Alternate Best Actor 2012: Results

5. Jack Black in Bernie- Black gives a very different performance here going head first into creating a unique character who is believable as both the nicest man but also a murderer.

4. Liam Neeson in The Grey- Neeson gives a strong performance capitalizing well on his physical, but as well giving a powerful emotional portrayal as well.

3. Matthew McConaughey in Killer Joe- McConaughey proves himself more than capable as an actor through his oddly charming and at the same time freighting performance as a cop who does not mind killing for money on the side.

2. Denis Lavant in Holy Motors- Lavant gives a very different type of performance switching breathlessly from one character never stopping for a moment. It is a striking performance that is absolutely fascinating to watch.

1. Jean Louis Trintignant in Amour-Trintignant gives a quiet very restrained performance that is very moving and poignant while having a perfect chemistry with his co-star Emmanuelle Riva. A strong year for leading performances, and the academy did a pretty good job of selecting them too they nominated six deserving leading performances even if two were in the supporting category.

Overall Rank:

1. Daniel Day-Lewis in Lincoln
2. Joaquin Phoenix in The Master
3. Philip Seymour Hoffman in The Master
4. Jean Louis Trintignant in Amour
5. Denis Lavant in Holy Motors
6. Christoph Waltz in Django Unchained
7. Matthew McConaughey in Killer Joe
8. Liam Neeson in The Grey
9. Bradley Cooper in Silver Linings Playbook
10. Jack Black in Bernie
11. John Hawkes in The Sessions
12. Tom Holland in The Impossible
13. Suraj Sharma in Life of Pi  
14. Hugh Jackman in Les Miserables 
15. Jake Gyllenhaal in End of Watch
16. Michael Pena in End of Watch
17. Logan Lerman in The Perks of Being a Wallflower 
18. Richard Gere in Arbitrage
19. Martin Freeman in The Hobbit
20. Daniel Craig in Skyfall
21. Colin Farrell in Seven Psychopaths
22. Brad Pitt in Killing Them Softly
23. Christian Bale in The Dark Knight Rises
24. Joseph Gordon-Levitt in Looper
25. Karl Urban in Dredd 
26. Ben Affleck in Argo
27. Tom Hardy in Lawless
28. Christopher Walken in Stand Up Guys
29. Robert Downey Jr. in The Avengers
30. Mark Ruffalo in The Avengers
31. Jared Gilman in Moonrise Kingdom
32. Chris Evans in The Avengers
33. Emile Hirsch in Killer Joe
34. Chris Hemsworth in The Avengers
35. Tom Cruise in Jack Reacher
36. Denzel Washington in Flight
37. Anthony Hopkins in Hitchcock
38. Al Pacino in Stand Up Guys
39. Jamie Foxx in Django Unchained
40. Joseph Gordon-Levitt in Premium Rush
41. Bill Murray in Hyde Park On Hudson
42. Shia LaBeouf in Lawless
43. Sylvester Stallone in The Expendables 2
44. Will Smith in Men in Black 3 
45. Zac Efron in The Paper Boy

Next Year: 1968 lead

Alternate Best Actor 2012: Liam Neeson in The Grey

Liam Neeson did not receive an Oscar nomination for portraying John Ottway in The Grey.

The Grey is a bleak film about a group of men who attempt to survive after a plan crash in Alaska, all the while being hunted by a group of vicious wolves. Hardly a perfect film, but I thought it was pretty effective survival/disaster film, a genre that I am not a big fan of.

Liam Neeson is an actor who definitely has had a most unusual career path. His earliest claims to fame where his leading performances in very dramatic pictures like Schindler's List, and Michael Collins. He drifted briefly into the role of the go to mentor in films like Gangs of New York, and the Phantom Menace among many others. Than suddenly he became a badass action hero despite being over fifty years old. The Grey represents this transition well as very much physical work is required of him here, but in this case his performances of old are harkened back by the dramatic core found in his character here as well.

Neeson portrays John Ottway who works as a wolf hunter to protect oil drillers. This is a rather unique lead to have in a survival film as usually the leads of such films slowly become pessimistic in some way through the failures and deaths during their attempts to survive. Ottway on the other hand starts out as suicidal and early on considers suicide to the point that he even sticks his rifle into his mouth, but he stops just before doing so. It is an odd place to start with Ottway, but Neeson knows how to handle it by internalizing this dread in Ottway in fashion that it is right in the man's bones. 

