Alternate Best Actor 2003: Results

5. Tommy Wiseau in The Room- Wiseau gives a performance for the ages that is absolutely hilarious, unfortunately it was never meant to be.

4. Paul Giamatti in American Splendor- Giamatti gives an effective performance finding the humor and humanity underlying his grumpy character.

3. Peter Dinklage in The Station Agent- Dinklage gives a strong performance from humorous dead pan to slowly easing in a character transition.

2. Choi Min-sik in Oldboy- Min-sik gives a powerful intensely physical performance brilliantly depicting the insane changes of his character throughout the film.

1. Stephen Lang in Gods and Generals- I must settle for Lang this year as his performance moved me the most out of all the performances. He elevates his material magnificently giving and truly incredible portrayal of Stonewall Jackson.

Overall Rank:

1. Stephen Lang in Gods and Generals
2. Choi Min-sik in Oldboy
3. Russell Crowe in Master and Commander
4. Paul Bettany in Dogville
5. Peter Dinklage in The Station Agent
6. Paul Giamatti in American Splendor
7. Hayden Christensen in Shattered Glass
8. Bill Murray in Lost in Translation
9. Jude Law in Cold Mountain
10. Paddy Considine in In America
11. Ewan McGregor in Big Fish
12. Nicolas Cage in Matchstick Men
13. Sean Penn in Mystic River
14. Johnny Depp in Pirates of the Caribbean
15. Tom Cruise in The Last Samurai
16. Robert Duvall in Secondhand Lions
17. Hayley Joel Osment in Secondhand Lions
18. William H. Macy in The Cooler
19. Johnny Depp in Once Upon a Time in Mexico
20. Hugh Jackman in X-2 
21. Jack Nicholson in Something's Gotta Give
22. Tobey Maguire in Seabiscuit
23. John Cusack in Runaway Jury
24. Antonio Banderas in Once Upon a Time in Mexico
25. Owen Wilson in Shanghai Knights
26. Jack Black in The School of Rock
27. Sean Penn in 21 Grams
28. Ben Kingsley in House of Sand and Fog
29. Greg Kinnear in Stuck on You
30. Benicio Del Toro in 21 Grams
31. Aaron Eckhart in The Core
32. Eric Bana in The Hulk
33. Ben Affleck in Daredevil
34. Jackie Chan in Shanghai Knights
35. Matt Damon in Stuck on You
36. Jack Nicholson in Anger Management
37. Ben Affleck in Paycheck
38. Sean Connery in The League of Extraordinary Gentleman 
39. Rowan Atkinson in Johnny English
40. Adam Sandler in Anger Management

496. Tommy Wiseau in The Room

Next Year: 1957

Alternate Best Actor 2003: Paul Giamatti in American Splendor

Paul Giamatti did not receive an Oscar nomination for portraying Harvey Pekar in American Splendor.

American Splendor is an intriguing and enjoyable film about the life of comic book writer Harvey Pekar.

Paul Giamatti has a rather unique challenge in his portrayal of Pekar since unlike many biography films the real Harvey Pekar appears on screen. This is not just a one scene thing like Tina Turner in What's Love Got to Do With It. Harvey Pekar appears throughout the film even commenting at one point that Giamatti does not really look like him. So Giamatti actually has to stand on instant scrutiny of comparing him to the real man, although he is perhaps helped a little in that he is portraying the man at a different point in his life, but still Giamatti must constantly be standing up right next to the real deal.

Giamatti actually meets the challenge well and there really is not any problems when comparing his performance to Pekar. Although obviously it is not seamless in the sense that he simply becomes Pekar, but he effectively makes it so there is not any extreme disconnect between the real one and the performance. Giamatti is quite good here in bringing into his performance Pekar's mannerisms whether it is his usually furrowed brow, his rather often cross grimace, or his sometimes rather raspy voice. Giamatti handles them all well never being obvious acting, and he utilizes the mannerisms in giving a convincing characterization as Pekar.

The overwhelming aspect of Giamatti portrayal is of course his portrayal of Harvey's seemingly endless contempt and bitterness that also seems to form into a certain depression at times as well. Giamatti portrays this particularly well by bringing across just how intense and prevailing this is in with Harvey at all times. It is not that any of his bitterness ever really goes away from him in any point even when Harvey is relatively happy, Giamatti never loses this part of Harvey for a moment, quite properly showing that this is something that is simply a part of Harvey that he never loses.

