Alternate Best Actor 2014: Jesse Eisenberg in The Double

Jesse Eisenberg did not receive an Oscar nomination for portraying Simon James and James Simon in The Double.

You know I think Richard Ayoade is a big fan of David Lynch. This being one of two attempted Lynchian films about doubles from 2014, this one I suppose a bit more overt in its Lynchian desires. The only problem I find attempted Lynchian is often harder to digest than a store brand soda. I want the real deal and the attempts to live up to the master typically fall short. In this case, it does, though not to horrible levels thankfully, it's just not that good in its story about man working at a strange company where a man with his face also starts working there as well...oddity begins to transpire.

Jesse Eisenberg is one of those actors with a presence that is a certain shorthand for his characters, but also is a limitation for him as a performer. When we see Eisenberg we expect an introvert with different levels of neurosis. Working in within certain type though with a greater range than say his true doppelgänger, the far less talented Michael Cera. Half of Eisenberg's performance is right within that wheelhouse. This as this company worker who is just going about his routine initially. This being largely ignored or mistreated by others, with the most being some slight potential romance with a seemingly interested co-worker Hannah (Mia Wasikowska). Eisenberg indeed fits right into the character and is this sort of true wallflower. I'll say Eisenberg in his element has a certain compelling quality within his awkward manner. This is the case here as he certainly successfully realizes both Simon's strange state of being but also more than anything creates a bit more. This in just the way he interacts with the oddness is a bit important as Eisenberg plays as though he's not quite well with this odd world he finds himself in, despite everyone else being so comfortable. This combined with enough of an uneasiness that he attaches to certain sense of longing towards something more than it is in his admiration of Hannah. Of course everything gets a whole lot stranger when his non-Michael Cera doppelgänger appears, and it takes awhile for everyone to notice the two men look exactly like one another.

This is first where we see Eisenberg's other performances as James, and here is perhaps where things are not as ideal for him. Eisenberg can play confident, but it is a very narrow margin of confidence. Eisenberg can do this type of confidence well more so in the vein of his Zuckerberg, which we see here. He projects well this sort of domination of presence, and is able to stand tall without literally doing so. This in that his confidence doesn't project a traditional charisma, and I suppose to certain extent it seems like that is something the role wanted. This as James isn't just suppose to be confident he's supposed to be immediately loved by everyone based on his charisma. I'd say Eisenberg struggles with this angle a little bit. Although this isn't to say there isn't some good to be had here nonetheless largely through the interactions between the doubles, which for me are pretty easily the highlights of the film. This with Eisenberg acting directly against himself and he's terrific in creating the dynamic. This in little comic moments as Eisenberg is indeed commanding against himself speaking each word with a strict conviction in himself and just the right degree of smarmy indulgence. This against Eisenberg as Simon continuing to be awkward and retiring. This with the right comic touch as he portrays these attempt with the appropriate awkwardness, that is rather humorous particularly his failure to flick his tongue sexually, instead looking very much like a lizard in Eisenberg's performance.

Although they seem to briefly attempt a Cyrano situation as Simon goes on a date as James. This initially failing horribly to do this, with Eisenberg again thriving within awkwardness, but also doing just well as finding a bit of charm as Simon stops trying to be James. Then just acts as himself apparently winning over Hannah briefly. Eisenberg's portrayal of this delivers the right charm by finding the charm within his awkwardness by emphasizing an earnestness within himself. He's also good as James in the same scene in projecting the right reaction that shows a more vile personality in his unease at the success of Simon without following every word of James's. Unfortunately the film then just kind of fumbles around towards a relatively obvious conclusion as the two attempt to sabotage each other until one wins. Eisenberg is more than decent in each role, in fact he's particularly good in a moment of a near break down as Simon when he is blamed for all the faults of James. Eisenberg delivering the intense exasperation effectively. Sadly though it doesn't make enough use of that dynamic which was interesting between Eisenberg and himself. There was definitely some more to be mined there, but instead we just get some repetitive scenes of the two's infighting until its unceremonious end. I will qualify this as two good performances, one consistent, one slightly underwhelming in certain respect but still overall effective. The film doesn't make use of the potential within when Eisenberg is with himself. I will say though he was not a favorite of mine in his earlier years, I have come to like Eisenberg as an actor, as he has a unique presence, that definitely offers an alternative protagonist for his films. This does need to be in the right role still, used in the right way. That is mostly true for this film here. It's a good example of Eisenberg being used properly but not a great one. In fact, I think Eisenberg himself sort of refined this performance just a bit for The Art of Self Defense, where he essentially merged the two sides into one arc.

