Showing posts with label George Clooney. Show all posts
Showing posts with label George Clooney. Show all posts

Thursday, July 21, 2022

The Cinematic Life Achievement Triple Crown

This morning, the Kennedy Center announced that it would be honoring George Clooney with its lifetime achievement award, alongside singers Amy Grant & Gladys Knight, composer Tania Leon, & the rock band U2.  Clooney's victory marks him as the latest person to win what I have dubbed on this blog "the Cinematic Life Achievement Triple Crown."  This includes film personalities who have won the Kennedy Center Honors, the AFI Life Achievement Award, and the Cecil B. DeMille Award, which is from the Hollywood Foreign Press Association.

While this has been a long-time list we used to update almost every year on the blog, the last few years have disrupted everything, including this award.  For starters, the last time we did a profile here, Dame Julie Andrews had just won the AFI Life Achievement Award.  While this was in 2019, Andrews is the only person to win this award in the past couple of years, because the ceremony kept being delayed due to Covid.  The Kennedy Center Honors didn't skip a year due to Covid, but they did have a delay as a result of it, and while the Cecil B. DeMille Award skipped a year (last year), it wasn't due to Covid, but instead because of the decision by the Hollywood Foreign Press Association to not hold their ceremony due to scandal.

It's not entirely clear what the future of the Golden Globes are, and if as a result we are now in the throes of only previous DeMille winners (like Clooney) getting this honor, but I thought it would still be fun to mark Clooney's victory by taking a look at where we stand in terms of living people who have won the Life Achievement Triple Crown, as well as which people are inching their way up the ladder to victory.

Living Triple Crown Winners: George Clooney is just one of a number of living Lifetime Achievement Award Winners.  As you'll see, generally if you're going to start this journey, it's likely you're going to finish it if you live long enough, since film only has so many legends & these honors tend to be very group think (i.e. if you win one, other people will want you to join their club).  The other twelve living victors of all three are Jack Nicholson, Clint Eastwood, Martin Scorsese, Dustin Hoffman, Barbra Streisand, Robert de Niro, Meryl Streep, Al Pacino, Warren Beatty, Morgan Freeman, Shirley MacLaine, & Tom Hanks.

Minus DeMille: 
Julie Andrews was an early victor for the Kennedy Center Honors, which are less shy about giving trophies to non-Americans than the AFI (it's in the name), and also likely due to Andrews' work on stage & television, as the Kennedy Center Honors go with people who are in the performing arts, not focused solely on film (like the other two trophies).  That said, one wonders if she could pull off the DeMille at some point considering her solid history with the Globes (14 nods, 5 wins).  Other figures that have won both the Kennedy Center Honor and the AFI include men who are behind-the-scenes (who therefore might not be as inclined for a trophy at the star-loving Globes as even Spielberg & Scorsese had to wait a while to win here): John Williams, Mel Brooks, and George Lucas.  Perhaps the most likely person after Andrews could be Steve Martin, who'd give a brilliant speech & has six Globe nominations but no trophies yet.  If he's going to win the AFI with his comparatively thin filmography (certainly compared to some of the people we listed as current Triple Crown Winners above), you'd think the Globes would be fine going for him

Minus Kennedy: 
The Kennedy Center Honors can usually pick 1-2 film figures, though it seems slightly less-inclined to "popular" movie stars than DeMille or AFI, and more likely to make them wait a bit for the trophy.  This might be why this is the missing leg for the likes of Harrison Ford, who might also just be over the idea of going to more awards shows (this could also explain why he hasn't gotten an Honorary Oscar yet).  Denzel Washington seems almost certain to take the Kennedy Center Honor at some point, though I wonder if the ship might have sailed for Michael Douglas, who has both of the other awards but is routinely beaten for the Kennedy Center.  His father won it, but that was years ago and the younger Douglas's fame has started to deplete in recent years with neither he nor his wife making films (focusing more on television).  The only name I'm confident won't show up here?  Jane Fonda.  Her sharp criticism of the Vietnam War is decades old, but that doesn't mean that DC is ready to honor Hanoi Jane.

Minus AFI: 
There are now just two living people who have won the Kennedy Center & the DeMille but not taken the AFI.  This is always the shortest list, which is weird because the AFI feels like it's the hardest to come by (since not as many people win the Kennedy Center & the DeMille has been around longer).  The first of these two is beyond a mystery to me.  How Robert Redford didn't take this award in the past 15 years considering his work as a multi-hyphenate movie star/filmmaker, as well as the founder of the Sundance Film Festival, is so odd.  The mystery of how Redford has avoided this honor is one of those random "awards season enigmas" I ponder from time-to-time.  The only other person who is in this same camp is Oprah Winfrey.  Winfrey's win at the DeMille's happened before the launch of the Carol Burnett Award (focused more on TV than film) and one wonders if she would have won the DeMille had the Burnett Award already existed, since Winfrey's biggest contributions have been in television.  I suspect, even with her moving into film at a more aggressive clip with movies like A Wrinkle in Time and Selma in recent years that Winfrey won't be able to take the AFI at any point in the future with such a thin cinematic resume.

Kennedy Only: 
We now move to people who have only won one leg of the awards, and it's a good reminder that the Kennedy Center Honors pick recipients based on not just film (like the Globes & AFI), but all of their contributions to the performing arts.  This means that there are figures like Cher, Rita Moreno, Angela Lansbury, Lily Tomlin, James Earl Jones, Dick van Dyke, and Bette Midler who definitely have a cinematic background and could conceivably win one of the other two awards, but are more associated with TV, music, and/or the stage & simply don't have the credentials to win the AFI or the DeMille.  Really there's just two people who have the Kennedy whom one would indisputably associate with the movies: Joanne Woodward & Sally Field.  Woodward won the same year as her famed husband Paul Newman (who like his Butch Cassidy costar won the Kennedy & DeMille but never picked up the AFI), but her ill health likely precludes her from taking any other trophies (she suffers from Alzheimer's Disease).  Field, on the other hand, seems a probable contender in the future for the AFI or DeMille, as she's still very active in cinema and has enough popular hits to make it for either award, though her age means they should get a move on if they don't want to risk waiting too long.

DeMille Only: 
Looking at the DeMille Award winners who never caught on with the other two bodies, I'm seeing names that could definitely translate to the Kennedy or AFI, but I wonder how many actually will.  Gene Hackman has completely retired from cinema and public life, and as a result it's doubtful that they ever go for him again.  Woody Allen's filmography certainly warrants at least the AFI, but his personal problems guarantee he'll never win an award like this again.  Sophia Loren is a living legend, but her most important film work is in a different language, and that hurts her chances, particularly with the AFI.  The best bets to get another of the trophies would be Anthony Hopkins, Jeff Bridges, and Jodie Foster, all of whom work still in mainstream projects and have rounded-enough filmographies for the other awards.  Hopkins won his DeMille 16 years ago, so it's odd he hasn't taken the other prizes yet as they don't usually make you wait so long, but Foster & Bridges both won their DeMille's in the past ten years and could easily grab the next leg of their Crown soon.

