Alternate Best Actor 2010: Results

5. Andy Serkis in Sex & Drugs & Rock & Roll- Serkis is terrific in his portrayal of Ian Dury reminding me of the real man who I only knew from a brief not very memorable scene in Judge Dredd.

4. George Clooney in The American- Clooney gives possibly his best performance by toning down his usual mannerisms and giving a restrained as well as powerful portrait of an assassin who has seen too many double crosses.

3. Ryan Gosling in Blue Valentine- Ryan Gosling gives a very strong performance in both his portrayal of the exuberant charmer as well as the bitter man he becomes.

2. Robert Duvall in Get Low- Robert Duvall once again knocks it out of the park in his portrayal of his old hermit who he creates a beautiful portrait with warmth, humor and sadness all while properly being this man who has exiled himself from the world.

1. Choi Min-sik in I Saw the Devil- This was one very close for me between the top three who all give great performances with stand out moments throughout their films. My favorite though goes to Choi Min-sik for his chilling portrayal of a serial killer who ends up being tortured himself. It is an amazing performance meeting the challenge of his character all the way through even as his character undergoes several extreme changes.

Overall Rank:

1. Choi Min-sik in I Saw the Devil
2. Robert Duvall in Get Low
3. Ryan Gosling in Blue Valentine
4. Jesse Eisenberg in The Social Network
5. Ewan McGregor in The Ghost Writer
6. George Clooney in The American
7. Andy Serkis in Sex & Drugs & Rock & Roll
8. Christian Bale in The Fighter
9. Jiang Wen in Let the Bullets Fly
10. Geoffrey Rush in The King's Speech
11. Leonardo DiCaprio in Inception
12. Lee Byung-hun in I Saw The Devil
13. Otto Jesperen in Trollhunter
14. James Franco in 127 Hours
15. Bruce Willis in Red
16. Ge You in Let The Bullets Fly
17. Leonardo DiCaprio in Shutter Island 
18. Ben Affleck in The Town
19. Colin Firth in The King's Speech
20. Robert Downey Jr. in Iron Man 2
21. Mark Wahlberg in The Fighter  
22. Jeff Bridges in True Grit 
23. Javier Bardem in Biutiful  
24. Mark Wahlberg in The Other Guys
25. Daniel Radcliffe in Harry Potter and the Deathly Hallows  
26. Michael Cera in Scott Pilgrim vs. The World
27. Sean Penn in Fair Game
28. Will Ferrell in The Other Guys
29. Gleenn Erland Tosterud in Trollhunter
30. Aaron Taylor Johnson in Kick-Ass
31. Skandar Keynes in Voyage of the Dawn Treader
32. Sylvester Stallone in The Expendables 
33. Logan Lerman in Percy Jackson 
34. Jaden Smith in The Karate Kid
35. James Frecheville in Animal Kingdom

Next Year: 2010 Supporting 

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Alternate Best Actor 2010: Ryan Gosling in Blue Valentine

Ryan Gosling did not receive an Oscar nomination, despite being nominated for a Golden Globe as well as several critic awards, for portraying Dean in Blue Valentine.

Blue Valentine is a mostly effective film about both the building of a relationship as well as the painful destruction of it.

Something that commonly occurs with Oscar nominations is films where it seems the actors performances are inseparable the Oscars go and separate them. This is occurred most recently with Amour where Emmanuelle Riva was nominated but Jean Louis Trintignant was nominated. This has happened several times despite it seeming like one could get along the way they do without the other but this did occur for Ryan Gosling as well. Michelle Williams was nominated for portraying the female side of the relationship Cindy while Ryan Gosling as the male side Dean was not despite the film being primarily about their interactions while they are beginning their relationship as well as while they seem to be ending it.

Gosling portrays Dean who is the more explosive of the two in the relationship. Williams's portrays Cindy as somewhat restrained and she emphasizes the distance cold manner of her. Her change between her is really the level of coldness she has. Gosling gets the more flamboyant role as Dean who early on the film is a bit of a hopeless romantic. Gosling definitely does not play the role like your traditional hopeless romantic in any way, even if he is one. Gosling takes his very own approach to the character who he plays him as not exactly the most stable sort. Gosling does this really quite well because he makes Dean a quirky energetic fellow in everything that he does has a certain quirk yet Gosling feels very down to earth with his performance.

