Best Supporting Actor 2018: Results

5. Sam Rockwell in Vice - I have seen some greater vitriol to this towards this performance, which I find is unnecessary as he struggles to even get to be seen without getting hidden by some fish cutaway. Rockwell gives us all his audition to play George Bush, not bad, maybe some day we'll actually get to see him play the part.

Best Scene: Scene from the trailer (no fish edits so it's better).

4. Mahershala Ali in Green Book - Ali essentially gives an Oscar winning performance in terms of conception. Conception mind you, and the formula for this seems a little too obvious even in his own work that occasionally becomes a bit stilted or over the top. It is not entirely bereft of merit, and he has some decent lighter moments in the film.

Best Scene: How he learned to play music. 

3. Adam Driver in Blackkklansman - Driver gives a good understated turn here portraying well the sort of two sides of a guy playing the fake part of a racist, while also being a not racist professional under cover cop. Although the personal focus on his character is limited, Driver does make the most of what he has to deliver a consistently compelling turn.

Best Scene: Thinking about his Jewish heritage.

2. Sam Elliott in A Star is Born - Elliott's role is excessively brief, with his story line being excessively rushed, however he delivers every second he is onscreen to give a moving and complex portrayal of an older brother struggling to deal with his mess of a younger brother.

Best Scene: Backing up. 

1. Richard E. Grant in Can You Ever Forgive Me? - Good Predictions John Smith, Omar, Luke, GM, RatedRStar, Matt, Charles, Robert, Michael McCarthy, Emi Grant and Tahmeed.  Grant wins this in a walk in his effortlessly delightful, yet also surprisingly poignant portrayal of a man who sort of dances around on the fringes of society.

Best Scene: A final request. 

Best Supporting Actor 2018: Mahershala Ali in Green Book.

Mahershala Ali won his second Oscar from his second nomination for portraying Dr. Don Shirley in Green Book.

Mahershala Ali's second Oscar nomination comes from a very different character and film, than his Oscar winning turn in Moonlight. Green Book itself is a film with a doubly skewed intentions. On one hand you have the classic prestige drama, the very classic prestige drama as the film feels more like a film made before than the new millennium in tone and style. On the other hand you honestly have a film more akin to the works of director Peter Farrelly, when working cooperatively with his brother as the Farrelly brothers, which is the comedic road picture, found in partially in their There's Something About Mary, but far more evident in Kingpin and especially Dumb and Dumber. This separation sets honestly two separate expectations of sorts upon the performers, Ali in particular, who despite being put into supporting is co-lead with Viggo Mortensen as Shirley's driver Tony Lip, and often feels closer to the center of the film as a the film attempts to give him the most vivid character arc and personal journey. Although we enter Shirley's life through Tony needing a job, we firmly stay in his life once we enter it, more so than Tony Lip's.

Now on the prestige drama side of things you get the expected set up of two actors playing real people. Ali playing a concert pianist in Shirley, who is so accomplished he literally lives above Carnegie hall. Ali's work here is very mannered in order to create the admittedly rather idiosyncratic personal style of the actual Shirley. Ali's most effective trait in this regard is the higher pitch accent he uses, which he manages to use consistently, and it does feel like a lived part of his performance. Sadly I wouldn't say the overall way he plays Shirely as being overtly strict in his physical manners is as natural. Ali over does this just a touch in playing him as such a man of class that he becomes robotic at times in his way of standing just so straight, and keeping this certain blank expression within his face at times. This is never to the point of overt distraction, but it kind of weighs upon Ali's work at times that makes him seem stiffer than is the intention for the character. As in, Ali himself is the one who comes off as a bit stiff rather than the character of Shirley.