AFI Only: 
Since the AFI is the hardest award of these to win, only one woman is on the list of actors who have taken the trophy but nothing else: Diane Keaton.  She gave the speech at the Globes for her friend Woody Allen when he won the DeMille (but in typical Woody fashion refused to accept it)-perhaps they assume she's already won as a result?  She at least deserves to take the Kennedy Center Honor at some point-the quintessential American star of Annie Hall and Reds feels right at home for such an honor (and honestly, has done more for cinema than George Clooney, who might be getting up there to the point of life achievement awards, but honestly feels too young to have finished this entire list).

Not Yet Started: 
Of course there are always going to be people starting their journey for the Cinematic Life Achievement Triple Crown Award.  Generally you start to get this going with your first win at a young age, so don't be surprised if you see actors in their fifties you might consider too young start taking these at an aggressive clip.  While not all of these people will make it to even one of these awards, here's a sampling of some of the living film legends who could be contenders for future honors (in case these bodies need any ideas) as well as their ages: Brad Pitt (58), Goldie Hawn (76), Robert Duvall (91), Spike Lee (65), Michael Caine (89), Will Smith (53), Ron Howard (68), Eva Marie Saint (98), Glenn Close (75), Jessica Lange (73), Samuel L. Jackson (73), Tom Cruise (60), Julie Christie (82), Maggie Smith (87), Faye Dunaway (81), Ian McKellen (83), Judi Dench (87), Ellen Burstyn (89), Helen Mirren (76), Catherine Deneuve (78), Angela Bassett (63), Sandra Bullock (57), Sissy Spacek (72), Vanessa Redgrave (85), Kathy Bates (74), Norman Jewison (96), Ridley Scott (84), Liza Minnelli (76), Sylvester Stallone (76), Annette Bening (64), James Cameron (67), Daniel Day-Lewis (65), Whoopi Goldberg (66), Holly Hunter (64), Kim Novak (89), Emma Thompson (63), Michelle Pfeiffer (64), Viola Davis (56), Cate Blanchett (53), Matt Damon (51), Sean Penn (61), Matthew McConaughey (52), & Julia Roberts (54).

Tuesday, June 21, 2022

OVP: The Thin Red Line (1998)

Film: The Thin Red Line (1998)
Stars: Sean Penn, Adrien Brody, Jim Caviezel, Ben Chaplin, George Clooney, John Cusack, Woody Harrelson, Elias Koteas, Nick Nolte, John C. Reilly, John Travolta
Director: Terrence Malick
Oscar History: 7 nominations (Best Picture, Director, Adapted Screenplay, Film Editing, Score, Sound, Cinematography)
Snap Judgment Ranking: 5/5 stars

As part of our month-long celebration of the 10th Anniversary of The Many Rantings of John, I am completing all of the remaining gaps in my Terrence Malick filmography (one of my favorite film directors) with what we're calling "Terry Tuesdays" throughout June.

Terrence Malick took 20 years between Days of Heaven and his next picture.  During that time, he wrote a number of screenplays that were never produced, including one called Q that would later serve as the basis for two of his films, The Tree of Life and Voyage of Time.  He finally returned, after two decades of time off to film an adaptation of James Jones' classic novel about World War II, The Thin Red Line.  Malick at this point had not entirely abandoned the concept of a truly linear plot, but it was obvious that was where he was headed.  You could make a legitimate argument that this is the last movie with characters that really seem to run together, with actual spoken dialogue that grounds together a story (though The New World and The Tree of Life have this to some degree, even though they become more-and-more abstract).  The film, though, would become legendary given it would establish Malick's strange reputation as someone who could assemble a gargantuan movie star lineup...and then become distracted by a parrot in the cutting room floor.

(Spoilers Ahead) The movie starts with Private Witt (Caviezel) stuck on an island in the South Pacific after going AWOL.  After being captured, he's allowed to return to the military rather than face certain imprisonment, but he must do so as a member of the 25th Infantry Division as a stretcher bearer, as they are invading the island of the Guadalcanal.  The days that follow are a series of attacks on the island against the Japanese, as they come face-to-face with death, intimately seeing the perils & pitfalls of war.  One soldier (played by Woody Harrelson) dies not from enemy fire but from accidentally pulling the pin out of his grenade and blowing himself in half.  Throughout this time, we see personifications of the glory of war in Nick Nolte, the glory of peace through Caviezel's Witt, the glory of humanity in Elias Koteas loving Captain Staros, and the reality of survival through Sgt. Welsh (Penn).

The movie has about a 50/50 split between spoken dialogue and narration, and there are moments when this is confusing.  The movie hires a number of well-known actors, some of whom are easily identifiable as narrators (Sean Penn & Nick Nolte are difficult to mistake), but because there's so little traditional character-buildling outside of Nolte, Penn, Koteas, & Caviezel, when they aren't the narrators (which is often) it's sometimes hard to distinguish who is who.  Similar to The Tree of Life, which was overwhelming the first time I viewed it, I suspect I'll find that it's easier to decipher upon repeat viewings.

Because there will be repeat viewings of this.  We are 3/3 in masterpieces out of Malick, as I see the last "important" film of his career (we have one more late stage Malick next week that I haven't seen that will cap this collection).  The movie is probably the most-lauded of Malick's epics, getting seven Oscar nominations, and while part of that is the subject matter (war films tend to do well with AMPAS), it's also deserved.  The film's alternating perspectives on different characters gives it a sense of balance while sticking to its central thesis that war is tragic, no matter one's views on the merits of the conflict.  We see young men, barely into the prime of life, torn apart.  There's a terrific bit of dialogue late in the picture where a young man says something along the lines of "I've had a long life even if I'm young" and while in another movie that would've read as "proud & brave...imagine what these men have been through" here it reads as pablum.  This man is ready to give up his life, but he hasn't even lived it yet & has no concept of what he's saying, sacrificing his youth for ivory tower figures like those played by John Travolta who has no concept of the early days of war anymore it is such a distant memory they only believe the pablum.

The cinematography, by Oscar winner John Toll, is stupendous.  Malick & Toll underline their script not just with grand looks at the ocean & tall grass providing these men minimal cover for their lives, but also with throwaway shots like a panning look across a rocky cliff, the only sign of these men's sacrifice a littered pile of bullet casings that may sit on this island in the middle of the Pacific for the next 50 years without movement, the entire lifetime of the men who shot them...had they not died.  Combined with an iconic Hans Zimmer score (some of his best work) and realistic movie makeup (the dying-and-blood feels very real, particularly by the standards of 1998 with only traditional visual effects on display), and you have one of Malick's most proficient technical films.