Gosling emphasizes the spontaneity of his performance which he does as both the young and the old Dean quite effectively. As the young Dean he is a man of his very own style as shown in the romantic scenes between Dean and Cindy. Gosling is honestly very charming in a very different fashion in just  how much that he expresses Dean's beliefs in the idea of love that he holds. As the young Dean Gosling suggests him honestly working toward some sort of substantial relationship with Cindy even though mostly what he does technically speaking is very much just on an the surface attraction and connection. The truth is they never do get right down to the matter of love, and both actors probably accentuate that disconnect within the connection.

Importantly Gosling is not at all fun and games as Dean. Dean is not a stable man by any means. Gosling makes Dean a man who is a bit in his own world at times even though when there is something that breaks it Gosling powerfully shows that it really does hurt him. Gosling interestingly makes his flamboyance almost a way just make himself happy as there is a great deal of sadness in Dean from his inability to live the life he wishes to live. Gosling is excellent the way he gets across the rapid changes in Dean's emotional state throughout the film, that can even change to an extreme extent in a single scene. He gets across the small moments of joys but as well as the pains that he goes through with his relationship with Cindy.

The scenes with the young Dean are shown inter spliced with the scenes of the older Dean after he and Cindy have gotten married. Gosling again still keeps that unpredictability in Dean yet now he has lost any joy that seemed to be in him before. Dean no longer is the exuberant charmer but rather a bitter overly possessive man. Gosling absolutely succeeds in this changed and makes the change as disheartening as it should be since he makes him the same man with time. It is quite disconcerting because he still exhibits some of the same behavior as he did before but now it frankly has lost the heart. There isn't any charm any more in his portrayal which adds so much in presenting the loss of life in Dean as he sees how his dream relationship has turned out.

Gosling and Williams both succeed incredibly well in portraying the death of the relationship by amplifying that disconnection between the two of them. William's making the coldness in Cindy only growing more and seeming more uninvolved than ever, and Gosling showing the insecurities that Dean has over his ideas for life have only grown more and more. The two of them together are great as they succeed in making the two people who do not seem like they were meant to be together, but they what they do so well is able to convey the tragedy of the relationship. The tragedy that they create is that in their severe problems in their disconnection is that in their past there was honestly something between them.

Gosling gives a very strong performance as this troubled man in both his youth and after having aged into bitterness. He gives credence to every aspect of the man from the more positive moments involving his unique charming but as well the terrible behavior that surfaces in the man within time. It is a great individual performance, but where the film succeeds most is in the creation of the relationship between the two actors.  His portrayal of the changes that Dean goes through along with Williams portrayal of what Cindy goes through leaves a memorable impression. They create together a unique relationship that never shy away from going into the blunt details of it all from the scenes of happiness to the uncompromising scenes of despair.

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Alternate Best Actor 2010: Robert Duvall in Get Low

Robert Duvall did not receive an Oscar nomination, despite being nominated for several critical awards as well as Sag, for portraying Felix Bush in Get Low.

Get Low is an intriguing film about an old hermit who requests a funeral home to give him a funeral while he is still alive.

Robert Duvall unlike some of his contemporaries never has given up on giving his all in his performances. Duvall has kept showing passion in his portrayals throughout his career and it is a real shame the the academy failed to recognize him for his work here as he would have been the best of nominees had he been nominated. Duvall once again shows himself to be the great actor he is in his portrayal here as the hermit Felix Bush who lives in a lonely cabin in the woods advising all to keep away, until suddenly he comes to the nearby town to explain his wish to make some sort of peace through his strange idea to have his own funeral party without having to be dead.

Early on the film Bush is a scraggly sort with a long unkempt beard and the general appearance of the type of man you would expect from a hermit who lives in a cabin in the woods. Duvall instantly sinks his teeth into this character right away finding just the right way to play the part as Duvall usually does. He meets the demands of the hermit in an interesting and effective fashion. On one hand he does convey very much the hermit everyone wants to keep away from. He is cold in his own way, and he suggests a certain danger in the man. Duvall makes it entirely understandable why everyone would keep away from him as well as why so many would believe some of the stories that have been heard about him.

