Is it February already? Wow, this year seems to be disappearing faster than ever. Or maybe that’s just my age. It barely feels yesterday that I started my new film list for the year and put to bed the old one, and already I’ve racked up a dozen trips to the cinema. February is traditionally a month where the last few awards contenders creep out, mixed with the big studio pics that really can’t find an audience anywhere else, but this year feels different: the Oscars have been pushed to March by the Winter Olympics, denying us the traditional catharsis of sparkly dresses and low angle shots of Jack Nicholson looking uncomfortable in a dinner jacket for anther few weeks, and The LEGO Movie has opened huge in the US over the weekend with the second biggest February opening ever.
I’m actually relieved it’ll be different this year: I keep detailed records of what I’ve seen, and last February was the worst month since the blog began. Four of the twelve films I saw (A Good Day To Die Hard, Bullet To The Head, I Give It A Year and This Is 40) ended up in my bottom ten of the year and Hitchcock was a close run thing. So surely this year can’t be anything but an improvement? Anyway, to ease the pain of a lack of gold shiny bald men being dolled out this month, I present my own annual entirely made up awards for trailers.
Dallas Buyers Club
Best Actress Called Jennifer Who Isn’t Also Called Lawrence
Best Actress Who Is 41 And Still Gives Me Hope That You Can Grow Old Gracefully That’s Also Called Jennifer
The Christian Bale Memorial Award In The Field Of Extreme Weight Loss
The “Oh Yeah, Whatever Happened To Him” Award, awarded to Jared Leto
Best Arty Trailer To Make Me Look Like I’m Vaguely Intelligent And Hopefully Not Pretentious
Best Picture Most Likely To Feature A Cameo By Simon Pegg, Probably
Best Effeminate Comedy Character I Probably Shouldn’t Laugh At – Kayvan Novak
The John Barrowman Award For Seemingly Feeling Like He’s In Everything – Chris O’Dowd
Best Use Of A Moustache To Instantly Create A Character – Joaquim Phoenix
Best Female Ensemble Where One Of Them Doesn’t Even Appear On Screen
Best Use Of A Giant Plane That Makes You Wonder If It’s Real Or Visual Effects
Only Lovers Left Alive
Best Use Of Tom Hiddleston To Get All The Marvel Fanboys And Girls To Watch Something Different
Best Use Of A Red Gothic Typeface For A Director’s Name
Most Unlikely Film Being Shown In Cinemas For Valentine’s Day (check your local listings)
The Executive Decision Award For The Most Generic But Probably Still Exciting Plane-Based Thriller
The Sherlock Award For Best Use Of On-Screen Text Messaging
Best Captain Of A Plane Who Makes You Double Take Because He Looks Eerily Like Jon Stewart Off Of The Daily Show
Best Film Most Likely To Feature An Epic And Quotable Speech From Liam Neeson Because Otherwise What’s The Point In Having Him In An Action Movie, He Is 61 After All
Oscar time again, and the seemingly never ending procession of women in expensive frocks and men in generally indistinguishable dinner jackets all hoping to go home clutching a shiny bauble or two is nearly over for another year. Thankfully sanity has been restored and the Razzies have returned to their traditional date of Oscar Eve, so they and the Independent Spirit Awards get dished out today, before we get to the main event on Sunday night. While the nominations get revealed before most of Hollywood is sipping their first skinny latte of the day, meaning that we get to watch them in Blighty during the day, the same consideration isn’t given to us Brits for the awards themselves so most of us, myself included, will be tucked up in bed by the time Seth MacFarlane strides out to face his audience.
It’s the most tempted I’ve been for a few years to stay up and watch the awards, given the participation of the intermittently reliable MacFarlane and the fact that I’ve seen every film or performance in all nine of the major categories, for I think the first time ever. (I’m referring to Picture, Director, the four acting and two screenplay categories and best animated, in case you were wondering.) It’s only the fourth time I’ve managed to claim a full set on Best Picture before the awards themselves, so 2012 will go down in history with 1997, 2005 and 2010 as years I’ve claimed a full house and can pass a fully qualified opinion on how wrong Oscar’s voters have got it this year.
