In Praise of Maggie Cheung #2

The following is an ongoing exploration of the prolific work of actress Maggie Cheung

In the Mood For Love (2000), directed by Wong Kar Wai

Probably the pinnacle of Maggie's western attention came in her fourth collaboration with filmmaker Wong Kar Wai in the elegiac, heartbreaking "In the Mood For Love". Widely hailed as a masterpiece, Cheung's performance is all body language, eye gestures, unrequited glances and slow soft finger movements to her mouth as she puffs on a cigarette. It's an extremely seductive performance.

Set in 1960's Hong Kong, Cheung plays neighbor to Tony Leung, newly arrived at the tenement, and the two immediately form a sexual attraction, but decide not to pursue carnal lust since they're both married and their social structures (plus the confines of stifling moral code of the time) won't condone such a relationship. Filmed in dreamy slow-motion, which only heightens the beauty of both Cheung and Leung, "In the Mood For Love" is a two hour tease, revealing that its often much more powerful to portray repression than all-out passion. For fans of Cheung- or cinema itself, this is required viewing.

Full Moon In New York (1991), directed by Stanley Kwan

Made just before Kwan's masterpieces of the 90's, "Center Stage" and "Red Rose, White Rose", "Full Moon In New York" feels like the blander companion piece to "Farewell, China"... as if the woman Maggie Cheung embodied in that film actually settled herself and carved out a respectable (and sane) lifestyle in the carnivorous city. The story here involves three women, including Sylvia Chang and I-Chen Ko, who become friends and bond while they deal with a series of problems ranging from an unhappy marriage to the pitfalls of couch-crashing in between acting gigs.

Cheung has the juiciest role, though, as Lee, a lesbian flailing against her inner voices and falling for a real estate buyer in the meantime. Although "Full Moon In New York" repudiates any explicit actions of homosexuality (instead lingering on a sole knee grab and an emotionally charged confrontation when her lover walks in on her kissing a man), Cheung does just enough to almost make one wish the entire film had focused on her instead of the marginally involving issues of the others. Sadly, "Full Moon in New York" didn't quite live up to my expectations- based on the few Kwan I've seen- yet it should be good for Cheung completists.

 

A Fishy Story (1989), directed by Anthony Chan

 

 

Suspect title aside (probably from a broken translation or blurb I'm not familiar with), "A Fishy Story" stars Cheung and Kenny Bee as neighbors who struggle together during the 1960's. She wants to be a movie star and he simply wants to outlast the local riots and get back to earning money driving a cab. The film starts off unsure of itself, but, as it works towards its slightly cliched but tenderly rendered finale, it builds momentum. Cheung, resplendent in all hues of orange, gold and blue lighting, is again wonderful. Plus, its use of The Platters' "Smoke Gets In Your Eyes" predates its use in Hou Hsiao Hsien's tales by a few years and imparts the same woozy, atmospheric tone.

In Praise of Maggie Cheung #1

 Part of an ongoing series exploring the prolific, long-standing work of actress Maggie Cheung

 Clean (2004), directed by Olivier Assayas

My initial thoughts on "Clean" back in 2006, in which it placed number 5 on my best films of the year list:

"The most criminally under appreciated film on this list, French auteur Olivier Assayas strikes subtle gold again as he charts the day-to-day survival of the gloriously pretty Maggie Cheung, fresh out of rehab after the drug overdose of her rock star husband. The film’s main conceit is the unobtrusive manner in which the camera hovers on Cheung’s shoulder as she struggles to reconnect with her son, now in the possession of his grandfather (played with tender precision by Nick Nolte, an Oscar worthy performance). Assayas works best in casual modes, and the beauty of “Clean” lies in the unpredictable narrative turns between Nolte and Cheung. Plus, no director films “hanging out” quite as easily as Assayas does."

Still holds true today, not only as one of Assayas' most overlooked great films (or perhaps that honor goes to "Boarding Gate"?), but for Cheung's effortless performance. Shaggy hair, decked out in a punk rock aesthetic (which probably wasn't too far removed from her own personal stylization of the time) and imbuing every movement with a dreary, labored swagger bemoaning the burned-out rehab mood her character struggled with, "Clean" is a heavy film made all the more desperate by Cheung's role. See it now.

Farewell China  (1990), directed by Clara Law

For her 1990's representation this time, "Farewell China" remains one of her more underrated (yet unavailable) efforts. Directed by Clara Law and winning several awards (including a jury prize at the Torino Film Festival for Cheung), the film is a bitter take on the Chinese immigrant experience in America. It's only after the first ten minutes that Cheung leaves her husband (Tony Leung) and departs to New York after finally acquiring a visa. Through her initially prolific letters, she becomes more distant from him and their young baby, eventually and curtly asking for a divorce. Unable to reconcile her reasoning, Leung departs for America himself to find his wife.

