“Observe and Report” – 2009. Dir. Jody Hill

With Seth Rogen, Michael Pena, Anna Faris, John Yuan, Matt Yuan, Jesse Plemons, Aziz Ansari with Danny McBride and Ray Liotta.

“I ain’t gonna lie to you Ronnie; there ain’t nothin’ good about this at all.” – Dennis (Michael Pena)

Lately I’ve taken a slight detour from my film watching, and I’ve invested fully into HBO original series. I’m sorry to say, but “Boardwalk Empire” isn’t at all what it’s cracked up to be. I’ve been diving head first into “In Treatment” (which I now consider the finest HBO show to date). The highlight of my week is the one hour block on Sunday nights of two series: “Bored to Death” and “Eastbound & Down”. I watched the first season of “Eastbound” and I wasn’t that impressed with it – but after seeing where the story has gone this season – it’s one of my new obsessions.

Jody Hill is the creator and head writer/director of “Eastbound” and my BFF Peyton told me about “Observe and Report” which Hill did prior to “Eastbound”. I had an idea what the film was and I can say one thing for sure: I don’t like Seth Rogen and I probably never will. I remembered Quentin Tarantino saying that “Observe and Report” was one of the best films of last year; and the film also has Ray Liotta in it. So I watched it last night.

I don’t think much can prepare you for this film – it is one of the blackest comedies I have seen in years. The subject matter, the situations, the themes of this film is very dark. Seth Rogen who plays the head of mall security at this shitty little po-dunk mall is a fucking psychopath (seriously). He is comical, but when you actually comprehend what he’s saying/thinking – you realize how fucked up he really is.

The film starts with a flasher running through the mall’s parking lot. He’s pulling open his coat and showing every woman he sees his penis and yelling degrading things to them. It’s very funny. Ronnie (Rogen) is making it his mission to find this “fucking pervert” and has his underlings hot on the case. John and Matt Yuan are overweight identical Asian twins who inject excellent comic relief and Michael Pena, who I’ve never cared for, plays Dennis a stereotypical “gangsta” Mexican but he’s soft spoken and speaks with a lisp. Pena rocks the shit out of his role.

Anna Faris plays Brandi a high maintenance spoiled girl who works a cosmetic counter at the mall, and Ronnie is not only in love with her – he’s obsessed. When Bradi is “assaulted” by the flasher; enter Ray Liotta as the hard ass Detective Harrison. As you would expect Liotta plays his hot headed typecast but he is such an excellent treat in the film. Ronnie goes head to head with Detective Harrison, to try and compete for the attention and protection of Brandi.

I know you won’t believe this unless you’ve seen this, or have read about it, but this film is a mirror to “Taxi Driver”. That being said, this film is nowhere near as powerful or important as “Taxi Driver” – but Jody Hill shows so much homage to not only to “Taxi Driver” but to other Scorsese films. I can’t help but think the casting of Ray Liotta was partially due to Liotta being in “Goodfellas”.

We are shown an incredibly dark world, filled with slime and pathetic people, just like the New York of “Taxi Driver”. Ronnie is our Travis Bickle, with his brooding voiceover narration that screams for anarchy. The way the story builds and arcs is much like the flow and structure of “Taxi Driver”. It’s a wonderful homage/re-imagining.

There are a lot of scenes in this film, one in particular that really pushes the limits and boundaries of the films audience. This film isn’t one of the typical bullshit comedies that come out; this film really does push your limits as a viewer. Many times while watching the film, I looked away from the film – not because I was disgusted – but because the film is a bit much most of the time. What eases the blow of such a crude film is an immaculate soundtrack of “throwback” 70’s music.

This is a difficult film to digest, due to the subject matter, and due to the fact that Ronnie is insane. Jody Hill paints us this disturbing portrait of the human condition – and makes these characters very over the top – yet we can see ourselves in them. This isn’t a great film; nor is it for everyone, but if you enjoy a romp in the darkest comedic form, I recommend this film to you 100%. After seeing the film, there’s no question as to why Tarantino thinks this was one of the ten best films of last year.

