Alternate Best Supporting Actor 2023: Results

10. Casey Affleck in Oppenheimer - Affleck gives a chilling portrayal of soulless incisiveness. 

Best Scene: His scene. 

9. Gary Oldman in Oppenheimer - Oldman does about as much as he can in unraveling the idea of Truman and his relationship to the bomb in a matter of minutes.

Best Scene: His scene, but specifically reacting to Oppenheimer's "I have blood on my hands"

8. Matt Damon in Oppenheimer - Damon provides a wonderful bit of humor in a mostly serious film, and finds the ideal kind of chemistry with Cillian Murphy. 

Best Scene: His testimony ending. 

7. Milo Machado Graner in Anatomy of a Fall - Graner powerfully reveals the truth of a death, through his own struggling to understand it. 

Best Scene: His experiment.  

6. Jonathan Tucker in Palm Trees and Power Lines - Tucker gives an insidious portrayal of a vile man pretending to be the "ideal" man to an unsuspecting teenager. 

Best Scene: A shift suddenly. 

5. David Krumholtz in Oppenheimer - Krumholtz brings such a potent warmth that makes such an impact every time he appears, in his carefully crafted, yet wholly natural portrayal of his character's background.

Best Scene: Stare down. 

4. Holt McCallany in The Iron Claw - McCallany gives a powerfully cruel portrayal built on callousness and a lack of empathy for any signs of "weakness". 

Best Scene: Victory speech.

3. Jason Clarke in Oppenheimer - Clarke is basically giving undiluted performance and it is incredibly striking and penetrating work. 

Best Scene: Cross examination. 

2. Willem Dafoe in Poor Things - Dafoe delivers a brilliant combination of hilarious bluntness with a surprising degree of heart. 

Best Scene: "Cut with kindess"

1. Jamie Bell in All of Us Strangers - Bell effortlessly crafts a repressed man of a certain period and background, and so poignantly unravels that brings such honesty and power to every moment of fantasy. 

Best Scene: "I'm sorry I never came into your room when you were crying"

Overall:

1. Mark Ruffalo in Poor Things
2. Jamie Bell in All of Us Strangers
3. Robert De Niro in Killers of the Flower Moon
4. Robert Downey Jr. in Oppenheimer
5. Willem Dafoe in Poor Things
6. Ryan Gosling in Barbie 
7. Paul Mescal in All of Us Strangers - 5
8. Jason Clarke in Oppenheimer
9. Holt McCallany in The Iron Claw
10. Ramy Youssef in Poor Things
11. David Krumholtz in Oppenheimer
12. Harris Dickinson in The Iron Claw
13. Jonathan Tucker in Palm Trees and Power Lines
14. Milo Machado Graner in Anatomy of a Fall
15. Matt Damon in Oppenheimer 
16. Ben Whishaw in Passages 
17. Hinata Hiiragi in Monster
18. Jonathan Majors in Creed III - 4.5
19. Tomokazu Miura in Perfect Days
20. Oscar Isaac in Spider-man: Across the Spider-Verse
21. John Magaro in Past Lives
22. Samuel Theis in Anatomy of a Fall
23. Ty Mitchell in Killers of the Flower Moon
24. Donnie Yen in John Wick Chapter 4
25. Simon Bennebjerg in The Promised Land
26. Kiefer Sutherland in The Cain Mutiny Court-Martial
27. José Coronado in Close Your Eyes
28. Henry Czerny in Mission Impossible: Dead Reckoning
29. Bradley Cooper in Guardians of the Galaxy Vol. 3
30. Gary Oldman in Oppenheimer
31. Christopher Abbott in Poor Things
32. Jeremy Allen White in The Iron Claw
33. Casey Affleck in Oppenheimer
34. Lewis Pullman in The Caine Mutiny Court-Martial
35. Jung Woo-sung in Cobweb
36. Jason Schwartzman in Spider-man: Across the Spider-Verse
37. Benny Safdie in Oppenheimer
38. Michael Cera in Dream Scenario
39. Alden Ehrenreich in Oppenheimer
40. Tom Conti in Oppenheimer 
41. Stanley Simons in The Iron Claw
42. Benny Safdie in Are You There God? It's Me Margaret
43. Josh Hartnett in Oppenheimer 
44. Dane DeHaan in Oppenheimer 
45. Rupert Everett in Napoleon
46. Regé-Jean Page in Dungeons and Dragons Honor Among Thieves
47. Matt Johnson in Blackberry
48. Nathan Lane in Beau is Afraid
49. Swann Arlaud in Anatomy of a Fall
50. Jesse Plemons in Killers of the Flower Moon
51. Kingsley Ben-Adir in Barbie 
52. Lewis Pullman in The Starling Girl 
53. Masaki Suda in The Boy and the Heron
54. Antoine Reinartz in Anatomy of a Fall
55. Chukwudi Iwuji in Guardians of the Galaxy Vol. 3
56. Scott Adkins in John Wick Chapter 4
57. Matthias Brandt in Afire
58. Gregg Turkington in Fremont
59. Jamie Foxx in They Cloned Tyrone
60. Shea Whigham in Spider-man: Across the Spider-Verse
61. Paul Rudd in Teenage Mutant Turtles: Mutant Mayhem
62. Sterling K. Brown in American Fiction 
63. Marshawn Lynch in Bottoms
64. John Standing in The Great Escaper
65. Peter Dinklage in The Hunger Games: The Ballad of Songbirds and Snakes 
66. Cast of Society of the Snow - 4
67. Louis Cancelmi in Killers of the Flower Moon
68. Kuranosuke Sasaki in Godzilla Minus One
69. Benedict Cumberbatch in Poison
70. Will Catlett in A Thousand and One
71. Hiroyuki Sanada in John Wick Chapter 4
72. Ice Cube in Teenage Mutant Turtles: Mutant Mayhem
73. John Magaro in Showing Up
74. Arliss Howard in The Killer
75. Jude Hill in A Haunting in Venice
76. William Belleau in Killers of the Flower Moon
77. Daniel Kaluuya in Spider-man: Across the Spider-Verse
78. Pat Healy in Killers of the Flower Moon
79. Ben Kinglsey in Poison
80. Rhys Ifans in Nyad
81. Michael Ironside in Blackberry
82. Jason Isbell in Killers of the Flower Moon
83. Ian McShane in John Wick Chapter 4
84. Ralph Fiennes in The Wonderful Story of Henry Sugar
85. Jacob Elordi in Saltburn
86. Brian Tyree Henry in Spider-man: Across the Spider-Verse
87. Josiah Cross in A Thousand and One
88. Mario Pardo in Close Your Eyes
89. Dave Bautista in Guardians of the Galaxy Vol. 3
90. Hugh Grant in Dungeons and Dragons Honor Among Thieves
91. Thomas Kretschmann in Infinity Pool
92. Hugh Grant in Wonka
93. Kiefer Sutherland in They Cloned Tyrone
94. John Ortiz in American Fiction
95. Ronnie Del Carmen in Elemental
96. Jake Johnson in Spider-man: Across the Spider-Verse
97. Macon Blair in Oppenheimer
98. Jason Schwartzman in Hunger Games: The Ballad of Songbirds and Snakes
99. Ben Kingsley in The Wonderful Story of Henry Sugar
100. Bill Skarsgard in John Wick Chapter 4
101. Josep Maria Pou in Close Your Eyes
102. Joel Frey in The End We Start From
103. Ben Affleck in Air
104. Lance Reddick in The Caine Mutiny-Court Martial
105. Jefferson Hall in Oppenheimer
106. Justice Smith in Dungeons and Dragons Honor Among Thieves
107. Clancy Brown in John Wick Chapter 4
108. Scott Shepherd in Killers of the Flower Moon
109. Munetaka Aoki in Godzilla Minus One
110. Jackie Chan in Teenage Mutant Turtles: Mutant Mayhem
111. Tommy Schultz in Killers of the Flower Moon
112. Cory Michael Smith in May December
113. Nikita Yefremov in Tetris
114. Jacob Elordi in Priscilla
115. Tom Riley in The Caine Mutiny Court-Martial
116. Dev Patel in Poison
117. Jeremy Allen White in Fremont
118. Hidetaka Yoshioka in Godzilla Minus One
119. Steve Witting in Killers of the Flower Moon
120. Forrest Goodluck in How to Blow Up a Pipeline
121. Jimmi Simpson in The Starling Girl
122. Benedict Cumberbatch in The End We Start From
123. Simu Liu in Barbie
124. Judd Hirsch in Showing Up
125. Gustav Lindh in The Promised Land
126. Saul Rubinek in Blackberry
127. Chris Tucker in Air
128. Steve Routman in Killers of the Flower Moon
129. Tokio Emoto in Perfect Days
130. Dev Patel in The Wonderful Story of Henry Sugar
131. Jerrod Carmichael in Poor Things 
132. James Remar in Oppenheimer 
133. Colman Domingo in The Color Purple
134. Cary Elwes in Blackberry
135. Michael Cera in Barbie 
136. David Cross in You Hurt My Feelings
137. Roger Allam in Tetris
138. Joseph Gordon-Levitt in Flora and Son
139. Shōhei Hino in The Boy and the Heron
140. Jonathan Majors in Ant-Man & the Wasp: Quantumania
141. Jeffrey Wright in Asteroid City
142. Jason Mamoa in Fast X 
143. Alfredo Castro in El Conde
144. Corey Hawkins in The Color Purple
145. Oh Jung-se in Cobweb
146. Tom Davis in Wonka
147. Jason Bateman in Air
148. Sungwon Cho in Blackberry
149. Rich Sommer in Blackberry
150. Chris Messina in Air
151. Michael Keaton in The Flash
152. Jake Weary in How to Blow Up a Pipeline
153. Will Poulter in Guardians of the Galaxy Vol. 3 
154. Simon Pegg in Mission Impossible Dead Reckoning
155. Ving Rhames in Mission Impossible: Dead Reckoning 
156. John Cena in Fast X 
157. Naheem Garcia in The Holdovers
158. Richard E. Grant in Saltburn
159. Nicholas Braun in Dream Scenario
160. Akshay Khanna in Polite Society
161. David Dastmalchin in The Last Voyage of the Demeter
162. Musab Ekici in About Dry Grassses
163. Shaun Thomas in How to Have Sex
164. Paterson Joseph in Wonka
165. Jack O'Connell in Flora and Son
166. Nicholas Galitzine in Bottoms - 3.5
167. Bryan Cranston in Asteroid City
168. Liev Schreiber in Asteroid City
169. Adrien Brody in Asteroid City
170. Edward Norton in Asteroid City
171. Willem Dafoe in Asteroid City
172. Tom Hanks in Asteroid City
     