The depression Ottway is facing as well as his heartbreak over the death of his wife is only portrayed just about silently by Neeson. He does this really quite well by showing it very much as state of that Ottway is in. He is not necessarily depressed in the way an average man would be but Neeson shows Ottway to be a very hard man from the get go. It would be wrong for him to be excessively emotional in this moment, particularly since Ottway seems to be clearly a loner, but Neeson still conveys the pain that creates this depression in a way that is perfectly fitting for Ottway.

After the plane crash though Ottway sort of gets a sense of purpose which is just basic survival. Neeson has a certain type of presence here that few actors these days are able to deliver on. What that is is being a real man's man. Neeson makes Ottway as such and he just oozes in strength of will in his portrayal as a man who is willing to fight wolves with only a stick and a shotgun shell. He makes Ottway's ability to press on and even suggest fighting the wolves something that is entirely believable. Neeson simply has the conviction in his performance to make Ottway the survivalist he should be.

One of the best indications of Neeson unique presence is the way that he sets up Ottway as the defacto leader of the surviving men. Neeson does not leave it as something that can even be questioned he has just such a great command with his performance, that even though he is older than the others he easily is the one who stands the strongest in the situation. Neeson absolutely delivers in this way, and his scenes where he puts one of the other survivors in his place who is acting particularly rebellious. Neeson has such an assurance in his performance that he makes it abundantly clear that Ottway will stay absolutely in charge.

Neeson knows how to be both an imposing figure as Ottway, but also with just the right amount of vulnerability to allow us to sympathize with his plight as well. Neeson though is very good because he never compromises for either. When he does let us in on his internal emotions he still very much keeps the strengths of Ottway in view. In the more philosophical moments of the film Neeson is strong because he marvelously balances both cynicism and optimism in Ottway. Yes a great deal of what he says is gloom filled, but Neeson is terrific in showing that there is a spark of hope in Ottway that hope that really is what keeps him going during the film.

This is a performance that very much has the challenge of realizing the personal struggle of Ottway while moving along with the pressing physical struggle. Neeson is quite good in doing this as he gives the short moments throughout to realize this part of Ottway. It does not come out fully until near the end of the film where Ottway is the last man standing. There are two scenes in a row where Neeson breaks the conviction to survival that Ottway expressed earlier. By building quietly to this point Neeson is quite powerful when Ottway breaks down asking God for help. It is a powerful scene with Neeson showing in this moment that Ottway despite holding to this point is almost at his end.

That louder moment by Neeson though is trumped by his very last scene which is almost silent. The scene depicts Ottway examining and piling the wallets of the fallen. It is a moving scene in which Neeson brings all the poignancy the moment needs. The film has many deaths, and Neeson in this moment gives them the weight they deserve. This quickly leads to the moment in which Ottway is face with the Alpha Wolf. Neeson is terrific as he portrays that spark of hope at the end fuels him to make Ottway make at least one more stand. Although the ending is sudden Neeson honestly is the one who earns through his performance as it powerfully finishes Ottway's journey from a suicidal man to one who stands and fights even when death seems like an inevitability. Neeson gives a strong performance creating a portrait of great confidence, and a certain weakness leading this film in an entirely convincing manner that fits the film's tone perfectly.

Alternate Best Actor 2012

And the Nominees Were Not:

Jean Louis Trintignant in Amour

Jack Black in Bernie

Liam Neeson in The Grey

Matthew McConaughey in Killer Joe

Denis Lavant in Holy Motors

041. Shining Through

041. (29 Jan) Shining Through (1992, David Seltzer) 16



It'd be possible to disregard the plot of Shining Through if it wasn't entirely about the plot. Despite production value and a somewhat reputable cast, the film just uses them to put a completely nonsensical story front and center. If ever there was a time to let style rule over substance, this was it. The script is just so far-fetched and terrible, and Melanie Griffith is wretched trying to play a utilitarian, yet career-minded American spy. Earning the Razzie for Worst Picture while being about WWII and the Holocaust is no easy task, but this couldn't deserve the distinction more.