Alternate Best Actor 2014: Tom Hardy & James Gandolfini in The Drop

Tom Hardy did not receive an Oscar nomination for portraying Bob Saginowski nor did James Gandolfini for portraying Marvin "Cousin Marv" Stipler in The Drop.

The Drop follows the two operators of a bar, used as a money drop for a crime boss, one the former owner attempting to orchestrate a robbery.

I will note first the oddity of an awards season, as so often is the case, in reflecting on the fact that James Gandolfini did not receive a bit of recognition for his final role in this film. This in that 2014 was not a year filled with supporting actor contenders, and it seemed it would've been easy enough to earn him a posthumous nod for his final role, particularly with the fact that the default, though not bad, nomination for Robert Duvall in The Judge, was able to coast to an easy nomination for a film without support. Yes I personally consider Gandolfini lead in this film, however it is not a clear cut case, it is definitely a borderline performance so it's not one that I would've even considered fraud. I guess the failed attempt for Enough Said, told them not to try twice? I guess, it just seems unfortunate, as it would've been an easy way to recognize the actor one last time. Anyways though lets actually look at the performances of both Gandolfini and Tom Hardy in what was technically his secondary role, in that it received less attention in the year, from the year after his "one man show" performance as a Welshman contractor going through a crisis in Locke. Hardy and Gandolfini play the operators of the bar that acts as the titular drop of dirty money, once in a while. Hardy playing the workaday bartender Bob seemingly just making a living doing his job as just that, and Gandolfini as Marv in the more complex situation being the former owner of the bar/crook, who lost ownership as well as his attempted criminal career to the Chechen gangsters they technically both work for as the film opens.

Gandolfini technically is fitting into the type of role he became known for as early as True Romance, however of course truly broke out in his TV star making turn as Tony Soprano. Although in the same world this is not Gandolfini replaying the part of the New Jersey Mafioso, not just because he's using his own appropriate accent for a NY pseudo gangster, but the whole being of who Marv is. Gandolfini's performance here is an interesting one in quietly subverting his typically more dominating presence in a subtle way. This as he portrays Marv in general with the slightly affable, if lazy, bar tender himself. His portrayal to the public seemingly as an unimportant soul just existing in the bar. This is rather fascinating in that this both directly connects to what Hardy is doing but in a very different way. Speaking of Hardy this is a performance that I'll say works in one way, but then works in an even greater way within the overarching revelations of the film. Let's look at the first side of that, naturally first, this in Hardy's portrayal of Bob seemingly is suited towards Marlon Brando as Terry Malloy in On The Waterfront, or Sylvester Stallone as Rocky Balboa. This is as Hardy portrays Bob very much within this idea of this working class guy with a small job in a small underworld. This idea, seemingly, further accentuated within his performance that offers a very similar performance, at first, to Stallone and Brando. This in presenting this certain withdrawn quality at times, as a man other might describe as fool if cruel, though more than anything just appears to be an unassuming bartender. This in Hardy's quiet retiring voice, and just his manner where he seems to look away more than he looks at people. This making Bob seem a man of no note to most.

Hardy though carries with him that certain captivating quality within the unassuming quality within his performance. There is something about him within Hardy's portrayal that is just slightly unusual. Now for the first viewing, almost the entire film, this seems to be just maybe the quirk of the unassuming man. A possible likable enough quirk as he discovers a wounded dog outside the house of a woman, Nadia (Noomi Rapace). This as Hardy's eyes accentuate this quiet concern for the dog, and earnest manner with Nadia. Hardy is hardly a romantic, not even compared to the somewhat clumsy ways of a Rocky Balboa. Hardy rather accentuates though this sort of seeming fascination in his eyes that garner some strange semblance of a gentleness of Bob in his disposition, the heart within the awkwardness that Hardy so well realizes, but perhaps that's not all it is. Gandolfini on the other hand shows a different man in his personal scenes, though two different men. The first though is perhaps the more expected as we see that Marv is behind an attempted theft of his own bar and planning an even large heist. Gandolfini's portrayal of these scenes is with a minor sense of cunning but also a sloppiness. This not so much in his own delivery but in his interactions with the men he chooses to work with. Gandolfini accentuating a certain frustration as he tries to be the boss to incompetence, and the whole time he's terrific in granting a certain worry within Marv's eyes sensing that these men are not exactly reliable.

