Alternate Best Actor 2016: Joe Seo in Spa Night

 Joe Seo did not receive an Oscar nomination for portraying David in Spa Night.

Spa Night depicts a young man in a conservative working-class Korean American family dealing with his sexuality while working at a spa. 

Joe Seo may be known by some as the least dynamic character in Cobra Kai, a character who began as a bully, stayed a bully and continues to be a bully. So it is interesting to see an actor in such a limited role getting to play the lead in a film about self-exploration. That journey though is one I think characterized more so by observation and reaction here than someone getting involved in a particular scenario. Much of the character of David's dialogue is perfunctory with more so the focus being on moments of key interactions and reactions. On the surface, Seo gives an entirely respectable performance. He's believable in the way we see him passively interact with his family, withdrawn more often than not as they take more of the action, even when it is dealing with David's future. Seo provides a convincing energy of a very young man who hasn't really matured to the point of personal action one way or another. Speaking of one way or another, we see the same idea within the character's exploration of his sexuality. It is an aspect that is shown in moments of behavior more than spoken thought. Whether this is him very much playing into a game of "gay chicken", taking nude photos of himself, or take more than a few glances at the nude bodies of many of his customers. 

Seo's work does effectively internalize the sense of the character going through a personal conflict of sorts that conveys someone who isn't exactly conflicted over his sexuality in terms of his own personal belief, but rather in terms of within his state of his family. Whenever he takes "action" Seo's performance presents as almost an instinctual reaction, where there isn't any hesitation whatsoever in the moment, and as the man wholly just believing that should what he should be doing in the moment. That is in stark contrast to the rest of his performance where Seo's performance is in this uneasy state of uncertainty. Seo's performance here I will say is limited within the overall approach of the film which leaves so much unsaid. And while I think a lot can be done in silence, I wouldn't quite say that Seo's work is on the level of a truly great performance of that ilk. It is a good performance though that does work in creating the sense of the character's journey even when that journey really is just all in his expressions and in his eyes. His face creates the sense of the man just containing it all within himself and moving along within his family's structure, never quite breaking it, though going with all his passions when it appears he is given the chance to. While I don't think this is a great performance, it is a good performance where he does find enough intimate emotions to convey the key elements of his character. At the very least it proves that Seo is probably capable of more than just the very generalized bully pompous swagger that defines his best-known role. 

Alternate Best Actor 2016

 And the Nominees Were Not:

Shahab Hosseini in The Salesman

Paul Dano in Swiss Army Man

Tadanobu Asano in Harmonium 

Joe Seo in Spa Night

Nawazuddin Siddiqui in Raman Raghav

Predict These Five, Those Five or Both:

Don Cheadle in Miles Ahead

Adrian Titieni in Graduation

Jean-Pierre Léaud in The Death of Louis XIV

Jarkko Lahti in The Happiest Day In The Life Of Olli Mäki

Hiroshi Abe in After the Storm

Alternate Best Supporting Actor 1981: Results

5. James Woods in Eyewitness - The most interesting part of his film as he manages to find some character in really what isn't much of a role. 

Best Scene: Confronting Daryll

4. David Warner in Time Bandits - Warner gives a wonderfully over the top turn that brings just the right heightened villainy to his film. 

Best Scene: "A Reasonable Man"

3. Dennis Hopper in Out of the Blue - Hopper gives a quietly disturbing turn where he slowly reveals the vile nature of his man. 

Best Scene: Deciding to rape his daughter.

2. Griffin Dunne in An American Werewolf in London - Dunne balances comedy and horror as his demonic messenger. 

Best Scene: Second visit.

1. Nicol Williamson in Excalibur - Good predictions Luke, 8000's, Tahmeed, Ytrewq and Mitchell. Williamson delivers a downright brilliant turn that both gives the material the absolute gravitas it needs, while also constantly subverting it with his wily turn. 

Best Scene: Tricking Morgana

Updated Overall

Next Year: 2016 Lead

Alternate Best Supporting Actor 1981: David Warner in Time Bandits

David Warner did not receive an Oscar nomination for portraying Evil in Time Bandits. 