Not without her grandstanding moments, Cheung is a marginal character in "Farewell China"- the wife of Leung who sets him upon his Orpheus adventure into the underworld known as late 1980's New York City... a city whose anarchic tensions are bubbling through the seams like an Abel Ferrara picture. Roving Harlem gangs, scrappy 15 year old prostitutes (Hayley Man), homeless men who randomly steal shoes and a nighttime punk rock street party that borders on the openings to Hell are just some of the hurdles facing Leung as he spends several months looking for his wife. It's all carried out in histrionic fashion, but not without its subtle feelings between Leung and Cheung (a pairing that would mutate over time especially in the works of Wong Kar Wai) especially in the moment when they finally come face to face again. But, like a majority of the immigrant stories to America, they find "home" is usually far better than their new home, and in "Farewell China", the denouement is specifically angry and pointed. Not only has the city itself gone mad, but Law inverts the damage psychologically and Cheung/Leung become the unwitting victims to its mercilessness. 

Moon Sun and Stars (1988), directed by Michael Mak

Of the three films discussed here, "Moon Sun and Stars" is most likely the least seen Cheung effort. Yet, even though its not a very strong film, it's elevated by Cheung's performance.... which is typically one of the highest compliments an actor can be given. The fact that Cheung holds her own- and even carves out small pockets of real empathy and depth- in a sub standard comedy/drama about three "service girls" fighting to keep their heads above water during their various trials and tribulations speaks to the credibility of her on screen persona. While the young, beautiful women in "Moon Sun and Stars" endure every type of voracious hardships in the guise of abuse, rape and general dismissal by men even when the promise of true happiness is dangled in front of them, its the simple reaction of Maggie's crestfallen girl when her suitor backs out of a promise that resonates. The overall film may trade unevenly in wild emotions, poor translation and straight up soap opera dramatics, but its Cheung that provides the lifeline for reality otherwise.

Performances of the Year.... So Far (the guys)

As compared to the ladies so far this year, I have to admit its been lackluster for the guys. Still, here are five performances that caught my eye. This list excepts my favorite performance of the year (and hopeful Oscar winner) Michael Keaton in "Birdman".


Bill Hader in "The Skeleton Twins"

As a suicidal homosexual going home to reunite with his sister (an equally good Kristen Wiig), Hader avoids the pratfalls of indie quirkiness and creates a full bodied, conflicted presence. We all knew Hader could make us laugh, but who knew he had this performance in him?

 

 

JK Simmons in "Whiplash"

JK Simmons has long been one of my very favorite "character" actors and in "Whiplash", he finally gets the opportunity to take a bit of the center stage as a misogynistic, brutally honest and downright ferocious jazz music teacher who pushes one student a bit too far. It's a showy performance, yes, but one that Simmons inflects with every inch of his muscular arms and shaven head.

 

 

Benecio Del Toro in "Jimmy P."

It's encouraging to see Arnaud Desplechin's early year release "Jimmy P; Psychotherapy of a Plains Indian" popping up on a few best of lists. It's a wonderful little film, populated by a series of one-two discussions between Del Toro and doctor Matthieu Almaric. Del Toro gives a quiet, focused performance of a man struggling with PTSD before anyone really knew what it was, enhanced by his nondescript status as an American Indian. The final scene between Del Toro and his daughter is a knockout of internal acting and just shows how great Del Toro has been for so many years now.

 

 



 Mark Ruffalo in "Foxcatcher"

In a film where anyone of the three main performances could be cited as terrific, it's Ruffalo who resonated most profoundly with me. Another highly internal performance (seeing the common denominator with this list), Ruffalo acts with his eyes, body language and almost hushed sense of presence as the older brother to Channing Tatum. "Foxcatcher" builds to a violent finale, and its Ruffalo who made me care the most in this triangle of misplaced patriotism, jealousy and decaying sense of self importance.

 

 

Billy Bob Thornton in "The Judge"

All hail the return of Billy Bob! It feels like Thornton has been missing for so long on the silver screen, although IMDB shows he's just been pretty busy on the small screen (and "Fargo" the tv series feels like something major I've been missing). His role as the prosecuting attorney in "The Judge" is a small one, bookended by a peculiar water flask and deliberate tone of non empathy. Yet, anytime he was on-screen, the film felt infinitely more imprtant.

