LeapBackBlog 2012 Film Awards – Part 2: Supporting Performances

Film in 2012 may not have been quite as strong overall as 2011, but right at the top there were a lot of good and very entertaining films. 2012 also featured many wonderful performances, particularly among men (many great performances that would have made my lists in past years were sadly left off). The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements

Part 3: Directors

Part 4: Leading Performances

Part 5: Films

Amy Adams – The Master

Playing Peggy, Amy Adams at first seems to be a quiet doting wife to Lancaster Dodd, kind and gentle, but as the film progresses it becomes clear that she is really the one with the control and power behind The Cause. Adams’s work in The Master is therefore sort of misleading. She does not seem to have much dramatic work, and yet is a commanding presence in many of the scenes (most of which she is just sitting and watching – it is only near the end of the film where is vocally asserts her true authority). And thus, her performance is a key component to the film. It is one of the year’s more difficult subtle performances (and best).

Javier Bardem – Skyfall

Villains seem to make up a lot of 2012’s best supporting work, and Javier Bardem’s Silva in Skyfall is maybe the best of the lot. James Bond villains have always been amplified and sort of comically evil (and we love them for that reason). Bardem captures the essence of the typical Bond villain but also does something new. Silva actually makes Bond uncomfortable (as well as the audience to some extent), because he is much more than Bond’s equal. He is a real threat to Bond, more so than any villain in the franchise’s history. The performance is completely magnetic – the scene in which Bond and Silva first meet is among the year’s best.

Alison Brie – The Five-Year Engagement

Alison Brie is hysterical in The Five-Year Engagement playing the sister (Suzie) of one of the film’s leads (Violet). Along with Chris Pratt (who is also killer in support), she delivers much of the film’s funniest moments (as the leads are given most of the drama). Brie is particularly fantastic giving a speech at her sister’s engagement part, on the verge of tears, and giving her sister a pep talk later in the film in an Elmo voice (maybe the film’s best scene). Comedy is always overlooked, but Brie just radiates too brightly to be ignored.

Leonardo DiCaprio – Django Unchained

Django Unchained is full of great and fun performances. Jamie Foxx is at his best in the lead as Django and Christoph Waltz (who very easily could have made this list, and would have in most years) is top-notch in support. But, it is Leonardo DiCaprio who shines the brightest. He is thoroughly insane as Calvin Candie, a cruel plantation owner. While Waltz is funny and engaging, DiCaprio is forcibly dynamic as he seemingly by sheer will takes over every scene commanding the attention of the audience (and the other characters). He is the focus of all his scenes. Villains often have the latitude to go big with their performances, and DiCaprio goes huge. He is an absolute blast to watch.

Tom Hardy – The Dark Knight Rises

Tom Hardy had the impossible task of following Heath Ledger’s Joker in The Dark Knight playing Bane in The Dark Knight Rises. The role is also particularly challenging as Hardy’s face is almost altogether obstructed by a mask. Yet, he is brilliant. Using his body language and the way he moves, along with his menacing eyes, Hardy constructs Batman’s most brutal foe. Bane also very much lives in the gypsy voice that Hardy gives him – his line delivery (though, it does take some getting used to – but it does become easily understandable eventually) is playful and authoritative, an odd combination but it completely works. Every scene that Hardy is in is a pleasure to watch. He certainly lives up to Ledger’s Joker.

Anne Hathaway – Les Miserables

After seeing The Dark Knight Rises, Anne Hathaway seemed destined to make this list for her fantastic work as Selina Kyle (essentially giving the definitive performance as the character). However, her work in Les Miserables as Fantine is even better. She is heartbreaking, leaving every viewer emotionally touched. Her rendition of I Dreamed a Dream is magnificent, perfectly capturing the dismal low that Fantine finds herself in, having lost everything. The viewer forgets that they are watching an actress and a performance. It is probably the best performance of the year (at least in support).

Philip Seymour Hoffman – The Master

Philip Seymour Hoffman’s work in The Master is among his best. As Lancaster Dodd, the man at the head of The Cause, he has a wonderful duality to his performance. He is completely infatuated with himself and utterly oozing with confidence, and yet he also seems completely lost and alone, shackled in solitude by the farce he has created around himself. Whenever Hoffman is on screen, he demands the attention of the audience, as the center of it all – and the audience completely obliges him as they cannot look away. His work is just too compelling. The scenes between Hoffman and lead Joaquin Phoenix are especially electric.

