Neverending
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Post by Neverending on Feb 14, 2024 18:16:24 GMT -5
I honestly barely remember the winner. It's the Robert De Niro performance where he isn't awkwardly throwing someone out a window. |
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Dracula
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Post by Dracula on Feb 15, 2024 8:33:55 GMT -5
Best CameoI’ve taken this “Best Cameo” category in a couple of different directions over the years, sometimes embracing true “momentary appearance by celebrities” format, other times going more with the “famous people with smallish roles” route, and yet other times allowing any sort of very small part even if the actor in question isn’t very famous. Usually that’s just a matter of what choices I have to pick from any given year and this year I didn’t need to cheat much as there were legit normal cameos available to work with. Jeff Goldblume – Asteroid City: Jeff Goldblume’s appearance in Asteroid City is sort of “spoiled” by the film’s opening credits which announces “Jeff Goldblume as The Alien,” though at first this is perhaps a bit curious since the alien is a stop motion effect, albeit one who does kind of resemble Goldblume in terms of mannerisms and body language to some extent. The credit does make more sense later when we see him in the black and white framing story in a cheesy looking costume playing the actor who will portray the alien on the stage. It’s a fun bit of casting which gives that alien encounter and extra layer of humor.
Bill Hader – Beau is Afraid: This is a pretty stealthy cameo because it’s an almost entirely off screen cameo aside from a very brief clip used in a newscast. In the scene Beau tries to call his mother only to have Hader’s voice come in over the phone to nervously tell Beau that he’s a UPS driver and while making a delivery to he came upon the body of Beau’s mother and that he just found her dead in an accident. Hader’s particular brand of deadpan works perfectly for the scene with the two increasingly angry at each other over the course of the course of this encounter.
Tilda Swinton – The Killer: In The Killer the title character spends most of the movie trying to track down a pair of hitmen who attacked his home and assaulted his girlfriend. The first of them is a “brute” who he has an extended knock down drag out fight with, but things go differently with the second assassin who proves to be much the opposite: a woman played by Tilda Swinton who otherwise lives an ordinary middle class life and who accepts her fate shortly after the Fassbender character arrives. Swinton leaves a pretty big impression without much screen time and really subverts your expectations for how that meeting was going to go.
Martin Scorsese – Killers of the Flower Moon: Martin Scorsese cameos in his movies semi-regularly, but they’re usually just blink-and-you’ll-miss-it uncredited walk-ons in the tradition of Alfred Hitchcock, but in his latest movie he does something a bit more noticeable. Scorsese comes at the very end of the film during a very well put together scene wrapping the story up, not with title cards, but with a scene where a radio play (one essentially commissioned by the FBI) is being put on describing what happened after the events of the film. The at the tail end of the we see Scorsese himself is the producer of this radio show and he basically breaks character to address the camera and read the obituary of the Lily Gladstone character.
Donald Glover - Spider-Man: Across the Spider-Verse: Normally with these cameos I want to nominate people who actually, like, do things with their brief time in the movie in question rather than just having their existence in the movie do everything, but this is too good to pass up. Glover briefly showed up in Spider-Man: Homecoming and was teased to be the uncle/nemesis of a future Miles Morales, but that didn’t really go anywhere in the MCU and seems to have been dropped. But then Spider-Man: Across the Spider-Verse came along and revived that idea by giving the guy a brief appearance in live action wearing a Prowler uniform having apparently been captured and caged in the Spider-Society headquarters. Funny how Sony potentially just tied that loose thread up for Kevin Feige. And the Golden Stake goes to…Killers of the Flower MoonThis would be the second year in a row that this award has gone to a cameo by a film director but the first time it’s gone to a director showing up in their own movie. Someone as recognizable as Scorsese only shows up in such a prominent and final place like this when they’re trying to say something and with this Scorsese seems to be in some ways turning the mirror on himself and wondering if what he’s made with this movie, another recitation of this story by a white creator, is really so different from the radio play we just witnessed and if he has any more right to tell it than these people did. The movie really comes to life in these final moments and end the movie on something of a high.
