Diane Lane in Unfaithful (2002): Lane delivered the best performance of her career as a housewife who has a steamy, adulterous affair with a mysterious book dealer. There’s the much-praised scene of Lane’s character riding the train after having her first romantic tryst with her lover intercut with the actual encounter. The range of emotions that play across her face as she replays it over in her mind is incredible to watch. She smiles to herself and her hand absently runs across her chest. Her mood darkens ever so gradually before lightening again as she smiles and then breaks out into a laugh. Finally, her face takes on a slightly sad expression. In only a few moments, she has run a whole gamut of emotions and pulls it off masterfully.
Anna Faris in Smiley Face (2007): Coming off the intense drama of Mysterious Skin, Gregg Araki did a complete 180 with this hilarious stoner comedy - the best of the genre since The Big Lebowski. Faris turns in a tour de force performance as a whip-smart if not perpetually high actress trying to replace her scary roommate's cupcakes. The scene where Faris goes into audition for a role while stoned out of her mind is funny as hell - as is the rest of the film, carried on the actress' more than capable shoulders. Let's see less of The House Bunny and more of this kind of film from her in the future.
Julie Delpy in Before Sunset (2004): It's the sequel that fans of Before Sunrise had hoped and feared would happen. Fortunately, Linklater and co. created a film that is as good if not better than the original as they explore what has happened to these characters in the intervening years. Delpy crafts a believable, three-dimensional character that is full of contradictions, hopes, and dreams which she conveys so well over the film's running time. It's rare that a sequel is as satisfying as its predecessor and this one is just that thanks in large part to her strong performance.
Jennifer Connelly in Waking the Dead (2000): Before Requiem for a Dream demonstrated what a truly fearless actress Connelly was, she did this little seen film that really showcased her impressive range with a touching, fiercely intelligent performance. Connelly plays Sarah as smart, beautiful and with fierce political convictions – something that is virtually unheard of in American cinema and makes me think of Sigourney Weaver’s equally intelligent and beguiling character in The Year of Living Dangerously.
Nicole Kidman in Birth (2004): Kidman eschewed box office clout for more challenging fare in this decade appearing in some truly interesting films and turning in some great performances, chief among them this film. With more than a whiff of Kubrickian chill, Birth is one of those films open to multiple interpretations and is anchored by Kidman's stunning turn as a woman about to get married only to be revisited by her dead husband supposedly inhabiting the body of a young boy. There's a scene where Kidman attends a concert and the camera stays on her face for an extended period of time so that we see a whole range of conflicted emotions play across her delicate features. Amazing stuff.
Michelle Williams in The Baxter (2005): The always watchable actress is absolutely endearing as Cecil the temp in this quirky romantic comedy. Even though Williams is made to look mousy, her natural beauty and charisma come through. Her character is infinitely more interesting than Elizabeth Banks' more traditional love interest in the film and this is due in large part to Williams. There is something about her, an old fashioned quality in what her character wears, her inhibitions and her naivete that is refreshing in this day and age with actresses like Angelina Jolie that reveal too much so that there is no mystique to them. This makes them less interesting to watch.
Isla Fisher in Definitely, Maybe (2008): There have been many pretenders to the throne of romantic comedies that When Harry Met Sally... has comfortably ruled from for many years but this film is a very strong contender. Among a cast of impressive actresses, Fisher stands out as an absolutely adorable love interest for lead actor Ryan Reynolds. She conveys such an infectious feisty energy and has such a fantastic chemistry with him that you want to see their characters together by the film's conclusion and the filmmakers keep us guessing right up to the end. In a short career that's just starting to take off, Fisher is demonstrating a real knack for these kinds of films.
Natalie Portman in Garden State (2004): Portman finally escaped from Star Wars hell to capitalize on the promise she showed in films like Heat and Beautiful Girls. She is completely engaging as the neurotic and chatty Sam. She seems to be channeling Diane Keaton circa Annie Hall with her performance, displaying excellent comedic timing. Portman has such a radiant presence on camera and the film really comes alive whenever she’s on-screen, which, fortunately, is a lot.