Rating: 7.5/10

“Cop Land” – 1997. Dir. James Mangold

With Sylvester Stallone, Harvey Keitel, Robert DeNiro, Robert Patrick, Annabella Sciorra, Noah Emmerich, Frank Vincent, Arthur J. Nascarella, Peter Berg, Cathy Moriarty, Michael Rapaport, Edie Falco with John Spencer and Ray Liotta

“Don’t shut me out Ray! You found us a sweet little town. You got us the low interest, and I’m grateful. But don’t forget who it was that you came to two years ago to cover your ass!” – Figgs (Ray Liotta)

The film “Cop Land” has a simple template – it’s a town of Garrison, New Jersey that is forty minutes from New York City – where all the towns’ folk work as police officers. The patriarch of the town, Ray Donlan (Harvey Keitel) is the supreme power that rules the town. The small town has its own “law” and it’s enforced by native Freddy Heflin (an overweight and bloated Sylvester Stallone) who is a bumbling and slightly dim witted law man whose dream was to be one of New York’s finest. Sheriff Heflin has limited control, and the only power he has is the power Ray Donlan lets him have.

Inside of the town is Ray’s right hand man Jack Rucker (Robert Patrick) who is a man that has a primal urge of violence and destruction who goes head on with Ray’s old partner Gary Figgis (Ray Liotta who puts on a clinic). This is an extremely close nit and private community where everyone’s doors are unlocked and no one lives in fear, the only semi outcast is Figgs who now has a drug problem.

After an incident with Ray’s nephew Murray “Super Boy” Babich (Michael Rapaport) where Murray shot and killed two black teenagers while driving drunk and suspecting the two black men were pointing a gun at him, Ray and Leo Crasky (John Spencer) and some other “higher ups” of the community decide it best to fake Murray jumping off the George Washington Bridge in hopes it would prevent any unwanted investigation to their town of Garrison, New Jersey.

An old academy classmate of Ray’s Moe Tildon (Robert DeNiro) now works for internal affairs, and knows that Ray is dirty, knows that he’s been doing favors for the mob and in turn the mob banks offered low interest rates on home loans to the fleet of officers that could all buy homes outside of the violence and mayhem of New York.

I have seen “Cop Land” over twenty times in my life, and when I watch the film I see two things – I see a modern day western that follows the path of “High Noon” where a Sheriff takes his town back from corruption. Then I look closer and I see a film that brings morals and values into a heated debate. I ask myself while watching this film, if Ray Donlan is as bad as we’re supposed to think he is. Sure he may have done some bad things – we see him do some bad things – but everything he does isn’t for his own personal gain, it’s to protect this “utopian” community where police don’t have to live in fear.

They see so many horrors and unthinkable things as police officers in New York City – that when they come home to Garrison, they don’t have to worry about them, they don’t have to worry about locking their doors or sleeping with a gun under their pillows. They know that once they cross the bridge and enter their town that they are safe from the outside world. What these men have done is cut a couple of corners, do a couple of favors for bad people to insure the protection of their families.

We know from the start that Ray, Jack and Figgs aren’t the cleanest of cops, but by getting their hands dirty, they were able to protect fellow cops. And being put in the same situation, I feel that I would do the same. I mean, how far would you go to protect and provide for your friends and their families?

James Mangold (“Walk the Line”, “Girl Interrupted” and “3:10 to Yuma”) masterfully writes and directs a film that is a masterpiece. The dialogue is rich and filled with excellent exchanges between characters. It is a remarkable screenplay, and it’s that screenplay that allowed Mangold to direct his first film, and to get the attention of Stallone, DeNiro, Keitel and Liotta – who all worked for the SAG minimum salary to insure that the film would get made and not go over budget.

Aside from the star power of the top billed actors, Mangold fills the film with remarkable character actors to help support a great foundation that the screenplay and star power started to build. John Spencer who plays a character that almost seems like the one person that Ray reports too, and Robert Patrick is magnificent as Ray’s right hand man who in a split second would jump in front of a bullet for Ray. Arthur J. Nascarella was originally a technical advisor for the film since he was an NYPD officer for twenty years, but Mangold then wrote a part for him as one of Ray’s men.

The four leads give impeccable performances. Stallone gives the performance of his career, he touches upon emotions and traits that his characters aren’t usually identified with. He struggles with loneliness and apathy – and Stallone shows an awesome amount of range. I’m still bitter about him not getting a nomination. Stallone took this role so seriously he stopped working out, and gained sixty pounds of fat, which brought so much authenticity to Freddy that when I see Stallone in the film, I don’t see Rambo or Rocky – I see dim witted Freddy.

Harvey Keitel and Robert DeNiro are such seasoned actors that it’s easy for them to take roles that they can just walk through (DeNiro has been doing that since “Jackie Brown”). It’s wonderful to see them onscreen again, playing bitter rivals who hate the other one so much it makes the audience uncomfortable watching them on screen together. I mean, this is the first time the two have been on screen together since “Taxi Driver” – it’s been long overdue!