The editing, apparently cut down from a five-hour runtime, is the stuff of Hollywood legend at this point.  George Clooney has laughed about this in interviews, saying how much he was basically trimmed out of the story to only appear onscreen for about 90 seconds.  Adrien Brody found it less funny.  In the book, his character is central to the story, and so for Brody, who was a young actor who  hadn't struck it big yet (unlike Clooney, then in his ER heyday), it was a big deal.  But at the premiere of the film, Brody supposedly found out that he was not only not the lead, but had been trimmed down so much that he was barely in the movie.  Indeed, if there was an actual line spoken by Brody directly onscreen as opposed to just talking in a group shot, I missed it...his wide eyes more a prop to help him standout in a crowd shot than the lead part, which is delegated to Caviezel in particular.  This would become something of a refrain for Malick, who would increasingly see major stars trimmed from his movies, some deeply upset about it even when they're still in a large chunk of the movie like Christopher Plummer (whom, it's worth noting, I would've cited for the Oscar for his work in The New World).  Next week we will conclude our look at the films of Terrence Malick as I watch my final gap in his filmography.

Wednesday, January 13, 2021

OVP: The Midnight Sky (2020)

Film: The Midnight Sky (2020)
Stars: George Clooney, Felicity Jones, David Oyelowo, Tiffany Boone, Demian Bichir, Kyle Chandler
Director: George Clooney
Oscar History: 1 nomination (Best Visual Effects)
Snap Judgment Ranking: 2/5 stars

I hate to make everything about Covid & the annus horribilis we have all just endured, but it's impossible to watch movies, particularly films like The Midnight Sky, without thinking about how we saw them.  The Midnight Sky is a Netflix film, but it was originally intended to be screened in theaters, and was even shot on a specific type of 65mm camera so that it would play well on an IMAX screen.  This isn't how we're going to see this, and while there are movies like Soul or Tenet that might eventually get re-releases in theaters in the future for retro screenings, Midnight Sky is not important enough to get such a distinction.  As a result, as you'll see, it's hard for me to fully grasp director George Clooney's message here, since I didn't get to see it the way that he intended, and in an era where people will not always see a movie the way the filmmaker intended, how do we acknowledge this gap?

(Spoilers Ahead) The movie takes place in the days after a cataclysmic event, one that has slowly started to make the planet inhospitable.  Augustine (Clooney), a chief scientist in the Arctic, stays behind to communicate with manned space missions, warning the people on them to stay in space, and he eventually comes in contact with a craft named the Aether, communicating with Sully (Jones), a pregnant astronaut who has been on a hospitable moon of Jupiter.  While he's contacting her, Augustine encounters a young girl who cannot speak & has been left behind.  The two of them venture forth, fighting the cold, trying to stave off the cataclysm while properly helping the Aether reverse cold.  As the film ends, we understand that this young girl is not real, but a figment of his imagination of the daughter he abandoned, and that Sully is the daughter that he abandoned, and thus by venturing forth into the wilderness (and eventually dying), Augustine has finally given a part of himself to his daughter.

This is exactly the kind of movie I love.  I am a big fan of prestige SciFi dramas, I adore adventure epics, and I love movies so directly plotted like this (where we understand quickly the big stakes, and there will be sacrifices that will need to be made to achieve them).  Which is why I was so bummed this didn't work out.  Clooney is hit-or-miss for me as a director (Good Night, and Good Luck being the one movie of his that I loved, and also the most atypical of his films), and he doesn't give this movie gravitas-there's not enough balance in getting to know either Augustine or Sully on a significant level (from a story perspective it would've been smarter to make one of them the sole lead, rather than alternating back-and-forth), and as a result neither story feels properly complete.  This isn't a bad movie, but it pales in comparison to other films like Gravity, First Man, and Ad Astra, amongst the best of the last decade, which it is clearly trying to compete with.  I'm going with 2-stars because it doesn't succeed, but this is right between 2 and 3 stars, and if you like this kind of film I would recommend checking it out.

The effects are interesting, and honestly part of me wonders if I'd have given this a 3-star rating if I'd seen it properly on a big screen.  The Jupiter's moon sequence is a glorious invasion of color, and there's one fantastic scene involving Tiffany Boone's Maya as she understands she's been injured, with a drip, drip, drip of blood floating in particles in space that is harrowing & the best-constructed action scene in the movie.  It will probably receive a few Oscar nominations with limited competition, but you have to wonder if it might've deserved them even in a normal year, as the production design and effects work is seamless.

Sunday, November 15, 2020

Leatherheads (2008)

Film: Leatherheads (2008)
Stars: George Clooney, Renee Zellweger, John Krasinski, Jonathan Pryce, Stephen Root
Director: George Clooney
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

On occasion I'll get a text from my brother over the truly random reviews I'll put on this blog (particularly the Sunday ones that aren't part of any themes), and today is one of them (or it would be if I hadn't just pointed that out), as does anyone actually remember the film Leatherheads?  I would've put this on my Netflix queue at least 12 years ago, which is telling in that I don't get through my queue as fast as I should, but it's also telling how quickly films become disposable, as this is definitely a movie I was interested in in 2008 (probably due to a hormonal interest in John Krasinski, then at his peak "Jim Halpert" fame) but barely registers now.  I don't take films off of my queue even though I do rearrange it, and so today we're going to walk down memory lane with a movie that just 12 years later is almost completely forgotten, and see if it's worth revisiting.

(Spoilers Ahead) The movie is a fictional take about the very early years of professional football.  It features Dodge Connelly (Clooney) who is an aging member of a pro football team, which then doesn't mean anything (college football is the only sport the country follows with widespread fervor).  He recruits Carter Rutherford (Krasinski), a star college athlete who was also a well-known WWI veteran, to join his team in hopes of gaining more press.  It works, but not just in the ways that Dodge hoped, as Lexie Littleton (Zellweger), a reporter for the Chicago Tribune, begins to investigate Rutherford based on reports that Carter's feats in the war were exaggerated, and he isn't the hero they assume.  This rumor turns out to be right (Carter was in the right place & right time, but isn't a proper hero), but because of the damage he'd do to the sport, he is traded to a different team & this news doesn't become public.  In the end, Dodge & Lexie end up together (there was a love triangle with Carter for a while, but Clooney's the star so you knew where this was headed), Dodge retires from football after pulling a (winning) stunt in his final matchup against Carter, and Carter comes clean to the press, now a better man & the new face of pro football.

