Deciding what defines great acting is subjective. Sometimes we just like the characters. Sometimes we like the actor. Sometimes we like both. Sometimes we’re surprised, other times disappointed. My own definition of what makes great acting has to do with how often I see the actor and how often I see the character. The closer they come to letting themselves disappear, the better I think the acting. It isn’t a matter of them playing themselves and doing a great job, though sometimes that is a satisfying way to watch an actor. But if we’re going to put them side-by-side and compare them, I’ll go with transformational skill every time. Here are the performances and ensembles I thought stood out this past year.
Alphabetical order:
Jodie Comer — It isn’t Comer’s year, but that doesn’t mean she didn’t give one of the best performances of the year. The camera loves Comer’s face. This was obvious from her early work, like the homewrecker in Doctor Foster, and throughout Killing Eve. Now she’s a big screen movie star and she is every bit as compelling as she is on the small screen. She plays her character as seen through the eyes of two rival men in her life before finally, in the third act, showing what really happened to her. Every time this story is told, Comer’s performance goes deeper until finally we understand who she is and what she went through. It’s a brilliant performance and in a different kind of year would be among the frontrunners.
Penelope Cruz — While Cruz is technically the lead in Parallel Mothers, she’s joined with the other mother, Milena Smit. The two of them together guide us through the two paths each of them takes when their babies are switched at birth. The film is about how we become mothers and how so little of that has to do with being biologically connected. The brilliant Pedro Almodóvar has made a film about resurrecting the long forgotten past and the recent past, in order to forge ahead with a brighter future and a self-made family. Cruz has long been Almodóvar’s muse and is usually more of a live wire than she is here, but it’s really the maturity of this character that makes her so memorable.
Benedict Cumberbatch kept me up all night after I watched The Power of the Dog. Some of his expressions haunted me, like the look of surprise on his face when his newfound protégé, Kodi Smit-McPhee, kills a rabbit. That look says that he’s surprised this boy he believed was too weak to kill a rabbit had done it so casually. His look was one of surprise and respect. It was one of the nuances in a complex, brilliant performance — indeed, Cumberbatch’s absolute best. It would have been easy for him to play Phil Burbank (a name you can’t forget) as a villain, but what makes this performance so rich is how he navigates the vulnerability, longing, resentment, and swagger. He keeps these emotions like secrets locked away in a chest, yet he also reveals them, slowly, to the reviewer; he, the actor, and we, the viewers, keep that secret as we come to understand everything about him.
All of the actors in Jane Campion’s fine film understand that this is a story of subtext. They know that there is a universe of things they can’t say. So they hide their emotions from everyone else but reveal them to us. For instance, there’s the way Kirsten Dunst picks up the vases of flowers after Phil lights them on fire. She hides her reaction from him and the rest of the men, though she picks them up tersely – which is message enough. We see in her face that this has broken her heart. What she now knows is that Phil destroys beauty. That beauty, she believes, is in her son and so she believes he’s out to destroy them too. Ah, but of course, Kodi Smit-McPhee has a different idea of how this story will go. He knows the game. He has it all worked out in advance, like a chess grandmaster. Phil will never see him coming and Smit-McPhee’s performance is so subtle we don’t catch it either unless we’re paying very close attention.
But it’s ultimately Cumberbatch’s movie as he has created a cinematic icon for all time. That image of him on the horse, as a man who believes he has conquered the wild world. But that wild world will conquer him.
Ariana DeBose — She burns through West Side Story like a hot flame and steals every scene she’s in. It’s the singing, it’s the dancing, it’s the acting, it’s the screen presence. While Spielberg has cast this film perfectly, from Rachel Zegler and Ansel Elgort to the glorious Rita Moreno and scene-stealing Mike Faist, it’s DeBose who stands out, both because she has such a great role and because she has met the challenge of her predecessor.
Judi Dench and Ciaran Hinds — You know you’re in good hands with two veterans when Dench and Hinds are on screen. Their acting is smooth as silk, assured, grounded, and funny. Belfast is driven by three generations, first with Buddy (Jude Hill), just starting out in life with optimism, innocence, and goofy charm. Then the parents (Caitriona Balfe and Jamie Dornan), who are still young and passionate — they are the ones tasked with sorting out the mess of their beloved Ireland and are torn up about it. They have to try to save their family, with one foot in the old world and one foot in the new. And then there are the grandparents (Dench and Hinds), who are never leaving Belfast. They navigate the strife with the kind of easy humor old age often brings. These two are a gift for this holiday season, there is no doubt about it. Nothing like watching two complete pros doing what they do best.
