As I watched these, I was also ranking the performances based on how much I thought they deserved the Oscar, which was extremely difficult, but I did my best. I'll be adding each year's winner after I watch it. I tried to rank the performance, not the movie or the actress, but I'm not sure how well I succeeded. Here goes (from worst to best):
89. Mary Pickford for Coquette (1928/1929) Think Lina Lamont in The Dueling Cavalier. And if you don't know what I'm talking about, go watch Singin' in the Rain, but don't bother with this movie.
88. Katharine Hepburn for Morning Glory (1932/1933) Katharine Hepburn before she figured out how to act. Definitely cringe-worthy rather than Oscar-worthy.
87. Bette Davis for Dangerous (1935) Rumor has it that she won to make up for not being nominated the previous year. I think that must be true because this performance is all over the place. Not anywhere near Davis's finest performance.
86. Joan Fontaine for Suspicion (1941) Apparently all you have to do to win an Oscar is look vaguely worried for an hour and a half.
85. Glenda Jackson for Women in Love (1970) This movie is incredibly bizarre and uncomfortable, and Jackson isn't even that important in it. She does some mildly amusing strange dancing, but that's about all.
84. Diane Keaton for Annie Hall (1977) Well, la-di-da, la-di-da, la la. Iconic, but can you quote any of her other lines? This is Woody Allen's film. No one else, not even the title character, gets to shine.
83. Anna Magnani for The Rose Tattoo (1955) There are a few intriguing aspects of this performance, but it's mostly over-the-top and unrealistic.
82. Luise Rainer for The Great Ziegfeld (1936) A couple of decent scenes and one mildly impressive phone call in an interminable movie should not a Best Actress Winner make. Yet it did. And I had to sit through one of the worst Best Picture Winners again. So not worth it.
81. Marie Dressler for Min and Bill (1930/1931)
Overall, the performance isn't bad, but she hardly has anything to
work with. There's just enough to see her potential and how much it's
being wasted, but personally I don't think unfulfilled potential should
be the basis of an Oscar win.
80. Bette Davis for Jezebel (1938) Better than her other win, but still far from her best work. If you want to see a Southern belle defying societal restrictions, watch Vivien Leigh in Gone with the Wind. If you want to see a really good Bette Davis performance, watch All About Eve.
79. Simone Signoret for Room at the Top (1959) Her performance is probably the best aspect of the movie, but that's not saying much.
78. Luise Rainer for The Good Earth (1937) Luise Rainer playing a poor peasant trying to make the most out of life? Yes, absolutely, well done. A German person playing a Chinese person? No. Just no.
77. Maggie Smith for The Prime of Miss Jean Brodie (1969) Maybe if it was someone else I would have ranked this performance slightly higher, but Maggie Smith is better than this and I expected more.
76. Geraldine Page for The Trip to Bountiful (1985) This isn't a bad performance, but nothing really happens in the movie so she didn't have much to do.
75. Gwyneth Paltrow for Shakespeare in Love (1998) This movie is better than people think, and Paltrow's a better actress than she's given credit for, but I don't feel like she really does that much here. She has some great moments, but not enough to deserve the Oscar.
74. Loretta Young for The Farmer's Daughter (1947) She's really good in the political storyline, and her Swedish accent isn't terrible. If only the performance didn't rely so heavily on her non-existent chemistry with her co-star.
73. Glenda Jackson for A Touch of Class (1973) She clearly had fun with the role, and the performance is definitely better than her other win, but there's still not that much to it.
72. Patricia Neal for Hud (1963) If this had won Best Supporting Actress, it probably would be near the top of that list. It's just that she's not in very much of the movie and you kind of forget about her when she's not there, which makes it hard to imagine how anyone thought of this as a leading role.
71. Elizabeth Taylor for BUtterfield 8 (1960) This was one of the hardest performances to rank because it's kind of terrible, but it's also hilarious and I kind of love that it won. So I stuck it here.