But I won’t be staying up, because Oscar will get it wrong. Oscar gets it wrong about 19 years out of each twenty, as I scientifically worked out last year, and I don’t believe this year will be any different. So here again, as I did two years ago, I present my guide to What’s Actually The Best Picture (of those nominated) 2012. Feel free to tell me how wrong I’m getting it in the comments section, but remember kids: this is just an opinion, no more or less valid than that of 6,000 people who actually do this for a living. Probably.
The Least Best Picture is Silver Linings Playbook
It has great performances from Bradley Cooper, Robert De Niro and especially Jennifer Lawrence, but Silver Linings Playbook is muddled at best, grafting a confused look at various misdiagnosed mental illnesses to an enjoyable but cheesy and predictable romance. It’s not hard to see how it got a nomination, as it ticks pretty much every one of the Academy’s boxes, and the achievement of picking up nominations in every major category is a significant one, but if there’s any justice then that’s the most that Silver Linings will be remembered for. While Jennifer Lawrence isn’t the best performance, either nominated or not, she’s the one win that wouldn’t be begrudged.
Which is not as good as Beasts Of The Southern Wild
To describe Beasts as interesting almost feels to be damning it with faint praise, but that’s about the best I can say. Many have been beguiled by its supposed charms, with a mix of admittedly impressive performances from non-actors and a fantastical story set among the aftermath of Katrina, but for my money the realism and fantasy never quite gel to any level of satisfaction. That shouldn’t diminish the achievement of the more realistic parts of the storytelling, but for me this marks out Benh Zeitlin, Quevenzhane Wallis and Dwight Henry as talents to watch, rather than the fully formed articles.
Which is not as good as Zero Dark Thirty
Zero Dark Thirty has one of the best performances of the year in the form of Jessica Chastain. She put together a fantastic run last year as well, from a scene-stealing turn in The Help to the supportive, desperate wife in Take Shelter, and if anything her simmering, nuanced performance here is better than any of them. This discussion isn’t Best Actress, though, it’s Best Picture, and Zero Dark Thirty has managed to rule itself out with its slightly iffy political stance and controversy. I still feel that Zero does look the other way a little too much and doesn’t deal with consequence as much as it should; while the impartiality is commendable, just a shade too much agreement with the methodologies of the CIA slips through the net. (Also, as much as I love him I think the world may end if John Barrowman’s ever in a Best Picture winner.)
Which is not as good as Les Misérables
Take one hot director coming off the back of his own award winning film, a variety of top Hollywood talent with a marked difference in their singing styles which probably won’t gel together particularly well and a grand total of two camera positions, and throw them into the mix with one of the most beloved musicals of the last thirty years, and what do you get? A crowd pleaser, to be sure, and I’d be lying if I said I wasn’t on the verge of shedding a tear by the end, but Les Miz is too reverential with its source material to make any attempt to address the structural issues with both stage musical and novel to truly satisfy as a narrative. Mind you, I think I’ll still be humming “Do You Hear The People Sing?” this time next year. Maybe by then I’ll have learned more of the words, too.
Which is not as good as Argo
I’m not greedy. I know that several thousand Hollywood types will never manage to agree on the sensible choice (indeed, you’ll notice that the film at the end of this list was only fifth on my best of the year last year), so if the Best Picture award does go to a film ranked 9/10 or better in my book, I’ll take that as a reasonable success. That means that I’ll be happy if anything from this point on the list onwards wins, I’ll be reasonably satisfied, but none of that will make up for the ridiculousness of not nominating Ben Affleck for Best Director. I didn’t rate The Town hugely, but certainly Argo and Gone Baby Gone show a man who’s found his true home behind the camera, and I think nomination and win are both well within his capability in future years. But for my money, they may as well start engraving the gold baldie now, for I can’t see past Argo to win the real award tomorrow night.
