Best Scene: Seeing his father.
Best Scene: Pondering the pain of the relationship.
Best Scene: Reacting to the attack.
Best Scene: Saying goodbye to his "dad"
Best Scene: Final enlightenment.
Next Year: 2001 Supporting
Showing posts with label Jake Gyllenhaal. Show all posts
Showing posts with label Jake Gyllenhaal. Show all posts
Sunday, 22 September 2019
Alternate Best Actor 2001: Results
Best Scene: Seeing his father.
Best Scene: Pondering the pain of the relationship.
Best Scene: Reacting to the attack.
Best Scene: Saying goodbye to his "dad"
Best Scene: Final enlightenment.
Next Year: 2001 Supporting
Saturday, 21 September 2019
Alternate Best Actor 2001: Jake Gyllenhaal in Donnie Darko
Jake Gyllenhaal did not receive an Oscar nomination for portraying the titular character of Donnie Darko.
Donnie Darko although works as it does in its trippy time bending pseudo coming of age story, however it does seem like it is on a razors edge in terms of almost falling apart, though it never does. This barely scraping by though perhaps predicated writer/director Richard Kelly's apparent lack of success afterward.
It must be said that Jake Gyllenhaal, despite having clearly a very successful career, has had a bit of strange one in terms of cultivating sort of an expected persona as an actor. This with different fits of attempted sort of "star" terms of different types, but always the return towards some darkly inclined character work. The most notable recent example of this being his greatest performance in Nightcrawler, and fittingly this also was found near the beginning here as part of his breakout. This film though not overly successful initially, has found its following leading to this becoming one of his noted roles, of course it helps playing a character with an alliterative name. A deserving state though as the performance falls into line well with Gyllenhaal's unique abilities as a performer. Gyllenhaal in many ways being an essential ingredient in realizing the film's success by balancing it all through his portrayal of Donnie that sort of bends itself through the various sort of tones that the film plays with in creating the strange journey of the young boy through time, life and death. This as he must be a whole lot of things to be Donnie who is a whole many things, really even just within the idea of what exactly is going on in the film.
Now on the most surface examination you have the story of just a troubled teenager potentially, who nearly dies from a jet engine crashing into his house, however that is only part of his troubles. He's a young man who seems off balance to most and Gyllenhaal is excellent in realizing this point in a few ways. This on the most surface area in creating that sort of confusion of self when he speaks to adults. This with a shying physical manner as he retires from situations that press his mental state, and that lack of confidence within situations. Gyllenhaal is effective in creating the sense of the "odd boy" that so many see Donnie as, though as this believable portrayal of just a boy with a mental illness. Take his scenes with his psychiatrist (Katherine Ross), Gyllenhaal as they speak of his "visions" Gyllenhaal creates the real sense of the anxiety within them as he speaks to her with the fear of a real teenager struggling with his mental state. This though in itself isn't something that Gyllenhaal makes as one note, and is terrific in finding ways to create the variation even in this state. I especially love one moment where his father broaches the subject in support of his son, and Gyllenhaal expresses this perfect hesitation though with appreciation in the moment for the love of father.
Technically speaking this off-beat state though makes Donnie a bit different in other settings other than with his concerned parents and other adults who are technically sympathetic to the young man. This in school where Donnie does have some friends, and slowly a girlfriend in new girl Gretchen (Jena Malone). He is also seen as the weird kid and Gyllenhaal finds an effective balance in his work in creating really each of these perspectives. This in the classroom he physically places himself retiring, however in his delivery he brings the intensity fitting his pressing existence that comes within discussions with his teachers over metaphysics, and literary themes. Gyllenhaal captures the right off-beat energy particularly in his scenes with Malone. This as he manages to be charming in a most particular way that is true to the character. This as even as he still has a bit of that shyness there is such an earnestness within his moments of just broaching any conversation with her. This with a real sweetness just beneath it that is so well realized within Gyllenhaal's performance. He manages to touch upon it to make the eccentricity honest to Donnie, while making it endearing within the very specific realm of this relationship. This where Donnie is absolutely honest as himself at every point in Gyllenhaal's performance.
Of course then there is the other state of Donnie with his "imaginary" friend the Rabbit Frank, who speaks to him of the demise of the world in reality and time bending sequences. These themselves being entirely different state of existence seemingly and where Gyllenhaal still excels once again. This in a way grounding them initially in creating the sense of fear in some interactions with Frank when he speaks of the upcoming demise of Donnie's world. Gyllenhaal balances with this fascination at times, amplified by state of hypnosis, of this state of thought that is indeed beyond the normal state of reality. Gyllenhaal delivers a needed weight to this moments by really granting this strict intensity within these moments as Donnie, quite understandably, is fixated within his visions. This state of being in turn also attaches itself to Donnie's actions of destruction of different forms, including publicly berating self-help guru/soon to be outed sex criminal Jim Cunningham (Patrick Swayze). This moment though is a great one of this spirited yet oh so specific incisiveness within Gyllenhaal performance that creates the sense of sort of a force even beyond Donnie himself in his denouncement of Cunningham's philosophy. Of course the strength within all of this though is Gyllenhaal careful balance of each side of Donnie, that never feels inconsistent, but rather makes sense and amplifies the givens situation. This in turn makes the strange journey cohesive through his performance that creates the essential element through the humanity in his turn as Donnie. This as he makes a convincing portrayal of mental illness, a captivating portrayal of a man's journey into metaphysical madness, but also just a moving portrayal of a young man finding a bit of joy and enlightenment in his journey on Earth we think we know.
It must be said that Jake Gyllenhaal, despite having clearly a very successful career, has had a bit of strange one in terms of cultivating sort of an expected persona as an actor. This with different fits of attempted sort of "star" terms of different types, but always the return towards some darkly inclined character work. The most notable recent example of this being his greatest performance in Nightcrawler, and fittingly this also was found near the beginning here as part of his breakout. This film though not overly successful initially, has found its following leading to this becoming one of his noted roles, of course it helps playing a character with an alliterative name. A deserving state though as the performance falls into line well with Gyllenhaal's unique abilities as a performer. Gyllenhaal in many ways being an essential ingredient in realizing the film's success by balancing it all through his portrayal of Donnie that sort of bends itself through the various sort of tones that the film plays with in creating the strange journey of the young boy through time, life and death. This as he must be a whole lot of things to be Donnie who is a whole many things, really even just within the idea of what exactly is going on in the film.
Now on the most surface examination you have the story of just a troubled teenager potentially, who nearly dies from a jet engine crashing into his house, however that is only part of his troubles. He's a young man who seems off balance to most and Gyllenhaal is excellent in realizing this point in a few ways. This on the most surface area in creating that sort of confusion of self when he speaks to adults. This with a shying physical manner as he retires from situations that press his mental state, and that lack of confidence within situations. Gyllenhaal is effective in creating the sense of the "odd boy" that so many see Donnie as, though as this believable portrayal of just a boy with a mental illness. Take his scenes with his psychiatrist (Katherine Ross), Gyllenhaal as they speak of his "visions" Gyllenhaal creates the real sense of the anxiety within them as he speaks to her with the fear of a real teenager struggling with his mental state. This though in itself isn't something that Gyllenhaal makes as one note, and is terrific in finding ways to create the variation even in this state. I especially love one moment where his father broaches the subject in support of his son, and Gyllenhaal expresses this perfect hesitation though with appreciation in the moment for the love of father.