THE FALL 2012 FILM PREVIEW (part one)

Ive been up for a couple of hours now and it has only just now dawned on me that it is September 1. Summer isn't technically over but it's hard to argue with its inevitable finality once September rolls around. All is not lost though. With the fall comes some very impressive films and Black Sheep is here to help you sift through them ...

SEPTEMBER

For me, September means the Toronto International Film Festival. And as I plan on previewing the 40 or so titles I will be seeing during this year's festival later this week, I will limit my choices today to films that will only be coming to a theatre near you.

TROUBLE WITH THE CURVE
Let's begin with the man everyone is talking about this week, Clint Eastwood. With all his directing as of late, he hasn't acted for another director for almost 20 years. (1993's IN THE LINE OF FIRE would be the last time, in case you were curious.) Personally, I can barely handle the man. His films are so bogged down with his old, white man idealism that they never resonate with me emotionally. Perhaps relinquishing his directorial duties will make him more enjoyable for me, but seeing as how his baseball scout character in this Robert Lorenz film seems like just as much of a curmudgeon as everyone else he plays, my hopes are not high. At least Amy Adams and Justin Timberlake are along to lighten the load.

HOUSE AT THE END OF THE STREET
Yes, this does look just like your typical fright flick, but how can it be with Jennifer Lawrence in the lead role? After earning an Oscar nomination for her brilliant work is WINTER'S BONE and dominating her star making turn as the girl on fire in one of the year's biggest hits, THE HUNGER GAMES, she certainly doesn't have to take a role like this. So unless this was shot before she stepped into the role of Katniss (which is possible but I could not find the shooting dates), this horror film has to be a cut above the rest. Lawrence herself is reason enough to find out though. Elizabeth Shue and Max Theriot co-star.

Other September highlights include Bradley Cooper plagiarizing Jeremy Irons in THE WORDS; Viola Davis and Maggie Gyllenhaal take over a broken down public school in WON'T BACK DOWN; Kirsten Dunst hopes her group of gal pals can repeat the BRIDESMAIDS success with BACHELORETTE; and although I can hardly believe it, they are still making RESIDENT EVIL movies. RETRIBUTION, the fifth in the series, hits September 14.

OCTOBER

FRANKENWEENIE
Many people accuse Tim Burton of having sold out a long time ago, of being washed up and tired now. I am actually often amongst those people but I am very excited for his newest stop-motion animation, FRANKENWEENIE. Based on his 1984 short film, which got him ousted from the Disney junior animator job he had at the time, the expansion is pretty much exactly what you would expect - young boy's dog is brought back to life and the townspeople are not very open to this freak of nature. Yes, there is the potential the feature length will bring with it many schmaltzy and unnecessary moments but if Burton does it right, it could be a new creepy cult classic.

KILLING THEM SOFTLY
Brad Pitt reteams with the director of THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, Andrew Dominik, for this new thriller. Pitt plays a hit man hired to tail two less than sharp thieves who rob a mob-run poker game. The premise sounds almost funny but the trailer looks like the final product will be less than amusing. One thing is for sure though; with a 97 minute runtime, this one will surely be faster paced paced than their last collaboration. Also, Richard Jenkins and James Gandolfini co-star.

TAKEN 2
Given the success of the first TAKEN film, it is no real shock to see a sequel for the film hitting theatres now. After all, that film solidified Liam Neeson as a bonafide action star internationally. After watching the preview for the sequel, I am sure fans of the first film will not be disappointed with the follow-up. I, however, was not a huge fan of the first film and have very little interest in this instalment. This time around, his wife and daughter appear to be taken as revenge for the havoc he wreaked last time out. And I'm supposed to take this seriously?

Also coming in October ... Helen Hunt plays sexual surrogate to John Hawkes in Oscar-buzzy, THE SESSIONS; Jennifer Garner comes dangerously close to losing her cool as a champion butter sculptor in BUTTER; Robert De Niro and Diane Keaton play a long-divorced couple trying to play nice for their son's wedding in THE BIG WEDDING, which sounds like it could have been directed by Nancy Meyers (it is not); and apparently there is a never-ending stash of found ghost footage somewhere in a Hollywood basement just waiting to be turned into a PARANORMAL ACTIVITY movies. The fourth film in the series hits October 19 (and will be gone by November 1, most likely).