Which is not as good as Lincoln
It’s in danger of becoming a cliché, and it’s maybe why I’ve struggled to come up with a review for this one as of yet, but it’s absolutely true: Daniel Day-Lewis IS Abraham Lincoln. If you invented time travel and plucked the real man out of history, I doubt anyone would find him more convincing than this supreme performance from the man who is the finest actor of our, and arguably any, generation. It’s not a one performance film, and it has possibly the finest array of beards ever committed to cinema, but what holds Lincoln back from true greatness is an incredibly talky, expository first hour which stifles any forward momentum before Spielberg manages to balance his elements and deliver a rousing finale. It also has the problems with endings which have blighted the Berg’s films for the last twenty years, but that should come as no surprise.
Which is not as good as Amour
I still feel I’m doing Amour something of a disservice, but I just can’t escape the feeling that Amour isn’t providing radical new insight into the pain and suffering endured by watching a loved one slowly disintegrate before your eyes, while you stand helpless on the sidelines. It is the first film to truly expose that raw nerve and capture that experience in unflinching detail, with superb performances from Jean-Louis Trintignant and Emmanuelle Riva, and it might be the best chance Michael Haneke has to ever win the Best Director Oscar, an award which would be suitable recognition for the compelling body of work he’s assembled in his career. (Would also be worth it to see what the fake Twitter Haneke comes up with next lol.)
Which is not as good as Django Unchained
Prior to this, I believe that Quentin Tarantino had made two cast iron classics that will endure well past our lifetimes, in Pulp Fiction and Kill Bill, Vol. 1. This is the hat-trick film, perfectly blending a set of performances that could have filled the Best Supporting Actor category in a weaker year with Tarantino’s rich and joyous dialogue. That the slave narrative, which could have sat ill at ease with the more exploitative elements of the revenge fantasy, actually serves to enhance the overall ensemble is testament to how good a film maker Tarantino has become, and he finally proves that he can weave gold with a straight line narrative without needing to jump back and forth or rely on extraneous subplots. He’s even seemingly accepted his own limitations as an actor, cheekily making his own role even more ridiculous, but the sad omission from Oscar night of a Best Horse award means that Tony and Fritz will go home empty handed. Criminal. Which means that… (fumbles with envelope)…
The Best Picture Of 2012 is Life Of Pi
Filming a supposedly unfilmable novel, and reaping massive box office success around the world? Check. Combining superb acting with huge effects work? Check. Asking fundamental questions about the nature of our existence and our beliefs? Check. A director who’s had one of the most diverse careers in Hollywood showing that he’s as good, if not better, when filming in three dimensions as he is in two? Check. Never more convincing performances from CGI and fake creatures interacting at close quarters with humans? Check. Not going to win Best Picture because the Academy is as clueless as usual? Check. Life Of Pi is my favourite of the nine nominated films this year, but if it wins Best Picture I’ll eat an actual tiger.
It’s the end of another year, when traditionally anyone who thinks themselves to be even the slightest bit important starts handing out awards, statuettes, globes, cubes and all manner of trinkets to the great and the good, and occasionally a few less deserving. Although cinema has been going for over a hundred years, ever since awards were first handed out a division has taken place between actors and actresses, and for most of that time awards have also been handed out for both leading and supporting roles. But who’s to say that any performance by an actress is more or less worthy than that of an actor, or indeed that a role with only ten minutes of onscreen time is more or less important than a role where the performer is in every scene?
Not me, that’s for sure. So in looking at what’s made up the best films of the year, I’ve pulled together what I believe are the best performances of the year. There are only two criteria that I’ve applied – I’ve only picked the best single performance from each performer, and I’ve only picked my favourite single performance from a single film. I’ve seen a lot of films this year, so there’s a lot of worthy performances that didn’t make the cut – these are the top 25 that left the biggest impression on me in 2011.
25. 50/50 – Joseph Gordon-Levitt
There’s enough of a history of prostate cancer in my family that, even with regular testing, I might end up facing the situation encountered by JGL’s Adam in 50/50, and I’ve often wondered how I’d react. I don’t need to any longer, as Joe’s portrayal of coming to terms with news of The Big C felt pretty much spot on. There’s a number of supposedly brave decisions that an actor can take in the name of their art, and shaving your head is one of them, but it’s to this actor’s credit that the physical quirks never overpower an understated but extremely effective performance.
