Alternate Best Supporting Actor 2024: Results

10. Denzel Washington in Gladiator II - Washington gives an entertaining performance that offers some much needed gravitas to his film though he is limited by the film's weaknesses. 

Best Scene: Protecting Dondus.

9. Richard Roundtree in Thelma - Roundtree gives an endearing performance that offers the right straight man contrast to Squib's lead performance.

Best Scene: Argument with Thelma.

8. Jason Bateman in Carry-On - Bateman gives an entertaining though also menacing portrayal of a particularly caustic mercenary. 

Best Scene: Woke up. 

7. David Jonsson - Jonsson elevates his film best he can by giving an endearing yet appropriately synthetic portrayal of both the best companion and a more enigmatic sinister presence. 

Best Scene: Back to himself. 

6. Karren Karagulian in Anora - Karagulian gives a consistently hilarious portrayal of constant intense frustration though just a hint of growth in there as well.  

Best Scene: Home invasion

5. Franz Rogowski in Bird - Rogowski is going out an extreme limb and makes his off-beat character feel absolutely real and human. 

Best Scene: Arm twist.

4. Austin Butler in Dune Part II - Butler brings such tremendous bravado to make a memorable sadist though also remarkably finds nuance within the type. 

Best Scene: "May thy knife chip and shatter"

3. Simon McBurney in Nosferatu - McBurney finally gets his chance to do more than his usual type and runs away with his chance through his captivating portrayal of a very particular religious fervor. 

Best Scene: First scene in the mad house. 

2. Adam Pearson in A Different Man - Adam Pearson gives a distinctly larger than life, approachable, charming, humble, hilarious, yet earnest, likeable performance though also successfully as a very particular tormentor. 

Best Scene: Unexpected arrival with Edward's work friends. 

1. Clarence Maclin in Sing Sing - Good predictions Luke, Bryan, Jonathan, A, Tony, Emi Grant, Razor, Perfectionist, Calvin, Matt, Ytrewq, John Smith, RatedRStar & Brazinterma. Maclin gives my favorite male supporting performance of the year as he manages to give both a layered portrayal of a man finding his voice as an actor, while also giving an incredibly moving and heartwarming portrayal of a prisoner finding purpose and so convincingly becoming a better man.

Best Scene: "To Be Or Not To Be"

Overall Ranking:

1. Clarence Maclin in Sing Sing
2. Guy Pearce in The Brutalist
3. Adam Pearson in A Different Man
4. Yura Borisov in Anora
5. Jeremy Strong in The Apprentice - 5
6. Selton Mello in I'm Still Here 
7. Simon McBurney in Nosferatu
8. Austin Butler in Dune Part II
9. Franz Rogowski in Bird
10. Willem Dafoe in Nosferatu
11. Bill Skarsgård in Nosferatu
12. Karren Karagulian in Anora
13. Dennis Quaid in The Substance 
14. David Jonsson in Alien Romulus
15. Jason Bateman in Carry-On
16. Richard Roundtree in Thelma - 4.5
17. Vache Tovmasyan in Anora
18. Sean San José in Sing Sing
19. Javier Bardem in Dune Part II
20. Robert Gwisdek in Dying
21. Edward Norton in A Complete Unknown 
22. Jay O. Sanders in His Three Daughters
23. Samuel L. Jackson in The Piano Lesson
24. Peter Macon in Kingdom of the Planet of the Apes
25. Tom Burke in Furiosa
26. Raghav Juyal in Kill
27. Paul Raci in Sing Sing
28. Sean Dino Johnson in Sing Sing
29. Mosi Eagle in Sing Sing
30. David Giraudy in Sing Sing
31. Patrick Griffin in Sing Sing
    
32. James Williams in Sing Sing
33. Joe Alwyn in The Brutalist
34. Denzel Washington in Gladiator II 
    
35. Cory Michael Smith in Saturday Night
36. Mark Eydelshteyn in Anora
37. Stephen McKinley Henderson in Civil War
38. Malcolm McDowell in Thelma
39. Willem Dafoe in Kinds of Kindness 
40. Ben Chaplin in September 5
41. Ashish Vidyarthi in Kill 
42. Alessandro Nivola in The Brutalist
43. Antonio Banderas in Babygirl
44. Dylan O'Brien in Saturday Night
45. Arthur Conti in Beetlejuice Beetlejuice
46. Jesse Plemons in Civil War
47. Barry Keoghan in Bird
48. Hugh Jackman in Deadpool & Wolverine 
49. Don Johnson in Rebel Ridge
50. Harris Dickinson in Babygirl 
51. Lamorne Morris in Saturday Night
52. Martin Donovan in The Apprentice
53. Pedro Pascal in The Wild Robot
54. Kodi Smit-McPhee in Memoir of a Snail
55. Ravi Kishan in Laapataa Ladies
56. Ralph Ineson in Nosferatu
57. Brendan Gleeson in Joker Folie A Deux 
58. Ronald Zehrfeld in Dying 
59. Tommy Dewey in Saturday Night 
60. Pierfrancesco Favino in Maria
61. Kesav Binoy Kiron in Girls Will Be Girls
62. Guilherme Silveira in I'm Still Here
63. Danny McCarthy in Good One
64. Antonio Savoia in I'm Still Here
65. Michael Fassbender in Kneecap - 4
66. Robbie Williams in Better Man
67. Leigh Gill in Joker Folie a Deux
68. Sergio Castellitto in Conclave
69. Corey Hawkins in The Piano Lesson
70. Kevin Bacon in Maxxxine
71. Josh Brolin in Dune Part II 
72. Benjamin Clementine in Blitz
73. Nicholas Podany in Saturday Night
74. Michael Shannon in The Bikeriders
75. Stellan Skarsgård in Dune Part II 
76. Ed Harris in Love Lies Bleeding
77. Steve Pemberton in Better Man
78. Peter Sarsgaard in September 5
79. Isaach de Bankolé in The Brutalist
80. David Webber in Hard Truths 
    