Peter Dinklage — Melting a million hearts is Peter Dinklage as Cyrano, someone trapped in a body that he doesn’t believe is worthy to capture the only heart he wants: that of Roxanne, played by Haley Bennett. Dinklage was the best thing about Game of Thrones, partly because his Tyrion, like Cyrano, holds so much back in his performance. That is his gift as an actor: that he is able to show just how much simmers beneath the surface. But here, he is also singing and sword fighting and yes, falling in love. It’s a wonderful take on an old story that debates whether beauty is who we are or how we look.
Jennifer Hudson as Aretha Franklin — She wasn’t the first Aretha people saw. Sometimes I think too few people saw her at all, nor the other fine performances in this film, like Forest Whitaker, Marlon Wayans, Kimberly Scott, or Audra McDonald. Navigating Oscar season is rarely about who deserves it and who doesn’t. It’s a popularity contest, only it’s not even Oscar voters we’re talking about — it’s a contest among the people who cover the race, vote on critics’ awards, and lay down the foundation for what the Oscars become. Trust me: I know that it has very little to do with who gave the best performance. If it did, Hudson would very much be a prominent force this year. It’s a conservative portrayal as Franklin, who led an over-protective, sheltered life, but who was also drawn to the wild side with the men in her life. What kept her grounded was her ability to sing. Nothing in her life, no mistakes she made, could ever take that away from her. We watch her move through the beats of her life from rape, to domestic violence, to success as a jazz singer, to someone who dared to want more than that. Through all of it, Hudson never loses her connection to Franklin. It’s in every gesture, every note she sings. It is how she carries her body, how she walks into a room. The entire ensemble is great, but it’s Hudson’s movie.
Nicole Kidman and Javier Bardem — Underestimated yet again, Kidman nails Lucille Ball in Being the Ricardos, with her voice, her body, her attitude, and even the two competing Lucys: the TV version and the real-life version. She’s also right on top of the Sorkin dialogue, which is no easy feat. This is a film that needs two strong central roles to bring to life people we’ve known for decades. The other is Javier Bardem, who is (I might say) more charismatic and charming than the real-life Ricky and works better off Kidman’s Lucy. The entire ensemble cast is great in this, with not a weak link in the bunch. Alia Shawcat very nearly steals the whole thing. I loved Kidman’s strength in this, playing someone who really did live life a step ahead of everyone else.
Will Smith — His own charm works in his favor here as King Richard, the superdad who ushered his daughters into tennis, birthing and nurturing the two legends Venus and Serena Williams. It’s his short shorts, his slightly hunched way of walking, his squinty-eyed delivery, and his self-determination that makes this among the best performances of the year. Smith has been working towards depth like this his whole career. To understand just how good it is, compare it to his performance as Ali. King Richard leans a little more in Smith’s direction than Ali, but there isn’t a minute you’re watching this movie that you think you’re watching Will Smith. He disappears completely into the role and takes us through an important story about someone who could see what other people could not and never let anyone or anything get in his way.
Kristen Stewart — Last but certainly not least, the lovely Miss Stewart has at last become the accomplished star and actress her career has always promised. She’s darkly radiant in the best role of her career playing Diana. She nails the posh accent, understands why Diana had such a hard time with being a princess with this royal family, and depicts how she struggled with her desire to be a good mom and enduring a cold husband who had everything he could ever desire but it wasn’t what he wanted. Much of this film is great just because of Stewart: her face, her eyes, her clothes. She is utterly captivating and heartbreaking. She is a big enough star that when you expect you might see her instead of Diana, you don’t. You always see Diana. These two beauties somehow had personalities across the pond and across generations that fused beautifully. Her version of Diana will be hard to top.
(That’s more than ten, but only just barely) Honorable mentions: Olivia Colman, The Lost Daughter; Lady Gaga, House of Gucci; Matt Damon, Ben Affleck in The Last Duel; Andrew Garfield, tick… tick… Boom!; Bradley Cooper, Cate Blanchett, and Rooney Mara in Nightmare Alley; Jessica Chastain, The Eyes of Tammy Faye; Nicolas Cage, Pig.
Ensembles of the year:
Belfast
CODA
Cruella
In the Heights
The Last Duel
Nightmare Alley
Respect
The Power of the Dog
West Side Story
tick… tick… Boom!
