A perturbed, methodical portrait of addiction and sexual dependency that commands our attention even when we would rather not look. Fassbender's work keeps us gripped to a film that, frankly, isn't as interesting as his character is. Even during long, uneventful takes, we are fascinated.
A superb, controlled performance that maintains the character's typically mellow demeanor but subtly infers the anxiety simmering within. He often has to play the comedic straight man to multiple characters, which he handles perfectly without ever losing sight of his character's emotional journey.
A painfully real depiction of an angry, foolish, tormented man in denial about himself and the world he lives in. Harrelson's performance is immersive and lived-in, implying a masterful application of method and a reliance on character-specific instincts.
Some people quibble that there's too much Brad Pitt in his portrayal of Billy Beane. I argue that there's just the right amount of Brad Pitt, whose movie star charisma does indeed gleam through, but never at the expense of his internalization of a man questioning his own worth.
Serkis, naturally, brings is A-game. His Caesar is one worth hailing; a sensitive, confused, angry soul condemned to the body of a beast. It's his performance that moves and inspires the audience far more than his human costars. Once again, he is deserving of an Oscar nomination he won't receive.
George Clooney in The Descendants, Gary Oldman in Tinker Tailor Soldier Spy, Jean Dujardin in The Artist, Ryan Gosling in Drive, Matthias Schoenaerts in Bullhead