 

 

 

 

 

 

 

 

 



Performances of the Year...So Far (the women)

With a month or so to go, I know they'll still be one or two performances that knock me over. Yet, for the sake of numerous other year end lists, here are a few roles from the ladies that really shook me up this year. In no order:

Tatiana Pauhofova in "Burning Bush"

 

As the lawyer fighting against the dynamics of a Communist regime in late 60's Poland, Pauhofova exerts so much with her eyes and guarded body language. The story of Agnieszka Holland's "Burning Bush" is powerful enough, but Pauhofova adds a steely justice fighter to the mix.

 

 

Jessica Chastain in "Interstellar"

 

 

 

Christopher Nolan's ambitious but heartfelt epic (one of my very very faves of the year) can make one's head spin with its loopy science and bouncing time lines, but its the performances of all involved that transcend the large-scale ideas. Jessica Chastain- also getting huge buzz for two other films this year, the still largely unseen "A Most Violent Year" and "Miss Julie"- nails her role as the daughter of Matthew McConaughey struggling to put together the pieces on Earth. Her first confessional scene to daddy in space breaks me apart every time... and I saw the film three times in one week, each time knowing what was coming and still succumbing to her pain.

 

 

Ah-sung Ko in "Snowpiercer"

 

In a largely wordless performance, Ah-sung Ko is my fanboy pick of the year for kickass chick. Regardless of the more athletic nature of her role, something clicked with me. Her large, expressive eyes and her ability to telegraph emotion through body language was a revelation.

 

 

Chloe-Grace Moretz in "Laggies"

 

 

Despite taking a back seat to the precocious relationship between Sam Rockwell and Keira Knightley, Moretz shined as the daughter caught between the adults' arrested development. Still able to hone the uncomfortable silences of a teenager (such as the great scene when she finally visits her estranged mom) while balancing the believable poise of a girl approaching womanhood, Moretz saves "Laggies" from being a colossal bore.

 

 

Felicity Jones in "The Theory of Everything"

 

 

Felicity Jones has been garnering attention since earlier this year in "The Invisible Woman". In "The Theory of Everything", she plays the wife of Stephen Hawking (whose memoirs the film is based upon) and not only, IMO, out-acts Redmayne, but is the beating heart of the entire affair. Just watch as she strides across a croquet court to steal the mallet from young Hawking or the tremors of resolve that swirl across her face as she makes a decision late in the film.

 

 

Marion Cotillard in "The Immigrant"

 

I love how one early review compared Cotillard in "The Immigrant" to Ingrid Bergman in Rosselini's films. The comparison is apt, not only because of the early 20th century aura (and lighting) of the film, but in the way director Gray frames her face and eyes. It's a flagellate role... manipualted, abused and confined by the realities of a harsh New York City, but Cotillard creates a brave and soulful portrait within the callowness.

 

 



Andrea Riseborough in "Birdman"

 

In a film full of snazzy performances, Riseborough's is the least amplified but the one that's stuck with me the most. It may be Michael Keaton's breakdown, but she inhabits a small portion of his unverse with depth and precise reaction shots.

 

 



 

 



 





Faces I Love #4

Emma Watson in "The Perks of Being a Wallflower"

Every year, one film slips through the cracks for me and I see it waaay late. Last year it was the splendidly overlooked "It's Kind of a Funny Story" and this year it was "The Perks of Being a Wallflower"..... a generous, moving and truthful-feeling examination of several kids growing up in the early 90's. Just my generation. While the film doesn't hit all the right notes or directly correspond to my own 16 year old life in 1992, it's still a terrific film that features spot-on performances, especially from Emma Watson.

 

 

 

Been watching alot of Nick Ray films lately, and the face of the late, great Jay C. Flippen is just more enjoyment.

 

 

 

 

After finally tracking down a copy of the 1984 film "The Wild Life", it sadly didn't live up since I saw it some 25 years ago. But, Jenny Wright (and especially my childhood crush of Lea Thompson) sorta makes up for the disappointment. She'd later go onto greater fame as the emotionally confused bloodthirsty vampire in Kathryn Bigelow's horror masterpiece "Near Dark".

 

 

 

 

RIP Mr. Ebert

 

 

 



Top 5 List- Best Female Faces post 2000

5. Leslie Mann- Despite the fact actress Leslie Mann is married to Judd Apatow, giving her an exemption in pretty much all of his comedic efforts, I get the sense Mann could hold her own in the Hollywood universe. After years of bit roles in 90's Adam Sandler and Jim Carrey comedies, it was Mann's scene stealing performance as a drunk woman giving Steve Carrel a ride home in "The 40 Year Old Virgin" and subsequent starring role in "Knocked Up" that cemented her place in stardom. Yes, a majority of her roles have been comedic ones- and ones that she routinely knocks out of the park through her wry delivery and razor sharp reaction shots- but Mann has shown uncommon depth as an actress as well. Just watch the scene as she's shut out of a popular night club and the ramblings of a thirty-something come streaming out of her in "Knocked Up" And it's an understatement to say I'm excited for "This Is 40" when it hits theaters later this year. Mann co-starring, front and center, with Paul Rudd... taking a supporting role and spinning it into a lead role is a definite recipe for cult success.

