Our Favorite Performances of 2012


1. Joaquin Phoenix (The Master)- There must be something about Paul Thomas Anderson that gets such raw, elemental performances for his movies.  Phoenix, after his faux crazy odyssey, gives The Master such ferocious, filthy life that he managed to beat all the other fantastic roles this year, including the great Daniel Day-Lewis (who also gave Anderson an immortal performance in There Will Be Blood).


2. Daniel Day-Lewis (Lincoln)- Though Lincoln is an ensemble drama, it is built from the ground up around a character that needed to be reigned in and humanized.  Day-Lewis is not larger than life as our 16th president because that would’ve added layers of cheese to a movie that was already scored by John Williams.  His take on Lincoln often appears exhausted, both physically and emotionally, as he should be while overseeing the Civil War while trying to push through the 13th amendment to ban slavery and contend with family drama.


3.  Emmanuelle Riva (Amour)- The slow, ruthless decline of Anne during Michael Haneke’s Amour is essential to the movie’s success.  From her first, silent stroke at the breakfast table to her crippled, mangled body by the end, this is a performance that required great emotional honesty without overdoing it.  She gives one of the most wrenching depictions of hopeless, helpless illness ever.

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REVIEW: Flight

Directed by: Robert Zemeckis
Written by: John Gatins (screenplay)
Starring: Denzel Washington, Kelly Reilly, Don Cheadle and John Goodman

Denzel Washington has an uncanny knack for throwing away his lines while still allowing them to register emotionally on his face.  This tactic serves him quite well in Robert Zemeckis’ Flight because the character he portrays, the alcoholic airplane pilot Whip Whitaker, would be much too volcanic and ineffective if he was played in a straightforward way.  In Washington’s hands, he transforms into a wounded maverick lying his way out of a situation he had no control over.

Unlike many of Zemeckis’ other movies, Flight avoids many opportunities for standard character development and perseverance.  When a standard Orlando-Atlanta flight turns into a nosedive at 30,000 feet because of mechanical malfunctions, Whitaker remarkably flies the plane upside down and stabilizes it for a safe landing.  Of the 102 passengers on board, only six died when all of them should have.

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REVIEW: Unstoppable

Directed by: Tony Scott
Written by: Mark Bomback
Starring: Denzel Washington, Chris Pine, Rosario Dawson, and Kevin Dunn

If you explain the basic concept of this movie (man v. physics) or any of the countless others it borrows from, people may think it sounds dull.  In the movies, time is one of the biggest perpetuaters of suspense and conflict.  Diffuse the bomb, rescue the falling citizen, stop the train- we’ve seen it all and then some when it comes to race against the clock movies.  In the hands of a Hitchcock it can be a deadly, precise cinematic weapon.  Tony Scott also knows how to utilize it with his series of fast cuts and unnerving suspense, and his characters are always racing against some kind of clock, but I don’t need to say that he’s no Hitchcock.

Here, Denzel Washington (returning from Scott’s only just-forgotten The Taking of Pelham 123) plays Frank, a 28-year blue collar railway veteran getting ready to endure a forced retirement.  By his side is newbie Will (Chris Pine), a typically spunky up-and-comer who got this job because of who he knows at the top.  Time makes another appearance here in this attempted generational conflict.  Mediating this conflict in a command center is Connie (Rosario Dawson), who helps Will and Frank against the orders from her corporate masters.

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