Showing posts with label Mads Mikkelsen. Show all posts
Showing posts with label Mads Mikkelsen. Show all posts

Saturday, 13 December 2025

Alternate Best Actor 2004: Results

 9. Gael García Bernal in The Motorcycle Diaries - Creates a striking portrait of a man finding his path, convincing as a man but also granting the traits that would create the myth essentially. 

Best Scene: "Political Speech"
8. Irrfan Khan in Maqbool - Gives a captivating take on the oft played character even if the adaptation makes it all in a bit of a rush. 

Best Scene: Making his final decision. 
7. Christian Bale in The Machinist - Bale gives a compelling depiction of the character's mental anguish within his often noted physical transformation. 

Best Scene: Paranoid outburst
6. Shah Rukh Khan in Swades - Khan gives a properly charismatic and moving portrayal of a man finding his path in life. 

Best Scene: Entertaining during a power outage. 
5. Mads Mikkelsen in Pusher II - Mikkelsen gives a moving portrayal of man going from a thug looking for acceptance towards attempting to find a better life through self-improvement. 

Best Scene: Learning about his son.
4. Yuya Yagira in Nobody Knows - Yagira gives a wholly honest portrayal of both the enforced responsibility of an adult and the frustrated boy within. 

Best Scene: Confronting his mom
3. Bill Murray in The Life Aquatic With Steve Zissou - Murray on the surface gives a very funny Bill Murray deadpan performance, but at the same time a powerful portrayal of a man coming to terms with his mortality. 

Best Scene: "I wonder if he remembers me".
2. Tony Leung in 2046 - Leung delivers a great follow-up performance because he successfully expands the role but also powerfully never loses the strength of his original work, by presenting a man still ever haunted however has to continue to live on.

Best Scene: Rejecting Bai Ling.
1. Paddy Considine in Dead Man's Shoes - Good predictions Luke, Jonathan, Tony, Perfectionist, Lucas, A, Harris, Brazinterma, Omar, Tahmeed & RatedRStar. Despite being the theoretical "hero" Considine delivers an absolutely terrifying but also deeply emotional portrayal of a man with a single unrelenting focus. 

Best Scene: His "Party".

Next: Backlog

Thursday, 2 October 2025

Alternate Best Actor 2004: Mads Mikkelsen in Pusher II

Mads Mikkelsen did not receive an Oscar nomination for portraying Tonny in Pusher II. 

Pusher II is a unique sequel that changes protagonists to one of the supporting characters from the first film, while also including other key characters from that film. 

The great Mads Mikkelsen was that supporting character in the first film and honestly the standout, albeit very briefly, in that film as the joyful and manic buddy of the main character, who leaves poor Tonny beaten. We jump into Tonny’s story within prison where he is awaiting release and we see a very different man from the one we saw in the original film. Mikkelsen however did not forget how to play Tonny rather what we sense is the experience of life on his character and his performance here being a natural extension of that. The signs of the more manic Tonny are in and around moments in Mikkelsen’s performance, as when he gets excited in the few moments that he is allowed of that, we see that same zest for life with perhaps foolishness in so firmly buying into the notion for a moment, such as when we see Tonny steal a car thinking it will be an impressive act. Beyond that however we see a man having gotten more than a few lessons from life, someone who most certainly was beaten by his best friend and has spent a few years in prison. Mikkelsen wears this history within him from his opening scene, where there’s the glint of an old smile but even that is something quickly drifting off when faced with the reality of his life. 

We follow Tonny as he leaves prison and attempts to reconnect with his small-time crime boss father the duke. A scene that is all about Mikkelsen’s performance in creating the relationship between Tonny and his dad. As when he comes in Mikkelsen brings a combination between a certain shyness, shame but also an eagerness. Mikkelsen shows Tonny wanting to connect with his father, but you also see the weight of a lack of connection. Something that becomes very clear as his father almost immediately begins to disregard Tonny and only halfheartedly takes on his own son as one of his men to commit crimes. Mikkelsen is fantastic in the way he so easily brings us into the headspace of Tonny in these interactions. Mikkelsen brings so much internalized pain in just every glance of hoping for any kind of approval, the eagerness to try to speak towards him with warmth, but a downturned brow that repeatedly emphasizes a man who has learned only to be a disappointment. Mikkelsen shows us the landscape of the man just eking out not just a living but really the life of a son as his dad allows him to be near him, however even that the dad treats as an inconvenience barely even a duty. 

As the film progresses we see Tonny work the menial jobs, within the criminal organization, which include a robbery where in the getaway Tonny doesn't even get a seat in the car, just the trunk. Mikkelsen in these moments brings such a sadness to it that really amplifies because as much as we see the little smiles outwardly towards his dad these are between the quiet frustrations. Mikkelsen makes it much more heartbreaking because you see that Tonny does understand what is going on yet so much wants to hold onto any idea that his father will be a good man throughout these moments. Mikkelsen’s eyes showing someone looking for those moments only to have them dashed again and again, where Mikkelsen brings such power in showing the glint of hope fading as frustrations mount. Something that is exacerbated as his father not only continues to mistreat Tonny, he also shows constant favor towards Tonny’s younger half brother, as essentially the son that he always wanted in comparison to the obligation of Tonny. 