Renate Reinsve – The Worst Person in The World
Nicolas Cage – Pig
Ann Dowd, Jason Isaacs. Martha Plimpton and Reed Birney – Mass
Benedict Cumberbatch. Kirsten Dunst and Khodi Smith-McPhee
Vincent Lindo – Titane
Rebecca Ferguson and Timothee Chalamet – Dune
Kristen Stewart – Spencer
Jodie Comer – The Last Duel
Sasha Stone’s lady boner for KStew is embarrassing and predictable. She isn’t winning this year. Give it up already.
I must have seen a different West Side Story because DeBose didn’t steal any scenes I saw. Mike Faist walked away with the movie. DeBose was good but any triple threat from Broadway could’ve played the role. Zegler was great in a usually thankless role, and Faist was transformative. DeBose was fine but she didn’t bring anything new to the role like Faist and Zegler did. But she fits all the criteria so she’ll get nominated.
“I must have seen a different West Side Story because DeBose didn’t steal any scenes I saw.”
Her dancing was the highlight. She displays great confidence. Her singing was alright, didn’t do anything in particular for me, and her dramatic acting was mediocre, I thought. [Or maybe “unremarkable” is a better word…]
Greater Western New York noms m
TPOTD- 7
Spencer- 6
Dune- 5
The Last Duel- 4
The Lost Daughter- 4
C’mon C’mon- 3
Licorice Pizza- 3
West Side Story- 3
King Richard- 2
Belfast totally snubbed- 0
BEST PICTURE
C’mon C’mon
CODA
Dune
The Green Knight
Judas and the Black Messiah
The Last Duel
Licorice Pizza
Pig
The Power of the Dog
Spencer
BEST FOREIGN FILM
Drive My Car (Japan)
Flee (Denmark)
Parallel Mothers (Spain)
Titane (France)
The Worst Person in the World (Norway)
BEST DOCUMENTARY
Flee
No Ordinary Man
Procession
The Sparks Brothers
Summer of Soul (…Or, When the Revolution Could Not Be Televised)
BEST ANIMATED FILM
Belle
The Boss Baby 2: Family Business
Flee
Luca
The Mitchells vs. the Machines
BEST LEAD ACTRESS
Olivia Colman – The Lost Daughter
Jodie Comer – The Last Duel
Emilia Jones – CODA
Renate Reinsve – The Worst Person in the World
Kristen Stewart – Spencer
BEST LEAD ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Andrew Garfield – tick, tick … BOOM!
Joaquin Phoenix – C’mon C’mon
Will Smith – King Richard
BEST SUPPORTING ACTRESS
Jessie Buckley – The Lost Daughter
Ariana Debose – West Side Story
Ann Dowd – Mass
Aunjanue Ellis – King Richard
Ruth Negga – Passing
BEST SUPPORTING ACTOR
Robin de Jesús – tick, tick … BOOM!
Mike Faist – West Side Story
Jason Isaacs – Mass
Daniel Kaluuya – Judas and the Black Messiah
Troy Kotsur – CODA
BEST DIRECTOR
Jane Campion – The Power of the Dog
Pablo Larraín – Spencer
Ridley Scott – The Last Duel
Michael Sarnoski – Pig
Denis Villeneuve – Dune
BEST ORIGINAL SCREENPLAY
Paul Thomas Anderson – Licorice Pizza
Will Berson & Shaka King and Kenneth Lucas & Keith Lucas – Judas and the Black Messiah
Julia Ducournau – Titane
Fran Kranz – Mass
Mike Mills – C’mon C’mon
BEST ADAPTED SCREENPLAY
Ben Affleck, Matt Damon & Nicole Holofcener – The Last Duel
Jane Campion – The Power of the Dog
Maggie Gyllenhaal – The Lost Daughter
Rebecca Hall – Passing
Tony Kushner – West Side Story
BEST CINEMATOGRAPHY
Bruno Delbonnel – The Tragedy of Macbeth
Andrew Droz Palermo – The Green Knight
Greig Fraser – Dune
Claire Mathon – Spencer
Ari Wegner – The Power of the Dog
BEST EDITING
Peter Sciberras – The Power of the Dog
Sebastián Sepúlveda – Spencer
Claire Simpson – The Last Duel
Joe Walker – Dune
Andrew Weisblum – The French Dispatch
BEST ORIGINAL SCORE
Carter Burwell – The Tragedy of Macbeth
Jonny Greenwood – The Power of the Dog
Jonny Greenwood – Spencer
Alberto Iglesias – Parallel Mothers
Hans Zimmer – Dune
BREAKTHROUGH PERFORMANCE
Mike Faist – West Side Story
Alana Haim – Licorice Pizza
Emilia Jones – CODA
Agathe Rousselle – Titane
Rachel Sennott – Shiva Baby
BREAKTHROUGH DIRECTOR
Maggie Gyllenhaal – The Lost Daughter
Rebecca Hall – Passing
Fran Kranz – Mass
Michael Sarnoski – Pig
Emma Seligman – Shiva Baby
CODA, Pig, Mass – 4
Flee, Passing, Titane – 3
tick, tick…BOOM!, The Tragedy of Macbeth, The Worst Person in the World – 2
Nightmare Alley – 0
I liked the Belfast performances but wasn’t blown away or felt the need to include them on my own ballot.