Thora Birch in Ghost World (2001): After the promise she showed in American Beauty and this film, I expected her film career to take off but it has been largely unimpressive with most of her efforts being relegated to direct-to-home-video hell. It's a shame because she is so damn good in this film as a disaffected woman caught between high school graduation and college/real world. She doesn't know what she wants but she does know what she doesn't like - pretty much everything and everyone. But she does find solace in an older man - Steve Buscemi's cranky record collector and it is fascinating to see how their relationship plays out.
Rachel Weisz in The Constant Gardener (2005): Like Kidman, she took on a lot of challenging roles during this decade and turned in a lot of wonderful performances, including this Academy Award-winning turn as a doomed diplomat's wife. She exhibits a sexy intelligence and headstrong attitude as her character stands by her convictions and beliefs. The chemistry between her and Ralph Fiennes, who plays her husband, feels authentic and only enriches her fantastic performance in this film.
Michelle Pfeiffer in White Oleander (2002): No longer, the box office darling she was in the 1980s and 1990s, Pfeiffer turned in what is arguably one of her greatest performances as the incredibly manipulative mother of Alison Lohman's character. The way Pfeiffer is able to control people she meets through subtle yet manipulative mind games is impressive to watch. There is a foreboding intelligence behind her piercing, intense eyes that is downright scary.
Kate Winslet in Eternal Sunshine of the Spotless Mind (2004): This is a film about how precious our memories are and how we should savor them while we can because our minds erase them gradually over time on their own anyway. Winslet is wonderful as Clementine, an assertive, sometimes abrasive woman not afraid to speak her mind. The scenes between her and Jim Carrey are sometimes embarrassingly intimate and personal as if we are spying on them. While it was great to see her finally win an Oscar, I always felt that this was film the she should have won it for (neck and neck with her brilliant turn in Revolutionary Road), turning in an incredible performance as Carrey's elusive love interest.
Virginia Madsen in Sideways (2004): God bless Alexander Payne for casting Madsen in this film and reminding us what a fantastic actress she is. She plays Maya, the intellectual equal to Paul Giamatti's Miles. Maya knows her wine and this clearly impresses Paul. She is smart and beautiful, so why is she even wasting her time with a sad sack like Miles? She gets to know him beyond his looks and liquefies the pretension of his character. She pierces his wine-speak armor that he throws up constantly with her easy-going nature and Miles realizes that he does not need to always impress her. Like a fine wine, Maya allows him to breath and he gets better as time goes on. She is a romantic who is able to cut through his cynicism and soften his hard edges. She humanizes him.
Samantha Morton in Control (2007): She is heartbreakingly good as Ian Curtis’ wife in this impressive biopic. Morton conveys the strength of Deborah and the tragedy of her gradually disintegrating relationship with Ian. You can see the pain and frustration on her face. It’s a wonderfully understated performance. Her finest moment is in the scene where Deborah confronts Ian about his affair with Euro journalist Annik. She pleads angrily with him to admit to what he’s done but he says nothing and she leaves in frustration. It’s a devastating scene that is uncomfortable to watch at times.
Reese Witherspoon in Walk the Line (2005): Yes, this is a much-lauded performance but for good reason. Witherspoon utilizes her adorable, plucky persona that she’s cultivated for years to maximum effect as June Carter, matching Joaquin Phoenix’s intensity as the legendary Man in Black. She is also willing to immerse herself completely in the role, including doing her own singing! Carter resists the lures of the open road and constant touring – the drugs and alcohol – that Johnny Cash succumbs to and this is part of her attraction to him. It is her purity and loyalty – standing by him even when he hits absolute rock bottom – that is a large part of her appeal for him. Carter is just as stubborn as he is and sticks by him because she loves and believes in him. Phoenix and Witherspoon have great chemistry together as they play out their on again/off again romance. They compliment each other so well. Cash is wild and Carter is wholesome and it is these ying and yang qualities that they love about each other.
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