Best Supporting Actor 2023: Results

 5. Sterling K. Brown in American Fiction - Brown gives an entirely good traditional supporting turn, where he provides the right dramatic and comedic chemistry with his onscreen brother. 

Best Scene: Talking to Monk at the reception.

4. Ryan Gosling in Barbie - Gosling gives one of the funniest performances of the year in throwing himself headfirst into Ken's journey in a mix between silliness and a strange kind of earnestness. 

Best Scene: "I'm Just Ken" 

3. Robert Downey Jr. in Oppenheimer - Downey gives an exceptional portrayal of the facade of professionalism slowly giving way to a personal vindictiveness. 

Best Scene: Outburst. 

2. Robert De Niro in Killers of the Flower Moon - De Niro gives a surprising and disarming portrayal of evil, where there's an ease and lack of hate, creating a particularly chilling portrait of a man who kills purely for profit. 

Best Scene: Final scene in jail. 

1. Mark Ruffalo in Poor Things - Good predictions Oliver, Luke & Perfectionist. Ruffalo tops this impressive lineup for me which included another very funny performance, but this one just took the laugh rate to the extreme as where Gosling was one of the funniest performances, Ruffalo is THE funniest. Ruffalo gives a convincing portrayal of a smug cad turning into a mad fool, but what's more important is every moment he's onscreen he finds a way to be hilarious in a way that only amplifies that journey. 

Best Scene: Duncan makes one more appearance. 

Best Supporting Actor 2023: Mark Ruffalo in Poor Things

Mark Ruffalo received his fourth Oscar nomination for portraying Duncan Wedderburn in Poor Things.

Poor Things is a wonderfully bizarre tale of Bella Baxter (Emma Stone), a woman reborn via an infant brain, discovering the world.

Mark Ruffalo isn't an actor I have always praised the most here, in fact frequently quite the opposite for his mannered turns like his previous Oscar nomination. Of course his Oscar nomination before that, and his work in Zodiac were also heavily mannered, and I liked those quite a bit, because it's not about if one is mannered, rather how they are. And with Ruffalo it also might not be if he's mannered, but who is directing him. As in those aforementioned ideal cases, a very talented director in each, and perhaps he just needs the right director to put his talent in the right direction. Well in the case of Poor Things, Yorgos Lanthimos is the right director for this job. Ruffalo here instantly makes an impression as Duncan Wedderburn the lawyer called upon by mad scientist Godwin Baxter (Willem Dafoe) to set-up the very specific marriage to surgeon in training Max (Ramy Youssef), and is most intrigued by this woman to be kept away from the world. Ruffalo's impression here is utterly ridiculous, and utterly brilliant. As one may question his absurd accent that is essentially the most ridiculous English cad accent fashioned in the style of something Peter Sellers might do at his most broad, and I mean that as the highest of compliments. Ruffalo doesn't just do the accent, he luxuriates in it. And if that were not enough, his whole smarmy smiling expression, even when setting up the legal proceeding is with the most wonderfully ludicrous sneer, and immediate lustful glance as he becomes intrigued by this woman. Only to walk off with his needlessly raised hands, but they need to be raised because it makes it all the more amusing particularly as he immediately pratfalls as he seeks out Bella Baxter.

Ruffalo only continues his hilarity as he goes about seeking Bella and conversing with her in his most unabashed manner where he makes his desire immediately known. And his delivery of "I'll have to pinch you to see if you're real" with just the utmost sleazy desire, that is also just perfect in setting up his not at all remotely hidden ill-intention for Bella. Ruffalo beautifully embraces the dumb in projecting the romantic, while obviously being just the lusting cad, towards Bella, such as when he invites her to her roof, where even just the way he glances around outside her window is worth a few laughs thanks to the ideal randomness of it. Ruffalo though isn't just funny, though he is that wholly and completely, as he delivers this sort of invite for Bella most falsely sincerity in his eyes only registering one idea, as he makes his overtures of romantic notions of seeing the world which Ruffalo delivers dripping with enticement. And Bella is granted the leave to go off with Duncan, though the idea is to eventually return and marry Max. Of course much furious jumping first as we see Bella and Duncan have sex every which way one can think are off in Lisbon. Ruffalo's comedic mastery here is something I can't get enough of with his delivery even of the most extreme smugness of Duncan as he denotes his sexual prowess which Ruffalo doesn't put even a hint of modesty. Ruffalo's delivery of "furious jumping, I love that" in his reaction to Bella's description of sex is just beautiful work of pure indulgence, only topped by his equally hilarious eye shifting when he ponders the limits of a man's sexual virility when Bella ponders why he can't keep having sex with her. 