Speaking of father and sons, the most poignant element of the film is as Tonny is confronted by his old girlfriend that he has a son of his own. Although her presentation of this is with as little warmth as possible as she is very direct in just wanting the child support from him. Mikkelsen is great in portraying the initial reaction as surprise with maybe a small bit of frustration however within it you can see a quiet urge towards someone finding more within looking at his son. Something that expands in each subsequent interaction where Mikkelsen with such modesty yet power reveals the best of Tonny as he spends time with his infant son. There’s a growing warmth in Mikkelsen but also his presence suddenly exudes a greater maturity and even satisfaction in these moments. You see a man who has any kind of real purpose that isn’t just trying to impress his father. Tonny however still lives in a toxic world, which includes his son’s mother who also is a drug addict and at times reveals herself to be as careless as anyone else. The later scenes of the film become the natural revelation to what Mikkelsen has expressed within his work for the rest of the film. His journey with his father leads only his father to make a truly wretched request for Tonny to murder a woman. Tonny initially agrees to which Mikkelsen presents as the most desperate last ditch effort to please his dad, even though in his eyes undercutting any notion that he can go through it. Something we see reflected when he goes to the woman and Mikkelsen’s terrific in playing the immediate anxiety within himself that leads him to egress from the scene leading to a confrontation with his father. A scene where Mikkelsen delivers the rage of Tonny so convincingly of not just the moment of rejecting the heinous act but the years of being put down as a lesser son. We see the same in regards to his son with two different acts. The first being Tonny doing what he knows, and Mikkelsen effectively plays it with the raw visceral energy of a man in a violent world when he lashes out at his son’s mother for doing drugs instead of minding their son. His reaction is the same violence he knows with Mikkelsen emphasizing that lack of thought. His final act though is different, although the good intention is there for both in caring for his son, the second it isn’t violence just taking his son out of the environment. A silence sequence where the emotion is potent just in Mikkelsen’s reactions throughout shows Lonny not only being a father, showing warmth and care, but also in his eyes there is also being a man without violence quietly embracing the potential for something better. What can one say but yes Mads Mikkelsen is terrific once again. Finding all the nuance in the role and naturalizing realizing the humanity of the violent “thug”.  

Saturday, 13 September 2025

Alternate Best Actor 2004

 And the Nominees Were Not:

Al Pacino in The Merchant of Venice

Christian Bale in The Machinist

Gael García Bernal in The Motorcycle Diaries

Mads Mikkelsen in Pusher II

Paddy Considine in Dead Man's Shoes

nor

Irrfan Khan in Maqbool

Tony Leung Chiu Wai in 2046

Yuya Yagira in Nobody Knows

Shah Rukh Khan in Swades

Bill Murray in The Life Aquatic With Steve Zissou

Predict either set or both.

And an out of competition review of Daniel Brühl in The Edukators.

Sunday, 25 February 2024

Alternate Best Actor 2023: Results

10. Mads Mikkelsen in The Promised Land - Mikkelsen is ideal for the "western" lead here, playing stoic strength with ease, but then making such an impact as he reveals the hidden depths of the character. 

Best Scene: Reunion with Anmai. 
9. Michael Fassbender in The Killer - Fassbender covertly gives a hilarious portrayal of a man who believes himself to be the perfect assassin but is far from that. 

Best Scene: Poor estimate. 
8. Sōya Kurokawa in Monster - Kurokawa gives a dynamic portrait of the sides of the young boy we can't understand and slowly granting us that understanding with a real potent empathy. 

Best Scene: Playing it away. 
7. Charles Melton in May December - Melton seemingly is giving one performance as a man "content" in his existence and brings such a power to the crumbling away of that facade. 

Best Scene: Roof. 
6. Teo Yoo in Past Lives - Yoo gives a powerful though very subtle portrayal of the deep connections and romantic notions of a man who is separated by his love in more than one way. 

Best Scene: Bar.
5. Glenn Howerton in Blackberry - Howerton gives one of the most entertaining performances of the year by going all in portraying a business shark without a hint of shame. 

Best Scene: Doing it all in one day. 
4. Zac Efron in The Iron Claw - Efron gives a powerful portrayal of relatively simple man bottling up his emotions until they finally pour out. 

Best Scene: "I used to be a brother"
3. Andrew Scott in All of Us Strangers - Scott gives a heartbreaking portrayal of a man re-experiencing his grief and the complicated relationship with his parents in a most unusual way. 

Best Scene: Talk with dad.
2. Dominic Sessa in The Holdovers - Sessa gives an all time great debut, that avoids all the pitfalls of his role, while thriving in the risks he takes to give an entertaining and very moving performance. 

Best Scene: "I was going to say the same thing"
1. Kōji Yakusho in Perfect Days - Yakusho gives a perfect, often silent, performance that just embodies so much of the human experience, despite being also so very specific. 