The film is cute-the leads are fun, particularly Zellweger as a Roz Russell-style figure (Zellweger is so much better at comedy than drama, despite winning both her Oscars for the latter, and lifts the film as the movie's MVP).  For those watching this for gratuitous shots of Krasinski, prepare to be disappointed (I don't even think he's shirtless), but it is fun to see him go toe-to-toe with screen icons in this way.  He's not up to the same snuff (Krasinski's nice guy appeal has always been his best asset, but he's never really found a role as perfectly-suited for him as Jim, and at this point probably never will even if he's never bad onscreen), but you can almost see as he learns things about moviemaking throughout the film.

But the movie isn't tight, and it's not as good as it could've been.  Looking back on a trailer of the movie at the time, I get why I was interested in this (it wasn't just hormones), but it's not as funny as that is, and falls into the tropes of every sports movie where an underdog has to prove themselves.  I would've liked more of Lexie and less of us trying to wink to modern football audiences of where the game was headed.  Overall, though, this is the sort of movie if you catch it on cable or see it pop up on a streaming service you could have a nice cozy afternoon with.

Wednesday, September 09, 2020

OVP: Director (2005)

OVP: Best Director (2005)

The Nominees Were...


George Clooney, Good Night, and Good Luck
Paul Haggis, Crash
Ang Lee, Brokeback Mountain
Bennett Miller, Capote
Steven Spielberg, Munich

My Thoughts: All right-we will finish up our (only once interrupted rundown) of the 2005 Oscars this week, as we address the Best Picture & Director nominees.  I will try not to be redundant, but in 2005 the Academy didn't make that easy for me as the nominees for Best Picture & Director were the same five films.  This isn't very common at the Oscars-before 2005 you have to go back all the way to 1981 to find a Best Picture field that matches with Best Director.  That year had genuine film classics like Raiders of the Lost Ark, Reds, and Chariots of Fire in contention.  It also weirdly split the actual winners, something that would also be duplicated in 2005.  But we'll get to that when we address Best Picture.

Our first contender is going to be Munich, mostly because I like the symmetry with 1981 due to that race also including Steven Spielberg.  Munich is modern-day Spielberg, where the technical achievement is all there, but we don't see the passion or creative risk we got with a movie like Raiders.  This is partially because Munich is more concerned about spreading the message of its film than about crafting a truly remarkable motion picture (it feels like it could've been an ace documentary).  The technical prowess of Spielberg can't totally be hidden-we see it in the ticking bomb action sequences, but he doesn't grow characters, and his tendency to stifle female performers is there as we get a sea of wives & girlfriends (and Golda Meir) while the men get more interesting parts.  Munich is therefore mid-level work from him, good but hardly classic.

The same can be said for Bennett Miller in Capote.  This film is sharp, and looks great-it has a cold demeanor, and Miller isn't shy about bringing out tricks that highlight his vision for Capote & the stars of the movie.  However, the fact that Miller can't get Hoffman's mimicry to jive with the chilly motif he's trying to bring to Capote is a big turnoff for the direction, and kind of makes all of the cool touches he drops feel like wasted opportunity more than something trying to elevate the movie.  Capote is entirely dependent on your love for Hoffman's work, and as I was fairly ambivalent, you can't really enjoy anything that it seems to touch, including Miller's mechanical direction.

Ang Lee's work is slightly less reliant on his chief actors, but it's helped that they have performances I can get behind.  The way that he brings to life Brokeback is best when he's showing the passage of time, as we watch these men's lives flee before our eyes, and realize as it goes how precious life is, and how easy it is to waste time.  Lee's direction is stunning: compact, judicious, but never rushed, and he brings a potentially thin initial story to life.  Brokeback works because of its director, and the way he never gives us a spare second (even when we want one).

Paul Haggis, on the other hand, drowns under the weight of his film.  If anyone was going to save Crash, it had to be the director.  This is a multi-plotline film with broad, intersecting stories, so he has to bring out the subtleties that the actors are capable of, and try to make them feel more delicate or complicated than the screenplay is willing to do.  Haggis fails in this-there is little directorial style to his decisions, and oftentimes any sort of direction cedes to the background.  There's a reason that Crash lost this prize while winning Picture & Screenplay-it's because the director is practically invisible in the shaping of the movie, it feels so much an actor's & writer's project.

The final nominee can't get such a criticism.  George Clooney more than anyone nominated this year crafts a distinct vision in Good Night, and Good Luck, giving us a motif that feels like a secret.  The ways that Clooney moves the camera or stays just a little too long on a singer or a conversation-it would fail in the hands of a lesser filmmaker.  Never before or since has Clooney been able to so well-match his sophisticated style with a film, but that doesn't mean that Good Night doesn't stand as a triumph for the director.  It's a sharp, distinctive movie.

Other Precursor Contenders: The Globes cheated, so we don't get five nominees from each precursor here as while they gave their trophy to Ang Lee, he beat five nominees to win in it rather than four: Clooney, Spielberg, Woody Allen (Match Point), Peter Jackson (King Kong), & Fernando Meirelles (The Constant Gardener).  BAFTA kept to five nominees, picking Lee as its winner, and replacing from Oscar's lineup only Spielberg in favor of Meirelles.  The DGA wasn't very creative either, giving the trophy to Lee, and picking Oscar's exact lineup.  Honestly-while Meirelles makes the most sense for sixth (he was a surprise nominee in this category just two years prior), I think he was a distant sixth.
Directors I Would Have Nominated: For starters, Terrence Malick is making this list.  The New World gets better with age, and is a truly triumphant comeback for the director after a seven-year hiatus.  I'd also include Michael Haneke, who finds so many creepy moments in Cache, and gives us an entirely modern spin on the concept of celebrity & privacy.  And before you think that I can't get behind popcorn fare, I'd be onboard with HFPA's Peter Jackson nod-this isn't Lord of the Rings, but Kong is epic & ambitious, and it succeeds enough to be spectacular.
Oscar's Choice: Showing few signs of what was to come, Ang Lee won an easy trophy here.
My Choice: Lee, with apologies to Clooney who would've been in the running against a different field.  Spielberg, Miller, and Haggis all follow (in that order).

Those were my thoughts-how about yours?  Does anyone dare speak aloud a nominee other than Ang Lee, or are we all behind Brokeback in this lineup?  Does anyone want to hazard a guess as to who was in second (for my money, I'm betting on Clooney rather than Haggis)?  And why wasn't there more momentum for Allen or Meirelles to create a split here?  Share your thoughts in the comments!
Past Best Director Contests: 200720082009201020112012201320142015, 2016

Tuesday, August 25, 2020

OVP: Supporting Actor (2005)

OVP: Best Supporting Actor (2005)

The Nominees Were...