173. Rupert Friend in Asteroid City
174. Steve Carrell in Asteroid City
175. Matt Dillon in Asteroid City
176. Stephen Park in Asteroid City
177. Ricard Ayoade in The Ratcatcher
178. Rupert Friend in The Ratcatcher
179. Jamie Dornan in A Haunting In Venice
180. Andrew Garman in The Holdovers
181. Gene Jones in Killers of the Flower Moon
182. Esai Morales in Mission Impossible: Dead Reckoning
183. Toby Jones in Tetris
184. Jun Kunimura in The Boy and the Heron
185. Tatanka Means in Killers of the Flower Moon
186. Michael Provost in The Holdovers
187. Ian Dolley in The Holdovers
188. Jim Kaplan in The Holdovers
189. Laurence Fishburne in John Wick Chapter 4
190. Arian Moayed in You Hurt My Feelings
191. Jim Carter in Wonka
192. Richard Kind in Beau is Afraid
193. Mads Mikkelsen in Indiana Jones and the Dial of Destiny
194. Okieriete Onaodowan in American Fiction
195. Keith David in American Fiction
196. Brady Hepner in The Holdovers
197. Cary Elwes in Mission Impossible: Dead Reckoning
198. John Rhys Davies in Indiana Jones and the Dial of Destiny
199. Kenneth Branagh in Oppenheimer
200. Dylan Arnold in Oppenheimer
201. Shea Whigham in Mission Impossible: Dead Reckoning
202. Nathan Fillion in Guardians of the Galaxy Vol. 3
203. David Dastmalchian in Oppenheimer
204. Anthony Boyle in Tetris
205. Riccardo Scamarcio in A Haunting in Venice
206. Rami Malek in Oppenheimer 
207. Bradley Cooper in Dungeons and Dragons Honor Among Thieves
208. Matthew Modine in Oppenheimer
209. Glenn Howerton in Fool's Paradise
210. Dylan Baker in Dream Scenario 
211. Adam Brody in American Fiction
212. Jeremy Allen White in Fingernails
213. Ayoub Missioui in The Blue Caftan
214. Liam Cunningham in The last Voyage of the Demeter
215. Charles Parnell in The Killer
216. Shea Whigham in Eileen
217. Shamier Anderson in John Wick Chapter 4
218. Adrien Brody in Fool's Paradise
219. Toby Jones in Indiana Jones and the Dial of Destiny
220. Common in Fool's Paradise
221. Ken Watanabe in The Creator
222. John Lithgow in Killers of the Flower Moon 
223. Glynn Turman in Rustin
224. Yuki Yamada in Godzilla Minus One
225. Paul Rhys in Saltburn
226. Jeffrey Wright in Rustin
227. Rowan Atkinson in Wonka
228. Lukas Gage in How to Blow Up a Pipeline 
229. Anthony Shim in Riceboy Sleeps
230. Liev Schreiber in Golda
     