70. Jennifer Lawrence for Silver Linings Playbook (2012) I love J-Law, but this performance just doesn't stand out, in either the film or her body of work. She should have won for Winter's Bone.
69. Julie Christie for Darling (1965) I think I'm probably unnecessarily hard on this performance because I didn't really understand the movie and I didn't think she should have beat Julie Andrews for The Sound of Music. She had some good scenes, I think, but I'm not sure because I was confused most of the time.
68. Jane Fonda for Coming Home (1978) This performance is mostly pretty good, but it pales in comparison to Jon Voight's, and her character kind of fades from importance in the second half of the movie.
67. Helen Hunt for As Good As It Gets (1997) To be fair, I don't think the character could have been played much better, but she's almost completely overshadowed by Jack Nicholson, who steals every scene.
66. Reese Witherspoon for Walk the Line (2005) This performance isn't as bad as people say it is. It's actually quite good, but this is definitely more of a Joaquin Phoenix film, and if only one of them could have won an Oscar, it should have unquestionably been him.
65. Jessica Lange for Blue Sky (1994) There's a little too much over-acting, particularly toward the beginning of the film, but the performance definitely improves as the story progresses.
64. Katharine Hepburn for Guess Who's Coming to Dinner (1967) I have moved this one so many times; I have no idea how to rank it! I love Kate, I love this movie, but I know too much. She's not acting; she's watching the love of her life give his last performance. If I didn't know anything about her and had watched this for the first time during this project, I probably would have ranked it higher. But I would also be a completely different person. Anyway, I love this performance, but I'm not convinced that it deserved an Oscar, and I had to put it somewhere.
63. Ingrid Bergman for Anastasia (1956) She's surprisingly convincing in the role, and it's not a bad movie. The problem is I've seen way better performances from her, and I've also seen a way more enjoyable version of Anastasia.
62. Jennifer Jones for The Song of Bernadette (1943) She's pretty much perfect for the role and does a great job for most of it. Sadly this movie kept dragging on and on until I got sick of everything in it, including her performance.
61. Ginger Rogers for Kitty Foyle (1940) This is some of the best dramatic acting I've seen from Ginger Rogers, but I much prefer her in comedies.
60. Joanne Woodward for The Three Faces of Eve (1957) This performance is intriguing and unusual, especially for the time period in which it was made. It's not quite believable, but it's close.
59. Greer Garson for Mrs. Miniver (1942) There's nothing bad about this performance; it's just not very exciting. She has a couple of really good scenes. I wanted more.
58. Sophia Loren for Two Women (1961) I think I was too disturbed by this movie to rank the performance any higher than this. My two main complaints are that she was way too young for the role, and that I think the film relies a little too heavily on the shock factor. Spoiler alert: I'm pretty sure she won the Oscar for the gang rape scene.
57. Ellen Burstyn for Alice Doesn't Live Here Anymore (1974) A very believable performance including an unusually realistic mother-son dynamic. Her singing could have been better though.
56. Cher for Moonstruck (1987) One of the few rom com performances to win, so it's a fun change of pace. Her performance isn't that outstanding, and other aspects of the movie are much better, but I still kind of love that she won.
55. Susan Sarandon for Dead Man Walking (1995) This is a fascinating portrayal of a moral dilemma that Sarandon pulls off remarkably well. However, much as it pains me to admit it, Sean Penn kind of steals the movie.
54. Nicole Kidman for The Hours (2002) I'm not sure how or why this happened, but I'm pretty okay with it. I go into that a lot more in the post, so click the link if you're curious.
53. Kate Winslet for The Reader (2008) It's an intriguing performance that shows some promise, but it leaves me unsatisfied, and there's too much nudity. To quote myself, "I would have preferred to see more acting and less of her."
52. Joan Crawford for Mildred Pierce (1945) She makes Mildred a lot more sympathetic and relatable than she could have been, but I think some of the supporting performances are better than hers.
51. Grace Kelly for The Country Girl (1954) Grace Kelly plays against type, mostly successfully. A couple of scenes could have been better.