George Clooney, Syriana
Matt Dillon, Crash
Paul Giamatti, Cinderella Man
Jake Gyllenhaal, Brokeback Mountain
William Hurt, A History of Violence

My Thoughts: We move now into the acting races.  The Best Supporting Actor race wasn't always a drag.  At one point performances like Joel Grey in Cabaret or Robert de Niro in The Godfather, Part II were winning here-performances that might qualify for the best of the year.  In the mid-aughts, though, this changed as we saw leading men slum it in this category to try and score nominations or co-leads get nominated, leaving out some of the more intriguing character work that under-sung actors might enjoy.  Nowhere is this more apparent than in this category, where we have five leading men (some of yesteryear, but still), getting into the category.  One of these men, in particular feels like a pretty big offender of category fraud, even if it's undoubtedly my favorite performance in the lineup.

Jake Gyllenhaal gives a heartfelt, beautiful performance in Brokeback Mountain.  While Ledger gets most of the credit in the years since, it's Gyllenhaal as Jack Twist who receives the most heartbreaking scenes during the relationship.  He finds something so powerful in the way he wants to push for a proper life with Ennis, not just something that he gets to have happen once every few years when they see each other.  Think of the anger & power that he puts into his Jack, especially when he lets rip more at the world than Ennis (but Ennis is the only one who knows), all of the frustrations about living in the closet.  But the thing about Gyllenhaal's performance is...it's 100% lead.  This is a co-lead romantic drama.  I've given one of our trophies to a lead (see here), but I am docking at least a star off of Gyllenhaal's ranking for category fraud so don't assume because I like him best that he's going to win.

Weirdly, George Clooney is, while obviously a leading man, not committing category fraud in his film (at least for my money-some others might consider it borderline), as he's part of an ensemble.  Clooney isn't doing as nuanced of work as Matt Damon is in this film (he's the standout for my money), but this was during that stretch where he was doing proper movie star work in thrillers & dramas (something he seems to have not been able to do successfully for roughly a decade now).  His Bob Barnes is intriguing because he's a man that so easy could do the wrong thing-everything is there, and he feels in attitude the same as the other characters.  Clooney sells him convincingly as someone we will learn to trust, not someone that we trust implicitly.  It feels bizarre that George Clooney's only acting Oscar is going to be for Supporting Actor, but he's one of the highlights of Syriana.

Matt Dillon is also part of an ensemble, though a much larger ensemble so the argument that he's supporting is even more muted.  It's hard to play a truly unlikable character, and there are moments he does it, but the sense of understanding that he gets...it just doesn't feel believable.  I remember the big scene he has with Loretta DeVine, where we're supposed to feel sympathy for his plight, that his father was a "victim of affirmative action," but Dillon's not able to sell the hate in his heart as justified (perhaps because no actor could have pulled off such a character arch), and his later open-mindedness feels off as a result.  Dillon is better than Crash, but Crash gives him a character that is impossible to play, and it's hard for me to give credit for elevating when the actual performance doesn't rise above passable.

Paul Giamatti gets an easier character arch, but he overplays his hand.  Giamatti is a strange actor because he plays the same performance so often, and it rarely requires him to be that "Paul Giamatti" type (and yet he works very consistently).  He is angry, hyper-masculine, and feels more like he's doing a parody of Burgess Meredith here than crafting his own new character.  Giamatti appears to have won this nomination solely based on the assumption that he should have been nominated for Sideways the year before, and as a result this is a career citation that doesn't hold up unless you are considering the bulk of the actor's work onscreen (we're going to hit more of these the further back we go as this was very common in the 1980's & 90's).

On the opposite end of the spectrum from Gyllenhaal is William Hurt.  Hurt, while a leading man of the 1980's, barely registers in this movie (he's in less than 10% of the film), making what amounts to less of a supporting role and more an awesome cameo.  Hurt's character arch is therefore nonexistent, but that doesn't mean he isn't doing superb work.  Think of the climactic "you could die Joey" scene, where he angrily, soullessly goes after his brother.  This role only works with someone of Hurt's caliber-it's the sort of cameo that requires a well-known actor to make it land, but he's superb and a great close to a good thriller.

Other Precursor Contenders: The Globes gave the trophy to Clooney, and dismissed both Gyllenhaal & Hurt for Bob Hoskins (Mrs. Henderson Presents) and Will Ferrell (The Producers).  The SAG Award went to Paul Giamatti, and here only picked one new name (Hurt was taken out for Don Cheadle in Crash), and the BAFTA Awards went with Gyllenhaal for the win, beating Dillon, Cheadle, and George Clooney (twice-he was cited for both Syriana and Good Night, and Good Luck, likely costing him the trophy-he's never won an acting BAFTA as a result).  All-in-all, I know the evidence points to Cheadle, but I'll be real-at the time there was a lot of sentiment that this would be a double nomination year for Terence Howard.  Those happened more often in those days, and so either of the Crash guys probably make the most sense.  That neither made it makes this one of the rare places where the "we should have seen Crash coming" lights weren't flashing.
Performances I Would Have Nominated: I shouldn't entirely get mad at Oscar in 2005 for having a pretty lackluster lineup-it's not like this year was crawling with worthy performances.  As I said above, Matt Damon is my favorite part of Syriana, and for sure I'd put him into the lineup.  I'd also have time for Andy Serkis in King Kong, because even in motion-capture he is able to find a soul in the characters he plays.  And finally, I'd add in two unorthodox performances: Brendan Gleeson's genre-lifting Mad-Eye Moody in Harry Potter and the Goblet of Fire and Christopher Plummer's Captain Newport in The New World, both of which add a strong element to their movies.
Oscar’s Choice: A genuine horserace between Giamatti & Clooney, but Clooney's boffo year (and the fact that it was clear he wasn't winning any other categories), probably brought it home for him here.
My Choice: As I mentioned above, I'm knocking Gyllenhaal down a star for his category fraud...but that still puts him above the rest.  William Hurt (silver) and George Clooney (bronze) both put in a good fight, but they're not good enough to match Gyllenhaal, who gets my trophy.  Bringing up the rear is Dillon & then Giamatti.

Those are my thoughts-what are yours?  Are you with me in Team Jack Twist, or do you find his category fraud Jack Nasty?  Will George Clooney ever win a Best Actor trophy?  And which guy in Crash was in sixth place here?  Share your thoughts below in the comments!


Past Best Supporting Actor Contests: 200720082009, 201020112012201320142015, 2016

Sunday, April 05, 2020

OVP: The Good German (2006)

Film: The Good German (2006)
Stars: George Clooney, Cate Blanchett, Tobey Maguire, Beau Bridges
Director: Steven Soderbergh
Oscar History: 1 nomination (Best Original Score)
Snap Judgment Ranking: 1/5 stars

Every few years, some filmmaker thinks they can do it.  Perhaps watching from their screening room in Bel-Air, they chance upon Michael Curtiz's 1942 classic, and think, without any sense of hubris, "I bet I could make Casablanca."  That clearly was the case with Steven Soderbergh circa 2006, and as a recent Oscar winner who basically had a blank check from the studio, he had better resources than most do in such circumstances.  He stacked up two then-recent Oscar winners as his leads (Cate Blanchett & George Clooney), and even put it in black-and-white for a nice touch.  But here's the thing about Casablanca-while there are countless great wartime romances out there, there's a reason that Casablanca is the best.  It's literally a perfect movie, 102 flawless minutes of cinema that happened, based on every legend of the film, nearly by accident.  Trying to recreate something so grand, arguably the greatest movie of all-time, is a recipe for disaster.  And to be sure, The Good German is definitely a disaster.

