If I Had A Ballot: My Academy Award Nominees (Acting)

I will never understand how the driving topic of the past year was how weak of a year it was for actresses. There must've been a thousand think pieces published by dozens of outlets on how embarrassingly dry the respective actress categories were as opposed to the men's.

But I would argue, that this was a marvelous year for actresses, that is, if you were able to look past Oscar's own playing field, which leaves little to be desired for what they determine to be Oscar-worthy roles/performances. Once you open your surroundings, you'll find a wealthy field of contenders, each with a more interesting, complex turn than the last. I think it's fair to say that the industry failed women, not so much Hollywood.

This year, we watched Scarlett Johansson as a silent alien seductress, Jennifer Aniston as a pill popping, chronic pain victim suffering from depression, Anna Kendrick as a modern and complex princess Cinderella, and Reese Witherspoon traveling the P.C.T. finding her long-reported missing inner leading lady along the way. And that's only scratching the surface of what women did this year, I did't even mention Rosamund Pike's unforgettable Amazing Amy, or Meryl Streep's incomparable Witch.

And despite that male-centric Best Picture field, there were also deeply moving, enjoyable projects either made by a woman, or told women's stories. An honest, refreshing look into abortion ("Obvious Child"), a critique of the music industry and the selling of sex and the 'female pop star' ("Beyond the Lights"), a period piece starring a woman of color in the title role ("Belle")... the list goes on.

Not to say that it wasn't a great year for the boys, because who will be able to look back and not remember Michael Keaton in "Birdman" or David Oyelowo in "Selma"? Two of the greatest performances in recent history that will most definitely be discussed and studied for years to come. But a lot of the celebrated turns by men this year, I found, to land pretty flat. I loved Eddie Redmayne in "Les Miserables" as much as everyone else, and sure, his transformation into Stephen Hawking was brilliant... but it left him little to no room to actually turn in a performance.

But I digress, I've procrastinated long enough. My choices in the acting contenders are:
Best Supporting Actress:

Julianne Moore as Havana Segrand in "Maps to the Stars": The role that should be winning Julianne her long-elusive Oscar is her best since her work in "Far From Heaven", and easily one of the most memorable turns in a career filled with unforgettable characters and performances. Havana is a contemplation of every negative aspect in Hollywood. What could have easily been a caricature is a portrait of a woman grappling with mental illness, plagued with inner demons of her late mother and her own inherent narcissism. Moore injects some real depth, and fun into David Cronenberg's jumbled satire on the entertainment industry. If he was smarter, he would have focused purely on Segrand, who is the only real reason to watch. Bonus points for "Still Alice". 

Carrie Coon as Margo Dunne in "Gone Girl": The role of Margo in Gillian Flynn's "Gone Girl" is that of a cipher; an audience stand in, someone that the reader can identify and relate to, learning developments as they happen. But in David Fincher's adaptation, Carrie Coon makes what could have been a thankless role, extremely special. Her precise, dry delivery and astute observations make for some great back and forth with Ben Affleck's Nick, and it helps that they have chemistry together, making for a believable brother and sister. It's a performance that gets better and better upon repeated viewings; she's always a pleasant, refreshing presence onscreen, which counts for a lot when you're in one of Fincher's grimmest works to date. She is the anchor that keeps the film from sailing off into an almost unbelievable territory. 

Patricia Arquette as Olivia in "Boyhood": Much has been made on the fact that "Boyhood" was filmed over a 12 year period. And while that is an important aspect in how the film was constructed, focusing solely on that would take away from the individual achievements, namely Patricia Arquette's magnificently lived-in performance. Yes, she lets herself age onscreen (something most people would call brave), and really does steal the film away from Ellar Coltrane's eponymous 'boy'. Olivia wants nothing more than to provide for her kids, and be a good mom. But once her kids are gone and there's less mothering to be done, she's left wondering what's next. "I just thought there would be more" she admits to herself before sending her son away to college, a line delivered with the perfect amount of heartbreaking disillusionment. The film really should have been called Motherhood, because while it's beautiful watching this boy grow into a man, she is the one that brings the film full circle, so why not just have her be the focus? 