Ezra Miller – The Perks of Being a Wallflower

Following up on his brilliant work in We Need to Talk About Kevin, Ezra Miller turns in another phenomenal performance in The Perks of Being a Wallflower as Patrick. Miller has so much energy and intensity in the film that he pulls the audience’s attention towards him in every scene (which is the mark of truly great work – the viewer cannot look away). Patrick burns almost too brightly, that when he gets low there almost seems to be a lull or void, and Miller is able to capture these darker emotions of sadness and loneness incredibly well. While 2012 was full of great supporting work by male actors, Miller might just turn in the year’s best performance in the category (a performance that has been shamefully overlooked).

Kelly Reilly – Flight

Flight has a number of wonderful supporting performances in it – namely from John Goodman, James Badge Dale, and Kelly Reilly – however, it is Reilly that serves as the film’s heart playing Nicole, a vital role given Whip’s fall (the film’s lead character). Her work in the film needed to be strong, as she allows the audience to get behind Whip, even despite himself and his vices, because she believes in him and is behind him. Reilly is also a ray of hope in Whip’s life as she too is an addict, but a recovering one who is determined to start her life anew. As good as Denzel Washington is in Flight, the film would just not be the same emotionally without Reilly’s excellent supporting work.

Emma Watson – The Perks of Being a Wallflower

Emma Watson grew up before the eyes of cinemagoers playing Hermione Granger for over a decade in the Harry Potter franchise. Starting as a newcomer to acting, she got better with each film devolving into one of Hollywood’s great young stars (her work in the Deathly Hallows Parts 1 and 2 is especially strong). In The Perks of Being a Wallflower, Watson has the difficult role of playing both the ‘dream girl’ and a well-drawn realistic character as Sam, and she pulls it off beautifully. She wins the audience and Charlie over with her charms, but is not without flaws and struggles – once again presenting young women with a female character they can relate to and care about (when Hollywood seldom offers good female characters).

Lawless (2012) – Review

Review: Lawless is an engaging gritty crime drama wrapped up in an American tall-tale. The film is about three Bondurant brothers, bootleggers in Great Depression era Virginia, who find themselves in a fight for survival when a government agent, Charlie Rakes, comes to eradicate them from their way of life. Director John Hillcoat does a great job with the crime drama aspect of the film. It is appropriately violent, while also including the iconic character archetypes and imagery of the era – particularly: gangsters using tommy guns (as seen in visually splendid scene of local gangster Floyd Banner laying waste to a rival). Hillcoat gets the tone and the grittiness of the era just right. Throughout, the film is visually brilliant, as the greatest care has been given to the set design, costume design and the perfect locations for the story. However, where the narrative goes a bit off track is between whether this is a gritty crime drama about bootleggers or an American legend about a family of brothers who seem to be immortal. The ton is conflicting between these two elements (which both play large roles in the narrative). The legend about the brothers, specifically Forrest, being invincible works within the construct of the crime drama to an extent, but Hillcoat takes it a bit too far leaving the film feeling a bit hokey. Almost as if Hillcoat is portraying the story of the Bondurants (a true story) as one of America’s tall-tales (like John Casey or Paul Bunyan). Jack’s voiceover narration mixed with the (all wrapped up in a nice bow) epilogue clashes with the meat of the narrative, being the gritty struggle for survival. Hillcoat has folklore slamming up against realism mixing messages and confusing how the audience should feel about the narrative and the characters. The performances are very strong, and Hillcoat gives the characters lots of moments allowing the audience to connect with them and take a stake in the outcome, but all this seems to be devalued by the narrative not having a fluid constant tone. Plus, the epilogue sort of flies in the face of classic gangster narratives (which following Jack the youngest Bondurant, who is the story’s lead character, is otherwise similar to classic gangster narratives detailing his rise and fall), pandering to focus groups who want everything to be okay in the end. Again, it is based on a true story, and thus certain facts (though, often changed in film adaptations) seemingly need to be preserved. Thus, if the Bondurants are that of legend and folklore, why not keep the tone lighter and completely buy into this as being like a tall-tale instead of making it very violent and steeped in realism only to have that sort of be thrown into question in the minds of the audience by a varying tone. All that said, Lawless is still a good drama, with the shifting tone really only serving as a minor issue (holding it back from being great), built on almost complete brilliance from the cast and crew.