(Spoilers Ahead) Here's the deal-the plot of The Good German is so confusing, that it might be the first time ever that I have seen a Wikipedia explanation of the film told outside of chronology and with spoilers in early paragraphs because otherwise it won't make sense while describing it.  Of course, while you're watching it for the first time, it then doesn't make sense but I'll try summarize it here.  Essentially, we have Jake (Clooney), who initially seems like a side character-a reporter coming to Germany after World War II, and we see the story from the perspective of Tully (Maguire), his abusive, petulant driver who is profiting off of the war and having sex with a local woman we assume to be a prostitute named Lena (Blanchett).  As the film progresses, though, Tully is murdered in what was clearly meant to be a red herring (Maguire would've been a pretty big actor at the time to have randomly vanished so soon in the movie), and we focus on Jake & Lena, who had a relationship prior to the war.  Lena's husband is a former SS Officer who is trying to out his former commander, a commander who was in charge of a concentration camp that tortured people...but because of his rocketing know-how, the Americans still want him to be on their side, and have to kill Lena's husband to keep him from testifying, since obviously the Americans can't hire a guy who ran a concentration camp.  The film ends with Lena's husband dead and the Americans getting what they want through his commander, but not before Jake learns the truth about Lena (who escapes): in order to stay alive, she essentially sold out Jews to the Gestapo, despite being Jewish herself.  The film ends with her, headed off into a plane alone, and him leaving her behind.

The artwork for the film and the ending are definitely the biggest homages to Casablanca.  The ending could almost work if we'd had more hints about Lena, or if what came before it had been any good.  After all, in the end of Casablanca (another spoiler alert if you haven't seen it, but hopefully if you've seen The Good German you've seen Casablanca), Rick does the noble thing by letting Ilsa leave with her husband, as her husband can do the most good by going to Lisbon.  In The Good German, Jake lets Lena get away after they've essentially sentenced her husband to death, and he lets her go despite her being a criminal; Emil is Victor Laszlo, the man with the true conscience, but instead of growing one as the film progresses, Jake is seduced by love rather than ennobled by it.  It's a clever perversion of the Hollywood ending of Casablanca, and it's a finale that should work for the movie.

But it doesn't, because The Good German is such a mess.  The script is all-over-the-place.  Honestly-there are too many under-developed characters, and the whole red herring aspect of Tobey Maguire dying a fourth of the way through the film (and then it not really mattering that he was dead) is bizarre.  It doesn't help matters that Maguire is terrible with this part, badly miscast even though, quite frankly, I don't know who would have been good in such a weirdly written part.  Clooney & Blanchett at least have plausible characters, but neither adds anything of note or intrigue here-they read their stylized dialogue with detached irony.  In some ways Clooney would play a similar character the following year to raves; arguably the best role of Clooney's film career is Michael Clayton, and Jake is not dissimilar to Michael's warped, but tried, sense of morality.  But Clayton made sense in his film, and Clooney never makes sense of his Jake.  This is a movie that tries to be grounded and yet pay homage and yet kind of make fun of films like Casablanca all in the same breath, and it never works.  The best part of the movie other than the leads look great (both actors photograph well in black-and-white, though the cinematography is punchy-too reliant on heavy shadow when light might make it more intriguing, always a Soderbergh sin behind the camera) is Beau Bridges in a small part as a morally-bankrupt colonel.  His character at least feels fleshed-out, even if he's given nothing to do.

Before we leave, I have to admit I don't get the score at all, the film's only AMPAS-approved element.  I know Oscar has a crush on Thomas Newman, and occasionally I do too, but this isn't one of his best, and it's a weirdly sporadic score.  Much like the movie, it shows up in a big way in scenes that should play small, and yet in scenes where the light hum of a string or bassoon might work, it's absent.  Newman's nomination here was surely part of their gut reaction need to nominate him every chance they get, but not only did they bestow "Oscar nominee" on a bad movie, there's also nothing notable about what Newman is doing here. It's not even that pretty, and it doesn't feel necessary at all.

Friday, October 06, 2017

George Clooney's AFI Win is Too Soon

Yesterday, the American Film Institute announced that George Clooney will be receiving its Life Achievement Award.  This is considered one of the highest honors in the world of cinema, a landmark achievement that puts Clooney alongside such luminaries as Bette Davis, John Ford, and Fred Astaire.  It also makes him the sixth youngest person to ever win the award, tying Harrison Ford who won the honor in 2000.  This struck me, however, as a bit pandering and as one of those life achievement awards that feels far too soon, and perhaps a little undeserved.  I figured I'd explore that line-of-thinking here today by looking at Clooney's career in comparison to some of the legends that he now joins by being on this list.

The first thing I want to discuss is Clooney's age itself.  In an era where people are living considerably longer, (provided you have access to quality health insurance) winning a life achievement award before at least 65 feels far too premature (he'll be 57 when he picks it up).  This isn't the first time that the AFI has jumped the gun on honoring someone.  Tom Hanks won in 2002 at the ridiculously early age of 45, which meant that some of his lauded recent work in pictures like Captain Phillips and Bridge of Spies wasn't among his clips at the time, and Steven Spielberg picked up the award in 1995, probably deservedly but still without Saving Private Ryan, Lincoln, or his most ambitious work-to-date, AI: Artificial Intelligence, being part of that conversation.  Clooney's winning at such an early age means that we don't really get to see where his career goes.  One could argue, for example, that Hanks ended up being less consequential to the landscape of film than he was specifically at the age of 2002, though still a major actor in his own right, and others who won young it seems silly that we honored them before they hit a new renaissance in their careers.  Martin Scorsese, for example, picked up the trophy at the age of 54 in 1997, meaning that his wave of five Best Picture nominees that came after it, including The Departed which won him the Oscar, weren't amongst the reasons that he took the AFI Award.

