Best Performance
Nominees
A Real Pain – Kieran Culkin
Truth is, everybody in this movie is superb, and it was incredibly difficult to choose between the two leads. Culkin JUST edges it. Eisenberg nearly clinched it with the scene in the restaurant, and if he had been given more chances, he would have won it. But Culkin’s consistency wins out. Throughout the entire runtime, he is a ball of depressed confidence. Someone who seems confident but is racked with self-doubt and who you can easily imagine committing suicide the second he leaves a room after telling a joke.
Bring Her Back – Sally Hawkins
Anybody who watched The Shape of Water knows how good Sally Hawkins is. But anybody who watched Godzilla: King of Monsters knows that she is sometimes wasted. That’s not the case here. I was not a fan of this movie, but even I could see how magnetic her performance was. Her face is so expressive that it’s essentially an emoji.
Companion – Sophie Thatcher
Androids/aliens that present as humans are always weird things for actors to play. They need to be human enough that people would believe them as human at first view, but have a weird otherness to them that you can buy that they’re not human. So when someone does it as well as Sophie Thatcher does, I believe that has to be commended.
Last Breath – Woody Harrelson
I’ve liked Woody in a lot of stuff I’ve seen: Money Train, Cheers, Zombieland, etc. But I’ve never seen one of his performances and thought “now THAT’S an actor”. Not that he’s ever been bad, but he’s never really been the most impressive performer. Which is why Last Breath surprised me so much. This was one hell of a performance. He plays the usual Woody character, but when shit gets serious, he impresses. He gives one hell of a performance, showing SO much emotion. It’s truly impressive, and I don’t know where he pulled it from, but I want to see more.
Mickey 17 – Robert Pattinson
He plays multiple versions of the character, but it’s the two that lead the film where he earns his acclaim. You can see a still image of him playing both characters, and know which one is which due to his body language. Both of them are so profoundly different that it really allows Pattinson to show what he can do.
Winners
Sinners – Michael B. Jordan
Anybody who watched the Creed movies knows just how good he is. But I believe Sinners is the movie where it becomes undeniable. His dual role shows just how good he is. Similar to the Pattinson example: you can see a still image and know which one he is due to body language. In 2019, I adjusted the way I list awards; instead of having “best actress” and “best actor”, I’ve had “best performer”. Here are the winners since then:
Cailee Spaeny (Civil War/Alien: Romulus)
Stephanie Hsu (Everything, Everywhere, All At Once)
Lily Gladstone (Killers Of A Flower Moon)
Julia Sarah Stone (Come True)
Elisabeth Moss (The Invisible Man)
Lupita Nyong’o (Us).
A wide variety of performers and performances, but they all share one thing in common: they’re all women. Officially, Michael B. Jordan is the first person to win a gender neutral acting award on this website. Is it as big a boost to his career as an Academy Award nomination? Only time will tell. (spoilers; it will definitely not)
Best Character
Nominees
A Real Pain – Benji
Again, it was difficult to choose between the two leads. It could genuinely be any of them. In the end, I went with Benji because of the inner conflict going on. He’s just slightly more interesting. It’s also possible that I related to them a bit more; he’s funny, charming, and people like him, but underneath, he’s a complete mess who’s barely holding it together. If you remove the parts about being funny, charming, and liked, then he’s exactly like me.
Captain America: Brave New World – Isaiah Bradley
I’m uncertain about placing this here because he was a character in a TV show first, but I haven’t seen that show, so my opinion is based entirely on his characterisation in Brave New World. It’s always fascinating when series like the MCU hint at a wider world, and Isaiah is a great example of that: a superhero who has been discarded and mistreated by his own government.
Companion – Iris
It’s impossible NOT to root for Iris. A feminist icon for the AI generation. It all feels genuine and unforced. Compare this to the way that Endgame did the “girl power” moment that felt deliberate and shoehorned. Iris is a fantastic character; strong, independent, smart (after the adjustment), and importantly, she wins. She is sexualised by the characters, who refer to her as a sexbot, but she’s NOT sexualised by the film itself; the character isn’t made to bend over suggestively for the camera under the guise of “well, she’s a sexbot, she would do that”. The film treats her with respect, and that’s depressingly refreshing.
Love Hurts – Marvin Gable
Sometimes it’s good to see somebody who is just nice. No cynicism, no evil, just kind. Okay, he was a ruthless assassin, but the film does SUCH a poor job of showing us that, so his evil side never really comes through. Marvin is not on the level of Paddington, but it’s the closest of the year.
Novocaine – Novocaine
This character could have been terrible. “He can’t feel pain” could have just been dumb, and met with lots of people being like “it would be so cool to have that, I’m jealous”. Novocaine really stresses how horrible that condition actually is. It doesn’t make you a badass superhero; it makes you unable to know when you need to pee, it makes it so you can’t eat solid food because if you bite through your tongue, you wouldn’t notice, it makes it so you won’t know if you step on a nail until your shoe fills with blood. It’s a very mature take in a movie that didn’t need to be as mature as it was.
Opus – Alfred Moretti
Opus has a lot going for it, and while it isn’t great, it would be a lot worse if Moretti weren’t believable. The audience needs to forget that he’s John Malkovich and believe he’s a larger-than-life musician. He’s written so well that that’s easier to do. It’s not just him, it’s the way the other characters respond to him. He’s built up to be a huge deal, but not in an obvious “characters talk about him” way. We’re not just TOLD he’s a big deal, we’re shown he’s a big deal. It also helps that the songs are great.
Winner
Superman – Superman
In a world where not being a dick is seen as “woke”, kindndess is punk as fuck. I will admit, for a lot of my life (especially when I was an angsty dickbag), I didn’t “get” Superman. But films like this demonstrate why he is as beloved as he is; he is good. Not heroic, good. Someone who is driven not by his strength and powers, but by his inherent desire to do good.
Worst Character
Black Phone 2 – The Grabber
This is entirely down to how they change him between the films. In the first one, he was a serial killer, but still human. In this, he’s basically Freddy Krueger. I like Saw, I like A Nightmare On Elm Street, but if A Nightmare On Elm Street were a Saw sequel, it would make me like both a lot less. Normally, horror movies wait until the 5th movie before they get supernatural and stupid.
Happy Gilmore 2 – Happy Gilmore
I liked Happy Gilmore when I was a teenager. But despite what my level of maturity tells me, that was a long time ago. I’ve matured (kind of), grown up, Happy hasn’t. He’s still the same character he was at the end of the previous film. Yes, he now has kids and a dead wife. But personality-wise? He’s still the same. That kind of shtick works when you’re in your 20’s, as someone of his age, it’s just kind of pitiful, like when you see a man in his 30s drinking in a park.
One Of Them Days – King Lolo
When you watch the original Friday (which is the closest comparison anybody can make to this movie, Deebo looms heavily over everything. Even when he’s not onscreen, you are aware that he can come in at any time and fuck everyone up. You never really feel that with King Lolo here. For most of the runtime, he’s forgotten.
Urchin – Mike
It’s not fun or interesting to watch someone repeat the same mistakes and not learn anything.
Y2K – Eli
He’s an entitled incel-in-training,
Winner
Kinda Pregnant – Lainey
Maybe this film would be better if the lead character were likeable. The trouble is, her logic is so stupid, her motivation is so insincere, and her actions are so ridiculous, that it’s hard to root for her to win. You don’t necessarily want her to lose or suffer harm, but you’re not really made happy by seeing her in moments of joy. It’s a shame as there are fleeting moments where her character does work, the initial meeting with Josh is very sweet and cute, but that sweetness doesn’t make it to the rest of the film.
Troubled Productions 