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Oscars 2004: Actor (Plus: NYTimes close-ups on actors)

Who should win Best Actor?  

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Vote with your mind, body, and soul.

Please note that this poll will close up to 24 hours before the awards ceremony broadcast begins, so please vote before Feb. 28.

The 2004 Oscars index thread is here.


P.S.  I COULD BE WRONG.

 

Takin' 'er easy for all you sinners at lookingcloser.org. Also abiding at Facebook and Twitter.

 

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Tie:

Chiwetel Ejiofor, Dirty Pretty Things

Robert Duvall, Open Range

Runner Up:

Ben Kingsley, House Of Sand & Fog


I've posted a couple hundred of my Soul Food Movies write-ups at letterboxd

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Was annoyed by the film, but thought Law was great so I, shamefully, voted for him

Was devastated by the film, but thought Kingsley was great, so I voted for him. Not ashamed at all. Haven't seen Cold Mountain, so can't legitimately vote for Law no matter how good he is/was in it.

I also thought Bill Murray was fabulous in LiT, and it was definitely one of my top 10 films of 2003, but I never forgot that he was Bill Murray.


There is this difference between the growth of some human beings and that of others: in the one case it is a continuous dying, in the other a continuous resurrection. (George MacDonald, The Princess and Curdie)

Isn't narrative structure enough of an ideology for art? (Greg Wright)

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from the New York Times:

JOHNNY DEPP

Johnny Depp's performance as Capt. Jack Sparrow in \"Pirates of the Caribbean: The Curse of the Black Pearl\" accomplishes a rare feat. It's a vivacious, garrulous character turn that manages not to wear on the audience and not to inhibit the movie's momentum.

Not only does Mr. Depp, as the star, keep the picture together; he also demonstrates the grace and graciousness that are ordinarily the province of the able supporting player. Woozy and contemplative


P.S.  I COULD BE WRONG.

 

Takin' 'er easy for all you sinners at lookingcloser.org. Also abiding at Facebook and Twitter.

 

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from the New York Times:

Mr. Eastwood's camera decides to chew it for him. Beginning with an attention-getting overhead shot of Jimmy's anguished reaction to the discovery of his daughter's body, the movie keeps nudging us to notice Mr. Penn's acting, to be blown away by its understatement. After a while, every nuance seems to have the weight of a soliloquy.

TERRENCE RAFFERTY

Curiously, one of the NY Times' critics feels much more passionate about Penn's performance than does Rafferty.


"What matters are movies, not awards; experiences, not celebrations; the subjective power of individual critical points of view, not the declamatory compromises of consensus." - Richard Brody, "Godard's Surprise Win Is a Victory for Independent Cinema," The New Yorker

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