Victim's Gold Stars: The Leading Men

BEST ACTOR

Damon's done this sort of part before- introverted, quiet and rather morally suspect man in a suit- but I don't think I've ever seen him do it with more conviction, complexity and subtlety. Edward Wilson is really the tentpole of The Good Shepherd, and, despite all the superb work going on around him- Robert De Niro's clever direction, the production design, the music, the stellar supporting cast- it would still collapse without Damon at its centre, for he prevents the film from becoming a hollow, impervious beast. Wilson is a man whose life is both made and broken by his involvement with the CIA's birth, and Damon is supremely adept at portraying the slow, painful erosion of his relationships and soul.

The part of Billy Costigan quickly proves to be the best part Leonardo DiCaprio has ever been given; and beyond that, it's easily the best he's ever been. A mess of aggressive masculinity and confused nervousness, Billy is eager to show that he's not the man people expect him to be, but he struggles to let go of that as it seems to become increasingly necessary. The Departed is ostensibly a two-hander between DiCaprio's Costigan and Matt Damon's Colin Sullivan, but it really seems more of the long-awaited fruits of the extended Scorsese-DiCaprio partnership- finally DiCaprio has proved himself an equal to Scorsese's previous favourite actor, Robert De Niro himself. This, finally, is a star-making performance.

Dan Dunne is not a hero, which the teachers in this type of film usually seem to be. In fact, Dan is just as weak and selfish- probably moreso- than the people he teaches, a good teacher but a failure of a man. Ryan Gosling (whose real revelatory performance was five years previously in The Believer) creates a crafty balance between Dan's weaknesses and strengths, struggling to help others while neglecting himself. Gosling is not only superb within his character, but in the duets he creates with those around him- a brief appearance from Tina Holmes as a concerned ex, the various students in his class, but most importantly young Shareeka Epps as Drey, who discovers his drug habit. It's the rich web of relationships that make Half Nelson, and Gosling is the spider at its centre.

C.R.A.Z.Y. looks unlikely to ever be released in the USA (at least in theatres- I seem to remember reading about a DVD?), but since it was released in Britain in 2006 it's here, so shut it. This powerful family drama, with a superb visceral sense for its time period(s), is prime fodder for some great acting, and indeed, none more so that Marc-Andre Grondin as the central character Zac, the most unique of five brothers, and also the most confused. Grondin gets the mix of alienation and love from and for his family just right- he loves them but can't get on with them, because they don't understand him. Grondin keeps Zac firmly in reality as his character goes through various confusions- sexuality, drugs, travelling- even keeping C.R.A.Z.Y. grounded in its most absurd moments.

The Fountain is also a film that (more successfully) dabbles in the absurd, and Hugh Jackman also has to work hard to keep it grounded, as Darren Aronofsky's unique visions fly dazzlingly all over the place, and main co-star Rachel Weisz seems to lift off the ground thanks to ethereal lighting and a ghostly character. Jackman not only has to juggle three different- although ultimately the same- characters, but he has to mediate between their different temperaments. The central character, the one in the nearest time period, Tom Creo, is the biggest part and also the most powerful- witness Jackman's howls of pain as he's restrained in the hospital and I defy you not to sob. The Fountain made me cry in a singular way, and this, I credit entirely to Mr. Jackman.

The Devil Wears Prada, Get Real and C.R.A.Z.Y.

[The Devil Wears Prada (David Frankel, 2006): Meryl Streep's much-loved performance as uber-bitch boss Miranda Priestly (reportedly, though according to author Lauren Weisberger NOT based on Vogue editor Anna Wintour) is the reason to catch this bitchy- though, in many ways, familiar- comedy, especially since it's garnering her Oscar predictions all over the shop. Anna Hathaway holds her own in a rather underwhelming role as her new assistant, fashion-unconscious journalist Andrea Sachs, who gets a job at fashion magazine Runway as a stepping stone to better things. The basic outline of Andrea's story is obvious- forced to fit in, she unintentionally alienates her boyfriend and friends, then ultimately realises the error of her ways- but screenwriter Aline Brosh McKenna does sprinkle a few surprises in Miranda's much more interesting story, and throws in a terrific role for British actress Emily Blunt as Miranda's other assistant Emily, a girl who is devoted to Runway and desperate to look great. Director Frankel keeps things afloat well enough, though it starts to feel a bit overstreched at points and it's never really as funny as it should be. But it's a must-see purely for the performances of Blunt and Streep- the first of whom deserves just as much attention as her legendary co-star. Grade: B-]

[Get Real (Simon Shore, 1998): This cliched and rather slow British coming-out drama puts the interesting twist of having it's central character already totally aware and accepting of his sexuality- Steven Carter (Ben Silverstone) is sixteen and cruises for older men in his local park, though only his best friend Linda (a sharp Charlotte Brittain) knows he's gay- even as his classmates constantly throw the traditional homophobic remarks his way, they don't actually believe he's that way inclined. But when, one day, his next-door neighbour in the park toilets turns out to be school sports hunk John Dixon (Brad Gorton), screenwriter Patrick Wilde brings out the traditional cliches of a young man struggling to accept himself. Get Real essentially pares down to a spate of melodramatic speeches, which Silverstone and particularly Gorton, in a surprisingly measured and tender performance, cope with well but are never able to truly sell. As it builds towards it's predictable climax, the only pleasures in watching Get Real comes the unravelling of Brittain's sparkling turn and Gorton's sympathetic hunk. If this is life at a British secondary school, I obviously skipped it. Grade: C]

[C.R.A.Z.Y. (Jean-Marc Vallee, 2005): The Canadian submission to 2005's foreign film Oscar selection, this unfortunately missed a nomination, but for those who can get it, this compelling study of Quebecian family life is well worth a watch. Fantastic performances from Michel Cote as the traditional father, Danielle Proulx as the more accepting mother and especially Marc-Andre Grondin as the central character anchor this all-encompassing story, ostentatiously concerning Zac's sexual confusion but in reality bracing a variety of issues we face growing-up, from religion to drugs. Director Vallee has a fascinating directorial hand, neither too constricting nor too loose, letting his actors fill out their roles fully while also adding some fascinatingly off-kilter touches and a bright colour palette to truly evoke the era the film charts (1960s-1980s). The much-touted soundtrack (the reason for a lack of release in the US) is indeed fantastic, with David Bowie and Patsy Cline providing much more than just background noise. If my grade is low for all this praise, it's only because I never really felt a personal connection, and perhaps because the story occasionally flew off in unneeded directions. But don't let that put you off giving C.R.A.Z.Y. a look whenever you can. Grade: B]