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.
Magic Mike Directed by: Steven Soderbergh Written by: Reid Carolin (screenplay) Starring: Channing Tatum, Alex Pettyfer, Cody Horn and Matthew McConaughey
Magic Mike is not a radical film. Its form is decidedly modern, with director Steven Soderbergh creating a lived-in yet color-saturated urban Florida summer. Its content, a fairly standard “Getting my life together” narrative, has been made radical because of Hollywood’s endless dedication to the male gaze.
As you are probably aware at this point, Magic Mike is the Channing Tatum stripper movie. It is a summer success story that is somehow a surprise because averting the endless movie camera gawk at the female form and aiming it at men is seen as a risk. Studio executives remain in a state of shock when the non-heterosexual male half of the population turns out to support a movie made for them.