71. Owen Wilson, Zoolander

Owen Wilson, like most of the 'big' comics, has a film persona that he rarely deviates from, that of the laid back stoner. The difference between his shtick as opposed to, say, Ben Stiller's is that Wilson's never feels like it. He has the uncanny ability to read every line in a fresh and new way and constantly surprise his audience. Zoolander marks the birth, if not the zenith, of this persona. Wilson plays Hansel, the new top male model who's "so hot right now", and embraces the character completely. He never condescends or tries to explain and even though Stiller has the 'funnier' character, its Wilson who gets the laughs. A truly inspired comic turn.

72. Leonardo DiCaprio, The Aviator

The success of The Aviator is often attributed to one man: the GREAT Martin Scorsese and sometimes that bracket is stretched to include Cate Blanchett. Poor ol' DiCaprio is often left out in the cold, like a distant (and ugly) third cousin. This is highly unfortunate (and foolish) as the film would be nowhere near as good as it is without DiCaprio's contribution. The performance is important in many ways: amongst them were the public finally getting why Scorsese had decided that his new De Niro would be DiCaprio and the acceptance of DiCaprio as a serious actor yet again. Another reason is because it is a damn good performance. The actor acutely maps out Howard Hughes' rise into the world of the rich and famous, his searing ambition and his eventual fall into mental disarray due to OCD. In scenes like the one in which Hughes locks himself in the car all the while creeping into dementia, or the heartbreaking scene where Blanchett's Katharine Hepburn comes to visit Hughes, whose locked himself up in his room, DiCaprio is downright chilling. The Aviator gives solid proof that Leonardo DiCaprio is not only a bona fide movie star but one of the best actors of his generation.

73. David Carradine, Kill Bill, Volume 2

It couldn't have been an easy task playing the titular character in Quentin Tarantino's gargantuan film, not only was there the expectation of a new QT film- this was the second part and after the whirlwind of Volume 1, expectations were sky high for the second volume. There's also the small matter that we never saw Carradine's face in that first film, only that sandpaper voice ordering people around and, even then, only for a few minutes. But Carradine delivers the goods without breaking a sweat: his Bill is cool, calm, funny and warm- from that first scene onwards, Carradine shows the audience why the Bride trusted him in the first place, all the while never forgetting to remind us just how sinister Bill really is. Carradine instantly suggests the nature of his relationship with Bride and creates a complexity that I feel may not have been there on paper. He is devious, devilish and quiet- giving a quintessential Tarantinoian performance. The very definition of cool.

74. Jamie Bell, Billy Elliot

Its easy to make the mistake, when watching most movies, that in order to be a child actor one must not have any talent whatsoever. Hollywood is littered with kids who couldn't act out of a paper bag so when someone this special pops up its time to sit up and take notice. Jamie Bell is, of course, no longer a child at 20 but he was a mere 14 when he gave this terrific performance. Under the guidance of director Stephen Daldry, Bell infuses the film with its inspiring spirit- he's at the core of this story and for it to work in any capacity, the performance had to be nothing short of fantastic. Bell is admirably up to the task and manages not only to hold his own against acting greats like Julie Walters but to show them up from time to time, proving that perhaps he too will one day be just as esteemed.

75. Russell Crowe, Master and Commander: The Far Side of the World

Crowe and I have a love/hate relationship. See, I'm all for Crowe of the late 90s, the charismatic actor in L.A. Confidential and The Insider, but I couldn't run further away from the Crowe of this decade, the pompous, arrogant movie star of terrible films like A Beautiful Mind, Cinderella Man, and Gladiator. So it was a pleasant surprise when the Crowe I once admired was back in Peter Wier's adaptation of two Patrick O'Brien novels. The actor gives a brilliant, understated turn as Jack Aubrey, exuding charisma but never showboating. Its hard to find performances that are this intelligent. Crowe and Wier work perfectly in synch, creating a classic hero with all the trappings but always keeping him in the realm of reality.