Best Scene: Playing with shadows. 
Overall:
  1. Cillian Murphy in Oppenheimer
  2. Kōji Yakusho in Perfect Days
  3. Dominic Sessa in The Holdovers
  4. Andrew Scott in All of Us Strangers
  5. Paul Giamatti in The Holdovers
  6. Zac Efron in The Iron Claw
  7. Glenn Howerton in Blackberry
  8. Teo Yoo in Past Lives
  9. Charles Melton in May December
  10. Sōya Kurokawa in Monster - 5
  11. Michael Fassbender in The Killer
  12. Mads Mikkelsen in The Promised Land
  13. Benoît Magimel in The Taste of Things
  14. Manolo Solo in Close Your Eyes
  15. Eita Nagayama in Monster
  16. Jeffrey Wright in American Fiction
  17. Jason Clarke in The Caine Mutiny Court-Martial
  18. Nicolas Cage in Dream Scenario
  19. Joaquin Phoenix in Beau is Afraid
  20. Peter Sarsgaard in Memory
  21. Byung-hun Lee in Concrete Utopia
  22. Christopher Abbott in Sanctuary
  23. Song Kang-ho in Cobweb
  24. Jussi Vatanen in Fallen Leaves
  25. Joel Edgerton in Master Gardner
  26. Tom Blyth in The Hunger Games: The Ballad of Songbirds & Snakes
  27. Michael B. Jordan in Creed III - 4.5
  28. Enzo Vogrincic in Society of The Snow 
  29. Gael Garcia Bernal in Cassandro
  30. Alberto Ammann in Upon Entry
  31. Anthony Hopkins in One Life
  32. Chris Pine in Dungeons & Dragons: Honor Among Thieves
  33. Franz Rogowski in Passages
  34. Harris Dickinson in Scrapper
  35. Barry Keoghan in Saltburn
  36. Christian Friedel in The Zone of Interest
  37. Michael Caine in The Great Escaper
  38. Dave Bautista in Knock At the Cabin
  39. Seydou Sarr in Io Capitano
  40. Riz Ahmed in Fingernails
  41. Alexander Skarsgård in Infinity Pool
  42. Soma Santoki in The Boy and the Heron
  43. Jay Baruchel in Blackberry
  44. Deniz Celiloğlu in About Dry Grasses
  45. Colman Domingo in Rustin 
  46. Thomas Schubert in Afire
  47. David Jonsson in Rye Lane
  48. Chris Pratt in Guardians of the Galaxy Vol. 3 
  49. Saleh Bakri in The Blue Caftan
  50. Shameik Moore in Spider-man: Across The Spider-Verse
  51. Tobias Menzies in You Hurt My Feelings
  52. Kelvin Harrison Jr. in Chevalier 
  53. Benedict Cumberbatch in The Wonderful World of Henry Sugar
  54. Paul Dano in Dumb Money
  55. Tom Cruise in Mission Impossible: Dead Reckoning - 4
  56. Taron Egerton in Tetris  
  57. Jake Lacy in The Caine Mutiny Court-Martial
  58. Johnny Flynn in One Life
  59. Keanu Reeves in John Wick Chapter 4 
  60. Nicolas Cantu in Teenage Mutant Ninja Turtles: Mutant Mayhem
  61. Brady Noon in Teenage Mutant Ninja Turtles: Mutant Mayhem
  62. Shamon Brown Jr. in Teenage Mutant Ninja Turtles: Mutant Mayhem
  63. Micah Abbey in Teenage Mutant Ninja Turtles: Mutant Mayhem
  64. Mamoudou Athie in Elemental
  65. Matt Damon in Air 
  66. Michael Fassbender in Next Goal Wins
  67. Kenneth Branagh in A Haunting in Venice
  68. Corey Hawkins in The Last Voyage of the Demeter
  69. Jorma Tommila in Sisu
  70. Park Seo-joon in Concrete Utopia
  71. Ralph Fiennes in Ratcatcher
  72. Timothee Chalamet in Wonka
  73. Jaime Vadell in El Conde
  74. John Boyega in They Cloned Tyrone 
  75. Adam Driver in Ferrari - 3.5
  76. Joaquin Phoenix in Napoleon
  77. Ryunosuke Kamiki in Godzilla Minus One
  78. Ethan Hwang in Riceboy Sleeps
  79. Dohyun Noel Hwang in Riceboy Sleeps
  80. Zachary Levi in Chicken Run: Rise of the Nuggets
  81. Denzel Washington in The Equalizer 3
  82. Joel Edgerton in The Boys in the Boat
  83. Paul Rudd in Ant-Man & The Wasp: Quantumania 
  84. Ezra Miller in The Flash - 3
  85. Jason Schwartzman in Asteroid City
  86. Harrison Ford in Indiana Jones and the Dial of Destiny
  87. Vin Diesel in Fast X 
  88. Rupert Friend in The Swan - 2.5
  89. Leonardo DiCaprio in Killers of the Flower Moon
  90. Ben Aldridge in Knock At the Cabin
  91. Michael A. Goorjian in Amerikatsi
  92. Callum Turner in The Boys in the Boat
  93. John David Washington in The Creator - 2
  94. Bradley Cooper in Maestro - 1.5
  95. Charlie Day in Fool's Paradise 
  96. Ken Jeong in Fool's Paradise - 1
Next: 1945 lead, though will be on break until the Oscars. 

Thursday, 15 February 2024

Alternate Best Actor 2023: Mads Mikkelsen in The Promised Land

Mads Mikkelsen did not receive an Oscar nomination for portraying Ludvig Kahlen in The Promised Land.

The Promised Land follows a retired Danish soldier as he attempts to cultivate land on the barren Jutland, while also facing antagonism from a local landlord.
 
Mads Mikkelsen shall ever be the face of the consistent failure of Hollywood to properly utilize non-American actors after apparently noticing their talent through their films from their home country, yet always casting them as "villain". Mikkelsen is such an actor consistently in the same year where he had to play another tired villain role in Indiana Jones, thankfully we had his performance in this film to show off his talents once again. Mikkelsen's performance is taking upon the role of the western hero in so many ways, even if the film takes place in Denmark, how the film approaches this very much begins as you might expect an old Confederate or Union soldier going west to try to make a home for himself. Mikkelsen naturally eases right into such a role, as there are few better actors to portray stoicism, though the key here is that he's not really as stoic as he may seem. Regardless Mikkelsen's commanding presence immediately grants us the sense of this man as a dangerous soldier with a great deal of will behind his intention to try to settle what everyone believes to be the barren Jutland. Mikkelsen's ask in the Danish court for the plot of land is with a steely eyed determination that you immediately sense the power of the personality of his Kahlen and is innately captivating to watch be our hero for this tale of trying to turn seemingly the nothing of the Jutland into something worthwhile. 

Mikkelsen comes into the scene as the western hero quite purely with just that tremendous presence of his that exudes strength and an understated intelligence. We see as he's surveying land just that intention in his eyes of the man who will be this force of nature as he goes about making sure he grows his potatoes and can claim the land as his own. On the way he encounters some potential allies via some traveling Romani, a priest, some debtors to a local landlord, and initially we see Kahlen as he treats the people with a certain distance. Mikkelsen brings the calm strength of the man who examines each for their potential, doing so much with his eyes in every scene showing the calculation of Kahlen as he analyzes what he might or might not be able to do with each person for help or perhaps not. As one of his first acts is to kill a Romani bandit who tries to rob him, which Mikkelsen shows as the most innate of reflexes of a man who has very much learned to survive. Mikkelsen is captivating as the great heroes of a few words should be as he always suggests so much thought just as he so rarely says too much, and never are you not drawn into his sphere. Mikkelsen, here being just such a magnetic performer that makes it so easy for you to want to go along with Kahlan's journey and in some way by doing this making you a bit of a co-conspirator in a way. 

Kahlen soon finding the need for allies as he comes into conflict with the local land lord Frederik de Schinkel (Simon Bennebjerg) who is one of the most immediately hateable villains around, who wants him to give up all claims and let him have the wasteland back to himself. Mikkelsen of course is so naturally calm, cool and for the lack of a better word, badass in each and every interaction between the two men. As Mikkelsen just stares through him portraying the complete lack of fear and even more so the withdrawn yet extremely palatable intensity of the man who is in no way deterred from the man's threats. Regardless we see that Kahlen must take on a few allies, by listening to the priest's advice and taking on the debtors, including the eventually widowed Ann Barbara (Amanda Collin) and even the orphaned Romani Animai Mus (Melina Hagberg). Where Mikkelsen brings just this begrudging manner in their interactions in his blunt acts of direct transitional choices between each and emphasizing that for him it is a point of necessity. Now one should probably be able to guess where this is going, but as always, who cares, if you do it well. And that's the case and really why Mikkelsen is such an under-exploited actor in America, because of the ease in which he can deliver real nuance to a character, particularly here as we see him challenged within his state as the stoic man.