81. Scoot McNairy in A Complete Unknown
82. Matthew Rhys in Saturday Night
83. Kevin Bacon in Beverly Hills Cop: Axle F
84. Chris Hemsworth in Furiosa
85. Haluk Bilginer in Maria
86. Victor Slezak in The Order
87. Jonathan Bailey in Wicked
88. Hans-Uwe Bauer in Dying
89. Jonathan Hyde in The Brutalist
90. Michael Potts in The Piano Lesson
91. Alexander Karim  in Gladiator II
92. Kevin Costner in Horizon: An American Saga – Chapter 1
93. Timothy Spall in Wicked Little Letters 
94. Kit Connor in The Wild Robot
95. Aleksei Serebryakov in Anora
96. Raul Dial in Didi
97. Carlos Diehz in Conclave
98. Tuwaine Barrett in Hard Truths
99. Charlie Carrick in The Apprentice
100. J.K. Simmons in Saturday Night
101. Winston Duke in The Fall Guy 
102. Channing Tatum in Blink Twice
103. Lucian Msamati in Conclave
104. Mamoudou Athie in Kinds of Kindness
105. Damon Herriman in The Bikeriders
106. Blair Underwood in Longlegs
107. Kevin Durand in Kingdom of the Planet of the Apes 
108. Jeff Goldblum in Wicked
109. Jon Hamm in Transformers One
110. Damon Herriman in Better Man
111. Jeff Fahey in Horizon: An American Saga – Chapter 1
112. Ralph Ineson in The First Omen
113. Kiefer Sutherland in Juror No. 2
114. Jovan Adepo in His Three Daughters
115. Will Sharpe in A Real Pain
116. Shia Labeouf in Megalopolis 
117. Cooper Hoffman in Saturday Night
118. Jason Schwartzman in The Last Showgirl
119. Norman Reedus in The Bikeriders 
120. Antonio Banderas in Paddington in Peru
121. Anand Sami in All We Imagine As Light
122. Dave Merheje in Sometimes I Think About Dying
123. Bill Nighy in The Wild Robot
124. Brian F. O'Byrne in Conclave
125. Sam Worthington in Horizon: An American Saga – Chapter 1
126. Alex Wolff in A Quiet Place Day One 
127. Chris Messina in Juror No. 2
128. Reece Shearsmith in Wallace & Gromit: Vengeance Most Fowl
129. Dave Bautista in The Last Showgirl
130. Motell Foster in La cocina
131. Hugh Bonneville in Paddington in Peru
132. Marc Maron in The Order
133. Masahiro Motoki in Touch
134. Pierfrancesco Favino in The Count of Monte Cristo
135. Keegan-Michael Key in Transformers One
136. Peter Dinklage in Wicked - 3.5
137. Dave Bautista in Dune Part II
138. Pitobash in Monkey Man
139. Channing Tatum in Deadpool & Wolverine
140. Anthony Ramos in Twisters
141. Simon Rex in Blink Twice
142. John Ashton in Beverly Hills Cop: Axle F
143. Mike Faist in The Bikeriders
144. John Lithgow in Conclave
145. Matt Berry in The Wild Robot
146. Kurt Egyiawan in A Real Pain
147. Kyle MacLachlan in Blink Twice
148. Bill Camp in Drive Away Dolls 
149. Emory Cohen in The Bikeriders
150. William H. Macy in Kingdom of the Planet of the Apes
151. Boyd Holbrook in The Bikeriders
152. Gabriel Basso in Juror No. 1
153. Judge Reinhold in Beverly Hills Cop: Axle F
154. Willem Dafoe in Saturday Night
155. Mark Hamill in The Wild Robot
156. Elias Koteas in Janet Planet
157. Sikandar Kher in Monkey Man
158. Boyd Holbrook in A Complete Unknown
159. Joseph Gordon-Levitt in Beverly Hills Cop: Axle F 
     
160. Stanley Tucci in Conclave
161. J.K. Simmons in Juror No. 2
162. Joe Alwyn in Kinds of Kindness
163. Michael Shannon in A Different Man
164. Giancarlo Esposito in Maxxxine
165. Michael Rooker in Horizon: An American Saga – Chapter 1
166. Bobby Cannavale in Maxxine
167. Brandon Perea in Twisters
168. Leigh Gill in Blitz
169. Kodi Smit-McPhee in Maria
170. Dean Norris in Carry-On
171. Laurence Fishburne in Transformers One
172. Pedro Pascal in Gladiator II
173. Chris Evans in Deadpool & Wolverine
174. Paapa Essiedu in The Outrun
175. Wesley Snipes in Deadpool & Wolverine
176. Ed Begley Jr. in Strange Darling
177. Charles Dance in The First Omen
178. Ethan Slater in Wicked
179. Will Patton in Janet Planet
180. Peter Kay in Wallace & Gromit: Vengeance Most Fowl
181. Matthew MacFadyen in Deadpool & Wolverine
182. Stephen Graham in Young Woman and the Sea
183. Aaron Chang in Didi
184. David Denman in Rebel Ridge
185. Willem Dafoe in Beetlejuice Beetlejuice
186. Louis Black in Inside Out 2
187. Robert Smigel in Between The temples
188. Bill Nighy in The First Omen
189. Arturo Castro in Roadhouse 
190. Paul Weller in Blitz
191. Emory Cohen in Rebel Ridge 
192. Steve Coogan in Joker Folie a Deux
193. Shea Whigham in Fancy Dance
194. Ian Bliss in Late Night with the Devil
195. M. Emmett Walsh in Brothers
196. Andy Samberg in Lee
197. Steve Buscemi in Transformers One
198. Daveed Diggs in Nickel Boys
199. Hridhu Haroon in All We Imagine As Light
200. Oded Fehr in La cocina
201. Dwayne Johnson in Moana 2
202. Marton Csokas in Cuckoo
203. Bastien Bouillon in The Count of Monte Cristo
204. John Turturro in The Room Next Door
205. Tony Hale in Inside Out 2 
206. Tim McInnerny in The End
207. Michael Shannon in The End
208. Lennie James in The End - 3
209. Jason Schwartzman in Queer
210. Joseph Quinn in Gladiator II
211. Harris Dickinson in Blitz
212. Stephen Dillane in The Outrun
213. Christopher Walken in Dune Part II
214. Laurence Fishburne in Megalopolis
215. Drew Starkey in Queer
216. Nicholas Braun in Saturday Night
217. Jamie Campbell Bower in Horizon: An American Saga – Chapter 1
218. Dave Franco in Love Lies Bleeding
219. Joaquim de Almeida in Roadhouse
220. Tim McInnerny in Gladiator II
221. Percy Hynes White in My Old Ass
222. Danny Huston in Horizon: An American Saga – Chapter 1
223. Colman Domingo in Drive Away Dolls
224. Giancarlo Esposito in Megalopolis
225. Rhys Auteri in Late Night With the Devil
226. Lukas Gage in Roadhouse
227. Haley Joel Osment in Blink Twice
228. Andy Nyman in Wicked
229. Topher Grace in Heretic
230. Matt Damon in Drive Away Dolls 
231. Fred Hechinger in Thelma 
232. Christopher Eccleston in Young Woman and the Sea
233. Harry Lawtey in Joker Folie a Deux
234. Dustin Hoffman in Megalopolis
235. Steven Michael Quezada in Strange Darling
236. Justin Theroux in Beetlejuice Beetlejuice
     
237. Matt Wood in Saturday Night
238. Aaron Taylor-Johnson - Nosferatu
239. Douglas Hodge in We Live In Time
240. Dan Fogler in A Complete Unknown
241. Alexander Skarsgård in Lee
242. Aaron Stanford in Deadpool & Wolverine 
243. Jon Batiste in Saturday Night 
244. Edgar Ramirez in Emilia Perez 
245. Ray Fisher in The Piano Lesson 
246. Fred Hechinger in Nickel Boys
247. Gwilym Lee in Here 
248. Scoot McNairy in Nightbitch - 2.5
249. Nicolas Cage in Longlegs
250. Dan Stevens in Cuckoo
251. Logan Marshall-Green in Carry-On
252. Jonathan Langdon in Trap
253. Aaron Taylor-Johnson in The Fall Guy
254. Luke Wilson in Horizon: An American Saga – Chapter 1 
255. Austin Amelio in Hit Man
256. Jon Voight in Megalopolis
257. John David Washington in The Piano Lesson
258. Hamish Linklater in Nickel Boys
259. Stephen Graham in Blitz
260. Archie Renaux in Alien Romulus
261. C.J. Wilson in Drive Away Dolls
262. Billy Magnussen in Roadhouse
263. Joey Slotnick in Drive Away Dolls 
264. Tony Hale in Woman of the Hour
265. Mark Ivanir in Emilia Perez 
266. Fred Hechinger in Gladiator II 
267. Tye Sheridan in The Order
268. Bowen Yang in Wicked 
269. Theo Rossi in Carry-On - 2
270. Brendan Fraser in Brothers
271. Pete Holmes in Woman of the Hour
272. Mathew Shear in Between The Temples
273. Spike Fearn in Alien Romulus
274. Simon Prast in Maxxxine - 1.5
275. Dean Norris in The Six Triple Eight
276. Stéphane Ly-Cuong in Emilia Perez - 1
277. Paul Bettany in Here - 3 Wiseaus
278. Connor McGregor in Roadhouse - 0

Next: 2024 Lead

Alternate Best Supporting Actor 2024: Denzel Washington in Gladiator II

Denzel Washington did not receive an Oscar nomination for portraying Macrinus in Gladiator II. 