Anna Kendrick as Cinderella, "Into the Woods": Cinderella spends a lot of her time in "Into the Woods" running; running from her evil stepmother and stepsisters, running through the woods, running from the ball, and away from her prince to be. It's fitting, because Anna Kendrick comes very close to running away with the entirety of the film (with a little more screen time, she may have challenged Emily Blunt for MVP  status). Meryl Streep has been considered the standout from the film's big name ensemble, namely because she's Meryl Streep, and she's doing very entertaining work. But if there was going to be a Supporting Actress nominee from Into the Woods, it should have very well been Kendrick, who delivers a fresh, grounded and nuanced performance of a very iconic character. Her big number 'On the Steps of the Palace' is the film's showstopper moment in terms of vocal delivery (she nails the tongue-twister-esque lyrics) and acting. She finds the musical tragedy and comedy within the character, understanding the musicality of the piece more than any of her co-stars. Standing amongst a cast that threatens to outshine you couldn't have been easy, but Kendrick has never been more luminous onscreen then she is here. 

Adriana Barraza, as Silvana, "Cake": Anyone who has seen "Babel" knows that Adriana Barraza is a force to be reckoned with. That notion is once again made very clear in the much hyped-about Jennifer Aniston star vehicle "Cake". Barraza plays Silvana, Claire's (Aniston) caretaker, but more than that, she is Claire's only real friend. From the start, Claire (and the film to a fault) are so determined to label her as a "raving bitch", but it's clear that Silvana sees through that tough, damaged exterior and knows deep down that there's a light inside of her fighting to shine. She elevates what could have been a stock character, and fills her with reservoirs of knowledge and worldly experience; watching her and Aniston act off of one another proves for some very entertaining scenes, the best in the film. But more so, Barraza's performance makes me wish there was a film about just about her character, a testament to her strength and expertise as an actress. 

Missed the cut: Tilda Swinton created a cartoonishly frightening, iconic villain in "Snowpiercer" , while Kim Dickens' steely work in "Gone Girl" went toe to toe with Carrie Coon for my favorite performance in the film (Dickens was a scene or two short, I think, of overtaking her). Emma Watson emerges the shining star of Darren Aronofsky's cloudy "Noah", delivering a performance that suggests a nuance and maturity beyond her years. Kristen Stewart shocked me with a heartbreakingly good performance in "Still Alice", holding her own against Julianne Moore. And finally, Viola Davis proves once again that she is Hollywood's most criminally underrated and underused actress, threatening to steal Jessica Chastain's star vehicle away from her in "The Disappearance of Eleanor Rigby: Her".

Shoutouts to: Naomi Watts & Emma Stone in "Birdman", Rene Russo, "Nightcrawler", Jessica Chastain in "A Most Violent Year" and "Interstellar", Laura Dern in "Wild", Uma Thurman in "Nymphomaniac Volume 1", Carmen Ejogo in "Selma" and Minnie Driver in "Beyond the Lights"

Winner: Julianne Moore, "Maps to the Stars"
Runner-Up: Carrie Coon, "Gone Girl"
Third Place: Patricia Arquette, "Boyhood"

Best Supporting Actor: 

Edward Norton as Mike Shiner in "Birdman": Alejandro González Iñárritu's black comedy is just as much as a way for Michael Keaton to play off of his 'fading actor' narrative as it is for Edward Norton to play off of his 'difficult actor' one. As the incredibly hard to handle, method actor Mike Shiner, Norton gives one hell of a performance, relishing in the chance to satirize those performers who buy way too much into the idea of themselves as "artists". But when the script asks for him to dial it back down and reveal the man behind the curtain, Norton doesn't shy away, rather, he leaps at the opportunity; those quiet rooftop scenes shared with Emma Stone's character may just be some of the best naturalistic acting I've seen all year. 