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PhantomKnight
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Post by PhantomKnight on Feb 15, 2024 9:28:51 GMT -5
I honestly barely remember the winner. It's the Robert De Niro performance where he isn't awkwardly throwing someone out a window. ...Okay, I clearly misread/remembered who the character was. |
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PG Cooper
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Post by PG Cooper on Feb 15, 2024 13:56:28 GMT -5
Well-deserved. The most stunning aspect of the film and really leaves things on a contemplative note.
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frankyt
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Post by frankyt on Feb 15, 2024 14:58:14 GMT -5
Prob the all time director into movie cameo - in fact I can't even remember one being as impactful ever.
I mean actor director multi hyphenates notwithstanding of course.
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Dracula
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Post by Dracula on Feb 16, 2024 8:59:35 GMT -5
Best Supporting ActressAnd now we get to our core acting categories which should be pretty familiar from other award ceremonies. Keep in mind I do not always go along with the category placements that other ceremonies use and can move around placements as I feel it’s appropriate. Claire Foy – All of Us Strangers: For All of Us Strangers Claire Foy has the unusual role of playing a possibly spectral woman who is meeting her son as an adult having, in actuality, died when he was a small child. Because this ghost-like version of her hasn’t aged she’s essentially talking to her grown son as a peer, which is kind of a unique dynamic to try to capture. Foy totally captures the look and sound of a middle class British mother from the 80s and she also taps in to the strange emotions that this whole situation brings to light, but in a slightly inhuman way in keeping with her situation.
Da'Vine Joy Randolph – The Holdovers: Da'Vine Joy Randolph is an actress who has really emerged in just the last couple of years. She’s only thirty seven but seems older in The Holdovers, in part because she’s playing a character who’s been worn down by life and has already had to mourn the death of a son and the injustice of why he was sent to war while the rich kids who surround her can avoid this fate. This is a character that could have easily fallen into some unfortunate tropes if not handled well, but Randolph manages to keep her complex and human.
Cara Jade Myers – Killers of the Flower Moon: It’s hard to say that there’s anything you wanted more of in a three and a half hour epic like Killers of the Flower Moon but I sure would have liked more of Cara Jade Myers as Anna Brown, the ill-fated sister of Lily Gladstone’s Mollie Burkhart. Anna was the more rebellious of the siblings, prone to alcoholism and self-destructive behavior, and the screen really lit up whenever she showed up and when she was murdered it was a pretty devastating moment in the movie.
Julianne Moore – May December: In May December Julianne Moore plays a character who’s plainly inspired by tabloid figure Mary Kay Letourneau, but who is nonetheless a fictionalized character so she has to find a way to imitate her without 100% imitating her. What’s more Letourneau appears to have been a profoundly strange person so there are a lot of ways in which this imitation could have gone way over the top and trivialized this character if Moore wasn’t careful. But Moore does find a way here to thread that needle and bring this character to life in a memorably kind of chilling way.
Florence Pugh – Oppenheimer: For the record I’m considering Emily Blunt’s work in Oppenheimer to be a lead rather than supporting, but even if they were in direct competition I still think I might lean towards Pugh over Blunt despite her limited screentime, in part because she has a bit more to work with than Blunt, who’s doing a lot of standard long suffering wife stuff. Pugh turns Jean Tatlock into this fascinating figure who you totally understand Oppenheimer’s attractions to and fixation on while also capturing her political passion and the depression and paranoia she went through later on in her life. And the Golden Stake goes to…May DecemberI feel a touch guilty giving Julianne Moore this prize because out of these five nominees she’s probably the one whose status as “supporting” is the most dubious and she probably has the most screen time out of all of these. However, Natalie Portman is the point-of-view character in the movie and Julianne Moore supports her, it fits. And Moore’s work here is really strong, she builds this memorable character who at certain points you can laugh at but also maybe feel guilty for laughing as soon as you remember what this strange personality lead to.
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PG Cooper
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Post by PG Cooper on Feb 16, 2024 9:09:31 GMT -5
Well-deserved. Also stoked to see Myers get a nom here. Thought she was fantastic.
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PhantomKnight
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Post by PhantomKnight on Feb 16, 2024 9:36:37 GMT -5
Still haven't seen it. But, I mean, Da'Vine Joy Randolph in The Holdovers kinda floored me.
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donny
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Post by donny on Feb 16, 2024 21:29:56 GMT -5
Picking Pugh for Oppy… I like it.
