Alternate Best Supporting Actor 1973: Results

5. Max von Sydow in The Exorcist- Sydow has a limited role but properly gives the weight and power to his role.

4. Edward G. Robinson in Soylent Green- His film is not much but Robinson gives a heartfelt performance that brings weight to a film sorely lacking in it otherwise.

3. Robert De Niro in Mean Streets- De Niro gives an effectively manic performance that infuses a childlike enthusiasm that works perfectly for the part.

2. Robert Ryan in The Iceman Cometh- Ryan gives a powerful performance piercing through the film by realizing his character's cynicism brilliantly by always managing to show that this comes from his broken dreams.

1. Robert Shaw in The Sting- Good Prediction Lezlie. This was a difficult choice to make as Ryan and Shaw are both incredible Ryan realizing his complex character brilliantly, but Shaw making so much more out of a part that is so little. For the moment the win goes to Shaw showing why he is my favorite supporting actor ever tearing into scenes with such conviction, and giving a striking villianous turn.

Overall Rank:

1. Robert Shaw in The Sting
2. Robert Ryan in The Iceman Cometh
3. Robert De Niro in Mean Streets
4. Edward G. Robinson in Soylent Green
5. Max von Sydow in The Exorcist
6. Harold Gould in The Sting
7. Hal Holbrook in Magnum Force
8. Michael Lonsdale in The Day of the Jackal
9. Jeff Bridges in The Iceman Cometh
10. Robert De Niro in Bang the Drum Slowly
11. Charles Durning in The Sting 
12. Barry Dennen in Jesus Christ Superstar 
13. Lee J. Cobb in The Exorcist
14. Fredric March in The Iceman Cometh
15. Bob Bingham in Jesus Christ Superstar
16. Kurt Yaghjian in Jesus Christ Superstar
17. Vincent Gardenia in Bang the Drum Slowly 
18. Lee Marvin in The Iceman Cometh
19. Ray Walston in The Sting
20. Tony Roberts in Serpico 
21. Otis Young in The Last Detail
22. Randy Quaid in The Last Detail 
23. Robert Earl Jones in The Sting
24. Yul Brynner in Westworld 
25. John Houseman in The Paper Chase
26. Richard Romanus in Mean Streets
27. Joe Don Baker in Charley Varrick 
28. Larry Marshall in Jesus Christ Superstar
29. Jack Gilford in Save the Tiger
30. Philip Toubus in Jesus Christ Superstar
31. William O'Malley in The Exorcist
32. John Vernon in Charley Varrick
33. Bob Dylan in Pat Garrett and Billy The Kid
34. Andy Robinson in Charley Varrick
35. James Brolin in Westworld 
36. Don Gordon in Papillon
37. Warren Oates in Badlands
38. Josh Mostel in Jesus Christ Superstar
39. Jack MacGowran in The Exorcist
40. Yaphet Kotto in Live and Let Die
41. Robert Deman in Papillon

Alternate Best Supporting Actor 1973: Max von Sydow in The Exorcist

Max von Sydow did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Father Lankester Merrin in The Exorcist.

Max von Sydow actually opens the film as Roman Catholic priest who is the head of an archeological dig that unearths an artifact that represents an ancient demon. These early scenes are basically silent and set up the mood of the picture. Sydow helps sets up these scenes with his performance as Merrin. Despite not saying anything Sydow establishes Merrin quite well here  as we see his reactions to the demonic symbols. He portrays a certain fear in Merrin that set up his past knowledge of the demon. His haunted expression in Merrin creates the appropriate dread, but as well suggest that Merrin most likely has a personal history with this particular evil.

Max von Sydow does not appear again until late in the film when Merrin is called in to exorcize the demon that has possessed Regan MacNeil (Linda Blair). Sydow despite only showing up for a few scenes near the end of the film makes a considerable impact. What works well about his performance is the dynamic between his portrayal of Mirren and Jason Miller's portrayal of Father Karras. Where Miller portrays Karras as a hesitate priest filled with doubts, as well as being quite lost when it comes to dealing with the possession, Sydow portrays Merrin as man with a full grasp and command of the situation. When he first comes in telling Karras about the Demon Sydow makes Merrin a man with a clear understanding of the situation.