Technically speaking this off-beat state though makes Donnie a bit different in other settings other than with his concerned parents and other adults who are technically sympathetic to the young man. This in school where Donnie does have some friends, and slowly a girlfriend in new girl Gretchen (Jena Malone). He is also seen as the weird kid and Gyllenhaal finds an effective balance in his work in creating really each of these perspectives. This in the classroom he physically places himself retiring, however in his delivery he brings the intensity fitting his pressing existence that comes within discussions with his teachers over metaphysics, and literary themes. Gyllenhaal captures the right off-beat energy particularly in his scenes with Malone. This as he manages to be charming in a most particular way that is true to the character. This as even as he still has a bit of that shyness there is such an earnestness within his moments of just broaching any conversation with her. This with a real sweetness just beneath it that is so well realized within Gyllenhaal's performance. He manages to touch upon it to make the eccentricity honest to Donnie, while making it endearing within the very specific realm of this relationship. This where Donnie is absolutely honest as himself at every point in Gyllenhaal's performance.
Of course then there is the other state of Donnie with his "imaginary" friend the Rabbit Frank, who speaks to him of the demise of the world in reality and time bending sequences. These themselves being entirely different state of existence seemingly and where Gyllenhaal still excels once again. This in a way grounding them initially in creating the sense of fear in some interactions with Frank when he speaks of the upcoming demise of Donnie's world. Gyllenhaal balances with this fascination at times, amplified by state of hypnosis, of this state of thought that is indeed beyond the normal state of reality. Gyllenhaal delivers a needed weight to this moments by really granting this strict intensity within these moments as Donnie, quite understandably, is fixated within his visions. This state of being in turn also attaches itself to Donnie's actions of destruction of different forms, including publicly berating self-help guru/soon to be outed sex criminal Jim Cunningham (Patrick Swayze). This moment though is a great one of this spirited yet oh so specific incisiveness within Gyllenhaal performance that creates the sense of sort of a force even beyond Donnie himself in his denouncement of Cunningham's philosophy. Of course the strength within all of this though is Gyllenhaal careful balance of each side of Donnie, that never feels inconsistent, but rather makes sense and amplifies the givens situation. This in turn makes the strange journey cohesive through his performance that creates the essential element through the humanity in his turn as Donnie. This as he makes a convincing portrayal of mental illness, a captivating portrayal of a man's journey into metaphysical madness, but also just a moving portrayal of a young man finding a bit of joy and enlightenment in his journey on Earth we think we know.
Monday, 19 August 2019
Alternate Best Actor 2001
Heath Ledger in A Knight's Tale
Jake Gyllenhaal in Donnie Darko
Jim Carrey in The Majestic
Anton Yelchin in Hearts in Atlantis
Liu Ye in Lan Yu
Saturday, 27 August 2016
Alternate Best Actor 2011: Results
Best Scene: The end
Best Scene: Comforting the son.
Best Scene: Rochester admits his love to Jane.
Best Scene: Ledgard admires his "creation".
Best Scene: John handles the "town hall".
Best Scene: Stevens has a perfect eight minutes.
Best Scene: Caius meets with his family.
Best Scene: Joseph confronts Hannah.
Best Scene: Dave's daughters bring him clothes.
Best Scene: Jacky fails to find the words.
Next Year: 2011 Supporting
Friday, 12 August 2016
Alternate Best Actor 2011: Jake Gyllenhaal in Source Code
Jake Gyllenhaal did not receive an Oscar nomination for portraying Capt. Colter Stevens often as Sean Fentress in Source Code.
Source Code is entertaining mind bending thriller despite a lame villain and wasting a great ending by unnecessarily going on for a few more minutes.
We first meet Jake Gyllenhaal in the film as a man on a commuter train. Gyllenhaal's performance begins as a proxy for the audience as the man attempts to figure out why he's on a train, and what exactly is going on. Gyllenhaal is effective jumble of thoughts as the man attempts to gain his bearings which are difficult to obtain when he sees someone else's reflection in the mirror, and the train he's riding on explodes only a few minutes later. The man wakes up to find himself in an odd chamber where he is told by a military operative (Vera Farmiga) that he is being used to essentially quantum leap into another man's body in the past in order to discover the source of a terrorist attack. Gyllenhaal's performance works well here as he manages to give reality to the concept immediately by portraying such paranoia in the task, and such confusion as he wonders how exactly he ended up with the task in the first place. Gyllenhaal's own task in the role is to keep up with the film as it continues at a fairly rapid pace as the soldier Colter Stevens keeps getting sent back into the man Sean Fentress in order to find who set the bomb that blew up the train.
Stevens's "handlers" constantly push him to stay on task despite his myriad of questions especially after he learns from a news report in the past that Stevens also has been declared dead. Gyllenhaal basically must constantly be switching intents as Stevens still goes about trying to solve the mystery while trying to attempt some sort of personal closure as well. Gyllenhaal maneuvers this firm pace rather flawlessly as he goes from either in Fentress as he narrows down suspects to Stevens who is kind of broken due to learning about his state. When Stevens "plays" Fentress there is not even a single set manner that Gyllenhaal establishes. Gyllenhaal instead succeeds in matching whatever he needs to be given Fentress's situation in the past. Gyllenhaal importantly never loses the sense of severity as he searches for answers, though he does well to convey a proper variation of it depending on the moment. Whenever he's reminded of the loss of life when he knows that the explosion is about to happen Gyllenhaal gives it the necessary gravity.
Gyllenhaal is never one note as just a hysterical man finding a bomb or a terrorist, even though he does that quite well when it is asked of him as well. Gyllenhaal again plays the part of Fentress in a way and does so brilliantly. This even includes a rapid fire romance with the woman Christina (Michelle Monaghan). Gyllenhaal whips out a bit of required charm for this and makes it convincing, though one should also note Monaghan certainly helps a lot by portraying Christina as being infatuated with Fentress from the beginning. Gyllenhaal is equally efficient in transitioning to the man who will do what it takes to get the job done. Gyllenhaal manages to bring the proper intensity and even menace as he goes about interrogating a few of the passengers to find the culprit. There's even a bit of humor that Gyllenhaal effortlessly find from time to time just within the awkwardness of this man attempting to be so many things at once, I particularly enjoy his false bravado when he pretends to be a train marshal by using a regular wallet.
The final element of Gyllenhaal's performance is when Stevens is in the "chamber" and when he is directly attempting to cope with his bizarre physical state. Gyllenhaal is rather moving by depicting the strange agony. This again is all in rapid succession of one another yet Gyllenhall's portrayal of any of these sides never feels vague or underwhelming. This all culminates to a final trip to the past as Stevens attempts to live a perfect final eight minutes, basically pulling off the last day of Groundhog's day. Gyllenhaal just exudes such a earned confidence as he owns scene while Stevens own the situation. Gyllenhaal presents a man in absolute control of everything in the moment and it is wonderful to watch him basically make the absolute best of his final minutes. This includes one powerful moment when he calls his father. Gyllenhaal infuses such poignancy to the conversation as honestly portrays finally gaining a certain sense of closure as Stevens says his goodbye. Gyllenhaal is outstanding as he builds to the final bittersweet ending of triumph by achieving all he could with his remaining time. The film for some reason goes on, but hey that's hardly Gyllenhaal's fault. This is a very strong performance by Jake Gyllenhaal which is pivotal to the film's success. He not only is an endearing leading man, but keeps its core concept grounded in a very human reality.
We first meet Jake Gyllenhaal in the film as a man on a commuter train. Gyllenhaal's performance begins as a proxy for the audience as the man attempts to figure out why he's on a train, and what exactly is going on. Gyllenhaal is effective jumble of thoughts as the man attempts to gain his bearings which are difficult to obtain when he sees someone else's reflection in the mirror, and the train he's riding on explodes only a few minutes later. The man wakes up to find himself in an odd chamber where he is told by a military operative (Vera Farmiga) that he is being used to essentially quantum leap into another man's body in the past in order to discover the source of a terrorist attack. Gyllenhaal's performance works well here as he manages to give reality to the concept immediately by portraying such paranoia in the task, and such confusion as he wonders how exactly he ended up with the task in the first place. Gyllenhaal's own task in the role is to keep up with the film as it continues at a fairly rapid pace as the soldier Colter Stevens keeps getting sent back into the man Sean Fentress in order to find who set the bomb that blew up the train.
