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It seems like it’s been a while since we had this many great performances in the supporting actor category – but when it rains, it pours, and this year had a wealth of choices.
Some great performances that I didn’t have room for in the top 10 included: Alan Alda in Marriage Story uses his good guy charm to good effect in the film – the lawyer who wants the best for everyone, but perhaps isn’t the right fit. Sterling K. Brown in Waves is wonderful as the caring, too involved father, who thinks he is doing the right thing – but it leads to a very bad place. Woo-sik Choi in Parasite as the son who gets everything started, and ends the film with an unforgettable moment of delusion and heartbreak. Asier Etxeandia in Pain & Glory as the director’s old star, who shows just how talented he was – and could still be. Kevin Garnett in Uncut Gems is great, playing an exaggerated version of himself – a vein athlete. Anthony Hopkins in The Two Popes is excellent in the role of Pope Benedict – and could have been even better had the screenplay gone deeper. Jonathan Majors in The Last Black Man in San Francisco as the best friend and artist, who does his best to express the feeling of an entire city through his work. Sam Rockwell in Richard Jewell is so good in ways that are instantly recognizable, so he gets over looked. Leonardo Sbarglia in Pain & Glory who is only in one scene, as the director’s old boyfriend, but it’s one of the most memorable, and best acted scenes of the year. Wesley Snipes in Dolemite is My Name is having the time of his life as his above it all character – it’s not a deep performance, but every line reading is a killer.
And now, the top 10.
10. John Turturro in Gloria Bell
For the most part, Sebastian Leilo’s English language remake of his own film Gloria is basically a redo of that film – a very good redo, with an excellent performance by Julianne Moore – but a redo just the same. The one aspect of the film that really sticks out this time though is John Turturro’s great performance as Moore’s new love interest – a recent divorced man, who is still way too involved in his ex-wife’s life, not to mention his two adult daughters, who rely on him for everything. Turturro’s performance here is vanity free (it’s a nice reveal the first time he has sex with Moore for example) – and a portrait of a pathetic man, who says he knows what he wants, but is powerless to overcome his own insecurity and anxiety. Turturro is always great – he’s particularly great in this film.
9. Jeremy Bobb in Under the Silver Lake
Jeremy Bobb is in all of one scene in Under the Silver Lake – but it’s the single best scene of the film, and one of the very best of the year. As the mysterious character known as The Songwriter, Bobb’s job, under a hell of a lot of makeup, and a bad wig, is the detail the ludicrous conspiracy theory that underpins everything that has happened in the film. To say more is the ruin the film’s surprises – but needless to say, Bobb absolutely nails this scene – it’s the type of one scene wonder performance that will become famous in the years to come, when more people realize just how good this very strange film is.
8. Shia LaBeouf in Honey Boy
Shia LaBeouf wrote Honey Boy, and is essentially playing a version of his own father. When LaBeouf was a child actor, his father was his manager and chaperone – despite the fact that he was an abusive, recovering alcoholic and a convicted sex offender. The film is about just how far his father pushes him – who petty and jealous of his own son he was, and how that effected the son into adulthood. And yet, if LaBeouf played him as a monster, it would be boring. Instead, he plays him as a sympathetic, fully rounded person who does horrible things, talks a mile a minute, and for whom every day is a struggle. It is a great performance by LaBeouf – really the best of his career – and what’s more, it feels like the performance he had to give in order to move on.
7. Kelvin Harrison Jr. in Waves
Kelvin Harrison Jr. is one of the great young actors working now – and 2019 represented a huge breakout year for him with his lead performance in Luce, and his performance here in Waves – which anchors the first half of the movie. In the film, Harrison plays a young black man, who feels the weight of the world on his shoulders – the expectations from his father and stepmother to be a good man, to get a scholarship in wrestling, and the weight for his girlfriend to step up and take care of his responsibilities. And then, of course, it all comes crashing down around him – and he doesn’t know how to react. As with the film in general, Harrison’s emotions here are cranked up to 11 – and yet they don’t feel phony or forced or overblown – but exactly right. It’s a big, bold, volatile performance – and Harrison shows why he is could be one of the next greats.
