Alternate Best Actor 2014: Results

10. Ethan Hawke in Predestination - Although Hawke ends up being crushed by the machine of his film, he still gives a largely compelling portrayal of grounding mind bending time travel.

Best Scene: Outlining the truth. 

9. Jesse Eisenberg in The Double - Eisenberg is less effective as the "confident man", though not bad, but is engaging in presenting his nebbish protagonist dealing with particularly odd circumstances.

Best Scene: Cyrano date

8. Shahid Kapoor in Haider - Although almost static, though sensibly so, in the first half of his performance, Kapoor in the second half unleashes a brilliant atypical take on Hamlet. 

Best Scene: Song number

7. Dan Stevens in The Guest - Although his film is lesser than, Stevens is a delight and absolutely captivating as a killer who seems strangely invested in a family.

Best Scene: Bully takedown. 

6. Jeremy Renner in Kill the Messenger - Renner gives a powerful portrayal of a man whose convictions slowly destroy him.

Best Scene: Final speech. 

5. Tom Cruise in Edge of Tomorrow - Cruise plays with his star persona by brilliantly subverting it in a multitude of ways, but also by living up to it as a natural progression of his character.

Best Scene: You don't make it any further

4. Oscar Isaac in A Most Violent Year - Isaac gives a brilliant portrayal of an atypical character in presenting a man quietly attempting to maintain his morality while also attempting to maintain power as a boss in a cutthroat business.

Best Scene: Confronting the thief. 

3. Channing Tatum in Foxcatcher - Tatum shatters any expectations on him through his powerful and intense portrayal of a man who has great potential but only can follow.

Best Scene: Breakdown.

2. Tom Hardy in The Drop - Tom Hardy gives one of his best performances in a brilliant high wire act that pays off as you're watching, but even more so with the revelation that gives you a greater sense for the overall accomplishment of his performance.

Best Scene: "You embarrass me"

1. David Gulpilil in Charlie's Country - Good predictions Luke, RatedRStar, Michael McCarthy, Anonymous, Aidan Pittman, Omar, and Mitchell. Gulpilil gives a portrait of just sheer honesty that reflects such a purely genuine person yet endearing in the unique qualities and life within this naturalism.

Best Scene: Seeing his dead friend.

Updated Overall

Next: 2014 Supporting

Alternate Best Actor 2014: Shahid Kapoor in Haider

Shahid Kapoor did not receive an Oscar nomination for portraying the titular character in Haider.

Haider is a largely effective re-telling of Hamlet, in some ways closer to The Bad Sleep Well in its first half, in it is loosely adapted, taking elements of the text to craft a more unique narrative, though the second half hews closer to the original text.

This "version" of Hamlet takes place instead in India in a time of political strife. This version does not begin with the death of Haider's, this version's Hamlet, father, rather we see his political imprisonment. His father not being a king though rather a doctor, though we still see the immediacy in which Haider's mother (Tabu) is finding comfort with her husband's brother Khurram Meer (Kay Kay Menon). Although the first half of the film is technically about Haider his role is somewhat limited as it is more focused in setting the political and personal tensions around him. Kapoor's performance is limited as a young man coming back from college to find his father. His performance evoking, effectively, a more generalized smolder through an intense glare fitting a man with only one thing on his mind. Kapoor shows a man who only cares about what happened to his father and nothing else. He creates that sense of the singular mindset and is effective in this even if the note is purposefully limited here. This only changes when a mysterious stranger comes into town Roohdaar (Irrfan Khan). The man being "the ghost" in this version, though alive as a haunted political prisoner who by chance survived when he and Haider's father were taken out for execution. The man giving Haider the knowledge he needs to break his sort of state of inaction. This reflected well within Kapoor's portrayal that senses the immediate grief in his expression but also the anger within it as he learns that his uncle was involved with his father's fate.