Stevens's "handlers" constantly push him to stay on task despite his myriad of questions especially after he learns from a news report in the past that Stevens also has been declared dead. Gyllenhaal basically must constantly be switching intents as Stevens still goes about trying to solve the mystery while trying to attempt some sort of personal closure as well. Gyllenhaal maneuvers this firm pace rather flawlessly as he goes from either in Fentress as he narrows down suspects to Stevens who is kind of broken due to learning about his state. When Stevens "plays" Fentress there is not even a single set manner that Gyllenhaal establishes. Gyllenhaal instead succeeds in matching whatever he needs to be given Fentress's situation in the past. Gyllenhaal importantly never loses the sense of severity as he searches for answers, though he does well to convey a proper variation of it depending on the moment. Whenever he's reminded of the loss of life when he knows that the explosion is about to happen Gyllenhaal gives it the necessary gravity.
Gyllenhaal is never one note as just a hysterical man finding a bomb or a terrorist, even though he does that quite well when it is asked of him as well. Gyllenhaal again plays the part of Fentress in a way and does so brilliantly. This even includes a rapid fire romance with the woman Christina (Michelle Monaghan). Gyllenhaal whips out a bit of required charm for this and makes it convincing, though one should also note Monaghan certainly helps a lot by portraying Christina as being infatuated with Fentress from the beginning. Gyllenhaal is equally efficient in transitioning to the man who will do what it takes to get the job done. Gyllenhaal manages to bring the proper intensity and even menace as he goes about interrogating a few of the passengers to find the culprit. There's even a bit of humor that Gyllenhaal effortlessly find from time to time just within the awkwardness of this man attempting to be so many things at once, I particularly enjoy his false bravado when he pretends to be a train marshal by using a regular wallet.
The final element of Gyllenhaal's performance is when Stevens is in the "chamber" and when he is directly attempting to cope with his bizarre physical state. Gyllenhaal is rather moving by depicting the strange agony. This again is all in rapid succession of one another yet Gyllenhall's portrayal of any of these sides never feels vague or underwhelming. This all culminates to a final trip to the past as Stevens attempts to live a perfect final eight minutes, basically pulling off the last day of Groundhog's day. Gyllenhaal just exudes such a earned confidence as he owns scene while Stevens own the situation. Gyllenhaal presents a man in absolute control of everything in the moment and it is wonderful to watch him basically make the absolute best of his final minutes. This includes one powerful moment when he calls his father. Gyllenhaal infuses such poignancy to the conversation as honestly portrays finally gaining a certain sense of closure as Stevens says his goodbye. Gyllenhaal is outstanding as he builds to the final bittersweet ending of triumph by achieving all he could with his remaining time. The film for some reason goes on, but hey that's hardly Gyllenhaal's fault. This is a very strong performance by Jake Gyllenhaal which is pivotal to the film's success. He not only is an endearing leading man, but keeps its core concept grounded in a very human reality.
Monday, 25 July 2016
Alternate Best Actor 2011
Antonio Banderas in The Skin I Live In
Ralph Fiennes in Coriolanus
Woody Harrelson in Rampart
Michael Smiley in Kill List
Jakub Gierszal in Suicide Room
Predict Those Five, Or These Five, Or Both
Matthias Schoenaerts in Bullhead
Peter Mullan in Tyrannosaur
Daniel Henshall in Snowtown
Michael Fassbender in Jane Eyre
Jake Gyllenhaal in Source Code
Tuesday, 3 February 2015
Alternate Best Actor 2014: Results
Best Scene: Adam and Anthony meet for the second time.
Best Scene: His final speech.
Best Scene: Father James's final walk to the beach.
Best Scene: Bachmann speaks with his informant who is having doubts.
Best Scene: Doc and Bigfoot at the Chinese restaurant.
Best Scene: Cooper watches the messages from home.
Best Scene: Monsieur Gustave H. and Zero after the prison escape.
Best Scene: Locke speaks with his "father" the last time.
Best Scene: Eric tells the story about his wife.
Best Scene: Lou takes Nina out to dinner.
- Jake Gyllenhaal in Nightcrawler
- Michael Keaton in Birdman
- Guy Pearce in The Rover
- David Gulpilil in Charlie's Country
- Tom Hardy in Locke
- Ralph Fiennes in The Grand Budapest Hotel
- Matthew McConaughey in Interstellar
- Tom Hardy in The Drop
- Channing Tatum in Foxcatcher
- Joaquin Phoenix in Inherent Vice
- Philip Seymour Hoffman in A Most Wanted Man
- Brendan Gleeson in Calvary
- David Oyelowo in Selma
- Oscar Isaac in A Most Violent Year
- Tom Cruise in Edge of Tomorrow
- Jeremy Renner in Kill The Messenger
- Miles Teller in Whiplash
- Cliff Curtis in The Dark Horse
- Dan Stevens in The Guest
- Nicolas Cage in Joe
- James Gandolfini in The Drop
- Timothy Spall in Mr. Turner
- Benedict Cumberbatch in The Imitation Game
- Shahid Kapoor in Haider
- James McAvoy in X-Men: Days Of Future Past
- Bradley Cooper in American Sniper
- Eddie Redmayne in The Theory Of Everything
- Tye Sheridan in Joe
- Ben Whishaw in Lilting
- Viggo Mortensen in The Two Faces of January
- Keanu Reeves in John Wick
- Ben Affleck in Gone Girl
- Russell Crowe in Noah
- Viggo Mortensen in Jauja
- Bill Murray in St. Vincent
- Mads Mikkelsen in The Salvation
- Patrick Wilson in Stretch
- Macon Blair in Blue Ruin
- Chen Daoming in Coming Home
- Gael Garcia Bernal in Rosewater
- Chris Evans in Captain America: The Winter Soldier
- Russell Crowe in The Water Diviner
- Payman Maadi in Camp X-Ray
- Jack O'Connell in '71
- Noah Wiseman in The Babadook
- Andy Serkis in Dawn of the Planet of the Apes
- Jake Gyllenhaal in Enemy
- Jesse Eisenberg in The Double
- Tommy Lee Jones in The Homesman
- Channing Tatum in 22 Jump Street
- Ethan Hawke in Predestination
- Chris Pratt in Guardians of the Galaxy
- Domhnall Gleeson in Frank
- Hugh Bonneville in Paddington
- Ben Schnetzer in Pride
- John Hawkes in Life of Crime
- Jack O'Connell in Unbroken
- Liam Neeson in A Walk Among the Tombstones
- Ben Whishaw in Paddington
- Brad Pitt in Fury
- Pat Healy in Cheap Thrills
- Robert Downey Jr. in The Judge
- James McAvoy in The Disappearance of Eleanor Rigby: Him
- Jack O'Connell in Starred Up
- Aleksei Serebryakov in Leviathan
- Mos Def in Life of Crime
- Jude Law in Black Sea
- Denzel Washington in The Equalizer
- Alfred Molina in Love is Strange
- Bill Hader in The Skeleton Twins
- Iko Uwais in The Raid 2
- Hugh Jackman in X-Men Days of Future Past
- Mark Duplass in The One I Love
- John Lithgow in Love is Strange
- Justin Long in Tusk
- Oscar Isaac in The Two Faces of January
- Liao Fan in Black Coal, Thin Ice
- Nate Parker in Beyond the Lights
- Jonah Hill in 22 Jump Street
- Simon Abkarian in Gett: The Trial of Viviane Amsalem
- Jay Baruchel in How To Train Your Dragon 2
- Johannes Bah Kuhnke in Force Majeure
- Arash Marandi in A Girl Walks Home Alone at Night
- Haluk Bilginer in Winter Sleep
- Ryan Potter in Big Hero 6
- Ibrahim Ahmed dit Pino in Timbuktu
- Steve Carell in Foxcatcher
- Chris Pine in Jack Ryan: Shadow Recruit
- Jon Favreau in Chef
- Alfonso Herrera in The Perfect Dictatorship
- Andrew Garfield in The Amazing Spider-Man 2
- Kevin Costner in Three Days to Kill
- George MacKay in Pride
- Hwang Jung-min in Ode to My Father
- Christian Bale in Exodus: Gods and Kings
- Mark Wahlberg in The Gambler
- Logan Lerman in Fury
- Tony Revolori in The Grand Budapest Hotel
- Rickson Tevez in Trash
- Eduardo Luis in Trash
- Gabriel Weinstein in Trash
- Mark Ruffalo in Begin Again
- Antoine Olivier Pilon in Mommy
- Arnold Schwarzenegger in Sabotage
- Jason Clarke in Dawn of the Planet of the Apes
- Christoph Waltz in Big Eyes
- Chadwick Boseman in Get On Up
- Seth Rogan in The Interview
- Chris Rock in Top Five
- Max Irons in The Riot Club
- John Lloyd Young in Jersey Boys
- Vincent Piazza in Jersey Boys
- Harry Treadaway in Honeymoon
- Kit Harington in Pompeii
- Jaeden Lieberher in St. Vincent
- Aaron Taylor-Johnson in Godzilla
- James Franco in The Interview
- Ellar Coltrane in Boyhood
- Michael C. Hall in Cold in July
- Simon Pegg in Hector and the Search for Happiness
- Jeff Daniels in Dumb and Dumber To
- Jim Carrey in Dumb and Dumber To
- Alan Ritchson in Teenage Mutant Ninja Turtles
- Jeremy Howard in Teenage Mutant Ninja Turtles
- Johnny Knoxville in Teenage Mutant Ninja Turtles
- Noel Fisher in Teenage Mutant Ninja Turtles
- Ansel Elgort in The Fault in Our Stars
- Sylvester Stallone in The Expendables 3
- Brenton Thwaites in The Giver
- Sullivan Stapleton in 300: Rise of an Empire
Alternate Best Actor 2014: Jake Gyllenhaal in Enemy
Jake Gyllenhaal did not receive an Oscar nomination for portraying Adam Bell and Anthony Claire in Enemy.