In the actual exorcism scenes Merrin goes directly at the demon. In the scenes Sydow is a constant of strength as he shows no hesitations as he fiercely goes against the demon. Sydow's performance is very effective portraying a passionate force for good against the demon. He brings the appropriate power to the situation from the front of the priests and stands as a man of conviction within the chaos of the demon. Within all the insanity of these scenes it would have been easy frankly to get lost within the craziness that is going around them and be completely forgotten in face of the possessed girl. He and Miller both stay in the scene and their realistic reactions add greatly to the film.

Sydow in his few scenes makes Mirren exactly what he should be which is almost a comforting factor in the film, to show someone who seems to be able to stand up against the evil of the demon. Sydow is moving in the way he is quietly reassuring in his scenes, particularly when he attempts to explain why the demon uses the girl to Karras. Sydow acts as the steadfast faith in the pivotal moments against Miller's doubting Karras. When Sydow leaves the film suddenly it has the proper disconcerting affect it should because of Max von Sydow's proper portrayal beforehand. In the title role he delivers the precise spiritual reinforcement required of him through his quiet but forceful performance.

Alternate Best Supporting Actor 1973

And the Nominees Were Not:

Robert De Niro in Mean Streets

Robert Ryan in The Iceman Cometh

Robert Shaw in The Sting

Max von Sydow in The Exorcist

Edward G. Robinson in Soylent Green

Alternate Best Actor 1960: Results

5. Robert Mitchum in The Sundowners- Mitchum gives as usual a good performance that always stays very light but fitting to the film.

4. Max von Sydow in The Virgin Spring- Sydow although takes awhile to have his moment is quite powerful in his depiction of a father's grief and vengeance.

3. Marcello Mastroianni in La Dolce Vita- Mastroianni acts as an effective guide as for the audience through the decadence in Rome, as well as gives an effective portrait of a man slowly giving in to it.

2. Albert Finney in Saturday Morning and Sunday Night- Finney gives a raw and powerful performance as a frustrated young man who could care less of societal expectations.

1. Anthony Perkins in Psycho- Congratulations to both Michael Patison and Maciej for their correct predictions please feel free to name a year and a performance. This year was incredibly close for me not between Finney and Perkins, but between Perkins and Olivier. Perkins after all gives an outstanding performance as Norman Bates being truly terrifying in his chilling portrait of a deranged man. I still will have Olivier remain the winner for the moment since I really need to watch the Entertainer again to be sure because the two are definitely close. It would be easy to hand Perkins the win since he is amazing, but I could not cheat my favorite actor like that.

Overall Rank:

1. Laurence Olivier in The Entertainer
2. Anthony Perkins in Psycho
3. Burt Lancaster in Elmer Gantry
4. Albert Finney in Saturday Morning and Sunday Night
5. Jack Lemmon in The Apartment
6. Marcello Mastroianni in La Dolce Vita
7. Kirk Douglas in Spartacus 
8. Max von Sydow in The Virgin Spring
9. Dean Stockwell in Sons and Lovers
10. Spencer Tracy in Inherit the Wind
11. Yul Brynner in The Magnificent Seven
12. Robert Mitchum in The Sundowners
13. Rod Taylor in The Time Machine
14. Burt Lancaster in The Unforgiven 
15. Paul Newman in Exodus
16. Jules Dassin in Never on Sunday
17. Frank Sinatra in Ocean's Eleven  
18. Stuart Whitman in Murder Inc.
19. Fredric March in Inherit The Wind

Next Year: 2003

Alternate Best Actor 1960: Max von Sydow in The Virgin Spring

Max von Sydow did not receive an Oscar nomination for portraying Tore in The Virgin Spring.

The Virgin Spring tells the story of a prosperous man who avenges his daughter after her murder and rape at the hands of a group of herdsman.

Max von Sydow portrays the prosperous man who actually has a very simple role for about two thirds of the film. In the scenes before his daughter is murdered von Sydow is only briefly in the film. He is properly stoic as the patriarch of the household. In his manner at the table he shows a certain low key power as the head of the table. He also has one brief but important scene with his daughter. Sydow is effective in this in just portraying a warm but genuine relations between Tore and his daughter that properly establishes his love for his daughter that brings about his actions later on.