Of course one could argue his physical mannerisms in a way are perfectly aligned with the more comedic buddy road picture in that we have an odd couple through the high brow, thin, prim and proper Shirley, against the crass, working class, overweight, and brutish Tony. Are you ready for some hi-jinks involving these difference, no? Well actually I'd say the completely weightless moments between Shirley and Tony are easily the best moments in the film. This is mainly because Ali and Mortensen strike up some good chemistry with one another. They manage to, even in their deeply mannered turns, find some natural levity in their work as the two clash in a more comedic fashion over minor issues of attitude and personal style. Their moments of less "important" interactions are pretty well realized actually as Ali and Mortensen find the right way to play off of each other to find the humor as well as hit the marks of creating the gradual growth in sense of warmth between them. This really is a classical technique, you'll see it in your Carrey/Daniels, your Candy/Martins, and of course De Niro/Grodins, mind you the instances of these scenes here aren't on level of those aforementioned, but it's more than decent in this regard thanks to the performances.

This film though has higher ambitions seeking to make grand statements as Shirley goes down south facing racism from one corner to another. This is also not helped by Shirley having a bit of a drinking problem, which doesn't help Ali's performance that leads to some, not so great acting from him sadly. His drunk scene unfortunately gets towards a cacophony of over drawn mannerisms that makes Ali's work briefly become a bit cartoony frankly, and any sense of the real sadness behind these acts is lost in the moment. Don't worry though this part of the film also leads to Ali's Oscar scenes, which might as well have Oscar clip written at the bottom of them by how lacking in subtlety they are. Ali certainly throws himself into both of them, that come in short succession. The first in a jail cell, about how he must take a non-violent route to change minds. I mean to be fair Ali throws his passion behind the scene to try to make it work, even as the mechanics of it are far too obvious. The same goes to the scene shortly afterwards where Tony says he's blacker than Shirley is, and we get a most dramatic scene, rainfall and all, as Shirley proclaims "Who am I then". Again I'll give Ali credit here, he puts forth the determined passion once again, with the requisite emotional distress, it's there, if somewhat hollow as the moments as written do not feel earned or. It doesn't really explore the idea of black identity, in fact it almost uses it strangely as though it is just being critical of Shirley then leaving it at that rather bizarrely. Don't worry though it is all cured from playing at a working class black night club. Ehhh, these elements are what don't work about it as it is excessively rote and painfully simplistic. It's not Ali's fault though as he does his best for the most part, even if a touch overplayed at times, however I theoretically wouldn't have minded just seeing Mortensen and Ali hang out for awhile as they do have chemistry. They work together, and together I feel make the "feel good" ending work so far as it's nice to see the two be charming and loving together. Ali's a good actor, this is not his best work, but it is not entirely without merit.

Best Supporting Actor 2018

And the Nominees Are:

Adam Driver in Blackkklansman

Mahershala Ali in Green Book

Richard E. Grant in Can You Ever Forgive Me?

Sam Elliott in A Star is Born

Sam Rockwell in Vice

Best Supporting Actor 2016: Results

5. Michael Shannon in Nocturnal Animals - Shannon is the best part of a bad film. He offers some entertainment, with just a bit of pathos, in his portrayal of an uninspired character. 

Best Scene: His reintroduction.

4. Lucas Hedges in Manchester By The Sea - Michael Shannon's work is more consistent but Lucas Hedges's has higher heights in his depiction of a teenager going through grief. Hedges is best when he gives a more internalized performance, but I do find he falters in his attempt to depict a more overt sadness.

Best Scene: Patrick sees his father.

3. Dev Patel in Lion - Patel gives a surprisingly strong performance. He gives a moving and authentic portrayal of his fairly straight forward yet still compelling character.

Best Scene: The reunion.

2. Mahershala Ali in Moonlight - Ali gives a great performance that manages to give truth and a real poignancy to his character who is both a good natured man and drug dealer. Despite appearing in only the first third of the film he makes a lasting impact.

Best Scene: The Beach.

