In breaking down the best supporting actor field, Variety Awards Editor Clayton Davis and Deputy Awards and Features Editor Jenelle Riley highlight several actors who would be new to the race…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
In breaking down the best supporting actor field, Variety Awards Editor Clayton Davis and Deputy Awards and Features Editor Jenelle Riley highlight several actors who would be new to the race — and some who appear in the same film.
Co-stars who could find themselves nominated against each other include the father-son duos of Ciarán Hinds and Jamie Dornan in “Belfast,” and Al Pacino and Jared Leto in “House of Gucci.” Hinds and Dornan would be scoring their first nominations, while Pacino and Leto are both previous winners. Also in the same film: Kodi Smit-McPhee and Jesse Plemons in “The Power of the Dog,” Jonah Hill and Mark Rylance in “Don’t Look Up,” and Mike Faist and David Alvarez in “West Side Story.” Guillermo del Toro’s “Nightmare Alley” boasts several great supporting turns from previous nominees Willem Dafoe, Richard Jenkins and David Strathairn.
Then there’s an actor who delivered two standout supporting turns in 2021: Ben Affleck as a spoiled count in “The Last Duel” and a loving uncle in “The Tender Bar.”
Also in the running are some new faces: young actor Woody Norman in “C’mon C’mon,” Robin de Jesús in “Tick, Tick … Boom!” and Troy Kotsur, who has been picking up accolades all season for his turn in “CODA.”
J.K. Simmons, a previous winner in this category, is also contending for his role in “Being the Ricardos,” while frequent nominee Bradley Cooper is earning raves for his scene-stealing turn in “Licorice Pizza.”
