Sunday, August 03, 2014

The Fifties 2014: Actor, Actress, Director, Picture



Macon Blair, Blue Ruin: Communicates the everyman quality of the character without condescending to him. Never turns into a killing machine.

Jim Broadbent, Le Week-end: Just as he was nearing Maggie Smith levels of typecasting, he plays someone angrier, sadder, hornier, more fun.

Pierre Deladonchamps, Stranger by the Lake: Not a wallflower or an idiot but shows us the character's nerves and his unreliable conscience.

Ralph Fiennes, The Grand Budapest Hotel: Distinctive enough he isn't just doing "a Wes Anderson character," and he's dapper, funny, and sad.

Sergio Hernández, Gloria: We sense his desire for Gloria and the certainty that he will disappoint her. You resent him but still sympathize.

Runners Up: Tom Cruise, Edge of Tomorrow; Jake Gyllenhaal, Enemy; Archie Alemania, Norte, the End of History
On the Radar: Tom Hiddleston, Only Lovers Left Alive

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Friday, August 01, 2014

The Fifties 2014: Supporting Actress, Cinematography, Original Screenplay, Art Direction



Patricia Arquette, Boyhood: Because shouldering an entire alternate perspective isn't easy, and she sells her big moments.

Jillian Bell, 22 Jump Street: For going all Rebel Wilson on this shit, stealing the entire movie, and probably booking herself about six further gigs.

Emily Blunt, Edge of Tomorrow: For handling the tricky balance of both subject and object at once. Parcels herself out incredibly smartly.

Gaby Hoffmann, Obvious Child: For continuing the Hoffmannassaince with a whole bunch of new colors and a quiet confidence of someone who can steal scenes without really trying to steal scenes.

Tilda Swinton, Snowpiercer: For getting on a tricky wavelength and going for it, like she always does, and succeeding, like she pretty much always does. And some spillover goodwill for Only Lovers Left Alive, sure, yes.

Runners Up: Krysten Ritter, Veronica Mars; Mia Wasikowska, Only Lovers Left Alive; Melanie Lynskey, Happy Christmas; Kathy Bates, Tammy

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