Watching Time Bandits again it is basically a hodgepodge of moments, that don't exactly have a natural flow and one's enjoyment of it really comes down to how much joy one gets from Terry Gilliam's aesthetic creativity and the various semi-Monty Pythonesque bits. Interestingly the funniest bit actually is from David Warner, although I shouldn't say that since I give him a win for a largely comedic performance, who among the cast certainly skews more towards the dramatic side of things. But what does make it interesting anyways is that Warner is playing literally the villain of the piece as he's simply known as Evil because you know, he's evil. Warner's performance is the funniest in the film actually because he basically plays it aggressively and overly intensely in a certain sense. Warner obviously is well known for his villainous takes, as I recently covered in Time After Time, and is always great at cold cunning. That's not what Warner is doing as Evil, he's just having a blast really as he bellows with heightened intensity with Evil. One of his earliest moments is killing his own man for daring to be said to have been created by the Supreme Being, to which Warner hits the right heightened pitch of being fierce in his anger, yet so over the top with it that is funny in giving Evil a bit of almost bratty quality in this. Warner's wonderful by randomly switching in his manner in a moment suddenly apologizing quite sincerely just as he goes on about his evilness. Warner's simply having the right type of fun with it in being properly the evil villainous type, but a fitting evil villainous type for the farcical fantasy that this film is. Warner's scenes really as written are of the man is just evil, setting up one of the few major plot points of wanting the map our titular time bandits have stolen, and really it would be easy to imagine a very dull version of these scenes had Evil been played straight, or actually if he hadn't managed to go big in the right way. Well almost seems consistent if one knows how to go really small, which Warner can do, one can go quite big, which Warner does so here. Warner is the menace you'd want because his voice alone can sell it without really trying and he makes every overture of Evil properly oppressive. Warner though does that with so much fun, and in turn, is very entertaining in his performance. His bright brimming smiles and dramatic speeches are delivered with all pomposity of a proper villain, who is just a bit too much in the right way. Warner is wonderful in the final confrontation with his evil stares as he blows up his men before switching to a bit of a forced kind face as he notes "He's a reasonable man". Warner basically gives a performance that is as it should be as a man called Evil shouldn't be subtle, and he's not. He's not though in a way that is supremely enjoyable as he manages to bring his typical gravitas but skewed nicely for the ridiculous content. 

Alternate Best Supporting Actor 1981: Nicol Williamson in Excalibur

Nicol Williamson did not receive an Oscar nomination for portraying Merlin in Excalibur. 

Excalibur tells the Arthurian legend. 

The saving grace of the first half of the film, Nicol Williamson does what the film cannot, which is attempting to find some kind of balanced tone to make the material palatable. Williamson is a natural fit for the role of Merlin as he is an actor that exudes gravitas from every pour of his being. His voice, one of the greatest, yet sadly largely forgotten, in cinema commands attention with such ease. Although speaking of the voices one of the persistent flaws of the film is the poor sound design, which supposedly Boorman turned from stereo to mono, which perhaps is the cause of it, but it causes almost many to sound poorly dubbed, Nicol Williamson being the most major exception. Maybe Williamson just delivered his lines again with a greater thought to them, or maybe they were able to retain his audio, either way, it only adds to Williamson being the center of attention. Williamson himself adds to this through his performance that very carefully maneuvers the film's fantastical yet dark tone. Williamson in just the bluntest aspect does deliver on the very idea of the legend by being that powerful presence he is, that instantly commands the respect of Merlin as this figure of such a tremendous force. When his Merlin speaks with authority, that authority can only be seen as the truth due to Williamson's striking manner as a performer, and when he speaks you very much must listen, just as all men must listen to Merlin the sorcerer. 