Now if I had to say that one actor steals the show, it would have to be Ray Liotta. Liotta plays his much typecast “man on the edge”, but in this film that is exactly what his character is. Liotta makes decisions in the film that leave him with much guilt. Liotta plays a modern day ronin – a samurai that has no guidance from a master and has now lost his way.

The finale of the film is as epic as epic gets with an old fashion showdown between the Sheriff and Ray and his men. It’s a showdown that has the good old shoot out finale that my friend Kevin over at The Pork Chop Express stated in his “Dark Blue” review that every cop film needs. I can abide by that.

Earlier in the review I stated that this film is a masterpiece. I do feel that the film is a masterpiece; while watching this film, there isn’t one thing that I have a hang up with, nor is there anything that makes the film not feel authentic. This film fires on all its cylinders throughout and doesn’t have any lulls or a snag from DeNiro’s opening narration to his closing narration.

While the moral conflicts the characters have in the film may not be the main focus of the average viewer watching the film; it does for me. By no means is this a landmark film or bring into light taboo subjects – but what it offers is an excellent acting ensemble, a finely tuned script, and remarkable storytelling by James Mangold.

Rating: 10/10

The 10 Best Films of the 1990’s.

10. “In the Name of the Father” – 1993. Dir. Jim Sheridan. With Daniel Day-Lewis, Pete Postlethwaite and Emma Thompson.

“I’m a free man, I’m going out the front door!”

This is one of the most dramatically powerful films I’ve ever seen. Seeing the true story of Gerry Conlon (Day-Lewis) and his father (Postlethwaite) being wrongfully accused and imprisoned in London over an IRA bombing is just so heartbreaking. Emma Thompson gives an amazingly great performance as the two men’s lawyer and the only one who believes their innocence.

9. “Natural Born Killers” – 1994. Dir. Oliver Stone. With Woody Harrelson, Juliette Lewis, Tom Sizemore, Russell Means, Robert Downey, Jr. and Tommy Lee Jones.

Mickey and Mallory Knox are loose, Scagnetti’s dead, and they’re live on national TV!”

LIVE ON NATIONAL TV? JESUS HAROLD CHRIST ON A FUCKING RUBBER CRUTCH, IS THIS HAPPENING TO ME?”

I’ve said it before, and I’ll say it again, Olive Stone is the filmmaker of the times, making films that deal with our current status in America. With NBK Stone brings forth a film with a killer soundtrack and excellent cast that explores our need for Reality TV and the media and our cultures obsession with killers. It shows us how we as American are obsessed with the killers themselves and how we turn them into pop culture icons. This is one wild ride of a fucking movie! The finest performance in the film has to be Tommy Lee Jones as Warden Dwight McClusky. He’s out of his fucking mind!


8. “Boogie Nights” – 1997. Dir. Paul Thomas Anderson. With Mark Wahlbeg, Burt Reynolds, Julianne Moore, John C. Reilly, William H. Macy, Heather Grahm and Don Cheadle.

Wait a minute. You come into my house, my party, to tell me about the future? That the future is tape, videotape, and not film? That it’s amateurs and not professionals? I’m a filmmaker, which is why I will *never* make a movie on tape.”

The opening one shot is a magnificent display of talent. It shows much homage to Scorsese’s “Goodfellas” and much more to Russia’s 1950’s propaganda film, “I am Cuba”. It sends us into a furry and introduces us to all the major characters that we need to know about. I want to call this film his masterpiece, but I can’t – “There Will Be Blood” is. This was back in the days when John C. Reilly used to be a good actor – and when Burt Reynolds blew all of his chances of having anything resembling a comeback. I love this film.


7. “Goodfellas” – 1990. Dir. Martin Scorsese. With Ray Liotta, Robert DeNiro, Joe Pesci, Frank Vincent and Paul Sorvino.

“You may know who we are, but we know who you are.”

Gosh, Martin Scorsese. What a master. I truly believe that this is the film that de-glorified the “romantic” life of mobsters. Sure “The Godfather’s” were brutal and violent, but we always sympathized with Michael – we were always pulling for him. We do that to a certain extent in “Goodfellas” but once we hit the second act of the film, and we watch Ray Liotta spin out of control – we know that he’s paying for the life he’s led. It’s amazing and beautiful and no one could ever do it better. Martin Scorsese is a God among artists.

6. “American Beauty” – 1999. Dir. Sam Mendes. With Kevin Spacey, Annette Benning, Mena Suvari, Thora Birch, Wes Bently and Chris Cooper.