Technical, aesthetic & acting achievements: John Hillcoat, while clearly very gifted visually and in his ability to get great performances from his actors, seems to still struggle with aspects of his narrative’s structure. The Road has poor pacing (for example) and this has contradictory elements keeping his films from being great, instead of merely just being good. Composers Nick Cave (who also wrote the film) and Warren Ellis provide a score that both enriches the visual environment and extenuates the emotional depth of the film. Cinematographer Benoit Delhomme does fantastic work as well, visually capturing the era beautifully while also both paying homage to classic gangster films with his imagery and giving the film its own visual identity (often using darkness juxtaposed to daylight to create menace – like the shootout in the bridge or Howard coming from inside the house to attack the sheriffs). Production designer Chris Kennedy, however, does probably the film’s best work, as his overall design and especially his sets are so richly textured. The cast is very good overall, drawing the audience in. Dane DeHaan, Mia Wasikowska and Gary Oldman (who selfishly I wish was in more of the film) are all wonderful in support. Jessica Chastain is very good, playing a Chicago floosy of sorts looking for a different life. Guy Pierce is creepy and strange as Charlie Rakes (he has become one of the great current character actors). Jason Clarke is brutish and simple as Howard Bondurant. Tom Hardy steals every scene he is in (and the film) as Forrest. His presence commands attention. Shia LaBeouf is decent in the film (though maybe slightly miscast). He is eager and naïve at first but weighs the consequences of his actions.

Summary & score: As a big fan of gangster films, I was not disappointed in Lawless, as it is a solid crime drama with great performances and visuals, but it also a tad corny. 7/10

