FYC: Thomas Middleditch for Best Lead Actor in a Comedy

Team Experience is sharing their dream picks for the Emmys. Here's Michael C with our final acting FYC before we wrap up with a couple of other things...

The central comic conceit of Silicon Valley is that the tech industry has created a dynamic where the most power is now in the hands of those with the least social skills. Thomas Middleditch (perhaps best known previously for getting his gold fish eaten by Jonah Hill in Wolf of Wall Street) embodied this idea so perfectly in the beginning he barely seemed to be doing any acting. He just is that guy. He need only show up in scenes with his wide-eyes, his stammer, and his never-seen-the-inside-of-a-gym physique and we instantly got the joke. That "Richard Hendricks" quickly graduated from being a type to a character is a credit to Middleditch, in particular his keen comic timing capable of shading the many subtle levels of Richard's ever-present anxiety, from basic discomfort all the way up to full-blown meltdown.

Were Silicon Valley a typical network sitcom Middleditch could spin variations on the same comic beats for nine or ten seasons, probably to much acclaim, but the stellar second season of Mike Judge's HBO show immediately upped the ante for Richard. The triumph of the first season finale dropped him into the deep end of the pool, swimming with the tech equivalent of great white sharks. Where before he could succeed with a bolt of lightning burst of genius. the new season requires him to be not just a brilliant programmer but a brilliant leader, a renegade capable of inspiring his team and strategizing against the big boys on a tiny fraction of their budget. That Richard has floundered at every step of this process may have obscured the fact that Middleditch has succeeded in subtly evolving the character at pace with the show. The Richard Hendricks from the season two finale ready to burn his business to the ground (read: delete it) rather than see it stolen out from under him, was a far cry from the nervous nelly of the pilot who nearly had a breakdown trying to decide if he should just sell it and run. That Middleditch pulled off this incremental transformation believably (and hilariously) is an achievement that easily warrants inclusion among the five nominees for Best Lead Actor in a Comedy. I'm tempted to say he deserves the win.

Previously:
Supporting Actress Specials!!! Cara Seymour & Ann Dowd
Series Drama The Americans and The Leftovers 
Series Comedy Jane the Virgin 
Actress (Comedy) Lisa Kudrow, Amy Schumer 
Actress (Drama) Ruth Wilson
Actor (Drama) Jon Hamm and Michael Sheen 
Supp. Actor (Drama) Matt Czuchry (Comedy) Tituss Burgess
Supp. Actress (Comedy) Lauren Weedman and Melanie Lynskey

Links

Good luck finding an actress today that looks like thisFilm School Rejects a biopic of Ingrid Bergman during the Notorious era might be coming from James Mangold. I'm always hoping they'll cast unknowns rather than stars for these things, so that they'll look more like their subjects
Decider really funny ranking of all of Meryl Streep's Oscar nominated work, judged by accents, struggles, co-stars, and random intangibles
Movies Now the box office wealth gap between blockbusters and everything else - interesting piece and worrisome, too
ArtsBeat Smash's "Bombshell" musical MIGHT (sigh) actually become a Broadway musical. Yes, they're still dangling that carrot since the one night only cast reunion of Smash went so well
MCU Exchange the deal is done and Ava DuVernay (Selma) will direct Marvel's Black Panther film 
/bent is thrilled that Inside Out passes the Bechdel Test so easily on all counts

A Must Read
"The Decline of the American Actor" is a really engaging piece about today's leading men, the "Chris"es and beyond and the struggles they face without challenging roles or all that much in the way of training like their foreign counterparts. It's really fascinating and the writer Terrence Rafferty only threw me out of it once when he makes a very strange rather off topic dig at Masters of Sex's second season which had me questioning his sanity (I couldn't disagree more on all counts of what he's saying in that section). It also has a nice little detour into current 20 and 30something actressing by clever way of Clouds of Sils Maria... that movie sure did get a lot of people talking so it's a mystery why it didn't break through in a more major way since actual stars were involved. 

RIP - Exit Music
The film composer James Horner died in a plane crash at age 61 yesterday. He was a favorite of James Cameron and Ron Howard, and moviegoers of course. He composed so many well liked movies that it's tough to name a favorite though I remember always liking the scores to Aliens, Avatar, Apollo 13 and Willow. We will be treated to his three final scores this year with  Southpaw, Wolf Totem and the Chilean Miners movie The 33. The Oscar favorite won both of his Oscars from the phenomenon that was Titanic (for score & original song) and was twice nominated for movie songs. So here's a little Celine at the Oscars and a little something from An American Tail, too.

Curio: A Mug for Every Mood

Alexa here.  After more than a year on the wagon, I am back on the sauce with a vengeance. To clarify, I am talking about coffee.  In an effort to channel my more zen-like, less anxiety-ridden self, I cut it out. (I also hated feeling a slave to the Starbucks down the road.) But my chill, non-caffeinated self has become too sleepy of late; so I cleaned out our grind and brew, stocked up on some David Lynch Signature Blend, and decided to splurge on some new mugs. Here are some movie-centric ones I've considered buying during my trip back to the dark side...