231. Alex Sharp in One Life
232. Ron Livingston in The Flash
233. Oscar Kightley in Next Goal Wins
234. Chris Diamantopoulos in The Boys in the Boat - 3
235. Chris Bridges in Fast X
236. Noah Galvin in Theater Camp
237. Michael Douglas in Ant-Man & The Wasp: Quantumania 
238. Tyrese Gibson in Fast X
239. Aml Ameen in Rustin
240. Antonio Banderas in Indiana Jones and the Dial of Destiny
241. Langston Uibel in Afire
242. Enno Trebs in Afire
243. Rupert Grint in A Knock At the Cabin
244. Keegan-Michael Key in Wonka
245. Alan Ritchson in Fast X
246. Aksel Hennie in Sisu
247. Samuel Bottomly in How to have Sex
248. Djimon Hounsou in Rebel Moon - 2.5
249. Bill Murray in Ant-Man & The Wasp: Quantumania
250. Sung Kang in Fast X 
251. Marton Csokas in Chevalier
252. Eugenio Mastrandrea in The Equalizer 3
253. Ben Platt in Theater Camp
254. Archie Madekwe in Saltburn
255. Ethann Isidore in Indiana Jones and the Dial of Destiny 
256. Scott Eastwood in Fast X
257. Boyd Holbrook in Indiana Jones and the Dial Destiny
258. Connor Swindells in Barbie 
259. Jonathan Groff in A Knock At The Cabin
260. Michael Huisman in Rebel Moon
261. Charlie Hunnam in Rebel Moon
262. Ray Fisher in Rebel Moon
263. Ed Skrein in Rebel Moon 
264. Chris Rock in Rustin - 2
265. Michael Shannon in The Flash
266. Michael Cyril Creighton in American Fiction
267. Will Ferrell in Barbie
268. Mathew Baynton in Wonka
269. Matt Lucas in Wonka
270. Kyle Allen in A Haunting in Venice - 1.5
271. Marc Menchaca in The Creator
272. Brendan Fraser in Killers of the Flower Moon 
273. Taika Waititi in Next Goal Wins - 1

Next: 2023 Lead

Alternate Best Supporting Actor 2023: David Krumholtz, Benny Safdie, Alden Ehrenreich, Matt Damon, Casey Affleck, Gary Oldman, Tom Conti & Jason Clarke in Oppenheimer

David Krumholtz did not receive an Oscar nomination for portraying Isidor Isaac Rabi in Oppenheimer.

I have to say this is a performance that was unfairly unrecognized by the SAG ensemble award, meanwhile Rami Malek and Kenneth Branagh, for their entirely fine but also entirely unsubstantial work were. A shame though because every time I come back to the film Krumholtz's performance stands out more for me. Which on its own is fascinating to see Krumholtz get to this point anyway, going from Wednesday Addams's wannabe boyfriend, to something like this, which is reflective of his work in Coen brothers films, which is a true character actor in the very best of ways. As it is impossible to see a hint of the child actor of old, as he is so much just simply is this scientist character of Rabi, where Krumholtz's portrayal from the thick New York Jewish accent, to his whole very specific somewhat hunched over manner that only amplifies the period and place where the man originally hails for in every choice, all seem completely natural. This is to the point you'd just think these were entirely Krumholtz's actual mannerisms and accent because he just is this person in a way that is pretty incredible in its straightforward convincing way about. There's no accepting him, he just is, aka what a great character actor can do with such a role. Krumholtz's performance is an aspect of the film that has just that much more of an impact every time I watch the film as the character we perhaps get to know the most who has no ulterior motives and just wants to be a friend to Oppenheimer (Cillian Murphy). Krumholtz brings such a naturally warm and sweet disposition in their first conversation where he mixes the right sense of admiration though with just enough of a bit of a sardonic humoring towards Oppenheimer's skinny frame as they connect on both studying physics and being Jewish. Krumholtz's way of turning his being impressed at his language acquisition skills in one moment then going slightly cockeyed as he ponders how Oppenheimer doesn't know Yiddish, delivers with it just the right sincerity of sort of a tender criticism, who always just means the best for the man. With his way of sharing food with Oppenheimer and requesting that he "eat", Krumholtz every time delivers with just the sweetest bit of care as someone who just likes Oppenheimer. Krumholtz comes in and out of the film a few times and each time he makes an impact by being so convincing in playing this more appreciative note towards Oppenheimer. As we see him first reject then eventually consult on the Manhattan project, where Krumholtz is wonderful by showing a true, without exception, friend to Oppenheimer. As Krumholtz's portrayal of his doubts over the use of physics for a bomb is with a real sense of the gravity of the situation within his eyes this careful consideration, though as naturally wraps that with a true supportive pride in looking at his friend in his position of power in the moment, though again with the natural critique as he tells Oppenheimer to be himself rather than wear the requested military uniform. Krumholtz's performance brings forth the depth of a true friendship for each snippet we do have of him. This being most powerful in his own testimony on Oppenheimer's security clearance meeting, where Krumholtz's performance is great because of the modesty of it. Krumholtz doesn't portray any effort as he defends Oppenheimer, it is just with a simple delivery fitting a man who doesn't have to try to do the right thing, he simply does it for a friend. Although my favorite moment of his performance is when he stares down fellow scientist Ernest Lawrence (Josh Hartnett), who is about to come to testify against Oppenheimer, despite the two having been friends. Krumholtz's stare towards him, that gets Lawrence to reconsider, is great acting by Krumholtz because he uses really the nature of the man, as just the good man in the moment, as his stare only says "really? are you going to do this to our friend", in a small gesture, that perfectly sums up the moment without saying a word. It's absolutely wonderful work by Krumholtz, and accomplished in that it technically is very mannered, but you don't think about it, he just instead is this accepted true bit of unadulterated warmth within the film. 

Benny Safdie did not receive an Oscar nomination for portraying Edward Teller in Oppenheimer. 

Speaking of other scientists within the program is the notable Edward Teller, who is played by actor/director Benny Safdie, who has been carving a name for himself quite dramatically on both fronts. Safdie's performance is dealing with an innately challenging part partly  due to Teller's extremely thick Hungarian accent which was just the reality of his accent so I don't have any reservations regarding that accent whatsoever. Safdie puts on fully and for me it serves its purpose. What I do think that Safdie does effectively within his part, as really a contrast to every other character in the film, is basically present as a scientist whose viewpoint is far more just the expansion without the same kind of considerations that end up weighing so deeply on Oppenheimer as the film progresses. The only moment of reservation is when Teller discovers that setting the bomb off could cause atmospheric ignition that could destroy the world. After such concerns are satiated, what Safdie presents consistently is a man who is only concerned with what he will do next for an even larger bomb. Safdie's performance when for example proposing the Hydrogen bomb, Safdie speaks with a specific determined pride of a man eager towards the idea, to the point when shut down he presents a man frustrated almost like a child not being allowed to play. The moment of Oppenheimer convincing him to stay, Safdie only presents the fixation on getting what he wants, which is the expansion of his vision. He does portray any appreciation in Teller for the offer and is almost still dismissive in a certain sense. Safdie's performance in a way works by purposefully only having a surface depth of seeing things as either an obstacle or not in terms of human interactions. When arguing with Oppenheimer that the world will build a bigger bomb, it isn't with concern, it is just a factual statement from him. When he dismisses the horrors of the atomic bomb explosion in an argument with Oppenheimer, Safdie's presentation of the frustration is that of just casual disregard as that it is merely an some attitude he must overcome to get back to his work. His negative testimony towards Oppenheimer is the same thing as Safdie's delivery of both his minor protection of Oppenheimer's character, but questioning his choices as a leader, Safdie speaks both with a kind of detachment of someone just doing the thing he needs to do to keep building his bigger bombs. As when Teller goes to shake Oppenheimer's hand, even after mostly denouncing him, Safdie doesn't show a hint of regret just as something he did no more no less. The one place that Safdie does show passion, quite impactfully, is when discussing his bomb idea and when witnessing the bomb. His portrayal of just the reactions during Trinity are key, as Safdie shows unlike so many, no fear whatsoever, but rather this jubilation. Safdie in the moment presents a man who loves the sight of the bomb as simply a result of ambition without any reservation to what it might mean. Safdie presents in the moment the truth of Teller pointedly as a man who loves the bomb without fear or reservation.   