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Post by Dracula on Feb 17, 2024 6:59:32 GMT -5
Best Supporting ActorAnd here we have out male counterpoint to Best Supporting Actress. Unlike the female side (which has been all over the place) there’s been a lot of consensus around this category throughout award season and while a threw a couple of slight curveballs I didn’t want to over-think things too much here as sometimes things are popular because they deserve to be popular. Ryan Gosling – Barbie: The placement of Ryan Gosling in supporting actor for Barbie has always seemed a touch iffy to me. Plainly he’s not the title character, who is clearly the central character, but as both a partner and later as a foil Ken has a lot of screentime and maybe even feels like he has more than you’d think given that Gosling is a hell of a scene stealer in the movie, almost to the point where it seems ideologically at odds with the movie’s message. Of course this isn’t Gosling’s fault as this is one of the most successful comedic performances in years and it’s coming from a slightly unexpected source given that Gosling mostly works in drama.
Charles Melton – May December: In May December Charles Melton plays a character who thinks he’s fine but who really isn’t. That is a tricky balance in a lot of ways and Melton, an actor who was largely unknown to me before this, manages to walk that quite effectively. Playing a character who seems relatively normal and well-adjusted at first, it becomes clear over the course of the film that the man he’s playing was actually rather emotionally stunted by his grooming at a young age and acts as something of a living embodiment of why such conduct can be damaging to victims.
Robert Downey Jr. – Oppenheimer: Robert Downey Jr. is a guy who’s spent much of his career playing lovable ego-maniacs so it was perhaps a canny move to cast him here as a very unlovable ego-maniac who makes very destructive and petty decisions over perceived personal grievances. There’s an arc to the performance as Lewis Strauss seems relatively reasonable at first but over time his more malevolent side shows, especially after something of a mask-off moment at roughly the two thirds point of the movie. It’s a really smart bit of casting which marks a much needed return from FranchiseLand by one of our great movie stars.
John Magaro – Past Lives: Sometimes the hardest roles to play are the laid back ones. For his work on Past Lives John Magaro isn’t adopting an accent or caking himself in makeup or anything. Instead what’s special about it lies in the subtleties. In the movie Magaro is playing a guy whose wife is going through this situation that could be interpreted as a love triangle of sorts and he needs to react to this maturely while also betraying a lot of discomfort and insecurity around all of this beneath the surface while also conveying his love for her, but in a very restrained and domestic kind of way.
Mark Ruffalo – Poor Things: I generally associate Mark Ruffalo with playing characters who embody a certain quiet and humble decency, so it was fun to see him going against type to play an openly rakish lawyer who acts as a suitor to Bella for much of the first half of Poor Things. As Duncan Wedderburn Ruffalo is essenatially playing a broadly comic archetype as is very funny in doing so, but he also portrays the character’s immense patriarchal frustration when Bella starts to defy him and the way that this eventually kind of drives him mad, but he does this in a ways that emphasizes everything that’s pathetic about this character without giving credence to the notion that he actually has legitimate grievances, which he mostly doesn’t. And the Golden Stake goes to…BarbieThis category proved to be quite the “Barbenheimer” duel this year with Downey Jr. putting up quite a fight, but I decided firstly that comedic performances deserve to be taken seriously and also that in the grand scheme of things Gosling is the one who’s stretching more here. Gosling has made something of a career out of playing people who feel out of place in this world, which usually takes the form of these profoundly introverted performances whether he’s playing a robot or a sociopath or an astronaut or a Jazz aficionado but here he pulls off the same trick but in this profoundly extroverted way and manages to make Ken act as a villain while also being kind of sympathetic in his lame patheticness. Comedic performances like this can be easy to take for granted and Gosling is simply too much of a joy to watch here to overlook.
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PG Cooper
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Post by PG Cooper on Feb 17, 2024 7:47:43 GMT -5
Oof. Good winner but my heart breaks for the snub.
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IanTheCool
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Post by IanTheCool on Feb 17, 2024 8:11:44 GMT -5
That was unexpected. I like it though.
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donny
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Post by donny on Feb 17, 2024 9:01:33 GMT -5
Hmm
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PhantomKnight
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Post by PhantomKnight on Feb 17, 2024 12:18:06 GMT -5
Whoa...