Sydow appears very little during the middle portion of the film. When he is on screen he keeps up the same strong presence, and he is entirely appropriate in his performance. He stays that way until he learns of the fate of his daughter which leads him to seek revenge. Sydow's first reaction of Tore's finding out about exactly what happened to his daughter is very effectively portrayed. It is rather fast, and Sydow handles it well by showing the emotions of despair quickly reigning on him, but portrays it along with a drive in Tore for vengeance.

Sydow portrays Tore's vengeance as something quite efficient. Sydow makes it a passionate moment for Tore even though it is rather quietly handled passion actually. The hatred, and anger toward the three people who were involved with act is embedded into Sydow's face, but he keeps it very much focused as Tore's goal never becomes forgotten for a moment. When Tore does murder all three of the them Sydow's gives it a certain efficiency. There is not a hint of hesitation in Sydow during the attack, he goes about one by one never giving a second thought for a moment. Sydow becuase of the lack of hesitation makes it a particularly brutal scene.

After the killing though Sydow finally shows Tore realizing his actions, as he simultaneously grieves over his daughter as well as is pained to a certain degree over his killing of the men. In his final scene where he simultaneously tries to make peace with God over having killed the men, but as well hates toward God over allowing the original act to happen, Sydow is quite powerful. He is able to still fairly quietly convey the complex internal struggle in this man, and movingly shows the deep hurt within the man over his horrendous experience.

This is not the most complex performance ever given by Max von Sydow, and his screen time is fairly limited as he only comes into the lead role for the final third of the film, but it certainly is a strong early work from him. He fully realizes his character the warm patriarch and father, and it is because of this that he is able to really give the appropriate impact to the scenes of vengeance. It is a very specific performance that effectively does the most with his role.

Alternate Best Actor 1960

And the Nominees Were Not:

Robert Mitchum in The Sundowners

Albert Finney in Saturday Night and Sunday Morning 

Anthony Perkins in Psycho

Marcello Mastroianni in La Dolce Vita

Max von Sydow in The Virgin Spring

179. The Ox

179. (29 Aug) The Ox (1991, Sven Nykvist) 59



At the very least, The Ox is further evidence that Sven Nykvist may have been the greatest cinematographer ever to live. He crafts a bleak world slowly drained of color, as a peasant family struggles after killing an ox to feed themselves. The stakes here are always high, but Nykvist has a tough time making soapy drama convincing and compelling. He gets broad performances from Stellan Skarsgard and Ewa Froling, while Max von Sydow and Liv Ullmann fare better.

148. Exorcist II: The Heretic

148. (10 Aug) Exorcist II: The Heretic (1977, John Boorman) 35



With an all-star cast and competent director at the helm, it's astounding just how wrong everything is in Exorcist II. Harkening back to the first film exclusively for plot points, the film's reluctance to exploit iconic imagery initially seems brave. But it eventually becomes inexcusable as the film offers not a single scare or even any atmosphere. What's especially burdensome is explaining why Ellen Burstyn's character isn't present, introducing a new ensemble that includes Richard Burton, Louise Fletcher and James Earl Jones at their least remarkable. In terms of story, there are too many issues to enumerate. Parapsychology, lazy demons, locusts and an African subplot were the last thing an Exorcist sequel needed, and yet The Heretic has them all.

Best Supporting Actor 2011: Results

5. Jonah Hill in Moneyball- Jonah Hill's performance is functional enough, but it never really stands out as anything that needed to be awarded.

4. Nick Nolte in Warrior- Nolte tries hard and gives a descent performance, but as with all of his performances, he never completely realizes the potential of his part.

3. Christopher Plummer in Beginners- Plummer's performance almost seems misused in the course of the film muting his emotional impact, when Plummer is on screen though he gives an effective enough of a performance.

2. Max von Sydow in Extremely Loud and Incredibly Close- Although he is in a very bad film, and must support an awful actor in the lead, Sydow's performance is the best part of the film creating a moving and mysterious portrait of a man who refuses to speak due to his past.

1. Kenneth Branagh in My Week With Marilyn- Branagh tops this weak year, although there were plenty of not nominated supporting performances. Interesting enough the order of the nominees is almost the reverse order of how I would rank the films the nominees, something that rarely happens I must say. Branagh stands as my choice with his good but not perfect impersonation of Laurence Olivier. What really gives him the win though is his ability to actually turn Olivier into a compelling character despite the sever limitations of the script, as well as have the potential problem of getting caught trying to make just an impression.