Alden Ehrenreich did not receive an Oscar nomination for portraying the congressional aide in Oppenheimer.

I don't mind giving some time for Ehrenreich who continues to get an unfair bad rap for having to portray Han Solo in an uninspired reworking of the character that really had little to do with him. His ability as a performer though is very evident  here in Oppenheimer that could easily be a very throwaway part in playing really what is an exposition device within the film to help facilitate the character of Lewis Strauss (Robert Downey Jr.) as he goes through his own hearings for his nominations for Eisenhower's cabinet. Ehrenreich is good though in providing character within the lines, even as he has no name therefore is not a historical figure, rare within the overall tapestry of the film. There's just a very perfunctory manner early on as he breaks down everything about the process in just a professional way, where he's slightly encouraging to the person he's working for in his job but doesn't put too much weight on it. And as I write this I entirely somehow had just the revelation that his character is essentially the priest in Amadeus who is hearing the confession of the jealous man who lived parallel to the genius, although here it is more about unraveling the mystery of that. Ehrenreich's performance then is often more so about the reaction shots and slowly the man seemingly figuring out just who Lewis Strauss is as the audience does step by step. His performance is effective in that Ehrenreich always keeps the certain professional distance partly, while just below the surface of that showing the real impact of the revelations, as he first brings just hints of doubt towards Strauss that grow over time. Ehrenreich I think even has the challenge here in that I think he gets really the only lines in the film that I have issues with, and harken back to "no more dead cops" aspect of Nolan's writing, something I'm impressed he avoided 99% of the time here despite being such a dialogue heavy film, where his character needs to slightly too obviously state ideas to set up lines for Strauss. Ehrenreich to his credit makes those moments sound as natural as they can be by playing the quiet frustration in the realizations that he's working for a far more insidious man than he thought. Ehrenreich turning from this supportive presence, to almost pestering, not with any negative notion but rather with moral questions. I mean reading the line that feels equivalent to the Joker tease at the end of Batman Begins, for JFK is a little silly (and logically doesn't make much since given Joseph Kennedy was a well known figure and different line like "there were a few holdouts, led by Joseph Kennedy's son" would've made more sense), but Ehrenreich still delivers it with conviction. And thankfully he gets a much better line afterwards where he dismisses Strauss's particularly petulant insistence that Oppenheimer spoke poorly about him to Albert Einstein's, where the aide chides Strauss that they might've been talking about something more important than Strauss. Ehrenreich's delivery of this parting shot is great because he doesn't overplay it, rather just makes it as blunt of a truth as his earlier explanations and in a way by playing it so small shows just how small Strauss's bitterness was. 

Matt Damon did not receive an Oscar nomination for portraying General Leslie Groves in Oppenheimer. 

Matt Damon isn't always my favorite actor I will admit, though I do think he has talent and more so has presence as a performer. Presence that I think is ideally used as Leslie Groves the military general tasked with organizing the Manhattan project. Damon's performance takes upon it the right king of movie star ease, even though he's not the star of this film, by presenting Groves as someone who very much has no pretense he just wants to get the job done. His interview scene with Murphy is wonderful for both actors because they pick at each other a bit while also showing their obvious admiration. Damon's great because he speaks every dismissive line with a certain smile almost as a warm challenge to Oppenheimer to go with a comeback. When Oppenheimer even claps back occasionally, Damon's reactions are pitch perfect because he always shows a sense of just loving someone willing to play this game with him in the moment as they trade certain kinds of barbs. Damon and Murphy show really an ideal working chemistry between the two as they work together in discussing the race with the Nazis to develop the bomb. Damon's performance shows Groves as essentially looking for a mutual spirit with Oppenheimer who will be honest in his opinions and lack of phoniness. Damon brings in each interaction in their first scene that sense of quick affection in his eyes seeing Oppenheimer was clearly a man he can work with through such a difficult process, while also keeping within that this low key passion of someone who very much is serious in terms of making sure the job gets done. Damon is ideally placed in the film as really the one major source of humor in the film, and I'd say in a bygone era of Oscars, he might've been the role to be singled out for this film from the supporting actors because of that. As Damon by being decidedly less severe creates a wonderful contrast as someone who can have fun even in such a situation. Damon brings just the right natural comedic timing in his Groves, where he makes the humor of the character very natural coming from someone who just knows when to be blunt and isn't afraid of that honesty. Again with that chemistry with Murphy, Damon and he bounce off each other by this sense of understanding which even includes the two both know the two aren't being completely honest with each other, whoever admires that in a weird way because they both acknowledge that fact. With Damon's moments of insisting he's just your typical soldier, with the undercurrent of joy of someone who is purposefully playing the part, but enjoying the fact that Oppenheimer doesn't buy it and is willing to say it as such as well. Damon carefully segues though nicely to more dramatic moments when situations call for it, such as when he warns Oppenheimer about his interactions with Boris Pash, where Damon brings the severity in his speech though I think with the right sense of direct conviction of someone honestly trying to tell someone to help them and not as admonishment. And I particularly love the way Damon almost laughs at himself when recalling Pash's anti-communist bona fides, just trying to spell it out as clearly as possible that it's not someone Oppenheimer should entangle himself with. Damon in this sequence bringing the right intensity of a man genuinely warning to help him. The other moments though are that of the true soldier where his objective is to make the bomb and drop it, Damon shows that in this aspect Groves has no reservation because he's a soldier and he'll do what it takes to defeat the enemy. These moments, such as shutting down Oppenheimer voicing other scientists' objections to the bomb's use, or describing why they're going to use the bomb twice, Damon in these moments is no nonsense in the perfect way by essentially showing where the line is drawn. I especially love his look at Oppenheimer in this scene, which as cold as it is, it's in its own way respectful in a man's expression being essentially "this is something I'm not going to debate". The moments after the war where we see Groves's own testimony, Damon hits just the right note here as well.  As in part you see the soldier who isn't going to lie at the board, but he also isn't going to destroy Oppenheimer for the sake of it. Damon earnestly presents each moment as the man just being direct in his personable way and finding ways to even soften it in the way he sees fit. Damon's particularly fantastic in the moment of saying that he wouldn't clear Oppenheimer under the current guidelines as just an official "no" but followed by the true care of a man who he respects as he tries to clarify he wouldn't be able to clear most of the scientists. The moment where he clarifies that he never once questioned Oppenheimer's loyalty where Damon is forthright in a most wonderful and even light way of the man just making his real respect known without exception one more time. Making the moment where he and Oppenheimer shake hands, wholly heartwarming because Damon and Murphy absolutely earned it by making their relationship absolutely convincing as basically two ideal business partners. 