As much as Mikkelsen excels as the cool badass, what makes him a great actor is what else he's able to do, and every opportunity he has to do more, he absolutely makes the most of it. Sometimes even a relatively brief scene where an heiress takes a liking to him as an alternative to the disgusting de Schinkel, in the romantic scene where Mikkelsen is great because he actually plays it a little awkwardly. He is of course charismatic in his way, but Mikkelsen's good in his subdued reactions in showing that the advances of the woman aren't something he was entirely prepared for, even if he is more than willing to accept them. With Animai and Ann Barbara though we slowly see the trio become an unlikely family, something that works because of just how good Mikkelsen is in his performance. As the gradual just bits of cracks we see in his stoic frame, where we see genuine excitement or happiness in his interactions are tremendous. Mikkelsen earned every bit of thawing of his heart and really just getting to see how great Mikkelsen can be in crafting each relationship so naturally. His relationship with Barbara goes from slight tension, to an uneasy alliance, to a romance of convenience, towards something genuine and Mikkelsen in the margins earns each step with ease. Mikkelsen making it just honest even as it is so bluntly direct, it feels always just right, because there is only truth in Mikkelsen's work.
 
My favorite aspect though is his chemistry with Hagberg, and the often seemingly cold or portrayed scary Mikkelsen, brings so much heart as we see Kahlen embrace the young girl as his daughter. Mikkelsen brings the tenderness in the hints of his performance which are so much more poignant because of how truly tough he makes his frame. Take the moment where he nurses her after being poisoned and Mikkelsen's just glint of near smiles are so heartwarming coming from him. The moment where he sends her away per request of potential allies, as she's seen as a bad omen, Mikkelsen's hesitation is subtle yet potent in his eyes showing the real anguish as he tries to maintain his stoicism though we see it fading with this relationship. Making then his eventual reunion is so earnestly heartfelt as Mikkelsen reveals the most emotion in the embrace. Mikkelsen making it such a tremendous moment because the tenderness out of his cold exterior, and we see such a genuine connection in his performance, while an expected transition, the emotion in it wholly works because of the performances. Mikkelsen does indeed make this performance look easy, but that just speaks to his incredible talent. As he always amplifies every moment, as when things go wrong for Kahlen, the intensity of his emotion as he sees a friend killed, you feel it in his reaction of rage and in that the real meaning all of this has had for him now. And when it seems like he's been gotten the better of, despite being such a formidable hero, Mikkelsen's portrayal of the very real low point isn't at all hidden bringing such a visceral power to his physical and emotional wounds as he suffers de Schinkel's cruelties. By doing so, giving real stakes and making Kahlen a hero who does bleed as tough as Mikkelsen also makes him. A hero who is so easy to follow through, again, this western type story just in a different setting, but unlike The Salvation (which frankly has slightly better English language use of Mikkelsen than many films),  we get a fully developed character here. One that allows Mikkelsen the time to give real nuance to this hero, while also just creating the proper protagonist we won't see thrive and survive his difficult quest. Yet another performance from Mikkelsen that shows his great range, his subtle nuance and powerful presence. I mean I'm just glad he keeps working in Denmark where his full talent is appreciated, meanwhile in Hollywood, I'm sure they'll cast him in a role equal to his talents....any time now....eh probably not.

Saturday, 10 February 2024

Alternate Best Actor 2023

And the Nominees Were Not:

Koji Yakusho in Perfect Days
 
Charles Melton in May December
 
Andrew Scott in All of Us Strangers
 
Zac Efron in The Iron Claw
 
Dominic Sessa in The Holdovers
 
Predict Those Five, These Five or Both:

Michael Fassbender in The Killer
 
Glenn Howerton in Blackberry
 
Teo Yoo in Past Lives
 
Sōya Kurokawa in Monster
 
Mads Mikkelsen in The Promised Land

Monday, 29 March 2021

Alternate Best Actor 2020: Results

5. Dev Patel in The Personal History of David Copperfield - Patel meets the challenge of making an often bland protagonist engaging, and delivers an absolutely winning turn.

Best Scene: Any imitation.
4. Kingsley Ben-Adir in One Night In Miami - Ben-Adir gives a remarkable portrayal of Malcolm X that delivers the specific power of the man, but also wonderfully humanizing him. 

Best Scene: Reaction to "Change Gonna Come".
3. Mark Rylance in Waiting For the Barbarians - Rylance brings his unique abilities as a performer once again, making such a striking impression of quiet and earnest humanity in a world of cruelty.

Best Scene: Final confrontation with the Colonel and his dog.
2. Mads Mikkelsen in Another Round - Mikkelsen gives a brilliant performance this in so powerful in showing the unlikely progression of a man to finding his joy of life again, through drink, but eventually through self-discovery and moderation.

Best Scene: The Dance.
1. Delroy Lindo in Da 5 Bloods - Good prediction Michael McCarthy. As much as I adore Mikkelsen and greatly prefer his film, I can't deny the achievement of Delroy Lindo here. His work simply is stunning from the first minute in creating such a complex and powerful portrayal of a man struggling to face his demons after so many years. Although even more notable is the fact that he isn't even my win, which speaks to the strength of this year (any year is amazing when Steven Yeun in Minari can't make it into a top five), and the strength of my winner, who I think gives one of the greatest performances ever given (a line delivering the same opinion was removed from my original Hopkins review for the sake of suspense).