Chris Pine as Cinderella's Prince in "Into the Woods": "I was meant to be charming, not sincere" may just be the line of Chris Pine's life. Never has the actor been more entertaining in his career. Yes, by god he's gorgeous, but Pine uses his devilishly good looks as a tool in his characterization of a cluelessly narcissistic prince. God knows actors have been rewarded with nominations for doing far less, and though Pine's screen time is short, he makes the most of it; his Prince is so interestingly put together, I'd watch a film with just him in it. And that's saying something. Not to mention, he's hilarious, and boy can he really sing. "Agony" is an unforgettable moment in the film, largely in part to Pine's committed work.

Ethan Hawke as Mason Sr. in "Boyhood": A lot of the attention has gone towards Patricia Arquette's sublime performance as the mother, but "Boyhood" would not feel like the achievement it is without this quietly detailed work from the always dependable Ethan Hawke. He's the other half of the film's emotional anchor, and it's a real joy to watch him grow into a stable father figure during the film's duration. Yes, the fact that he ages throughout the narrative does add something that makes the performance what it is, however, this may just be the most naturalistic, lived in turn of the year, and in no way does that take away from its emotional heft. 

Tom Wilkinson as President Lyndon B. Johnson in "Selma": Wilkinson's version of LBJ is not a hero, nor is he a villain. Rather, he plays the morally conflicted president as a political operator who is working on the same playing field as Oyelowo's Dr. King, but who happens to be fighting for a different agenda. There's no easy way to pin him as a straight up villain here, rather, Wilkinson sketches his portrayal leaving a lot of gray area. You can tell he desperately wants to do the right thing, but isn't man enough to face the masses who want everything but what's truly right. 

Riz Ahmed as Rick Carey in "Nightcrawler": Much of the attention has been given to leading man Jake Gyllenhaal and scene stealer Rene Russo, however, Riz Ahmed is the secret weapon of this very twisty noir. As Rick, Ahmed is the perfect foil to Gyllenhaal's driven sociopath; a man just trying to meet end's meet... or is he? At the film's climax, we learn that he's not as simple as he first appears to be. He's willing to play ball and match Gyllenhaal's manipulative Lou Bloom tit for tat. He's the film's most morally relatable, and empathetic character, largely in part to Ahmed's very great characterization. 

Missed the cut: No one, honestly... this category is so weak this year.

Winner: Edward Norton, "Birdman"
Runner-Up: Tom Wilkinson, "Selma"
Third Place: Chris Pine, "Into the Woods"

Best Actress:

 Jennifer Aniston as Claire Bennett in "Cake": This performance has been unfairly maligned as one of those "big star doesn't wear makeup and cries for an Oscar" performances, you know, the ones that often get nominated by the Oscars. And from all of the promotional material and given that it's Jennifer Aniston, it's easy to see why a lot of people think that... until you sit down and watch the film. "Cake" is by no means a perfect film; tonally, it's a bit off and tries too hard to make us dislike Claire when we have no real reason to outside of her abrasiveness. But Aniston's work, my god, is that damn good. Her comic timing is present here, reliable as ever, with an acidic twist.. and just as good is her dramatic nuance. There isn't any real 'clip scenes', this is a very thoughtful, quietly well constructed performance from beginning to end; a real marvel. Bonus points for the physicality; you really buy into Claire's chronic pain.

Marion Cotillard as Ewa in "The Immigrant" and Sandra in "Two Days, One Night": I'm breaking the rules and recognizing both, because not only are they master classes in acting, but feel like companion pieces of sorts. In the Immigrant, Cotillard's Ewa sacrifices her morals for a life as a prostitute so she can buy her dying sister's way into the United States. The film frames Cotillard as its centerpiece, and she's magnificent, haunting and alluring in every frame; the camera cannot get enough of her beautifully expressive face. Ewa's pain and tragedy are told to us by Cotillard's expressive eyes. 