Enemy is an ineffective attempt by Denis Villeneuve to ape the style of David Lynch, it even has Isabella Rossellini in it, through the story of a man who discovers there's a man who looks just like him.
We first meet Jake Gyllenhaal as Adam Bell who is a literary college professor. Gyllenhaal portrays Bell as a very reserved man. Gyllenhaal effectively sets up Adam as very closed off, and a bit depressed as he just seems to go along his life without anything special happening. Even when spending time with his girlfriend Mary (Mélanie Laurent) Gyllenhaal suggests that all Adam is doing is going through the motions. Suddenly though Adam finds a strange purpose when he sees an actor in a bit part in a film that looks just like him. Gyllenhaal is convincing in portraying Adam's curiosity stemming basically from his disinterest with his life, and Gyllenhaal is effective in portraying the enthusiasm of man who's found something to be involved in. At first Gyllenhaal shows Adam as just being interested as one might be that suddenly they have some sort of twin, and would probably want to know what exactly the explanation is. It does not take long for him to find Anthony a small time actor with a pregnant wife.
Gyllenhaal is quite good in portraying the differences of Anthony without having something specific to set them apart. Gyllenhaal though portrays Anthony as a far more easy going sort and Gyllenhaal adjusts his body language to more extroverted portraying Anthony as a man who seems to be much more comfortable with his existence than Adam is. Gyllenhaal changes his presence well to a far more aggressive sort of man who rather than drifts like Adam, clearly takes exactly what he wants when he wants it. This becomes particularly obvious that Anthony's life is not perfection either as he has not been faithful to his own wife, and seems to have no real intention to not stray again. When they finally meet together Gyllenhaal is good in portraying the conflicting attitudes of the two man as Adam seems to become racked with fear over his doppelganger, whereas Gyllenhaal portrays Anthony as kinda relishing in the idea, hinting from this first occasion that Anthony sees some potential for himself in this man that looks like him.
After the meeting Adam retreats back into himself seemingly crumbling with this world bending revelation. Anthony on the other hand sees it as a chance for an affair, with Adam's girlfriend, which he likely believes will stop him from being caught because he'll simply be Adam. Gyllenhaal does have a great scene with himself as he brings the forcefulness of Anthony as he imposes his will against Adam, who Gyllenhaal cowers as still unsure and confused over his own reality because of Anthony's existence. So they both go off as each other. Anthony goes off perfectly as Adam, although as himself since he only wants to impersonate Anthony for the most basic of satisfaction. Adam on the other hand only suffers from the concept of switching and does not relish at all in attempting to emulate Anthony's behavior with Adam's wife. The twist ends up being that Anthony is caught, due to a mark from his wedding band giving him away, and Adam connects with Anthony's wife since they are both being abused by Anthony.
I really can't complain about Jake Gyllenhaal's performance here at all. He does a fine job of realizing both Adam and Anthony in the way they connect, but also as two separate individuals. My only reservations comes from the film itself which never makes much of a use of the idea of the doppelganger. I will admit I lost my patience with the film as the film cared much more about Villeneuve's attempts to emulate David Lynch's camera movements, and weird imagery, which Villeneuve better just leave to Lynch because he's just not that good at it. Jake Gyllenhaal simply does not have the material to turn Adam and Anthony into that memorable of characters. I have no complaints in regard to Gyllenhaal's own work though because he is as believable as he can be in the role and tries hard to make something out of the material, but it's just a bit too thin for him to make them come to life as they should. I'd love to see Gyllenhaal plays twins again as he does prove himself quite capable in such a role, I wish it was for a superior film though.
We first meet Jake Gyllenhaal as Adam Bell who is a literary college professor. Gyllenhaal portrays Bell as a very reserved man. Gyllenhaal effectively sets up Adam as very closed off, and a bit depressed as he just seems to go along his life without anything special happening. Even when spending time with his girlfriend Mary (Mélanie Laurent) Gyllenhaal suggests that all Adam is doing is going through the motions. Suddenly though Adam finds a strange purpose when he sees an actor in a bit part in a film that looks just like him. Gyllenhaal is convincing in portraying Adam's curiosity stemming basically from his disinterest with his life, and Gyllenhaal is effective in portraying the enthusiasm of man who's found something to be involved in. At first Gyllenhaal shows Adam as just being interested as one might be that suddenly they have some sort of twin, and would probably want to know what exactly the explanation is. It does not take long for him to find Anthony a small time actor with a pregnant wife.
Gyllenhaal is quite good in portraying the differences of Anthony without having something specific to set them apart. Gyllenhaal though portrays Anthony as a far more easy going sort and Gyllenhaal adjusts his body language to more extroverted portraying Anthony as a man who seems to be much more comfortable with his existence than Adam is. Gyllenhaal changes his presence well to a far more aggressive sort of man who rather than drifts like Adam, clearly takes exactly what he wants when he wants it. This becomes particularly obvious that Anthony's life is not perfection either as he has not been faithful to his own wife, and seems to have no real intention to not stray again. When they finally meet together Gyllenhaal is good in portraying the conflicting attitudes of the two man as Adam seems to become racked with fear over his doppelganger, whereas Gyllenhaal portrays Anthony as kinda relishing in the idea, hinting from this first occasion that Anthony sees some potential for himself in this man that looks like him.