Best Scene: Mad in the jungle.
Overall Ranking:
  1. Anthony Hopkins in The Father
  2. Delroy Lindo in Da 5 Bloods
  3. Mads Mikkelsen in Another Round
  4. Riz Ahmed in Sound of Metal
  5. Chadwick Boseman in Ma Rainey's Black Bottom
  6. Steven Yeun in Minari
  7. Hugh Jackman in Bad Education
  8. Mark Rylance in Waiting for the Barbarians
  9. Gary Oldman in Mank - 5
  10. Byung-hun Lee in The Man Standing Next 
  11. Kingsley Ben-Adir in One Night in Miami
  12. Dev Patel in The Personal History of David Copperfield 
  13. Sope Dirisu in His House
  14. George MacKay in True History of the Kelly Gang
  15. Jesse Plemons in I'm Thinking of Ending Things 
  16. Cosmo Jarvis in Calm With Horses
  17. Leslie Odom Jr. in One Night in Miami
  18. John Boyega in Red, White and Blue 
  19. Shaun Parkes in Mangrove - 4.5
  20. Adam Brody in The Kid Detective
  21. Ibrahima Gueye in The Life Ahead
  22. Jamie Foxx in Soul
  23. Andy Samberg in Palm Springs
  24. Charles Dance in Fanny Lye Deliver'd 
  25. Orion Lee in First Cow
  26. John Magaro in First Cow
  27. Sacha Baron Cohen in Borat Subsequent Moviefilm
  28. Rob Morgan in Bull
  29. Lance Henriksen in Falling
  30. Franz Rogowski in Undine
  31. Tom Holland in The Devil All the Time
  32. Clarke Peters in Da 5 Bloods 
  33. Jude Law in The Nest 
  34. Kevin Costner in Let Him Go
  35. Bill Murray in On The Rocks 
  36. Tom Hanks in News of the World
  37. Dylan O'Brien in Love and Monsters
  38. Nicolas Cage in Color Out of Space
  39. Ben Affleck in The Way Back 
  40. Christopher Abbott in Possessor
  41. Sheyi Cole in Alex Wheatle
  42. Alan Kim in Minari - 4
  43. Alex Winter in Bill and Ted Face the Music
  44. Keanu Reeves in Bill and Ted Face the Music
  45. Welket Bungue in Berlin Alexanderplatz
  46. Michael Angelo Covino in The Climb
  47. John David Washington in Tenet
  48. Toby Wallace in Babyteeth 
  49. George Clooney in Midnight Sky 
  50. Jesse Eisenberg in Resistance
  51. Chris Pratt in Onward
  52. Tom Holland in Onward 
  53. Kenyah Sandy in Education
  54. Lucas Jaye in Driveways 
  55. Ethan Hawke in Tesla 
  56. Claes Bang in The Burnt Orange Heresy
  57. Tom Hanks in Greyhound 
  58. Shia LaBeouf in Pieces of a Woman 
  59. Ivan Trojan in Charlatan - 3.5
  60. Kyle Marvin in The Climb
  61. Nicholas Hoult in The Banker
  62. Anthony Mackie in The Banker
  63. Samuel L. Jackson in The Banker
  64. Juan Daniel Garcia Treviño in I'm No Longer Here
  65. Rouhollah Zamani in Sun Children
  66. Nnamdi Asomugha in Sylvie's Love
  67. Bakary Koné in Night of the Kings
  68. Pete Davidson in The King of Staten Island 
  69. Sam Rockwell in The One and Only Ivan 
  70. Daniel Radcliffe in Escape From Pretoria
  71. Chris Hemsworth in Extraction
  72. Viggo Mortensen in Falling 
  73. Will Smith in Bad Boys For Life - 3
  74. Daniel Webber in Escape from Pretoria
  75. Vin Diesel in Bloodshot
  76. Freddie Fox in Fanny Lye Deliver'd
  77. Paul Bettany in Uncle Frank
  78. Matthew McConaughey in The Gentlemen
  79. Steve Carell in Irresistible 
  80. Jim Parsons in The Boys in the Band
  81. Henry Golding in Monsoon 
  82. Sebastian Stan in The Last Full Measure
  83. Jahzir Kadeem Bruno in The Witches
  84. Ben Schwartz in Sonic The Hedgehog - 2.5
  85. James Marsden in Sonic The Hedgehog  
  86. Chris Rock in The Witches
  87. Bryan Cranston in The One and Only Ivan
  88. Tom Hardy in Capone 
  89. Martin Lawrence in Bad Boys For Life - 2
  90. Armie Hammer in Rebecca - 1.5 
  91. James Corden in The Prom
  92. Gabriel Basso in Hillbilly Elegy 
  93. Owen Asztalos in Hillbilly Elegy - 1
Next Year: 2020 alternate supporting

Alternate Best Actor 2020: Mads Mikkelsen in Another Round

Mads Mikkelsen did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Martin in Another Round.

Another Round is a brilliant film about 4 teacher friends who decide to increase their daytime alcoholic consumption in a "science experiment". 

This film marks the return of the collaboration between director Thomas Vinterberg and Mads Mikkelsen, which if they do this a few more times they could become one of the all time great actor/director combos. Anyway, like their brilliant The Hunt, we follow Mikkelsen as a teacher going through a rather different situation, though this one far more pleasant by just any measure for his character. His character here, though once again an average teacher, is quite a bit different particularly in the execution of it by Mikkelsen. We actually open here in the midst of Mikkelsen giving one of his least charismatic performances. This is notable as Mikkelsen makes an impression pretty easily, but this is entirely within the intention of this performance. This as Mikkelsen gives an extremely realistic portrayal of a man stuck in a rut. We see him at school where he delivers his lesson with at best a minor disinterest. His delivery is just fumbling around and his whole manner is just a bored man. At home Mikkelsen shows Martin as just passively existing. Speaking to his wife Anika (Maria Bonnevie), who is working a suspicious amount of night shifts, and his family, he barely even looks at them. He rather just is looking down and just going truly through the motions with every word. There is no excitement within his Martin or in any way around, he's just going through what he thinks is his life at this point, without a real hint of enthusiasm towards it. 