24. Weekend – Tom Cullen
Weekend has picked up a lot of indie attention this year for its take on relationships, and the fact that it’s a relationship between two men became almost incidental as the central story was so strong. Credit for that must go not only to Andrew Haigh’s strong writing but to the performances of the two leads, and while Chris New has the slightly more showy role, it’s Tom Cullen’s mix of ease and angst that was the slightly stronger showing. Hopefully this will be a springboard for both Cullen and New to go onto bigger and equally good things.
23. X-Men: First Class – Michael Fassbender
Looking for the next James Bond? Daniel Craig seems set on sticking in the role for a few more years, but on his showing in this year’s X-Men prequel, Fassbender has moved to the front of the queue to take over when Craig’s had enough. I’m even willing to overlook the fact that his accent was gravitating strongly back towards the Giants Causeway in the last act, so dominant was Fass’s performance, especially in the early scenes. That he not only matched Sir Ian McKellen’s performance in the role but at times even exceeded that standard is testament to someone who’s had a fantastic track record over the past few years. In the next six weeks, he’ll be in cinemas in films from Steve McQueen, Steven Soderbergh and David Cronenberg, and with Ridley Scott’s Prometheus to come in the summer, 2012 looks like it could be a landmark year for him.
22. The Debt – Jesper Christensen
The Debt was a film of very mixed performances, but two stood out above the others, and in particular the scenes that the two of them shared. A number of confrontations in the first half between Jessica Chastain and Jesper Christensen stood out as highlights and that was to the credit of both Chastain and Christensen, the latter simmering with barely contained menace once his true nature becomes apparent. It’s a shame that Christensen didn’t get more of a prominent role in the two recent Daniel Craig Bonds, as on this evidence he could have been a much stronger villain than either of those films actually ended up with.
21. Black Swan – Natalie Portman
I’ll be returning regularly to the theme of how actors can be perceived as brave in order to stand out from the crowd, and Natalie Portman’s Oscar-winning turn practically rattled off a tick list including madness, lipstick lesbianism and even some slightly-too-casual onanism. Oh, and more madness. This is one of those “practically-in-every-scene” roles that was also a career best turn in a career that’s had some pretty strong turns previously.
20. Animal Kingdom – Jacki Weaver
In a film as full of testosterone as Animal Kingdom, it takes something special for an actress to stand out, and Jacki Weaver had that special something. After a twenty year period in which she’d been seen very little on screens of any size, a late renaissance saw her take on the role as the unassuming mother figure of the family. Fantastic performances across the board from the likes of Joel Edgerton, Guy Pearce and Ben Mendelsohn make Animal Kingdom a compelling watch, but it’s Weaver’s performance that rightly got awards attention this time last year.
19. 127 Hours – James Franco
I never imagined, after his frustratingly one-note performances in the Spider-Man trilogy, that James Franco would be popping up in a list like this, but 2011 was a great year for Franco. He did just well enough as the human lead in the new Apes movie, and also surprised in the Allen Ginsberg biopic Howl, but 127 Hours became his signature role. Having very little to interact with, he still managed to sustain interest throughout the running time, and it was the fault of the structure of the film itself rather than Franco’s performance that led to a little watch-checking while we waited for hour 127; when it came, the final moments continued to show the strengths of an actor who, at 33, is just now coming into his prime.
18. Tomboy – Zoé Héran
If James Franco still has a long career ahead of him, then surely Zoé Héran is also destined for great things. Tomboy was a delightful story of the innocence of youth and the coming of adolescence, carried by Héran’s winning performance at its centre as new girl Laure masquerading as new boy Michaël. It would have been easy to make the role unsympathetic in the wrong hands but Héran carries the film completely, and Tomboy doesn’t shy away from the practical realities of such a situation, but does so without becoming heavy-handed or judgemental. Here’s hoping we see more roles for Zoé in years to come.