50. Janet Gaynor for 7th Heaven, Street Angel, and Sunrise (1927/1928) This win is almost impossible to compare with the others. It was the first year, so nobody really knew what the Oscars would become. Also no one else ever won this award for a performance in a silent film, let alone for 3 different performances at once. She's very good in all of them, although they're not without flaws, so I tried to keep her near the middle.
49. Claudette Colbert for It Happened One Night (1934) This performance basically set the stage for generations of rom com actresses. An argument can be made that the "woman in a romantic comedy" trope has since been improved upon, but without this performance, those might not exist.
48. Julia Roberts for Erin Brockovich (2000) On the whole, it's an effective portrayal of an unconventional strong, independent woman. She could have been more convincing in the romantic parts. Or they could have just cut those out.
47. Norma Shearer for The Divorcee (1929/1930) Fascinating pre-code talkie in which Shearer very effectively plays against type. A bit of overacting - and how good other performances are - prevented me from ranking it higher.
46. Faye Dunaway for Network (1976) Satire is difficult to pull off, and for the most part Dunaway does a very good job. In the beginning the performance is a bit lacking, but it picks up a lot of steam by the end.
45. Marlee Matlin for Children of a Lesser God (1986) Kind of the opposite of Faye Dunaway's: in the beginning it's a terrific performance, but it loses some of its heart by the end.
44. Barbra Streisand for Funny Girl (1968) It was a good decision to let her re-create her Broadway role, since I don't think the film would be nearly as good with anyone else. It's certainly not the best movie ever, but I don't think that's entirely her fault.
43. Shirley MacLaine for Terms of Endearment (1983) Her character's totally misguided and obnoxious, but man, does she sell it!
42. Sandra Bullock for The Blind Side (2009) She very effectively embodies her character, but she's kind of upstaged by Quinton Aaron and the kid who plays her biological son.
41. Sally Field for Places in the Heart (1984) A strong performance in a beautiful movie, but I think the whole ensemble deserved to be recognized rather than just Field. Hers is by no means the strongest performance here.
40. Liza Minnelli for Cabaret (1972) Fabulous singing, near-flawless embodiment of the character, for the most part. There are a few aspects that could have been better, and she's definitely upstaged by Joel Grey.
39. Katharine Hepburn for On Golden Pond (1981) So fun to watch! The movie focuses more on Henry Fonda, so she doesn't have a whole lot to do, but what she does is delightful.
38. Jessica Tandy for Driving Miss Daisy (1989) Honestly, I think I would have ranked this higher if Morgan Freeman had also won an Oscar. It's the way the two of them play off each other that makes this movie, and I don't think she deserved more recognition than him.
37. Emma Thompson for Howards End (1992) Emma Thompson is so wonderful. This isn't her best performance ever, but it's up there.
36. Halle Berry for Monster's Ball (2001) This movie wasn't nearly as good as I wanted it to be, yet her performance was somehow way better than the whole.
35. Cate Blanchett for Blue Jasmine (2013) A believable portrayal of a complex mental illness, but the movie itself is kind of forgettable, and Blanchett's given much better performances.
34. Meryl Streep for The Iron Lady (2011) It seems like it would be a daunting task to make Margaret Thatcher seem accessible, but Meryl Streep was more than up to it. I mean, it's far from her best performance, but this was better than I was expecting it to be based on what I'd heard.
33. Audrey Hepburn for Roman Holiday (1953) Audrey Hepburn before she was Audrey Hepburn. Immediately before, since this launched her to instant stardom. With good reason: she certainly had talent. I like her better in some of her later roles, but this is nevertheless extremely impressive.
32. Judy Holliday for Born Yesterday (1950) This gets a lot of hate for beating some iconic performances, but actually watch it before you knock it. I think it's one of the best comedic performances I've ever seen.
31. Jane Fonda for Klute (1971) Equally convincingly strong as vulnerable, Fonda's embodiment of her character is near perfect. I just wish there was more about her and less about Donald Sutherland's character.