After the meeting Adam retreats back into himself seemingly crumbling with this world bending revelation. Anthony on the other hand sees it as a chance for an affair, with Adam's girlfriend, which he likely believes will stop him from being caught because he'll simply be Adam. Gyllenhaal does have a great scene with himself as he brings the forcefulness of Anthony as he imposes his will against Adam, who Gyllenhaal cowers as still unsure and confused over his own reality because of Anthony's existence. So they both go off as each other. Anthony goes off perfectly as Adam, although as himself since he only wants to impersonate Anthony for the most basic of satisfaction. Adam on the other hand only suffers from the concept of switching and does not relish at all in attempting to emulate Anthony's behavior with Adam's wife. The twist ends up being that Anthony is caught, due to a mark from his wedding band giving him away, and Adam connects with Anthony's wife since they are both being abused by Anthony.
I really can't complain about Jake Gyllenhaal's performance here at all. He does a fine job of realizing both Adam and Anthony in the way they connect, but also as two separate individuals. My only reservations comes from the film itself which never makes much of a use of the idea of the doppelganger. I will admit I lost my patience with the film as the film cared much more about Villeneuve's attempts to emulate David Lynch's camera movements, and weird imagery, which Villeneuve better just leave to Lynch because he's just not that good at it. Jake Gyllenhaal simply does not have the material to turn Adam and Anthony into that memorable of characters. I have no complaints in regard to Gyllenhaal's own work though because he is as believable as he can be in the role and tries hard to make something out of the material, but it's just a bit too thin for him to make them come to life as they should. I'd love to see Gyllenhaal plays twins again as he does prove himself quite capable in such a role, I wish it was for a superior film though.
Alternate Best Actor 2014: Jake Gyllenhaal in Nightcrawler
Jake Gyllenhaal did not receive an Oscar nomination, despite being nominated for a SAG, a BAFTA, a Golden Globe, and numerous critics' awards, for portraying Louis 'Lou' Bloom in Nightcrawler.
Nightcrawler is a very effective film about a strange man who decides his career path as filming nighttime crime and accident scenes for the local news.
Nightcrawler opens as we see Lou Bloom, who starts out as simple a small time thief, as he is stealing from a construction site, and proceeds to beat down a police officer who catches him. From this first scene it is abundantly clear that Lou Bloom is not your average sort, and nor is this an average performance by Jake Gyllenhaal. Gyllenhaal's whole appearance is quite something all in itself with his particularly gaunt appearance, and the way he rarely ever blinks. Gyllenhaal's stare is terribly piercing in just how large his eyes are and just how unwavering they are. Gyllenhaal makes these alone allude to at least three things about Lou Bloom. The first being that he might be more than a little off as a man, the second being that it seems as though Lou is always looking for as much of something as he can possibly take in, and thirdly is that Lou purposefully is always watching other humans for a very specific reason, which I will get to later. I won't wander around the point though Gyllenhaal's physical transformation here is absolutely remarkable in that not only does it feel wholly natural in creating the peculiar man that is Lou Bloom, but Gyllenhaal completely disappears into this role.
Gyllenhaal's manner of delivery here is just fascinating as he speaks most of his lines in a particularly calm, and unassuming voice. Gyllenhaal's vocal portrayal though is as a man who speaks so calmly to people because that's how a proper person speaks to one another person, right? It's the perfect sort of voice for a nice young man, looking to make a name for himself, as we see in the scene right after that opening scene where Lou tries to sell the stolen material to a construction boss. Bloom first negotiates the price in such a bizarre way. Gyllenhaal brings such an energetic quality as though talking about the price of stolen goods is like a high powered business meeting. The best part is though when he's not really given a straight answer Lou instantly jumps to asking for a job, then when that does not look possible an internship is obviously a good enough start for him. Gyllenhaal carries such an enthusiasm that is oddly endearing in a way, because well he makes Lou a true go-getter someone who goes the extra distance. He means what he says, well as much as a man like Lou can mean something, and I love that Gyllenhaal never loses that timbre in his voice as Lou never stops trying to sell himself even though he clearly has no chance.
By chance Lou sees some nightcrawling in action, getting the news footage at night, so it's obviously time for Bloom to get a camera, first he has to steal a bicycle. Gyllenhaal is just marvelous in that even selling the bicycle to a pawn shop has to turn into some odd performance for Lou. Gyllenhaal again brings the pitchman as he shows a non-stop line of words, filled with a ridiculous amount of lies, as Gyllenhaal again realizes the way that Bloom is just constantly pitching as though it is his innate reaction to anything. Gyllenhaal in a way presents Lou Bloom as truly a great capitalist as he's always striving for his personal best, and knows that to get forward in his life he's going to have to work for it. Bloom seems to find his ideal place in the world when he starts filming himself, and due lack of certain personal restrictions gets angles that no one else would dare try to get. He quickly strikes up a working relationship with a local producer Nina Romina (Rene Russo), who likes his daring new footage. The overemphasis of everything that Gyllenhaal brings is genius though as again he seeks to make an impression, as Gyllenhaal still brings such an earnestness as Lou lists all the random things he has learned, from the internet, to Nina to show he is man who only wishes to evolve using information.
Lou can't do his nightcrawling alone though and has to hire someone to handle the GPS so he interviews a potential assistant Rick (Riz Ahmed). Gyllenhaal adjusts his performance so brilliantly as Lou does his interview. Well rather than being the hopeful up and comer himself he's now the boss as he asks about Rick's credentials for the job. Gyllenhaal now becomes almost like a time share salesman as he espouses the potential advancement and excitement of the job opportunity that is presenting itself to Rick. Gyllenhaal really does sell it though as something to be interested in and even though he's never not a little off, Gyllenhaal makes it convincing that Rick would accept the job. Of course this is a bit problematic since when you get right down to it Lou is a bit of sociopath, and he is at a different frame of mind than the normal person, because he's got a little problem with empathy. One of my favorite depictions of this by Gyllenhaal is in the interview between Lou and Rick. Rick laughs about something, and Gyllenhaal is amazing as he takes a bit long to laugh along with it. Gyllenhaal portrays the sociopath thought process, as he basically has to first recognize that the fellow human is laughing, therefore something's funny, so he better laugh himself.
You know though Lou Bloom might seem a bit off-putting if you only meet him briefly, but if you really get to know him that's where the magic happens. This is the case for Lou and his relationship with Nina. After Lou only grows in success Lou insists that they have a relationship outside of work, which Gyllenhaal plays as the most impersonal of ways to ask someone out, although it's obviously the only way that would be natural for Lou Bloom. Their meal scene together is an outstanding bit of creepiness by Gyllenhaal as he calmly implies that they should have sex because they both share the same schedules, therefore it makes sense. Gyllenhaal some how makes this madness seem so honest, and that is the most stunning bit about his performance. Of course all of Gyllenhaal work has this darkly comic streak because of the juxtaposition of the sheer hopefulness of the man that some how goes hand in hand with his sociopathy. One of my favorite moments of his performance, and I'll admit it there are quite a few of those with this performance, is as Lou calms the situation with Nina by explaining friendship by quoting Robert Louis Stevenson "A Friend is a gift you give yourself". That could be a Disney quote frankly but out of Gyllenhaal it is off-putting in the best sort of way.
But hey maybe everything Lou expresses is not a predetermined emotion he has devised to match any particular situation, Gyllenhaal sometimes reveals the truth about Lou which obviously has to be quite a gentle soul right? Well not quite. In the scene where another nightcrawler tries to get Lou to work for him, and keeps insisting, Lou basically says he's holding back the urge to yell in the man's face to say no, and in the intensity of Gyllenhaal's reserve he shows that it is indeed the truth. Forget about the reserve though in one instance where there is a lull in business, and Gyllenhaal is frightening as he reveals a bit of what is going on in Lou's mind as he screams into a mirror. When he tells Rick late in the film that maybe it's not that he can't connect to people, but rather it is that he hates them all it is very eerier since Gyllenhaal suggest that is probably the case. Rick actually gets to know this as their relationship deepens, particularly when Rick shows hesitations at a pivotal moment. Gyllenhaal is absurdly chilling as he twists his gentle tones to a very dark territory as he puts it bluntly, almost like he's telling him general job instructions, that he will have to hurt Rick very badly if Rick does not perform as he asks.