Kapoor makes an extreme, fitting, shift as we now enter into really the game of Hamlet, in this version with the interpretation that he is purposefully acting insane. We get this with the shaven head of Kapoor immediately after the revelation in a mad rant. Although less the traditional form and done here more as a performance art piece. I have no hesitation though to say that is brilliantly performed by Kapoor though as he throws himself into this curious rant. A rant that is so artfully done again as his whole manner is that of a slight dance, and is just so effectively done as both this act of seeming madness while also being so incisively potent as an attack on the situation he is living in. This scene only best within Kapoor's work as instead of the traditional "play within a play" we instead get a song and dance number pointed towards his uncle's guilt. Although I often hold reservations towards the Bollywood musical numbers which often lead films to a standstill, here it not only is intertwined within the story it creates a natural progression within it by it being within story. Kapoor is amazing in this sequence as he delivers on the song as he should in terms of just being captivating within the performance however he goes so much further than that. This as the intensity of the notion and the projection of the anger of the scene is portrayed so effectively by Kapoor. This as he wholly embodies within the performance the striking emotion with Haider as he doesn't just sing the song but rather makes it this full accusation towards his uncle within the song.

This is a case of the act of insanity though as we do otherwise then have scenes between Haider and the Ophelia equivalent Arshia (Shraddha Kapoor). These are very much traditionally romantic moments where the Kapoor's, neither related or married, do have a strong chemistry with one another. These moments are brief however Kapoor uses them well to suggest the young man we saw at the beginning of the film, and the chance for normalcy if he chose it. Of course knowing the play things don't turn out that way, though here with less cloak and dagger, and more machine guns/explosions. This leading to the climax to be a bit more abrupt and direct to say the least. For example instead of Rosencrantz and Guildenstern trying to have him covertly executed, they instead killed with rocks instead by Haider. I'll say though Kapoor is terrific though in becoming really the spirit of vengeance in these later moments. Finding really a balance between the false insanity we saw earlier and the single focused man who arrived home. Kapoor finding this sort of vicious determination as he goes about killing or trying to kill the traitors within his midst. Kapoor bringing sort of the right undercurrent of emotional desperation within the task, particularly in the moments of accusing his mother. Kapoor exuding in it the pain of the act flawlessly while also conveying the sort of thrill of being able to release his pent up anger. The climax actually doesn't leave too much time for reflection however I'll grant that Kapoor uses the time he does have effectively. This particularly in his final moment, which goes a bit differently, Kapoor silently expresses the conflict of the moment between revenge and clemency. Although the focus of this Hamlet is rather different, Kapoor delivers on giving a captivating, off-beat and powerful version of the oft played character.

Alternate Best Actor 2014: David Gulpilil in Charlie's Country

David Gulpilil did not receive an Oscar nomination for portraying the titular character in Charlie's Country.

Charlie's Country is an effective character study following an aborigine man trying live life his way in Australia.

This is perhaps one of the more interesting progression of reviews as the last time I covered Gulpilil was for his work when he was a teenager in Walkabout. Here though we make a great leap forward to a much older Gulpilil as Charlie. Gulpilil's performance here is one of those performances that could only be given by the man performing it, not only due to his obvious heritage, but far more in what he brings to the role. This being this strictest honesty in finding his character, in a way that bars you from even second guessing a suggestion of it. From the first frame Gulpilil simply is Charlie and anything he does or acts is a given. There is neither a false or performed note in his performance. Of course this isn't to say that this is just a naturalistic turn, even if it is that, but the character of Charlie is actually quite idiosyncratic, and part of what makes it so wonderful is how Gulpilil finds this so truthfully. This in his weathered face is a man who has lived a life of a different kind of hardship and just is trying to plug along as he can initially. Gulpilil's work though doesn't fall upon easy martyrdom, in fact what I love is how much life and spirit he brings to the part rather than being a potential one note of somberness. This as even as we see the often dismal state of his existence Gulpilil does not portray it as this simple state of being downtrodden.

