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Lemon of the Week: Critics who choose Ryan over Blanchett for Best Supp. Actress

Posted by Eric Lavallee on Dec 21, 2007
Source: IONCINEMA.com Exclusive
Over the course of past two or three weeks or so, actress Amy Ryan has been getting a ton of praise for her performance in Gone Baby Gone - so much so that she has topped several lists for Best Supporting Actress in the same year that Cate Blanchett did more than just impersonate an iconic folk legend.

Our Lemon of the Week goes to not the talents of the actress herself, or the role she played, but to the critic associations, circles, and groups (see the list below) who have somehow deemed Ryan's performance to be more original, weighty, significant, bold, measured, ballsy or in more generic terms 'outstanding', 'impressive' and 'awesome' than Blanchett's.

The National Board of Review, New York Film Critics Circle, Washington D.C. Area Film Critics Association, Los Angeles Film Critics Association, Boston Society of Film Critics, San Francisco Film Critics Circle, Satellite Awards, San Diego, Phoenix, Southeastern Film Critics, and finally for good measure, the Alliance of Women Film Journalists Association have all come to the same conclusion - my question is how many of those folks saw I'm Not There and how could so many people have gotten it wrong? And come Oscar time will The Weinsteins actually lose out to their former indie house Miramax films?

Is it just me or have we all witnessed more believable interpretations of white trash stay at home or stay in bars types of mother before? I've got Nathalie Press's small it in Andrea Arnold's short film Wasp in mind - and that mother is distress covers all the angles. 

On the other hand, Cate Blanchett is la raison d'etre for Todd Haynes' bio experiment. For further explaining feast your eyes on the clip below.









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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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