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David Poland

By David Poland

20W20: Best Supporting Actress Chart, Oct 23, 2011

10/23/11 Charts
Picture | Actor | Supporting Actor | Actress | Supporting Actress

The Field
Berenice Bejo
The Artist
The movie The Academy will adore.  Berenice has the harder role, in a way… the Ginger… backwards and in heels.
Janet McTeer
Albert Nobbs
She channels Hugh Jackman perfectly and delivers on all the nuance.  It’s the showy role in the film, but she shouldn’t be penalized for that.
Shailene Woodley / Judy Greer
The Descendents
Realistically, this should be Shailene’s slot.  She has the 2nd or 3rd lead in the film… Judy has a cameo.  But man, people can’t stop talking about Judy’s cameo and she is one of the actors that is adored, but unadorned.
Judi Dench
J Edgar
God, I can’t wait to see Leo wear her dress!  Haven’t see the film or read a script, but the Intense Mother Of The Year prize seems to be coming her way in the trailer.
Octvaia Spencer/Jessica Chastain/ Bryce Dallas Howard
The Help
Pick your poison.  Three terrific performances.  Arguments could be made for or against each.  The question is, who’ll get sticky?  The new-ish face, this year’s 6-film IT Girl, or the Hollywood pedigree who does the best work of her career?
Vanessa Redgrave
Coriolanus / Anonymous
She is Shakespearean in both.  In one, she is fearsome.  In the other, she is winsome and offers a unique and wonderful take on Elizabeth I.  She has the Streep problem… she’s expected to be brilliant.
Jessica Chastain
Take Shelter
A tremendous performance opposite a brutally intimate performance… no easy task.
Jessica Chastain
The Tree of Life
The mother of all good memories. our first sight of her… and quite a sight T-Malick offered.
Evan Rachel Wood
The Ides of March
Really fine, coming-of-age work from an actress that we’ve become so familiar with loving that we forget to let her know how much we do.
Elle Fanning
We Bought A Zoo
Haven’t seen it.  A great young actress.
Emily Watson
War Horse
Haven;’t seen it… but if the movie ends up stealing hearts, no doubt, she will have one hand on the rein.
Carey Mulligan
An instant beloved of Hollywood… but deserved the nod against last year and didn’t get it for a movie The Academy barely watched.  Will they watch Shame… or will her nudity make them so uncomfortable that they reach for the remote right then?

6 Responses to “20W20: Best Supporting Actress Chart, Oct 23, 2011”

  1. Danella Isaacs says:

    Octvaia! The one really impressive piece of work in a mediocre film.

  2. movielocke says:

    I think Chastain and Spencer are both very likely for the Help. Help represents Chastain’s best chance, and she’s a highlight in that film. I don’t think that a Tom Jones esque three nods (including Howard) is out of the question for the Help, but that’s a huge and unlikely long shot.

    I think the opposite, that Bullock’s win makes future nominations easier, because now she’s a ‘more serious’ actress in academy minds.

  3. yancyskancy says:

    You transposed Bryce Dallas Howard’s first and middle names. I’d love to see her get a nod, but fear her villainous character doesn’t stand a chance against the likability of the Spencer and Chastain characters (both also very deserving). And yeah, as movielocke said, with this field the TOM JONES thing ain’t happening.

    Isn’t Melissa McCarthy getting a buzz resurgence for BRIDESMAIDS after her Emmy win and stellar SNL hosting gig?

  4. David Poland says:

    You said it, yancy… Emmy and SNL.

    I love the performance, but The Academy doesn’t really do comedy to start with and the Oscar For Best Shitting In An Inappropriate Place is a very tough get.

  5. yancyskancy says:

    Still, seems like McCarthy should be as much a part of the conversation as Wood, Fanning, Mulligan, whoever.

  6. Blindowl says:

    The amazing Judy Davis is always worth watching – she is again Oscar worthy in “The Eye Of The Storm”

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
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“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
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