Deserving Performances:
Albert Brooks in Drive
Bryan Cranston in Drive
Mark Strong in Tinker Tailor Soldier Spy
Brad Pitt in The Tree of Life

Best Supporting Actor 2011: Max von Sydow in Extremely Loud and Incredibly Close

Max von Sydow received his second Oscar nomination for portraying The Renter in Extremely Loud and Incredibly Close.

Extremely Loud and Incredibly Close about a boy Oskar trying to find the purpose of a key his father had after his father died in the September 11 attacks maybe could have been okay if it were not the way the lead character is written, directed, and portrayed. Thomas Horn gives an obnoxious inconsistent characterization that pretty much sinks the film. He just gives an awful performance that does not make you care about this kid or his journey in the least in fact you wish something bad would happen to him he is that intolerable. Now some have defended this performance saying his character is suppose to have aspergers, and that is why he is insufferable.

First of all Thomas Horn seems to have confused aspergers with HAMbergers (Yes I know that pun was worthy of Fozzie Bear). Secondly just because is suppose to be annoying doesn't mean that makes the character a good character, or any less intolerable to spend the film with. Thirdly there are performances that can make likable characters even if they are suppose to be insufferable, Albert Brooks in Broadcast News for example (See I didn't mention his film this year), but Thomas Horn is just an awful far too self aware actor to accomplish something like that.

Now I should probably get off Horn as this review is about Max von Sydow who is the mystery renter who rents a room from Oskar's grandmother, but Horn comes into play with Sydow's performance, not since Tom Cruise annoyed Paul Newman in The Color of Money, has a Oscar nominated performance had to deal with such a cloying obnoxious one. Max von Sydow deserves all the credit he can get though for putting up with this lesser performer, and actually managing to come out on top despite his lackluster co-star.

As the mysterious renter Max von Sydow never speaks a single word, and simply refuses to speak. He rather chooses to communicate with a note pad and a yes and a no that is written upon his hands. Sydow performance than relies completely in the aged actor's face, which Sydow certainly makes the most of. Sydow effectively creates a mysterious portrait of the man, carefully letting us in on some knowledge of his past. Sydow is able to show a rather sad man who clearly has had a troubling past solely through physical reactions.

Sydow who comes into the film about an hour in actually acts as a breath of fresh air, and the film which was becoming intolerable in Horn's hands at least finally has something good in it. Sydow actually brings emotional weight to his role, therefore bringing a little bit of emotional weight to the journey at the center of the film. Sydow interactions throughout his journey actually are quite moving realizing the joy and sadness in his performance, something the film on a whole is unable to achieve almost anywhere besides with Sydow's performance.

The film mostly made me cringe than anything else, but Sydow's few moments in the film actually made something for to enjoy. He created a warm presence very much needed for the film, and he has some very strong moments even though they are shared with Horn. I think particularly in one scene where Horn's character plays the messages left by his father to the renter. The scene is very poorly directed, and played by Horn since it seems like the kid is trying to torture the renter frankly, but Sydow stays above the problems of the scene giving honestly devastating reaction to what he hears.

I liked the entirety of what Sydow did in the film actually creating an emotionally convincing performance of this sad man. Although it is true he has to deal with a frankly terrible co-star Sydow overcomes those problems with his honestly moving performance. He makes the Renter likable as well as as one of the few character's whose point isn't bashed over your head. Sydow instead uses subtly to actually make the tenter into the right sort of enigma who is also quite endearing in the end. Although considering Sydow's filmography this is not his greatest performance it is a good one even if the film is not.

Best Supporting Actor 2011

And the Nominees Are:

Max Von Sydow in Extremely Loud and Incredibly Close

Kenneth Branagh in My Week With Marilyn

Christopher Plummer in Beginners

Jonah Hill in Moneyball

Nick Nolte in Warrior

Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close, 2011
Directed by Stephen Daldry
Nominations Include Best Picture and Best Supporting Actor.

Synopsis: Oskar Schell is special child. Being an amateur inventor, pacifist, tambourine-player, etc, he and his father have a special connection, playing a game called "reconnaissance expedition", which Oskar must find clues and solve mysteries his father sets him on which makes him talk to people, and do more things he's scared of, all while learning. But then tragedy strikes and his father is killed in 9/11. Oskar is shattered, and feels alone, scared, and angry. A year after his death he finds a key in his father's closet, labelled black, inside a vase he breaks by accident. Immediately he assumes it's another clue, something he needs to figure out, and he sets out to find the lock for this key, and to try to find out what his father left him.