I thought Spencer and to a lesser extent Stewart were flat out bad and that script needed to go in the in.
Hudson has some good scenes in Respect but I just didn’t get Aretha from her.
Kodi is probably winning the Oscar and deserves it,Cumberbatch was great esp if you watch it a 2nd time,a lot going on there.
Comer and Driver made The Last Duel work.
Shout outs to
Alex Wolff in Pig
Adriana Lennix in Bruised
Andre Holland and Tess Thompson in Passing
Forest Whitaker in Respect
Harriet Walter in The Last Duel
Other than the usual suspects this season I would also like to single out these performances, the films around them may not have been always great or even good, but to me their individual work sure af was. On a side note, it continues to irk me how many stellar performances go unnoticed every single awards season simply because they dared to be in genre films :
Amy Adams (Dear Evan Hansen)
Mahershala Ali (Swan Song)
Sheila Atim (Bruised)
Nina Arianda (Being the Ricardos)
Laura Benanti (Worth)
Halle Berry (Bruised)
Glenn Close (Four Good Days)
Jodie Comer (The Last Duel AND Free Guy)
Daniel Craig (No Time To Die)
Willem Dafoe (Spider-Man : No Way Home)
Viola Davis (The Unforgivable)
Robin de Jesus (tick, tick … BOOM!)
Mike Faist (West Side Story)
Judy Greer (Halloween Kills)
Roman Griffin Davis (Silent Night)
Naomie Harris (Swan Song)
Max Harwood (Everybody’s Talking About Jamie)
Tom Holland (Spider-Man : No Way Home)
Jason Isaacs (Mass)
Angelina Jolie (Eternals AND Those Who Wish Me Dead)
Finn Little (Those Who Wish Me Dead)
Audra McDonald (Respect)
Olga Merediz (In The Heights)
Ruth Negga (Passing)
Leigh-Anne Pinnock (Boxing Day)
Florence Pugh (Black Widow)
Medina Senghore (Those Who Wish Me Dead)
Alia Shawkat (Being the Ricardos)
Millicent Simmonds (A Quiet Place Part II)
Anya Taylor-Joy (Last Night in Soho)
Emma Thompson (Cruella)
Stanley Tucci (Supernova)
Rachel Zegler (West Side Story)
Annabelle Wallis (Silent Night)
Robin Wright (Land)
Zegler, Negga and Ali are getting noticed from your list.
Jodie Comer, Jason Isaacs and Robin de Jesus should definitely be getting noticed.
I would add Alicia Vikander in Blue Bayou.
“Roman Griffin Davis (Silent Night)”
Saw this recently. He’s very, very good, indeed. Liked him much more here than in Jojo Rabbit.
Merry Christmas to the best film blog community there is! You give as good as you get, and you don’t abandon what you believe in at the first sign of adversity, an increasingly rare quality in people these days.
It’s Emilia Jones in CODA for me.
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For those that have seen it: Francoise Lebraun in Vortex. Absolutely heart-breaking performance.
What a genuinely lovely and passionate write-up for Power of the Dog … really nailed it.
Jessica Chastain as Tammy by far ,with Oscar Isaacs in the card counter as best male actor .