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thebtskink
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Post by thebtskink on Feb 17, 2024 22:13:39 GMT -5
Let the Dracula hates comedy stigma end here. |
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Neverending
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Post by Neverending on Feb 18, 2024 0:47:59 GMT -5
Let the Dracula hates comedy stigma end here. Dracula hates comedy. He’s just gay for Ryan Gosling. |
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Dracula
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Post by Dracula on Feb 18, 2024 7:38:50 GMT -5
Best ActressAnd here we come to the big Best Actress award which was really tough this year as there were a whole lot of different options each one coming from different directions. I had to make some pretty tough cuts for this and I’m glad I was able to come up with a roster that’s a little different from what some other bodies have come up with. Carey Mulligan – Maestro: Much as Ginger Rogers famously had to do everything Fred Astaire did but backwards and in heels, Carey Mulligan is doing almost everything that Bradley Cooper had to do in Maestro. In fact she’s kind of doing more given that she has to adopt a fairly strange hybrid accent and also needs to portray her character’s deeply conflicted feelings about her husband’s philandering and also needs to depict the character’s deterioration during her last days dying of cancer. It’s all pretty impressive stuff and she also didn’t need nearly as much makeup to pull it off.
Sakura Andō – Monster: Like most things about this movie, Andō’s work in Monster has gone a bit unsung over the course of award season, which is probably a mistake because she’s a memorable part of the movie. In Monster Andō plays a mother who is trying to get to the bottom of what’s been happening to her son at school and comes across a truly crazymaking wall of silence from both the staff of the school and the son himself and you see her desperation ramp up over the course of the film in a really visceral and compelling way. Greta Lee – Past Lives: Prior to Past Lives I mostly knew Greta Lee from her supporting role on the AppleTV+ series “The Morning Show,” where she plays this confident network executive type, so seeing her here playing this rather down to earth and ordinary person was a bit of a trip. In the film Lee plays a pretty nuanced character; sweet and intelligent, but a touch cocky and somewhat indecisive. Over the course of the film she needs to subtly portray her rather mixed emotions about the whole situation she’s in and her acting during that last scene is particularly strong.
Emma Stone – Poor Things: I can’t say that I would have intuitively assumed Emma Stone would be the natural choice to be a frequent collaborator with Yorgos Lanthimos but for whatever reason the two bring out the best in one another. In Poor Things Stone needs to play something that I’m not sure anyone’s played before: a woman who’s had an infant’s brain implanted into them like the daughter of Frankenstein. Early in the film this character barely has motor skills and speaks in an odd cadence, which Stone makes extremely fun, but as the film goes on the character gains more and more control in ways that Stone makes feel natural and earned.
Leonie Benesch – The Teachers’ Lounge: The star of The Teachers’ Lounge, German actress Leonie Benesch firstly hits the baseline requirement of the role: she makes you strongly believe that this is a very good teacher who cares about her students and has that exact tenor that you expect from teachers who really want to meet students on their level. Then when everything starts falling apart you really feel her palpable frustration with the whole situation and Benesch also makes you really understand a lot of the character’s less rational decisions in trying to put the toothpaste that is this situation back in the bottle. And the Golden Stake goes to…Poor ThingsYou know, sometimes victory in these sorts of context comes down with just having been given the role that tees you up for success. If handled right the role of Bella allows for maximal ability to show off and Emma Stone is more than happy to take that pitch down the middle and turn it into a home run. That’s not to say that anyone could have done what Stone did with this part and the very fact that Stone, huge mainstream celebrity, was willing to take a part like this reveals a lot of boldness on her part. It’s really telling that in a movie like this, with all sorts of crazy flights of fancy and directorial flourishes it’s this performance that still stands out the most.
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IanTheCool
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Post by IanTheCool on Feb 18, 2024 8:11:01 GMT -5
Expect Michelle Obama to start posting about how tragic it is that Margot Robbie wasn't nominated for a Golden Stake.
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PG Cooper
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Post by PG Cooper on Feb 18, 2024 8:39:53 GMT -5
Most films i haven't seen in a category with Monster and The Teacher's Lounge so I suppose I can't really complain about a Portman snub.
Probably still the right winner though.
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PhantomKnight
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Post by PhantomKnight on Feb 18, 2024 11:44:32 GMT -5
Much as I didn't like Poor Things...yeah, Emma Stone was great.