Hardy's performance as Bob though takes on initially this seeming rooting factor for him in how we see him as this shy "hero" to follow. This as we see him interact with the criminal elements just that with a quiet service in which he takes no joy or interest other to the point of doing his job. Where Hardy emphasizes Bob's concerns is with his dog, particularly when a complication arrives through a small time crook, and former mental patient Eric Deeds (Mathias Schoenaerts), who claims the dog is his own and intends to blackmail Bob by threatening the dog. Hardy is amazing in these moments as his eyes conduct such a sense of concern for the dog and distaste for this man without saying a word. It is all in his eyes and brilliantly so in conveying the way Bob interacts with even people he hates, is in this quite yet specific reduced emotion. Now for Gandolfini there is that other side of Marv we see as well in his scenes alone with Bob and his scenes with his sister (Ann Dowd). If Marv was a little more likable these would be absolutely devastating, however they are still heartbreaking in there own way. This as Gandolfini reveals just a quiet desperation in the man with his sister. His own eyes filled with just the sense of defeat as he ignores his sister's suggestions to leave the city, and he just accentuates a man who sees his life as a dead-end. His only attempt at anything else comes when speaking to Bob, who was technically a former member of his short lived crew. In these scenes, which are closest to his performance as Tony Soprano in approach, in that we get a bit of Gandolfini's unique intensity which he makes this interesting sort of microcosm of anger in the way he tightens both his voice and body language to this seemingly invisible point right in front of his mouth. It is still not a copy though as here Gandolfini's manner is filled with such a pathetic need to prove himself, rather than merely proving himself. His anger going to the deaf ears of Bob who has heard all of Marv's delusions of grandeur before. Essential to note that Hardy's performance in these scenes where even though in his delivery he maintains a certain detachment, a low key, derision of Marv though without really a hint of actual venom in his voice. 

Now the ending of the film is where there is the connection between the two. This as Marv gets Eric Deeds to attempt to rob the bar, when Bob is running it, in order to steal all the money from the titular drop. Where we saw Gandolfini portray Marv as on the surface just a guy going along with his plight as a bar tender, we find him as a bitter man trying to regain a hint of what he sees as his pride as a crook. For Bob this dichotomy is a bit more complicated. This is as Bob isn't just some awkward guy, he's actually a complete sociopath, what I love, is Tom Hardy is playing this way the whole time. This in his almost entirely detached manner with only emotion for certain things, like a proper sociopath, and even those emotions are largely reduced. This even more amplified in the moments where we see Bob directly interact with violence, indirectly. In that he disposes of body parts as though he disposing of any old garbage. Hardy playing with this disturbing clarity, that seems off, however it doesn't click until the ending where Eric is trying to rob Bob directly, but Bob first tells a story of a man he murdered for Marv, a man Eric has claimed he killed. Hardy is outstanding in this whole scene. This with his delivery of the story where Bob's stoic quality suddenly takes an unnerving quality to it while also just being wholly magnetic. This as there is this confidence even in it as he describes the kill in such a clinical way that is absolutely terrifying. This as his eyes have an eerie sense of purpose keeping his stare at Eric, where there isn't a hint of fear, rather eyes of sociopath ready to kill again. This which he does mercilessly to the unsuspecting Eric.

This transformation is incredible because it isn't one at all. This is Hardy just showing us those qualities in Bob from that certain degree of detachment in connection to violence, and his careful manner towards life. Hardy shows that he's not the quiet one because he's just shy, there's technically something mentally off about Bob, very much so, yet so easy to ignore due to his unassuming manner. The only major shift is the hate suggested in his eyes towards Eric comes out, in this marvelous rambling that Hardy performs as this unleashing of the few emotions that Bob does have. This as he derides Eric in such a peculiar way, but the way Hardy does it shows it as Bob's most vicious self towards Eric. This being the most Bob feels, and that means he feels it quite strongly. Gandolfini's final scene on the other hand is a bit simpler, as we just see Marv waiting out Eric's failure in a car outside until an assassin comes for him as well. This is one of those scenes that is heartbreaking, however I think that comes from one knowing it is Gandolfini's last filmed scene than really feeling too much for Marv who sowed his own demise. Even with that in mind though it is still beautifully performed by Gandolfini as his somber way of tensely closing his eyes is that of just a painful acceptance of death of a man without anything to live for. Although this isn't his greatest work it stood as a worthy sendoff for a man of his talent. For Hardy, this is one of his great performances. This in that he successfully is this off-beat working class guy with an oddly compelling quality, but then he subverts that by being this sociopath in plain sight. The man that "No one sees coming" as described by the investigating detective in the film. Hardy earns his idea wholly. What is so remarkable is that Hardy doesn't cheat in any way. In that he doesn't ruin Bob for any sympathies, he doesn't cheat to make the twist work yet he hides it. He allows one to care for Bob for all his quirks, those quirks though that he realizes all add up to a cold blooded killer.