4. Carice Van Houten- I suppose its downright flattery for an actress to become so encumbered in a role that one doesn't even recognize her... and that was the case with me and "Game of Thrones". Until recently, I had no idea she played the fiery goddess Melissandre in that series. Regardless, van Houten has an angelic face that would look at home in a silent film from the 20's. Just imagine her in a Murnau film! In 2006, van Houten's smash success came in Paul Verhoeven's brutal Resistance drama, "Black Book". At the time, I wrote the following of van Houten: even after being covered by a vat of human shit, stripped naked several times and one scene of pubic hair dying, actress Carice Van Houten manages to pull out of Paul Verhoeven's World War 2 thriller Black Book with finesse and grace. Not only does she carry herself like a true classic screen actress, but Houten has the emotional temperance to make her role as a German double agent highly accessible and believable.

3. Keira Knightley- A lot of pot shots have been hurled at British actress Knightley over the years... and admittedly, it's really hard when the term "beanpole" is one of the first adjectives awarded to you (courtesy of Aint It Cool News back in the day). By now, I would hope Knightley has shed the laments and proven she's more than a pretty statue. Probably the closest thing to a bonafide superstar on this list, Knightley continues to accept a wide variety of projects. Loyal readers may remember I flipped for her in this year's "Seeking A Friend For the End of the World"- a film that deserved so much better- and next we have a lushly mounted adaptation of "Anna Karenina" later this year. The intensity and sincerity she approaches each role is astounding. And my god just look at those eyes....

2. Emily Blunt- The photo here isn't the best, but I just love the contrast. From her young performance as a confused teenager in the excellent "My Summer of Love" (2004), I recognized something unique in her. Since then, she's surprised me with every new role. Her latest, in Rian Johnson's brilliant "Looper" sets a new standard for her as she slowly becomes the focus of the film and single-handedly takes control of it's swirling sci-fi universe. Blunt is on an exciting precipice, mounted to become the next big thing and dazzle us for years to come.

1. Vera Farmiga- I couldn't resist using at least one scandalous photo! Farmiga- chiseled face and intense eyes- is the total package. Intelligent, fierce and beautiful, Farmiga has already exceeded her actress expectations and turned in one terrific directorial effort as well, the under appreciated "Higher Ground" (2011). This double threat of a performer seems to own every scene. From the minute she walks into Scorsese's "The Departed", things get serious. Farmiga, like Blunt, is an untapped resource that will hopefully provide years of creativeenergies.

Indelible Performances of 2010

In no particular order, the performances that moved me during the year:


1 and 2. Michael Fassbender and Katie Jarvis in "Fish Tank"


Andrea Arnold's poignant, somewhat disturbing coming of age story is handled with delicacy and honesty, mostly driven by the ferocious performance of newcomer Katie Jarvis. In the opening scenes, she's followed as she storms about town, fighting with local girls and then trying to free a horse that's tied up in a trailer park. The rest of the film is just as whirlwindish as Jarvis experiences the frustrations and sexual longings of a 15 year old trapped in the dead-end UK. Enter her mom's new boyfriend (Michael Fassbender) and things really get complicated. Fassbender and Jarvis play remarkably well off each other, and never skip a beat as their relationship develops from mutual tenderness to something deeper.

3. Kevin Breznahan in "Winter's Bone"


Sure, John Hawkes, Dale Dickey, Jennifer Lawrence and the great Garret Dillahunt are getting most of the raves for Debra Granik's ascent into Ozarks hell, but it was the small performance of Kevin Breznahan that stuck with me long after the film was over. As Little Arthur, the timid, ultimately helpful boyfriend of Ree's best friend, Kevin just has that sad sack look that's been perfect in tiny roles since "Magnolia" and "Adventureland".

4. Tilda Swinton in "I Am Love"


Pretty much any year and one can find Tilda Swinton on my list of great performances, but her staggering accomplishments in Luca Guadagnino's sprawling yet intimate Italian family epic are mind bending. Beginning as a faithful wife, then slowly transforming into the cause of a disaster that made me gasp with surprise when it occurred on-screen, Swinton simply unravels before our eyes. A remarkable film full of uncompromising moments and luscious cinematography, Guadagnino is a real talent to watch.