Honoring too early in itself is not a problem, of course.  One could argue that Meryl Streep and Jack Nicholson, both of whom won the honor when they were younger than Clooney, more than deserved the trophy at that point in their careers (2004 and 1994, respectively), as they'd been omnipresent figures in film for decades at that point, though it's worth noting both would go on to give an Oscar-winning performance later on in their career.  And there's always the risk that you run into great work happening after the AFI Life Achievement Award-it's not a retirement party.  Perhaps the most glaring example of this would be Clint Eastwood, whose career as an actor and a burgeoning director in 1996 likely warranted this trophy, but who would go on to have a HUGE second career as a filmmaker of pictures like Million Dollar Baby, Letters from Iwo Jima, and American Sniper; Eastwood would quite frankly win for a filmography that has largely been overtaken by what his actual legacy as an artist will entail.  Henry Fonda and Robert de Niro both were Oscar-nominated after their wins, and it seems likely that John Williams will be this year as well.  Since some artists work until their final curtain closes, you do have to pick an age that they win it.

But 57 is too early, and certainly too early for Clooney.  This is where I might come off as unkind, so I do want to point out that Clooney is a very good filmmaker.  He has four times been nominated as an actor by the Academy Awards (winning for Syriana), and is also an Oscar-nominated director, writer, and producer.  Two of those performances were amongst the best of the year and more than exhibited his big-screen talent (Michael Clayton and Up in the Air), and he has directed one additional brilliant movie in Good Night, and Good Luck.  It's a career literally any artist would envy, but George Clooney is hardly as prolific or as consistent of a filmmaker as almost any other recipient of this award.

Let's examine the evidence, but point out a caveat first.  The American Film Institute, while it doesn't expressly exclude specific people who are important to the craft categories in moviemaking, tends to highlight either acting or directing.  There are exceptions (Williams being the biggest one), and one could argue that someone like Steven Spielberg might have in-part made it based on some of the work that he produced, but by-and-large this is for acting or directing (Spielberg would have won without The Goonies).  It also tends to favor headliners.  Great character actors tend to not win, even ones who ended up being leading players at the peaks of their fame (look at someone like Robert Duvall, who has never picked up this trophy).  The first film that George Clooney got above-the-title billing was From Dusk til Dawn in 1996 and the first movie he received top billing on was The Peacemaker the following year (interestingly enough, Arnold Schwarzenegger got top billing on Batman & Robin despite not playing one of the title characters).  That means that Clooney will have been a headlining movie star for about 22 years when he wins the trophy next year.

There are few actors you could find who have had shorter careers as marquee stars than Clooney in this regard.  For comparison sake, let's look at Diane Keaton, who won this year.  Keaton got star billing for the first time in 1973's Play It Again, Sam, and would get top billing for the first time four years later for Looking for Mr. Goodbar, at which point she'd already been a co-lead for most of that time.  That means that Keaton had 40 years of leading lady moviemaking under-her-belt, and really we should up it to 45 as we're discounting the first two Godfather movies in that equation (Clooney never had such a significant supporting role before he became a leading man).  One could argue that Keaton was more deserving at 57 (which would have been in 2003, during her big comeback year), than Clooney is now.

There's also the question of Clooney's actual filmography.  Since From Dusk til Dawn (not really his breakthrough, which was ER, but that's television), Clooney has made about 25 major movies, including a couple of cameos.  That's not a lot for someone who is being ranked alongside people like John Ford or Lillian Gish, and it's not like all that many of them were that significant.  Really, outside Clooney's most successful artistic period from 2005-2011, where he won four Oscar acting nominations and directed a Best Picture nominee, there's not much to distinguish Clooney's career.  Yes, he's had a few hits in the Ocean's Trilogy and O Brother Where Art Thou, but nothing approaching the likes of someone who has a comparatively thin filmography like George Lucas (whose Star Wars so redefined moviemaking that it's hard to argue with his victory even if it seems to have only been for Star Wars...and even then the AFI made him wait longer than Clooney).  Clooney post-The Descendants has kind of been a bust.  He's produced some decent movies (Argo, August Osage County), and been in one good movie that he had a supporting part (Gravity), but he seems relatively post-peak as an actor, even if he's still very in-demand as a philanthropist and celebrity.

All this wouldn't be a problem if there weren't other people who deserved this honor who haven't won it yet, but unfortunately that's still a very long list.  Sally Field, Faye Dunaway, Francis Ford Coppola, Jessica Lange, Julie Andrews, Julie Christie, Ridley Scott, Robert Redford, Woody Allen, Judi Dench, Maggie Smith, Gene Hackman, Glenn Close, Michael Caine, Mia Farrow, Robert Duvall, Anthony Hopkins, Liza Minnelli, Norman Jewison, Vanessa Redgrave, Gena Rowlands, Sissy Spacek, Goldie Hawn, Burt Reynolds, Ellen Burstyn, and Sylvester Stallone are all over seventy and have been working in major movies longer than Clooney.  You can quibble maybe with 1-2 names on this list, and admittedly rumor has it some don't want the honor even though it's been offered to them (Redford, Allen, and Hackman being toward the top of that list), but taken as a collective it's hard to justify Clooney besting all of them.  Which makes his honor feel more like a nod to his celebrity more than anything else, as he's certainly going to get more clicks than any of those people.  That's a pity, because if Clooney could rebound a bit artistically as an actor and/or director, in ten years he may have earned this award.  But for now, it feels like he's winning too early, too soon, and perhaps most unfortunately, without earning the trophy.

Saturday, September 09, 2017

OVP: Actor (2007)

OVP: Best Actor (2007)

The Nominees Were...


George Clooney, Michael Clayton
Daniel Day-Lewis, There Will Be Blood
Johnny Depp: Sweeney Todd: The Demon Barber of Fleet Street
Tommy Lee Jones, In the Valley of Elah
Viggo Mortensen, Eastern Promises

My Thoughts: We continue on our newly brisk pace with 2007's OVP with a deep dive into the Best Actor field, one that features one first-time nominee, one man that for a brief moment there seemed destined to win a trophy, and three men who had already won a statue in their careers at this point.  It's strange to look at 2007's list in part because there are no newly-discovered talents here or character actors finally getting their due, as has been the case so often in recent years.  These are all five major leading men, though not necessarily at this point in their careers (looking at you, Tommy), who managed to make up yet another strong lineup in a great cinematic year.

Since I mentioned him and since he's the sore thumb in this lineup of movies that were otherwise huge in 2007, let's begin with Tommy Lee Jones.  Jones was that annual Oscar acting nominee that came out of virtually nowhere.  We'll get into some of the also-rans in a second, but pretty much no one had predicted Jones nomination when it was announced.  While Paul Haggis isn't my favorite director, I did like Elah, and I thought Jones did a fine if not-groundbreaking job in the movie.  I liked his quiet demeanor, and he underplays scenes that could have been a lot hammier for the actor (father looking for the man who killed his son is not a part that is lacking in dramatic opportunities).  There are moments where he feels like he's underacting, and Jones' style occasionally uses his own many movie memories as a crutch for the character, but I loved particularly his scenes toward the end of the picture, and overall this was a relatively pleasant surprise inclusion, even if I don't know if it deserved to be there.