I watched the trailer for this film several months ago, when the initial buzz started forming around this film. I remember watching it and thinking "seriously? Best Picture potential?" and I shrugged it off, knowing it was stlil 2 or 3 months until it's release. Then  it got nominated for Best Picture (after poor reviews) and again I thought, really? But knowing it was one of 2 films I still needed to see of the nominees, I'd have to go see it. I opened my mind to give it a blank slate, and expected nothing of it. I gave it a chance.

And, well, it wasn't horrible, but it wasn't that great either. Hm, where to start this review.

Oskar was an extremely unsympathetic character, which probably would've been a lot better read in the book. You can get away with a lot more things in books than you can on film. And I think this film was a good example. Oskar would frequently ask nosy questions he really had no business asking strangers, he had many quirks about him (like shaking a tambourine to calm himself), counting his lies, listing the things he was afraid of, giving random facts and just having a general inner-monologue that was slightly unnecessary in a film. All would've worked well in the book, but didn't work quite as well on film. Additionally, a lot of the time Oskar would say things about himself, but would act almost hypocritically later. For instance, he has a fear of bridges, but darts right across when the Renter (a mute neighbor of his who offers to help him on his quest) offers to share his story. He's also scared of public transit, but is okay once the Renter, once again, coaxes him on, and they exchange Oxymorons (his father and him used to have "Oxy-moron wars"). This was no fault of Thomas Horn's (the actor of Oskar), or even Jonathan San Froer's (the authors). It was that of the screenwriter, who didn't seem to follow through on things written. Additionally, there seems to be much more to Oskar than is shown in the film. We get a list read to us that he's an Inventor, a Francophile, a Pacifist, and we never get to see any of that. We only get it read to us on a list.

Thomas Horn, who played Oskar, was quite good, but you can tell he has not had too much experience. This is Thomas Horn's very first film, and I must say he did quite well for this being his first. However, many of the voice-overs were very monotone, and he, in fact, spoke monotone a lot of the time, except for when he was angry and yelling (the latter, he did very, very well). He was convincing as the quirky, unique Oskar, even if a little stiff or awkward at times.

One part I was excited for about this film though, was Alexandre Desplat would be scoring it. Desplat, being my favourite film composer, I was delighted, and as always, he didn't disappoint. His music was simple, and so melancholy, but it had a great effect. Mr. Desplat was indeed snubbed this year, missing out on several different opportunities, having scored Harry Potter & The Deathly Hallows Part II, Carnage, The Ides of March, and a Better Life.

While the summaries of this story boast about it being about Oskar's quest to find the lock that the key his father had, it isn't really. While it certainly was a part of it, it wasn't too as well as it could've been. Many a times we see little clips of the different people he visited (usually all looking purposefully at the camera, no Oskar involved), or very small clips with no conversation where we see Oskar interacting. We get the idea he's met so many people, since we see him scrap-booking pictures of everyone he's met, but we don't really get to see any of that, besides one or two characters. Instead, what we mostly see if the many tantrums of Oskar, the many times he leaves his apartment in the night, in his pajamas, out doing something or other, or flashbacks to "the worst day". In a way, I felt like, well, not a lot happened. The movie didn't go very far forward, and I felt like we had very little character development. Most of the time Oskar was rude to the Renter, or his mother, or the doorman, or he was in his room either crying, or looking at his maps. It could've been a meaningful story,  had the option of the people he'd met, heard their stories, and realizing we all have stories, and we've all lost someone. It could've been very impactful. Instead that route isn't taken and it's a shame. There was potential.

Overall, the word that floated through my mind while watching this movie was "pretentious". I had never really understood what people meant when they said a film tried too hard. I do now. It tried to hard to be "deep", it tried too hard to have a quirky little boy, and it tried too hard to show Oskar's grief and his thoughts. Several times in the film we get this image of a man falling through the air (presumably out of one of the twin towers), and it just seems so forced. Force for an emotional reaction. Of course, there is one (as I could tell from the sniffling from those around me in the audience), but the times that were the saddest were the conversation, were the "i love you"s that were almost unheard, and those moments that seemed more natural. Those were the moments where the film was at it's best, and really had something going for it. But in the end, I feel like we hardly moved forward. It was countless moments of Oskar being sad, when we could've gotten more in-depth to some of the people Oskar and the Renter met. While it was a sad film with a good message, it look a long time to get there, and with too many 2d characters.