5. Andrew Garfield in "Never Let Me Go", "Red Riding Trilogy" and "The Social Network"


What a standout year for young Andrew Garfield. While he was the absolute best thing about "The Social Network", his performances in Mark Romanek's "Never Let Me Go" and as a headstrong investigative journalist in the "Red Riding Trilogy" were high watermarks for an actor who just doesn't seem to be trying hard at all.

6. Zoe Kazan in "The Exploding Girl"


In last year's "Me and Orson Welles", I was immediately attracted to the brainy library flirtation that hovers in and out of Zac Ephron's world. This was Zoe Kazan. That same intelligent intensity is magnified in her first real leading role in Bradley Rust Gray's micro-budget romance "The Exploding Girl". During summer break, Ivy (Kazan) jumbles hanging out with her best friend Al (Mark Rendell, another young actor on the rise) and playing phone tag with her increasingly despondent boyfriend back at school. Ivy also suffers from seizures when the pressure gets too much for her. Kazan embodies Ivy as a wide-eyed, infectious nineteen year old going through hell as the lazy New York summer rolls along. Not much happens in "The Exploding Girl", yet it's an amazingly tactile rendering of that age when every little thing seems momentous. Rust Gray has a knack for creating great images (such as a rooftop conversation at sundown) and Kazan is alive in every inch of this movie. With her role in "Meek's Cutoff", I look forward to watching her grow with every role.

7. Rebecca Hall in "Please Give" and "The Town" and "Red Riding Trilogy"


Like Andrew Garfield, Rebecca Hall really broke out in 2010, most notably by her performance in Ben Affleck's "The Town". It was that central relationship that had me booing in disbelief at the screen (not literally) but luckily, Hall redeemed herself in two other pictures. She has limited screen time in "Red Riding Trilogy" as the emotionally wounded mother of a murdered girl and there's one scene where she aches with tension and hurt. In "Please Give", she portrays a frumpy, lonely neighbor who slowly becomes the central emotional arch of Nicole Holofcener's cavalcade of characters. Not to mention she's sexy beyond belief no matter how frumpy they make her look.

8. Emir Kusturica in "Farewell"


Kusturica has always been a terrific and unique director, and he can also act.... well. As the Russian handler trading in secrets in this quiet Cold War thriller, Kusturica runs the gamut of emotions from hanging his head out the window of his car as he drives to being the sacrificial lamb. The film wrings out its moments of suspense, but its Kusturica who gives "Farewell" the heart.

9. Lizzy Caplan in "Hot Tub Time Machine"

After first watching "Hot Tub Time Machine", I had this to say: Starring the always likable John Cusack- who established himself in 80’s comedies and seems to feel right at home as one of the four modern men who find themselves trapped back in 1986 on one eventful night that- “Hot Tub Time Machine” also develops a sweet relationship between him and music writer April, played to dizzying perfection by Lizzy Caplan. It’s this peripheral romance that gives the film its zeal. Caplan, who is a newcomer to me but has obviously been around on the small screen for years, hits the perfect mixture of 70’s hippiness and 80’s sweet girl persona. From the first time they meet on-screen at a party, Cusack and Caplan make their connection feel real and inspired. I almost wish the entire film could have been about them. But, director Pink has more important things on his mind, such as a male-on-male blowjob and hand soap designed to look like ejaculate on someone’s face. I understand today’s comedy has to reach a certain shock value (which is depressing), and “Hot Tub Time Machine” has that built in for audience acceptance. It’s just the film really soars when it tries to connect on a smaller level. That’s the kind of comedy film we could use more of today.

I still feel this way now. Caplan raises everything about this film and I've watched it twice since then just for her performance.

10. Do-yeon Jeon in "Secret Sunshine"


Right after the scene in which Korean actress Do-yeon Jeon is framed wailing uncontrollably in a pew for what feels like minutes, I knew her performance was reaching something beyond 'method acting'. Lee Dang Chong's "Secret Sunshine" perches the camera on this woman's grief and suffering and search for something religious without hesitaton or fear of alienating the audience. Jeon handles it magnificently.

