Skandie runners-up — supporting females
Rachel Weisz, BROTHERS BLOOM — Disappointed that this film foundered at the box office, as I thought it really showed another side to Weisz’s talents — a heedlessly entitled screwball-comedy heroine like Katharine Hepburn whose both thoroughly charming and thoroughly off-putting.
Jennifer Lawrence, THE BURNING PLAIN — I remembered being impressed by her performance in one of Arriaga’s two stories at the Toronto Film Festival, but I haven’t seen the film since and it’s all just too indistinct in my head to avoid the “shuck that one away” temptation.
Beth Grant, EXTRACT — Gossipy old ladies on the assembly line are always funny. Particularly when the competition they have in their own films is Ben Affleck fumbling away the easiest character in the book — the bartender/best-buddy/shit-stirrer role
Tilda Swinton, THE LIMITS OF CONTROL — OK, sue me for not having seen Tilda’s other performance this year. Who goes to see weird subtitled movies by frog “auteurs.” In a perverse way, though Jarmusch’s repetition of the “people with info” scene makes for tedious drama, it does enable you to determine the best actor among the “people with info.”
Cloris Leachman, NEW YORK, I LOVE YOU — Unlike with Eli Wallach, I did recognize her. But the effect was the opposite — I had affection for her and the memories of all she has done on film. As if she’s an old family member whom we need to take care of, despite her mouth. In other words, an old Cloris Leachman.
Monique, PRECIOUS — I have to join the chorus somewhere. ya know. I was already primed both to hate her character and be annoyed by an over-the-top evil performance, but … well, I wasn’t. However, there is another PRECIOUS actress that nobody is mentioning that will appear later and underline a clear difference in acting philosophy.
Irina Potapenko, REVANCHE — It’s very hard to play shrewder-but-inferior in the relationship successfully. You might actually be hurt by performing in a language (German) other than your audience’s (me only talks English good), thus lacking the linguistic cues. But if it ain’t your language, it makes sense that she’d follow his cockamamie schemes.
Miriam Makeba, SOUL POWER — Yeah, no joke. I seriously did consider her, only deciding against it at the end because she only has a few moments. But … I remember those moments vividly as shaping a person I had very little previous knowledge of, unlike James Brown. She got bumped or dissed the first night but when her time on stage came, she left it behind and wowed everybody with her infectious joy — a joy she has to feel while we know she doesn’t. (My notes from the time said people applauded in the Toronto theater.) All the while telling people, with the biggest smile in the world, how “The Click Song” is not a novelty, as they were consuming it.
Juliette Binoche, SUMMER HOURS — Maybe it’s time to just acknowledge that she’s always awesome in everything. But here, she plays a San Francisco bobo without resorting to the easy cliche. You can see Natalie Portman in this role in the American remake … and you can be quietly grateful that it’s someone this calm, with this much range.
Vera Farmiga, UP IN THE AIR — Yeah, her character is somewhat of an easy sex fantasy (as if Clooney isn’t). Highlight to see vague SPOLIER: But two words — Red. Herring. (And she’s as good on both sides of it.)
Anna Kendrick, UP IN THE AIR — Seeing her in this role about 3-4 years after she played a high-school debater was so perfect. It’s the same mixture of start-from-zero rationalism and young cocksureness. It’s not exactly arrogance, but a belief that one’s plan is rational and that’s all there is to it. Also nails the awkwardness of firing someone when you’re not used to it. Already regretting dropping her.
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