There's a real charm that Gulpilil brings to this performance that is just delightful. This in the manner of the man as he interacts with his fellow people, and even initially in his interactions with local badgering police force. The eccentricity that Gulpilil is something quite unique in that he manages to craft it in that same honesty as the rest of his work. This in this slight bit of kookiness, for the lack of a better word, as sort of the man attempting to maintain a bit of wildness within a world that demands a particular kind civilization from him. The sort of wily manner Gulpilil has this glint of mischievousness but also something almost inspirational within it. This as we see the man going about hunting with one of his friends, it is with an eagerness and daring. This in the moment Gulpilil showing in such an endearing manner a man living his best life at least for a moment. This even as the police initially crush these endeavors Gulpilil creates such an earned sense of frustration given how joyous the act he shows, and how natural it is to his very person. In this work I love the way Gulpilil embodies this state of empathy though within the character as we see Charlie interact with the other downtrodden. Although he doesn't speak on it a lot at first, there is such a powerful sense in his eyes and his reactions how he truly takes in this plight. Again it is with this piousness but rather this genuine sense of man being so connected within, fittingly, his country.

Gulpilil's performance is one here that manages to achieve that particular sort of success of being compelling within himself. In that just to watch him here becomes rather fascinating by so inherently authentic his work is. This is as we just see him creating a spear for himself to hunt, after the police take away his gun, the act of it being made is something special through Gulpilil;s nuanced performance that shows the certain dedication in the act, along with the curious yet always endearing eccentricity within it. This can be seen in every act of Gulpilil throughout the film. Gulpilil's work emphasizing very much how Charlie very much lives through attempting to just be as really would've his traditional calling at one time with always this sense of pride within these activities. Again though this even I think could box in the work here as that is not the case with Gulpilil as he doesn't become just a symbol of this type of man. This is as he in equal measure brings such natural humor to his performance as well. Whether this be in his interactions with a couple of local drug dealers, or acting as a "tracker" for the police to get those dealers, Gulpilil has these delightful blithe moments, most often in his English, delivery where we grants this sense of intelligence within his brief, seemingly, simple responses to men. Gulpilil's work always emphasizing all the more the thorough amount of life in his performance. This being essential in that he shows within the world that is often downtrodden there is the sense of the natural urge just to be allowed to live in the bush, in a way that wouldn't cause anyone harm. 

The police become insistent as they even confiscate his spear and kick him out of the wilderness. I love initially how Gulpilil doesn't play it as bitter right way rather this sense of disappointment and befuddlement that they would get in the way of his harmless way of life. Gulpilil's work showing the way the actions essentially are getting in the way of the natural existence of the man. When placed within the city Gulpilil with the same naturalism slowly shows a change in manner though with that same striking empathy. This first being when he discovers one of his friends dead in the hospital. Gulpilil's reaction is downright heartbreaking as he handles the most so subtle, it isn't a big cry, but rather this so intensely somber of sense of near confusion at the seeming unfeeling around the death. Gulpilil's performance then is one of this painful degradation as it seems there's something to get in the way of him living his life at every point. The point of finally lashing out has such an impact as Gulpilil is this instinctual pent up reaction. It isn't exacted with an obvious hate but rather within the moment it is filled with a potent exasperation at the treatment. This leading Charlie though to be sent to prison, where the transformation of the man is wholly within Gulpilil's performance. This in that just in his eyes he grants the needed sense of examination of the existence, before he is allowed to leave again. This with a brilliant scene Gulpilil as he meets with a parole officer. Gulpilil bringing so much charm in his honest yet also cutting responses regarding the difficulty of not associating with known drinkers particularly among cops. Gulpilil managing to be so genuinely funny while doing it in this way that just is again who Charlie is. After getting out of prison rather than trying to push the strange limits against him we instead see Charlie teaching aboriginal about his past as a dancer on a world stage in front of Queen Elizabeth. Gulpilil is amazing in this scene as he delivers that undercurrent that was always there of that pride of the man, but now here in full view. This in his work capturing such poignancy by portraying so earnestly the man's sense of love for the accomplishment but even more so the sense of that care to deliver this pride to the children. The scene being essentially Charlie fully being himself without being stopped by anyone and in that act there is something magical within Gulpilil's work. The scene exemplifying his work so beautifully. This as Gulpilil's work achieves greatness through a quiet but oh so powerful portrayal of just a portrait of an idiosyncratic man in which there is not a single false moment. This being a work were you feel as though you've just spent time with him on his journey, and were happy to do so.