17. Oslo, August 31st – Anders Danielsen Lie
Another actor getting a chance to shine in a film gaining recognition on a wider stage this year was Anders Danielsen Lie. Taking centre stage in Oslo, August 31st, the story of a recovering drug addict’s struggles for acceptance and his attempt to reintegrate into society after rehabilitation, Anders was barely off screen and brings both a tenderness and an understandable resentment to his screen namesake. Although it’s already been seen in this country following a showing at the London Film Festival and a limited release, it’s been added to Sundance for 2012, where surely the profile of both the film and actor can surely only rise further.
16. Bridesmaids – Melissa McCarthy
If you want to make things particularly difficult for yourself in Hollywood, try to do whatever you can to not conform to the physical stereotype. Melissa McCarthy has never been, and likely never will be, stick thin but she still manages to do glamorous pretty well in the likes of her high profile TV roles such as the hit US sitcom Mike And Molly. For Bridesmaids, she stripped that away as well, but it didn’t stop her stealing practically the whole film away from her co-stars, and nominations for everything from the Teen Choice Awards to the Screen Actors Guild for her performance are fair reward for her commitment.
15. Beginners – Christopher Plummer
There’s often a sense when it comes to awards time that certain actors reach a point in their career when they get recognition out of courtesy, or as a reward for career achievement rather than the merit of a specific role. It may come as a surprise that Christopher Plummer only got his first Oscar nomination two years ago for The Last Station, but he should pick up his second this year for Beginners. Rest assured, if you’ve not seen it, that this isn’t a career pat-on-the-back, Plummer excelling as the father finding a new lease of life in his final years.
14. True Grit – Jeff Bridges
It’s been a bit of an acting head-to-head over the past couple of years, as both Jeff Bridges and Colin Firth have been nominated for the Best Actor Oscar two years in a row. While Bridges took the first gold baldie for Crazy Heart, Firth won this year for The King’s Speech, and while it was a deserved win when comparing the two, it shouldn’t take away from the sheer joy of Bridges’ grizzly, mumbling turn in the Coen Brothers’ latest masterpiece. Matt Damon and Hailee Steinfeld both deserve plaudits for their performances, but Bridges took on the hardest challenge, and successfully banished any memories of John Wayne’s performance with another majestic turn.
13. The King’s Speech – Colin Firth
But, when comparing the two, Firth just edged it; possibly justice done after his astonishingly subtle performance in last year’s A Single Man was shamefully overlooked for Bridges’ theatrics. Although a speech impediment and performing a real life character are another two of the “how to bag an Oscar” checklist, Firth is spot on throughout and is well supported by Geoffrey Rush and Helena Bonham Carter. Following this up with another star turn in Tinker, Tailor, Soldier, Spy, it’s been a good year for Firth, and hopefully none of us will ever have to watch him mugging through the likes of the St. Trinian’s sequel again.
12. Rise of the Planet of the Apes – Andy Serkis
There’s one other area where the Academy goes further than segregating and actively discriminates at the moment, and when it comes to a motion-captured performance, awards voters in general still haven’t been bra ve enough to reward a performance augmented by CGI. The computer graphics might be practically flawless, but they’d be nothing without the performers wearing the dot-covered grey leotards acting on green screens, and Serkis gives what may be the best performance yet in a computer-assisted costume; yes, Caesar is even better than the previous benchmark Serkis set, and is revisiting next year, in Middle Earth’s Gollum.
11. Brighton Rock – Andrea Riseborough
One of the most undervalued performers of 2011 has been Andrea Riseborough. It doesn’t quite feel as if she’s had the luck in landing the roles that a younger contemporary such as Carey Mulligan, but Riseborough has been outstanding not once, but three times, on screen this year. She ended the year with a star turn in Welsh alternate-history drama Resistance, and started it with a brief but heart-breaking turn in Never Let Me Go. It was more heartbreak that saw her best effort of the year, and while Brighton Rock the film may not have been the sum of its parts, Riseborough was outstanding at its core. Hopefully Shadow Dancer (with Clive Owen) and Welcome To The Punch (with James McAvoy and Mark Strong) will keep her profile high next year, but she starts with Madonna’s take on the life of Wallace Simpson, which sadly looks to be another case of her performing well in a film that doesn’t showcase her talents as effectively as it should.