Gladiator II is the pale sequel/remake of Gladiator, this time following former heir to the Empire Lucius (Paul Mescal) as he seeks revenge against Rome while also in a Gladiator pit. I will say rewatching this film only exacerbated its flaws for me, and eliminating at least motivation to see what happens next in the most basic sense made it truly a slog this time around.

Washington seemingly takes over the Proximo role Oliver Reed played in the original film, who bought Maximus (Russell Crowe) in that film, as Washington as Macrinus buys Lucius. But the comparisons stop there and Macrinus stands as the best thing about the film but also still yet another point of frustration. Washington on the most immediate surface is most welcome in this film, providing some much needed star power left with the absence of Crowe, which Mescal has already proven himself to be a great actor but from this tryout at least he might not be ideal for straight leading men style roles that rely largely on star charisma. Much of Washington’s performance though seems designed just honestly to play around in scenes as an actor with such tremendous charisma, and I’ll say isn’t entirely ill-fitting to the way Macrinus presents himself outwardly as this flamboyant Gladiator owner. Washington gives two different performances here, this first one is almost in the Raul Julia in Street Fighter, Alan Rickman in Robin Hood Prince Thieves School of elevating bad material by just riffing on the material by going broad and to be at least entertaining within their own work. I write almost however because I wouldn’t quite consider that performance on that level, though I do attribute this more so to the way he’s edited more than anything. In his early scenes there’s a bit of a strange urgency in all of Washington’s scenes to get out of there as soon as possible, making them not nearly as fun as they could be if Ridley Scott had allowed him to really bite into that scenery. Instead we get his mechanizations through some really overly simplistic scenes of making a series of bets with Senator Darling (Tim McInnerny) which alone allows him to nearly take hold of all of Rome as apparently that Senator knows everything despite being an obvious dolt. Regardless Washington gets to have some fun in just in being tastefully over the top, such as his expression of joy when initially making the bet, his four letter expletive eating grin after seeing Senator Darling each time, or his weirdly comforting, certainly homoerotic way of lovingly embracing the Senator just as he’s basically saying he owns all his things and will now be his personal lap dog. Washington is fun in all these bits, but I’m not going to lie, I wish there was more to them, make the mechanizations more complicated, give Washington more things to play with, or even the scenario as is, give him more real estate just to play around with, unfortunately Scott does neither…although Scott unsurprisingly has proclaimed an extra long director’s cut for this film.

Washington however does have a separate performance which he does logically fashion within the scheme of his own work as his public scenes are where he presents Macrinus with that playfulness but his private scenes with Lucius Washington does largely tone it down to deliver a more serious performance. And just as Washington is fun with the big scenes, he delivers the utmost conviction with his more intimate scenes knowing how throw out a lot of exposition with hints of intention as he goes on about the nature of Rome and seemingly looks at Lucius as far more than just a gladiator who might make him some money. Washington brings an incisiveness within his eyes and his words to suggest the greater ambition of Macrinus before we eventually get the turn, where Macrinus takes the next step by informing the twin Emperors McPoyle, Liam (Joseph Quinn) and Ryan (Fred Hechinger) of the betrayal of Lucius’s mom Lucilla (Connie Nielsen) and her husband Acacius (Pedro Pascal) in their attempt to overthrow the Emperors. Something that gets Macrinus in the good graces of the Emperors, and we get what is probably Washington at his closest to the Rickman/Julia sweet spot. Where Ryan, crazed by some sort of STD, starts going crazy over his monkey Dondus and accuses Liam of conspiracy, which Macrinus cultivates. Even Washington specific delivery of “Dondus” with such phony yet believable sincerity of a great protector is something rather special, and his quietly egging Ryan on with this phony sincerity, though always winking to we the audience in the false some over done way he says every line is a lot of fun. With a great topper when Ryan starts stabbing Liam and Liam asks Macrinus for help, only for Macrinus to use Ryan’s hand to finish the job, where Washington’s giant smile like Macrinus is living his very best life in the moment, is the kind of moment you want from this performance. Contrasting that is Macrinus’s most interior moment where he reveals to Lucilla that he was a former slave under her father Marcus Aurelius and all of his mechanizations have been to destroy Rome due to his former treatment. A truly juicy idea, and Washington’s definitely good in his defiant yet reserved anger of someone who has kept it in for long just to savor this very moment, but again I just wanted a little more, not from Washington but from Scott to just have that little extra. The whole idea of the character is a potentially amazing one, with a game actor in Washington but as it exists it just isn’t as much as it could be. As the big finale we do get some good moments from Washington, such as when he explains he’ll blame any fallout for his plan on the remaining Emperor, by noting that’s “Politics” where his delivery of just politics is purely an acting moment to make something memorable about a not particularly memorable line or scene. The ending though feels so rushed and lacking again better moments for Washington to sink his teeth into, particularly not the ill-conceived final duel between Washington and Lucius, though I do have great affection for his final expression. I will admit I included Washington in the lineup in part because I did want to see just how I felt as I liked him the first time but wasn’t sure if it was just due to contrast, though in reality this might’ve slightly hurt him by forcing me to watch the film again. And in doing so, the film dragged and Washington’s scenes dragged the least, some of his scenes still did, and some became frustrating because it became so obvious how much potential there was to exploit this performance and character for so much more than we get here. As Scott should’ve let Washington have more fun, or should’ve given him some better scripted scenes to really dive into dramatically in cultivating a really potentially powerful sympathetic villain arc. As it is, it is easy to see the potential of this, because some parts do achieve it like the aforementioned Dondus scene, but in the end it just isn’t enough. 

Alternate Best Supporting Actor 2024

And the Nominees Were Not:

Adam Pearson in A Different Man

Clarence Maclin in Sing Sing

Simon McBurney in Nosferatu

Richard Roundtree in Thelma

Franz Rogowski in Bird

Feel free to predict These Five, Those Five, Or Both. 

David Jonsson in Alien Romulus

Jason Bateman in Carry-on

Karren Karagulian in Anora

Austin Butler in Dune Part II

Denzel Washington in Gladiator II

Best Actor 2021: Results

5. Javier Bardem in Being the Ricardos - Bardem wholly fails to evoke Desi Arnaz just as he fails to seem anything but awkward in bringing the film's "witty" dialogue to screen.

4. Will Smith in King Richard - Smith delivers a charming, humorous and passionate performance here, even if he might be just a little too cautious when touching upon the negative aspects of his character.

Best Scene: Words of encouragement to Venus.