Although the bitterness is always a part of Harvey, Giamatti never really makes it downbeat or depressing as it easily could have been. Giamatti effectively finds the humor always within this bitterness and the sardonic slant that is found in Harvey. Giamatti is very good because he is able to bring about the sense of humor in Harvey that really is what created his comic book to begin with. Giamatti is able to be funny, and convey the fact and Harvey himself though he never ever shows that it comes from anything more than his rather extreme form of cynicism.

Giamatti actually makes his cynicism enjoyable in a way, by simply portraying it as the most honest form of Harvey. If Harvey was optimistic, and happy he simply would not be Harvey, and Giamatti expresses that perfectly in his performance. He never portrays there being an actual effort in Harvey when he is talking about something obnoxious in life, it just is the way Harvey deals with things whether it is waiting in line behind an old woman, or his reaction to the Revenge of Nerds, Giamatti always shows that Harvey's says only like how he sees it no matter how others may react.

Although his cynicism never completely wains there are a few warmer moments, although still Giamatti still is fitting in that they are warmer moments for Harvey. Two early on regard his comics when an artist agrees to draw for him, and when his co-workers are amazed by the first issue. In both regards these are quick but incisive moments where we see behind still Harvey's bitter face there is just the slightest happiness and pride in him. Giamatti handles these moment incredibly well because how subtle he is when portrays the softer side of Harvey that actually is made quite sweet.

The most important sides of the softer Harvey are shown with his wife Joyce (Hope Davis). Their relationship certainly is a bit on the abnormal side. Both Giamatti and Davis make it work frankly because they authentically bring out this relationship by being so casual together. Giamatti is very good in these scenes because he so well combines the frustrations of the relationships, but very importantly at the same time does carefully show that Harvey's does very much love his wife. Giamatti finds the highs and the low of their relationship through again his completely honest portrayal of Harvey's complex personality.

This is a very good performance by Paul Giamatti that is an entertaining performance, while being quietly moving at times as well. He never cheats his character though and every where he goes with Harvey is always the same Harvey. Giamatti although portrays a cynical bitter man, he turns Harvey into a very liable cynical bitter man. He even manages to stand up to the scrutiny of being right next to the man he portrays, and does not falter even with this challenge.

Alternate Best Actor 2003

And the Nominees Were Not:

Tommy Wiseau in The Room

Peter Dinklage in The Station Agent

Paul Giamatti in American Splendor

Stephen Lang in Gods and Generals

Choi Min-sik in Oldboy

Best Supporting Actor 2005: Results

5. George Clooney in Syriana- Clooney never is believable as a world weary CIA operative, but worse than that he fails to act as the anchor to for the audience he is suppose to be.

4. Paul Giamatti in Cinderella Man- Giamatti gives a good performance even if his character is limited. He shows both the friend in his boxing manager character as well as the furious promoter and showman.

3. Matt Dillon in Crash- Dillon is actually quite effective, and realistic in the role as a racist police officer who still manages to pull through when needed. The only problem is the nature of the film leaves his character with too little to do to make the impact Dillon indicates he could have made in the scenes he does have.

2. Jake Gyllenhaal in Brokeback Mountain- Although his characterization at the beginning of the film is a bit shaky and inconsistent Gyllenhaal certainly makes up for it later as he realizes the frustrations and pain in his character that lead him down a road to bitterness.

1. William Hurt in A History Violence- Good Prediction RatedRStar. Although he most certainly has the least amount of screen time for me he has the most impact. He makes an effective antagonist and actually turns his one scene role into an actual character particularly in Hurt's realization of his character's peculiar relationship with his brother.

Deserving Performances:
Ed Harris in A History of Violence
Mickey Rourke in Sin City

Best Supporting Actor 2005: Paul Giamatti in Cinderella Man

Paul Giamatti received his first Oscar nomination for portraying Joe Gould in Cinderella Man.

Cinderella Man tells of the the fall as well as unexpected comeback of boxer James J. Braddock (Russell Crowe).

Paul Giamatti after being snubbed for his well praised performance in Sideways, he was finally nominated for his supporting role as Jimmy Braddock's manager Joe Gould. Joe Gould is a lively manager and friend to Braddock who not only does his best to find him matches puts his all into the matches staying right along with Braddock during his fights. Gould though always stays as a friend to Braddock throughout even as they are both facing the troubles of the Great Depression.

Giamatti is fine in the role of the two roles Gould has in the film, the loyal friend, and the energetic manager. Giamatii underplays the friendship with Braddock as he never tries to act like Joe and James are the absolutely best friends to the end sort of friends. He instead more realistically shows that although they are always on good terms with one another it is in the end a strong working relationship more than a personal one. In creating this specific sort of relationship Giamatti realistically portrays dynamic between he and Braddock.