Duvall at the same time though shows that Bush probably is not all that they see either. Yes there is a coldness and a bluntness in his method of dealing with outsiders but there is not any cruelty in Duvall's eyes though either. When one of the towns people harasses Bush causing Bush to give him a quick beat down, Duvall very much shows it very much as just a quick reaction to dealing with behavior, and their is no real ill intent in him. Anything about him that is distance is not a distance formed of hate or anything even remotely close to as played by Duvall, it is something entirely different that Duvall perfectly alludes to early on. He keeps what keeps Bush away an undeniable mystery, but Duvall makes it clear that once you know Bush it is not due to him being a monster.

Like the funeral home director (Bill Murray) and one of his employees (Lucas Black) when we get to spend a little more time with Bush he makes all the more apparent that he is no monster. Duvall actually as we meet Bush more takes a rather gentle approach as Bush. He even has a nice bit of humor in his performance which he brings naturally in his portrayal of the old loner. Duvall knows how to bring this semi comedic elements well into the part by just blending it into his distinct personality with such flawless ease. This humor also is important to show that Bush is a complex man who is not only defined by his past, and Duvall establishes through this humor that there was once probably a very lively man that lived with the name Felix Bush.

It would have really easy for him to have been just a grumpy old man, or just a very sad one but Duvall gives a nice portrait of variety with the old man. One particularly great way Duvall handles the part is in the way that Felix asks about the stories about him. Even though the stories are never positive Duvall subtly suggests a bit of a curiosity in Felix as well as even a bit of a bemusement that he would be able to create such gossip with his life. Duvall honestly actually has a great deal of warmth in his performance more than one would expect from the old hermit. He does though always in a quiet manner that never compromises the nature of the man. There is a warmth but a shy retiring one almost like he tries to close it off a bit just like he tries to be closed off from the world.

There is an overarching sadness in Duvall's performance though that suggests why Felix closed himself off from the world. Although it is not always overwhelming Duvall never makes it the only part of Felix but he does make it an essential part. He establishes a pain there a sorrow that is very much deep in his bones. It is not that he is just sad but rather there is a true tragedy suggested by his eyes something that he cannot completely forgot about even when he is having a fine time. His scenes with Sissy Spacek, as Felix's old girlfriend as well as the sister of the woman who he has a picture of in his own, are all terrific. The two great actors together tell the past of the two both the fond memories but as well very much the shared memory of the sadness they share which haunts them both.

Duvall builds quite effectively to what exactly pains Felix so much to the scene where they finally do hold the funeral party where Felix finally offers his confession of what precisely haunts him. Duvall is absolutely brilliant in this scene as he recall the terrible memory and this scene can be put up there with the greatest moments in his illustrious career. It is a beautiful scene as Duvall has Felix vividly recall what happened to him in all of its heartbreaking deal and it is a wondrous moment as an overwhelming amount of emotion pours out from the man who refused to reveal his pain for so many years. Duvall is outstanding as he completely earns the moment and it truly feels like a man finally letting go of something that has kept so sheltered for so long.

It really shows the quality of this performance that Duvall does not just stop after the pivotal moment and he has one more terrific moment as we see Felix finally being a man of contentment. The pain is lost and it is in a way almost as powerful as the speech itself by portraying what his confession has finally given him. This is an another amazing performance by Robert Duvall create a fascinating character out of the hermit. The idea of the funeral is interesting all on its own, but Duvall is the one who makes it something so special by delivering with this great character. It is terrific just to watch Robert Duvall knock a role right out the park once again with that same ease and naturalism that he has brought to his characters throughout his long career.

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Alternate Best Actor 2010: Andy Serkis in Sex & Drugs & Rock & Roll

Andy Serkis did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Ian Dury in Sex & Drugs & Rock & Roll.

Sex & Drugs & Rock & Roll plays more of a tribute to English rocker Ian Dury more than anything else particularly with its abrupt ending. Although it tries a little too hard to be stylish at times, I must say I certainly enjoyed much more than Ray and Walk The Line.

Andy Serkis is best known for his motion capture performance especially as Gollum in the Lord of the Rings, but he managed to get a Bafta nomination for this strictly live action portrayal. He actually was nominated for the year of 2009 before the film actually had a public release date anywhere. The Bafta voters must have loved his performance to be quite so enthusiastic about it, or maybe they wanted to make up for the fact that they did not nominate him for best supporting actor for the Two Towers in 2002 despite having nominated Eddie Murphy for his voice only portrayal in Shrek in 2001.