Merlin the sorcerer of Arthurian legend of course isn't this simple mentor wizard archetype, he's of a more complicated sort, even taking very questionable actions in his strange quest to see the legend of Arthur pass. Williamson's performance in turn isn't so simple as just there to deliver the gravitas to these early moments, something he does, but rather he helps out the film greatly by taking a bit out of the film's aggressively dramatic tone. Williamson pulls off a fascinating trick which is that he both takes the material very seriously, yet also doesn't take it seriously at all. There is a cheekiness that Williamson brings to his performance that is a welcome relief through the film's overall insanity of the legend, which seems particularly important given the initial mechanizations of the film involve Merlin basically getting a King laid that will lead to the birth to the eventual King Arthur (Nigel Terry). Williamson realizes a remarkable method of being able to speak the words to create the spell to create this scenario with the utmost seriousness, however, at the same time, his eyes can denote this certain calculation about Merlin, a knowing quality within the character. Williamson's method makes it so it does grant the idea of Merlin's foresight into the knowledge of the future that he is in a way purposefully composing a destiny, while also just making Merlin seem beside it all in his own way as the entity who walks on a different mental plane. 

Essentially as the film runs its course in the first half, which I do think is a lot of noise for the most part, Williamson consistently is the one who clears it away with his portrayal of Merlin's very specific machinations, which includes as much as taking a mother's child in order to fulfill destiny. Williamson though carries himself with such a powerful stride that manages to craft a properly entertaining spirit out of the cunning sorcerer. His manner as the advisor to Arthur, and in a strange way Arthur's nefarious sister Morgana Le Fay (Helen Mirren), who is also a magic user, is that of many things. There is a bit of warmth he does bring to his interactions with Arthur, but there is also that sense of intelligence as Williamson delivers every thoughtful suggestion with the sense of a man who has seen the future. Williamson though naturally delivers comedy in that same idea like when it seems like Arthur is lusting like the old King, and Williamson's sudden and annoyed reaction is pitch-perfect hilarity as the sorcerer who has had enough of the lusts of man. Although speaking of lusts, Williamson's scenes with Mirren are so carefully realized as Williamson presents still this certain captivating command as he instructs her almost in this dismissive way, while also conveying this certain internalized intrigue in her just as Merlin claims he cannot be captured by lust. Williamson is always compelling while making these qualities of Merlin seem consistent within the singular being of Merlin. 

Although as destined at a certain point Merlin finds himself imprisoned, which was very concerning, thankfully the rest of the film comes together to a pretty triumphant film in the second half even without Williamson around to steer the ship. If the film had left Merlin at that moment that might've been enough to be a great performance, nonetheless the greatest scenes of Williamson's come in the final act as Merlin returns to help Arthur one last time. Williamson is genuinely amazing in the scene as Arthur hopes for Merlin to help because it illustrates the magnificent juxtaposition he so effortlessly pulls off. As we have Williamson open the moment with such potent sincerity and affectionate warmth as Merlin notes that Arthur's love brought him back as a dream. I love the look of pride on Williamson's face as he looks upon Arthur at this point as a proud father. But it is only Williamson perhaps who could go from such a tender delivery of "a dream to some" and then such ferocious intensity as he finishes "a nightmare to others". Williamson showing in just one magnificent line delivery, which contains such a dramatic yet effective shift from calm earnestness to tremendous grandeur, powerfully realizes the nature of this Merlin. His final scene of dispatching Morgan by getting her to speak a self-destructive spell is outstanding. Williamson chooses such a fascinating choice as he speaks in whispers, yet whispers that only Williamson could do as never have whispers captured more intensity. Williamson in this manages to speak in this almost seductive come hither to Morgana, convincingly so,  while at the same time his eyes speaking the truth of his real intent towards such hatred for the evil witch. Williamson is absolutely wonderful in crafting this killing blow as Merlin pesters her with compliments, destroying her with this mischievous praise. An altogether brilliant scene due to Williamson's masterful choices as a performer. Williamson though masters the material entirely within his great performance that always manages to maneuver in just the right way to realize a perfect hypocrisy by playing material wholly as truth, while also not exactly taking it all that seriously. 

Alternate Best Supporting Actor 1981: Griffin Dunne in An American Werewolf in London

Griffin Dunne did not receive an Oscar nomination for portraying Jack Goodman in An American Werewolf in London. 