Breakout Artist 2010: Andrew Garfield

Anytime an actor has two films currently in circulation, as well as being pegged to play Spiderman in the upcoming franchise reboot, it's easy to say he's pretty much made it as an actor. But before "The Social Network" opened to critical acclaim this past weekend, Andrew Garfield probably wasn't identifiable as a house hold name just yet. And in reality, even though I'm probably in the minority for not doing handstands over "The Social Network", Garfield has been universally singled out as the real main character of Fincher's icy trip into early 2000's dot com explosions headed by geek sociopath Mark Zuckerberg (Jesse Eisenberg). Garfield's portrayal of Zuckerberg's college chum, initial partner and money investor Eduardo Savarin holds the audience key to empathy in an otherwise distant examination of upper class Harvard blowhards. It's also his scene, when he realizes he's been pinched out of the financial windfall of the now international Facebook idea, that holds the most zing in "The Social Network". Garfield's expression of betrayal and momentary reclamation of his emotions is a thing of beauty in a film that chooses to avoid emotions. This is why "best supporting actor" awards were invented.


Garfield first popped up on the radar in 2007 as the troubled youth running from his past in John Crowley's understated "Boy A". Encompassing each frame of that film with a tense presence, Garfield projected the uncomfortable sense that the camera couldn't hold him if he wanted to dash away. Yet when the film called for him to settle into the pose of a well-adjusted twenty something as he goes on dates with a fellow co-worker, Garfield immediately flipped a switch and turned the dangerous into something timid, unsure of himself and tongue tied. It may seem easy to portray a damaged soul, but Garfield takes things to another level in "Boy A", aided by a superb script and melancholy finale.

After his role as the intellectual doubter in Robert Redford's "Lions For Lambs", Garfield's next amazing performance came in "1974" of the "Red Riding Trilogy", a triplet of films so brutal, so well structured and intimate that I watched them in a complete five hour sitting and they still remain as one of the very best films of 2010. While each episode has its strengths, Garfield kicks the torrid affair off as new investigative reporter Eddie Dunsford who comes into the town of Yorkshire, prodding his stagnant peers and the local police to look beyond the obvious when a series of schoolgirls are found murdered over 6 years. It's his investigation that eventually emanates through the next two films, "1980" and "1983", uncovering webs of police corruption and perversion. Garfield makes a convincing turn from cocky journalist to bloodied avenger, but again, it's the warmer moments that define his performance. During his investigation, Garfield comes in contact with the mother of one of the murdered girls (another actress on the rise both overseas and here, Rebecca Hall). His questioning about the young girl's death butt up against the sorrow of a mother, and it's a refreshing compromise made by both actors in the scene that plays out with real emotion instead of a rote narrative. For what its worth, Garfield is great here, but Rebecca Hall breaks my heart in this film.


I've skipped over two performances, namely the weird (what else) Terry Gilliam film "The Imaganarium of Doctor Parnassus" which finds Garfield playing the mortal dreamer in a universe of imagination. It's not a bad performance by any means, its just always hard to find the acting propensity in Gilliam's overly decorated and saturated fairy tales. The other current film in rotation for Garfield is Mark Romanek's "Never Let Me Go", which I'll hopefully catch later this week. Judging by the previews, Garfield gives another knockout performance.

Reading through viewer comments about "The Social Network" on several blogs these past few days, it's clear that audience enthusiasm is lagging behind critical appreciation a bit, but everyone singles out Garfield's performance. In just three years, Garfield has materialized into something special. I predict a certain gold statue in his life very soon.

Top 5 List: Great Performances of 2009

With a few marquee names still to come in films this month (i.e. Morgan Freeman, Daniel Day Lewis, Jeff Bridges), here's a rundown of the 5 performances that made an indelible mark so far this year, in no order:

5. Peter Capaldi


As the vitriol political spin doctor Malcom Tucker, every scene with Capaldi is a masterwork in verbal violence and aggressive body language. Every time he walked on screen in Armadno Ianucci's highly entertaining comedy "In the Loop", one could feel the audience tense up with anticipation and guarded laughter. This is the stuff of real acting... a performance that manipulates and titillates.

4. Carey Mulligan


Not the best known secret in town anymore, young Carey Mulligan embraces every scene in "An Education" with intelligence and warmth. As noted by many, "An Education" is a terrific film not only because it eschews the pitfals of the genre it places itself within, but Mulligan's clear eyed performance is genuine and makes one really care for the outcome.

3. Emily Blunt


Probably the biggest surprise of my movie-going year so far is Christine Jeffs' "Sunshine Cleaning". I expected very little from this small comedy-drama out of Sundance, yet it resonated strongly. Emily Blunt- beautiful beyond belief- really makes me love this film even more. As the younger, more complex and off beat sister to Amy Adams, the duo organizes a crime scene cleaning business. The film goes to some very unexpected places, and I doubt I'll see a better scene in any film this year than the moment when Blunt takes her new friend (Mary Lynn Rajskub) to the train tracks and releases some pent up sadness.