30. Hilary Swank for Million Dollar Baby (2004) I hate this movie so much, but I love the performances. I'm not convinced hers is the best, but it's very impressive.
29. Sally Field for Norma Rae (1979) How well this movie works depends almost exclusively on how the title character is played, and for the most part, Field absolutely nails it.
28. Frances McDormand for Fargo (1996) She's so perfect for this role! If she was in more of the movie, I probably would have ranked this higher, but I feel like it almost belongs in the supporting category, which dropped it down a bit in my estimation.
27. Marion Cotillard for La Vie en Rose (2007) She successfully faces the challenge of embodying a complex character through several very different stages of life. It's unclear how much the makeup helps, but even so, I'm impressed.
26. Helen Hayes for The Sin of Madelon Claudet (1931/1932) This heartbreaking movie very effectively demonstrates Hayes's incredible acting skills, making it utterly unsurprising that she was the first woman to win the EGOT.
25. Olivia de Havilland for To Each His Own (1946) This performance is actually very similar to Helen Hayes's. I was slightly more intrigued by de Havilland's, so I ranked her slightly higher.
24. Sissy Spacek for Coal Miner's Daughter (1980) I was already sold on her naive-but-determined manner, but watching Loretta Lynn interviews in the DVD extras clinched it for me. Spacek captured her so well!
23. Jodie Foster for The Silence of the Lambs (1991) Okay, so I know everyone associates this movie with Anthony Hopkins, but Foster's performance is probably better than you remember it.
22. Natalie Portman for Black Swan (2010) This movie is so weird, but the role seems pretty demanding, and she nails it.
21. Julianne Moore for Still Alice (2014) Since Alzheimer's involves losing your sense of self, it's unclear how Moore manages to maintain such consistency, but it's beautiful. She makes the movie even more heartbreaking than it should be, if that's even possible.
20. Helen Mirren for The Queen (2006) I never question that she's actually the Queen of England, yet I somehow also relate to her? How does Mirren do this?
19. Jodie Foster for The Accused (1988) Emotional yet perfectly controlled, my one complaint is there was no explanation for her out-of-place accent.
18. Brie Larson for Room (2015) Perfect chemistry with the actor who played her son, and expert handling of conflicted emotions. Her performance is so good that I'm genuinely angry that the movie didn't win Best Picture, but she couldn't have done it without that kid.
17. Katharine Hepburn for The Lion in Winter (1968) Hepburn had 4 wins in this category, and this is the only one that even comes close to demonstrating what she was capable of. And she didn't even win it outright!
16. Vivien Leigh for A Streetcar Named Desire (1951) She's amazing in this, but I think she's better in Gone with the Wind.
15. Elizabeth Taylor for Who's Afraid of Virginia Woolf? (1966) I don't really like her character, but she makes her utterly believable. No mean feat, considering how bizarre she is.
14. Holly Hunter for The Piano (1993) This performance is unlike any other on the list. She shows essentially no emotion except when she's playing her instrument. Without this choice, the movie would have been completely different, and probably not nearly as effective.
13. Louise Fletcher for One Flew Over the Cuckoo's Nest (1975) This stands out in so many ways. One of the few villain performances to win the award, one of the most iconically chilling performances of all time, pretty much the only thing Louise Fletcher is known for...basically, this Oscar was thoroughly deserved.
12. Julie Andrews for Mary Poppins (1964) We all knew this had to be high on my list. Julie Andrews gets her sweet revenge for being overlooked in My Fair Lady, becomes a movie star overnight, and leaves us with one of the most beautiful, beloved performances of all time. So much win.
11. Susan Hayward for I Want to Live! (1958) I put this higher than I think most people would simply because I wasn't expecting much and it shocked me.
10. Shirley Booth for Come Back, Little Sheba (1952) Another one that I didn't have high expectations for that then blew me away. It's not the most exciting performance, but it feels very genuine.