Ruffalo is terrific in the way he effectively portrays the true controlling cad in every moment as even the way he has Bella eat pastries is as an indulgence where the indulgence is his teaching of her as he pleases with an emphasis on control. But for Duncan Bella isn't all that easy to control and we get another hilarious note for Duncan to play as he has to try to instruct Bella to be part of "polite society'. And Ruffalo's comedic timing again is perfection in his reaction to every one of her lines of portraying the unease and distress just pitch perfectly. Ruffalo wonderfully being the complete opposite of the indulgence before and just the right sense of the unease of the man as he fails to have any control over her. Ruffalo is as funny as he is, which frankly few performances make me consistently laugh as much as this one does, he is equally strong in still creating the sense of his character as he now tries to control Bella to the point he can. Ruffalo brings out an intensity in the desperate need to control as he instructs Bella to only say a few kew phrases that he wants her to say to be "proper" in his view, leading Bella to slap him. A moment that deserves special mention as a pure comic gold in first just how funny his face is mouth agape, then followed by the complete flawless timing of the slight delay with an eye movement before his purposefully phony "ow". Things only get worse for Duncan as Bella continues to be unpredictable, speaking of unpredictable, she leads Duncan into a dance that is marvelous, delightful and crispy insanity. Ruffalo's dance and expression being silliness on an epic scale rarely seen and rarely seen as complete wonderful madness. Ruffalo going in full force, no hesitation and none needed as he's just thriving in the ludicrousness of it in the best way possible. 

Things don't get better for Duncan with Bella finding more freedom including more men becoming interested in her where Ruffalo is just splendid in he manages even to play Duncan's overblown jealousy in a way that conveys the dissolution of the man's pompous control of the situation, while again being very funny. Ruffalo shifts instead to the emotional distress we see as the insecurity in him over not being able to control Bella becomes obvious...and this is also just still hilarious. Ruffalo's playing the anger with a boneheaded recklessness, but also even his emotional breakdown when Bella was talked into sexual behavior of another, the way he cries is convincing yet also ridiculous. Every choice of Ruffalo in a row being a big swing, but also a homerun. Leading Bella to become discontented entirely with Duncan's controlling nature, but Duncan tricks her onto a cruise ship. And again I could name frankly every individual reaction by Ruffalo, but I do have to at least single out his reaction to Bella hiding in the bathroom after a request for disrobing with his "jilted lover" head turn being just simple comic brilliance.  A brief second in his performance but what a second it is. And Ruffalo's increasingly pathetic state as Duncan continues into a marvelous mess, as we see him gamble and drink more. Ruffalo accentuating the sheer miserable desperation just oozes out of him in every scene, as this drinking and gambling seems to gradually remove any remaining sanity away. The tipping point being Bella giving his gambling winnings away, where Ruffalo's horrified and equal parts blistering anger being absolute genius work in showing a man being completely on an edge, while being this again in a way that is never not amusing. What is perhaps most impressive is that Ruffalo manages to go lower and lower, even though he's already pretty low, as they get left off in Paris where Bella turns to whoring. Ruffalo's breakdown somehow goes even further, yet never losing the path of his character, the comedy of it, and more importantly the impact of it. Ruffalo conveying this insanity in his eyes, an insanity as not only has he lost all control over Bella, Bella mentally controls him, even indirectly. Ruffalo brings this lustful obsession still while marked with a broken psyche and just a man completely lost in his mania mixed with obsession. Every physical movement, every expression on his face, creating vividly, and again hilariously, this state of a man whose whole command of even the smallest mental space seems out of his grasp. Ruffalo manages to tie so much within his work in having this physical state as though he's about to burst out of his skull, and his eyes essentially traumatized by his inability to remotely understand Bella, or how she's done this to him. Ruffalo creates a completely convincing dissolution of that confident pompousness of his first scene, to just a festering puddle of nothing as we see him rotting in a mad house. This would all be enough already for me to call this one of the most dynamic performances of the decade, and with an especially high laugh per second average, but just for good measure, let's throw in one more scene. That being as Bella is about to marry Max only for Bella's body/mother's husband (Christopher Abbott) appearing to stop the wedding, due to being told of the strange situation by Duncan. The scene is masterful for Ruffalo as every spiteful line delivery couldn't be slung better nor could his manner in the scene. I love how Ruffalo basically summarizes Duncan's pettiness and cowardice, as he hides behind Abbott, to only peek out to send out his insults in a rage, looking like the worst henchmen, and doing it all as just one last bit of comic glory. And just another example of Ruffalo looking for any excuse to be hilarious in a scene, and succeeding for every second of it. In case it wasn't clear, I loved every second of this performance where Ruffalo delivers the most winning tight rope act in his portrait of a man intending on making use of a woman as he pleases, only for him to be turned inside out by her in the process instead. 