2. Vera Farmiga


Another stone cold beauty with some serious acting chops, Vera Farmiga is quickly becoming an actress I devour anything she's in. 2009 saw her taking on two diverse roles (with another yet to be seen): first, as the blown CIA operative in Rod Lurie's "Nothing But the Truth", Farmiga steals the movie with a couple of scenes, namely one where she tries to appeal to the softer side of reporter Kate Beckinsale before retreating into corrosive governmental threats. Secondly, in a more typical role as the distraught mother in the over-the-top child horror movie "Orphan". Her sexiness, nerve, and strong command are on display in both movies and I can't wait to see what she does in "Up In the Air".

1. ensemble cast of "Summer Hours" (a bit of a cheat)



Like the best of Renoir or Rohmer, Olivier Assayas' "Summer Hours" captures something autumnal and heartbreaking about the large family. Setting his film around the death of a family's mother and then trying to settle her estate afterwards, every actor in this multi-generational cast embues their role with subtely and beauty. And it ends on a perfect note as the young grand daughter (Alice de Lencquesaing) slowly wanders around the large estate grounds as the mortality of the film's events finally hit her. A stunning moment and film.

One Scene Wonders

Jason Bateman: State of Play

I went into Kevin MacDonald's "State Of Play" with some reservations. Based on an original BBC series (which I really, really liked), here was a movie forced to condense five hours into a slim two. The patience, details, and room to breathe that the miniseries format provides might get lost in translation. And, yes, while the latest Hollywood version does lose some of its steam, it's still a solidly crafted effort that manages to deliver a few sucker punches to the now antiquated world of paper press and generate some nice performances from all involved.

But something with gravity happened in the final third of the film- the two scene brilliance of Jason Bateman as Dominic Foy, a sexually ambiguous, flamboyant and snide PR rep who helps put the pieces in place of the swirling narrative. It's not only a fun performance in the beginning, but Bateman turns on a dime and reveals a character full of rage and guilt that comes seeping out in a dingy motel room. If Viola Davis can garner a supporting actress nomination for two stellar scenes in last year's "Doubt", there's certainly room for a potential nod for Bateman.

The character of Foy served as one of the more intriguing portions of the original series. Hunted down and eventually interviewed by a tabloid reporter (James McAvoy) working the death of Anne Collins independently, the strand served as a diametric collision of methods and ideas between 'real' journalism and trash press. Director MacDonald keeps the emotional power of the reveal intact, but its Bateman who elevates the core of Foy into something genuinely tragic and visceral. In no short words, this is a performance that defines exactly what supporting acting should look like.

Who's That Girl?

For some reason or another, I've been on an 80's movie kick lately. The latest to arrive from Netflix was 1985's "Tuff Turf", starring James Spader as a bicycle riding, break dancing version of James Dean in "Rebel Without A Cause". As the new kid in town, Spader quickly upsets the local gang of thugs (identified by their bare-chested outfits, greased hair and switchblade carrying personas). But despite this war of conformism vs. non-conformism, he does fall in love with the head bullies' girlfriend, a long haired vixen named Frankie. From the moment 'Frankie' was on-screen, I was perplexed. Where do I remember this girl? Who is she? Wow she's beautiful in that funky 80's way. I quickly ran to IMDB and discovered it was none other than Kim Richards, childhood star and the first girl in a movie I can remember being attracted to.

I probably watched "Escape To Witch Mountain" and "Return To Witch Mountain" more than any other movie as a young boy. As the star in both of those movies, Richards became a Disney icon for these roles. Then came "Meatballs Part 2", a film that I often had to watch on the sly because it was rated R. After seeing "Tuff Turf" all these years, I can proudly say my affections for her aren't shameful. Sometimes, we look back on childhood crushes with disdain and wonder what we ever saw in them. Richards was (and still is) gorgeous. And a not-too-bad actress as well. In "Tuff Turf" she holds her own as the girl divided between a taste for edginess and her middle class desire to settle down with a good person like Spader. It's an interesting performance in a movie that serves as a true time capsule to the 80's, edited and shot at times like a bad 80's video.

While Richards made only a couple films after 1990, she is listed as a credit in the upcoming The Rock remake of the Witch Mountain franchise. I don't know if that'll be enough to get me out to see the thing, but I might give it a second look on DVD. And a few facts- Richards is the aunt to Hilton girls and she was in "The Blair Witch Project"? Never dawned on me. If nothing else, seeing "Tuff Turf" was a neat experience for bringing back so many good memories of Richards. And FYI... if you find this type of stuff interesting, I implore you to check out The Moviezzz Blog and then click on his series of posts titled "Whatever Happened To?" He does this sort of thing with more passion (and intensive research) than I ever could.