10. We Need to Talk About Kevin – Tilda Swinton
Tilda Swinton isn’t afraid of an acting challenge, but how do you follow up I Am Love, where she learned to speak Italian with a Russian accent? Aside from a third turn as Narnia’s White Witch last year, her latest cinema role was front and centre in Lynne Ramsay’s successful adaptation of Lionel Shriver’s novel. Swinton is magnetic throughout, taking whatever’s thrown at her – most of it symbolically red – and retaining sympathy despite the difficulty of her various situations. Such is the warmth and tenderness that she brings to the role, in the face of almost unrelenting misery, that it makes the inevitability of the outcome still very hard to take, and that’s entirely to Tilda Swinton’s credit.
9. The Fighter – Christian Bale
Sitting through most of The Fighter, as good as Christian Bale’s performance is, you can’t help but think that maybe he’s gone a little too far over the top on the mannerisms. It’s undoubtedly a strong performance, and is complemented by strong work from the likes of Amy Adams and Melissa Leo, but when put in contrast to Mark Wahlberg’s defiantly understated performance as the other brother, the titular Fighter, then it does occasionally feel too much of a good thing. Then the end credits arrive, and with them footage of the real life Ward brothers, and all of a sudden it becomes apparent that Bale’s a genius, absolutely nailing the larger than life persona of his real life counterpart. In 2012? Not much. Just a new Batman movie, that’s all.
8. Tinker Tailor Soldier Spy – Tom Hardy
If you played cinematic tail-on-the-donkey with the cast list of Tinker, Tailor, listing out the names and then attempting to find a great performance by going at the list blindfolded, you couldn’t not hit on an amazing performance by probably the best cast put together in film this year. When even those getting barely more than a single scene, such as Stephen Graham or Kathy Burke, excel then you know you’re onto a winner. But if forced to pick one, then Tom Hardy just edges ahead of the rest of the cast with his stunning portrayal of the man who calls out the mole. Hardy’s been around for ten years, but has come a long way since the likes of Black Hawk Down and Star Trek: Nemesis, and will follow up his impressively muscular turn in this year’s Warrior with lead bad guy duties in next year’s Batman threequel; hopefully Hardy’s best years are still to come.
7. My Week With Marilyn – Michelle Williams
I was more than a little unsure about approaching My Week With Marilyn, not only because I’d never really have described myself as a fan of Marilyn Monroe, but because the few clips I’d seen suggested that the performances of both Williams and Kenneth Branagh as Laurence Olivier were erring more on the side of caricature. I should have had more faith; Williams has been proving for years that she’s one of America’s finest actresses, and followed up her performance at the start of the year in Blue Valentine with this cracking showing as one of the US’s screen icons, by turns an uncanny impersonation and a sympathetic portrayal of a public life that hid more of a private tragedy. Expect Williams to make a strong showing come awards season.
6. Warrior – Nick Nolte
Another name that was being touted for a while as a major contender in the supporting categories this year was Nick Nolte, but the momentum now seems to be with Christopher Plummer. It’s a shame, for as good as Plummer was, Nolte was better. Warrior ran the risk of being a sports movie full of stereotypes, but in each case either neatly dodged them or embraced them to full effect. Nolte’s performance fell into the former category, as the recovering alcoholic father found his loyalties divided between his sons, and he painted a believable character arc without resorting to histrionics. It was almost good enough to make me forget his uncomfortable turn as Jennifer Garner’s father in Russell Brand’s Arthur remake. Almost.
