Best Supporting Actor of 2016

Best Supporting Actor is often the least exciting acting category for yours truly, but that was not the case this year! Last year’s winner was dance machine Oscar Isaac from Ex Machina, and maybe the only one from my lineup last year that I feel as passionately as I do for the five on this year’s ballot. Those who almost made it: Billy Crudup’s understated sadness in 20th Century Women, Issey Ogata’s Silence slyness, Michael Barbieri’s funny and touching take in Little Men, and Craig Robinson’s charismatic dad in Morris From America. Moonlight‘s Ashton Sanders also nearly made my ballot as well for his middle chapter despair, but four slots to one film is a bit excessive.


Mahershala Ali – Moonlight
His nurturing is instinctive and impulsive, and you see it enacted to more than towards Chiron. Ali allows the more complicated implications to take him by surprise. His final scene is a masterclass in calculation, as Chiron’s questioning puts his compassion and guilt center stage until the shame overcomes him.

Tom Bennett – Love and Friendship
The smarts it takes to play someone so dumb. Bennett breaks up the sameness of Love and Friendship‘s humor while finding his own variety to his Sir James punchy moments. Still the actor defines him not by his doltishness, but by his delight in all things and by his backpedaling reflexes.

Alden Ehrenreich – Hail, Caesar!
Not just all kooky spaghetti lassos and false teeth, Ehrenreich is hilarious as a young star both smarter than dumber than you expect him to be depending on the moment. Would that it were so simple, he also walked away with a catchphrase. A simmering rage and loyalty make him more than a caricature.

André Holland – Moonlight
Like Ali in the film’s first third, Holland reminds you that the world outside of Chiron is as complex as our hero. Kevin has his own history too, and Holland’s ease and wandering eye bring our understanding of him full circle. He has the prowess to dismantle both Trevante Rhodes’s “Black” and the audience, but he’s just as shaken himself.

Trevante Rhodes – Moonlight
How does Rhodes carry a lifetime of baggage so seamlessly to the pain we’ve already seen from two other younger actors? Chiron is trapped by his history, but Rhodes is most vulnerable at the question of the future. A study in black masculinity elegantly wrought with heart-bursting specificity.

And the Winner is…

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In Review!: “Hail, Caesar!”

Coming like an bourbon-tinged palate cleanser from the Oscar season glut and the Star Wars-led spectacle of the holidays, Hail, Caesar! feels like the true start to the cinematic year after a typically grim January. Playing with old Hollywood tropes and satirizing the former studio system, the film is as much of a delight as it is confounding. What should be tricky for mainstream audiences expecting a star-filled madcap romp to fully embrace will still be met warmly by those ready for something just left of center after the end-of-the-year gloss.


In Caesar!, it feels as if the Coen Brothers are playing with more ambivalence than their famously fatalistic instincts. Things don’t come to a natural conclusion or result from the bad choices of idiots, as the Coens are prone to display, perhaps because there isn’t much happening at all. There isn’t much narrative thrust to make the Coens’ ideas lift off of the ground, even as they’re drawing from their common thematic toolbox of religion, misguided mores, and our impending doom. Luckily, the farce in between is more delicious and uproarious than anything we’ve seen from the duo in ages.

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