3. Andrew Garfield in Tick Tick...Boom - Garfield puts every ounce of himself into this role and that energy suits the role of Jonathan Larson extremely well.

Best Scene: "Why"

2. Denzel Washington - The Tragedy of Macbeth - See Cumberbatch thoughts.

 

Best Scene:  Is This A Dagger Which I See Before Me

1. Benedict Cumberbatch in The Power of the Dog - Good prediction Calvin, Robert and moviefilm. I love both performances. Both give amazing performances. Both match their unique challenges, are captivating to watch, and give such complex and layered turns. I can't fault either, I can only praise the brilliance of each. So even when I make my decision it won't be that I prefer one, it will be that I just settled on one. 

Best Scene: Rolling a cigarette

Next: 2021 Alternate Supporting

Best Actor 2021: Denzel Washington in The Tragedy of Macbeth

Denzel Washington received his ninth acting Oscar nomination for portraying Lord Macbeth in The Tragedy of Macbeth. 

The Tragedy of Macbeth is a brilliant adaptation of Macbeth by Joel Coen, fashioning the old tale of ambition through the style of a German expressionistic nightmare. 

Although I haven't counted, Macbeth may be my most reviewed character, at the very least one of the most reviewed characters, therefore I have seen a great deal of variations upon this role. A role with a clear trajectory, but less clear in terms of the motivation and personality of the character, despite the fact that, aside from Toshiro Mifune, everyone is more or less saying the exact same words. What a performer, emphasizes, or doesn't, emphasize can speak towards so much of what becomes Macbeth, even if the facts always remain the same, he's a lord, who hears a prophecy that could be king, conspires with his wife to kill the king, becomes king, goes mad and is killed. That is every Macbeth no matter what, and he set to that fate. It is then the actor's task to not only make that fate compelling but to offer some unique perspective through their performance to craft a version of that tale worth watching.

Denzel Washington had only one previous role in which he performed Shakespeare onscreen, Kenneth Branagh's delightful Much Ado About Nothing, where Washington performed well with the Bard's words, however through the breezy role of the good prince in that film. This is more than a little bit of a step up in terms of the task at hand, no longer a supporting role, but rather one of Shakespeare's key tragic figures in Macbeth. Although it is nearly 30 years since Washington's last cinematic Shakespearean turn, Washington did not lose any of his ability with the text, in fact, Washington only reveals all the greater mastery of it. Washington honestly probably could read the complete works of Shakespeare and it would be worth listening to through the ease and really grace that Washington speaks the words. He finds that elegant balance where he can uncover the essential grandeur of each speech, while also delivering every element in a way that grants the right naturalism to the words as well.

Washington, therefore, steps into the role of Macbeth with a great deal of confidence. The question though is what is Washington's technical take on the role of Macbeth. Well in this instance Washington might play this part most closely to his role in The Equalizer, as basically this professional killer who is slowly aging. We see this in his first scene where comes across the three witches (Kathryn Hunter) after his successful battle that defeated a treacherous enemy of King Duncan (Brendan Gleeson). Washington's initial expression is this combination of a kind of curiosity, but also this sense of aged exasperation of the old warrior having performed yet another task. When seeing the witches it is with this sense that he might as well see something strange in his life at this point. When they say he will be named King, Washington's eyes denote this almost humorous kind of doubt among the statement. There is a sensibility about Macbeth that Washington suggests, and doesn't take the witches' words as anything more than an interesting peculiarity at first.

Washington portrays very much the loyal soldier who isn't bound by the idea of glory. His reactions towards the praise of the king is greater than hearing about his new lordship from his victory. Washington accentuates the idea of a man who has been here before and has experienced much as the soldier for the king. So much so that Washington's reaction to victory, is just the reaction towards not dying this time around. What Washington does through this is craft a differing motivation for Macbeth, as he's not defined by this kind of fiery ambition that is more typical in portrayals of the character. His motivation is defined by his relationship with Lady Macbeth (Frances McDormand) though not in the way of overt lust as per usual. I think Washington's portrayal of his first expression towards the Lady is so essential in creating this personal dynamic. This as his gentle smile not only shows that in this version Macbeth genuinely loves his wife, but that the love is kind of this old weathered kind of love. Love that to Macbeth isn't something he questions and is settled within him, unfortunately, the Lady might not quite agree.

What becomes the motivator for Macbeth is not sexual lust rather attempting to show her his love. Washington's portrayal of the scenes of contemplating whether or not to kill Duncan to become King is filled with a greater empathy towards Duncan in a way, and his reactions towards his wife is of a dutiful husband. Washington portrays the hesitation differently than many a Macbeth who are often more fearful of the task at hand. Washington instead presents the contemplation as a man perhaps overly familiar with death, and treating his wife's words as a course of action, though maybe a questionable course of action.Washington's weighing the act in soliloquy then is a fascinating examination of it. Washington performs less so as this grand ambition, rather as this potential only ambition he may have left in life. Washington presents it as the thoughts of truly an older man who believes that it may easily just live out the rest of his life as he is rather than the ambition to become king. When the lady prods him to do so, Washington brings this kind of perfection as his reaction as he both conveys the gravity of the situation, though with this kind of manner as though Macbeth is in way being chewed out by his wife, as though it is an argument that he has long heard for his lack of ambition and been reminded of as he is prodded to commit the murder. 

The scene of approach aka the famous "dagger" soliloquy is where I might as well reinforce the mention of one of the great joys of this performance, which is simply to watch Washington perform Shakespeare. Washington is spellbinding every time he takes center stage and brings you right within the presence of Macbeth. Washington has one of the all time great innate screen presences to begin with as there is just a natural force and charisma about him. And in turn it is mesmerizing to see him wield it through the Shakespearean monologue. I'll admit one can even forget  the intention for a moment, it is just such a treasure just to witness the performance completely detached from character in a certain sense. The performance though goes beyond that in the brilliance of Washington's turn as no word is simply left to be beautiful speech, as much as it is that. This in the speech Washington actually fashions the entirety of the arc of Macbeth's choice as he goes closer to the door. This as he initially sees the "dagger" there is the uncertainty in seeing the dagger that his expression slowly changes towards this kind of mania in seeing it as instead not a warning but a prophecy. This naturally seguing again in Washington as he becomes inspired by it until there is suddenly this strict uncompromising conviction as the "bell invites" him to kill Duncan. Washington shows how Shakespeare ought to be done and is absolutely stellar in this scene.

The murder itself performed as a cold assassin, befitting the old warrior undergoing the task, though this in stark contrast as he goes back to the Lady to inform of the completion of the task. Washington is outstanding in the scene in again finding this path, and I love the scene he plays it as almost a drunk having a moment of clarity. This as the guilt that Washington portrays in the moment is as this near childlike realization of a crime. His speaking of basically this curse upon him as Macbeth "will sleep no more" it is with this nearly detached sadness he speaks as though he can't quite reckon what he has done and is truly burdened by it. Washington fashioning the earliest state of the true madness that will come to inflict the mind of the man. Washington's eyes conveying the sense of the attachment to the deed, the attachment that drains and pains him, and will leave him unable to essentially reconquer himself as a man of virtue or a loyal lord ever again. As much as Washington attempts to portray the loyal lord again when the morning comes and men come to call on the king. Washington showing well the limitation of Macbeth. Putting on the face of innocence, but his exhaustion denoting a man who has not slept. Washington showing a man punished by guilt even as he attempts so hard to hide it. 