Best Supporting Actor 2023

And the Nominees Are:

Ryan Gosling in Barbie

Mark Ruffalo in Poor Things

Robert Downey Jr. in Oppenheimer

Robert De Niro in Killers of the Flower Moon

Sterling K. Brown in American Fiction

Best Supporting Actor 2015: Results

5. Mark Ruffalo in Spotlight - Ruffalo sticks out like a sore thumb with his excessively mannered turn that seems so false within a film going for a strict realism.

4. Christian Bale in The Big Short - Bale is able to make his character's various mannerisms seem natural the problem is the film never allows him to take it anywhere past that set up.

Best Scene: His introduction.

3. Mark Rylance in Bridge of Spies - Rylance gives a moving, inspiring, amusing and technically even devious yet unassuming performance as he artfully makes his Soviet spy everything the film needs Rudolf Abel to be.

Best Scene: "Standing Man"

2. Sylvester Stallone in Creed - Stallone manages to not only find new ground for his seventh depiction of Rocky Balboa but also is able to pay homage to his previous iterations in his return to the character.

Best Scene: "If I could take everything that's good out there and put it into a bowl"

1. Tom Hardy in The Revenant - Good predictions Michael McCarthy, RatedRStar, Jackiboyz, and GM It needs to be said I hate to have to rank these top three. All three do fantastic work and if any of the three were to win the Oscar I'll be more than happy with it. My personal favorite of three, and I love all three of their work, is Tom Hardy's brilliant turn as John Fitzgerald. Hardy makes for an effective and surprisingly even entertaining villain, while still managing to find depth within the motivations of his character.

Best Scene: "God is a Squirrel"

Best Supporting Actor 2015: Mark Ruffalo in Spotlight

Mark Ruffalo received his third Oscar nomination for portraying Mike Rezendes in Spotlight.

Spotlight is a compelling procedural that depicts the Boston Globe's attempt to discover the sex scandal cover up involving the Catholic Church.

Spotlight as a film takes a specifically rather unassuming approach in potentially very incendiary material, just imagine if say Oliver Stone made the film instead for example. Although there's a definite emotional undercurrent to the story, the film stays focused on the way the reporters found the facts of the matter to build their story, while they often have to internalize what they learn from each new witness. The cast seems to understand that and for the most part they give performances that focus on being realistic above else, well except for the guy I'm reviewing today. The first time we meet Mark Ruffalo's Mike Rezendes is when we follow Michael Keaton's Robby Robinson as he enters the Spotlight room which will be heading the investigation. The other people are doing their jobs and in turn just seem like normal people doing their jobs, then there is Mark Ruffalo. Oh Mike's doing his job too, but there just seems something odd about it as he speaks to his fellow reporters. Everything he says he delivers quickly with a strange monotone way of speaking, and then just the way Ruffalo leans over his desk it as though Mike seems to be preparing for an off Broadway production of The Hunchback of Notre Dame.