We get but a minor reprieve as he celebrates one of his friend's birthday, with his 3 other coworker/teacher friends, Peter (Lars Ranthe), Nikolaj (Magnus Millang), and his oldest friend Tommy (Thomas Bo Larsen). There's just a glint of happiness upon his expression that Mikkelsen suggests in his interactions with his friends albeit minor. We do get a great hint of their chemistry as Mikkelsen speaks so truthfully in his quiet delivery of the man speaking of his insecurities regarding his relationship with his wife. Mikkelsen just delivers as this pondering thought of a man even too distant to even think anything more on the idea. I love though the chemistry here, which is an essential, brilliant, factor throughout the film, between the four actors. The sense of concern of the other men as Martin speaks these words is truly heartwarming, and the men try to take his mind off it, by changing the subject and actually having some fun. This leading to the discussion of a theory that everyone should have a degree of alcohol in their system for the benefit of mankind, leading Martin to finally join in his friends' drinking. Mikkelsen is terrific in the way we see him just easing up a bit of the man's tensions and starting to actually have some fun with the other guys. This something the film excels with as the sense of friendship feels absolutely authentic, and you feel as though you as the viewer are just hanging out with these guys. This as they create the sense of camaraderie in their interactions, and the as important sense of the fun they have together in this night. 

After this time we follow Martin as he begins to drink at work. Mikkelsen portraying initially this certain mischievousness in it, this kind of "Why not" that seems natural to the man in such a desperate kind of boredom and disinterest. Mikkelsen is wonderful in portraying this level of drunkenness that suddenly carries a sharper smile and just general affability. This leading the four friends to come up with a plan to start drinking during work as a kind of science experiment to see if it will improve their lives. Most films, dramas at least, about alcohol take a wholly negative view of its implications, this film is rare as it doesn't mind showing some positive effects of this experiment. This as Mikkelsen reveals perhaps the old Martin as the now inebriated man takes on his class. Now Mikkelsen unleashes his full charisma in a lesson where he is not only loving the experience everyone else is taking to it as well. Mikkelsen's performance is infectious in the energy he brings, and shows in this moment someone absolutely loving his job. There is such a joy in his teaching that it is hard not to feel everything that Martin is feeling. Mikkelsen making it so pure in this sense and just creating the real sense of the man breaking from that claustrophobic state of mind. We follow this with Martin at home as well, where Mikkelsen just shows a man so happy to talk with his wife, his family, and just creates this endearing sense of man truly grasping what he has rather than taking it for granted. Mikkelsen so powerfully realizing the joys of life, in his performance that captures it so perfectly. 

We follow then as each of the men continue to drink, and while there are some minor set backs here and there, the successes of the four seem real at first. This amplified by the performances of all four actors. This as each create such an empathy for each situation, but also create the sense of the group's joy of togetherness. We see the moments of them supporting each other, which are truly moving. This in just even the way the actors move as a group, you get the love and warmth of every interaction, to the point it is hard not to want to hang around with these guys, with the joy they exude. We see though the process of this, as positive as it is at first, begins to exhibit some less positive effects. What's great is the balance within the performances of showing this particular descent, mush like a night of drinking where one maybe says "Another Round" one too many times. This as we do get that sense of fun at first even as those around the men becomes suspicious of their activity or at least question it. The longer this goes the sloppier all the men get within this regard. This as we see their lax standards and even intentions in a certain sense. They are still having a good time, however it is becoming more insular and quite frankly less appealing after a certain point. This suggesting all the men kind of losing the perspective on the whole situation and we see the possibility of true alcoholism developing. This as the drinking appears to be taking over beyond themselves, and all four are great in just showing this process so naturally. It is never all at once, as they avoid easy melodrama to present it as a natural progression, or perhaps better described as degradation. 

In terms of Martin's personal degradation we see, after the period of betterment with his family, the fall from it as his wife confronts him over his seeming alcoholism but also just the period of a man who was no longer present. Mikkelsen is downright amazing in this scene as he is one of the greatest performers in terms of turning on desperate and pained emotion so quickly, naturally and potently. This as his reaction as Martin asks his wife if she is having an affair, speaks towards such a terrible anxiety in the man, and shows so effectively the sheer desperation that grips the man once he considers this possibility. After this point we see Martin going along with the other guys, however even the drinking now seems to bring little to the man in terms of joy. There being a particularly wonderful moment where Martin visits Tommy, the latter whom basically encourages Martin to try to fix things with his wife, and to avoid Tommy's fate as basically a lonely bachelor. The chemistry between the two is next level this as you sense such authenticity in this moment of the two speaking with a simple honesty to one another. The near alcoholic diagnosis leading to eventually for the men to enter a period of sobriety. This though in the film presenting really the need of Martin to basically have broken out of the wall he created for himself, however while alcohol aided in this, it was really the break that was more essential then anything. Mikkelsen then offers basically what the film seems to be suggesting, which is a need for moderation more than anything in life. This as Mikkelsen shows a man who is no longer just getting by being drunk, but now seems to have a sense of himself and those around him. 

We have a beautiful moment where Martin visits with his wife after they have separated. Where his wife thinks they're done, Mikkelsen brings so much tenderness within his gentle way of speaking for the two of them having another chance. Mikkelsen showing a man pushing himself outward and trying to truly connect with his wife again. We follow that as the downtrodden Tommy dies, having been unable to give up the alcohol, and Mikkelsen's reaction to the news is truly moving in showing the simple sadness that overtakes Martin in remembering his friend. Now it is here perhaps where the film becomes such a favorite of mine, as it achieves kind of the It's a Wonderful Life. This film finds a similar kind of path there, by creating a truly bittersweet ending. The film ends on an uplifting note, however you real feel the trials that got us there. The particular path earning that happiness, and a major reason why being Mikkelsen's performance. His performance that brings forth this genuine exploration of a man really examining and coming back to his life, having another round, after having fallen into the doldrums. I'll admit I was practically cheering when Martin finally gets a text from his wife suggesting the potential for them to rekindle their romance, this as Mikkelsen's work so truthfully just presented the intimate details of this kind of unlikely path to redemption. As heartwarming as that moment is, it is nothing compared to the glorious climax of the film. This as the three men go from mourning Tommy to celebrating with their students who successfully graduated from school. This leading to Martin, who was said to have a background in dancing, to finally cut a rug within the large celebration on a pier. Now I didn't know this, but I need Mads Mikkelsen to dance at the end of every single on of his films. This as it is just an amazing display here as he shows a man so fully embracing life now in every step that is this perfect combination of drunken manner and precise movements. Mikkelsen in this though showing a man finding balance, and wholly jumping head first into where life will lead him. I adore every second of this performance. This as he creates such an empathetic and tangible portrayal of this unlikely journey of his Martin. He simply lets us meet Martin, his friends, and lead us with them through all their pains but also all their joys.

