5. Jennifer Lawrence: American Hustle
Lawrence manages to deliver a performance that’s equal parts hilarious, sexy, and maddeningly ridiculous. She’s even better here than she was in Silver Linings. The only thing funnier than “the microwave scene” in 2013 was the “quallude sequence” in The Wolf of Wall Street. “Don’t put metal in the science oven” is now my favorite David Russell line. This is one of those supporting performances that you want to be a bigger part, but its part of why she’s so compelling is that when she’s on screen she dominates and when she’s not you miss her presence. Her manner and her energy remind me a bit of Gena Rowlands, and I do not make that comparison lightly. She’s just a natural with a presence and maturity way beyond her years. When you watch her she comes across as a twenty-year veteran, not someone in their early twenties, and her trophies already accumulated are a testament to that. I would pay money to watch her fold laundry for two hours. She’d get an Oscar nomination for that too.
8. Christian Bale: American Hustle
The thing I love the most about David O. Russell as a filmmaker is his ability to take extremely flawed characters and give them a narrative space to truly thrive in. I consider it his trademark as a writer and director. He takes individuals most people would condescend to and shows us why and how they’re remarkable. Christian Bale literally embodies this quality in American Hustle. He’s bald, overweight, etc., but at all times he appears to be completely comfortable in his own skin. He knows who he is, which of course makes him a good con man. It’s a fine counterpoint to Bradley Cooper’s character, who has no idea who he is. We see this with their respective “hair” sequences. The film is about deception and role playing, and Bale’s character is the only one who doesn’t switch. His sincerity and relative decency in this role makes the whole thing work. Also, they shot this film in my hometown, so thumbs up for that.
1. Adele Exarchopoulos: Blue Is the Warmest Color
Some actors have “that face,” other actors have “those eyes.” Exarchopolous has both. Her’s was not the most polished performance this year, or the most mature, but it is the one that effected me the most emotionally. It’s the one that stuck in my head and refused to leave. I don’t think it sentimental for one to give marks for that: cinema, by it’s very nature is an art of manipulation of the emotions of the viewer, and actors are the vessels through which the viewers emphasize with the characters. Continue reading →