Much of Giamatti performance though is in his portrayal of the way Gould tries to work both around the ring and in the back stage dealings of boxing. Giamatti knows these are the scenes for him to shine and he tries his absolute hardest to make an impact in these moments. In his back stage dealings Giamatti shows a sly and somewhat cunning man who always comes with with a quick clever barb to try to get a deal in a way that is best for him and Braddock.

In the actual boxing scenes Giamatti shows that Gould pretty much takes over the showmanship for Braddock. Giamatti does have an appropriate degree of energy in these scenes as he is either tradings insults with Braddock's opponent, or he is furiously motivating Braddock and offering advice. Giamatti is consistently effective here as he realizes the manner and technique of Joe Gould quite well.

The only problem I would say about the role itself is its limits. There is a little bit of Joe at home, but it is very limited at best. Giamatti puts every once of himself into the role, and makes a great effort at all times. The role itself though is never substantial enough for Giamatti to truly take off. It is most certainly a good performance but the the very nature of the role leave Giamatti little to do, and little material to make a truly memorable impact with his character.

Best Supporting Actor 2005

 And the Nominees Were:

William Hurt in A History of Violence

Jack Gyllenhaal in Brokeback Mountain

George Clooney in Syriana

Paul Giamatti in Cinderella Man

Matt Dillon in Crash

Best of Black Sheep: THE IDES OF MARCH

THE IDES OF MARCH
Written by George Clooney, Grant Heslov and Beau Willimon
Directed by George Clooney
Starring Ryan Gosling, George Clooney, Philip Seymour Hoffman and Evan Rachel Wood


Stephen Myers: Nothing bad happens when you’re doing the right thing.
Governor Mike Morris: Is that your personal theory because I can poke holes in it.

George Clooney has been mulling making THE IDES OF MARCH for a few years now. When he first wanted to make it in 2008, he decided to put his plans on hold because of the political climate. The United States were on the cusp of a monumental election and a financial crisis and he did not want to take advantage of either. Three years later though, Clooney and his longtime production partner, Grant Heslov (GOOD NIGHT, AND GOOD LUCK) think the timing is now right to unveil their political thriller to the voting public. Apparently, it is acceptable to be critical of their government again.

Clooney plays Governor Mike Morris, a seemingly genuine and upstanding gentleman, who is trying to secure the democratic party nomination for the upcoming presidential race. Naturally, nothing is as it seems and it would appear that no one can get to such great heights without stepping over a few people along the way. To get where he is, you also need a crack team behind you and Governor Morris’ includes actors as diverse and talented as Ryan Gosling, Philip Seymour Hoffman and Evan Rachel Wood. Hoffman is the veteran, Wood is the intern and Gosling is the shiny new guy who is clearly on his way to greater things. In fact, Gosling’s career appears to mirror the position of his character, Stephen Myers. The man is certainly on his own streak and his lead performance here is another that will certainly continue to propel him forward.

THE IDES OF MARCH is a compelling and engaging thriller, despite not bringing much new to the table. Gosling’s Stephen gets caught up in the political crossfire behind the campaign scenes and it becomes a pretty harrowing challenge for him to ensure he still comes out ahead of everyone else. And while Clooney’s execution is smooth and effective, it does cater a little too often to his own political views. Clooney did not want his character to be a republican as he thought the criticism would be too obvious. As a democrat though, he gets the chance to voice all of platforms on topics as heated as gay marriage and tax incentives for the super rich. Everything he says seems so sensible, the film becomes something of a criticism for all politicians, as if to suggest it could be as easy as he claims if they would just get it together. And while Clooney may not be ready to run for president, he earns my vote for being a top notch film director.

428. The Ides of March

428. (09 Oct) The Ides of March (2011, George Clooney)* 57



Clooney's on the nose political thriller is glossy and entertaining enough to suggest growth from his pedestrian Good Night, and Good Luck, but the script still lacks character motivation and feels too overeager to crowd please. At the very least, Clooney has something of a knack of assembling a strong ensemble and putting them to good use. While Ryan Gosling looks as vacant as ever, Evan Rachel Wood has rarely been so charming and emotionally affecting. Marisa Tomei is also rather fun in a small role. Philip Seymour Hoffman turns out the kind of noisy, showy performance that seems destined for an unnecessary Supporting Actor nomination.

