Some of Years’ Best Performances – The Hollywood Reporter

Some of this year’s best supporting performances in film didn’t stem from your classic scenery-chewing powerhouse monologues or the de rigueur long-form short from a stalwart veteran — small dramatic roles that went on to win major industry awards. For every heartbreaking speech Women are talking, the whale And The Fablemans, a handful of 2022’s strongest comedies still have dozens of biting one-liners and sidesplitting visual gags that shouldn’t be overlooked. Comedies are often revered for their screenplays, but it takes a unique talent to bring those vibrant pages to life.

At the top of my personal poll are the performances I didn’t expect when I settled down to watch his films. Thanks to the marketing materials for such films The Triad of Sorrow, Everything everywhere at once And menu, for example, I expected to be impressed by one or two of the main characters in each – your Charlby Deans, your Michelle Yeohs, your Ralph Fienneses and your Anya Taylor-Joyce. But many of the minor characters in these films appeared brighter and louder on screen than the heroes. I can’t forget Dolly de Leon The Triad of Sorrow, she begins as little more than a background player in the class satire, playing a Filipina maid on a luxury yacht who suddenly finds herself in a position of power when events aboard the ship go awry. Watching de Leon is like listening to the crescendo of a roar that boils into a full-blown roar. While her character, Abigail, begins to revel in the spoils of dominance, she becomes fully adept at her justified evil.

Both Jamie Lee Curtis (Everything everywhere at once) and Hong Chau (menu) also cast women in service roles with their small amount of power as a form of social revenge. Curtis hilariously plays against type as an embarrassed IRS auditor, defeated after decades of bureaucratic mediocrity, who gradually tightens her squeeze on the struggling Wong family because she can. Chow, on the other hand, is deliciously devilish as a posh restaurant hostess who uses her bleached eyebrows and cruel tongue to bully her dark-hearted patrons. De Leon, Curtis and Chow let their anger drip, drip, drip and then splutter in these tumultuous performances.

Watching these women unleash their fury is about as funny as watching pork unleashed on Justin Long. barbarian And priggish Janet McTeer in menu. These horror-comedies don’t spare the villains, and their moments of cinematic justice are all the more satisfying for the maniacal precision in Long and McTeer’s performances. Viewers should go cold barbarian, one of the year’s creepiest charmers, but the rest assured that Long’s seemingly effortless petulance punches the morality play at the film’s center. His character, like McTeer’s measure, is a slide restaurant critic so deeply affected by her own words that every florid pseudo-intellectual comment she makes about “eating the ocean” or “needing a coating” pushes her away. Close to the brink of destruction.

Sometimes, though, it’s better to root for the comedic underdog who wants to live their life in peace. Ke Hui Quan delivers one of the best performances of the year Everything everywhere at onceHis emotional heart, a nebbish husband and laundromat owner, is transformed, thanks to the multiverse’s chaotic misfirings, into the martial arts action hero his wife (Michelle Yeoh) never knew she needed. His range, flying from beta to alpha as his character redefines physics, demonstrates a unique talent for dissecting humor, vulnerability and courage as we know it.

Additionally, Colin Farrell and Brendan Gleeson remain the most buzzed about players. Banshees of Inishrein, Martin McDonagh’s tragic comedy of manners set in 1920s Ireland, I couldn’t stop thinking about Kerry Condon and Barry Keoghan afterwards. Condon appears as the acerbic sister of Farrell’s Blonde Everyman, a woman increasingly fed up with the sudden animosity that grows between her brother and his only friend, and how it suddenly makes everything seem unbearably small and insignificant on their isolated island. Keoghan’s village simpleton, who becomes Farrell’s character’s poor surrogate friend, is delightfully eccentric and gradually gutted as the traumas of his upbringing become clear.

Awards prognosticators expect these two films to go far at the Oscars, but several under-the-radar supporting roles knocked me out this year. funny pagesThe sweatiest and most stressful film since Uncut gems, features strong performances from Matthew Maher as a mentally unstable comic book colorist and Miles Emanuel as a scene-stealing geeky best friend. Meanwhile, the Jane Austen adaptation persuasion Maybe not exactly a critical hit, but Mia McKenna-Bruce as the young Regency wife and mother had me in stitches with all the vulnerability of a modern-day teenager. And who can forget Rachel Sennot in the Gen Z slasher parody Bodies are bodies are bodies? She plays her rich, narcissistic wannabe-podcaster character with genius dummy-girl line readings epically you might have heard from Judy Holliday herself. Sure, I appreciate it when actors make me cry, but it’s more organic to guffaw instead.

This story first appeared in the December stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, Click here to subscribe.

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