The Dark Knight Rises (2012) – Review

Review: The Dark Knight Rises is an utterly and brilliantly satisfying conclusion to The Dark Knight Trilogy. The film finds Bruce Wayne and Gotham City eight years removed from the events of The Dark Knight – Wayne has retired from being Batman and has locked himself away in his mansion, while Commissioner Gordon has cleaned up the streets. However, something devious is brewing, as the mysterious terrorist Bane plots to bring about both the destruction of Gotham and the end of Batman. Writer-director Christopher Nolan has done an excellent job in crafting this trilogy; from Batman Begins showcasing how the anger filled Bruce Wayne channeled his fear and rage into a way to save Gotham to The Dark Knight addressing the sacrifices that Wayne must endure to keep the city safe. With The Dark Knight Rises, Nolan tells the personal story of Wayne finally overcoming his fear while also aggrandizing the franchise, as this is an immense production feeling more extravagant (like the epics of classic Hollywood – similar to Gone with the Wind and Lawrence of Arabia) than the past two films. There are a lot of characters, interweaving storylines, big set pieces, and locations. Plus, the film has just a grand visual style and tone to it (especially when viewed as intended in real IMAX). Right from the start, the audience feels like they are experiencing something different and special (again, similar to how audiences must have felt watching the epics of the past on the big screen). It is a very visceral experience, as the visuals, score and sound design work together. Under less capable hands, the sheer amount of material (being enormous) that Nolan needs to get through in under three hours while still having enough action would have found the film collapsing under itself. Nolan, however, skillfully composes the film to flow beautifully and efficiently. If nothing else, this can be remembered (as well as the first two films) as the work of a master storyteller. Nolan gives Bruce Wayne the typical three act hero’s arc, but also incorporates five other principle characters that each has their own story arc, both intersecting and separate to Wayne’s. Nolan’s structure for the overall film builds upon Wayne’s arc, divulging story and character information for each of the main players. The film never feels slow or disjointed, because everything is building towards the end. While the characters all have their own motivations and arcs, all their stories come together in the end. Nolan also does a fantastic job of giving all his characters dramatic moments allowing them to shine, and thus the audience understands them, and can relate and be invested in them (which is key to any film working on a deeper emotional level). Yes, this is a spectacle film – there are huge action set pieces and thrilling moments, but they are not the point. The characters are the point, and why this film (and Nolan’s other Batman films) work so well. The audience wants to see Batman (Wayne) triumph – they genuinely care. This is particularly the case with this film (and is part of the reason I think it might be the most engaging of the series – though this only based on one viewing), as Nolan gives much more of an emphasis to Bruce Wayne than Batman. Before, Batman was the main character and Wayne was just the mask that he wore (to some extent). But with The Dark Knight Rises, it is Wayne’s story and internal struggle that drives the dramatic and emotional elements of the film, building on elements from the series (like the loss of Rachel). More so than the first two films, the audience cares about Wayne more than Batman. Nolan’s choice of villain in Bane also directly ties into this internal struggle for Wayne. Bane is both mentally and physically menacing and (maybe even) superior to Batman, and thus it is Wayne and not Batman that must find the will to defeat him. In many ways, this film (and the series) works as a character drama (both for Wayne and the other main characters). Nolan gives them so much depth (especially when compared to most genre filmmaking) and they are so well drawn and developed. But again, The Dark Knight Rises is also a great action adventure, full of brilliantly executed set pieces. It also has the expected one-liners and banter between the heroes and villains. Nolan does infuse some humor and lighter moments that relieve the tension (if only briefly). Nolan’s Dark Knight Trilogy has been to an extent based in reality (there have not been aliens or monsters), but it is still an exaggerated reality. This film sees the technology that Wayne has access to pushed a little further as well. But it works, because the overall tone is still grounded. Tonally, overall, the film has a very bleak and constricting feel to it. Unlike most superhero films, the audience is not actually sure if Batman will live through the end. Nolan does almost too good a job with the tension, which is tired to how relevant the film feels to today's world (maybe especially America) with the social and economic unrest. The film is completely gripping and engaging on both a dramatic level and on a visual one – and this again goes back to Nolan’s care and skill in presenting and fleshing out his characters and giving this film (in particular) an epic grandiose visual style and scale. The Dark Knight Rises is not only one of the greatest comic-book films ever made (if not the greatest), but also a masterwork of genre filmmaking (and filmmaking in general as well). It is the new bar to which all other spectacle films must now be judged.