(For Gandolfini)

(For Hardy)

Alternate Best Actor 2014: Jeremy Renner in Kill the Messenger

Jeremy Renner did not receive an Oscar nomination for portraying Gary Webb in Kill the Messenger.

Kill the Messenger is an imperfect however somewhat decent procedural about the true story of the fallout after journalist believes he's found connections between the illegal drug trade in American and the CIA.

This film opens as a more traditional procedural, and a better film it is in this point, as we follow a reporter tracking a story brought to him by a drug dealer's girlfriend. This taking the All The President's Men approach effectively early on lead by Jeremy Renner as just the dogged reporter at first. Renner is effective in this just portraying well the sort of lead for this type of film. This isn't ever something that should be hand waved as Renner delivers well the sense of the investigation in his performance. This is as Renner portrays the initial interest with each piece of evidence and importantly the certain sense of invigoration that Webb gets as he begins to discover each new revelation. Renner finding well the sort of reporter's spirit within his performance, portraying more than just being in scenes and instead showing a man actively reacting towards what he is slowly starting to discover. Renner pulls you into these early moments well Webb believes he's finding connections between the drug trade along with the CIA connected Nicaraguan Contras. What Renner does in these early scenes is create the right sort of foundation in crafting Webb as a likable and determined protagonist. This is even with even the slight tension we sense with his wife (Rosemarie DeWitt), however Renner balances well to create a man we see both as something determined to get the story, but we also just get the sense of a man early on within this situation.

The film then first shifts towards the next phase which really becomes the put upon whistle-blower style film, which is less effective overall. Renner though is very good in the early scenes depicting this in just creating the early tensions within his performance. This in particular a scene where men seem to threaten his children by saying they won't threaten them just before he releases the story. Renner's reaction is terrific in catching the sense of Webb sensing the implication and reaction of a mix of horror and anger so effectively. Renner is terrific in the early moments of bringing to life the anxieties as it seems as though there is a looming threat around him from the story. Renner's performance gauges well a sense of determination within the fear early on as well. This portraying the sense of conviction in the man's eyes even within the paranoia of the threat slowly seeping into it. This as we see Webb's article come out which earns some suggestions of initial praise then much attack soon afterwards through its certain alluded to claims and sourcing issues. Renner's performance though is fantastic though in initially finding the sort of ease in reaction towards the initial questions this with just a man thinking it is part of a routine. This though quickly changes to far more than just a few questions as certain elements of his story fall out of place and his sources in particular don't seem to fully support all of his claims. 

This is where the film and Renner actually seem to almost make two separate decisions. The film itself becomes rather repetitive in showing just one thing after another adding up against Webb though with the view that Webb was unquestionably right in every way, except his marriage infidelities. This approach becoming repetitive quickly in terms of the narrative and leads to a somewhat underwhelming film by the end. Renner's performance is the one thing that keeps it afloat though as he seems to suggest a different approach within his own work. This as he doesn't portray Webb as wrong, but he shows that he was perhaps fell into some confirmation bias. This as Renner's work as one thing after another comes after Webb, portrays it as not this just a downtrodden hero. We get this right from the outset where he explains his earlier infidelity to his son. Renner's expression reveals nothing but a sense of quiet anguish over an obvious flaw that runs even deeper in terms of his personal failure. Renner in this scene though shows the very much the humanity within the flaw, though as the film continues I find he manages to subvert a certain expectation. This as it would've been easy enough to portray Webb as a man as just a simple martyr for his beliefs which is honestly the suggested route by the film's approach, however Renner takes it in a far more interesting approach to create a portrait of Webb as an imperfect messenger. 