Check back tomorrow for Part Two of Black Sheep's 2012 Fall Film Preview, which will feature November and December.

BATMAN BEGINS

BATMAN BEGINS
Written by David S. Goyer and Christopher Nolan
Directed by Christopher Nolan
Starring Christian Bale, Michael Caine, Liam Neeson, Katie Holmes and Cillian Murphy


Thomas Wayne: Why do we fall, Bruce? So we can learn to pick ourselves up.

From the terrifying opening shot of countless screeching bats flying across a burning red sky, it is unmistakably clear that Christopher Nolan’s BATMAN BEGINS will be nothing at all like the film incarnations that came before it. I describe it as terrifying because, like the man behind the mask of the titular character, I too am not a great fan of bats. I do however, enjoy movies about men who like to dress up in giant bat costumes quite a bit, and when I first saw Nolan’s reboot of a series that had been run deep into the ground by the previous hack of a helmer, I knew that this Batman would not only be invigorated for a new generation of fans but that it would likely go on to become the definitive incarnation of this iconic hero.

True to its title, Nolan, along with co-screenwriter, David S. Goyer (BLADE), provide the audience with a truly authentic and well-rounded origin story. What is perhaps most impressive about their take is how original it feels considering its been told so many times before. We are introduced to Bruce Wayne (Christian Bale) when he is still just a child. While playing, he falls into a cave and is attacked by a colony of bats. While this scene doesn’t pretend to show that this is where Batman was born, it does, at the very least, show us where his fascination with the winged creature came from. Cut from his first bat encounter to years later, as he takes his first steps toward becoming Batman, fighting, as Wayne in plain clothes, in a Bhutanese prison against a number of opponents, before embarking on an intensive ninja training that leads to his ability to appear invisible and his flare for the theatrical. These choices are so well rooted in believable reality that for the first time I can account for, Batman seems like someone who could actually exist.

The main theme of BATMAN BEGINS is fear. Wayne is afraid of bats; he is afraid that ultimately he is responsible for his parents’ death; perhaps most significantly though, his fear has paralyzed him from participating in life since he was that small child. He learns, under the tutelage of Henri Ducard (Liam Neeson), not only how to face his fears but to have those same fears fuel his fury forward onto his enemies. Having found himself and a way to follow in his father’s footsteps by helping the good people of Gotham City (which is breathtaking in its glory days), Wayne grows up before our very eyes and Bale does a marvelous job at conveying this to his audience. We know he has a great spirit hidden far behind the self-imposed walls surrounding him; his supporters, and our superb supporting cast, from trusted butler and guardian, Alfred (Michael Caine) to childhood sweetheart and current Gotham City district attorney, Rachel Dawes (Katie Holmes), know what he can truly be if he lets it happen; the only person who still doesn’t see it is Wayne himself.

Just like you and I, Batman too has bats in his cave that plague him. Instead of cleaning them out though, he learns how to harness their power for the good of the many. With BATMAN BEGINS, Nolan redefines what it means to make a comic book movie. Unlike some other superheroes, Batman is just man. He just happens to have extensive training, enough money to equip himself with plenty of gadgets to take down his detractors, and a chip on his shoulder large enough to keep him doing it for the rest of his life. Nolan knows that this chip is what bonds Batman to the masses though. His mission to do right by the people of Gotham makes him a hero, but his somewhat selfish motivation to right the wrong that was done to his parents right before his eyes, taints his supposedly altruistic nature and makes him human. Batman has always been conflicted but never before has it been communicated on film in such a relatable way. And, never before, has it been so damn good.

054. Star Wars: Episode I - The Phantom Menace

054. (18 Feb) /Star Wars: Episode I - The Phantom Menace/ (1999, George Lucas) 52



My rating for this film seems to take a tumble with each viewing. There's really nothing I didn't cover when I watched this about a year ago. Frankly, the film gets worse with each viewing. The film's shiny sequences really don't go together whatsoever. The Mr. Plinkett review and his DVD commentary certainly make watching this more fun.