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Dracula
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Post by Dracula on Feb 19, 2024 10:01:34 GMT -5
Best ActorGonna say, I’m a little disappointed by this category this year. Usually Best Actor is packed with some of the strongest work of the year but in 2023 I feel like there were a lot more fireworks among the ladies and among the supporting actors. Get it together dudes! Jason Schwartzman – Asteroid City: Between his work in Spider-Man: Across the Spider-Verse, the Hunger Games prequel, and this movie Jason Schwartzman has had a pretty successful year. However, those other two roles were pretty firmly in the “Schwartzman doing his thing” realm and to some extent so does Asteroid City but I think he really stretches in this one and needs to hit some emotional places that he often hasn’t but does it within the restrained tears inherent to a Wes Anderson movie. Schwartzman has been in Wes Anderson’s world since he was a teenager and seems to know how to impress within that framework more than anyone.
Joaquin Phoenix – Beau is Afraid: In his late forties pushing into his fifties Joaquin Phoenix is in some ways more popular than ever and yet he’s also rather notably willing to make himself look completely ridiculous and pathetic on film. Case in point: Beau is Afraid, a movie in which he plays this aged neurotic who goes on a lengthy odyssey into his own disturbed mind. There’s a real physicality to the performance with Phoenix having to run all over the place but there’s also a strong emphasis on the character’s physical and mental weakness and just generally strange affectations.
Paul Giamatti – The Holdovers: Paul Giamatti is in many ways the king of the sad sacks so it’s only natural that he’s become a key partner with Alexander Payne at key points in both men’s careers and with their latest collaboration they may have come close to topping themselves. Playing a prickly teacher at a private prep school in the 70s, Giamatti initially comes off as a pretty standard archetype but over the course of the movie we get additional layers to the guy and Giamatti proves to have more to do here than you initially though and really makes this guy feel human.
Bradley Cooper – Maestro: Bradley Cooper has emerged as something of a “villain” this award season in the minds of some, largely because he seems to be pulling out a lot of the usual “Oscar Bait” tricks in bringing this movie to the screen. Well, sorry, I’m not going to punish someone for trying hard. Cooper does a lot of impressive stuff here from his excellent use of a mid-Atlantic accent, his convincing aging performance, and also his ability to portray how his character can be both a loving husband and also a perpetually horny philanderer.
Cillian Murphy – Oppenheimer: With Oppenheimer Cillian Murphy is certainly delivering a “biopic performance” but you don’t get the impression that he’s completely leaning on imitation in bringing his performance to the screen, in part because J. Robert Oppenheimer isn’t necessarily someone whose image and likeness is implanted on the public imagination in the way that a president or musician might. Instead the focus here is on the scientist’s neurotic tendencies in the first half and on the way he’s haunted by his actions in the second half along with the stress of his persecution during the security clearance affair. Throughout Murphy has this thousand yard stare in his eyes that really sticks with you. And the Golden Stake goes to…OppenheimerThough he’s not quite as omnipresent in Christopher Nolan’s career as Michael Caine, Cillian Murphy has shown up in five other Nolan movies in various small but important parts and the partnership finally paid off for him in a big way with Oppenheimer, which may well be the greatest showcase the actor has ever received. The character is really put through a pretty wide variety of emotions over the course of the film and Murphy finds ways to put him through them while still kind of maintaining the slightly icy demeanor that Oppenheimer was known for.
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PhantomKnight
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Post by PhantomKnight on Feb 19, 2024 10:25:43 GMT -5
Yeah, it's a tremendous performance. I think he'll get the Oscar, but fresh off a Holdovers re-watch last night, I won't be upset if Giamatti gets it.
Also, happy to see Joaquin recognized here.
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frankyt
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Post by frankyt on Feb 19, 2024 10:52:19 GMT -5
An not even a nod for Gladstone. Bold call but prob the right one.
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Post by PG Cooper on Feb 19, 2024 14:02:22 GMT -5
Was really hoping to see Zac Efron get a nod here. Definitely the right winner though.
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Dracula
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Post by Dracula on Feb 19, 2024 14:23:54 GMT -5
Was really hoping to see Zac Efron get a nod here. Definitely the right winner though. That felt more like an example of smart casting than of exceptional individual performance to me, but he was certainly in the running. |
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