It must be noted that I do have a particular affection when filmmakers play with an expected presence, and one of the great joys of that is found here when Macbeth goes and kills the two guards "responsible" for Duncan's death after he is discovered. Joel Coen seems to purposefully evoke Washington's work as the Equalizer as the killing machine who disposes his foes with deliberate ease, something that will come again later in the film in an even more glorious depiction of such. Immediately following the scene where Washington explains Macbeth's reasoning for killing the men is an extraordinary rewriting of the moment by Washington's performance. This as Macbeth's explanation that it is hard to be rational when so emotional and so filled with love, Washington's performance successfully makes it as this pledge of love towards the Lady. Again not as this declaration of lust, but genuine love, though the Lady might take it as the former. Washington's portrayal is outstanding of this as every line he ensures such strict conviction to this and his eyes darting this specific passion. He speaks it as though it is almost these marital vows to remind her so potently that he loves his wife and has done this thing entirely for her love. Washington, McDormand and Coen so successfully making this old married couple almost kind of renewing their vows and finding the spark again, via murder of course. 

Washington's performance following is man essentially defined by his own act, as a man suspicious of all in order to maintain the kingdom since he knows the ease in which it can be taken away. Washington is amazing in the scene with the two assassins because he presents it as Macbeth attempting to play the king in a way and in a way failing to instruct the men to murder his old friend Banquo. Washington putting on the face of the king carefully ordering the two murderers to do his bidding as though he is granting them this task as though it comes down from high. Washington falling into a random mania briefly when speaking the most vile words to end Banquo's life, before attempting to return towards some normalcy. Washington showing his Macbeth as this act of a king attempting to be a king while burdened with the maddening paranoia of conspiracy around him which undercuts this. Washington brings such powerful meaning then as he speaks to Duncan's fate with this strange contemplation as death as being this kind of comfort from the difficulties of life. Washington creates this sense of this almost in the jesting  way he speaks of the "hollow crown" as nothing but a burden. Washington shows so well the curse that is Macbeth's state as he lives with the knowledge, and as such a more complicated thing then just guilt. In fact guilt may be the least of it. 

The ghost of Banquo in this version, as he haunts Macbeth's feast, takes upon a new kind of meaning here. This as Washington puts on the front of the good king as it begins before seeing the ghost pass by and the facade instantly crumbles in Washington's face. Instead all the madness that grips him pressing against him once more. Washington's yells at the ghost being this full fledged insanity of believing him to be cursed in this sense and his whole life to be this kind of joke against him. Washington's portrayal of Macbeth is essentially as a man who is more or less lost even by the mere act that he committed and very little has any real meaning in life other than awaiting his poor fate, becoming basically the fearful old man gripped by the terror of his upcoming demise. When hearing the second witch prophecy Washington's portrayal accentuates the man looking for some kind of safety in his state. Every question he asks with this urgency of need for the protection. His eyes peering for any grey area, any problem, hoping to find any kind of calm for his state of mind. Washington easing away some of this apparent suffering only as Macbeth hears the words that only seemingly impossible events could possibly lead to his death. 

Comfort is never found though and Washington continues to excel in creating this strange state of the man basically as the king trying to convince himself of his own strength. When hearing of the troops coming his way to destroy him, Washington's barking of Macbeth's orders are with the grand gestures of a wannabe king, ferocious yet weak. Washington wields even the loudness in a way of a man trying to quiet his own mind filled with only doubts. This only breaking when he sees the death of his Lady via suicide (or perhaps not in this version). Washington amazing in this moment because he so poignantly speaks to a genuine self again as he bemoans her fate. The real love that defined his initial act is there again an the realization that his gain is now wholly lost comes clear against Washington's harried face. The facade leaves again to show the humanity still left over in the now fiend, and so powerfully so. The particular brilliance is Washington from this point as the man essentially broken wholly now. When the first man comes to kill him, and we get our second equalizer scene, Washington is so perfectly dispassionate just as he so artfully physically performs the scene. He walks open to slaughter and his query of "thou was born a woman" is with this casual kind of "alright you can die then". 

 

Washington's manner treats it as all this game now, as the man who has no reason to live other than the kill in a game he believes he cannot lose. This instantly however is subverted as he comes across MacDuff (Corey Hawkins), whom the witches had warned him of. I love Washington's initial delivery which he speaks as this basic even casually issued caution as though asking "hey do you want to die to?". However when MacDuff reveals that his birth "being not born but ripped from a woman", Washington's expression makes this final confrontation pure classic Coens dark humor in a way. This as Washington's little shrug and and swallow is this reaction that speaks Macbeth's thoughts of "of course, that's exactly what would happen" as just another misfortune in a sea of them. Macbeth accepting his fate with almost this kind of gentle humor. It is probably obvious but worth restating, I adore everything about this performance and really every second of Washington;s outstanding work in this film. It is in part because Washington is just such a captivating performer of the Bard that it is hard not to treasure every line he speaks. It is in part because it is such incredible use of Washington's screen presence both in an expected and unexpected way. Most of all though he makes the challenge of the role seem nonexistent while also crafting his own uniquely powerful, poignant and even comical portrait of the Lord defeated by his own greed and hubris. 

Best Actor 2021

And the Nominees Are:

Andrew Garfield in Tick Tick...Boom

 

Benedict Cumberbatch in The Power of the Dog

 

Will Smith in King Richard

Denzel Washington in The Tragedy of Macbeth

 

Javier Bardem in Being the Ricardos

Best Actor 2017: Results

5. Timothée Chalamet in Call Me By Your Name - Although I might not share the amount of zeal some do for this performance, it is strong work as Chalamet realizes an effective arc through the central romance by portraying his character's loss of a false maturity, a return to youth, but also a gradual discovery of a real maturity.

Best Scene: Elio's apology to Marzia.

4. Gary Oldman in Darkest Hour - The great Gary Oldman doesn't give his best performance here by any margin, however he does deliver an expected striking turn in his realization of Winston Churchill. He creates his own version of the man's personal style effectively, while also delivering in every aspect of the film's somewhat limited version of the legendary figure.

Best Scene: Call to FDR.

3. Denzel Washington in Roman J. Israel, Esq. - Washington has to deal with quite a challenge in portraying his very atypical role while performing in a rather aimless film. Washington pulls off his unique character in a way that is compelling in itself, and manages to do his best to amplify what good qualities exist in the film.

Best Scene: Applying for a job.

2. Daniel Kaluuya in Get Out - Kaluuya, in a rare type of nomination, gives a terrific straight man performance within his horror film. Kaluuya helps to create a real tension and fear within the film, but also offers a real emotional anchor in his portrayal of what haunts the man as well as what keeps him in his strange situation.

Best Scene: Hypnosis. 

1. Daniel Day-Lewis in Phantom Thread - Well obviously I did not need to give this a second thought. The man whose name has become synonymous with "great actor" proves himself worthy of that distinction once again. One can almost take Day-Lewis giving an amazing performance for granted, because he's Day-Lewis, but one shouldn't. Day-Lewis once again proves his mastery of his particular art this time through a man with the mastery of another. Day-Lewis realizes this type of ambition and intensity like no other actor could, well also so effectively portraying the man's unique and destructive relationships with those around him in utterly fascinating detail. Masterful work from the master once again.

Best Scene: An unexpected date.

