There is a strange phenomenon that occurs in films where something can seem both drawn out and rushed at the same time. This usually happens when filmmakers try to do too much at once. For example: when one is attempting to tell a long, epic story in a normal cinematic run-time. Or when one is trying to have their cake and eat it too when it comes to the theistic, supernatural, or miraculous aspects of a particular story. Continue reading
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.
Forgetting for a second whether I’m personally offended as a person of color over the casting choices in Exodus: Gods and Kings; I find the casting of an almost entirely white cast to play Ancient Egyptians to be flatly absurd by any metric. Casting like this is historically, geographically, and demographically inaccurate, in addition to being quite simply boring. I can think of no better example of defaulting to whiteness than a casting decision such as this one: “we have a story and a setting that fall outside of our modern racial parameters so why not just cast a bunch of white people, right?” I won’t pretend to know exactly what ancient Egyptians or ancient Hebrews looked like and by what, if any, modern racial or ethnic classifications they would likely fall under, but I am confident in saying that they did not look like Christian Bale, Joel Edgerton, Aaron Paul, or Sigourney Weaver. Continue reading
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