On the opposite end of the spectrum is Daniel Day-Lewis, who was assured this nomination perhaps the moment he signed the dotted line with Paul Thomas Anderson.  While Day-Lewis has played many iconic characters in his career, none have stuck in the pop culture subconscious quite the same as Daniel Plainview, and there's a reason for that: he's superb.  Day-Lewis dominates the screen as this larger-than-life character, a Mount Rushmore of acting.  The way that he makes Daniel both completely plain-spoken, obvious, and yet unknowable is a triumph.  He's addicting to watch, even if we're terrified and occasionally just want the character to be done.  Combined with great chemistry with Paul Dano's fascinating (and usually successful) take as Eli Sunday, he sinks his teeth into Anderson's raw script, and manages to create a truly haunting villain.  In my personal opinion, it's his best performance, and considering it's Day-Lewis, that's saying something.

Viggo Mortensen was the only first-time nominee at the time (though he would eventually get out of the one-and-done club this past year), and his Eastern Promises is a bit of an odd-duck in terms of nominations, as outside the 70's criminals don't typically get nominated for Best Actor, but instead stick to the supporting categories.  The performance is solid, if reminiscent of most of Mortensen's work.  His Nikolai is an unknowable creature, occasionally too much so as Mortensen doesn't quite mask the violent history of his character, of his own ambitions.  Mortensen probably won this nomination due to the iconic "naked bathhouse" fight scene, and while I'm not a huge sucker for physical acting the way AMPAS can be, this is an accomplishment in direction/acting, a groundbreaking sort of scene that has been mirrored everywhere in years since, and still is thrilling and frightening to watch.

I wrote in 2009 that I wasn't sure whether Clooney's best, most iconic role was Michael Clayton or Up in the Air, but upon re-watch I think it may well be his work in 2007.  Michael Clayton is the movie of 2007 that I really changed my first opinion on when prepping for this OVP series, initially writing it off as a Law & Order at the cinema, but then seeing all of the great ideas and acting behind it.  Clooney's Michael wouldn't work if he was a saint, and he wouldn't work if he was only in his dire situation with no other solutions.  I love the way that Clooney, playing a character that feels at-home in his movie star persona, still finds new facets in Michael, constantly reevaluating his situation and moving the character's confidence and demeanor around.  Later work from Clooney has veered into mugging, and it's hard to imagine him pulling off Michael today with the same sort of boldness and lack of scenery-chewing, but it's a pitch perfect star turn, something that's very hard to pull off.  I do in fact feel it's his best work because it's the performance that best melds that Grade-A movie star charisma he oozes with his fine, if usually underused acting chops.

Johnny Depp is our final nominee, and I have to admit that it's bizarre to me at this point to think of Depp as a serious actor who gets nominated for Oscars rather than a hackneyed over-actor who is intent on just getting a paycheck (I suspect this is what it'll be like when we start to revisit Jon Voight's pictures as well).  Depp's acting style meshes well with Sweeney, and I will admit up-front that I quite liked him in this role.  He has solid chemistry with Carter, and her choice of how to play Mrs. Lovett (a very different interpretation from either Angela Lansbury or Patti LuPone).  I love how even from the beginning he plays Sweeney as doomed, as someone simply on the borrowed time of revenge without any hope for a brighter future with his daughter Joanna; it's a smart decision considering a musical that is heavy on foreshadowing.  That being said, he does not remotely have the vocal pipes of Len Cariou or Michael Cerveris, and it strains in Sondheim's soaring score.  It's impossible not to think of what a better actor would have done, as Burton's rock interpretation of a thickly Broadway-musical doesn't always work, even if it looks great.  Putting in an actor who could belt may well have made the movie itself better, but considering he's not a good musical-singer, Depp still holds his own otherwise.

Other Precursor Contenders: We start with the Globes, which distinguish between Drama and "Comedy/Musical," and of course musical is a key word this year with Depp in contention.  As I've mentioned before Jones was a huge surprise, so he's out here while the other four show up: in Drama, Clooney/Mortensen/Day-Lewis are joined by James McAvoy (Atonement) and Denzel Washington (American Gangster), with Day-Lewis winning, while Depp triumphed over Ryan Gosling (Lars and the Real Girl), Tom Hanks (Charlie Wilson's War), Philip Seymour Hoffman (The Savages), and John C. Reilly (Walk Hard: The Dewey Cox Story).  The SAG Awards found room for Emile Hirsch (Into the Wild) and Ryan Gosling over Jones & Depp, while the BAFTA's also skipped Jones/Depp in favor of McAvoy and Ulrich Muhe in The Lives of Others (which wasn't eligible for the Oscar that year as it had won the trophy the previous year for Foreign Language Film...so we'll get there eventually).  Day-Lewis won both trophies, but the real question here is who gets sixth place.  My gut says that Hirsch and McAvoy were both too young and pretty, and that instead the Academy would have gone with Gosling who had dominated precursors and had just been nominated.  However, considering that Oscar went with the more traditional work of Jones for the fifth slot, it's also possible that Washington or Russell Crowe may have been lurking behind the scenes for American Gangster, as both are major Oscar favorites.
Actors I Would Have Nominated: Oscar has a weird obsession with ignoring the pretty boys, but Emile Hirsch and James McAvoy were both stupendous in the best work of their careers in Into the Wild and Atonement, respectively, and it's a shame Oscar didn't find room for at least one of them.  More glaring, though, is that Brad Pitt is giving a triumphant performance in The Assassination of Jesse James, truly one of the most iconic in his long career and the kickoff to a huge string of successful roles for the actor, and no one seemed to notice.  His dangerous, fascinating relationship to himself, Casey Affleck, and literally everyone in that movie is dynamite, and it's a pity that in a year where Clooney and Day-Lewis were both shooting for the stars Oscar didn't latch onto the third iconic performance on its plate.
Oscar’s Choice: There was never anyone that could beat Daniel Day-Lewis, a performance that arguably could have won in any year of this millennium.
My Choice: Day-Lewis has to win it, it's too good to deny.  Behind him is Clooney, followed by Depp, Jones, and Mortensen.  All-in-all, though, not the lineup I would have picked but there's no stinker in this bunch.

Those are my thoughts-what are yours?  Do you agree with the awards consensus of Day-Lewis, or is there someone out there who wants to side with one of the other actors?  Why do you think that McAvoy and Hirsch never seemed to make it into major contention again (and quite frankly-what is Emile Hirsch even up to these days)?  And who would you have cast in Sweeney Todd if they'd have gone with a more musically-inclined take on the Sondheim masterpiece?  Share your thoughts below in the comments!


Past Best Actor Contests: 200820092010201120122013, 2014