“This is my first time.”

Man…all I can really saw about this is Chris Cooper winning for “Adaptation” was his make-up for not even being nominated for his role in this film. That’s it.

5. “Seven” – 1995. Dir. David Fincher. With Morgan Freeman, Brad Pitt, Gweyth Paltrow, and Kevin Spacey.

“Where to?”

“Far away from here.”

People like to say that “Fight Club” is Fincher’s masterpiece. I think “Fight Club” is overrated and trendy – but “Seven”…oh my God “Seven” – this film is just downright amazing! Kevin Spacey steals the show as John Doe, Brad Pitt is great as the young and cocky cop and Morgan Freeman gives the performance of his career as a cop that the world has left behind. Remarkable filmmaking!

4. “Pulp Fiction” – 1994. Dir. Quentin Tarantino. With John Travolta, Samuel L. Jackson, Bruce Willis, Uma Thurman and Harvey Keitel.

“You see – this is a moral test of one’s self. You’re going to go back, drink your drink, go home, jerk off and that’s all you’re gonna do.”

Fuck “Forrest Gump”.

3. “Bad Lieutenant” – 1991. Dir. Abel Ferrara. With Harvey Keitel.

“Where the fuck were you when I needed you? Why the fuck weren’t you there for me, when I needed you?!”

Harvey Keitel does nothing but bare his soul in this haunting and repulsive film about a cop who’s fallen so far from grace, Jesus himself can’t even help him. This is pretty powerful stuff, and if you think you’re tough enough to watch this, make sure it’s the NC-17 version.

2. “Schindler’s List” – 1993. Dir. Steven Spielberg. With Liam Neeson, Ralph Fiennes and Ben Kingsley.

“This is very cruel, Oskar. You’re giving them hope. You shouldn’t do that. *That’s* cruel!”

The reason I resent Steven Spielberg is because he has the talent to make this, “Jaws”, “Close Encounters” and “E.T.” – why waste it.

1. “L.A. Confidential” – 1997. Dir. Curtis Hanson. With Kevin Spacey, Kim Basinger, Russell Crowe, Guy Pierce, James Cromwell, Danny DeVito and David Strathairn.

“Go back to Jersey, sonny. This is the City of the Angels, and you haven’t got any wings.”

Flawless.
Honorable mentions:  “The Insider”, “Unforgiven”, “Rushmore”, “The Thin Red Line”, “The Big Lebowski”

Top 25 1/2 Performances of the Decade

I intended on making a list of Actor, Actress, Supporting Actor and Supporting Actress (I did start with Supporting Actor). But I thought it would be better to lump them all into one solid and concrete list. I’m sure there is going to be much disagreement. So, let me know what you guys think.

25. – Richard Gere as Billy Flynn in “Chicago”

I honestly think Gere gets a bad rap – he’s an extremely talented actor who began the second act of his career with “Chicago”. They found the most unbelievable actor to sing and dance – and he knocked it out of the park. Gere supports this film on his shoulders and completely holds it together. His performances in this film paved the way for his roles in “The Hoax”, “I’m Not There”, and “Brooklyn’s Finest”. And what’s with “rom-coms”? Can people stop fucking saying that? It’s so annoying.

24. – Anne Hathaway as Kym in “Rachel Getting Married”

I didn’t see this film until about a couple of months ago. I don’t know why I strayed away from it for so long. I’ve always had this love for Jonathan Demme (even though I think “Silence of the Lambs” is grossly overrated and “Manhunter” is a far superior film). The way Hathaway breaks out of her typecast and breaks our hearts is wonderfully painful to watch. A quick note: I love the movie a lot, but the part I find most distracting (no, it’s not the wedding montage, I liked that part) is the actor who plays the best man of the wedding is like this shitty hybrid of George Clooney and Kevin Spacey. Weird.

23. – Ray Liotta as Henry Oak in “Narc”

Ray Liotta has made a whirlwind of shit. He’s always enjoyable for me, even if he is walking through his role in “Wild Hogs”. I can’t help but always be captivated by him, I think he’s an incredible actor and has this way of commanding your attention. His performance in “Narc” is just fantastic. He plays the clichéd rage induced cop who’s seeking the killer of his partner. Liotta gained about 40 pounds for his role – and what adds to the gaining of weight, is the realism of the flashback sequences where Liotta’s character appears fit and trim. If you haven’t seen this film, do so soon.