As Sandra, Cotillard turns a manic-depressive into an unlikely modern hero; A woman forced to convince her co-workers to give up their bonuses so she can keep her job. Getting out of bed is a war in and of itself for Sandra, but plucking up the courage to sell her worth to others, when she doesn't even believe in it herself is something different altogether. Watching the small ember that is both Ewa's and Sandra's will to survive fan itself into a great flame, brings both works full circle, displaying that Cotillard is easily one of the greatest actresses we have, or will ever have. Two different women, with their backs against the wall, looking for a way out played by one marvelously gifted actress.

Reese Witherspoon as Cheryl Strayed in "Wild": Few "comebacks" feel so authentic and well earned as this one. Reese delivers the best (dramatic) work of her career. She sheds the sunny disposition that has made her a box office commodity for so long, and digs down deep into the wounded Strayed's psyche. "Wild" is just as much about Reese finding herself as an actress as it is about Cheryl finding herself as a woman after the death of her beloved mother. That last scene in the woods really hits home, bringing the sheer triumph of Reese's work full circle. One has to wonder where Reese will go next, and wherever it is, hopefully it's as compelling and affecting as the places she takes us in "Wild". 

Jenny Slate as Donna Stern in "Obvious Child": Jenny Slate has been in need of a breakthrough for quite some time; as an always enjoyable supporting performer, how great would it be to see her take center stage? In writer/director Gillian Robespierre's debut film, Slate is presented with that opportunity. An accomplished comedienne, she's also got some great dramatic chops, successfully portraying a young woman faced with an unwanted pregnancy and trying to figure out what she really wants out of life. It seemed for awhile that there was a slot in the Best Actress category that was reserved for indie breakout girls, a spot that if still available amongst a group of Oscar bait (*ahem* Felicity Jones in "The Theory of Everything") would easily be Slate's. She is every bit as affecting and commanding as she is hilarious. "I'm not the star, I'm the Menorah on top the tree that burns it down." is one of the funniest line of the year made in part to Slate's expert delivery.

Gugu Mbatha-Raw in "Beyond the Lights": Her performance is the one thing that keeps her film from slipping into an overcooked melodrama. As a "Rihanna" pop superstar of sorts, Gugu creates an entertaining, complex character; On one hand, she's trying to please everyone around her, but on the other, she's trying to find out who she is not just as an artist, but a woman. Her performance is one that really builds as the film goes on, and it's a marvel to watch her evolve from meek and submissive, to strong and comfortable within her own skin. Her performance in "Belle" got people to notice, but this is the performance that will hopefully launch a long career. You won't believe this is only her 3rd feature film.

Missed the cut: Emily Blunt saves "Into the Woods" from falling apart.  Essie Davis' work in "The Babadook" deserves to be remembered alongside of Ellen Burstyn's work in "The Exorcist" and Mia Farrow in "Rosemary's Baby" as one of the great horror film performances. Rosamund Pike's icy and venomous work in "Gone Girl" makes us wishful for the days of Alex Forrester in "Fatal Attraction. Julianne Moore reminds us that she is still the queen of minimalistic powerhouse acting in "Still Alice". Jessica Chastain paints a colorful portrait of grief, loss and the will to start again in "The Disappearance of Eleanor Rigby: Her", which is her best performance yet.

Shoutouts to: Kristen Wiig, "The Skeleton Twins"; Keira Knightley, "Begin Again", Stacy Martin in "Nymphomaniac Volume 1" and Scarlett Johansson, "Under the Skin".

Winner: Marion Cotillard, "The Immigrant" and "Two Days, One Night"
Runner-Up: Jennifer Aniston, "Cake"
Third Place: Reese Witherspoon, "Wild"

Best Actor: 

Michael Keaton as Riggan Thomson in "Birdman": A masterful fusion of actor and character. As Riggan Thomson, Keaton gets the chance of a lifetime to deliver a multi-facteted performance. Comedy, drama, tragedy; there's no gray area left in Keaton's characterization of an actor who wants nothing more than to prove his talent to his audience, and himself. He's more than just a man in a suit, and as we've come to realize, so is Keaton. Wearing his age like a badge of honor, he shows us that the joke is on us for counting him out. Though there's a lot to love about Birdman, there wouldn't be a Birdman without Keaton's amazing work.

