the wrong way.
I will save some of what I have to say in regards to the central relationship of Toby and Tanner for another review. I will say though Pine on his end is absolutely fantastic as the "good brother". He never simplifies the relationship. He portrays the connection, even with some surprisingly effective bit of humor in there, but also the distance as they are men of a very different nature. Again more on that soon enough, but it should be sufficient to say that Pine is excellent on his end of crafting this layered and rich history the two men share. The main conflict though being that Tanner's motivations are not nearly as pure as Toby's. Pine again, in his so subtle way, keeps this conflict as a constant. In the robberies, only when we see Toby's eyes, Pine is terrific in portraying that concern as he believes that his brother could possibly go too far at any given point. When he does go too far we get really the only moment where Pine breaks from his more understated approach, which is wholly earned since Toby is suffering from bullet wound as well at the time. Pine delivers the palatable anguish in his scream, as well as the direct pain, as Toby realizes it has gone too far.
Pine's work though is so much quieter but this in no way mutes his impact at any point. Although again more on that relationship later, but it is Pine who finalizes it. It is a heartbreaking moment for Pine as he portrays the sadness in hearing about his brother's final end. What makes it so moving though is the way Pine shows it is less as a surprise but more of an acceptance of something he knew was going to happen eventually. Now in my review of Bridges's work I praised his final scene in particular, which is one of the best scenes of 2016 in terms of writing, directing and acting. That acting includes Pine just as much as it does Bridges. Something that makes the scene so compelling is how we understand exactly what is going on with both man. Pine is amazing in the scene as he matches Bridges in bringing that underlying intensity. Both actors are so good at essentially giving this understanding between the two men even though it is never precisely stated. It's quite something that it is one of the most tension filled scene in years but there's basically no music, no one raises their voice, and no violence occurs. Bridges and Pine again are so pivotal to this. There is a glint of hatred in his eyes that conveys exactly what Marcus took away from Toby. Pine does not let that define his work though. There's far more as he portrays an unease in Toby as though he is attempting to decipher the old man's intentions exactly as they speak. When Marcus presses Toby for his motivation, Pine is truly remarkable as subtly portrays the moral compromise but also the moral conviction in just the most minor facial gestures, and his gentle delivery. We know exactly where both men stand due to their performances, and that is what makes their final trade off leave such an impact. Pine and Bridges allows us to sympathize with both man as they leave with their haunting offerings of "peace". Pine's work here should not be overlooked when discussing the film. He gives a captivating performance, that is not overshadowed which very easily could have been when ole Ben Foster your co-star. Pine though also makes us emphasize wholly with Toby as he never simplifies the man, or the decision that he makes.
Friday, 3 February 2017
Alternate Best Actor 2016
And the Nominees Were Not:
Andrew Garfield in Silence
Adam Driver in Paterson
Joel Edgerton in Loving
Michael Keaton in The Founder
Chris Pine in Hell or High Water
Andrew Garfield in Silence
Adam Driver in Paterson
Joel Edgerton in Loving
Michael Keaton in The Founder
Chris Pine in Hell or High Water
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