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Yes No Maybe So: Sicario

Manuel here to talk about Sicario, the latest Denis Villeneuve film starring Emily Blunt, Benicio del Toro and Josh Brolin. It already earned strong reviews at Cannes but last week’s trailer was our first extended look at this drug cartel film where Blunt plays an FBI agent enlisted to help in the war against drugs in the US/Mexican border.

I wanted to make a full YES/NO/MAYBE SO for this trailer but realized as soon as we got to this shot...

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Happy 75th, Abbas!

Amir here, to wish the happiest of birthdays to one of the masters. For all the success of Iranian cinema throughout the 90s and the emergence of several filmmakers who were lauded at international film festivals, the country's cinema had become, for better and for worse, synonymous with one man's name: Abbas Kiarostami. This has somewhat changed in recent years, with Kiarostami taking increasingly longer periods between projects and Jafar Panahi (This is Not a Film, Closed Curtain) and Asghar Farhadi (A Separation, About Elly) receiving so much attention, but ask any cinephile who their favourite Iranian director is and chances are you're going to get the same response you did twenty years ago.

Kiarostami turns 75 today, and to celebrate his birthday, we're going to suggest five films from his vast filmography that aren't widely seen. If you're unfamiliar with his work, any of these is a great place is to start. For the purposes of this list, I have excluded his three milestone: Close-up (ranked among one of the 50 greatest films of all time in the latest Sight & Sound poll and recently name-checked right here as one of Cara Seymour's all time favorite movies), Taste of Cherry (the 1996 Palme d'or winner at Cannes) and Certified Copy starring Juliette Binoche which was his first fiction film outside of Iran, and the film that reignited critical and mainstream interest in his career.

The Experience/A Suit for the Wedding/The Traveller
Several of Kiarostami’s films, long or short, are available on youtube and other streaming sites. Unfortunately, the above three films aren’t among them. Still, this combination here is as good a way as any to spend 50 pounds. All three films deal with the troubles of children who are thrown into the adult world much sooner than they should be. Playful, compassionate and endlessly re-watchable, these films share little in the way of style or approach, but are indispensable both as social studies on children and markers of Kiarostami’s evolution as a director. (Available: Amazon)

The Report
Scenes from a (shattering) marriage, Iranian-style. The Report is a formal and thematic anomaly in Kiarostami's oeuvre — at least until the arrival of Certified Copy — but it’s nevertheless one of his richest works. This morally challenging, multi-faceted portrait of the break-up of a family doubles as a microcosm of a society on the brink of crumbling unto itself right before the revolution. The Oscar-nominated Shohreh Aghdashloo delivers a heart-breaking turn in one of her earliest films here. (Available: Certified Copy’s Criterion Collection)

Kiarostami (wearing shades) and Shohreh Aghdashloo (centre) on the set of The Report

Homework
Although Homework isn’t among my personal favourite Kiarostami films, it’s a crushing experience and an essential viewing. Almost entirely made up of interviews with young children about their school work routine, Homework exposes the limitations of the Iranian school system of the time, the violent social consequences of illiteracy and the disturbing effects of bullying. Only a filmmaker of Kiarostami's magnitude can lend such imposing power to a static shot interview with a kid. (Available: Youtube)

Where’s the Friend’s Home?
Inspired by and reflective of the elegance and deceptive simplicity of modernist Persian poetry, this film became Kiarostami’s ticket to international fame. The story couldn’t possibly get any simpler: a young boy discovers a classmate’s notebook in his bag and walks over to the neighboring village in order to find his house and give him the notebook. Soulful and deeply rooted in the fabric of rural culture in the north of Iran, in Kiarostami’s hands, this minimalist film is elevated to a near spiritual experience. (Available: Youtube, DVD, DVD)

Through the Olive Trees
The third instalment in Koker Trilogy, this is the director’s best film and remains criminally under-seen. Kiarostami creates a delicate and intimate story by, ironically, highlighting the deceit and artificiality inherent in fiction filmmaking. Through the Olive Trees, Iran's Oscar submission in 1994, tells two parallel stories — the film within the film, and the making of the film within the film — that accentuate the boundaries between form and content, and simultaneously assert their cinematic inseparability. This is a film in which we see the same take as it is being filmed and refilmed several times, and are nevertheless moved to tears when the effort is finally over; it's as if Kiarostami is taking perverse pleasure in tugging at our heartstrings while continuously reminding us that his film is a synthetic construct. This masterwork is a testament to the sheer emotional force of cinema and to the director's keen eye for finding magic in small, innocuous moments of human interactions. (Available: Dailymotion Part 1, Part 2)