Next: 2017 Alternate Supporting

Best Actor 2017: Denzel Washington in Roman J. Israel, Esq.

Denzel Washington received his eighth acting Oscar nomination for portraying the titular character of Roman J. Israel, Esq.

Roman J. Israel, Esq. is Dan Gilroy's followup to Nightcrawler which followed an anti-social character through the world of scandalized news, this film attempts the same though through the legal world. Unfortunately this film is far less successful with its unfocused narrative that has several threads that could potentially be compelling in themselves however none of them receive proper development leaving the film aimless.

A consistent element within both films is it casts in its lead a noted thespian in a role that tests their range as an actor through an idiosyncratic character. Jake Gyllenhaal's Lou Bloom, who led Gilroy's last effort, was an ambitious sociopath who attempted to conquer the world in his own demented way. In this film we get Roman J. Israel, a legal savant, with a personal style of yesteryear, and a personality that likely lands him somewhere on the autism spectrum. The role at the very least offers something very much out of Denzel Washington's comfort zone as an actor who, while having played many different types of roles over the years, generally plays confident very socially competent men. Roman is meant to standout like a sore thumb with his 70's afro, his constant use of head phones, prominent teeth, oversized glasses, and grape colored suits. Roman is a sight to behold all on his own so it only makes sense that we are not going to get a typical Denzel Washington performance. This is almost kind of a weird choice as Washington's charisma is one of his great assets as a performer so it is perhaps an odd choice to rip that from him, however it does give us Washington a challenge that we've never seen him before partake of.

Washington's performance exists in a bubble and perhaps that is for the best as the film surrounding him is a bit of a mess. Roman does stand apart in a way that I will say allows Washington to give it his best with a certain degree of consistency even as the film takes such a scattershot approach. Washington goes head first into his performance here and I have to say there is a certain interest in just watching Washington approach this character. In the opening scene of the film, well after a cryptic narration that establishes where Roman might be heading by the end of the film, we first meet Roman as he goes about his legal work in a two man law firm where he specializes in preparing cases while his partner handles the actual courtroom work. Washington plays Roman as a man with a certain mental deficiency in the way he exhibits the character's attention. When he working Roman plays a man completely focused into whatever he is doing on the paper, however this is not with a typical dogged emotional determination. Washington instead depicts it as this detached focus who has to mentally position himself into this single activity. The intensity of this focus is great, but Washington effectively portrays this without the weight of sentiment in a way. The man just is in his element as he does this work but also a man who is wholly in a world of his own, on a mental plain that just is not the norm.

When he hears some terrible news that his partner in law has had a heart attack Washington realizes this unique state all the more, as his reactions shows that the man barely hears the news. He takes a moment, a moment where he seems to process this new direction for his mind and this portrays almost this dysfunction in Roman's way of thinking as he has to go from one frame of mind to another. Washington in this does something rather interesting in that he portrays this conflict within the moment as most of still has this upbeat focus on his current legal activity, yet there is a completely separate emotion creeping separately from that state that he expresses as something that grows and builds until Roman suddenly becomes sorrowful. Washington is convincing in portraying this wholly different way that this man processes information. This is consistent factor and rather interestingly this is something he shares with Gilroy's previous "protagonist" Lou Bloom, in that Roman also simply doesn't function on the normal human level of thought. The difference though is where Gyllenhall's showed that Lou seemed to attempt to take steps in order to imitate normal human behavior, in sort of wearing literal faces type of way, Washington portrays Roman as blissfully unaware that he is at all different from the average person.

We see this throughout the film with the way Roman handles clients and courtroom procedure. Washington consistently portrays the manner of Roman as this specified directness as though the man can only focus on one thing at a time properly. Again Washington is actually quite effective in realizing this personal style of the man as he goes about negotiating plea bargains and dealing with court procedure. Washington makes Roman wholly without proper manner, how with this very exact conviction in every delivery of a master of legalities. At the same time though Washington makes this completely without social sensibilities so when any sort of tact is required Washington lacks that and does well to show how it is that Roman consistently gets himself into trouble nonetheless. Washington depicts Roman with the confidence of a genius but without the ability to convey this genius in any useful fashion much of the time. The passion in Washington's delivery is specifically within the words that directly convey his message without any time spent to smooth them over towards whomever he is speaking with. Washington does well to make Roman his own worst enemy who obviously has some great ability in him yet is completely unable to soften it in a digestible form for those around him to make it of any use.

We see this in Roman in every facet of his life even beyond when he is not directly acting as counsel. After losing his legal partner is forced a couple of options that leave him to work with the hot shot attorney George Pierce (Colin Farrell) or attempt to return to his grass roots days of old. Although the whole angle of the grass roots is poorly conceived I will say Washington is great in the scenes that involve them. His first scene where he goes to seek employment there by meeting with one of the workers Maya (Carmen Ejogo) and he attempts to describe his old days while being basically turned down for the job. Washington has a terrific moment where he reveals the clash in Roman's mind where he tries to evoke his professional method yet the somberness of reflecting his old days reveals itself through seeming almost a random emotion in his years. Washington makes this feel natural within Roman's way of dealing with emotion which again is as this clash that reveals itself in an unusual fashion for a normal person yet is consistent to everything we know from Washington's development of Roman's character. Roman once again being a man who can only really operate with one frame of a mind at any time, and anything forcing a mix Washington depicts as leaving him as a bit of a mess.

Now the film itself is again unfocused but I will say Washington's approach does its best to at least alleviate this within the character of Roman. Technically speaking Roman suddenly decides to misuse his legal privileges, suddenly decides to work with Pierce, suddenly reveals his potentially earth shattering legal reforms, everything is very sudden and to a ridiculous extreme. Washington to his credit manages to make sense of these wildly diverging choices because he does make sense of Roman's way of dealing with his world. He takes the bribe because Washington shows that Roman gets caught in the mindset of cynicism after losing his friend, and almost his job with Pierce. We get a moment of conflict in this betrayal of his morals but this is shown through Washington again revealing at this problematic clash in his mind, a moment of intense emotion that Roman again doesn't seem to know what to do with it so instead focuses on making money from misusing information from a client. Every extreme action makes sense as Washington shows it as it becomes that narrow focus that controls Roman's actions. When he loses the crowd at a town hall, Washington portrays it very well as Roman getting caught on the idea of being what he feels is courteous and just can express any nuance in the moment. His treatment of Pierce as sometimes a sorta foe, other times an ally Washington successfully reveals as whether Roman is caught in his ideals, or caught in his ego. Washington manages to give life to Roman's unique behavior and makes sense out of it. His performance as it stands alone is compelling because he pulls off this tricky role made trickier by the material. The film has its lead, it unfortunately doesn't know what to do with him. Washington to his credit though never get overwhelmed by the film's shortcomings in fact he does his absolute best to amplify the few qualities it has. Washington tests his range here, as he also did in Fences, and once again delivers. It's a shame that his work is not in a successful film, however as it stands alone it is strong work from Washington who I hope continues to take these chances.

Best Actor 2017

And the Nominees Are:

Denzel Washington in Roman J. Israel, Esq.