Serkis plays Ian Dury who was apparently a famous face in Britain although I must admit I never heard of him before watching this film. Serkis takes on the role in a fashion of really inhabiting the role from Dury's accent, to his polio induced limp, and of course a very certain style. Serkis is completely natural in his portrayal and everything he does to become Dury merely feels like he becomes Dury. Never does his performance feel like that and he makes all his mannerisms all part of his total characterization. Serkis despite tasking himself with taking on the role of this very particular man he never seems like he is just trying to play the part like say Jamie Foxx did in Ray.

I have to give Serkis the utmost credit in his characterization as even though I had no idea who Dury was well watching the film, but Serkis did remind me of someone I saw in a film at one time before. I thought and who came to my mind was the shop keeper in a rather brief scene in the film of Judge Dredd. Well it turns out that shopkeeper was in fact played by Ian Dury. I have to praise Serkis a great deal here as he managed to remind me of Ian Dury through his performance even when I did not even recognize the name. That takes some doing, and it quite a testament to the strength of Serkis's portrayal where he so seamlessly establishes Dury's physical traits.

This particular biopic is quite different that the usual one in that it does not follow the rise to success heavy drug period, than either a comeback or death afterwards. This one follows a different approach kind of jumping around to times of success times of failures, times of warmth and times of heartbreak. It does not exactly sit on a single one for great deal of time, and even when it is focusing on one aspect it might cut to another, or at least a musical performance well doing so. Serkis really has to juggle the different directions the film takes to be able to bring out the emotional power in each of them, and actually he does this all fairly well.

Serkis moves from moment to moment all well and whatever he does always seems fitting for Dury. In the performance scenes Serkis really throws himself into them and has the presence he should. The musical scenes all on their own are very entertaining to watch by the way Serkis delivers in each of these scenes and they never feel repetitive as he does something unique in each one of these scenes. Serkis though does show these to be performances and properly dials down Dury in his personal scenes. He actually stays fairly restrained as Dury in his personal life, and really there is not an arc exactly with his performance. Yes there are ups and downs but the film and Serkis really portray them in a more day to day fashion.

Serkis taking the day to day approach for Dury actually works and he makes him just a normal human being through the way he deals with his own past as well as his present issues. Serkis meets the demands of every situation. In the scenes with Dury's family Serkis is very effective showing a great deal of warmth at times that is quite moving, but as well showing a certain self absorption that creates troubles. Serkis plays it all very realistically and makes all of the complexities of his relationships believable. The same goes in the scenes where he is working with his band. Serkis makes the temper tantrums as well as the moments of genuine creativity all work as the methods of one man.

Serkis's best moments come when Dury's reflects on his past involving his father and his troubles due to contracting polio. Again Serkis mixes the emotions brilliantly as he conveys the pain and sorrow in Dury over these matter, but in equal effectiveness shows the perseverance and strength in the man from his experiences as well. Serkis matches every challenge involved in the film's manner of telling Ian Dury's story quite efficiently. He is able to find the rhythm necessary for the part in terms of both Dury's public and private personality. This is very strong work from Andy Serkis showing that he is a capable actor both when he has the aid of computer graphics as well as in this film where he must stand entirely on his own.

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Alternate Best Actor 2010: George Clooney in The American

George Clooney did not receive an Oscar nomination for portraying Jack in The American.

The American is the epitome of a slow burn which tells the story of an over the hill assassin doing one more job. I personally thought it is quite compelling and reminded of The Day of the Jackal in a good way. I can see why it is divisive as it does take its time.

George Clooney is not one of my favorite actors as you may have been able to decipher from my reviews of all of his Oscar nominated performances. All of four of his performances I felt lacked conviction in terms of trying to portray an actual character, and besides Syriana he relied to much on just his own personality. Then with Syriana he relied to much on his weight gain and one single expression to convey the troubles of his character. Clooney seems like an actor who just can do no right for me, well that is not true, and I believe that his work here actually vindicates by own opinions regarding his other performances, especially since this sort of is almost the exact type of performance he should have given in Syriana. 

Clooney plays here an assassin, and thankfully takes a decidedly non Clooney esque route for the character of Jack. From the first scene where Jack kills two potential assassins, and an innocent woman he was with, it is rather clear that this is a very different character for Clooney. Clooney also takes a very different approach here and manages to actually internalize the emotions within Jack, and realizes Jack as a character. Clooney never loses his character here and he always stays with Jack through the film never compromising once for his usual manner he takes with many of his performances. This time there is the conviction in his performance that brings Jack to life as a character, and makes him particularly compelling character at that.