1. Jeff Bridges in Hell Or High Water - Good predictions Robert MacFarlane, Psifonian, and RatedRStar. Although Ali gives a great performance, and it is easily the best actually supporting performance in this lineup, Bridges is easily my favorite overall. Bridges delivers such a vivid and powerful depiction of the old lawman type that surpasses any notion of merely being the trope. It is such incredible work particularly his unforgettable final scenes.

Best Scene: The shootout.

Best Supporting Actor 2016: Mahershala Ali in Moonlight

Mahershala Ali won his Oscar from his first Oscar nomination for portraying Juan in Moonlight.

Moonlight tells the story of a young black man, Chiron, through three different points in his life.

Mahershala Ali is one of those actors who in the past offered consistently good work in very minor roles, where when watching him one can't help but ponder why he wasn't given a bit more to do. That was especially true recently in the bizarre way he was utilized in the series Luke Cage. In Moonlight though it seems Ali is given his due through the character Juan. The film actually opens with his character as we briefly see him in a short exchange that alludes to Juan's background. The focus quickly shifts towards his central purpose as he discovers the young Chiron (Alex Hibbert) hiding from bullies in an apartment building. Although Juan's method of discovery is to actually tear down a window, one can quickly see that Juan only has the best intentions for the boy. This is made all the more evident through Ali's performance that exudes such a warmth from his presence, through that slight smile and a curious set of eyes as Juan attempts to decipher Chiron's problem. Ali is only genuine in his realization of Juan's charity as he attempts to help the boy by feeding him and giving him a place to stay for a night. Ali brings this ease in the behavior suggesting a natural goodness within the man.

The highlights of the film for me come in the scenes where Juan continues to attempt to help Chrion, and allow him to break out of his shell a bit. Ali's approach to these scenes is very effective in the way he keeps a distance yet at the same time feels welcoming. Ali is careful not to overplay or overemphasize the charity in Juan. He instead shows his charity that is fitting for a man of his rough background, although that is in no way to say his charity worth any less. Ali's restraint is important in that he never makes Juan an unbelievable saint yet makes his good works wholly convincing. Ali keeps a more casual quality in Juan as he portrays him not ever trying to force something out of Chiron instead Ali shows Juan attempting calmly to inspire the change in the boy. There is one truly special sequence where Juan takes Chiron to a beach. He tries to teach the boy how to swim which is particularly authentic moment since Ali was in reality teaching Alex Hibbert how to swim. He also offers a bit of advice on making choices for one's own self. The history of a life feels expressed in Ali's delivery and he earns the wisdom in Juan.

Unfortunately Juan is not just a nice man in the neighborhood, but is also the neighborhood drug dealer. Working as such he discovers that Chiron's mother (Naomi Harris) is one of his customers. Ali is excellent in the scene in bringing out his intense anger as he questions her behavior, and her inability to provide for her son. She counters though that Juan is the one selling the drugs, and Ali is very moving in showing the sad realization in Juan's silence as he is unable to really excuse his own behavior. This leads to a final visit to his home by Chiron where Ali conveys a certain change in Juan. Ali in no way loses the warmth that helps to define his relationship with the boy, but throughout the scene he conveys the underlying shame in Juan as he recognizes that he is in some way responsibility for the boy's hardships. Ali is altogether heartbreaking when Chiron directly asks him if he is a drug dealer, as he so somberly admits to it. Ali is especially affecting in the way he suggests how deeply this pains him, as he reveals the quiet devastation in the man. That is Ali's final scene in the film, which seems unfortunate as it does not feel like we even get to say goodbye, and I will admit I do find the first third of the film to be the strongest part. That is to say nothing against Ali's magnetic work, he is a supporting player after all, and it is the testament to the power of his performance. His charismatic portrayal stays with you long after, his exit and leaves a lasting impression on the film.

Best Supporting Actor 2016

And the Nominees Are:

Jeff Bridges in Hell or High Water

Michael Shannon in Nocturnal Animals

Mahershala Ali in Moonlight

Lucas Hedges in Manchester By The Sea

Dev Patel in Lion