9. Jane Wyman for Johnny Belinda (1948) For this film to work at all, Wyman's character needed to be sympathetic and realistic, and she pulls both off splendidly. You never question that she can't hear, or that the townspeople are absolutely wrong about her.
8. Kathy Bates for Misery (1990) I'm used to Kathy Bates being sassy and likeable, so I'm thoroughly impressed with how utterly terrifying she manages to become in this movie. I will never think of her the same way again.
7. Ingrid Bergman for Gaslight (1944) This is one of my favorite movies, almost exclusively because of Bergman's performance. I can't even begin to describe how good she is in a way that would remotely do it justice.
6. Olivia de Havilland for The Heiress (1949) I don't want to give her sole credit for this movie, but at the same time I think it could have easily been pretty terrible if her role had been approached in a typical fashion. She brings something indescribable to it that thoroughly earned her the Oscar.
5. Anne Bancroft for The Miracle Worker (1962) She could have so easily been upstaged by Patty Duke, but she wasn't. I found that extraordinary.
4. Hilary Swank for Boys Don't Cry (1999) This is an extremely emotionally demanding role, and she is 100% convincing.
3. Vivien Leigh for Gone with the Wind (1939) FOUR HOURS. Vivien Leigh completely and perfectly embodies this rich, complex, flawed, layered character for FOUR FREAKING HOURS' worth of movie.
2. Meryl Streep for Sophie's Choice (1982) The best performance from the best film actress of our time. I know that sounds like hyperbole, but it's not. I was convinced nothing could top this, until I got to 2003.
1. Charlize Theron for Monster (2003) Charlize Theron is utterly unrecognizable in this movie, and not just because of the makeup. It legitimately freaks me out how amazingly she embodies this character. If a better performance exists, I'm not sure I want to see it.
Sunday, June 26, 2016
My immediate reaction upon watching this movie is shock, and not just because of the subject matter. I cannot even fathom how anyone could have considered Spotlight to be a better movie than Room. This was absolutely more deserving of the Best Picture Oscar. Both films told interesting stories, but this had a much better execution in so many ways. However, before I go too far off on a tangent, I'm going to bring this back to Larson's performance; after all, that's why I'm here.
In order to give a deep, thorough analysis of this performance I'd probably need to watch the movie a couple more times, but I don't think I have that in me. It's an unusual Best Actress winning performance because, while she plays one of the two main characters and is in almost every scene, she's not the main focus. The story is mostly from Jack's perspective, and Jacob Tremblay does such a good job of portraying him that it was tempting to just watch him the whole time. Seriously, I think that kid deserved an Oscar. But that's not to say that Larson didn't. If anything, the fact that the story was from his perspective makes her character more difficult to portray. We as the adult audience who live in the outside world understand what's really happened to her, but we need to be able to see her through the eyes of a small child who believes that she is the only other real person to exist. Larson pulls this off spectacularly. She puts on a brave face for her son in order to convince him that their life is normal, and she does it so well that she almost convinces us, yet there are always hints of the pain and suffering she's experienced, just below the surface. It is entirely believable that she has been enduring abuse for many years. Her incredible chemistry with Tremblay further convinces us that the two of them really have lived in Room together for his entire life. It all seems so real.
Now I'm going to get a bit spoiler-y, so if you haven't seen this movie you might want to skip this paragraph. While I was impressed with her performance at the beginning, as the situation was being established, I became even more so as the story progressed. Her increasing desperation as she develops a new escape plan becomes more and more difficult to hide from Jack, and her struggle to explain his role to him without completely freaking out is brilliantly executed. Then when they do escape, she thinks she should be happy, but finds that she is utterly overwhelmed trying to process what happened. Her entire attitude and demeanor is completely different in the second half the movie, when she no longer has to focus on trying to escape. This shift could have easily been either too dramatic or too subtle, but she makes it very believable.
Basically, Brie Larson completely embodies this complex character. She clearly understands who this woman is and what she's gone through, and she also understands how her son sees her, and thus is able to convey both perspectives to the audience extremely effectively. To me, that's what makes this performance Oscar-worthy.