Alternate Best Actor 2014: Dan Stevens in The Guest

Dan Stevens did not receive an Oscar nomination for portraying David Collins in The Guest.

The Guest is a largely effective thriller, though it falls apart in the third act, about a veteran who visits a family claiming to be a friend of their deceased son.

Dan Stevens is an actor I have already praised considerably for his work on the television series Legion. This film came though before as Stevens made his attempted jump towards film from Downton Abbey, a series I can perhaps guess about but have no actual knowledge of. Anyways though this seems like perhaps a jump for him either way, in this attempt at a leading role here as this American veteran, as opposed to I'm going to assume an English chap in some estate setting, perhaps a well to do sort? I don't know. Anyway though Stevens shirks any notions of any kind in just an obvious screen presence from his first scene where he arrives to the home of the Peterson family claiming to have known their son who died in the army. Stevens here with a convincing accent, but more than anything a convincing manner, although this manner is something he'll be subverting soon enough. Stevens though is wonderful in creating this pattern of the seemingly ideal "son who has come home for the parents". This in his respectful and quiet demeanor. His words spoken with soft comforting sort of authority. This with eyes filled with a care and concern for those he is interacting with, which naturally quickly ingratiates himself with the Peterson father (Leland Orser) and mother. Stevens speaking every "yes mam" or "yes sir" with the sort of consistency that is both believable and "too good" to believe in equal measure.

Stevens performance though slowly reveals itself in two ways, one in an understanding of what it is that David is doing, even if the film itself is a bit shaky on that ground, and the other in offering an immensely captivating lead in Dan Stevens. This is as we see him with their son (Brendan Meyer) who is being bullied at school. Stevens shifts gears again in a way as though he is on another operating field. Stevens is downright brilliant in these scenes of helping the son as he portrays this sort of precision of a true assassin though in a unique way. Stevens owns these scenes in what is best described in a true star making fashion. This as he just dominants them with just a glint of the eye, and just his whole manner controls his space with such ease. Stevens though going further though in there is that charming warmth of sorts towards the son that he depicts with a manner as though he is really trying to teach the son best he can. This with an earnestness within it even if the level of intensity Stevens brings suggests something is off that charm carries the moment in creating the sense of how he wins the teenager over. Stevens findings this fantastic connection in sort of the support of a big brother as he teaches a lesson, like assaulting local bullies, with both the grace of a loving family member in every word, and a killer's edge as he goes about it in a way that is at such an extreme.

We see similar with the Peterson's daughter (Maika Monroe) where David conducts himself in sort of this method of the seducer. Again Stevens portrays this by making it a switch in gears, this to the point that when he has sex with the daughter's friend, he is initially distant until almost commanded to perform then suddenly he brings the requisite animalistic lust. Stevens creating in this a peculiar dynamic as he is convincing in each phase, while being purposefully artificial in the switches between each one, much like a soldier who has to set his mind a certain way for each and every mission. This is even as we begin to see the darkness of the character. This when he kills a local gun dealer and one of the daughter's friends, Stevens does so with the same detached ease and portrays it in a chilling fashion as both something he just intends to do and intends to do with as much lethal efficiency as possible. Stevens making this manner both captivating and properly menacing as a most unusual "perfect man" who will be whatever his "family" seems to need him to be. Of course as the film progressed into its lesser third act, it reminded me a lot of The Stepfather, which is not a comparison you want made...unless I guess if you're the lead of the film. While this film even in its third act is a better made film than that one it has a similar failing where it drops its intriguing ideas to hit slasher movie tropes in its bloody climax. This isn't even in terms of explanation, where there was apparently some in the original cut of the film, but rather exploration of the idea of the relationship between the killer and the people. We drop any ideas of "careful what you wish for" and individual connections with the family, even the sense of why David is there is left vague, and the "in the script" explanation is not really any less vague. The real problem with this is it leaves Stevens just to become a standard killer. Now he does that well mind you, and brings as much style as he can to it, even tries to connect the relationship idea just a bit, like his proud expression when he sees one of the family members has tricked him. Unfortunately the film doesn't really do anything with what the first two acts setup instead opting for general mayhem until a particularly dumb final moment. Having said that Stevens is captivating to that final frame and this is a terrific performance. I only wish the film had developed as interesting of a character as the one he seemed to be playing.