Will it win Best Picture? It hasn't a hope. I still wonder why it was nominated, especially given that it had to get at least 5% of the overall number #1 choice votes. While it was an okay film, it was definitely the bottom of the 9 nominated, though I have seen a lot, a lot worse films this year. And Max von Sydow hasn't a hope either. Christopher Plummer already has it all wrapped up. Not that I thought Von Sydow's performance was particularly noticeable, much less award-worthy, but nevertheless.

Not a terrible movie, but not a great one either. Again, when asked if I liked this film, I simply shrugged, because there wasn't a whole lot to say about it. It was just okay.

6.5/10

008. Extremely Loud & Incredibly Close

008. (05 Jan) /Extremely Loud & Incredibly Close/ (2011, Stephen Daldry)* 82



On a second viewing, I can truly appreciate what powerful filmmaking this is. The emotional weight Daldry lends to both simple scenes, like Thomas Horn's scenes opposite Jeffrey Wright and Viola Davis, and the powerhouse ones like Horn's with Bullock. It's a rarity when fine acting, focused direction, and technical achievement combine like this. Chris Menges' cinematography and Alexandre Desplat's score are especially wonderful.

The film itself is repeatedly an outright devastating experience. I can scarcely recall being more moved by situational sadness or finely drawn connections between characters. Daldry continues to be the most accomplished of emotion-driven directors working today.

EXTREMELY LOUD AND INCREDIBLY CLOSE

EXTREMELY LOUD AND INCREDIBLY CLOSE
Written by Eric Roth
Directed by Stephen Daldry
Starring Thomas Horn, Sandra Bullock, Max von Sydow and Tom Hanks

Making movies about the September 11 tragedies is unquestionably tricky. You don’t want to gloss over the facts and you definitely don’t want to exploit the pain but you also have to ensure that your movie is not so bleak and depressing that no one ends up seeing it. EXTREMELY LOUD AND INCREDIBLY CLOSE, the latest film by Oscar nominee, Stephen Daldry (THE READER), does a pretty decent job of oscillating between the morose and the uplifting, without ever succumbing too much to either side, but it also never truly finds its voice as a result.

The story itself, adapted from the well regarded novel of the same name by Jonathan Safran Foer, is a poignant one. Young, precocious, Thomas Schell (played by Teen Jeopardy winner, Thomas Horn, in his first film), loses his father (Tom Hanks) in the September 11 attacks. Naturally, this causes his already rampant anxiety to expand greatly. He no longer takes trains, fears tall buildings and carries a tambourine around with him at all times to help ease his mounting tension. All of this makes his quest to find the lock for a key he found amongst his father’s belongings particularly difficult. Before his father passed away, he would orchestrate mysterious puzzles for his son to solve and Thomas sees this key as a way to keep his father alive just a little bit longer. Not surprisingly, he pushes away his mother (a touching Sandra Bullock) in the process and subsequently befriends a stranger (Max von Sydow, in an incredibly telling turn considering the character is mute) in an effort to replace his absent father figure. Across the board, the acting is quite understated and very respectful to the horror that inspired this story. The way the events unfold though is at times too whimsical to be fully believed.

What I found most moving about EXTREMELY LOUD AND INCREDIBLY CLOSE was how perfectly it captured that newfound sense of danger, apprehension and confusion that didn’t exist in Western society before the World Trade Center towers collapsed. At nine years old, Thomas cannot make sense of what happened on that day. Heck, most adults couldn’t make sense of it. And so, without being able to understand how his father was taken from him when planes flew into buildings, he now fears most everything instead. The beauty in the final journey Thomas finds himself on, is that it not only brings him closer to his father, but it also brings him closer to healing without his even realizing it. Maybe Daldry will have the same effect on you.

486. Extremely Loud & Incredibly Close

486. (07 Dec) Extremely Loud & Incredibly Close (2011, Stephen Daldry)* 82