22. – Robert Downey, Jr. as Paul Avery in “Zodiac”

This seems like an easy sell, Downey, Jr. playing an alcoholic, drug addicted and charming beat reporter. But this was really the first role that he got to sink his teeth into since he’s troubled past. With his past experience with drugs and alcohol I feel as if Downey, Jr. could really play this character that spirals out of control to full authenticity.

21. – Mickey Rourke as Randy the Ram in “The Wrestler”

This is one of the best performances I have ever seen. What keeps this from getting higher on my list is the fact that I’m not sure how much actual “acting” Rourke does. I think he took elements of his personal life and mimicked them to Randy the Ram’s life. I know some people disagree, but I think that Penn’s winning his second Oscar for “Milk” was the correct performance to reward. Without “The Wrestler” Rourke would have fallen back to Eric Roberts land.

20. – Ellen Burstyn as Sara Goldfarb in “Requiem for a Dream”

The fact that Burstyn lost to Julia Roberts makes me sick. I like Julia Roberts, she’s cute, funny, and has an amazing sparkle in her eye. That being said: she’s not an Oscar winning actress (although more so than Bullock or Berry). Ellen Burstyn gives the performance of her career in this film. This film may be the roughy of all roughies – and due to her performance this film will stay in my mind forever.

19. – Daniel Day-Lewis as Jack Slavin in “The Ballad of Jack and Rose”

Day-Lewis gives a remarkable performance in his most flawed film. He balances inner rage and compassionate love for his daughter Rose. You find yourself loathing his character due to his selfishness and incest riddled relationship with his daughter – yet you find it in your heart to forgive him, and to understand his true love for Rose.

18. – Paul Newman as Jack Rooney in “Road to Perdition”

Newman should have won a Supporting Actor Oscar for his performance in this film. I felt that Cooper winning was his make-up Oscar for not even being nominated for “American Beauty”. I feel that Newman gives one of his most subtle performances in this film. He’s the loving father figure to Tom Hanks, but has to chose between his own son (Daniel Craig) and Tom Hanks. One of the most heartbreaking scenes ever filmed is when Tom Hanks finally catches up with Newman.

17. – Daniel Craig as James Bond in “Casino Royal”

This is how you reboot a franchise! I am a James Bond super freak and I own them all. I’ve had a liking for each individual Bond (even George Lazenby). I’ve felt that the producers have always gotten it right for 007. I remember being pissed when they signed Craig, I was a strong supporter of Clive Owen (who I still think would have been a great Bond – check out ANY BMW Films add on Youtube and you’ll see my point). Daniel Craig gives us the perfect James Bond. He’s a stone cold killer. The way James Bond should be.

16. – Christian Bale as Patrick Bateman in “American Psycho”

I want to be Patrick Bateman (well…not the homicidal serial killer part). But deep down inside, don’t we all have an element of ourselves that is Patrick Bateman? Don’t we all from time to time get filled with disgust and greed? Or is it just me?

15. – Cate Blanchett as Sheba Hart in “Notes of a Scandal”

Blanchett is one of the most beautiful women I have ever seen, and she’s one of the greatest ACTORS ever. She’s just remarkable in everything she’s in (well…maybe not that last Indiana Jones movie). As Sheba Hart she engages into an inappropriate relationship with a 14 year old student of hers, which is both erotic and haunting. What she’s doing is wrong, but what gets done to her by Judi Dench is ten times worse.

14. – Alec Baldwin as Juan Tripp in “The Aviator”

Baldwin is remarkable in the way he’s rebuilt his career over the past decade. The guy went from being a tabloids wet dream. His personal life took a tremendous toll on his profession career, but with an Oscar nominated turn in “The Cooler” it spring boarded him into working with Scorsese, Robert DeNiro and his staple, “30 Rock”. As Juan Tripp he’s one of the most menacing corporate villains, standing second only to Gordon Gekko.

13. – Sean Penn as Paul Rivers in “21 Grams”

This is one of the most heartbreaking performances ever. How he won for “Mystic River” over “21 Grams” is bullshit. Probably because it was a Clint Eastwood film.

12. – Daniel Day-Lewis as Bill “the Butcher” Cutting in “Gangs of New York”.

Day-Lewis single handily saves this film from the utter nightmare it could have been. If he wasn’t in this film to counteract the terrible performance of Cameron Diaz and the miscasting of the decade of Leonardo DiCaprio – this film would have been a sheer train wreck of a great director’s most personal project. How he lost to Adrian Brody for “The Pianist”, I’ll never understand.