So far, this is Larson's only Oscar nomination, but she's still pretty young, and if this performance is any indication, it will almost certainly not be her last.
And now I'm finally all caught up! I've been attempting to rank these as I watched them, so I'll probably be posting that list pretty soon. I also plan to continue adding to this every year like I've done with my Best Picture blog, and I might try to tackle another Oscar category or some other movie-watching related blogging project in the near future, so stay tuned for that, loyal readers. All 3 of you. This has been a much more interesting project than watching the Best Picture Winners (I mean, that was pretty interesting, too, but I got really sick of long, depressing war epics by the end). I'm thinking maybe another acting category or a writing category next, but we'll see.
Monday, February 22, 2016
This is a truly heartbreaking story that is made even more so by Moore's incredibly believable and relatable performance. Probably the most demanding, and consequently the most impressive, aspect is the portrayal of the progression of the disease. When the film begins, she's only just started to notice symptoms, and by the end, she's barely there at all. Given that she's playing a character who is literally losing her mind, some overacting would probably be forgivable, but I didn't notice any. The progression seems very real and natural and not at all forced. Toward the beginning, there are a lot more scenes when she's struggling to find her memories, whereas later on she no longer realizes that she's forgetting things. This is brilliantly executed, and she does a fabulous job of conveying her state of mind to the audience at every moment. Julianne Moore has very convincing confused and unfocused expressions, so we can always tell when she knows what's going on versus when she's not quite sure versus when she has no clue.
Though we don't see Alice before her symptoms begin, Moore clearly understands who she is, which enables her to show us the person and not just the disease. She is losing her memories and her sense of self, but that wouldn't be nearly as tragic if she didn't seem so real. Moore manages to make her accessible to everyone while still believably struggling with a disease that most of us don't have, and that has to be what earned her the Oscar and so many other awards for this performance.
Julianne Moore received her first Oscar nomination for her supporting role in 1997's Boogie Nights. She received her first leading role nomination for 1999's The End of the Affair. She was nominated for both a leading and a supporting Oscar for 2002 films: leading for Far from Heaven, and supporting for The Hours, for which Nicole Kidman won Best Actress. She then went 12 years without a nomination before winning for Still Alice. I think pretty much everyone knew that she was going to win this one, partly in recognition for past work and partly because she did such a great job.
One thing I noticed that I must point out: this was the fifth year in a row that the Best Actress winning character had some sort of mental illness. Is this because actresses these days are particularly good at portraying mental illness, or because such roles seem more difficult and thus stand out more, or for some other reason, or just a coincidence? I don't know, but I still think it's interesting.
Next up will either be the second win in this category for Cate Blanchett or Jennifer Lawrence, or the first win for Brie Larson, Charlotte Rampling, or Saoirse Ronan. We'll find out this Sunday night!
Saturday, February 13, 2016
Remember the last time an actress won this award for a Woody Allen film, and I wrote about how undeserved it was because she didn't have much of a role and the story was mostly focused on the man? Well, that didn't happen this time. Woody Allen still bugs me, but at least he's demonstrated that he is able to write and direct a woman-centered story. Cate Blanchett unquestionably plays the leading role, in addition to giving an incredible performance that completely defines the movie.
She's very believable, both in the flashback scenes when she seems to mostly have everything together and in the present day scenes when she's completely losing it. The way she handles the scenes when she's talking to herself - usually the result of re-living past events that we've just seen in flashbacks - is particularly intriguing and impressive. She gives the impression that she really thinks it's happening right then, and that she's reacting to it naturally, when she's really staring at nothing. But what's so great about those parts is when she snaps back to the present and finds that people are staring at her. She clearly realizes why, but she never looks embarrassed; she either ignores them completely or glares at them defiantly until they look away. No one could have pulled this off better than Cate Blanchett.