Casey Affleck did not receive an Oscar nomination for portraying Colonel Boris Pash in Oppenheimer. 

I believe this is the shortest performance I'm covering here, yet I still feel it deserves mention for the immediate impact that Affleck manages to make as the Manhattan security chief Boris Pash, who Oppenheimer accidentally ends up in a room with after reporting on a potential security threat among the scientists. Affleck quickly just does a great example of pure soullessness in a moment. It is helped by Affleck's wispy voice to begin with, which he makes even stricter within his performance here to be this uncompromisingly quiet way of speaking. Affleck's performance being that of an interrogation the whole time even though all his questions are casually as written, but not casual as spoken by Affleck. Affleck's eyes just being completely the truth of the matter as he seems to be looking into Oppenheimer's soul to uncover whatever truth he can, and the eyes of a man who is a killer both metaphorically and literally. Affleck manages to create menace by seemingly almost doing nothing, but nothing in the way nothing seems to move him nor does there seem to be humanity. Whenever Oppenheimer does give an answer, the way Affleck makes no reaction is chilling as a man who will not accept any answer as his silence is an act of peering deeper towards the truth he wants. When he occasionally does speak it is without comfort, particularly his "Why would anyone on the project want to do that", with that being not a question about the question but rather a question to Oppenheimer and just how much he should trust anyone in the project particularly Oppenheimer. Affleck creates the right eeriness of a man who is playing an entirely different game of life and death than Oppenheimer or anything else, and an exact lack of even a minor hint of empathy. A brief snippet of a man but one that leaves an impression, to the point one does wonder with the life of Boris Pash, if one wouldn't want to explore that more at some point as he's a most fascinating brief technical footnote here. 

Gary Oldman did not receive an Oscar nomination for portraying Harry S. Truman in Oppenheimer.

I'll admit I wasn't sure about Oldman's performance the first time I watched the film, as he plays then president Truman who was the one who actually authorized the dropping of the Atom bomb on Japan, twice, partly perhaps because it was a surprise to see him made up as Truman and speaking in his Kansas accent, however now it is honestly one of my favorite scenes in the film, with Oldman being an essential factor in this. As Oldman basically does a complete dissection of the man in a couple minutes of time. As he begins walking as the "great man" and seemingly being quite warm as he welcomes Oppenheimer as the most famous man. Oldman projects someone who really is just here to celebrate, with a great moment of reaction in his taken aback delivery of "well obviously" when Oppenheimer reminds him of both cities that were bombed. Oldman goes further though in basically playing it as though Truman is treating Oppenheimer as hopefully a yes man as he dismisses any notion of the Soviets having an Atomic weapon, with this patronizing playful way of speaking every word towards Oppenheimer as though he's making campaign promises that have little meaning and he's just waiting to hear what he wants to hear. The moment where Oppenheimer suggests dismantling the Los Alamos lab, the way the political friendliness just rifts from Oldman's face is great acting as we suddenly see a much colder man beneath it all. Oldman's trademark intensity suddenly used for great effect, as Oppenheimer tries to find any sympathy by remarking about the "blood on his hands" for the bombings. Oldman's great at being horrible, first taking out his handkerchief as a purposefully dismissive gesture with a blithe disregard for his emotions. Then his delivery of saying he's the one people care about regarding the bomb, is brought with such a sinister anger of first showing callously his rejection of Oppenheimer's regrets, though in the intensity Oldman brings just a hint within the level of aggression of Truman's own feelings of guilt. It isn't something he portrays as Truman truly feeling sorry, rather as a man who doesn't want to think about it therefore is truly disgusted when faced by Oppenheimer forcing him to do so. A quick bit but an impactful one from the great actor. 

Tom Conti did not receive an Oscar nomination for portraying Albert Einstein in Oppenheimer.

There's something not talked about much, but something I've always appreciated by Nolan is his tendency to bring in once prominent 80's actors back to a big budget film, for at least a few scenes, Rutger Hauer in Batman Begins, David Bowie in The Prestige, Eric Roberts in The Dark Knight, Tom Berenger in Inception, Matthew Modine in The Dark Knight Rises, also in that film Tom Conti, as the world's greatest chiropractor, but was given an even more substantial role here as the most famous scientist of the 20th century in Albert Einstein. It is just great to see Nolan still using Conti, maybe other filmmakers should take a note, and for such a "big" role so to speak, I think Conti remarkably downplays it. He does bring the mannerisms of the hangdog expression of Einstein, and fashions his German accent all in a decidedly unfussy way, fitting as the man to be the occasional mentor to Oppenheimer. Conti made a few but impactful appearances throughout the film. The first major one being when Oppenheimer comes to him with the quandary of atmospheric ignition, to which Einstein doesn't resolve rather giving the responsibility to the next generation of scientists. Conti's performance though is wonderful in the amount of years in the field himself, though with this sort of grace of a man who has become comfortable in place such, such as telling Oppenheimer that he must share all his information with the Nazis if that is the case, with just the quiet conviction of true wisdom. We see the same in two other instances of Einstein quietly encouraging Oppenheimer though in a way which is recognizing the bad but just kind of living with the hardship. Conti's performance delivers this with the sense of all the old battles having been fought, there is warmth, there is care, but also exasperation of someone who has been through the battles so he truly does know. Speaking the words with that history each time, supportive but also with warning. The one moment that contrasts this is when Oppenheimer actually takes Einstein back by his admission that he believes creating the bomb will cause the apocalypse, and Conti's reaction of existential horror is a powerful one. Conti delivers here a quick, but convincing portrayal of a legend that excels by not playing him as such. 

Jason Clarke did not receive an Oscar nomination for portraying Roger Robb in Oppenheimer. 