Alternate Best Actor 2014: Tom Cruise in Edge of Tomorrow

Tom Cruise did not receive an Oscar nomination for portraying Major William Cage in Edge of Tomorrow.

Edge of a Tomorrow is a very entertaining action film about a recently demoted officer reliving the say day over and over again just before the last stand against an alien invasion.

Tom Cruise is one of the last true movie stars around in the traditional sense where his name alone carries a certain pull for most viewers, though these days more international than USA viewers, which is isn't always combined with that of an actor. That is sometimes earned particularly in certain action stars, however Cruise was someone who frequently attempted to push himself as an actor even while maintaining a steady of stream of studio blockbusters as well. Now a star who can actually act creates actually a very unique opportunity that only exists with true stars, which is one can play with their expected star presence. This is something we are granted here as the film opens we are not given the typical confidant hero common for current era action Cruise. This as the film opens with his Cage as a professional PR soldier mainly there to sell the idea of the war rather than do any fighting. This is before he meets the main general (Brendan Gleeson) who wants Cage to lead a PR campaign on the front. Cruise is brilliant in this scene. This as any notion of Cruise we had become accustom to is thrown out the window. Cruise instead in a way brings a bit of that early Cruise egotistical swagger with great big grin on his face of disbelief as he hears about the general's idea. Cruise's delivery magnificent in the sort of hollowness that emphasizes a false sincerity of a selling any idea, other than himself going to the front. Cruise though going even further though in showing a different side as that smile, and falsely confident delivery, wavers a tad to reveal just a coward as he explains himself as just an ad man essentially. When the general refuses to waver though Cruise's return to the sleazy confidence as magnificent as selling again with that questionable confidence a blackmail plan to the general, which naturally leads Cage to a more severe punishment.

Cruise in that opening scene wholly subverting what had become expected of him, in such a fantastic way that managed to both grant us the sense of Cage being anything other than a hero while also just being quite entertaining in the approach. This idea continues though as Cage finds himself now setup as a private in a random squad with a particularly unsympathetic drill sergeant (Bill Paxton) watching over him. Cruise continues with the subversion as Cruise most often is seen as the expert of a given thing in most of his action films. Here on the other hand Cruise is wonderful at portraying a man being completely out of his depth. This with his slightly confused expression at his sudden railroading that slowly segues towards intense fear as they actually begin the attack. Cruise is great here because he finds the right balance between showing a guy genuinely out of his element while also being quite hilarious in portraying this befuddlement. This all though having a little extra impact as we see the usually confident Cruise bumbling around his initial action scene, only just lucking out in killing a creature before his own death, though that creature leading him to repeat each day at the time of his death. This leading to his first day back where Cruise is again wonderful this time in a different type of befuddlement that is all the more extreme as in this constant state of deja vu. Cage's initial attempts to use his knowledge of the future are great comic beats, with Cruise being essential in the sort of actual sheepishness he brings at times, as well as the genuine, though hilarious, fear at some of his upcoming demises. Cruise finding the right balance in bringing fun to this guy dying again and again.

Eventually Cage finds seems to find a path via newly minted war hero Rita (Emily Blunt) who previously had the day repeating power before losing it. The chemistry being essential to the success of the film which is not at all standard, particularly not for Cruise. This as Cruise is still this great bumbling fool as she is initially training him, and brings just the right qualities of sleaziness to Cage, personify the old Cage, which Cruise uses to great effect. The best perhaps being Cage's inquiries if the power can be transferred by sex, and Cruise's unabashed delivery of "how many times did you" try is sheer perfection. Cage begins to learn his ways about the battlefield, through much effort in his interactions with Blunt. This with Blunt being the slightly berating quality against Cruise is more sloppy manner. This though that they articulate so well in their chemistry that changes in dynamic and in that we get a greater sense of their relationship. This as Cruise begins to show a greater real confidence within the action scenes, that is particularly well earned here, we also see a greater mutual respect between he and Blunt. Cruise beginning to become the more expected Cruise presence though in a way where we see it as this natural transition to a man with a mission and purpose. This would be already a terrific turn from Cruise, however I am happy to say that it is not the end of really the strength of Cruise's work as he delays setting on Cruise control, fitting to who Cage is.