Timothée Chalamet in Call Me By Your Name

Gary Oldman in Darkest Hour

Daniel Day-Lewis in Phantom Thread

Daniel Kaluuya in Get Out

Best Actor 2016: Results

5.Ryan Gosling in La La Land - Out of these five I'd say Gosling gave the performance that offered me the most joy. This is the type of performance that looks easy, but it deserves praise. Gosling brings such charm, has some impeccable comedic timing, and finds some of the best chemistry in years with his co-star Emma Stone. While being a great old school romantic leading turn he also does offers much more poignancy to the role than you might expect.

Best Scene: The dinner fight. 

4. Casey Affleck in Manchester by the Sea - I might not like the film all that much, but Casey Affleck gives a great performance. Affleck manages to give a powerful portrayal by so effectively realizing a man who has come to terms with his grief by trying to become dead to the world.

Best Scene: The Police station.

3. Andrew Garfield in Hacksaw Ridge - Garfield pulls off a difficult role, not only do the the thick accent required but also the overly pure nature of the role. Garfield though manages to make it work giving such an earnest and honest depiction of an unbelievable individual. 

Best Scene: "I hear you"

2. Denzel Washington in Fences - Washington delivers his career best by giving us a theatrical man in grand way, yet not without nuance. He buttresses his larger work not only by offering subtly within the grandeur, but also by showing where it stems from within his quiet moments as well.

Best Scene: The tale of his father.

1. Viggo Mortensen in Captain Fantastic - Good prediction GM. A job well done by the Academy in this category. They managed for once to choose five great performances. If the Oscars go to any one of these men I will be more than happy with it. My favorite for the time being, it's particularly close between the top two for me, is Viggo Mortensen. Mortensen, as per usual, gives a great performance. He goes further than that delivering such a powerful portrayal of this character that in the wrong hands could have gone very badly. Mortensen makes us understand this man, never going for the cheap shots, instead offering a complex and believable portrait of this man.

Best Scene: Arguing with Jack. 

Next Year: 2016 Supporting

Best Actor 2016: Denzel Washington in Fences

Denzel Washington received his seventh Oscar nomination for portraying Troy Maxson in Fences.

Fences is a straight forward adaptation of a play about a working class African American man trying to come to terms with his family and his life.

Denzel Washington is an actor I actually do think is fairly consistent with singular screen presence, even if I don't personally hold what is often considered his best work in as high of regard as some do. In most cases I still appreciate the performance even if I don't quite love it. Washington here gives his third directorial feature and his third self-directed performance. In his his previous two efforts Antwone Fisher and The Great Debaters, Washington relegated himself to a supporting role and a secondary lead respectively. In Fences he is front in center for all except the epilogue of the film in his recreation of Troy Maxson, a role he also played on stage. The theatrical background of the material is noticeable with its rich but thick dialogue and limited scope. It is then a challenge in order for all the performers to transition their work from the stage, most are reprising their roles from a production with Washington, to onscreen. The one performer who most successfully transitions to screen is, well, fittingly enough also the man who is directing the film.

Interestingly though it seems from the outset that Washington is going to give a large theatrical performance, though not really the one he gave on stage, as the film opens. Washington after all has never been an actor to shy away from going big. In the opening scenes of the film we basically see the typical end of the week for Troy as he does his work as a garbage man, along with his friend and neighbor Bono (Stephen Henderson). While working then long afterwards Troy is a chatterbox. Washington does this quite well by basically presenting Troy as a man who likes to talk. He only gets bigger though as he arrives home and begins to "entertain" Bono and his wife, Rose (Viola Davis), with various tall tales. Washington plays these scenes like a preacher at a revival meeting with his grand standing, and epic presentation of Troy's tale of a battle with death. Washington goes for a man telling a truly glorious story filled with thrills, and even a bit of comedy. Washington delivers in the grandeur. Quite honestly though, Washington's approach is an actual way to bridge the material to the screen, as well as allude to nature of Troy.

Troy is a man of so many speeches that Washington is able to make those believable by making this sort of style as an essential part of the man Troy is. There is no simplification in this though, this is complex depiction of what Troy is doing. On the surface Washington is quite entertaining in giving such gusto to Troy's stories and at the very least makes it convincing why anyone would bother to listen to the man for a more than a few seconds. Washington's work goes far beyond that as he suggests within it that this whole approach to life is a defense mechanism of sorts for Troy. Washington is extremely effective in the way he twists this preacher facade of sorts in and around. Washington in itself already shows us a man who believes himself to be greater than he is, and he also shows this as a way to warp that message. Although some of his speeches are just these fun pseudo philosophical stories about meeting the devil, a loan officer, or how he he met his wife, there are also more than a few hints to the man's bitterness towards life.

A defining part of Troy's background was that he once had his glory days as a baseball player in the Negro League, but despite his skill never achieved his dreams due to the discrimination of the separate leagues in baseball at the time. In Troy's tirade he will often veer off into the territory towards his hatred of the lot he was given because of that, such as an overt disdain for Jackie Robinson. I actually love the way Washington changes his tempo just a little bit in these moments as he tries to make them as smooth as his "preaching" yet can't help but still come off a bit like an angry drunk yelling in a bar. Washington infuses a real venom in these turns even early on, whenever he is reminded or reminds himself of his position, and does well to show the active effort in his attempt to maintain the facade of some sort of sage. Now I will say this might have gotten old for me, even with the nuance Washington brings within Troy's theatrics, if he also did not prove that they are indeed just that theatrics. Not theatrics in terms of what we are seeing so to speak, but rather are theatrics that Troy is actively putting on, not Washington.

To explain, Washington does not stay at that intensity, we see this even early on. He alludes to this more of when we are first introduced to Troy's handicapped, due to a war injury, brother Gabriel (Mykelti Williamson). This is Troy without an audience, except for his brother who is in a world of his own, and there is none of that bluster from Washington. He shows that act to be the act it is, but essentially giving us Troy beneath it all as he interacts with Gabriel. It's a notable scene for Washington, that he uses incredibly well, since in his moments with Gabriel Washington portrays a moving empathy, which is a limited offering from Troy. In these moments though Washington alludes to this understanding in Troy that this not only is one person who seems to have had picked a worse lot than him, but also he hasn't exactly done right by him either. This is not the only moment in which we are given a quieter performance, which Washington brilliantly uses to establish and earn the those bigger moments. It goes even further than that though in the way Washington illustrates the sort delusions of grandeur that Troy has which are directly echoed by that personal style.

One moment of Washington's performance that I particularly love is when Troy offers a bit of background to his own rough life as a child. It's an amazing scene for Washington as he does start with the showman of sorts but as he actually gets into the meat of the story, Washington shows how Troy can't quite keep it going. He instead falls into the real despair of contemplating his sad past and just faces the truth of that terrible past. It is a moving scene but also so well used by Washington to convey the real nature of Troy. Washington carefully never overemphasizes either side offering the right approach in any given situation that so well reflects the state of the man. There is subtly even in the louder moments though. In the "Like You" speech that Troy gives to his younger son Cory (Jovan Adepo), Washington offers a ferocity in the words, yet he completely gives you the sense of Troy's relationship with his son. There is this very specific disdain that Washington delivers that is fascinating as he shows it almost an internalized self-hate while being a direct hate, as though it is less that Troy hates his son he just hates the idea that his son could potentially be what he never could be. Even in the speech though Washington suggests a vague sense of wisdom even in his prideful words in terms of his view that one needs to do right by another, even if Troy himself doesn't live up to that standard.

