My Award Nominations: Supporting Actress

What a year for actresses in all roles, big or small. Even if you pulled Viola out and put her in an already crowded Best Actress race, you'd still have more than enough options to flesh out Best Supporting Actress. These are the five ladies I settled on, after much deliberation:

January is for Oscar Movies

Gonna be tough to keep up with the storm of guild announcements, televised awards shows, personal year-in-review posts and late-breaking Oscar players over the next two months. I'll just have to figure out a way.

For those last minute stragglers, I won't have the luxury of exercising my full review muscles (consider my La La Land piece a holiday indulgence), but I'll deposit my abbreviated thoughts here throughout the month.

My first screening of the new year was Denzel Washington's realization of the long dormant Fences adaptation, scripted by its original playwright August Wilson some time before his 2005 death. The screenplay itself doesn't take much advantage of the opportunity for other forms of exposition besides dialogue, but Washington's direction is sturdy, unobtrusive, and has a more cinematic eye.

Review - The Boxtrolls

Laika – the Portland-based studio that specializes in a unique hybridization of stop-motion and computer animation – manages to draw ever-growing mountains of praise with every new feature they release, and not without good reason. Though geared primarily towards children, they never coddle their young audience, choosing stories that aren't afraid of being a little scary, a little dark, and even a little morbid. It's also impossible not to marvel at the studio's meticulous hand-made process, which has even become the lynchpin of their marketing identity.

But it begs the question: Even though the stories they tell are great, and the techniques they employ are great, is Laika churning out movies that are great? I'm not so sure they are. Of the three entries in their modest portfolio to date, 2009's Coraline is probably the closest thing to a complete film. Their follow-up, 2012's ParaNorman, exhibited exciting artistic growth but flagged in the story department. And now their latest, The Boxtrolls (directed by Graham Annable and Anthony Stacchi), might be their most technically evolved, but overall weakest film yet.

My Awards nominations: Supporting Actress

Not the strongest year, in my opinion. These Supporting Actress performances are good, but none of them truly stands out to me as an obvious winner. I'm actually interested to find out which one I'll decide upon!

JESSICA CHASTAIN in The Help:

I could just as easily slotted her down for her graceful work on The Tree of Life, but she had more to chew on here; her character bubbles with infectious eccentricity to suppress her messy and complicated feelings of grief and shame.

ELLE FANNING in Super 8:

For being in a second-rate monster movie, she is surprisingly memorable. Her puppy love affair with Joe ratchets up the cute factor, and her rehearsal scene for the movie-within-a-movie seems to be the unanimous highlight of the film.

BRYCE DALLAS HOWARD in The Help:

She takes up the thankless task of playing the waspish queen bee of Jackson's privileged elite, an easy-to-hate but tricky-to-perform character in whom can be detected a frighteningly human element. Her final scene = perfection.

MELANIE LAURENT in Beginners:

Laurent is softly radiant as the love interest in this melancholy romance. You can't help but smile at her light comic touch, nor can you help but sigh at the fragility of her tender heart. Exquisitely supports the tone of the film.

CAREY MULLIGAN in Shame:

Mulligan shows us her range with a spikier, worldlier character than the naïve nymph that first brought her to our attention in An Education. She exceptionally plays the clingy, complex relationship with her sex-addicted brother.

Just missed:
Jessica Chastain in The Tree of Life, Evan Rachel Wood The Ides of March,
Shailene Woodley in The Descendants, Cate Blanchett in Hanna,
Vanessa Redgrave in Coriolanus

Review - Super 8

Art imitates art in Super 8, J.J. Abrams love letter to Steven Spielberg, but just like a carbon copy of a piece of paper, the imitation is of noticeably lower quality.

Joe Lamb, played with sincere effort by newcomer Joel Courtney, is mourning the tragic loss of his mother at picture's beginning, immediately establishing him as the sort of emotionally malnourished central character we often saw portrayed in Spielberg's vintage works. He spends his summer days helping a group a friends make an amateur zombie movie. The band of bike-riding filmmakers include a bossy director, an easily nauseated leading man, a pyromaniacal effects artist, and a new leading lady (the wonderful Elle Fanning) whose puppy love affair with sympathetic Joe ratchets the cute factor up to eleven. While filming a key scene by the railroad station, they witness the train wreck (so spectacular it screams “Hollywood fakery”) that unleashes a mysteriously threatening creature upon their unsuspecting middle American burg. It isn't long before Joe's father, the local deputy (Kyle Chandler), begins to catch wind of strange goings-on from paranoid townsfolk.