Channing Tatum as Mark Schultz in "Foxcatcher": There's not a lot to love in Bennett Miller's chilly retelling of the twisted relationship between Gold medalist Mark Schultz and John du Pont. However, the main attraction is truly Channing Tatum's nuanced work as Schultz who Tatum plays as a ticking time bomb just waiting for the right moment to explode. Meryl Streep said it best when she described his work as "monosyllabic", but in no way does that undermine Tatum's carefully thought out work. He doesn't need the use of words to convey years of frustration and a broken heart over living in his more famous brother's shadow. Though Steve Carrell's prosthetic-enhanced performance has drawn the lion's share of awards attention, it will Tatum's that will survive and be discussed as one of the great leading male performances of the year. Bonus Points: "22 Jump Street"

Bill Hader as Milo in "The Skeleton Twins": Comedians going "dark" has always felt somewhat of a backhanded compliment, as if performers who originate in comedy are unable to tap into a more serious side of their craft. But nothing Bill Hader had done prior suggested he had this inside of him. As Milo, Hader delivers a sensitive and well rounded portrayal of a gay man grappling with his dissatisfaction with life. Milo's homosexuality isn't played for laughs or a gimmick, rather, it's just one of the many things about him, and Hader makes that understood from the beginning. There's no amped up mannerisms or voices. Milo is memorable not because he's gay, but because Hader draws out a very beautifully complex characterization. 

David Oyelowo as Dr. Martin Luther King Jr. in "Selma": Biopics often leave the actors in them stranded to leaving the characters being portrayed as empty shells. Instead of actual acting, the physical likeness becomes the main attraction. And while that's all well and good, anyone can play dress up. But I'm not sure if anyone besides the brilliant David Oyelowo could have played Dr. King as authentically, with the same electrifying power. Oyelowo brings a humanity and authenticity to the legend; with the help of director Ava DuVernay, we see King as a man, complexities and all, struggling to lead a movement that, though peaceful in execution, will bring change. It's amazing he achieves such a staggering transformation without having to do much at all; the transformation is all in his voice; Oyelowo transcends mere "mimicry", and joins Marion Cotillard and Daniel Day-Lewis in the hall of great actors portraying icons. 

Jake Gyllenhaal as Lou Bloom in "Nightcrawler": Transformative performances usually consist on an actor dropping a bunch of weight or donning a prosthetic nose and sleepwalking through the actual acting. As Lou Bloom, however, Jake Gyllenhaal really does transform, shedding his boyish good looks to become a demon of the night, hungry for opportunity, willing to do whatever it takes to get ahead. Every social interaction is played as a potential sales pitch, with Lou constantly weighing and evaluating his options to see how he can come out on top and benefit in some way (do those eyes ever stop moving? Does this guy sleep?). This is definitely his most fully realized role to date, no gimmicks, just straight up great acting. 

Missed the cut: Ralph Fiennes in what might be the best role of his career in "The Grand Budapest Hotel"; zany, hilarious and always entertaining. Matthew McConaughey makes for a very expressive everyman in "Interstellar". He'll break your heart. Chadwick Boseman electrifies as the iconic James Brown in "Get On Up". Oscar Isaac turns in another great performance that is very evanescent of a young Pacino in "A Most Violent Year", while Ben Affleck in "Gone Girl" proves that with the right director, he can be more than just Ben Affleck.

Winner: David Oyelowo, "Selma"
Runner-Up: Michael Keaton, "Birdman"
Third Place: Jake Gyllenhaal, "Nightcrawler"

(Originally published here and here by The Whit)