5. Melancholia – Kirsten Dunst
What, then, of Kirsten Dunst, denied the opportunity to make further Spider-Man sequels? Dunst has always felt as happy in the art house as the blockbuster, so it made sense that when Penelope Cruz dropped out to make the latest Pirates Of The Caribbean sequel, Dunst was recommended to Lars von Trier as a replacement. It’s a film of two halves, and Dunst shines in both; in the first half, her wandering mind and frustrated countenance completely at odds with the order and formality of the wedding reception, giving way to a serene presence as others try to understand events to come in the second half. It’s the ideal performance for von Trier’s art house blockbuster.
4. Drive – Ryan Gosling
If I was giving out awards for actor of the year, then there would probably be only one contender. If you consider the magnificent four-hander that he’s put out this year: the lover at the end of the doomed relationship in Blue Valentine, the smooth charmer who struggles to commit in Crazy, Stupid, Love, and the young buck looking to make a name for himself politically in The Ides Of March, but it’s the role as the almost silent stunt driver in Drive which is likely to define Ryan Gosling for years to come, a masterclass in how much can be done with so little. I received some Gosling in my stocking for Christmas this year, in the form of Lars And The Real Girl, and it’s an indication of Gosling’s supreme quality that he’s so good in all of these roles. I would fancy there’s a fair few movie buffs who had scorpion jackets in their stockings this year.
3. Take Shelter – Jessica Chastain
If Ryan Gosling has been one of the year’s hardest working actors, then Jessica Chastain has been even busier, and we’re spoiled for choice in picking a role to define her talents. While she stood out among the tone poem madness that was The Tree Of Life, and excelled as the ditzy blonde with hidden depths in The Help, it was two other roles that really showed her talents. The first was as the young Helen Mirren in The Debt, showing her class and dignity even as Jesper Christensen foraged in her unmentionables, but for me her best showing of the year is the one which has her mentioned in Supporting Actress categories as Michael Shannon’s wife in Take Shelter. Not to dismiss Shannon’s powerhouse performance, but it would have been nothing without Chastain to play off, and their scene together at the dinner table as Shannon confessed to the full extent of his problems was the most powerful two-hander of the year. Not resting on her laurels, Chastain is up next as Ralph Fiennes’ wife in Coriolanus.
2. Biutiful – Javier Bardem
I mentioned earlier the injustice of the Oscars, that Jeff Bridges should’ve been beaten by Colin Firth in last year’s Oscars; I also stand by the view that neither Bridges or Firth should actually have won the big award this year, as the best performance by far from an actor in a leading role came from Javier Bardem in Biutiful. Bardem’s portrayal of Uxbal, a man attempting to juggle too many facets of a life with few days left in it was stunning, and despite the misery and melancholy Bardem rooted the film in reality amid elements of the supernatural and turned a good film into a genuinely great one simply by the power of his performance. The fact that he’ll be a Bond baddie by this time next year fills me with more glee than I can possibly share right now.
1. Tyrannosaur – Olivia Colman
But the performance of the year was that of Olivia Colman in Paddy Considine’s directorial debut. It was a conscious departure for Colman, who was well known – in her own view, too well known – as a regular collaborator of Mitchell and Webb, in both their sketch show and Peep Show, and also for her lighter supporting roles such as the dirty-minded Doris in Hot Fuzz. But taking these as a polar opposite to Tyrannosaur, it’s difficult to know which is sublime and which ridiculous, so utterly convincing is Colman’s portrayal of the charity shop worker tested to her limit by both abusive husband Eddie Marsan and by Peter Mullan’s troublesome drunk who stumbles into her life one day.
It’s a performance that’s not only remarkable given Colman’s previous body of work, but it also stands on its own terms as an absolutely astonishing piece of work. Mullan and Marsan are no slouches, and Mullan especially delivers some of his best acting work here, but Colman, under the guiding hand of first time director Considine, is the star of the show and is absolutely mesmerising from start to finish. Like Lesley Manville’s performance in Mike Leigh’s Another Year last year, sadly this doesn’t have the profile or the momentum to get the awards attention it deserves, but don’t let that detract from what is a performance so strong and so strong in the face of her character’s adversity, that if you ever saw Olivia Colman in the street, you would be unable to suppress the need to give her a great big hug.