Of the ones not listed above, I would add:
Simon Rex – Red Rocket
Troy Kotsur – Coda
Jessica Chastain – The Eyes of Tammy Faye
Olivia Colman – The Lost Daughter
Hidetoshi Nishijima – Drive My Car
Caitriona Balfe – Belfast
Ann Dowd – Mass
Filippo Scotti – The Hand of God
Renate Reinsve – The Worst Person in the World
Gucci is my ensemble of the year
My favourites so far are (in no particular order):
Kristen Stewart, Spencer
Benedict Cumberbatch and Kodi Smit-McPhee, The Power of the Dog
Denzel Washington and Frances McDormand, The Tragedy of Macbeth
Simon Rex and the ensemble cast, Red Rocket
Joaquin Phoenix and Woody Norman, C’mon C’mon
Tilda Swinton, Memoria
Vincent Lindon, Titane
Lots left to see.
I haven´t seen all relevant films yet (most looking forward to catch Parallel Mothers, Licorice Pizza, C´mon C´mon, Petite Maman and The Lost Daughter), but here are my favourite performances from the stuff I´ve seen:
1. Hidetoshi Nishijima, “Drive my Car”
2. Kristen Stewart, “Spencer”
3. Renate Reinsve and Anders Danielsen Lie, “The Worst Person in the World”
4. The whole cast of “Wheel of Fortune and Fantasy”
5. Cirian Hinds, “Belfast”
6. Tilda Swinton, “Memoria” and “The French Dispatch”
7. Pablo Torre Nilsson, “Azor”
Honorable Mentions: Ariana DeBose and Rachel Zegler, “West Side Story”; Jeffrey Wright, “The French Dispatch”; Nicholas Cage and Alex Wolff, “Pig”; Dev Patel, “The Green Knight”; Andrew Garfield, “tick, tick…BOOM!” and the cast of “The Power of the Dog”.
Good call on Tilda Swinton in The French Dispatch. She was the best part of the movie.
Still so much to see, but out of the 41 U.S. releases in 2021 that I’ve seen, here are my favorite performances…
Ensemble
Belfast
C’mon C’mon
Nightmare Alley
CODA
Pig
Lead Actor
Joaquin Phoenix, C’mon C’mon
Nicolas Cage, Pig
Bradley Cooper, Nightmare Alley
Jeremy T. Thomas, Antlers
Adam Driver, Annette
Bo Burnham, Inside
Lead Actress
Kristen Stewart, Spencer
Jodie Comer, The Last Duel
Emilia Jones, CODA
Agathe Rousselle, Titane
Taylour Paige, Zola
Virginie Efira, Benedetta
Supporting Actor
Vincent Lindon, Titane
Ciaran Hinds, Belfast
Jamie Dornan, Belfast
Alex Wolff, Pig
Woody Norman, C’mon C’mon
Troy Kotsur, CODA
Supporting Actress
Gabby Hoffman, C’mon C’mon
Judi Dench, Belfast
Caitriona Balfe, Belfast
Rebecca Ferguson, Dune
Aunjanue Ellis, King Richard
Ariana DeBose, West Side Story
Looking forward to seeing more great films from the past year!
Thank you for mentioning Emilia Jones.
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So far the performance that has moved me most and left me somewhat haunted (in a positive way but sentimental) is Andrew Garfield in ‘Tick Tick….Boom!” He inhabited the composer/author so whole heartedly and in a full bodied manner and represented a moment in time that helped shape the modern musical whilst giving a snapshot of life 30 years ago. Loved his performance.
I also am always so impressed by Benedict Cumberbatch. With ‘The Electrical Life of Louis Wain’ and ‘The Power Of The Dog’ he has crafted two polar opposites, and shown his range and depth of skill. I hope he wins the Oscar.
I think is sad how only “big names” get honors and mentions when there are far superior performances every year by lesser-known actors that pass unnoticed.
Nice post. I love reading your reflections and when you wax lyrical about films and performances. This motivates me to continue to hunt down the creme de la creme of the acting smorgasbord this season.
Will Smith never disappears. He’s always Will Smith. Here, he is Will Smith delivering a phoned-in performance with a bad, inconsistent accent.
Go Cumberbatch go!
I haven’t seen a ridiculous amount of stuff (of the Oscar movies, Licorice Pizza, Spencer, Belfast, Nightmare Alley, Being the Ricardos, Don’t Look Up, Cyrano and The Lost Daughter, overall so many more, including among many others Drive My Car, Petite Maman, Parallel Mothers, The Worst Person in the World, The Souvenir Part II and Red Rocket) but here’s some of mine so far (approximately in alphabetical order):
Benedict Cumberbatch and Kodi Smit-McPhee (The Power of the Dog) – Cumberbatch’s performance is an incredible act of balancing tones, especially as the plot-driver and active character in an extremely restrained film any lesser of a performance would have destroyed the movie completely but at all times understanding exactly how to express so much while not upsetting the movie. Instead Smit-McPhee gets to simmer, he gets to embody the film and its sharpness. It’s a performance that sneaked up on me but that I can’t stop thinking about.