6. Willem Dafoe in The Lighthouse
Willem Dafoe has always been a great actor – and he’s having quite a renaissance in the last couple of years, picking up Oscar nominations for The Florida Project and At Eternity’s Gate. His performance in The Lighthouse is lighter than either of those – in fact, it should probably not be allowed to be this good in a movie while clearly having this much fun in the role. Dafoe plays the older, gruffer, cruder, ruder, more flatulent of the two lighthouse keepers in the film – and he delights in tormenting poor Robert Pattinson throughout the course of the movie, although eventually that lightness turns dour and sour and paranoid – and he goes off the rails wonderfully. There is nothing subtle about this performance – certainly not the accent – but there is also nothing in it that isn’t perfect for the role. Another for Dafoe’s pantheon.
5. Tom Hanks in A Beautiful Day in the Neighborhood
For all the jokes people make about Hanks and all the Oscars he’s won and been nominated for – he actually hasn’t been nominated at all since CastAway nearly 20 years ago – and in recent years has delivered some great performances (Captain Phillips, Bridge of Spies) that perhaps deserved more love than they got. He delivers one of his very best performances ever as Mr. Rogers in A Beautiful Day in the Neighborhood – it was perfect casting of course, but Hanks doesn’t play Rogers as a secular saint – he goes deeper than that. His Rogers is the man with infinite wells of kindness and patience – but there’s also something a little creepy about him, a little stand-offish, in the way he just pretends he doesn’t hear the questions he doesn’t want to answer, or else won’t give details about them – although you can see that pain there. What Hanks plays here is a man of immense self-control – and how that may just be a little sad, in addition to all the great things Mr. Rogers did – and meant – to so many.
4. Al Pacino in The Irishman
Pacino was the perfect choice for Scorsese’s Jimmy Hoffa – it brings Pacino into the Scorsese fold of gangster epics, which oddly he had never been in before. But it’s also because Pacino isn’t afraid of going big, bold and risk going over the top. Sometimes, Pacino goes too far – but that doesn’t happen here. Here, the big and bold is perfect for Hoffa, who was that was anyway, and as the film moves along you realize that most of that in Hoffa is bluster – almost comic. He doesn’t really believe they will take him down. It’s Pacino finally having a chance to give his talents to Scorsese – and Scorsese knowing the absolute perfect way to use those talents.
3. Kang-ho Song in Parasite
One of the biggest stars in Korean – and one of the best actors in the world – I am delighted that Kang-ho Song seems to finally be getting the type of attention that he deserves for his best ever work for frequent collaborator Bong Joon-ho. Here, playing the father of the family trying to integrate itself into the life of a rich family, Song is brilliant in the early scenes – where things are lighter and funnier, and even more so as the action gets more frantic, and ke tries in vein to keep things under control. One of the absolute best moments of acting in any film this year is when he is laying on that cot, and finally admits he has no plan – it’s a culmination of his performance and character in this film, but also in all of his films with Bong – where he always seems to have something up his sleeve. And that doesn’t even mention his devastating final moments. So I welcome the world to the cult of Kang-ho Song – what took you so long?
2. Joe Pesci in The Irishman
The smartest thing, in many smart things, about The Irishman is the way it uses Joe Pesci. Pesci, whose well-known persona is based on the hotheads he played in previous Scorsese gangster masterpieces GoodFellas and Casino, is pretty much the exact opposite here. His Russell Bufalino is every bit the killer of those characters – but a measured, calm, smart one. He doesn’t raise his voice – because he knows he doesn’t have to. He exudes authority, and knows he will be listened to by all who know what is good for them. His final scenes are even quite touching, even if you know the person he is. This may well be the final performance of Pesci’s career - it’s only his third film this century, and his first is nearly a decade. If it is, what a way to go out on top.
1. Brad Pitt in Once Upon a Time in Hollywood
Brad Pitt is one of those interesting movie stars in that he is one of those few actors who can still pull of the absolute movie star performance – like in the Ocean’s films or Moneyball, where he coasts on his charm, his talent, his good looks and good humor. That’s a skill few people have left. But he’s also an excellent character actor when he wants to be – diving in deep to characters, drudging up something profound. His best performances – like in The Assassination of Jesse James by the Coward Robert Ford, and now this one in Once Upon in a Hollywood, Pitt combines those two aspects of his talent, to deliver something truly special. His Cliff is really the heart of the film, the connective tissue between everything – and Pitt doesn’t let that go. He also embraces the contradictions in his character – the complex morality, or amorality, of his character that complicates his status as a hero. It is the best performance in a great career – probably the best in any category this year.
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