Wednesday, 24 March 2021

Alternate Best Actor 2020

And the Nominees Were Not:

Mads Mikkelsen in Another Round
 
Kingsley Ben-Adir in One Night in Miami
 
Mark Rylance in Waiting for the Barbarians
 
Dev Patel in The Personal History of David Copperfield
 
Delroy Lindo in Da Five Bloods

Saturday, 15 August 2020

Alternate Best Actor 2002: Mads Mikkelsen in Open Hearts

Mads Mikkelsen did not receive an Oscar nomination for portraying Niels in Open Hearts.

Opens Hearts tells the intertwined lives of two couples created after an accident.

Well in a bit of a reworking of this year's lineup I've decided to hold off on Timothy Spall's work in All or Nothing, where I have to describe him as supporting for the said to supporting work of Mikkelsen here, who I must describe as lead. This is while the film gives time for all four parties, that is those being cheated on and the adulterers, the latter is the focus, with Mikkelsen's doctor almost taking the major focus later on in the film. Anyway I think this can continue off my review of Hiroyuki Sanada's work, as Mikkelsen is another actor somewhat wasted in the world of Hollywood, not to the extent of the former, but still notable. I think this falls into the unfortunate Hollywood mentality where apparently if you have a European accent you must be evil. This unfortunately doesn't give Mikkelsen enough of a chance to show of his ability in multiple types of roles, such as this fairly low key one here. This in playing the doctor to, and husband of the person who ran over, a man Joachim who becomes bitter as a tetraplegic. In turn he meets the man's financee Cecile (Sonja Richter), whom he takes a liking to. This being an example of Mikkelsen excelling as the normal man. This in portraying initially just this general likability within the films purposefully overtly reality based style. Mikkelsen thrives in this normalcy in presenting just an ease onscreen and in particular an earnest charm that is never too much but importantly never too little in making the doctor just a sympathetic man.

The man though that falls into an affair with Cecile which Mikkelsen excels in portraying in avoiding extreme cliche. This in presenting the man just naturally coming together with her in the moment, and portraying the complexity after their initial tryst. This in the shyness he brings as he speaks that it is the first time he has cheated on his wife, and captures in the moment his affection for the woman he just had sex with along with though the embarrassment for the betrayal of the situation. Mikkelsen's work is remarkable in how tangible he makes every element of the situation within his performance. This that he strictly ever avoids melodrama within Niels's manner at every point. This being entirely convincing in portraying the genuine moments of affection with Cecile, though being just honest and vulnerable as he is confronted by his wife. Mikkelsen is great in how much he downplays these moments in just showing in his reactions the man pulling within himself and accentuating the shame that overwhelms the man. My favorite scene of the film actually is after Niels moves out for some time from his family to be with Cecile though coming back to visit his kids for Christmas. Mikkelsen is outstanding in the scene because he very much articulates the difficultly of the situation within Niels, without forgetting a single complication. This in that he finds an a real warmth in his moments with his kids showing that Niels is genuinely loving towards them. This though even towards his wife though that captures the underlying tension that still exists.

This though when pressed about his affair, Mikkelsen is great in his expression that captures again the palatable shame of his existence. This though again not simplifying it as he shows a believable sense of the man living with that shame though evidently still of course pained by it when pressed to really look upon the duality of his life. This with the forces of his family he still cares about out against his affair that he's in part forgotten them for. Although the film does cover other facets of the situation the most compelling moments are consistently the depiction of Niels's failing marriage. A great deal of this is Mikkelsen's work that manages to so effortlessly create the reality of the situation. This finding artfully what can be found in the real degradation that is created within Niels as even the affair begins to struggle. Mikkelsen's work is heartbreaking in crafting every moment with just pure honesty of this normal man dealing with the harsh situation. This moment of lashing out against her, with just a distraught pain of a man realizing his mistakes as the "perfection" of the relationship falls apart. Mikkelsen crafts every moment of the man's reality that is potent with emotion yet never feels forced or inconsistent with overall design of the film. It again shows his great ability to portray just a normal man going through a difficult situation. Mikkelsen's work here is example of his incredible range which is rarely touched upon in this way in his international work. This in one of his greatest assets being his ability to portray such intimate vulnerability so potently.

Friday, 6 April 2018

Alternate Best Actor 2008: Results

10. Kim Yoon-seok in The Chaser - Kim gives a good performance in creating this conflicted state of a former detective turned pimp returning to his roots, yet the film lets down Kim by not granting enough time or importance to the development of this idea.

Best Scene: Final confrontation. 
9. Vincent Cassel in Mesrine - Cassel gives in the first part an effective, if ridiculously rushed, portrayal of the different facets leading towards the life of a gangster, then in the second part becoming the "legend" partially in truth, and partially as a purposefully grotesque creation of the man's purposeful making.

Best Scene: In seclusion/trial.
8. Mads Mikkelsen in Flame and Citron - Mikkelsen, as usual, gives a striking turn in realizing the convictions of a man fighting for a righteous cause, while also realizing the turmoil from the evil he must do to pursue this fight.

Best Scene: His final words.
7. Josh Brolin in W. - Brolin gives an entertaining performance that brings the best out of the more comedic elements of the satire, while also finding whatever nuance he can within the bit of complexity within the character.

Best Scene: Failed press conference.
6. Song Kang-ho in The Good The Bad The Weird - Song gives a very charismatic and appropriately off-beat turn that is properly fitting to his character's moniker while also creating a most unusual western hero for us to follow.

Best Scene: Tripping.
5. Chiwetel Ejiofor in Redbelt - Ejiofor gives a great performance that not only anchors the film through the sheer charisma of his presence, but also importantly grants any reality to the overly stylized dialogue as well as offering a very much needed consistency within the convoluted narrative.

Best Scene: Championship.
4. Jean Claude Van Damme in JCVD - Van Damme, who is not known for his acting ability, at least proves his ability to give a great performance in French as Jean Claude Van Damme through his amusing, yet also heartbreaking introspective turn.

Best Scene: "oos"
3. Sam Rockwell in Snow Angels - Rockwell gives a harrowing and heartbreaking performance that manages to humanizes the terrible descent of his character.