76. Ken Watanabe, The Last Samurai

You know you're doing something right when your starring opposite the biggest movie star in the world and you're the one everyone's talking about and that's just what happened to Ken Watanabe here. While Cruise sleepwalks through his role, Watanabe stands on the screen dripping in charisma. His Katsumoto is a stoic symbol of a dying Japanese culture: commanding and understanding. Watanabe is in complete control of the audience and it is quickly apparent that this is a star we are watching. He's so good he makes you forget just how horrifyingly awful the film really is-- and that is quite a feat.

77. Hugh Grant, About a Boy

Who'd have thought Hugh Grant had this in him? 8 years after he exploded on the scene in Four Weddings and a Funeral, Grant finally proves to us that there's a real actor hiding in there. While Grant's Will is hardly new territory for the actor: the self-conscious tics and stammering are still there, but Grant adds an acidic edge to the whole act. The greatness lies in how it is not only Grant relying on these tics but Will Freeman himself and when the character is forced to break out of his constraints Grant does too. His remarkably charming performance helps carry the movie and, alongside the Weitz brothers' brilliant screenplay and great supporting work from Toni Collette, keep it far and away from becoming the cutesy, sentimental fair it could've so easily have been.

78. Naseeruddin Shah, Monsoon Wedding

What's not to love about this film? Mira Nair's film is positively bursting with joy at the seams, and Shah is right at the centre. The veteran actor embraces his role of befuddled father and brings out the joy and warmth in Sabrina Dhawan's screenplay. He mixes the high comedy and dramatic gravitas of his role expertly, grabbing the audience and refusing to let go. A work that will bring a smile to your face and leave you in tears by the end.

79. Jamie Foxx, Collateral

The other Foxx performance of 2004 was indeed rewarded with an Academy Award nomination but in the WRONG category, by no stretch of the imagination is this a supporting role. Foxx is, without a doubt, the lead of Collateral, and rightly so, gone are the tics of his work in Ray instead replaced by an actor presenting a real character. Foxx's Max is a man who holds certain ideals close to him and lives his life the best way he knows how, suddenly thrown into a situation where he's in over his head. The actor gives a calm and quiet performance, allowing his co-star to soak up the spotlight with the flashier role. That isn't to say that Foxx doesn't stand out, in fact his workman-like performance is the real gem of the piece: perfectly in step with Michael Mann's vision of the urban vastness of Los Angeles. Jamie Foxx is a man with an insufferable ego who can easily grate on an audience but in this film, stripped of his 'look at me!' attitude, he gives a performance that easily justifies his star status.

80. Paul Bettany, Master and Commander: The Far Side of the World

Bettany makes his second appearance in the top 100 with his subtle and quietly breathtaking work in Master and Commander. As Dr. Stephen Maturin finds the perfect role, he takes the character and imbues him with an intelligence and humour that may have been lost in the hands of another. He never misses a beat, finding a perfect balance with Russell Crowe, thus making the film a perfect balancing act between the two men. Master and Commander has a tendency to meander and Peter Wier seems to be an overkill mode throughout but Bettany always has his eye on the goal, grounding the film with a sense of reality. Then there's the scene where he operates on himself....wow.

81. Tony Leung, 2046

Tony Leung's performance in this film is of course a sequel to his work in In the Mood for Love. Leung is however too great an actor to simply give the same performance twice. He understands the great changes Mr. Chow has gone through and ages him appropriately. There's very little left of the nice young man who rented an apartment all those years ago and Leung perfectly illustrates the erosion of happiness in the character. The new Mo Wan is sullen and loveless , treating all the women that he meets with contempt and a hint of misogyny- it seems that now that his Great Love is gone, he has very little left to make him happy. It is in his scenes with Faye Wong's character that Leung is truly inspired: as the young girl enthralled in love confides in him, Leung shows us flashes of the old Mo Wan- still the hopelessly romantic.

82. Mike White, Chuck and Buck

This film is possibly one of those on this list that most people have assuredly not seen and that, my friends, is a great pity. Few films can create the strange sense of whimsy and uneasiness that Chuck and Buck pulls off. While director Miguel Arteta deserves a handful of the credit, so does Mike White who not only stars but wrote the film too. The performance is a dangerous wire act and White is careful not to ever empathize with Buck but also never condescend to him. White also manages to convey all the longing and desperation in the character all with a few glances, never retreating into full-blown histrionics. However, the true wonderment in performance is how White never becomes self-aware, he portrays Buck throughout the film as the man-child who refuses to understand what he is doing and the consequences of his actions.