Jake Gyllenhaal above all gives an illuminating depiction of a man living the American dream. I mean there are a few setbacks. I mean Rick gets killed by accident as they follow around a high speed police chase. Which by the way is another stroke of genius scene by Gyllenhaal as his face projects that of an empathy, not a real one, but you could interpret it as such even though at the same time he coldly admonishes Rick for being too ambitious. Also he does face some scrutiny from the local police force, where again Gyllenhaal is pitch black yet so oddly delightful as he has Lou choke up little when talking about Rick's death because that's what a grieving boss does. For the most part though Lou lives the dream. His product only becomes more valued and more valuable, his company only grows in size and stature, and he even gets to have sex with Nina (where I assume he does some freaky things since in one negotiation session he clearly was not happy with her refusal to do certain things, which I think I'd rather not know). Lou Bloom gets it all in the end and what a terrifying ride it was. Jake Gyllenhaal never side steps the unsavory qualities, not at all, but you can't help but be compelled to watch this man succeed. This whole performance is one huge risk by Gyllenhaal but what a payoff. This is a flawless and endlessly fascinating piece of work by Jake Gyllenhaal as he realizes the one of a kind character Lou Bloom in all of his twisted glory.
Nightcrawler opens as we see Lou Bloom, who starts out as simple a small time thief, as he is stealing from a construction site, and proceeds to beat down a police officer who catches him. From this first scene it is abundantly clear that Lou Bloom is not your average sort, and nor is this an average performance by Jake Gyllenhaal. Gyllenhaal's whole appearance is quite something all in itself with his particularly gaunt appearance, and the way he rarely ever blinks. Gyllenhaal's stare is terribly piercing in just how large his eyes are and just how unwavering they are. Gyllenhaal makes these alone allude to at least three things about Lou Bloom. The first being that he might be more than a little off as a man, the second being that it seems as though Lou is always looking for as much of something as he can possibly take in, and thirdly is that Lou purposefully is always watching other humans for a very specific reason, which I will get to later. I won't wander around the point though Gyllenhaal's physical transformation here is absolutely remarkable in that not only does it feel wholly natural in creating the peculiar man that is Lou Bloom, but Gyllenhaal completely disappears into this role.
Gyllenhaal's manner of delivery here is just fascinating as he speaks most of his lines in a particularly calm, and unassuming voice. Gyllenhaal's vocal portrayal though is as a man who speaks so calmly to people because that's how a proper person speaks to one another person, right? It's the perfect sort of voice for a nice young man, looking to make a name for himself, as we see in the scene right after that opening scene where Lou tries to sell the stolen material to a construction boss. Bloom first negotiates the price in such a bizarre way. Gyllenhaal brings such an energetic quality as though talking about the price of stolen goods is like a high powered business meeting. The best part is though when he's not really given a straight answer Lou instantly jumps to asking for a job, then when that does not look possible an internship is obviously a good enough start for him. Gyllenhaal carries such an enthusiasm that is oddly endearing in a way, because well he makes Lou a true go-getter someone who goes the extra distance. He means what he says, well as much as a man like Lou can mean something, and I love that Gyllenhaal never loses that timbre in his voice as Lou never stops trying to sell himself even though he clearly has no chance.
By chance Lou sees some nightcrawling in action, getting the news footage at night, so it's obviously time for Bloom to get a camera, first he has to steal a bicycle. Gyllenhaal is just marvelous in that even selling the bicycle to a pawn shop has to turn into some odd performance for Lou. Gyllenhaal again brings the pitchman as he shows a non-stop line of words, filled with a ridiculous amount of lies, as Gyllenhaal again realizes the way that Bloom is just constantly pitching as though it is his innate reaction to anything. Gyllenhaal in a way presents Lou Bloom as truly a great capitalist as he's always striving for his personal best, and knows that to get forward in his life he's going to have to work for it. Bloom seems to find his ideal place in the world when he starts filming himself, and due lack of certain personal restrictions gets angles that no one else would dare try to get. He quickly strikes up a working relationship with a local producer Nina Romina (Rene Russo), who likes his daring new footage. The overemphasis of everything that Gyllenhaal brings is genius though as again he seeks to make an impression, as Gyllenhaal still brings such an earnestness as Lou lists all the random things he has learned, from the internet, to Nina to show he is man who only wishes to evolve using information.
Lou can't do his nightcrawling alone though and has to hire someone to handle the GPS so he interviews a potential assistant Rick (Riz Ahmed). Gyllenhaal adjusts his performance so brilliantly as Lou does his interview. Well rather than being the hopeful up and comer himself he's now the boss as he asks about Rick's credentials for the job. Gyllenhaal now becomes almost like a time share salesman as he espouses the potential advancement and excitement of the job opportunity that is presenting itself to Rick. Gyllenhaal really does sell it though as something to be interested in and even though he's never not a little off, Gyllenhaal makes it convincing that Rick would accept the job. Of course this is a bit problematic since when you get right down to it Lou is a bit of sociopath, and he is at a different frame of mind than the normal person, because he's got a little problem with empathy. One of my favorite depictions of this by Gyllenhaal is in the interview between Lou and Rick. Rick laughs about something, and Gyllenhaal is amazing as he takes a bit long to laugh along with it. Gyllenhaal portrays the sociopath thought process, as he basically has to first recognize that the fellow human is laughing, therefore something's funny, so he better laugh himself.
You know though Lou Bloom might seem a bit off-putting if you only meet him briefly, but if you really get to know him that's where the magic happens. This is the case for Lou and his relationship with Nina. After Lou only grows in success Lou insists that they have a relationship outside of work, which Gyllenhaal plays as the most impersonal of ways to ask someone out, although it's obviously the only way that would be natural for Lou Bloom. Their meal scene together is an outstanding bit of creepiness by Gyllenhaal as he calmly implies that they should have sex because they both share the same schedules, therefore it makes sense. Gyllenhaal some how makes this madness seem so honest, and that is the most stunning bit about his performance. Of course all of Gyllenhaal work has this darkly comic streak because of the juxtaposition of the sheer hopefulness of the man that some how goes hand in hand with his sociopathy. One of my favorite moments of his performance, and I'll admit it there are quite a few of those with this performance, is as Lou calms the situation with Nina by explaining friendship by quoting Robert Louis Stevenson "A Friend is a gift you give yourself". That could be a Disney quote frankly but out of Gyllenhaal it is off-putting in the best sort of way.
But hey maybe everything Lou expresses is not a predetermined emotion he has devised to match any particular situation, Gyllenhaal sometimes reveals the truth about Lou which obviously has to be quite a gentle soul right? Well not quite. In the scene where another nightcrawler tries to get Lou to work for him, and keeps insisting, Lou basically says he's holding back the urge to yell in the man's face to say no, and in the intensity of Gyllenhaal's reserve he shows that it is indeed the truth. Forget about the reserve though in one instance where there is a lull in business, and Gyllenhaal is frightening as he reveals a bit of what is going on in Lou's mind as he screams into a mirror. When he tells Rick late in the film that maybe it's not that he can't connect to people, but rather it is that he hates them all it is very eerier since Gyllenhaal suggest that is probably the case. Rick actually gets to know this as their relationship deepens, particularly when Rick shows hesitations at a pivotal moment. Gyllenhaal is absurdly chilling as he twists his gentle tones to a very dark territory as he puts it bluntly, almost like he's telling him general job instructions, that he will have to hurt Rick very badly if Rick does not perform as he asks.