Best Scene: A moment of "clarity".
2. Philip Seymour Hoffman in Synecdoche, New York - Hoffman gives a fascinating turn here. He not only manages to tread so carefully within the film's tone, but also manages to give a deeply moving performance through this portrayal of a man who tries to make observation into his way of life.

Best Scene: Final scene with his daughter.
1. Johannes Krisch in Revanche - Good predictions Emi Grant, Michael McCarthy and Luke. Krisch gives an outstanding performance that subverts the usual tropes involved with a revenge narrative to realize a wholly atypical, yet absolutely harrowing portrayal of a man's journey involving facing hate, sorrow, and perhaps in the end finding forgiveness.

Best Scene: Revealing the truth.
Updated Overall

Next: 2008 Supporting

Thursday, 8 March 2018

Alternate Best Actor 2008: Mads Mikkelsen in Flame & Citron

Mads Mikkelsen did not receive an Oscar nomination for portraying Jørgen Haagen Schmith aka "Citron" in Flame & Citron.

Flame & Citron is a fairly effective historical thriller about two resistance fighters in Nazi occupied Denmark.

The film follows the titular men the first being the red haired "flame" Bent Faurschou Hviid (Thure Lindhardt) who specializes in assassinations meanwhile we also have Mikkelsen as Jørgen Haagen Schmith aka "Citron"who originally acts as his driver. The film focuses just a bit more on Hviid than it does Schmith though both men lead the story. This leaves though Schmith to make his impact in the story in somewhat brief scenes and often times in the margins of them. Thankfully this is helped by having Mads Mikkelsen in the role who is effortlessly captivating as always. Mikkelsen's strengths as an actor though are pivotal to the realization of Schmith in this film and his whole journey which while secondary in screentime is as important in the scheme of the film. That is in the opening of the film Schmith hasn't actually killed rather he has been an accomplice to Hviid's assassinations of Danish collaborators, and we only see his reactions during the act or afterwards. Mikkelsen is terrific in absorbing the emotion essentially by portraying this quiet distress in the man that realizes his internalized struggle even as the film does not focus upon it. Mikkelsen is able to convey the man who attempts to hide this state, as he also hides his acts as a resistance member, by creating this innate intensity into his work that effectively shows not only the man's own moral strife, but also the state found through his life in the shadows essentially.

Eventually Schmith is called upon to kill someone himself an act that he initially fails in the first time, and Mikkelsen conveys that devastation of the moment in his pained eyes. Mikkelsen though doesn't portray this as a rejection of the idea itself rather there is a combined fear of in part indecisiveness in himself, but also fear of taking that step that cannot be backtracked. After Schmith does kill Mikkelsen again is great in portraying this change in Schmith, largely again through reactions however he never seems vague. What again Mikkelsen does so well is change the expression of emotion, which is just as intense as ever as to be expected from Mikkelsen, however it is no longer of the very same nature. Mikkelsen instead chances his depiction to show the embracing of this emotion in an interesting way. Mikkelsen makes it as raw as it was before yet now he no longer portrays this cowering fear within these moments, but instead conveys a much stronger determination just through his physical presence that was initially retiring. Mikkelsen creates this sort of strength within the growing darkness the man is capable of as he goes about the killing. The killing which Mikkelsen does not grant a hint of sadism but rather as this expression of hatred. A very notable type of hatred though as Mikkelsen always portrays this with a certain anguish, not for the men he's going to kill, but rather in terms of the existence they have enforced upon him.

Again Mikkelsen is not always focused upon in any given scene however he is always captivating even when he is just a part of a scene. That is through how effectively he portrays the seething emotion that is a constant in Schmith. Unlike some of the other resistance members Schmith is in no way compromised in his motivations for the killings, in turn Mikkelsen makes this state of the man distinct in every scene. As in every interaction with those with a different tone in regards to their activities Mikkelsen presents so well the blunt attitude of the man set now into his life in the darkness and in that conveys the real wear of this idea. Mikkelsen shows essentially a man always ready to break down as he is able to embody this man who has allowed so much sadness within himself to the point it is the only thing that keeps him moving forward. There are a few scenes that are directly from Schmith's viewpoint which usually have to do with the man and his wife. Mikkelsen is great in these scenes by showing the man not at all at peace even when in the embrace of the family. He does express a definite warmth yet he funnels through that despondency that makes up the man's state of mind. In these scenes Mikkelsen is incredible in the way he offers this conditioned tenderness that unfortunately is almost this disturbing act that he depicts as a man reaching out for comfort yet doing it with such desperation it is hard to see the love within it. Mikkelsen carefully in these scenes shows that Schmith never escapes the demons in his mind but is rather all the more plagued by them as he has no way to exorcise them, ever briefly, through the killing.

A central conflict within the film though comes within the men going about their killing but only with so much information to determine those who are guilty and those who are not. In a moment where Hviid mentions they might have killed innocent people Mikkelsen is heartbreaking in his delivery of the most vulnerable Schmith who tries to silence the discussion. As he says essentially they have killed no one innocent, Mikkelsen is remarkable in creating that distress in every word and in his face of a man who needs to hide the truth lest it destroy his already nearly unbearable existence. Mikkelsen powerfully finds this conflict within his portrayal of Schmith particularly in the later scenes of the film such as one where they accidentally shoot a German child. There are few words left to the scene yet Mikkelsen honestly does not need them as his reaction of such subtle yet palatable horror of a man whose already seen so much sadly reveals the harrowing state of the man. A state that even while such an act clearly does effect him Mikkelsen shows that it is more subdued than it would be for most since it is within this life of the man filled with death. Mikkelsen is especially affecting then in his one scene where he does seem to go one step further in revealing the man finding just a hint of solace in a very strange way. Schmith does this as he recovers from a wound in a close call remarking that he feels he must go to prison even after the war. In this moment Mikkelsen finds the only bit of comfort in the warmth he finally does more calmly express yet brilliantly twists it as it is in the moment where the man state his wish to be punished for his killings. Unsurprisingly this is a striking turn by Mikkelsen in creating such moving portrait of a man fighting for a good cause, yet still wrecked by the evil he must do to pursue it.