Jack is in many ways much the Jackal so well played by Edward Fox in The Day of the Jackal. Clooney like Fox did in that other film about a meticulous assassination shows very much the attitude that the day to day hit man. Clooney like Fox did portrays the routine effectively, and properly shows the operatives history through the meticlous manner employed. It is quite nice to Clooney actually handle a role with so much subtlety, and for it to honestly pay off as it does here. Clooney is great in the manner that he brings in through his eyes that fierceness one would expect from a killer. He portrays Jack as a man always of the mind. He makes him a man who is always clearly thinking and calculating as the trained killer should.

There is a great difference between Jack and the Jackal though since the Jackal was a soulless man willing to kill anyone to complete the job, Jack actually has a soul. Clooney is very affecting in his portrayal of this man who frankly has just killed too many and seen to many double crosses in his time. In this vein he reminded me of Richard Burton as Alec Leamus in The Spy Who Came in From the Cold particularly by the subtle method in which he expresses the pain Jack is going through. This is probably the least that Clooney has ever spoken in a film, and he handles the often silent role so well. He is great in just the scenes of Jack listening particularly in the presence of a kindly priest. Clooney powerfully shows Jack's regrets simply in his expression as the priest talks about sin.

This is a strong performance from Clooney throughout but he especially succeeds in the part near the end as Jack sees things closing around him. One single stunning moment comes in his performance as he believes he once again has to murder someone who has become close to him. The moment is brilliantly played by Clooney as he makes despair mounts as Jack is forced to prepare for the kill. It is a beautiful moment so quietly played and realizes the troublesome condition of this man so effectively. At the end of the film as Jack rejects the mission this could easily be the time for Clooney to drop Jack's nature and go to his old tricks as an actor but he doesn't. He keeps going within this downplayed approach where we really can truly feel the struggle that Jack is facing.

The final moments of his performance are terrific, and Clooney could not play them better frankly. Jack's true feelings finally come out, but Clooney does not reject his portrayal of Jack for these moments. He stays with the character still and succeeds in bringing the poignancy at the end by subtly showing the intensity of Jack's emotions slowly builds as he sees his future slipping away. It is a very moving end to the film, and Clooney delivers. So there, here is a performance by George Clooney honestly gives a very strong portrayal of a character because he goes straight through the film with the character. He carries this film not through his usual method, but by dialing back his own manner and gets to the core of his character.

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Alternate Best Actor 2010: Choi Min-sik in I Saw The Devil

Choi Min-sik did not receive an Oscar nomination for portraying Kyung-chul in I Saw The Devil.

I Saw the Devil is an engrossing and stylish thriller, although definitely not one for the squeamish, about a secret agent who goes about seeking revenge against a serial killer who murdered his fiancee.

Choi Min-sik, who I last reviewed in his terrific no holds barred performance in Oldboy, plays the serial killer of the film and certainly has a somewhat different approach here. Min-sik has a terrific screen presence and he owns the film in the same way as he did in Oldboy. This time though he does not portray the loopy hero of Oldboy, instead he plays the extremely sinister murderer here. Min-sik is horrifying here in his two early scenes where he murders two women. Min-sik's manner of portraying the killer is particularly frightening because of how much he downplays these scenes, especially the second scene where Kyung-chul actually sort messes up his way as he struggles to find his murder weapon in the back seat of his car while his soon to be victim looks on.

Min-sik is especially disturbing because he doesn't show the murders as anything special to Kyung-shul they are just kind of a day to day thing for him from the casual manner he approaches them. Min-sik has Kyung-shul go about it in a slow not all rushed way he smokes he takes his time, and he never seems to rush. Min-sik by taking this approach is especially chilling because it is clear that  he has done this before, many times in fact, and to certain degree it has become basically a routine for him. There is a soullessness in Min-sik's performance that is quite unnerving. The only time he seems all that active is when he goes in his attack where the inner monster comes out and the full brutality of Kyung-shul is seen, and that all he is quite obviously a maniac.