I'm also impressed by how controlled her performance is, considering that she's portraying a mental breakdown. While her character is often over-the-top, I never feel like she's over-acting. She keeps it realistic, so that even though I don't particularly like her character, I can't help sympathizing with her. On the whole, I would call this a pretty good, not great, movie, but without Blanchett's performance it could have been terrible, so if it had to win an Oscar, it won for the right category.
Cate Blanchett received her first Oscar nomination for 1998's Elizabeth. She won the next time she was nominated, for Best Supporting Actress for 2004's The Aviator, in which she played 4-time Best Actress winner Katharine Hepburn. I still haven't seen that movie, but I can't possibly imagine anyone convincingly playing Katharine Hepburn except Katharine Hepburn, even someone as talented as Cate Blanchett. But anyway, next she was nominated for her supporting role in 2006's Notes on a Scandal, and the following year she was nominated twice: for Best Supporting Actress for I'm Not There and for Best Actress for Elizabeth: The Golden Age, but she lost both: the first to Tilda Swinton, the second to Marion Cotillard. Blue Jasmine was her next nominated performance, and currently she's nominated again for Carol, so I may be blogging more about her soon. We'll find out in two weeks.
But in the meantime, the last person I know for sure that I'll be blogging about is Julianne Moore
Wednesday, February 10, 2016
It's really funny to me because this wasn't incredibly long ago, but it was back when it was really cool to love Jennifer Lawrence. I feel like lately there's been a lot of backlash against her, partly because of this win, and partly because she was so beloved that people felt she must be overrated, and now it's becoming cool to hate her. It always really annoys me when it's cool to hate celebrities for being famous, so I was anticipating defending her win in this post. But after re-watching this movie for the first time since it was in theaters - which, okay, was only like 3 years ago, but I watch a lot of movies - I find that I cannot.
Lawrence's performance in this movie certainly isn't bad. In fact, it's quite good; it's just not that noteworthy. She's not the main focus of the film by any means, so it seems highly unjustified for her to win its only Oscar. Bradley Cooper had a much harder job and pulls it off splendidly, although I think the Academy made the right choice giving Best Actor to Daniel Day-Lewis that year. Anyway, Lawrence isn't in very much of the movie, and when she is she doesn't get to do much except pine after Bradley Cooper and constantly have her hair fall in her eyes (which was really distracting to me). The scene in the diner when she flips out on Cooper doesn't really do it for me, either; it feels forced and over-the-top.
However, she does have a couple of really good scenes in this movie. The part when she tells off Robert De Niro by rattling off sports statistics is fantastic, and I love her delivery of those lines. Then when the scene progresses and the focus moves outward from the two of them to the whole room, she seamlessly integrates into the ensemble, which is unexpected since it's near the end and we've barely or never seen her interact with most of the other characters before. That scene and the aftermath of the dance competition are probably Lawrence's best moments in the film. Beyond that, the performance was mostly good, but not really Oscar worthy. Maybe in the supporting category, but even then I'm not convinced it would have been deserved, and anyway she would never have beat Anne Hathaway. Weirdly, I haven't seen any of the other Best Actress nominated films from that year, but I have to believe at least one of them was more outstanding than this. But to be fair, it's not anywhere near the most terrible performance to ever win this award, so I guess there's that.
This was Lawrence's second Best Actress nomination, the first being for 2010's Winter's Bone. She was also nominated for Best Supporting Actress for 2013's American Hustle, and is currently nominated for Best Actress for 2015's Joy, for which she has already won a Golden Globe. If she wins this year, she'll finally break the record for youngest winner of a second Best Actress Oscar, which has been held by Luise Rainer for almost 78 years. Even if Lawrence doesn't win in a couple of weeks, I'm almost positive that she'll win another Oscar at some point in her career. I really hope that if she does, it will be for a performance that demonstrates her incredible acting talents better than this one. It's too bad the Hunger Games series got written off as teenage girl movies because personally, I think her acting in that is much better than in this.
Next up: Cate Blanchett, who is also nominated again this year