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A touch of irony, a burst of sarcasm: How supporting casts bring extra flavor to their respective films

Some of the best supporting performances in movies this year didn’t come from your classic scenery-chewing powerful monologues, or even from a steadfast veteran’s requisite long cameo — the kind of lesser ones that impact major industries Dramatic Role Award . For every order in Women Talking, The Whale and The Fabelmans Heartbreaking speeches , dozens of sharp one-liners and side-splitting visual gags in a handful of strongest comedies still can’t be ignored. Comedies are often honored for their scripts, but it takes a unique talent to bring these vibrant pages to life.

At the top of my personal vote are performances I didn’t expect when I settled down to watch their movie. Thanks for the marketing materials for the movie like The Sad Triangle , All at the same time and The Menu, for example, I expect I’ll be struck by a protagonist or two from each of the characters – your Charlbi Deans, your Michelle Yeohs, your Ralph Fienneses and your Anya Taylor – Joy. But many of the smaller characters in these movies shine brighter and louder on screen than the main characters. I can’t forget Dolly de Leon in the Triangle of Sorrows, she started out as a background actress in the class satire, when the ship’s When events go awry, she suddenly finds herself on a luxury yacht in a position of authority. Watching De Leon was like listening to a growl grow from a simmer to a full-on growl. When her character, Abigail, begins to revel in the spoils of supremacy, she’s absolutely masterful in her own rightful acts of impiety.

Jamie Lee Curtis (Everything Everywhere All at Once) and Hong Chau ( menu ) also women in service roles who exercise their small powers to carry out all sorts of sociological reprisals. Curtis, beaten as a frugal IRS auditor after decades of bureaucratic mediocrity, gradually tightens her squeeze on the beleaguered royal family simply because she can. Chau, on the other hand, is very evil as the hostess of a fancy restaurant, terrorizing dark-hearted patrons with her bleached eyebrows and cruel tongue. De Leon, Curtis and Chau let their rage dribble, dribble, dribble, and spew out in these raucous performances.

Repressed anger at Barbarian greedy Justin Long and The Menu Happened to pompous Janet McTeer in . These horror comedies don’t spare the villains, and Lang and McTeer’s moments of cinematic justice are all the more satisfying thanks to their hysterically precise performances. Audiences should be indifferent to Barbarian, one of the creepiest magicians of the year, but rest assured, Long’s seemingly effortless capriciousness is evident throughout the episodes. The center touched the morality play film. His character is as scruffy as McTeer’s, who plays a caustic restaurant critic who is so impressed by her own words that what she says about “eating the ocean” or “respecting the plating Every flamboyant pseudo-intellectual remark about the needs of” just pushes her closer to the brink of destruction.

Still, sometimes it’s nice to root for a comedy loser who just wants to live a quiet life. Ke Huy Quan as the emotional heart of Everything Everywhere All at Once, an incompetent husband and laundromat owner who, due to failure in the chaotic multiverse, transforms into his The wife (Michelle Yeoh) doesn’t know she needs a martial arts action hero. He ranges from beta to alpha, and his character redefines physics as we know it, displaying a unique talent for piecing together the funny, the vulnerable, and the brave.

Also, while Colin Farrell and Brendan Gleeson are still the most talked about players in The Banshees of Inisherin, Martin McDonagh Tragic comedy set in 1402 Ireland, I kept thinking about Kerry Condon and Barry Keoghan afterwards. Condon plays Farrell’s bland, everyman’s snarky sister, a woman who’s growing weary of the sudden feud between her brother and his only friend, and how it’s suddenly turned everything on their isolated island upside down. unbearably small and insignificant. Keoghan’s country fool becomes a poor substitute friend for Farrell’s character, delightfully eccentric and progressively visceral as the trauma of his upbringing becomes clearer.

Awards predictors predicted how far these two films would go to the Oscars, but a couple of lesser-known supporting actors let me down this year. Funny Pages is the sweatiest, most stressful movie since Uncut Gems, Matthew Captivating performances by Maher, as a psychologically unstable comic book colorist, and Miles Emanuel, a scene-stealing geek best friend. Meanwhile, Jane Austen’s Persuasion may not have been a huge hit, but Mia McKenna-Bruce plays a young Regency wife and Mother, with all the pouting of a modern-day teen makes me sick. Who could forget Rachel Sennott from Gen Z SatireBodies Bodies Bodies? She fills out her rich, narcissistic podcast persona with genius fake-girl lines, as epic as you’ve heard from Judy Holliday. Of course, I appreciated it when the actors shed tears from me, but it felt more natural to laugh instead.

This story first appeared in the December stand-alone issue of The Hollywood Reporter magazine. To receive this magazine, click here to subscribe . 2022 2022

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