Min-sik makes Kyung-shul especially off putting because of how nonchalant he is in portraying the killing. This is actually trickier than it sounds as it could be played wrong and it would seem just like a disinterested actor, Min-sik handles it brutally well in really allowing us to see that there is a history of this killer and it is a very long one indeed. What compels him to commit such atrocities is never exactly stated in the film, but Min-sik alludes to it well in his portrayal. Firstly through just that complete lack of empathy in his performance, there is such a harrowing quality Min-sik brings to the role that paints Kyung-shul as a truly hollow man. Min-sik as well suggest that in Kyung-shul there is a hatred in him toward women that Min-sik does not shy away from showing it to be as despicable as it is.

The tables are turned on Kyung-shul though when the secret agent Kim Soo-hyeon (Lee Byung-hun) tracks him down. The twist is though when the agent finds him he doesn't kill the serial killer instead to act revenge he purposefully lets him live to keep torturing him. As Min-sik so brilliantly changed in Oldboy whenever his character had to massively change very quickly, he is just as efficient here although the change this time is far from permanent. Min-sik changes a bit showing Kyung-shul's confusion at the situation more than anything, but also a bit of a revelation as he almost seems firmer in his resolve to do whatever he feels likes, and again Min-sik is scary as hell when he intimidates a doctor and nurse shortly after having been treated by them. Kyung-shul's joy is short lived though as the agent makes it clear the first beat down Kyung-shul was only the beginning.

Choi Min-sik is terrific as Kyung-shul stops being the hunter and instead is instead the hunted. Min-sik is very effectively as he shows that Kyung-shul quickly loses his confidence of before and increasingly becomes a man filled with desperation. Min-sik is able to bring the fears alive in him, and interestingly as he starts to show him as the mouse begins to at least to allude to some humanity although only in its most basic form. Kyung-shul becomes a frightened man himself, and Min-sik brings this fear alive brilliantly by making it a counterpoint to the earlier behavior of the killer. When the killer had the power there was nothing but the hollow inhuman shell, but as soon as he faces being the victim Min-sik believably changes him into a cowering with honest human emotion.

After learning of how the agent is keeping tabs on him Min-sik again transforms Kyung-shul once again. Kyung-shul gains his confidence back again, but he keeps his humanity, though not in a good way. Min-sik portrays Kyung-shul at his fiercest as he determines to specifically target the agent for revenge. Min-sik now turns him into a very imposing villain and makes it clear that Kyung-shul is not a man you want to give a task to. Miin-sik is marvelous just to watch as he shows Kyung-shul become a man entirely in his element and is truly disturbing as portrays the extent he will go to seek his revenge. Kyung-shul's final murder is very personal suddenly and Min-sik shows the difference in the intense manner he portrays both Kyung-shul's anger and glee in his new situation.

This brings Kyung-shul to the final scene when he and the agent finally face off man to man by this point both having a great deal of blood on their hands. Although Lee Byung-hun is fine as the agent the scene absolutely belongs to Min-sik the entire time as he gives the full portrait of a man who is coping with the fact that he going to be killed very soon. It is all in one scene but Min-sik runs through the emotions powerfully without a moment of disconnect between the phases for Kyung-shul. He shows a whimpering man pleading for his life as he sees it closing around him. Min-sik brings this to him becoming defiant and very chilling as Kyung-shul basically tells the agent that all of his efforts have been a waste, and Min-sik succeeds in bringing the central theme about the hollow nature of revenge to life. At last though he is left as a man holding on to life literally by his teeth, and he loses that last ounce of defiance he had left. 

The very last scene is an amazing scene even though you get none of the gratification one would expect when the villain of a film gets his comeuppance. Min-sik holds nothing back and brings the unflinching horror of the moment through his performance. It is one last moment for Kyung-shul as Min-sik shows him reduced to be the opposite of what he was at the beginning. Where he was at first a soulless killer Min-sik leaves him as just a ball of emotions of sadness and pain as he struggles not only not to die, but as well to spare his family from seeing what the end of his monstrous actions has brought. It is an unforgettable scene, and it works because Min-sik absolutely earns the moment through his portrayal of Kyung-shul's transformation throughout the film. This is a tremendous performance by Choi Min-sik as he is a terrifying, imposing, and disturbing villain, while never once failing to meet the needs of the extreme emotional changes of his character.

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Alternate Best Actor 2010

And the Nominees Were Not:

Choi Min-sik in I Saw The Devil

Robert Duvall in Get Low

Ryan Gosling in Blue Valentine

George Clooney in The American

Andy Serkis in Sex & Drugs & Rock & Roll

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