This as we see the unraveling of Webb Renner's portrayal is not of righteous indignation. There is a small sense of that in Renner's work, but more so he emphasizes well this personal outrage. An outrage he portrays as properly messy with this sense of  personalized anger. In that his deliveries emphasize hate towards those speaking ill of him, just as he speaks with passion for his work. When it seems like he has found new evidence, particularly the seeming ridiculous scene of a nighttime visitor that confirms all his theories, Renner is excellent in that he speaks these words as ravings. This in showing this desperation to be shown right that in turn it seems like he's wrong. Renner excels by showing a man failing in a certain sense to be his own advocate. This in each proceeding scene this increase of that desperation in his performance. Renner then showing this sense of depression only growing in his eyes just as much as the anger is. Renner doesn't separate the elements of Webb's downfall showing it something unappealing in the grander scheme of things. This suggesting a striking sense of self-destruction even if he had been on the right track at one point. Renner is outstanding in his final scene. This first beginning with a speech as the journalist of the year. Renner doesn't even make this a small triumph, rather showing just a man seething within his despair, speaking most words with a sardonic dismissive quality, while his eyes just reflect the terrible wear of the man from his experience. This is followed by a family talk with who encourage him. This seemingly the film's attempt to leave on a more upbeat note even though the real Webb committed suicide shortly afterwards, noted by the film, though in a way not to discourage conspiracy. Renner again seems to ignore this in showing only the small glint life in the affection for his family, however his face though just bearing the weight of his existence from his ordeal. This with a penetrating sense of depression where Renner essentially states Webb's unfortunate end without needing to say it. This is a terrific performance by Jeremy Renner as he crafts a remarkable protagonist even perhaps beyond the film's intentions. This in finding more complexity and nuance within the central role than was potentially found within the script. This in granting a memorable tragedy in Webb's own story as he believes he's telling his essential truth.

Alternate Best Actor 2014: Channing Tatum in Foxcatcher

Channing Tatum did not receive an Oscar nomination for portraying Mark Schultz in Foxcatcher.

Channing Tatum, who wasn't exactly taken seriously as an actor, or even a performer, or even as a comedic performer, pre-2010's, underwent a fairly drastic revision, particularly in terms of the outlook of both the public perception and critical acclaim. Although he had a few decently regarded dramatic turns, in films like Magic Mike and Side Effects, the shift towards goodwill seemed to more strongly inspire from his comedic work in 21 Jump Street. I suppose then 2014 would have to be considered the pinnacle for Tatum's career shift at this time. This as he successfully recaptured that comic ability, even overshadowing better known as a comic performer Jonah Hill, in the aptly titled sequel 22 Jump Street. More than I anything I think one could see just from that work if Tatum managed to loosen up a bit, he not only could be an engaging performer, but also an endearing if not hilarious one. There Tatum excelled in playing with sort of his "hunk jock" persona, and just having fun in making fun of it and subverting it a bit more. His even greater challenge though perhaps would come with this film, which honestly is interesting in that Tatum again is working within that idea of an initial persona, however then too subverting it. This as the character of Mark Schultz is this Olympic gold medalist when we open the film, and his physical ability technically defines the man, in more ways than one would even perhaps expect. Given that my thoughts are already known, I should not beat around the bush too much, and I will declare this brilliant performance from the outset, although brilliant in a way that I would say is quite unexpected, not only just for Tatum, but even beyond the potential one might've expected from Tatum even found in his earlier successes.

Tatum who began with a dance movie, does deliver that same type of physicality, that shows the good casting here as Tatum as this wrestler. Tatum's performance though is not one resting on the laurels of this, as he wholly subverts any graceful qualities you might expect from a dancer in his portrayal of Mark. This only being the very first fantastic choices by Tatum in the role, this as he very much transforms himself here, even though his overall appearance is far more tempered than one would likely compare to his Oscar nominated co-stars. This in that other than the cauliflower ears it is in Tatum's work, as he protrudes his jaw slightly, and his whole physical work though says so much about Mark without even saying a word. This as his manner is fierce in that you very much get the sense of a man who lives by trying to physically impose others in the ring. There is a shyness though that Tatum brings in this in the way his head is almost always cocked down. This as a man who is mighty to look at but even as you do, Tatum grants the sense of the man retiring from sight. We can see him as not whole in terms of the control of himself even as you do get the sense of the physical strength of the man. The most essential thing about this, unlike a certain co-star, every physical mannerism Tatum employs feels wholly consistent and natural. He instead simply makes us feel like not only are we seeing Mark Schultz, we also know something about him just by looking at him.