Griffin Dunne plays one of the aspects of the film that makes it as memorable as it is as a horror comedy, a film where both aspects of that are entirely true and neither dominate the other nor do they clash. Rather they cheerfully go hand in hand skipping down the road their merry way, much like our protagonists, two young American men Dunne's Jack and David Naughton's David here who find themselves in the moors in rural England. The first aspect of this is both actors are very much playing their parts as though they were just a film about two guys finding their way through England, any old way. There isn't anything special about them, rather what is special is how very normal they are. Their greatest concern initially is Dunne's portrayal of Jack's rather horny fixation on a woman back home. The change of thought only comes finally when they arrive at a strange village inn where all the ruffians seem to exist in this particular spot in a particular way, as though they never quite escaped a Hammer horror film, while still being allowed to enjoy modern amenities. Dunne's performance contrasts effectively with their surroundings by very much exuding the tourist energy right down to the overly smiling way he asks the locals about their curious candle in front of a rather troubling pentagram. Dunne exudes someone completely out of his element bringing the comedy of this state within the scene right out of a horror movie, though I think this also goes into a key about the film. Which is while both Dunne and Naughton play the part very normally as two random guys in a situation, they do convey the undercurrent of fear and dread as they notice these eerie things. They react realistically on both fronts, one that you might not immediately take it seriously but two you would still probably get a bit of fright from it nonetheless. 

Unfortunately for Jack, he is the last victim of the werewolf that does attack the boys, with David only being narrowly saved by the villagers, though also left infected by the werewolf's curse. Well with that it would seem the end of Dunne's performance, a brief enjoyable bit, but that's it. Well, obviously that's not it as he appears to David at the hospital, featuring his grievous wounds from his mauling, but seemingly very much alive. This is one of the film's masterful ideas of the returning Jack, as not only does it give a very clear representation of what will become David's crimes as a werewolf, but it also allows a very easy provider of exposition as Jack explains how the werewolf curse leaves all its victims as undead forced to wander the earth. What it also does is grant a most unusual character in the form of the decaying Jack and Dunne is wonderful by playing it so much as Jack being very annoyed by his predicament. His delivery of "it's boring" is great because he says it's boring like he's been at the mall for too long or something, not that he's currently in a state of decay. Dunne frankly brings more genuine frustration in Jack when he laments the woman he had been pining for went into the arms of another man at his expense. His actual statement that David needs to die to end the curse is as practical as possible from Dunne as though he's making it just the clear thing that needs to be. All this totally works in Dunne's performance, and again creates a remarkable balance between humor and horror. There is something unnerving but also funny in the zombie talking with such a casual presence.  

Dunne naturally makes an impact with each appearance, Rick Baker's makeup obviously also helps a lot, as his second appearance is as the further rotted corpse. Dunne's subversion of the makeup though is again what makes it truly stand out as he again very calmly lays out what David has to do, and manages to be comedic in this yet still there is a palatable sense of dread. Dunne does this because he doesn't go overboard with the casual, in that he is never truly absurd, rather again it is just this average guy who is a zombie now explaining things, so there is something funny there, but it is also quite serious in its own way. His final scene is a purely verbal performance from Dunne as Jack is now down to his skeletal structure as the corpse, and he is joined by David's victims as they ask for David to kill himself. Dunne nicely shifts his performance just a bit in this scene as his delivery is a bit more optimistic even joyful in his words, as now he's no longer having a heart-to-rotted heart with his friend, he's in a strange way trying to facilitate a conversation between David and the victims. Dunne is very earnest in fact when Jack tries to defend David just a bit and has a real sense of concern in his voice when he notes that hanging would be too dangerous of a method for suicide due to the risk of choking if he bungled it. Dunne's wonderful as his voice exudes a very real sense of friendship with David in the scene and has a slightly positive defensive quality around trying to ease the relationship between David and all his victims. Dunne's performance in each scene succeeds in making a striking impression that is essentially the success of the film in a microcosm. He is funny by being this matter of fact undead creature, but while still inspiring a natural dread. 