Unfortunately this is not one odd scene for Mike, this is Ruffalo's whole performance. No matter what's going on in the scene Ruffalo feels he has to do something a bit atypical. He's always leaning in some odd way, his expressions in the group meeting scenes always have this odd gaze to them, his hands frequently find his pockets as though he's James Dean looking for a nickle. He even gets on some good old gum chewing just for good measure. There's not a scene where Ruffalo heeds to the criminal's warning "act natural". Everything he does is seemingly to get you to say is that oh boy that Mike Rezendes sure is a character. What I'm trying to say is that this is an extremely mannered performance, as about as mannered of a performance can get to be honest. Ruffalo does not seem to be content to do anything just you know, normal, it all has to be something else. Now my two favorite Ruffalo performances are Foxcatcher and Zodiac. Those are technically both mannered themselves. The thing is though those performances you don't notice are mannered until you are getting into a detailed discussion about them. Everything he did in those two performances seemed right for the respective characters, and seemed to fit right in with the rest of the film.

That is not the case in Spotlight. Everyone else gives performances that honestly are very supportive of each other only trying to standout when it is the right time to. Ruffalo always wants to stand out which is ill fitting for the calm way everyone else plays their parts. The funny thing is there is another technically very mannered performance in the film. That being Liev Schreiber's as the new boss of the Globe. What Schreiber does though is unassuming in a way that it just feels  natural to his character, in addition to that he never seems to be doing it to directly get attention, that always seems to be the case for Ruffalo. Now Ruffalo does indeed stand out in any scene he is in, but unfortunately that's not a good thing. In the group scenes he's just distracting as the rest of the ensemble is playing it straight, keeping the focus on the story,  but Ruffalo is busy doing something weird that surely Mike Rezendes must do. Ruffalo can't seem to help himself and the problem is that it hurts the film. There is one moment where one of the victims is telling his story, a moving scene to be sure, but when the victim reveals his dad committed suicide Ruffalo's odd delivery of "Jesus!" instantly makes the scene lose some its power as it all of the sudden seems to be about Ruffalo's performance rather than the victim's story.

For most of the film Ruffalo just stands as this oddball thing interacting with real people. He's a blemish in any frame because he just can't seem genuine even for a moment, and is particularly off-putting due to the film's very straight forward style. Now though he's the wrong kind of distraction for the most of the film, which is made up to a point by the fine work by the rest of ensemble, another bigger problem comes near the end of the film. The film again plays it low key as most of the actors just internalize either the pain or disgust involved with the molestation as well as the cover up. That is until one of them has a bit of an emotional outburst. It could have been an great moment if the scene belonged to one of the other actors, but instead this is given to old Ruffalo. Ruffalo does not build up to this point because he's too stuck in his weird slants and cockeyed looks to effectively build the outrage brewing in Mike. Ruffalo does not earn it in the least, the passion feels sanctimonious unfortunately, and frankly a bit whiny. When Keaton's Robby asks him in exasperation "You Finished?", that's how I felt as well. The moment should have been cathartic but its not because of Ruffalo. Apparently Ruffalo prepared for the role by asking the real Mike Rezendes to say lines for him. Perhaps Ruffalo has never seen the Jackie Robinson Story, but asking the real guy to play himself isn't always the best idea. This actually makes sense as Ruffalo's performance feels like an imitation of an imitation. It's all surface posturing from Mark Ruffalo as he not only fails to make Mike Rezendes convincing as a character, but he fails the film itself. His presence hurts the film as he becomes something false within a film that is striving for authenticity. 

Best Supporting Actor 2015

And the Nominees Are:

Mark Ruffalo in Spotlight

Mark Rylance in Bridge of Spies

Sylvester Stallone in Creed

Christian Bale in The Big Short

Tom Hardy in The Revenant

Best Supporting Actor 2014: Results

5. Robert Duvall in The Judge - This might not be Robert Duvall's best performance but it's an excellent example of a great actor elevating sub par material. 

Best Scene: The Judge takes the witness stand.

4. Ethan Hawke in Boyhood - Ethan Hawke gives a strong portrayal of the maturation of one man into being a father, and unlike the rest of the cast makes use of the 12 year structure.