Tatum's earliest scene is actually one of his most essential ones where we see Mark go to speak at an elementary school. Tatum is brilliant in this scene as he so effectively accentuates the incomplete man that Schultz is. This is as he speaks his poor speech with little articulation, even showing off his medal with this importance, however without a real sense of accomplishment of the pride of a refined athlete. Tatum instead brandishes it as though he won it in any old contest for a man who doesn't quite know what to do with it. We see the same as he is getting paid by the school for his speech, where they mistake him for his brother Dave (Mark Ruffalo). Tatum's way of correcting the person is fantastic as he notes that he also won a gold medal is not as this boast, but as this like rush to try to show that "he's good too" as he notes it. Of course what is essential here is found in the actual relationship between the two brothers, as we see them practice together. This as we meet Dave as a successful, but straight forward and modest man. I love the physical chemistry between Tatum and Ruffalo, in that you get in their grappling really the sense of the brother's bonding with one another, and with Dave almost hugging his brother affectionately even within the practice of grappling. An idea that isn't forced but rather so naturally just felt within their performances that grant a sense of a long loving relationship between the two. This being Dave as someone who has simply just tried to look out for his brother, while Mark struggles, in his own eyes, to be his own man.

It seems that Mark is given his own chance when offered an opportunity by millionaire John Du Pont (Steve Carell) offers to sponsor him and a wrestling team on his large estate. John speaks encouraging words to Mark, and Tatum makes so much in the moment of just listening. In that his eyes spark a sense of worth almost as the man only speaks to Mark as basically being a hero who isn't appreciated. The followup scene then is amazing when Mark brings up the chance offered by Du Pont to Dave. Tatum is outstanding as he speaks the words with passion, however how he articulates each individual word is as this copy and paste of whatever Du Pont said. Tatum finding this balance in his delivering of showing a man who believes in what he is saying only because it is saying the thing that the man who believes in him was saying. There is no sense of individual words with meaning in Tatum's delivery, just the generalized message, and in that Tatum shows how the man is just really going along with someone who seems to believe in him. This in not a way that show a depth of understanding of the ideas said to him, but rather just a sense of being appreciated at all. When Dave, for legitimate reasons, turns down the request, Tatum is again so remarkable in the way he physically withdraws again from the world. This as he shows a man now no longer with the words of others to speak, and lost particularly sense of self he had created through those words for a moment.

Mark takes the opportunity alone then and seems to be successful initially in this. This with John seemingly being generally supportive, even in his odd insular ways, and seeking what seems to be a friendship with Mark. Tatum is excellent in he portrays no manipulation on Mark's part in these moments. This is rather just revealing a man genuinely appreciative of the opportunity initially, and Tatum is terrific in the way he opens up his performance a bit as it seems he even is becoming a leader in the environment. In the earlier friendly moments with John, Tatum presents the right earnestness in his reactions, showing that Mark does appreciate this friendship and opportunity at first. Tatum though still finds the right deferring quality now in his scenes with Carell. He's open, but just the way he looks and listens the man, it is again of a little brother as he was with Dave. One of the earliest problems though coming when he and John visit Dave and his family in a hotel room, and it appears as though John was slighted through Dave's family's genuine though muted greetings towards John. Tatum portrays so well this defensiveness that is immediate and messy. This as he speaks as he doesn't quite know what he's mad at, but gives the sense of anxiety that the perceived slighting is something he has to fight against. Tatum portraying again not a strong sense of self-thought but rather again in reaction for another person's influence. Although of course that is contrasted by the immediate warm moment between the brothers, where Dave refuses to really even recognize the conflict instead just offering Mark support and wisdom towards his next wrestling match.

Although initially Mark and John find success, quickly that degrades through John's questionable behavior including drug taking and general abuse of Mark's friendship, which the film leaves ambiguous to the most extreme extent of that abuse. Tatum's performance though plays well the sense of this reducing Mark back to that sort of shyness within himself, particularly when John basically tries to replace him with Dave. Tatum doing so well in becoming this shell of a defense basically against John's abuse and his perceived unworthiness compared to his brother. At this point Tatum honestly has very few lines to himself as we just see the downward spiral of Mark, yet his impact is not at all muted as we see the weight of it almost destroy him. This particularly being after a lost match where we see Mark breakdown by lashing out in his hotel room and binge eating as a point of self-destruction. Tatum is simply astonishing in this scene in without saying a word he delivers such raw intensity and completely exudes the man's anguish in the only way he knows how. The entire scene being such a tremendous work from Tatum as just all that Mark is dealing with and can't deal with mentally, spilling out into this physical display of decay. This only being brought back from the brink by Dave's support, which includes trying to keep John away from him. Tatum in his final scenes, before the film shifts towards the tragic antagonistic relationship between John and Dave, is excellent though showing him reverting truly to Dave's little brother. This in his silent deferment towards his brother, and just a wary suspicion of John. This is exceptional work by Channing Tatum, as he grants only honesty to this portrayal. This portrait of a man who cannot define himself and therefore allows himself to be defined by others for better and often for worse. Tatum uses his presence to amplify the work, however transforms himself in a way that is only convincing of the character never showing off for the sake it. Sadly this approach made Tatum ignored in favor of  Carell's more overtly against type performance, however Tatum's work was a true show of range and talent that far exceeded most expectations of him as as performer.