This is as Cruise's performance as much as he brought out the comedy of the situation of the man living, dying and repeating, we also find the very real hardship that would come from this. This in particular seeing Rita die again and again in each failed attempt. Cruise is outstanding in his moment of just very much moving with action, however in his performance, through his eyes and the sense of frustration  in his voice, we see the very real anguish in each death. Cruise offering a real humanity within the ludicrous idea, in portraying a true sense of the weight of the situation. This though along with Cage getting to know the hard-bitten Rita better. I love how Cruise doesn't portray it at this point with any sleaze, or even a romantic overtone. It is with this almost meek manner he just tries to insert little connections when he can, with this underlying sense that he is trying to find some comfort within his peculiar situation. An amazing scene for Cruise comes when the two seem to get a minor respite at a farm house deep in enemy territory. Cruise is great in this scene by portraying so much towards Blunt rather within himself in the sense, he portrays the whole scene as supportive and comforting as possible towards her rather than anguish within himself. This showing again so effectively this growth in Cage as Cruise effortlessly conveys Cage's emotional pain by the way he is trying to ease her away from her seemingly inevitable demise. Cruise displaying not it as this vague action cliche, but rather this genuine sense of heartbreak of it, that is so beautifully performed by him.

Before the final phase of his performance, there is an excellent scene for Cruise where Cage goes alone to attempt the mission. Cruise doesn't portray this as normal Cruise conviction rather this almost detachment in the determination as his eyes are of a man who has seen so much death that at this point he is trying just to eliminate in almost as this mechanical act. When even that doesn't work a different direction is finally taken towards the right path with Rita to potentially destroy the enemy. Here is where we get Cruise control, but some of the best Cruise control you will see. This as it is wholly earned in his moments as this time lord, and we have that Cruise delivering of Cage's knowledge that just is really this sort of perfected confidence that could only come from a performer with the presence of Cruise. Cruise though still doesn't coast as when Cage finally loses the power, leading him and Rita to have to attempt a final action with full life or death stakes, Cruise brilliantly pulls back a bit. This again showing now Cage as a man, a far better trained and prepared man, but still a man. This though with his sense of fear no longer as this selfish cowardice but rather towards the fate of Rita. This in their final conversation that is again work from Cruise that exceeds expectation. This as he attempts to dissuade her sacrifice Cruise eyes are filled with this very real empathy finally showing a changed man, not as this perfect super hero but a man who cares. This for me even making the kiss between them work not as this declaration of love, but rather a final bit of human connection in a more general, yet very pure, sense. This is a great performance by Tom Cruise. This as it is an exceptional example of him as a star, as he's magnetic, endearing and funny here, but he goes further. This as he never glides over the story of Cage, rather he brings you into each detail of his days, for laughs, but also in crafting a real portrait of a man changing, not at all unlike Bill Murray in Groundhog Day (which SIDE NOTE: I just realized both female companions to the main character are named Rita) which this film is so often compared to for obvious reasons. It's a great star turn, and a great performance, that uses that star quality in a way that would've only been possible with Cruise in the central role. This by subverting the expectation of what we've come to expect from Cruise, while also fulfilling that promise as the film goes along as well. Of course as much as this review is done, I would remiss if I did not mention Cruise's final reaction shot when Cage meets Rita for the first time, and the last time, after succeeding in his mission finally but resetting back in time. His bemused grin is just one of sheer comic perfection as a man whose been through everything, yet doesn't quite know what to say at this point.

Alternate Best Actor 2014: Ethan Hawke in Predestination

Ethan Hawke did not receive an Oscar nomination for portraying the bartender in Predestination.