Best Scene: Mason Senior gives advice to his son after the graduation party.

3. Mark Ruffalo in Foxcatcher - Ruffalo gives a very effective low key performance as essentially the sense and the sanity of the film.

Best Scene: Dave helps Mark after Mark's breakdown.

2. Edward Norton in Birdman - Norton appropriately gives a very entertaining and believable portrayal of an insufferable but brilliant actor.

Best Scene: Mike Shiner's introduction.

1. J.K. Simmons in Whiplash - Good Prediction Psifonian. J.K. Simmons has a great role playing an enigmatic and tyrannical music instructor, and realizes this greatness through his marvelous performance.  

Best Scene: The finale.

Best Supporting Actor 2014: Mark Ruffalo in Foxcatcher

Mark Ruffalo received his second Oscar nomination for portraying Dave Schultz in Foxcatcher.

Out of the three pivotal characters of John du Pont (Steve Carell), Mark Schultz (Channing Tatum) and Dave Schultz, Dave is the least flashy role so to speak. You have the raw emotions of Mark, the increasingly deranged behavior of the rich John, and then you have Dave. Ruffalo has a challenge in making Dave seem relevant along with the other two which is perhaps made all the more difficult since he has the screen time of a supporting player unlike his counterparts. Ruffalo only really has one scene early on to establish Dave, who almost everyone seems to love and respect. Ruffalo actually gives, technically speaking, a very mannered performance. His particular way of speaking, not even his accent just the way he breaths almost, as well as the way he kinda always stands in a wrestling position. The thing is though it's hard to even see this as such because of how low-key Ruffalo is in playing this. He's really natural as he makes it just seem as though this is the way he is, and is pretty great at making himself Dave Schultz, especially if one goes and watches any footage of the real Schultz.

Ruffalo kinda takes a bit of a daring approach actually because he does not necessarily avoid making Dave somewhat bland. The thing is though its not that Ruffalo's performance is bland but in this case it actually makes sense for the character to be so. Ruffalo portrays Dave as a particularly easy going guy and does suggests everything about him is fairly relaxed. It is not that he is lazy or uninterested it anything, but rather Ruffalo plays him as just a man who knows how to take things as they come. There is a likability that comes from the way Ruffalo so honestly portrays Dave's approach to life and he makes it easy to understand why it that most everyone seems to like Dave. When he is with his family or when he training other wrestlers there's a very strong warmth that Ruffalo exudes. Ruffalo gives us Dave as a man who seems to love everyone from the outset, not in a cloying or overwrought way but just in an honest fashion. Ruffalo earns the respect that Dave seems to have because Ruffalo makes Dave a great man in such a wonderfully unassuming way.

One of the most important elements in his performance is his chemistry with Channing Tatum as Dave's younger brother Schultz. The two of them are great together in the very interesting way they create the relationship between the two. Mark clearly as a man is a bit lost whereas Dave seems to know his place, but wants to help his brother best he can. There's a great early scene for Ruffalo when Mark goes to Du Pont's Foxcatcher farm, but Dave stays home for the sake of his wife and kids. Dave rejects Mark's offer but it is only love that Ruffalo conveys in this rejection as you see in his eyes that he hops that Foxcatcher will provide Mark something to make him feel whole. The most important moments together though seem to be when they practice wrestling together. It's interesting how their physical performances show the connection between the two particularly in their styles. With Ruffalo showing Dave as more commanding but almost teaching in the way he handles Mark. Even outside of sparing the way Ruffalo portrays Dave's physical interactions with Mark suggests the older's brother's care and support for his younger brother.

Ruffalo keeps his whole performance very close to his chest, although I liked his work on my initial viewing, on re-watch I was surprised by how much he does within the margins. What Ruffalo does so well is keep Dave always as he should be, not an unemotional guy, but just a guy who does not let his emotions push him into the sort of mistakes John and Mark make. Ruffalo though does subtly convey what Dave is going through. A moment like this comes in a championship when, despite Dave's coaching giving him the advantage, Mark embraces John without recognizing Dave. Ruffalo quietly conveys the disappointment in Dave and perhaps even heartbreak, but as a man who refuses to let this wear on him. Another strong moment comes when Mark is loses one match and has a breakdown that leaves him ill prepared for the next match, Dave comes in though to salvage this best he can. Ruffalo has a brilliant understated passion as Dave pushes Mark hard to overcome what has happened. Dave does not yell things out or get really energetic like, but Ruffalo is terrific and convincing in portraying the understated way Dave encourages Mark.