Jake Gyllenhaal above all gives an illuminating depiction of a man living the American dream. I mean there are a few setbacks. I mean Rick gets killed by accident as they follow around a high speed police chase. Which by the way is another stroke of genius scene by Gyllenhaal as his face projects that of an empathy, not a real one, but you could interpret it as such even though at the same time he coldly admonishes Rick for being too ambitious. Also he does face some scrutiny from the local police force, where again Gyllenhaal is pitch black yet so oddly delightful as he has Lou choke up little when talking about Rick's death because that's what a grieving boss does. For the most part though Lou lives the dream. His product only becomes more valued and more valuable, his company only grows in size and stature, and he even gets to have sex with Nina (where I assume he does some freaky things since in one negotiation session he clearly was not happy with her refusal to do certain things, which I think I'd rather not know). Lou Bloom gets it all in the end and what a terrifying ride it was. Jake Gyllenhaal never side steps the unsavory qualities, not at all, but you can't help but be compelled to watch this man succeed. This whole performance is one huge risk by Gyllenhaal but what a payoff. This is a flawless and endlessly fascinating piece of work by Jake Gyllenhaal as he realizes the one of a kind character Lou Bloom in all of his twisted glory.
Sunday, 25 January 2015
Alternate Best Actor 2014
Jake Gyllenhaal in Nightcrawler
Joaquin Phoenix in Inherent Vice
Matthew McConaughey in Interstellar
Brendan Gleeson in Calvary
Philip Seymour Hoffman in A Most Wanted Man
Predict Those Five or Predict These Five:
Jake Gyllenhaal in Enemy
Guy Pearce in The Rover
David Oyelowo in Selma
Ralph Fiennes in The Grand Budapest Hotel
Tom Hardy in Locke
Or predict both if you want.
Wednesday, 19 February 2014
Alternate Best Actor 2013: Results
Best Scene: Loki rushes to the hospital.
Best Scene: Theodore begins his romantic relationship with Samantha.
Best Scene: Phillips goes into shock.
Best Scene: Fare Thee Well
Best Scene: The ending.
- Oscar Isaac in Inside Llewyn Davis
- James McAvoy in Filth
- Matthew McConaughey in Dallas Buyers Club
- Leonardo DiCaprio in The Wolf of Wall Street
- Tom Hanks in Captain Phillips
- Bruce Dern in Nebraska
- Masaharu Fukuyama in Like Father, Like Son
- Chiwetel Ejiofor in 12 Years a Slave
- Joaquin Phoenix in Her
- Christoph Waltz in The Zero Theorem
- Christian Bale in Out of the Furnace
- Simon Pegg in The World's End
- Jake Gyllenhaal in Prisoners
- Michael Shannon in The Iceman
- Ethan Hawke in Before Midnight
- Tye Sheridan in Mud
- Jason Statham in Hummingbird
- Terence Stamp in Song For Marion
- Robert Redford in All is Lost
- Vithaya Pansringarm in Only God Forgives
- Sam Rockwell in A Single Shot
- Colin Firth in The Railway Man
- Sol Kyung-gu in Hope
- Toni Servillo in The Great Beauty
- Domhnall Gleeson in About Time
- Ryan Gosling in The Place Beyond the Pines
- Lee Jung-jae in New World
- Chris Evans in Snowpiercer
- Lembit Ulfsak in Tangerines
- Stephen Dillane in Papadopoulos & Sons
- Richard Dormer in Good Vibrations
- Irrfan Khan in The Lunchbox
- Tahar Rahim in The Past
- Jim Broadbent in Le Week-End
- Jude Law in Side Effects
- Tony Leung Chiu Wai in The Grandmaster
- Steve Coogan in Philomena
- Ali Mosaffa in The Past
- Michael B. Jordan in Fruitvale Station
- Bradley Cooper in The Place Beyond the Pines
- Martin Freeman in The Hobbit
- Ken Watanabe in Unforgiven
- Robert Downey Jr. in Iron Man 3
- Daniel Bruhl in Rush
- Steve Coogan in Alan Patridge: Alpha Papa
- Themis Panou in Miss Violence
- Alden Ehrenreich in Beautiful Creatures
- Leonardo DiCaprio in The Great Gatsby
- Josh Brolin in Oldboy
- Matt Damon in Elysium
- Benedict Cumberbatch in The Fifth Estate
- Dane Dehaan in The Place Beyond the Pines
- Michael Fassbender in The Counselor
- Casey Affleck in Ain't Them Bodies Saints
- Mathieu Amalric in Venus in Fur
- Will Forte in Nebraska
- Tom Cruise in Oblivion
- Ralph Fiennes The Invisible Woman
- Christian Bale in American Hustle
- Tom Hiddleston in Only Lovers Left Alive
- Miles Teller in The Spectacular Now
- Chris Hemsworth in Rush
- Dane Dehaan in Kill Your Darlings
- Chadwick Boseman in 42
- Hugh Jackman in The Wolverine
- Nazif Mujic in An Episode in the Life of An Iron Picker
- Conner Chapman in The Selfish Giant
- Shaun Thomas in The Selfish Giant
- Ben Stiller in The Secret Life of Walter Mitty
- Henry Cavill in Man of Steel
- Chris Hemsworth in Thor 2
- Chris Pine in Star Trek Into Darkness
- Hugh Jackman in Prisoners
- Charlie Hunnam in Pacific Rim
- Denzel Washington in 2 Guns
- Brad Pitt in World War Z
- Tobey Maguire in The Great Gatsby
- Vin Diesel in Fast & Furious 6
- Zachary Quinto in Star Trek Into Darkness
- Idris Elba in Mandela: Long Walk to Freedom
- Mark Wahlberg in Pain & Gain
- Daniel Bruhl in The Fifth Estate
- Forest Whitaker in The Butler
- Dwayne Johnson in G.I. Joe
- Ryan Gosling in Only God Forgives
- Joseph Gordon-Levitt in Don Jon
- Mark Wahlberg in 2 Guns
- Daniel Radcliffe in Kill Your Darlings
- Arnold Schwarzenegger in The Escape Plan
- Arnold Schwarzenegger in The Last Stand
- Sylvester Stallone in The Escape Plan
- Mark Wahlberg in Lone Survivor
- Jason Sudeikis in We're The Millers
- Jaden Smith in After Earth
Tuesday, 11 February 2014
Alternate Best Actor 2013: Jake Gyllenhaal in Prisoners
Jake Gyllenhaal did not receive an Oscar nomination for portraying Detective Loki in Prisoners.
Prisoners shows the investigation of the kidnapping of two young girls by both the police and one of the girls's father. It is an interesting film, beautifully shot of course, with some strong moments, but it never quite comes together as well as it potentially could have.
The film follows closely the father Keller Dover played by Hugh Jackman as he goes down a questionable path of torture in attempt to find his child. The film though gives just as much focus to the investigation lead detective of the case played by Jake Gyllenhaal. Where the investigation of the father is a constantly emotionally charged affair, which makes sense, but even more so due to Jackman's performance. Hugh Jackman often seems to be an actor who, for better or for worse, seems to try to give one hundred and ten percent with his performances. That is definitely the case here where he technically hits the right notes with his performance but he hits them a little too hard at times sometimes unfortunately make his acting more noticeable than really what the character is going through.
Jake Gyllenhaal on the other hand gives a far more measured performance in his portrayal of Detective Loki who is a detective who has successfully solved all of his cases before the film begins. When we first meet him Gyllenhaal is very effective in portraying the process of the Loki. When he is talking to the family about the situation Gyllenhaal properly suggests that he definitely invested in the case and suggests the thought process as he asks the questions about the abduction. Gyllenhaal is careful to show the slight act when Dover starts to become increasingly emotional during the questioning. When Loki tells Dover that we need to relax Gyllenhaal is terrific because he shows that actual type of police training in him with the appropriate artifice as it is something Loki does in very specific situations.