Clarke has a challenging role, even if the role of an attorney is often the actor's friend since it is all about bringing things in the open and very much attacking with words. But the character of Roger Robb only exists in Oppenheimer's security clearance hearing, we know nothing about him, other than him being chosen as prosecutor seems like a killing stroke by Strauss because the man's reputation as a prosecutor precedes him. That's all we know, so what Clarke needs to live up to is that reputation purely through performance. And that's where I think this role is very similar to George C. Scott in Anatomy of a Murder, which was another performance, where we don't know the man, rather the character is built entirely on the lawyerly technique of the man. Leaving it all to Clarke, who thankfully is more than up to the task as probably an actor who deserves even more roles than he's getting, and he's definitely getting roles.. For much of the film Clarke makes a striking impression every time he speaks early on with his questions he asks to undercut Oppenheimer's reputation within every witness. Clarke essentially this verbal sniper in his casual way he can so precisely bring a sudden doubt to Oppenheimer and make him seem more careless in his past associations. I love the way Clarke plays these early moments though where there is kind of this love of the game in his performance. Robb obviously is a great prosecutor in part because he loves to do it and Clarke makes him seem all the more dangerous because of those moments where he is nearly beaming at the chance to cut down Oppenheimer just a bit more. Clarke makes a quick impact several times in the early scenes of the film, though almost as a warmup as he exudes the style of a predator just toying with his prey before he's about to show his real teeth. Clarke portrays a man who has an ease in his intelligence, and gives you that tangible sense of someone who is almost always ten steps ahead. Clarke in the moments of using evidence against Oppenheimer, that Oppenheimer's defense does not have access to, Clarke is perfectly cruel in the smug way he brandishes it and also dismisses any accusations of unfairness. The greatness of Clarke's work really is at the tail end of the film where we get his two focal point scenes for him. The first being his interrogation of Kitty Oppenheimer (Emily Blunt) who proves much more formidable than expected. Clarke's great with his slightly patronizing attitude at first with "oh" to her seeming modest at first before stumbling the only time he does in the film as Kitty doesn't suffer his accusations. Clarke's excellent in showing the other side of the coin in his attempts at undercutting her lines with suddenly more than a little frustration, and almost looking lost, as Kitty successfully deflects him each time. Clarke naturally showing Robb's one mistake in a way that doesn't undercut the character, rather shows in this instance he underestimated his opponent. Unfortunately for Oppenheimer, Robb is prepared for the husband. And again is a stellar sequence, for the way Nolan crosses between both Oppenheimer and Strauss at their lowest, for Downey, for Murphy and for Clarke. Clarke is outstanding in this sequence through his performance revealing every trick in the book to try to destroy Oppenheimer. Clarke opens with just a calm asking about Oppenheimer's moral qualms, Clarke showing a man leading Oppenheimer into his trap into admitting his unease with the United States having the Hydrogen bomb. Clarke begins with just this procedural way of leading every statement that so coldly reveals the real tremendous amount of deaths. Clarke physically leaning into as he's going into the kill, every line delivery of his being just honestly masterful in terms of amplifying the tension of the moment and making you sense Oppenheimer's guilt through the line of questioning. Clarke slowly becomes more direct, more emotional himself, but a pointed emotion of force. Clarke's hectoring him by being so frankly mesmerizing with his reactions of this almost laughing at Oppenheimer's attempts to explain himself, and with every moment basically breaking him down that much more. Clarke builds towards his own vicious passion with Robb forcing Oppenheimer admittance and his portrayal not making it convincing but showing us that it must be inevitable. Clarke is just stellar in the sequence, and is essential to its greatness. Clarke delivers fantastic work that makes the absolute most of every second of his screen time and creates a captivating character almost purely through performance....and he also wasn't in the SAG ensemble nominees...thought that nonsense was worth pointing out. 

Alternate Best Supporting Actor 2023

And the Nominees Were Not:

 

Holt McCallany in The Iron Claw

Milo Machado Graner in Anatomy of a Fall

Willem Dafoe in Poor Things

Jamie Bell in All of Us Strangers

Jonathan Tucker in Palm Trees and Power Lines

And the Oops! All Oppenheimer lineup:

David Krumholtz in Oppenheimer

 

Jason Clarke in Oppenheimer

 

Matt Damon in Oppenheimer

 

Casey Affleck in Oppenheimer

 

Gary Oldman in Oppenheimer

Best Actor 2020: Results

5. Gary Oldman in Mank - Oldman gives a great performance where he manages to deliver on a role that asks of him qualities rarely asked of him, which is charm and wit. Oldman carries the film wonderfully and makes up for many of its weaknesses. 

Best Scene: Final talk with Marion.

4. Steven Yeun in Minari - You know this is an amazing lineup when this performance is 4th.Yeun delivers a great understated turn. This in finding the emotional complications but also simple joys of a man trying to achieve the American dream.

Best Scene: Final argument.

3. Chadwick Boseman in Ma Rainey's Black Bottom - Boseman will be a deserving winner, in this amazing swan song of a performance. Boseman steals the film entirely, in his charismatic, but also deeply emotional and tragic portrait of a man burdened by hate, ambition and sadness.

Best Scene: Story of his father.

2. Riz Ahmed in Sound of Metal - Ahmed gives a great performance here. This finding so much history and honesty in depicting an entirely convincing journey of a man quickly losing his hearing but slowly discovering himself.

Best Scene: Final talk with Joe.

1. Anthony Hopkins in The Father - Good Predictions Anonymous, Michael McCarthy, Razor, Emi Grant, Tahmeed, Luke, Glenn, Omar, David Jones, Shaggy, and Michael Patison. As much as I adore this lineup, this was an easy choice. This as Hopkins delivers his greatest performance that contains all that makes him great and more, in his complex, captivating and altogether devestating portrait of a man slowly losing his mind. 

Best Scene: "Mommy"

Next: 2020 Alternate Lead

Best Actor 2020: Gary Oldman in Mank

Gary Oldman received his third Oscar nomination for portraying Herman J. Mankiewicz aka the titular character in Mank. 

Before watching Mank again, which tells the story of the career of Citizen Kane co-writer, I was filled with some uncertainty as the general opinion towards the film only seemed to degrade. Having watched it again, I enjoyed it again. A flawed film, mainly found within the late Jack Fincher's screenplay which bites off more than it can or needs to chew. The film works as the story of a screenwriter with unlikely connections, it falters more so when it tries to be a closer analysis of the politics of the period and especially when it tries to tack on the Kane authorship controversy. Reading the screenplay, David Fincher is EXTREMELY faithful to his father's work, which while understandable, leaves the film far too scattershot overall where the film could've used a re-write, or at least some reworking, to tighten and focus things, though what's good is good.

Speaking of what's good, let's speak of Gary Oldman, an actor who probably has never been accused of playing himself, or can be seen as playing himself. Always the chameleon perhaps even to his detriment with how long it took for him to be recognized for any film. Funny once one breaks the barrier they suddenly can repeat seemingly with relative ease as Oldman has now earned his 3rd Oscar nomination in less than 10 years time, despite having spent the majority of his career nomination-less. For his third turn, we have what appears to be his least transformative, although I think that itself is also not true. Oldman's performance very much is a creation of Herman "Mank" Mankiewicz, just he created George Smiley and Winston Churchill, it's just a bit different in this regard. This as Oldman seeks to craft Mank, as he always does. Now Oldman, as usual does this really from the top down in crafting a role. This one is no different in that regard even if seemingly at bit less obvious. Oldman always has been adept at American accents, and this one is no different, it is just a given. I think there is a bit more into this though here that Oldman grants a slightly different touch to it. This as he speaks with kind of a slight slur within his speaking making Mank as kind of a man always slightly drunk even when possibly sober. Oldman's vocal choice at the very least both granting a sense of the man as an alcoholic, but also suggesting kind of the wear of his drinking. This is matched by his physical work, where he walks as well with a certain stumbling quality, as again a man who moves as though he is inebriated to some degree at all times. 