Adam Driver (Annette) – an actor giving themselves fully to material that that would overwhelm almost anyone but still managing to find a way to control all of it and create a character that manages to express so many paradoxical qualities simultaneously while retaining the qualities of universality that Carax wants out of him.
Mike Faist (West Side Story) – beyond his presence just being exciting to watch, Faist can bring together all the qualities that define Riff at the same time and play it as a consistent expression while also understanding when he needs to do support work instead. The performance combines both the exciting qualities of a performer you’ve never even heard of before doing incredible work in a film like this and works as just an incredibly sharp supporting performance. Zegler, DeBose and Alvarez would also be fully worthy of spots on this list.
Lee Kang-sheng and Anong Houngheuangsy (Days) – Incredible quiet physicality and tenderness. It’s been 15 months since I’ve seen the movie but all these incredible physical moments still remain in my head.
Oscar Isaac (The Card Counter) – I don’t think Schrader fully succeeds at doing a Bresson movie as it feels like he’s attempting to but instead the movie finds its own interesting level largely because Isaac’s performance is expressing so much despite its stoic qualities. It’s his best performance so far and that’s quite a notable achievement already.
Tilda Swinton (Memoria) – she’s an almost equal co-creator of the best movie of the year so far, thus it has to be the best performance of the year so far. Downright Rivettean space is given to her and she fills it in a way that few others can.
Jeffrey Wright (The French Dispatch of the Liberty, Kansas Evening Sun) – A character that might have been very simple on the page turned into something incredibly moving and profound, Wright brings a soft melancholy to the character rather than an outright one, knowing that the depths of emotions this character has will be heard more clearly when they’re not overdone, while also playing a steady professionalism that grounds the entire movie.
The cast of Wheel of Fortune and Fantasy – it’s all about space. Each section and each performance within those sections is so finely tuned but also incredibly free. Hamaguchi has invited his actors to experiment and they take the opportunity and turn in one incredible performance after the other.
You’re excellent on Faist and Wright. Your words “soft melancholy” re Wright’s performance — wow. The best two words I’ve read on any movie subject all season long.
I saw both Cumberbatch’s and McPhees ‘s End Game coming a mile away ! The Raging Bull in the Closet and Norman b3ecoming his Mother !
Just saw Nightmare Alley, and I have to say that was Bradley Cooper’s career-best performance. Definitely one of the best performances of the year. The entire cast was phenomenal, especially Willem Defoe. The more I think about this movie, the more I like it. It’s a shame people aren’t supporting it at the box office. As far as I’m concerned, it’s much better than The Shape of Water.
Vincent Lindon’s supporting performance in Titane was extraordinary. Frightening, paradoxical, heartbreaking. The stand-out this year. The entire cast of The Last Duel were also outstanding, lead by Comer and Affleck.
Even the Chicago Film Critics Associations were unimpressed with home girl Jennifer Hudson’s alleged Aretha Franklin performance. They nominated Jessica Chastian, Olivia Colman, Alana Haim, Agathe Rouselle/Titanc and eventual winner Kristin Stewart instead.
She did not nominated for ” Dream girls” with them either, so that was not a surprise. Kristen Stewart did not win the L.A award. It is not unusual. Hudson is nominated for an Australian acting award currently. Nicole Kidman is also nominated.
Some of these boys get triggered by Sasha’s championing of Hudson in Respect. It’s weird. They go out of their way to trash the actress and film. They’re SERIOUS film connoisseurs, don’t you know?
You seem to be the triggered one.
Sasha shrieking ab0ut “Respect” and Jennifer Hudson every other day is one of the saddest things you’ll see this awards season. I wish she had a tenth of the same admiration and desire to promote a great film and ensemble such as “Mass.”
If you listen to the thread “Team AD Meets for a Holiday Chat” you’ll find that Sasha has quite a nuanced appreciation of Mass, and you’ll hear her heartily join in with the group to flesh out a beautifully discerning appraisal of that brilliant movie.
Great performances but movie boxo bombs. How can that be?