Technical, aesthetic & acting achievements: Christopher Nolan, now eight films in, can altogether be called the best Hollywood filmmaker both right now and of his generation (and one of the five best auteurs across all of film right now). With Inception and The Dark Knight Rises, Nolan has perfected a style of filmmaking that is both on the highest ends of spectacle and drama from a quality standpoint. His event filmmaking has transcended pure entertainment or extravagance by giving even more care to story and characters. More so than any other filmmaker right now, his name brings with it the promise of not only a fantastic film but also something to wonder at and be amazed by. And more so than any other filmmaker right now, I look very much forward to what he does next. Hans Zimmer gives the film one of his most thrilling and epic scores (and this from a man who has built his career on composing excellent music for action films). The score enhances the enormous scale and grand feel of the film, completely complementing it. It is not only one of Zimmer’s best (maybe even his best), but the best film score of the year so far (here is a piece I particularly like). Plus, his Batman theme is wonderful. Wally Pfister’s cinematography is also wonderfully brilliant. The film has a dark yet crisp look to it. Gotham is visually presented as being both gritty and elegant – like any of the great cities of the world. And, Pfister’s camera works with Nolan to present this as being a massive event film. Visually, it is magnificent, impressive and colossal in its scope and scale. It truly feels like an epic in the best sense. Nathan Crowley and Kevin Kavanaugh’s production design accomplishes many of the same things – it is grand in its scale and showcases both the gritty reality and elegance of the city and its landmarks (or differing sets). But Crowley and Kavanaugh’s work also has an aesthetic artistic appeal to it (especially the pit prison). Technically and aesthetically, the work from Zimmer, Pfister, Crowley, Kavanaugh, Nolan, and everyone else involved in the making of the film is top notch and without equal so far this year. The film also features exceptional performances. There are a ton of cameos in the film (at least for those that watch a lot of TV, as many familiar faces pop up in small roles). Juno Temple and Ben Mendelsohn are great in small supporting roles. Morgan Freeman plays Fox with his typical coolness and seemingly moral absoluteness. Fox and Alfred seem to very much take up the mantel of Wayne’s surrogate father figure. Michael Caine as Alfred is given more weighty drama to play in this film versus the past two, and he is fantastic in it. His emotional scenes with Wayne very much drive Wayne’s internal struggle, and thus Caine’s ability to be great in them is key (and he is great in them). Gary Oldman is also given some dramatic heavy lifting (much like the end of The Dark Knight), and he is very good (as usual). Oldman plays Gordon to be very conflicted. He has done a lot of good for the city, but at what cost (especially if you harken back to the scene in Batman Begins when he refuses to take a piece of the payoff – wanting to keep his hands and conscious clean). Marion Cotillard plays her Wayne Enterprises board-member character Miranda to be almost the perfect match to Bruce Wayne. She is lovely, caring and intelligent. And yet, there is something more to her. To say the least, she is very good. Joseph Gordon-Levitt is almost emotionless and hardened on the exterior, but there is a lot of pain behind his eyes. Much like the other characters in the narrative, his role as Blake and performance fits perfectly with Bruce Wayne’s own internal struggle. Anne Hathaway is brilliant as Selina Kyle. She is not there just to serve as eye candy or a mere love interest; rather she is a full and complicated character. Hathaway plays her to be very feminine in the way she moves, but also with an edge. She is not to be trifled with, as she can handle herself. Tom Hardy is wonderful as Bane. Many complain about his voice (and have since it first appeared in the prologue ahead of Mission: Impossible – Ghost Protocol), but I contend that it is an absolutely essential and genius aspect to his character. Hardy plays Bane with so much power, just in the way he carries himself and in the way he speaks. He is truly formidable. In the wake of Heath Ledger’s outstanding performances as the Joker in The Dark Knight, many wondered if any actor(s) could portray a villain (or main character other than Batman) to the same level in this film. Hathaway and Hardy are both equal to the task and bring forth different, but equally engaging and interesting characters. Christian Bale has been very good throughout the films. In The Dark Knight Rises, he gets a chance to really dramatically shine, and he is again astonishing. Bale’s Wayne is almost a tragic figure that is so vulnerable, but there is such a will to him as well. While with Batman, Bales play him to be a force of controlled rage. Being that this is a genre film, his work will mostly go unnoticed, but it is standout work nonetheless.

Summary & score: The Dark Knight Rises is the epitome of epic (event) filmmaking, being both of the highest quality in terms of entertainment spectacle and dramatic resonance. 10/10

Tinker Tailor Soldier Spy (2011) – Review

Review: Tinker Tailor Soldier Spy is structured in the manner of the classic spy dramas – short on action but long on tension, mystery and wonderful characters. The film centers on George Smiley, a spy recently forced to retire due to a change in power at MI6 (the Circus), who is tasked with finding the Russian mole placed at the top of British Intelligence. Director Tomas Alfredson is clearly not interested in making a James Bond or Mission: Impossible style spy drama with Tinker Tailor Solider Spy (not that the book(s) is anything like those action spy series) – in fact he is not interested in making a light spy drama either. This film requires its viewer to pay attention, as the narrative is a little convoluted – much in the same way trying to uncover a mystery is – with many characters, lots of important dialogue and small moments that all piece together a bigger picture. The audience is required to keep track of all these small pieces as the film is not dumbed down in the slightest. Alfredson and his actors live in the world of nuance and subtlety, and for this reason moviegoers looking for a light action oriented spy film are going to find this possibly very slow. The narrative is not in a hurry, as Alfredson takes his time letting the mystery unfold (something I appreciated, as it is not too common in film today), while building the tension until it suddenly boils over and the film becomes quite gripping in the second half. The story takes place in the 1970s during the Cold War, and aesthetically Alfredson has very much created both a look and tone to fit the setting. Not only does the film look gloomy and a little bleak (much like the world outlook at the time), but the film feels like it was made in the 1970s. There is almost a nostalgic feel to it (especially in the score). While the film works quite well as a spy drama, it also is a good character study of George Smiley – a man whose entire life is dedicated to keeping secrets. However, back to the spy drama aspect, Alfredson does something great with the film – he allows the tension to grow organically from the characters and performances (not explosions and big action set pieces, not that there is anything wrong with that this is just a nice change of pace for the genre). Each word of dialogue becomes as impactful as any action scene might be. The characters are also given a chance to interact in more of a cloak-and-dagger manner (than running around shooting at each other or fighting); again, each word or expression becoming more important, as the wrong one could give them away. At the same time, as the film is about spies, the characters are all very much bottled up, making it hard to connect with them superficially (which will again alienate some moviegoers) and there is not much of an emotional connection built up between character and viewer, which does impact the viewer’s stake in the outcome a bit. Tinker Tailor Soldier Spy is not going to work for everyone; it is much too restrained for that. But, for those willing to take it as it is, pay attention and invest in the characters (and thereby the stakes), the film is a fantastic mystery spy drama.