Predestination follows a temporal agent as he attempts to find a criminal that has consistently alluded him throughout time. While I don't think the film is bad, its potential seems far greater than its result, particularly in terms of its attempt to blend genre tropes with an attempt at an insightful examination of self.

Ethan Hawke is an actor that I have consistently praised on this blog, which was a less popular opinion initially, however thankfully the most recent completed decade has seemingly improved his status in general. I personally don't know why that was ever in question, as even though he didn't always give great performances his work was typically good often leaning towards greatness, and arguably has only improved with age. Hawke is someone who tends to always seems to care regardless of what he's working with, which actually makes his dismissive comments for Logan a little silly, since Hawke is obviously someone who knows that one should take any material seriously. This takes us to this film which is science fiction, though in many ways an interpersonal drama in its examination of the story of the character of John/Jane (Sarah Snook). Hawke, despite his presence on  the poster looking like a time wizard, is the secondary lead here. Hawke though from the outset suggests that same sort devotion to his work as one would typically expect from him. This even in the odd opening where it seems he's a man, working for some shadowy government institute, with a new face. Hawke's eyes grab that mental anxiety, but also the strange almost eerie conviction as the man takes upon his mysterious mission even with grave consequences if he falls outside of the strict confines of the mission.

The opening scene, and the synopsis of the film gives a bit of the wrong ideas as it takes a backseat almost immediately to that interpersonal drama as the agent, posing as a bartender, listens to the story of a patron John/Jane who tells of  a rather unusual life story. Hawke's performance in this sequence, which focuses on Snook, I suppose more than illuminates his ability in acting as a largely more literal supporting manner. This as Hawke delivers a certain empathy within his reactions, but there is a bit more than that. Hawke's performance throughout the story showing concern, but more with shades of a knowing or understanding that goes beyond just listening as a bystander. This until he begins to reveal himself a bit more to the patron. Hawke immediately fashioning perhaps the more expected sense of what the poster alludes to, this in a domineering and curious manner. Hawke delivering an offer to the patron to kill the man that wronged John/Jane, this as this professional but with a stylish riff within his delivery. Hawke making this shift with such ease and granting this immediate sense of gravity towards the odd proposition as the bartender reveals himself to be a time traveler. Hawke both playing it as procedure for the bartender, but also spoken with that utmost expected condition as he explains the method. This technical perposterousness of it all made most digestible through Hawke's ease within the role, and that conviction in every word of the conceit...well except for maybe the moniker of the criminal "the fizzle bomber" but that one is tough.

Of course time travel isn't so easy and naturally more than a few things get a bit confused. The emotional material is largely left to Snook, where Hawke remains this seeming deuteragonist of sorts stuck in his twilight zone episode (don't mean that in a bad way), against what's going on with Snook. This is as Hawke largely needs to sell the concept with just vague shades of a character. This what Hawke does more than what he can with, creating an undercurrent of emotion within his character largely through his performance as a man purposefully crafting a paradox. Unfortunately for me I found the film, which is 66% a first act, then the other two acts squeezed int 30 minutes, turns into less of the characters dictating motion in the plot, and more of the plot dictating the acts of the character, less per natural motivation and more so per need of satisfying the twists of the narrative. Twists that shouldn't be too obvious but will be as the amount of characters determines the fates in this regard. So naturally spoilers the bartender is the fizzle bomber, with all that time you'd think they could've come up with a better name. Anyway though we get the determined agent finding his future self, which is Hawke giving his best unabomber impression. The scene feels hollow mainly because the development is paced with such immediacy, and as rules of reduced characters enables on a single path. Having said that Hawke is terrific in the anxiety of understanding the situation, where as the extremist, I'd say he's more fine, though this in part the introduction is instant. Hawke though has a sense of mania within it to be sure, but the concept is something more interesting, well in concept, than execution, though no way in terms of being the fault of Hawke. Sadly the revelation doesn't strike into something extraordinary, rather causes one to think of a Rube Goldberg machine. This limiting what Hawke can do, still this is a nonetheless a good performance from the remarkable actor.

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.