One Category at a Time: Best Supporting Actress

With all the major precursors and most regional critics groups lining up behind a single performance, this year's Best Supporting Actress Oscar seems to be pretty open-and-shut. But up to a point this season, that wasn't the case.

SAG shines light on some unexpected outliers

As the critics groups mostly fall in line with the same, repetitive choices this time of year, it's always a brief treat to see what the Screen Actors Guild nominating committee can come up with to surprise us.

The major talking points with this year's crop are the unexpected inclusions in the Supporting categories of Nicole Kidman in the critically polarizing The Paperboy and Javier Bardem for his charismatic Bond villain in Skyfall. Both Best Supporting Actress and Best Supporting Actor have had lots of wiggle room (at least more than the Lead categories which are beginning to solidify), and either of these nominations could have an influence on Academy balloting which begins in just one week.

The crowded Lead categories are naturally more noteworthy for the performances that were excluded than the ones they let in. Best Actor has seemed like a six-way race for some time now between Day-Lewis, Cooper, Jackman, Washington, Hawkes, and Phoenix all vying for five slots. It was Phoenix who suffered the unavoidable SAG snub, a victim of his film's challenging nature. I've been wondering if his undeniable performance is in fact deniable after all, but up against leading men in five more universally liked movies could be the kiss of death. For the leading ladies, it was Emmanuelle Riva who got left off the ballot, but Marion Cotillard got in. Let's not kid ourselves: two Lead Actress nominees for foreign films at the Oscars was always going to be a long shot, and with Cotillard more of a household name stateside than Riva, this could be the slate we see on Oscar night (although I'll be rooting for Quevanzhane Wallis, who was ineligible with SAG, to be nominated).

The Ensemble category filled out with all the usual Best Picture contenders, though some might be surprised by The Best Exotic Marigold Hotel. I'm not. If ever there was a film that could play to old Academy types, this is it. All nominees with brief thoughts after the cut.

One Category at a Time: Actress

There have been whisperings that Annette Bening is lurking as a serious spoiler threat in this category, pushing the publicity wagon hard as she can in the final weeks before ballots are due. And there's certainly a valid case you can make for her upsetting the frontrunner: she's a beloved actress who's put in years of hard work to create a diverse and respected filmography, she's due for a win, and her performance in The Kids Are All Right is a sincere one. However, if she was going to turn the corner, it had to be at this past Sunday's BAFTAs, and of course that didn't go her way.

So, having nailed down the Critics' Choice, Golden Globe, SAG, and BAFTA, it would still be foolish to predict anyone but Natalie Portman taking the Oscar. You'll be hearing no complaints from me. It's a helluva performance that showcases such a wide range from the actress, and she still manages to keep it under control, which is remarkable given how out of control her character is. Even though Black Swan isn't really the Academy's cuppa tea, they surely won't mind awarding it this one prize. After last year's mini-travesty, looks like this category is gonna be right back on track with a quality winner.

But of course, that would still be the case even if Portman somehow loses, because every nominee is all aces. It's simply impossible for them to pick a bad winner from this bunch. Jennifer Lawrence owned Winter's Bone from start to finish with her no-bullshit stoicism, Michelle Williams spun a heartbreaking tandem with Ryan Gosling in Blue Valentine, and Nicole Kidman's brilliant turn in Rabbit Hole is one of the most emotionally flavourful she's ever given.

I know how corny this sounds, but seriously, they're all winners.

Will win: Natalie Portman, Black Swan
Runner-up: Annette Bening, The Kids Are All Right

Should win: Natalie Portman, Black Swan
Should have been nominated: Katie Jarvis, Fish Tank

My Award nominations: Actress

What an outstanding year it's been for Best Actress. It killed me to leave some of the contenders off. Here's who made it:

KATIE JARVIS in Fish Tank:
Jarvis gives a searing portrayal of youthful anger, repression, longing, disillusionment, and self-liberation with furiously commanding yet completely authentic flare. She perfectly embodies what it means to feel trapped inside one's own life, and the pain that's involved in mustering up the willpower to simply leave it all in your rear view.

NICOLE KIDMAN in Rabbit Hole:
Kidman gives one of her finest performances to date as a grieving mother struggling to cope healthily with the death of her son. Her caustic wit serves as a defense mechanism from comforters, but we can see how desperately she needs comfort as her maternal urges begin to override her stubborn sensibilities.

CAREY MULLIGAN in Never Let Me Go:
Mulligan's performance is a devastating blend of unrequited love and graceful maturity. She is a moving centre for a film that is unfortunately not all that moving. She aptly communicates a girlish fear and shyness that evolves into gracious but heartbreaking resignation, all of it underlined with a quiet but immeasurably deep compassion.

NATALIE PORTMAN in Black Swan:
Portman's transformation from 'sweet girl' Nina Sayers into the confident but vicious Black Swan is one of the best descents into madness put on film. Another impressive feat is her dancing; That she is able to exude character and arc on the stage while maintaining complete discipline of technique is astonishing.

MICHELLE WILLIAMS in Blue Valentine:
Every bit as raw and unfiltered as her costar Ryan Gosling, Williams finds genuine pain, joy, love, and heartbreak somewhere inside of her and brings it out onto the screen. Not unlike her outstanding work in Wendy and Lucy (2007), the performance feels lived-in and uninhibited.


Just missed: Annette Bening in The Kids Are All Right, Jennifer Lawrence in Winter's Bone, Julianne Moore in The Kids Are All Right, Hailee Steinfeld in True Grit, Emma Stone in Easy A.

Best of the Decade #1: Moulin Rouge! (2001)

No film this decade embodies the passion, excitement, innovation, power, and sheer magic of cinema quite like Moulin Rouge!, Baz Luhrmann's spectacular spectacular reinvention of the movie musical for the 21st century. It is an unparalleled triumph. Taking a simple premise of star-crossed lovers and a seemingly random collection of pop music hits (featuring everything from the "Can-Can" to "Like A Virgin"), Luhrmann gives us a work so original and unforgettable, to compare it with any other film would completely defeat its purpose. This is a movie to treasure and experience for the pure joy, sensuality, and romance with which it drips. Not to mention that incredible eclectic score! This is why we go to the movies.

Where other films would buckle under the weight of such stylistic excess, Moulin Rouge! thrives off of it. The sets and costumes are more dazzling than you could even conceive in your imagination, so vibrant and colourful that they can survive Luhrmann's quick-moving camera and wild editing and come out just as sparkly on the other side. Even more importantly than the visual design, it's the performances that really light up the screen. Nicole Kidman is sassy yet heartbreaking, the tragedy of her character cracking through her sexy exterior more and more as death slowly overcomes her. As her fresh-faced and idealistic lover, Ewan McGregor bursts forth with an enthusiasm that, had it not been as overacted as it was, could have sabotaged the whole project. But McGregor knows the exuberance his part calls for, and he and Kidman play beautifully off each other, making their fairytale love seem real and believable in an unbelievable film. The supporting cast members are all aces, with special mention to Jim Broadbent as the gargantuan showman Harold Ziegler.

To claim the decade's best film is perfect would be false, but its imperfections are its charms, its eccentricities are why we love it. We love it for its frenetic humour, its energy, its ingenious use of music, its utter beauty, but most of all, for its tear-jerking and indelible love story, the least gimmicky and most beautiful thing any film could boast.

A Masterpiece.

Here's my favourite scene not only from Moulin Rouge!, but from any movie of the decade:

Thus concludes my year-long countdown of what I considered the best movies from 2000-2009. I'll officially wrap things up on New Year's with a specialawards ballot indicating the decade's greatest achievements in all the usual categories (I'm just geeky that way).