11. – Ted Levine as The Warden in “Shutter Island”

Levine was only in three scenes in this film. He had only one scene that last about ten minutes with dialogue. This is the perfect example of less is more; by showing us everything about this character without telling us one thing about him. Levine is absolutely jaw dropping in this role. He shows us what a great, great actor he really is. This film should pave the way for meatier roles on the horizon for Levine.

10. – David Strathairn as Edward R. Murrow in “Good Night, Good Luck”

I think there is always hesitation when an actor takes on the role of an icon like Murrow. David Strathairn has always been one of my favorite character actors – from his roles in “Eight Men Out”, “The River Wild” and “LA Confidential”. In “Good Night, Good Luck” he finally becomes the leading man that he deserves to be. He’s absolutely amazing as Murrow and gives the performance of his career.

9. – Heath Ledger as The Joker in “The Dark Knight” and Enis Del Mar in “Brokeback Mountain”

What can I say that hasn’t already been said about his performance as the Joker. I guess the SAG, BAFTA, Golden Globe and Oscar said all that there could be said. And for “Brokeback”, he was overshadowed by PSH for “Capote”. What a shame, a real shame. It’s hard for me to pick which performance of his is better? Sometimes I lean towards The Joker, and other times I lean towards Enis. Face it, they’re both perfect.

8 ½. – Daniel Day-Lewis as Guido Contini in “Nine”

Daniel Day-Lewis is the greatest actor I have ever seen. I will challenge anyone who claims that someone is better. Sure, you can throw around Bogart or Brando or DeNiro. But I will stack his performance in “My Left Foot” and “There Will Be Blood” against any Brando or DeNiro performance. In “Nine” Day-Lewis talks with a genuine Italian accent, and sings (though he’s no Dean Martin) in an Italian accent. He is brilliant in this film, just fucking brilliant.

8. – TIE: Philip Seymour Hoffman and Meryl Streep in “Doubt”

This is truly a team effort. The entire film is a battle of showmanship between Streep and Hoffman. The way they fight each other is as epic as Luke Skywalker battling Darth Vader. The display of their acting craft is monumental, and will bring anyone to their knees. Watch this if you haven’t seen it yet. It’s amazing to watch.

7. – George Clooney as Bob Barnes in “Syrianna”

Clooney completely broke his typecast in this role – more like fucking shattered it. He became an artist that year, actor, producer, director and writer. He’s a marvelous talent. This film is truly an ensemble piece that doesn’t have a lead actor – oil is the main focus and character of the film. But George Clooney brings the house down in his final scene. It floods me with overwhelming emotion every single time I see it.

6. – William Hurt as Richie Cussak in “A History of Violence”

This is the biggest example of less is more. The little screen time that Hurt is given, he uses it to the extreme. He’s absolutely unbelievable, and I think his character is much like that of Col. Kurtz in “Apocalypse Now”, he’s the final trial of the main character’s journey to return home to his family. His performance is burned into my brain. There are very few actors with raw talent like William Hurt.

5. – TIE: Christoph Waltz as Col. Hans Landa in “Inglorious Basterds” and Javier Bardem as Anton Chigurh in “No Country for Old Men”

This is much like Ledger’s role in “The Dark Knight”. There’s nothing more I can say about their PERFECT performance. There is a reason both of them swept critics awards, won the SAG, Golden Globes, BAFTA and Oscar. This was their major introduction to American audiences. That’s one helluva break through! To be honest, I do have to give the edge to Waltz. He’s amazing.

4. – Julianne Moore as Charlie in “A Single Man” and for Cathy Whitaker in “Far From Heaven”

Academy, please give her an Oscar already! I don’t care if it’s for a lifetime achievement award! Just someone, do something! She’s absolutely brilliant. ‘Nough said!

3. – Colin Firth as George in “A Single Man”.

Colin Firth gave a performance like nothing I’ve ever seen before. I’ve never see a performance that is so…empty. He’s unbelievably touching and gives a beautiful performance that brings me to my knees each time I see it. We need to see more Colin Firth. Now.

2. – Jeff Bridges as Ted Cole in “The Door in the Floor”

This is hands down Jeff Bridges finest performance. If you ever want to see an excellent, perfect, mind boggling performance, try and seek out Tod Williams’ “The Door in the Floor”. Bridges is heartbreaking, just plain heartbreaking. Ted Cole will stay in your heart forever.

1. – Daniel Day Lewis as Daniel Plainview in “There Will Be Blood”

This is the biggest tour-de-force performance ever on screen.