Technical, aesthetic & acting achievements: Swedish filmmaker Tomas Alfredson became a promenade filmmaker (at least for international audiences) with Let the Right One In. Tinker Tailor Solider Spy is his first English-language film, but aesthetically and to an extent tonally the films go together well, building quite a resume for Alfredson as one of the better dramatic filmmakers working right now. Alfredson takes his time with his narratives, but the payoffs are wonderful. He builds tension (that in a way seems to come out of nowhere, as he develops it over the whole course of the film) very well. And, he is very good at creating good character moments allowing his actors to do their best work. Alberto Iglesias’s score is beautiful (as a stand-alone piece), but also fits the film very well. He both gets the mood right, as the score very much feels like it fits in the 1970s in many places, and builds on the tension in the film (here is a sample and here is another). Hoyte Van Hoytema’s cinematography is quite interesting, as he and Alfredson have put the camera far away from the actors in many cases, using wide lens, creating a very voyeuristic feel to the photography. This again goes really well with the tone and style of the film. As good as the score and cinematography are (both are in my top 10 of the year in their categories), Maria Djurkovic’s production design is even better. Her work not only fits the film well it is aesthetically interesting in its own right. Her design work inside the Circus, particularly its executive floor, is phenomenal, as it captures the ambiance and mood of the era so entirely (while also being compelling from a pure design perspective as well). While Tinker Tailor Soldier Spy is primarily George Smiley’s film, there are a number of good small character roles. Tom Hardy, Mark Strong and Benedict Cumberbatch are very good and stand out. Among the top tier of the Circus, Colin Firth, Toby Jones and especially David Dencik give great performances too. Gary Oldman is brilliant as Smiley. His emotions are so boxed up, and he is such a cool customer – and yet he just gives the audience enough to allow us to feel the tension he is feeling – another great character from one of the great character actors.

Summary & score: In many ways Tinker Tailor Soldier Spy is one of the best spy dramas to come out in a long time, but it is not going to connect with many moviegoers. 8/10

LeapBackBlog 2010 Film Awards – Part 2: Supporting Performances

Film in 2010 was fantastic, full of great performances, great directing and great work behind the camera (or in post-production). More so than the last few years, 2010 had a greater number of excellent films, which made choosing the best films, performances, directors, and technical achievements very difficult. The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done, and 2010 features a lot of amazing breakthrough performances), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements
Part 3: Directors
Part 4: Leading Performances
Part 5: Films

Supporting Performances:

Christian Bale – The Fighter

Bale is a fantastic actor, becoming the characters he portrays. In The Fighter he does not so much play a role or portray a character, rather he is Dickie Eklund. It is the performance of the year (along with Claire Danes in Temple Grandin). What makes it so good, aside from Bale’s uncanny ability to transform himself completely into each character, is that we sort of root for Dickie even though he can be thought of as one of the film’s villains (in a sense). Dickie sort of becomes the hero of the piece due directly to Bale’s brilliance and the empathy he elicits.

Helena Bonham Carter – The King’s Speech

Carter is known for her whimsical and dark characters. She is, however, very versatile. In The King’s Speech, she is very restrained and modest, but still inserts a bit of her mischievousness into the character, though subtly. It is my favorite supporting actress performance of the year. Carter had a good year, also giving great performances in Harry Potter in the Deathly Hallows: Part 1 and Alice in Wonderland.