The twists and turns of the film's third act are relatively weak, even if they are involving. The Ides of March is convinced of its own grittiness and cynicism, even though it's not really either. The idea that you can make anything about the film's plot fresh is a tad absurd. A politician sleeping with an intern? Been there. A campaign manager who has yet to be disillusioned by the politician he's managing? Get real.

Ides just doesn't feel particularly real, which is why whenever it enters dark territory it starts to feel false. When it's more a dopey, enjoyable look behind the scenes of politics, it's at its best.

428. The Ides of March

428. (09 Oct) The Ides of March (2011, George Clooney)* 57

THE IDES OF MARCH

Written by George Clooney, Grant Heslov and Beau Willimon

Directed by George Clooney

Starring Ryan Gosling, George Clooney, Philip Seymour Hoffman 

and Evan Rachel Wood

Stephen Myers: Nothing bad happens when you’re doing the right thing.

Governor Mike Morris: Is that your personal theory because I can poke holes in it.

George Clooney has been mulling making THE IDES OF MARCH for a few years now. When he first wanted to make it in 2008, he decided to put his plans on hold because of the political climate. The United States were on the cusp of a monumental election and a financial crisis and he did not want to take advantage of either. Three years later though, Clooney and his longtime production partner, Grant Heslov (GOOD NIGHT, AND GOOD LUCK) think the timing is now right to unveil their political thriller to the voting public. Apparently, it is acceptable to be critical of their government again.

Clooney plays Governor Mike Morris, a seemingly genuine and upstanding gentleman, who is trying to secure the democratic party nomination for the upcoming presidential race. Naturally, nothing is as it seems and it would appear that no one can get to such great heights without stepping over a few people along the way. To get where he is, you also need a crack team behind you and Governor Morris’ includes actors as diverse and talented as Ryan Gosling, Philip Seymour Hoffman and Evan Rachel Wood. Hoffman is the veteran, Wood is the intern and Gosling is the shiny new guy who is clearly on his way to greater things. In fact, Gosling’s career appears to mirror the position of his character, Stephen Myers. The man is certainly on his own streak and his lead performance here is another that will certainly continue to propel him forward.

THE IDES OF MARCH is a compelling and engaging thriller, despite not bringing much new to the table. Gosling’s Stephen gets caught up in the political crossfire behind the campaign scenes and it becomes a pretty harrowing challenge for him to ensure he still comes out ahead of everyone else. And while Clooney’s execution is smooth and effective, it does cater a little too often to his own political views. Clooney did not want his character to be a republican as he thought the criticism would be too obvious. As a democrat though, he gets the chance to voice all of his platforms on topics as heated as gay marriage and tax incentives for the super rich. Everything he says seems so sensible, the film becomes something of a criticism for all politicians, as if to suggest it could be as easy as he claims if they would just get it together. And while Clooney may not be ready to run for president, he earns my vote for being a top notch film director.

WIN WIN

Written and Directed by Thomas McCarthy

Starring Paul Giamatti, Amy Ryan, Bobby Cannavale and Alex Shaffer

Abby: Where's Daddy?

Jackie: He's running.

Abby: From what?

Thomas McCarthy’s latest film, WIN WIN, is a little movie about regular people in a small town. McCarthy is no stranger to championing the stories of the every man (perhaps best exemplified in his last film, THE VISITOR) and this time out, he has the most regular of the bunch at the helm. Paul Giamatti is Mike Flaherty, a local New Jersey lawyer struggling to make ends meet, who also works as a high school wrestling coach in an attempt to hold on to his youth. His situation seems to be getting increasingly dire despite his best efforts to turn things around and McCarthy makes it his mission to take the tiny eccentricities that make up Mike’s daily routine and turn them into humorous foibles that are supposed to make his plight more endearing and relatable. Unfortunately, in doing so, he also makes everything feel far less authentic than it needs to be.

Setting up Mike’s life is laborious. The father of two works too much and is not at home as often as he should be. His law practice is going through a slow period and the bills are piling up. Naturally then, as he is jogging in an effort to reduce his stress, he suffers a panic attack. In a desperate effort to get out from under everything, he takes on the care provider role of one of his older clients (Burt Young) to collect the commission that comes from it. Instead of actually providing the service though, he sticks him in an elderly care facility. He has to lie to a judge and his wife (Amy Ryan) in order to make this happen so you just know it isn’t going to end well for him. The obviousness of the set up also makes the wait for the demise quite noticeable. Meanwhile, the lightened tone makes it difficult to know whether any of this is meant to be taken seriously.