Alternate Best Supporting Actor 1981: Dennis Hopper in Out of the Blue

Dennis Hopper did not receive an Oscar nomination for portraying Don Barnes in Out of the Blue.

Out of the Blue is a brutal but effective film about a teenager Cebe (Linda Manz) attempting to exist within a wretched home life. 

Dennis Hopper acts and directs for the third time, and from what I've seen the most impressive work in terms of the latter skill. Hopper though plays an important role as Cebe's father Don who opens the film in a most curious and shocking way. As we witness the daughter and father riding together in his truck and Hopper brings this generous almost goofy energy to the dad being playful with his daughter before driving headfirst into a school bus filled with children, while he had been drinking of course. We don't meet him again until a little while into the film as Cebe and her mother visit him in jail. Hopper has a way of playing pathetic characters, as it seems like he can somehow cut right to it. In the scene, though he seemingly cuts towards something a little better it would seem as seeing his wife and daughter. There is a sense of palatable sadness in Don as he tries to speak to his daughters warmly. Hopper is great in the way his delivery trembles so much as he's speaking, attempting to talk to his family. Hopper is excellent in showing the man barely able to control his emotions as he actively falls apart in front of them. Hopper is great in this scene as he sets the audience up for a fall in a way, as he suggests a deeply flawed man however one who does care for his family regardless of the rather horrible crime that he committed. 

As the film goes on it is the unraveling of this life and the mysteries revealed of this state of Cebe in this world, a world that she always seems trying to escape in some way whether that is in music or putting herself in potentially dangerous situations. Hopper's performance then itself is an unraveling of sorts as Don gets out of prison. Hopper's first scene isn't all that alarming as he shows the man enjoying his freedom, greeting all those around, except Hopper's work is just almost a little too comfortable as the drinking killer, even if accidental, now drinks again without hesitation. This is broken when one of the fathers of the children Don murdered, Hopper is very specific in the act as he doesn't portray any overwhelming guilt in Don. Rather Hopper delivers his act of self-deprecation in front of the man isn't repentance it is basically this callous attempt to avoid the idea and not accept any real guilt. Hopper doesn't show a good man feeling at this moment, he portrays a man who almost treats the man as an inconvenience, there is some emotion but it is all frustration for himself rather than genuine feelings towards the man who he very much wronged. But we still have the central relationship with Cebe's right? Well, that is where one would be very wrong. 

Of course, Hopper presents seemingly the loving father with just how warm he is with Manz in every regard, he embraces her almost a as constant, and always seems truly an affectionate man, though one again casually drinking as he's driving once again. What is impressive is Hopper's complete natural segue in his behavior becoming this anger at his cheating wife with just this ease of his performance that makes it a simple part of his natural state. Hopper in the successive scenes makes an interesting choice where he basically presents this progressive drunkenness of Don that goes hand and hand with the descent of his behavior. Hopper shows greater anger, more of a slurred speech, and just a state of a certain despondency. Hopper almost portrays the drunken state as the man returning to this as his natural state, where we get to a most disturbing sequence. Hopper's sloppy drunk is terrifying as he so effortlessly shows the man going from just random drunk talk to suggesting the rape of his daughter. This informs the entirety of his performance though where it becomes clear that Don has been sexually abusive to his daughter the whole time. Hopper makes this most disturbing revelation as he has been in fact revealing the whole time by the closeness of the moments with Manz along with the blithe disregard for any kind of sense of decency at any time. Hopper makes this most unnerving because he shows this isn't some master plan from the character, no cloak and dagger, rather it is just part of his grotesque state of man, who isn't immediately alarming yet reveals himself to be the lowest of the low basically enabled by his drunkenness and self-loathing, yet never really guilt. Hopper creates Don as a man who exists in a simple state of almost detached horribleness, connected just enough to commit his crimes yet largely disconnected to the point of barely even recognizing them as crimes. It's a chilling portrait because while you don't see the revelation coming, when it happens Hopper has made it all make sense.