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Some of the Best Performances of the Year – The Hollywood Reporter

Some of the best supporting roles in this year’s film didn’t come from classic monologues about your classic scene-swallowing powers or even the lingering cameo de rigueur of a resilient veteran. — smaller types of dramatic roles that have won major industry awards. For every heartbreaking speech in women talking, Whale and Fabelman’s house, there are still dozens of funny and visually amusing quotes in a handful of the best comedies of 2022 that you shouldn’t miss. Comedies are often honored for their scripts, but it takes special talent to bring those pages to life.

At the top of my personal poll are the performances I didn’t expect when deciding to watch their movies. Thanks to marketing materials for movies like Sad triangle, Everything Anywhere All At Once and Menu, for example, I anticipate getting one or two leads in each role — your Charlbi Deans, your Michelle Yeoh, your Ralph Fienneses, and your Anya Taylor-Joys. But many of the smaller roles in these films appear on the screen brighter and bigger than the lead roles. I can’t forget Dolly de Leon in Sad triangle, who starts out as nothing more than a background actor in the class satire, plays a fake Filipino maid aboard a luxury yacht who suddenly finds herself in a position of power when events on the ship went awry. Watching de Leon was like hearing a smoldering growl that grew into a loud roar. When her character, Abigail, begins to revel in the spoils of hegemony, she is perfectly adept at her righteous irreverence.

Both Jamie Lee Curtis (Everything Anywhere All At Once) and Hong Chau (Menu) also plays women in service roles, who use a small amount of their power to wage a sociological revenge. Curtis is hilariously naughty as a grumpy IRS auditor, knocked down after decades of living in a meager bureaucracy, who slowly squeezes the struggling Wang family just because she has body. On the other hand, Chau is delicious as a luxury restaurant owner who uses her bleached eyebrows and wicked tongue to intimidate dark-hearted guests. De Leon, Curtis and Chau let their rage drip, drip, drip, and overflow in these boisterous performances.

Watching these women unleash their pent-up rage is as funny as watching the pent-up rage for Justin Long in the movie. Barbarian and the noble Janet McTeer in Menu. These horror comedies don’t spare the villain, and their cinematic moments of justice are all the more satisfying thanks to the astonishing precision of Long and McTeer’s performance. Viewers should go in the cold to Barbarian, one of the more intimidatingly charming characters of the year, but rest assured that Long’s seemingly effortless impulsiveness defeats the moral drama at the heart of the film. His character is as sloppy as McTeer is measured, the latter playing a hardcore restaurant critic so impressed with her own words that any pseudo-intellectual rhetoric that she utters about “eating the ocean” or “the necessity of plating” only pushes her closer to the brink of destruction.

Sometimes, though, it’s good to support a poor comedy that just wants to live their lives in peace. Ke Huy Quan delivers one of the best performances of the year as Everything Anywhere All At OnceAt his emotional heart, a dorky husband and laundromat owner, thanks to the chaos of the multiverse, transforms into a martial arts action hero that his wife (Michelle Yeoh) doesn’t know she is. he needs. His range shifts from beta to alpha while his character redefines physics as we know it, showcasing a unique talent for combining humor, vulnerability, and muscle.

Also, while Colin Farrell and Brendan Gleeson are still the most talked about players in Inisherin’s Banshees, a tragedy of Martin McDonagh’s manners set in 1920s Ireland, after which I couldn’t stop thinking about Kerry Condon and Barry Keoghan. Condon appears as the belligerent sister of Farrell’s bland man, a woman increasingly fed up with the sudden feud between her brother and his only friend and how it suddenly made everything on their isolated island so small and insignificant that it was unbearable. Keoghan’s village moron, who becomes Farrell’s character’s replacement poor friend, is both delightfully strange and slowly becoming fearless as the traumas of his growing up becomes more obvious.

Awards predictors expected these two films to make it all the way to the Oscars, but a few underrepresented supporting roles knocked me out this year. funny pagethe sweatiest and most intense movie since uncut gems, which boasts engaging performances from Matthew Maher, as a psychologically unstable comic book colorist, and Miles Emanuel, an eccentric best friend who loves to steal the scene. Meanwhile, Jane Austen’s adaptation convince maybe not exactly a critical hit, but Mia McKenna-Bruce plays a young wife and mother to the Regent with all the pouting of a modern-day teenager that got me stitched up. And who could forget Rachel Sennott in this satire about Gen Z killers Body Organ Organ? She portrays her narcissistic, wealthy podcaster by reciting her fake-genius girl line as epic as what you might have heard from Judy Holliday herself. Sure, I appreciate it when the actors take away my tears, but it feels a lot more natural to giggle instead.

This story first appeared in the December independent issue of The Hollywood Reporter. To receive the magazine, click here to subscribe.




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