As the story goes on it soon becomes obvious that Troy is even more flawed as he reveals to having an affair to his loyal wife Rose, refusing to end it even after the revelation. Washington is outstanding in this scene as well by offering such vulnerability in Troy as he delivers these cracks in the man as he attempts to explain himself. He offers the raw emotion of it as Troy is unable to do so to any great ability, and also even shows the man attempting to explain his action by calling upon that delusion of his. Washington in these moments brings hints of the theatrics Troy is known for, in an attempt to dodge the reality in front of him, but always quickly returns to a more down to earth Troy who must see clearly what he has done. Washington does not compromise his character and is incredible in the way his lost of that facade amplifies the man's downfall all the more. As in the final scenes of the film where Troy is basically at his end, with no false delusions anymore at least in terms of being this great man, we see Troy for all he is. His final confrontation with his son is particularly powerful because Washington shows us just the brutal reality of the man through his anger towards the boy, and reveals just the small pathetic man he is in the end. Washington makes such artful use of his strengths as a performer. His work shows such an absolute grasp on the material particularly in terms of wholly understanding who Troy is. I won't hesitate to say this, Washington gives a stunning performance here.

Best Actor 2016

And the Nominees Are:

Andrew Garfield in Hacksaw Ridge

Casey Affleck in Manchester By The Sea

Denzel Washington in Fences

Ryan Gosling in La La Land

Viggo Mortensen in Captain Fantastic

Best Actor 2012: Denzel Washington in Flight

Denzel Washington received his sixth Oscar nomination for portraying William "Whip" Whitaker in Flight.

Flight is not a particularly good film about a pilot after successfully saving a plane from a nose dive has to face his alcohol problems due to a criminal investigation. The film despite handling the crash scene well tries too many subplot, bizarre attempts at humor, and just fails to bring it together.

Denzel Washington is an actor that I have never found to be that great of one. He is not one that I actively dislike, I think he can be just fine, but for me he tends to be an actor who never really gets to the heart of his character. In this film he portrays one of the very favorite characters of the Oscar voters which is the alcoholic. Now there are many great performances as the alcoholics such as the Oscar winning turns by Ray Milland, and Nicolas Cage, or the Oscar nominated turn by Jack Lemmon in the Days of Wine and Roses. Although they all play alcoholics there character's are very different particularly the way alcohol factors into their life Washington's Whip certainly is a bit different from his predecessors. 

In the opening of the film we see Whip casually drinking and doing drugs without anything special in the way that he is doing it. Washington portrays it as just standard procedures and Whip as a tired individual but not a man without ability to do what he needs to do. Honestly Washington could have pressed these moments a little more to show Whip more down trodden due to his history as an alcoholic that would have made his moments on the air plane more powerful, but than again it works just fine the way he plays the part anyway. His earlier moments though lead him to the scene where he must deal with the plane that is likely to crash.

Just like the film, the crash is the highlight of his performance. Washington is quite good in this scene as he shows Whip basically kick into action by his instincts as a pilot. In this scene he portrays Whip as a man in command of his faculties completely in the moment. Before he portrayed a certain aloofness about Whip, but here he makes Whip able to do what he needs to do. Washington does well by not really making Whip any sort of a different person in this scene, nor is it a revelation in the moment. Instead he does effectively create a history within Whip in this moment through the conviction he gives to Whip when he does display his abilities as a pilot that the events forced him to display.

After the crash though the film goes down hill as does Washington's performance. He has a good scene that is mostly expressed through one eye as he hears the tragic news of the few people who did die in the crash. The scene is very well handled by Washington as he expresses the pain quite well, without overdoing it, nor undergoing  it two things that become a problem later on in the film. Right here though Washington expresses the loss at the moment very well and effectively brings the weight of the moment to life. It is a very well handled scenes by Washington here and really it portrays just what might have been if the film was a better made film, but as well if Washington had given a better performance.

One problem with the performance, that is as well as problem with Washington's performance is the way Whip goes back and forth in using alcohol in the film. In his scene where he stops, or the scene where he jumps back on Washington portrays barely even a thought to doing this action. The film takes a similar approach by rushing through it, but Washington does not make up for it failing to really make it seem even a hard decision for him whether he is going to start drinking or stop. Washington just seems lacking in these moments that should be absolutely pivotal moments in the film, but they fail to have the power one imagine they should have because of how nonchalant his actions seem.

This is not to say Washington completely fails in portraying the alcoholism. There is one very good moment where Whip explains how he just accepts his drinking as part of himself. This moment of self denial is handled bluntly and to the point that works in explaining Whip's mind state much more than those scenes where he decides to stay on or get off the wagon. Washington's overall portrayal though never has the punch it should have in this regard particularly in the scene where Whip goes on a binge near the end of the film. Again this is really the director's fault as we really do not see his decay in this scene instead we only really see him after it is over making so Washington does not even have the chance to show how detrimental his drinking problem is.

Further problems created by the film those involve Whip's relationship with the other character's in the film. In the scenes where the people talk about religion to him, are done in such a bizarre fashion that they seem to want to be taken seriously yet they're done in a comedic fashion. Washington who is mostly reactionary in these scenes certainly can't make anything out of them as his expressions do not hold any power. We can't make anything out of these scenes, nor does Washington make anything out of them. I want to say though I can't blame him too much in this regard as I don't know if any actor could make the scene where Whip meets his co-pilot work since it was done in such an absurd inept fashion.

Another problem from the good film comes by the way of Whip's relationship with a fellow addict Nicole (Kelly Reilly). Their relationship seems like it should be based on mutual dependence or something, but Washington and Reilly just kind of are together without really making much out of it. Washington has one good moment with her which is the moment when he says how he drinks which I mentioned earlier. Otherwise than that scene though nothing comes from their scenes together. The only thing that makes this worse is the film just basically seems to forget about Reilly's character at one point making their whole relationship pointless, so there is no wonder that it is as ineffectual as it is.

Most of these problems I speak of are mostly the film's problem well there is one scene where Washington and the film are terrible in equal measure. This scene is when Whip goes to visit his ex-wife and his son. This scene is rushed over the top, with his son being played as poorly as possible, and Washington tries to make something out of it which is a serious problem. He starts going over the top right back with his Training Day evil smile right on his face. It is a terrible scene and Washington only makes it worse by trying to interact the scene which was not salvageable. Due to his attempt to do something here though this stands as one very bad scene in his portrayal that sticks out like a sore thumb.

Now after this scene where get the breakdown we do not see than we get the scene where he is on trial. The trial scene is problematic as Washington does not really show the scene like he just is barely holding together like one would imagine he should be doing. When he is pushed to damn the name of a deceased crew member he does reveal the truth. In this moment Washington is okay, but the moment of revelation does not have nearly enough passion behind it. Washington does not handle downright poorly, but it frankly seems like a missed opportunity. A stronger moment really was warranted as it should have been the moment he was going to stop lying to himself, but Washington leaves it fairly mundane.

Due to the mundane fashion he handles that scene his last months later scene seems more like the ending to a PSA than really where Whip would end up at the end. The final moment of his performance just seems like an anticlimax for the character, and it all seemed a little too easy in the end. Washington does have a few very good moment like the crash scene and some of his reactions like his face of fear and disbelief when he first hears of the criminal charges. The film though stops him from really giving anything more than middling, and unfortunately Washington also fails in key moments where he possibly could have made up for the problems of the film. Unfortunately this is a performance where the bad very much outweighs the good.