Mike’s questionable actions bring about inevitable complication in the form of his client’s grandson, Kyle (promising newcomer, Alex Shaffer), needing a place to stay. It just so happens that Kyle is a naturally gifted wrestler and his fierceness in the ring becomes a great source of inspiration for Mike. In one scene, Kyle explains his strategy to his team; when he’s pinned down to the ground, he does whatever is necessary to break out of that. The knowing look on Giamatti’s face when he hears this means that at one point, he will have to do the same. And as his lies drag him down further into trouble, McCarthy turns WIN WIN into some sort of morality tale about following the path of righteousness in order to succeed in life. The suggestion is that life is a game made up of winners and losers and that we can all be winners if we actually try to do right by ourselves. If only McCarthy had been more genuine himself, then maybe his film would have truly lived up to its name and it wouldn’t feel like McCarthy got pinned down to his own mat.

Black Sheep interviews Richard Lewis

Richard's Version

An interview with Richard Lewis,

director of BARNEY'S VERSION

Toronto born filmmaker, Richard Lewis’s written version of BARNEY’S VERSION, based on the 1997 Mordechai Richler novel of the same name, is not the version that made it on to the screen. Lewis doesn’t care though. He’s just happy it finally made it there.

The idea of turning Richler’s character piece about a man named Barney Panofsky, who can almost only see things his way, has been in existence since the book came out in 1997. Famed Hollywood producer, Robert Lantos, had bought the film rights but wanted nothing to do with Lewis, an unproven talent at the time. Whenever Lewis would approach Lantos about the film, Lantos would, “scoff at me and say something like, ‘Peter Weir is going to direct it,’” Lewis tells me over the phone from his home in Los Angeles.

Lewis’s plan worked; Lantos bought the script and hired Lewis to come on as director as well. That’s where things got messy. Another writer, by the name of Michael Konyves, came along with another version of BARNEY’S VERSION, which Lantos loved. Suddenly, Lewis’s script was out and Konyve’s was in. “At first, I was really shocked and pissed,” Lewis confides. “As soon as I read it though, I was elated because Michael’s draft was better.”

It wasn’t until 2006 that Lantos would finally start to take Lewis seriously. Lewis was involved heavily with a little TV show you might know called, “C.S.I.: Crime Scene Investigation” at the time, directing a little here, producing a little there. In his off hours, of which there were surely few, Lewis decided to write his own script for BARNEY’S VERSION and just make Lantos believe in his connection to the material.

Konyve’s draft focused on Barney, his great love and the smaller experiments with love that led to the great one. The novel’s murder mystery plot is downgraded to subplot in the film, which allows the message of love to flourish. “It was important for us to distill the book down to its essence and that lies really with the love story between Barney and Miriam.”

Barney and Miriam are played by Paul Giamatti and Rosamund Pike. The two meet at Barney’s wedding reception to his second wife (Minnie Driver) and he knows, without any question, that she should be the mother of his child. Meeting her a few hours earlier seems like it would have been much more practical but how often does life afford anyone that kind of convenience?

It isn’t easy to love a man who makes a play for one woman less than an hour after marrying another. Yet somehow, by the time BARNEY’S VERSION comes to a close, there is a great deal of understanding and compassion for the character that was not there before, that seemingly has very little to do with the circumstances Barney finds himself in. “Paul gave me a lot to work with,” Lewis states about his Golden Globe nominated lead actor. “One of the reasons we cast him is because he has a certain likability, even in his curmudgeon-ness, even in his disdain for the world, his variable lack of ease, he is still able to bring real genuineness. That authenticity is something we’re attracted to whether the character is ‘likable’ or not.” Lewis is certain to specify that he used air quotes on the word likable so I suppose the jury is ultimately still out on Barney Panofsky.

And while support for Panofsky himself may be slim, there is no shortage for the man playing him. In fact, Lewis attributes assembling his fantastic cast – from Dustin Hoffman and Rosamund Pike to Minnie Driver and Scott Speedman – simply to Giamatti’s presence, at least in part. “The script pulls the cast. You have a good script and you have one of the finest actors of our time attached to the project and actors seem to come from all directions to play with him."

An impressive cast, romantic locations (Montreal, New York, Rome) and cherished source material make BARNEY’S VERSION a delightful and surprising experience. They also make BARNEY’S VERSION an awards contender. Lewis is new to the game but he isn’t nervous. “If it doesn’t win any Oscars – and I think Paul is quite deserving – I still think it will be regarded as a good film. I’m happy with that.”

And after people see the film, I’m sure they will be happy too.

BARNEY'S VERSION is now playing in select Canadian cities.