Marion Cotillard – Inception

Cotillard is beautiful, and she uses her allure well in her performances. In Inception, she plays the villain, but a sympathetic one – her performances plays as tragic and powerful, a difficult mix. The film has wonderful performances and characters throughout, but her performance is the most important as it is the emotional core driving Cobb’s decisions, and Cotillard plays it amazingly well.

Andrew Garfield – The Social Network

What a year for Garfield! He starred in two of the best films (The Social Network and Never Let Me Go), was amazing as the lead in Red Riding: 1974 and won the role of Peter Parker in the new Spider-Man film. But it is his performance in The Social Network as Eduardo Saverin that stands out. The character is an unfortunate one, getting betrayed and left behind. Garfield plays the role as soft and heartfelt, a real likable guy, making the deception and villainy of Sean Parker and Zuckerberg all the more powerful. He, along with the amazing performance by Rooney Mara in the opening scene, provides the catalyst for all the other performances, especially Jessie Eisenberg’s, to build off of, resulting in it being a great film (and I have to say Armie Hammer was fantastic in the film too).

Rebecca Hall – The Town

Hall plays her characters to be sweet and loving, but there is still a strong woman in there too. This comes out in The Town. She is traumatized by what happens to her in the beginning, but is strong enough to not only overcome it, but actively stand up to other strong characters and performances in the film. Hall has the brunt of the emotional work to do in the film, while also needing to have the audience fall in love with her, as the main character does. She does all these things flawlessly, making the film all the more better and emotionally impactful.

Tom Hardy – Inception

Hardy has a breakout performance in Inception. He plays his role as Eames, the forger, as if he was James Bond, and it is brilliant. His bravado mixed well with the array of characters and acting talent. The interplay between his character and Joseph Gordon-Levitt’s Arthur is funny and a bonus to a great action-thriller. Director Christopher Nolan must have thought his performance was great too, casting him in his next film: The Dark Knight Rises.

Sean Harris – Red Reding: 1980

Harris is deranged and downright scary in Red Reding: 1980. This is the kind of role he plays exceptionally well (as can also be seen in Harry Brown). His Bob Craven is a crooked cop that is slimy, squirrely and just despicable. Yet, he commands the attention of the viewer, as he is like lit dynamite – you are nervous and anxious watching, but cannot look away as the devastation it will leave in its wake fascinates you.

Melissa Leo – The Fighter

Leo completely transforms into her character in The Fighter. She is strong and sort of awful, yet still emits compassion and love. She will make the viewer hate her and in the next moment symphonize and then hate her again. What makes the performance all the more impressive is that she holds her own against very strong performances from Christian Bale and Amy Adams. Just like with Frozen River, Leo distinguishes herself as one of the top actresses in Hollywood (though, she typically sticks to indy films).

Jeremy Renner – The Town

Renner has been acting in tons of stuff for years, but it was 2009’s The Hurt Locker that put him on the radar of movie-goers and industry professionals. In The Town, he is excellent. He has such an edge to him in the film that anything seems possible at any moment. His performance alone will keep the audience enthralled and on pins and needles. Many who saw the film complained that there was not enough of him in it – certainly a complement to his talent.

Ellen Wong – Scott Pilgrim vs. the World

Wong probably is not going to make too many 2010 “best of the year” lists I suspect, but she should. Scott Pilgrim vs. the World represents her first major acting role and she is simply brilliant as Knives Chau. Her spunk and adorableness make every scene she is in better. The film features great work from an ensemble cast, but Wong and Kieran Culkin are the standouts. Director Edgar Wright liked her performance so much he adapted the ending of the movie as to not leave her character hurt (emotionally). Personally, I look forward to her future work.