It's interesting the way Ruffalo conveys the way Dave does disapprove of John, although there is never a single moment in which Dave says this. A great moment is when Dave is asked to make a video promoting John du Pont, and simply that slight hesitation and discomfort as he says du pont is like a mentor to him suggest Dave's distaste for John. Ruffalo is remarkable actually in the way he basically shows a man, who probably would never insult someone directly, is forced to deal with John. Ruffalo does this through the smallest of reactions and just a general uneasiness whenever Dave and John are in the same room. Ruffalo is very effective as he kinda does show how Dave's manner unfortunately could only make John even more paranoid. This eventually leads to the tragic end of the film when John shoots Dave to death. The scene it handled in a blunt matter of fact style, and I will admit it left me cold the first time. On this viewing though it hit me much harder than expected and I think this had a great deal to do with Mark Ruffalo's performance. He does great work here in creating an honest portrait of Dave Schultz as a modest yet self-actualized man.

Best Supporting Actor 2014

And the Nominees Are:

Edward Norton in Birdman

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Ethan Hawke in Boyhood

Robert Duvall in The Judge

Best Supporting Actor 2010: Results

5. Mark Ruffalo in the Kids are All Right- Ruffalo's performance is somewhat charming I suppose, but very limited in what he does with the role. When the role requires more of him, he does not handle it very well.

4. Jeremy Renner in The Town- Renner stays intense and suggests the psychotic nature of his character well and in an effective fashion. It is not that complex of a character, but Renner does the most he can with it.

3. Geoffrey Rush in The King's Speech- Rush showboats all the way throughout his performance as the unorthodox speech therapist. His showboating does work though I feel for this role, and is properly entertaining, and effective.

2. Christian Bale in The Fighter- Bale gives a strong performance managing to realistically portray the character drug induced problems, along with adding some humor as well.

1. John Hawkes in Winter's Bone- (Good Prediction Dinasztie) Hawkes realizes his character incredibly well, and manages to give both a chilling performance, and a warm one. He manages to mix both aspect of his character incredibly well, and in an effective performance.

Best Supporting Actor 2010: Mark Ruffalo in The Kids are All Right

Mark Ruffalo received his first Oscar nomination for portraying Paul Hatfield in The Kids are All Right.

I think the Kids are All Right had its moment, but I really never found it to be that well written or told overall.

Mark Ruffalo portrays Paul Hatfield who was the sperm donor for two lesbian women Nicole and Jules's (Annette Bening, Julianne Moore) children Laser, and Joni (Josh Hutcherson, Mia Wasikowska). I actually felt Ruffalo's Paul actually was the male lead in the film, well until his last scene where he is sort of given the supporting player treatment. Paul is a seemingly successful man who like to do his own thing, and seemingly live for the moment. This performance here really I do not have that much to say about despite his abundance of screen time actually. He smiles a lot, has his independent personality going on I guess, but little more than that. Ruffalo I suppose is charming enough, and he does fit with the character well enough, but he never really honestly seemed to be doing very much with his performance.

Ruffalo is technically fine for most of the film until near the end of the film where his character is suppose to have a change. He is suppose to show that now his character no longer wants to be a free wheeling man, but rather settle down and have a family. I really did not believe this part of the character at all, and mostly because of Ruffalo. Ruffalo never made any suggestion to wanting more before he declares it. He never showed a desire, nor did he show any build, suddenly Paul just wanted it which came off quite unrealistically. If he did not fail in this more challenging part of his performance.. Overall his performance simply is unimpressive and when he has a chance for more he fails.

Best Supporting Actor 2010

And the Nominees Are:

Geoffrey Rush in The King's Speech

Mark Ruffalo in The Kids are All Right

Christian Bale in The Fighter

John Hawkes in Winter's Bone

Jeremy Renner in The Town