Gyllenhaal finds the right balance in the role to make a fully believable portrait of a Detective in such a case. Gyllenhaal shows Loki as almost ever so slightly aloof early on and most of all very calm. Gyllenhaal brings the confidence of Loki's success in these early scenes, and does properly suggest that Loki knows what he is doing and is sticking to his procedure properly. Gyllenhaal even goes so far as to almost be even slightly humorous in his performance and keeps Loki somewhat lighthearted as he goes around investigating sexual deviants to try to narrow down the case. This is not Gyllenhaal making Loki to be some sort of lifeless jerk, but rather this instead reinforces the idea that Loki is very much a professional and taking many of the developments of the case in stride is his way of keeping on task.
Gyllenhaal also avoid any problems from this approach in the way he portrays Loki's reactions when there appear to be any dark developments in the case including things like a rotting corpse in a cellar or perhaps a boxes filled with snakes and some bloodied clothes. Gyllenhaal is excellent in any of these scenes because technically speaking he still keeps the police command of the situation as he does not show Loki to become some sort of nervous wreck or anything but he very effectively portrays the reaction of a normal man seeing what Loki must see. He makes every revelation and scene all the more intense and gives them a greater impact because of how just realistic he is in showing Loki's reaction. Gyllenhaal always feels spot on here and following him through the investigation is a compelling experience because of him.
The film follows Loki through the case but as well with dealing with the increasingly intense Dover who definitely seems to be hiding something from Loki. As the case slowly gets less understandable and more hopeless that the girls will be found Loki will of course becomes more invested. Gyllenhaal is remarkable though because he never cheats in his portrayal of this. In his scenes with Jackman Gyllenhaal still keeps the appropriate distance as he should, but as well as a strong coldness towards Dover's behavior. Gyllenhaal again conveys the professionalism of Loki as a detective that keeps him this way toward Dover. Gyllenhaal does properly suggest in convincing subtle fashion that he understands Dover, but also he very blunt in showing that Loki really believes that Dover's behavior in no way is helping the case.
Away Dover, and appropriately so as the lead detective would not want to show any weakness to the victims, Gyllenhaal very naturally reveals and builds Loki's frustrations and struggle with the case. Gyllenhaal handles it so delicately, never rushing a moments of it, and never once going overboard either, his very genuine depiction of Loki losing his resolve resonates powerfully. Even though I feel the film and Jackman often try a little too hard to emotionally charge the film, Gyllenhaal actually handles this much better by taking his more reflective approach. When Gyllenhaal brings the big emotions out you real feel them because he always does it at the right time, and in the right way.
I suppose one thing I should quickly mention is that Gyllenhaal plays Loki as man with a tic where he will blink a lot. It really is not an essential part of his character or anything, but I'll say it reminded me of someone I know who blinks just that way, so good job Gyllenhaal although I don't know if it was particularly necessary. Anyway Gyllenhaal easily is the best thing about the film and managed to amplify every scene of the film he is in through his realistic depiction of the full weight of one detectives investigation into a horrible crime. When I think of the strength of his performance the first scene I think of is Detective Loki's rush to the hospital at the end of the film, I found that a thrilling moment, the direction and music of course was well done, but what really kept me in the scene was Gyllenhaal's fierce portrayal of what Loki is going through both physically and mentally.
The film follows closely the father Keller Dover played by Hugh Jackman as he goes down a questionable path of torture in attempt to find his child. The film though gives just as much focus to the investigation lead detective of the case played by Jake Gyllenhaal. Where the investigation of the father is a constantly emotionally charged affair, which makes sense, but even more so due to Jackman's performance. Hugh Jackman often seems to be an actor who, for better or for worse, seems to try to give one hundred and ten percent with his performances. That is definitely the case here where he technically hits the right notes with his performance but he hits them a little too hard at times sometimes unfortunately make his acting more noticeable than really what the character is going through.
Jake Gyllenhaal on the other hand gives a far more measured performance in his portrayal of Detective Loki who is a detective who has successfully solved all of his cases before the film begins. When we first meet him Gyllenhaal is very effective in portraying the process of the Loki. When he is talking to the family about the situation Gyllenhaal properly suggests that he definitely invested in the case and suggests the thought process as he asks the questions about the abduction. Gyllenhaal is careful to show the slight act when Dover starts to become increasingly emotional during the questioning. When Loki tells Dover that we need to relax Gyllenhaal is terrific because he shows that actual type of police training in him with the appropriate artifice as it is something Loki does in very specific situations.
Gyllenhaal finds the right balance in the role to make a fully believable portrait of a Detective in such a case. Gyllenhaal shows Loki as almost ever so slightly aloof early on and most of all very calm. Gyllenhaal brings the confidence of Loki's success in these early scenes, and does properly suggest that Loki knows what he is doing and is sticking to his procedure properly. Gyllenhaal even goes so far as to almost be even slightly humorous in his performance and keeps Loki somewhat lighthearted as he goes around investigating sexual deviants to try to narrow down the case. This is not Gyllenhaal making Loki to be some sort of lifeless jerk, but rather this instead reinforces the idea that Loki is very much a professional and taking many of the developments of the case in stride is his way of keeping on task.
Gyllenhaal also avoid any problems from this approach in the way he portrays Loki's reactions when there appear to be any dark developments in the case including things like a rotting corpse in a cellar or perhaps a boxes filled with snakes and some bloodied clothes. Gyllenhaal is excellent in any of these scenes because technically speaking he still keeps the police command of the situation as he does not show Loki to become some sort of nervous wreck or anything but he very effectively portrays the reaction of a normal man seeing what Loki must see. He makes every revelation and scene all the more intense and gives them a greater impact because of how just realistic he is in showing Loki's reaction. Gyllenhaal always feels spot on here and following him through the investigation is a compelling experience because of him.
The film follows Loki through the case but as well with dealing with the increasingly intense Dover who definitely seems to be hiding something from Loki. As the case slowly gets less understandable and more hopeless that the girls will be found Loki will of course becomes more invested. Gyllenhaal is remarkable though because he never cheats in his portrayal of this. In his scenes with Jackman Gyllenhaal still keeps the appropriate distance as he should, but as well as a strong coldness towards Dover's behavior. Gyllenhaal again conveys the professionalism of Loki as a detective that keeps him this way toward Dover. Gyllenhaal does properly suggest in convincing subtle fashion that he understands Dover, but also he very blunt in showing that Loki really believes that Dover's behavior in no way is helping the case.
Away Dover, and appropriately so as the lead detective would not want to show any weakness to the victims, Gyllenhaal very naturally reveals and builds Loki's frustrations and struggle with the case. Gyllenhaal handles it so delicately, never rushing a moments of it, and never once going overboard either, his very genuine depiction of Loki losing his resolve resonates powerfully. Even though I feel the film and Jackman often try a little too hard to emotionally charge the film, Gyllenhaal actually handles this much better by taking his more reflective approach. When Gyllenhaal brings the big emotions out you real feel them because he always does it at the right time, and in the right way.
I suppose one thing I should quickly mention is that Gyllenhaal plays Loki as man with a tic where he will blink a lot. It really is not an essential part of his character or anything, but I'll say it reminded me of someone I know who blinks just that way, so good job Gyllenhaal although I don't know if it was particularly necessary. Anyway Gyllenhaal easily is the best thing about the film and managed to amplify every scene of the film he is in through his realistic depiction of the full weight of one detectives investigation into a horrible crime. When I think of the strength of his performance the first scene I think of is Detective Loki's rush to the hospital at the end of the film, I found that a thrilling moment, the direction and music of course was well done, but what really kept me in the scene was Gyllenhaal's fierce portrayal of what Loki is going through both physically and mentally.
Sunday, 9 February 2014
Alternate Best Actor 2013
Jake Gyllenhaal in Prisoners
Tom Hanks in Captain Phillips
James McAvoy in Filth
Oscar Isaac in Inside Llewyn Davis
Joaquin Phoenix in Her
Saturday, 21 April 2012
Best Supporting Actor 2005: Results
Ed Harris in A History of Violence
Mickey Rourke in Sin City
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