Now the alcoholism of Mank isn't exactly the focus of the film, it is rather an aspect of the man that Oldman effectively uses to help to define his manner. Oldman's portrayal rather is interestingly a kind of protagonist that he isn't often tasked to portray, this being a more sympathetic sort in being in some ways the guide towards this particular time in old Hollywood. This broken up into different times, where actually Oldman does portray different Manks, if subtly given the time between each of them is relatively brief. The easiest way to broach this is to go in chronological order, against the film's jumbled narrative in terms of time jumping. This as we first run into Mank as he is recruiting other up and coming writers. Oldman is quite good in crafting a kind of different type of confidence in this early scene. This as he doesn't portray Mank as the leaders of the writers, more of the ring leader. Oldman has a playfulness about it, a manner of someone who very much has a kind of fun within the system, or at least some fun. This as Oldman's parts of the delivery of a particular pitch has a panache to it, but just enough of one. His eyes exude this kind of cunning as Mank just as much seems to be understanding of the futility of the pitch, as much as he attempts to sell it as a good writer should. There's a slight bemusement that Oldman has in his little glances, granting a sort of humor within his cynicism. This as he projects Mank both capable of behaving within the studio system, but also showing a man who interacts it with a certain disdain towards it all. 

We follow Mank as he seems to wander into the world of William Randolph Hearst (Charles Dance)  and his mistress Marion Davies (Amanda Seyfried) by chance, where we get something that Oldman is rarely called upon to project, despite playing so many different roles, which is charm. Oldman is more than game, though this too isn't the charm of the real Oldman, which is distinctly English to say the least, but here Oldman refashions it as something wholly Mank. This as Oldman fashions a style of the man as distinctly the wit. A difficult type to actually pull off given that usually the wit is a bit more of an overtly vicious type, but Oldman is able to find a way around this while also projecting this. This as in his first scene with Dance and more importantly Seyfried, Oldman finds this kind of measured manner within this. This as he kind of always speaks some sort of cutting word to add or throw at some way or another. Oldman's delivery though is essential in articulately this in a way in which Mank kind of fashions his appeal by saying what he means but without exactly saying it as well. This as Oldman manages to mix intentions with this kind of jovial ease that seems to make even his critiques somehow not entirely unappealing despite his state as an obvious drunkard with an opinion that is a near constant. This kind of maneuvering though is so much of the film, and so much of it relies very much on Oldman, realizing the personal style of Mank. This personal style though as the constant wit and critic, much to his own dismay eventually. 

We see this as we see him showing his brother, the eventually more successful Joseph Mankiewicz, the ropes in dealing with tyrannical studio chief Louis B. Mayer. Oldman's reactions are very much the heart of this scene in reacting to every bit of Mayer's ridiculousness. Oldman carries a certain satisfaction of man all too knowing of the situation, though reacts towards it with just it as a big joke that he must exist in rather than trying to directly do too much about it himself. Oldman's reaction portray a kind of acceptance of his own inferiority in accepting the situation while also projecting a bit of superiority in his bemused grin. This in being amused by the game, even within a glint of disgust within the game all the same. This though Oldman shows as the weapon of the man in a way who seems to hold nothing too importantly, therefore his jabs can exist mostly without exception. This as we see in one of the best scenes of the film, this being a gathering at Hearst's impressive estate. Mank coming into the affair with little jabs and jives for all the sycophants, while also directly commenting on politics. Every little thing a kind of witticism though spoken by Oldman as these sort of standard asides for Mank. This presenting this as a kind of ease in allowing himself to be both cutting while also in this seemingly almost falsely affable way. Oldman speaking the words as though Mank is making a joke for everyone to enjoy, even though it is still very pointed to particular individual's expense in the room. Oldman making a proper kind of dance about the whole thing as the man always speaking his mind, but doing in a way that he gets away with it, for now.  

This leading to what is really the best aspect of the film which is started by a quiet walk between Mank and Marion, leading to a kind of platonic romance of sorts. Oldman is great in managing to realization this kind of specific manner in these moments. This as he reacts to Marion and her words, with a genuine sense of affection in appreciation someone else who in some way shares a mutual spirit with one another. There his most direct charm in his reactions to her that are still witty, though now more than anything so often encouraging and supportive. His reactions though with a man still very much listening, and often in his eyes just truly appreciating the woman for who she is. His delivery of everything to her with a kind of more genuinely loving tone. This making his suggestions with this kind of actual grace to him while he praises Marion's best qualities and seems to create a genuine friendship with her. Each one of these scenes between Mank and Marion are the best within the film. This as both actors are able to capture a natural chemistry between the two, while also not really simplifying the relationship in any way. It isn't quite familial, it isn't quite as a romantic relationship. There is something rather idiosyncratic about it, as the two seem to just inspire each other, and understand each other in their own special way. They craft the sincerity of two friends with an appreciation for exactly who they are rather what it is they are meant to be. It is something that wholly works within the film, and a large part is the actors absolutely deliver on the idea of the friendship being just simply a given. 

Now this is where the film gets kind of all over the place, as it explores Mank trying to do something involving Upton Sinclair's run for governor of California, though the real Mank was an anti-fascist conservative, not an anti-fascist socialist, I only mention this as it gets such devotion the film despite having little to do with the real Mank so the inclusion seems somewhat curious. Anyway, as much as I question the swerve, I have to say I think Oldman navigates it incredibly well in making Mank this sort of downtrodden hero of sorts to explore this aspect. This as again Oldman's quiet moments of reaction do say a lot. This in this quiet anxiety in seeing the studios machinations against Sinclair, that builds up to a kind of despondency and urgency to do something. Oldman conducting so well as internalized within a state of the man that becomes increasingly downtrodden. These moments of Oldman trying to fight against it he conveys the certain more upfront desperation of it, and direct venom at times making his act as Lear's fool fall apart a bit. This leading to his downfall. This as like the film I'll flash forward to the man writing Citizen Kane, now as an outcast of the system and seeming to make his attack on those who banished him. As much as the framing device frankly should've been reduced, I think Oldman acquits himself incredibly well by tempering some elements of Mank and accentuating others. This as his attacks are still there however a bit less charming. What is more evident is the self-loathing and depression within the situation. Oldman finding a quiet vulnerability now within the man who can't quite as easily amuse himself, though that gear is still there. I still found these scenes watchable, due to Oldman who is true to giving life to this man even when the scenario isn't the most inspired.

