Halfway Mark: Best Actors of 2016 (Thus Far)

Halfway Mark Festivities begin now! It's never too early to start thinking about year-end lists. If you keep a list all year long, you make better choices at year's end. Unlike The Academy we don't believe that the film year begins in October. So let's name the best male performances and achievements from the first half of the year.

Disclaimer: Notable films I missed that might have factored in to these categories but that I'll have to catch up with on DVD include 10 Cloverfield Lane and The Nice Guys.

NOTABLE MALE PERFORMANCES 
(January through June, 2016 - U.S. Theatrical Releases)

Best Leading Actor

• Alfredo Castro as "Armando" in From Afar
  One of world cinema's most dependably unnerving actors but his performances are never copies. (He's also great in the predatory priests drama The Club also released this year)
• Colin Farrell as "David" in The Lobster
  This underpraised actor continues to push himself when similarly famous stars would have long ago started coasting. Just wonderful as this lovelorn but surprisingly amoral sadsack
• Jake Gyllenhaal as "Davis" in Demolition
  Can someone please start giving him films that can keep up with him? He's been on such a tear. Get him while he's at his peak!
• Daniel Radcliffe as "Manny" in Swiss Army Man
  Though it's not much of a high-bar to proclaim this Harry Potter's best performance, that doesn't negate the compliment. Radcliffe does wonders with the weird constrictions of the role, never over or underplaying this corpse that talks, marvels, and learns and yearns for love
• Ferdia Walsh-Peelo as "Cosmo" in Sing Street
  He's a major find, superbly charting Cosmo's growing confidence and musical passion.

Four more categories after the jump...

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The Furniture: Merrily We Dance in Hail Caesar!

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

Hobie Doyle is out of his element. Tossed from the great outdoors into the drawing room by the head of the studio, Alden Ehrenreich’s cowboy careens into words with hilarious indelicacy. It might be the single funniest scene in the Coen Brothers’ Hail Caesar!, now available on DVD and Blu-Ray, or at least a close second place to the hysterical clerical debate. It also has one of the most interesting sets, if not the flashiest.

The production in question is "Merrily We Dance," a genteel comedy by the director Laurence Laurentz (Ralph Fiennes). A hodge-podge of George Cukor and Noel Coward, he stands in for the not-quite-closeted geniuses of the era. The film, which seems to fall somewhere between Private Lives and Dinner at Eight, sends a jilted lover to an upscale party from which the hostess has absconded to Lake Onondaga...

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Disney's Moana Arrives

Manuel here. During last night’s joyous Tony Awards, many of us got the first look at a Disney film that is sure to crash what’s looking like an already crowded Best Animated Feature race. Between Kung Fu Panda 3, Zootopia, Finding Dory, and the upcoming Sausage Party, Trolls and The Secret Life of Pets, there’ll be no shortage of films to round out a competitive category. And that’s even before we begin taking seriously the foreign productions which often leapfrog over the American CGI spectacles to worthwhile nominations (fingers crossed for Kubo and the Two Strings and The Red Turtle). Enter Moana:

As is become custom with female-driven Disney properties, the marketing team at the Mouse House is looking to play another bait and switch—remember how all those early Frozen teasers looked like Ice Age ripoffs by focusing on playful scenes of what we all assumed would be that annoying snow man? or those Tangled ones which put Flynn Ryder at the center of the action, barely making mention of the film's fairy tale leanings? This first teaser is all about Maui (voiced by Dwayne Johnson) while giving us very little sense of what the first ever Polynesian Disney princess story will be about.

We’ll wait for a full on Yes No Maybe So when the full trailer drops, but in the meantime, enjoy the teaser where you can see that Ron Clements and John Musker (they of Aladdin and The Little Mermaid fame) have stayed true to the Disney formula and given Moana a delightfully adorable pet.

Immediately, I'm already won over by the beautiful use of color—those sky blues and ocean hues look sumptuous to say the least. Also, I can't be the only one having Hercules flashbacks with that tattoo intro bit but anything that reminds me of those hilarious muses is fine by me.

But perhaps I'm burying the lede here: Moana may be the film that gets Lin-Manuel Miranda his EGOT. After winning two (more) Tonys last night for Hamilton, having won Grammys for both his Broadway shows, and an Emmy for the "Bigger!" Tonys opening number a few years back, Miranda may nab his first Oscar nomination (even a win?) for the music he's written for this Disney flick. It'd be a heck of a way to cap off a great year for the ever entertaining Broadway superstar and perhaps a way to further welcome him to Hollywood ahead of his next big film project, a little movie called Mary Poppins Returns.

Thoughts I had while looking at the first "20th Century Women" Image

Readers. I do not know where this image originated but I was so excited when I saw it I stopped breathing for a second. Thoughts that came to me while staring at it without editing them...

I already want to inject this movie directly into my veins. 

The Bening is front and center as it should be. Movies that put her off to the side. They're doing it wrong.

Sometimes it disturbs me when Elle Fanning looks directly into the camera. Like, quite possibly, she's not real. Or maybe an alien (I think she is playing one in How To Talk to Girls At Parties but that's just a clever way to throw us off the scent and hide in plain sight)

Remember when Billy Crudup turned down playing the Hulk in the early Aughts? Remember when Billy Crudup left Mary Louise Parker for Claire Danes when MLP was pregnant and everyone hated him? Remember when Billy Crudup was so great in various things throughout his career?

He looks kind of McConaughey Dallas Buyer's ragged in this image and that worries me. Unless it's for the character.

I didn't even recognize Greta Gerwig. WHOA. That's what a change of hair color and cut will do to a person.

When will this movie be in my eyeballs? WHEN? WHEN?!? I have the impatience.

Confrontational hippie boss realness.

I think the boy on the far right is this dude but I'm not sure. (Sometimes I feel like I'm cheating when I click over to IMDb while writing posts. LOL) The movie has something to do with The Bening's relationship to mothering her boy via her other relationships? 

Mike Mills last movie Beginners was so original and amazing and personal and resonant and all of the things movies should aspire to be and if this one is that good I will die of happiness while watching it only not all the way dead because it will also give me life and there will be more movies to see after it and I don't want to die.

Greta Gerwig looking like someone else is weird because even though she's Indie Queen, she's actually old fashioned movie star in that she always plays herself. Superbly.

Will it finally be Annette Bening's year at the Oscars? It wasn't in 1990. Or 1999. Or 2004. Or 2010. Who, me? Bitter? What's that woman got to do to win an Oscar?

The Furniture: Design Heralds Doom in The Witch

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

The Witch has a lot in common with Black Narcissus. I probably wouldn’t have noticed it if the 1947 Powell & Pressburger classic weren’t still on my mind from last week’s column, but it’s very true. Thomasin’s family of fanatical Puritans and Sister Clodagh’s nuns both find themselves on the edge of their known world, motivated by faith to make a new life. Yet both groups are doomed from the start. They’re overwhelmed by their environments and fall in the face of doubt, sexual temptation and the power of nature.

Of course, Thomasin isn’t bedeviled by gorgeous matte paintings of the Himalayas. The Witch was shot in the very real wilderness of Ontario, in the former town of Kiosk. That’s “former” because the population starting leaving after the fire at the lumber factory in 1973. Now there’s just some abandoned railroad tracks and a towering forest. If that’s not the perfect place to shoot a horror film, I don’t know what is. 

The landscape dwarfs the solitary 17th century farm where the bulk of the film takes place. Cinematographer Jarin Blaschke takes advantage of this as frequently as possible. There are countless shots in which the cast seem like helpless children at the mercy of the trees...

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