Alternate Best Actor 2014: Oscar Isaac in A Most Violent Year

Oscar Isaac did not receive an Oscar nomination, despite winning NBR, for portraying Abel Morales in A Most Violent Year.

A Most Violent Year follows a businessman attempting to secure a life changing deal for his gas company.

I think the early word on the film, along with its name, perhaps was to the film's detriment in terms of overall recognition in its year. This as it suggested a different film, as the film is a low key study of one man's morality, than a wide scope crime drama you might have expected from its catching name and the comparisons to The Godfather. Now in this we have a very atypical character for leading such a morality tale, and in that Oscar Isaac has a unique challenge. So often in the case of morality in a crime film, it is upon the person who has already gone through corruption or is actively taking part of it, either by will or by circumstance like Michael Corleone in The Godfather. A character in that Isaac's Morales was compared to, it certainly helps with their similar appearance, but I don't believe that quite covers the man that is Morales. This is as Morales's role within this story is a unique one, in that while he's not a straight forward good man within corruption, by way of being a legal force, he is not a corrupted man within corruption. This is as he is trying to make it within the corrupt world of the gas works in NYC, he has a criminal lawyer (Albert Brooks) and a wife (Jessica Chastain) whose family are local criminals. The story is of the man trying to not be this, while existing strictly in that world, almost trying to play the game, but with a hand tied behind his back. Isaac's performance then is one that is to bring to life this alternative conflict, that unfolds not quite in the expected way for such a story.

Now on the surface the similarities to Al Pacino as Michael are easy enough to name. This is where one can easily praise Isaac's performance where he delivers that needed sort of internalized charisma for the part of Abel. He's not a man who wields his power, or attempted power, through broad strokes, but rather through almost this force of will. Isaac's delivers that as his presence offers that sort of sense in one's own conviction that empowers him in some way. Isaac captures this specific kind of control in his performance that grants the right sense of Abel's awareness of what he must do, but also the methods he believes he must take to do that. There are earlier moments within the narrative where Abel explains his plans. This is where Isaac's performance conveys well this clear sense of his purpose. This in calm yet determined voice, and eyes that are fiery with a controlled but very real ambition. Isaac creating the sense of a man who has built upon his intelligence within his field, and is working his way towards a kind of control of his destiny. Isaac's performance crafts the sense of the ambition that then grants the man that certain strength, and in turn a remarkable distinct type of charisma. This as Isaac exudes a man of power, even as we open the film we find someone who is quickly struggling to maintain this power, as he doesn't quite have the money to buy an essential property for his plans, and is dealing with the constant theft of his trucks along with the physical harassment of his employees.

Isaac's performance then becomes one that reveals two burdens within it. The first the more obvious and essentially surface one of the exasperation of his state. This as every time it seems he solves one problem two more come up, not due to his own excess or incompetence, but rather the actions of others. Isaac's performance wears this effectively within the man of just a state of growing frustration. Again though Isaac balancing that with the sense of the man's strength as we don't see it overwhelm him in this sense, rather grants a greater sense of perseverance within the man. This as one deal goes poorly for him, Isaac brings the same determination in speaking within the meeting for the next of a man who will finds his success through the forces against him. The second less so that being within the idea of morality, particularly how it exists for him within his world both for his business and in his personal life. Isaac in this shows a good man, but a man who basically has risen around corruption. This in his earlier moments with the other gas owners, or his own lawyer. Isaac's eyes convey a sense of the knowledge of the man as it is with careful suspicion of their actions. When he himself stands against a DA focusing upon seemingly randomly his company, Isaac's portrayal of Abel's denials of any wrongdoing within his company, is that of that same kind of conviction. Isaac importantly grants no sense of a lingering doubt within himself, rather shows someone who fully is aware that he knows how he has risen not through the corruption that he has been so closely near.