 

The film, jumbled as is, ends on two separate notes. The first where Mank comes to a Hearst party fully drunk. Oldman portraying the always drunk man drunker, effectively in my view as he just heightens each element a bit more though very much shows that his act of cutting wit becomes a bit more obvious and far too aggressive for his crowd. This with no longer the timing for jokes, making the jabs all the more obvious. Oldman though delivers the man fully going at the prize though in this messy haze of an ad hominem attack. This as his words all more hateful towards those he's speaking to, the derision on display, yet in Oldman's manner showing a sloppy man who can barely hold himself together. This in by speaking the truth, also speaking the truth of presenting himself to be the fool he's been playing the whole time, just now lopsided. This is put parallel against his argument with Welles over credit for the screenplay of Kane, which has no business to be in the film. I like the scene for Oldman's performance. This as he suggests a man who has gained some agency through being humbled a bit. This now the sort of manner of the man is confident and direct in his stance. Oldman exuding not a man hiding his truth within a haze of jokes, rather just speaking what he knows, as he knows it. Oldman frankly makes sense of this scene better than the film does which just makes it a kind of gear shift that feels so poorly connected to the rest. Oldman though makes the connection through his presentation of Mank's kind of determination between the way faces Hearst and Mayer, against the way he faces Welles. It seems I'm suppose to criticize this performance, however I find myself unable to. This is committed and articulate work. Oldman understands and realizes his character artfully and with ease in a style that is in some ways not typically his own. Oldman delivers on the part, highlighting all the merits the film does contain, and more than anything I don't see any other actor capable of better job than Oldman does here. This as much as Oldman's film is the least of the nominees, Oldman does deliver a great performance, though with the least in terms of material, which actually is an achievement that is all his own.

Best Actor 2020

And the Nominees Are:

Riz Ahmed in Sound of Metal

Steven Yeun in Minari

 

Chadwick Boseman in Ma Rainey's Black Bottom

Gary Oldman in Mank

 

Anthony Hopkins in The Father

Alternate Best Actor 1991: Gary Oldman in Rosencrantz And Guildenstern Are Dead

Gary Oldman did not receive an Oscar nomination for portraying Rosencrantz in Rosencrantz And Guildenstern Are Dead.

Rosencrantz And Guildenstern Are Dead actually works to a degree just due to the strength of the source material though it suffers by being too close to it for its own good, which isn't too surprising given it is directed by the original playwright. Although it is not a bad film, it is a little bit of a shame as the story could have lent itself to a more dynamic adaptation that played upon tropes of films, rather than of the theater.

A quick note on this review that will be in lieu of Wesley Snipes in New Jack City. A good performance mind you though frustrating stuck within a film that isn't sure whether it wants to be revenge thriller, Scarface, or Boyz N The Hood. Snipes is effective in his role however his charismatic, and surprisingly emotional at times, work is too often diluted by the film that consistently steers away from him to focus on the nearly one dimensional police chasing him. So instead decided to look at a rather different performance from the great Gary Oldman. Although Rosencrantz and Guildenstern as it stands as a slightly adapted film version it at least commands a notable cast, the most important members being the titular duo, of Hamlet fame despite not being the most important in that play either. They take center stage here though purposefully while still staying to the side of the central action of Hamlet. In these "leading" roles the film features two then up and comers of Tim Roth as Guildenstern and of course Oldman as Rosencrantz. I will also mention this is purposefully not a dual review for Roth as well who well isn't bad as the more analytical Guildenstern his performance is perhaps too serious for its own good, and perhaps needed a performer with a natural comedic energy, who would then tone that down.

Now I really mention that as we have Gary Oldman who is not thought of as a comic actor, though in a way some of his more overt performances can be comedic in some sense that is usually not their central purpose. Oldman here though gives a wholly comic approach to the role of Rosencrantz who is far more just in for the ride of the strange journey that the two semi-throwaway characters find themselves in. Oldman finds the right approach within that to essentially make the most out of this strange position that is also detached from the central plot, but rather than burdened by the need for understanding as Guildenstern is that he takes what comes. Oldman plays with this certain idea of the ignorance that is bliss for a rather interesting performance from his oeuvre to begin with. In that Oldman is far more the passive individual in a way, even though he steals the film in his own way, however this is through cleverly low key take that achieves a most successful duality within the character who doesn't stand out in the story yet Oldman makes him stand out within that idea. In Oldman plays Rosencrantz as the extra who essentially has just found out that he is an extra in an ongoing film, and is just trying to work with that.

Oldman is rather delightful in the role in his way of creating this man with this certain eagerness to please in a way that is rather endearing. Oldman defines his Rosencrantz with an earnestness, that will make sense even within the technically duplicitous character as he stands within Hamlet the play, as a fairly simple man trying to deal with a rather complex issue of one's metaphysical nature. Oldman makes that certain bafflement particularly entertaining though by presenting it with such an optimistic spirit within every moment of it. This comes right down to Oldman's frequent delivery of Rosencrantz introducing the pair, often wrongly introducing himself as Guildenstern before being corrected. Oldman delivers this so spiritedly of a man somewhat in the thrall of the idea that there is some bliss to be had of their peculiar state of mind. This attempt to find joy that Oldman brings in every moment is what makes this performance work particularly well, and greatly aids the film which could otherwise get lost in its own pondering, sometimes it does. Oldman brings this sense of always befuddled sense of discovery in the moment that is always rather humorous whether it is Rosencrantz discovering their new geographic location, or the way their coin consistently lands on heads as though they are stuck within time.

Oldman's performance though goes further in every scene in a way to provide very much a bit of a cinematic edge needed to his work which remains dynamic even when just reacting towards whatever it is Rosencrantz is seeing. Oldman never wastes such a moment either to create this sense of confusion over his place in the world, or just an often hilarious moment of Rosencrantz trying to make the most of his odd circumstances through Oldman always optimistic approach to the role. His timing is simply impeccable here to bring humor to every scene, even against Roth's often too dour of an approach. Oldman's physical performance even helps to accentuate the needed humor within it by presenting Rosencrantz physically as not quite right, honestly to be an extra. Oldman nicely plays within the lines, yet still doesn't quite fit in rather splendid way, particularly his almost Stan Laurelesque  way of going to sleep with a sleeping mask, well really a blindfold. This is even right down to when the two come to decide to go along with the plan to kill Hamlet, through a false letter, though for rather different reasons. Oldman presents this determination on Rosencrantz's part one built upon fear, not of any typical action, but rather of concern of the need to take action when the "world" requires them to take action. Oldman once again finds the right comical energy even within the strangeness of the thought by even bringing almost this sweet petulant sadness within his portrayal of concern over it all. Oldman manages to make even Rosencrantz's acceptance of Hamlet's demise okay within the character, by presenting it as just again his way of cheerfully accepting his very strange lot in "life". Oldman gives a terrific performance here as he not only brings to life the stage character, but he does manage to find the right tone within the adaptation as well. His performance bridges certain gaps in a way to give a rather enjoyable turn that finds the wit within the material, but also in a way that never feels burdened by it.

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