Inception (2010) – Review

Inception is an extraordinarily well made and acted heist film. The narrative structure is layered with multiple realities happening simultaneously and multiple dramatic threads being interlaced through each of these realities. Yet, master director Christopher Nolan is able to weave his seemingly complicated tapestry into a straightforward and easy to follow narrative only asking (must like the opening line of The Prestige) for the audience to pay attention. And while the narrative is straightforward, the film nonetheless encourages, if not mandates, speculation and debate. There are not too many blockbusters that are able to achieve this task – keep the viewer thinking not only throughout the film but long after the credit roll. And make no mistake, this is a blockbuster – there is action, adventure, exotic locations, everything a viewer could want from a big summer film. At times, the film almost plays like a James Bond film – the way the action beats are taken – as an exaggeration of what big action set pieces should be like, yet still anchored in reality (to an extent – given the rules of the film world). This is the rare blockbuster that has the viewers on the edge of their seats not only due to the fantastic action pieces but more so as the audience cares about the outcome for the characters. Nolan’s dramatic threads connect with the viewers as they are eloquently unraveled – each decision made has an emotional resonance which the audience picks up, drawing them deeper into the film – the stakes of the characters are therefore meaningful to the audience. This is not just about wowing them, which the film certainly does; it is about the emotional journey.  The film has a lot of exposition to get through, as this world is foreign to the viewer, which in most cases can cause films to drag, but Nolan is able to lay out the exposition in such a way that not only does it draw the audience in more, as the viewer is intrigued by its visual representation, but it also builds upon the structure that is already in place – raising the emotional stakes. Though, the film is rather long, and can at times feel long, as this is a film that is constantly moving and engaging and that can be tiresome, but this is a minor flaw. The supporting characters are also not given a lot of background and business, and are thus expressed to the viewer through know archetypes. Yet this film focuses on and through its main character, thus the supporting players are merely there to aid in the journey of the main character, and therefore do not need be more than they are – plus, the film is so packed with information, there really is no time or room for multiple deep characters. And, they are so fantastically played by the cast and fit into the narrative Nolan is telling so well that their lack of depth is almost unnoticeable in the grand scheme of the film, and in as much is irrelevant to the film as a whole. But it is the fact that these characters are so great that the viewers want more. On to the technical side, Christopher Nolan once again makes a strong argument for his place among the great auteur directors not only of this generation but of all-time with this film. Nolan is one of the few today who makes wonderful films for the Hollywood audience (much like the great directors of old, like Stanley Kubrick and Alfred Hitchcock). His aptitude at producing stunning films again and again is due to two key aspects: his screenwriting ability is astounding, as this script is quite monstrous in its scope yet easy to follow in its visual presentation, and he has developed a perfectly complimentary group of collaborators to work with him (again much like the other master filmmakers) and yet again they provide strong output. Nolan is a master at structuring his narrative; while often disjointed and nonlinear the films are still clear (from a plot standpoint, as the underlying concepts are left for interpretation). Hans Zimmer’s work stands out the most among his collaborators behind the camera. His score featuring Johnny Marr is massive in its emotional depth and flow – being both beautiful and full of tension. It is magnificent. Wally Pfister’s cinematography is typically superb and emotionally provocative, eliciting viewers to succumb to his visual fest. Editor Lee Smith must have had a tough job with the film, so much detail and business going on, but pressure to tell the film as efficiently as possible. He did impeccably. Newcomer to working with Nolan, production designer Guy Hendrix Dyas brought his expertise in big adventure action sets to the film and provided his best work to date. As well directed, written, shot, edited, scored, and designed as the film is, it is equally well acted with numerous performances worthy of acclaim. Leonardo DiCaprio has well established himself as an elite talent among actors, but his performances continue to get better. In Inception, he is the point of reference for the whole film – the emotional journey for the audience lives and dies with his performance. To say the least, he is perfect in the part. The supporting cast is just as great. Joseph Gordon-Levitt is cool and confident. Ellen Page is sweet and intriguing. Ken Watanabe is powerful and endearing. Cillian Murphy is eager and hesitant. Tom Berenger is tough and understanding. Michael Caine is sophisticated and warm. All wonderful performances, but it is Tom Hardy, in a breakthrough type performance, and Marion Cotillard who stand out. Hardy commands the attention of the audience, while Cotillard beautifully plays the emotional center, yet with an air of mischievousness. Dileep Rao, Pete Postlethwaite, Lukas Haas, and Talulah Riley are also good in smaller roles. Nolan has a fantastic ability to cast his films and garner perfectly suited performances. Inception is a unique film, to be both an exciting adventure-style film and thought-provokingly deep. It is the first masterpiece of the new decade. 10/10