This comes to life even greater though within the side story of one of his workers, Julian (Elyes Gabel), becomes increasingly hostile after becoming wanted by the police for having attempted to defend himself in a robbery through the use of a gun. Isaac's scenes within Julian and his wife, are brilliantly performed this as he grants an essential warmth and empathy within Abel. This as even as he tries to get the man to turn himself into the police, that low key warmth Isaac delivers is again with certainty that he believes this will help the man. There is importantly no sense of selfishness within this, as Isaac instead portrays the man believing he is leading the man to some help after his actions have threatened both their livelihoods. Of course one of the most important complications is in his relationship with his wife. This is where Isaac crafts some very careful chemistry with Chastain, that grants a strong sense of their relationship even though we don't really delve within the details all that closely. Isaac conveys the obvious attraction, if tempered by years of marriage, but at the same time gives us the sense of the underlying frustration at the ease in which his wife displays a more duplicitous side. This alluding to her family history, which I love how Isaac makes this a given in his performance, with almost side eye glances that suggest a knowing man just slightly watching out for the worst tendencies he knows his wife has, without hating her for it.

What the film then becomes is basically a testing of the attempt of Abel to try to do what is right no matter how much the world around him encourages him to do wrong for the purposes of selfishness. Isaac is excellent in the way he finds so much nuance within this struggle, which is never spelled out directly however is found again within his subtle work. This as we see the man who refuses to give in to just violence as even when he tracks down one of the thieves and interrogates him. Isaac is outstanding in this interrogation scene. This as he delivers the intensity of a man who could kill given that sense of determination, however in his verbal reaction of releasing that anger from his frustrations is brilliantly performed. This in showing a man who wants to do the right thing in that release, fighting against the negative urge. Even in this time though we still see the strength of the man when within righteousness when he successfully earns some of his money back from one of his competitors. Isaac owns the scene brilliantly in just exuding that internalized power greater than ever, with the right sense of threat within his words, but still that calm that embodies within itself this unquestioned strength. He seems even more tested as he finds he has one source of income from his wife, from her secretly skimming off the top from Morales's company. Isaac is great though in this being the biggest break as he yells as a man who has put up with this behavior for far too long, and this outrage very much earned from his wife often questionable moral character. Isaac reveals those years in this moment that is of surprise at the sort of betrayal but in his eyes that of also that still knowing as something he knew was possible in his wife. The final sort of challenge comes as Morales has successful made his deal by using the money, really with no alternate option for those funds or for himself, but Julian reappears with gun. Julian though only in a distraught depression where he quickly kills himself seemingly both depressed and jealous towards Morales's success. Isaac's reaction in the moment is perfection as he shows the horror of the moment in his understated reaction still. Isaac finds within though not a shame exactly, rather a disappointment again against the corruption and violence that lead to the act, though he himself was not truly guilty of it. This is an impressive work from Isaac, as was the way for him in his remarkable quartet of performances from 2013-2015, hopefully he'll return to this quality sometime soon. Nonetheless this stands as one of his great performances. This in granting a powerful portrait of an atypical character in a moral dilemma. This as a man attempting, despite all odds, to do what he believes is right in a world filled with wrongs.

Alternate Best Actor 2014

And the Nominees Were Not:

Channing Tatum in Foxcatcher

Tom Hardy in The Drop

Shahid Kapoor in Haider

Ethan Hawke in Predestination

Dan Stevens in The Guest

Predict Those Five, These five or both:

Jesse Eisenberg in The Double

Jeremy Renner in Kill the Messenger

Tom Cruise in Edge of Tomorrow

David Gulpilil in Charlie's Country

Oscar Isaac in A Most Violent Year

Alternate Best Supporting Actor 1983: Results

5. Michael Palin in The Meaning of Life - Although in a mixed bag of a film, Palin delivers on the best parts of that mixed bag in his various absurd comic turns.

Best Scene: "Every sperm is sacred"

4. Ian McDiarmid in Return of the Jedi- McDiarmid manages to create an instantly iconic villain that is playing on a known riff but in a different way.

Best Scene: Crossed sabres.

3. David Bowie in The Hunger - Bowie delivers again that fascinating enigmatic charisma of his, though also grants a haunting depiction of a man swiftly consumed by the ravages of age.

Best Scene: Old man seeing the pupil.

2. Jonathan Pryce in Something Wicked This Way Comes - Pryce gives an appropriately devious portrayal of a calm yet sinister omnipotent evil. 

Best Scene: The library.

1. Takeshi Kitano in Merry Christmas, Mr. Lawrence - Kitano gives a brilliant performance that depicts both the cruelty of a man designed by a terrible code, but also the compromised humanity still within that.

Best Scene: Final merry Christmas. 

Updated Overall

Next: 2014 Lead (though taking a brief hiatus to catch up on some 2020 releases, feel free to make any 2020 recommendations).