Performances I've Loved This Year (so far)

With a slate of films about to jockey for position in the upcoming awards season, I wanted to take this time to point out some memorable performances that, I hope, don't get lost in the chaotic shuffle for oscar gold. In no order:

1. Winona Ryder

Even though she only has a small role in former "Heathers" scribe Daniel Waters' dark sex comedy "Sex and Death 101", when she is on-screen towards the end, it's a magical moment. Playing a serial killer who makes love then murders people, Ryder graces the film with an airy, charismatic performance full of humor and wit. Her line readings are near perfect. After this and her wonderfully crazy turn in "The Ten", here's hoping Winona has a mini comeback in her. While the rest of the film is mired in sub-par performances (looking squarely at lead Simon Baker), I'm still surprised "Sex and Death 101" hasn't caught on as a type of cult favorite. Maybe it was the marketing. Maybe it was the poor release date. Either way, this movie should gain new life on DVD.

2. Olivia Thirlby


After crashing through to the popular consciousness in last year's little-film-that-could "Juno", Thirlby followed that performance up with two very good roles that are a little less show-me than I'm sure her agents would've liked. First, as a sensitive teenager in David Gordon Green's "Snow Angels", she manages to defy every teen movie cliche and imbue the intellectual loner as something real and three dimensional. While a majority of Green's family maudit drama is overbearing and morose, the relationship that Thirlby and actor Michael Angarano form is a tender respite from the doom and gloom. Next, in "The Wackness"- a film I personally disliked due to lead actor Josh Peck- Thirlby embodies a free spirited teen who oscillates from horny to stand-offish like the best 'teases'. And that's not a slap against her. Her performance, along with the always respectable Ben Kingsley, is very very good.

3. David Stratharn


As an alcoholic fighting the urges to notice his wife (Rachel Weiscz) flirting with every other guy in the bar, David Strathairn damn well deserves a supporting actor nom for his performance in Wong Kar Wai's elegant "My Blueberry Nights". Episodic and moody, Strathairn's performance is just one of many in the film as wandering Norah Jones stumbles across the United States in search of... something. Strathairn's embodiment of the alcoholic in one segment is just supremely moving and completely unorthodox.

4. Andrew Garfield


John Crowley's "Boy A" is a psychological puzzle of a movie, flashing the past in subliminal portions, while at the same time following "Jack" (Andrew Garfield) as he attempts to start his life over and leave the past behind him. More intellectual than emotional, Garfield gives a breathtaking performance that easily reveals how even 'bad' people can try to do good. I look forward to more of his work.

5. Michael Shannon

In "Shotgun Stories", Jeff Nichols' slow burn Southern Gothic debut, Michael Shannon should gain additional credibility as a character actor in the strongest sense of the word. So good in last year's "Bug", Shannon again takes his steely gaze and puts it to good use as the oldest brother desperately trying to keep a cool head in a family squabble that escalates into shocking violence. At first glance, Shannon feels like a one-note performer, but on second glance there's a lot broiling beneath the surface of his intimidating visage. If you haven't seen "Shotgun Stories", I highly recommend it.

6. Robert Downey Jr.

Yea, it's probably a cheat to include him in this list since everything the guy touches lately turns to gold, but his performance in "Tropic Thunder" is so funny and self reflexive, that it deserves mention. This is a supporting performance that is made even funnier when you just watch his reactions and don't listen to his dialogue.

7. Kristen Stewart

I first noticed Stewart in last year's "Into the Wild", a film that's certainly more memorable for its supporting cast than director Sean Penn's hippie outlook and nature landscapes. Stewart played the short-lived romantic interest of Emile Hirsch in a hippie commune. Scantily dressed for most of the film, yes, but her performance showed genuine talent. In Barry Levinson's "What Just Happened?" released last week, Stewart plays the daughter to hot shot Hollywood producer Robert DeNiro who barely has time for her- that is until she shows up grief stricken at the funeral of a fellow producer (whose 40 years old) who commits suicide. That certainly gets DeNiro's attention. Only featured in two scenes of Levinson's way-too-insider-comedy, Stewart again almost steals the show through her moody mannerisms and mature outlook on life. I think she's in some small movie called "Twilight" later this year that just might launch her into a higher tax bracket.

8. Richard Jenkins


My money is on Jenkins for a Best Actor win this year. No performance has been quite as masterful as his embodiment of Walter Vale, the widowed professor who becomes involved in an immigration battle when he finds two strangers renting his New York apartment. Jenkins has been such a strong character actor for so long, that his first major leading role shouldn't be a surprise. Still, "The Visitor" is one helluva film held together by his emphatic performance.

I'm curious.. who did I leave off? Thoughts on your own favs?