83. Tobey Maguire, Spider-Man

Here's where we start to raise eyebrows. Some of you may scoff and others may simply dismiss me as an idiot, but I ask you: how could Maguire have performed this character any better? The most fascinating thing about Spider-Man is Peter Parker and Maguire understands this and puts his energies into creating a fully fleshed-out characterization. His big blue eyes immediately convey all the innocence, burden and openness that are the core of this character. Finding the perfect amount of vulnerability that is so necessary for this confused teenager. That isn't to say that there isn't anything else, when he's all suited up in his costume swinging from skyscraper to skyscraper and saving Mary Jane from the clutches of the Green Goblin, Maguire shows that he's upto the task of being an action hero perfectly; at ease both in and out of the costume.

84. Steve Coogan, 24 Hour Party People

I've already gushed about Steve Coogan in the last post so I'll try to keep this short:

This performance is too fucking awesome for you to handle.

There. I'm exaggerating, a little, but who the fuck cares?

85. Kevin Bacon, Mystic River

Kevin Bacon's work in Mystic River is almost always overlooked. Who can you blame though? In a cast as rich as this its easy for different people to be affected by different performances, but while everyone was salivating over Tim Robbin's Oscar-winning performance, I was enraptured by Bacon's quiet and slowly brewing work as Detective Sean Devine. Consider the scenes where Devine sits alone in his apartment talking to his wife over the phone even though she won't answer back or his first scenes scanning the crime scene of his friend's daughter's death. Both are razor sharp depictions of a man who at first appears stoic but in reality is almost bursting at the seams. Bacon is perfect at playing these sort of characters, knowing just how to create a balance between emotion and reserve- Its just as Robert De Niro once said "It's important not to indicate. People don't try to show their feelings, they try to hide them,". Bacon understands this completely.

86. Leonardo DiCaprio, Catch Me If You Can

Leonardo DiCaprio's renaissance as both an actor and a star is possibly one of the most wonderful turn of events I can think of, for he is so consistently undervalued. Now I know that sounds ridiculous but its true, while he's certainly not undervalued as a star (there's a good reason every one got sick of him and that reason is called Titanic) but he is, at least in cineaste circles, underrated as an actor. He is not always at the top of his game but when his is, as in this joyous Spielberg film, he more than proves his worth. As Frank Abagnale, Jr., DiCaprio brings all the charm, cunning and whimsy needed to make this a bravura turn. He spins a web so delicious that you instantly understand just how this young guy can get away with everything he does. This is a performance that perfectly illustrates not only DiCaprio's generous talent but his charisma and star quality as well.

87. Paul Bettany, Dogville

Lars von Trier's Brecthian condemnation on American society and, in fact, society at large is an enthralling iconoclast piece of work that, while far from perfect, is certainly chilling and mesmerizing. This, of course, is in no small part due to the wonderful cast of actors he has lined up: Nicole Kidman, Patricia Clarkson, Lauren Bacall, James Caan, Chloe Sevigny, Stellan Skarsgard, Ben Gazzara, Harriett Andersson, Philip Baker Hall, the list goes on and on. The cream of the this bountiful crop is Paul Bettany. The actor, who constistenly turns in wonderful work, takes the role of Tom Edison and milks it for all its worth: embracing the character's false sense of entitlement and superiority, his delusions on who he is and creating a performance that despite the very nature of the exercise taking place manages to connect with the viewer on both an intellectual and emotional level and thus make a remarkable impact.

88. Jamie Foxx, Ray

This performance is listed here almost despite itself. During the whole Oscar hoopla in early '05 where you couldn't watch an award ceremony without seeing Jamie Foxx do that call and response thing and bring up that damn dead grandma of his, my feelings on his performance went from kinda liking it to an absolute all consuming hatred. Foxx's Oscar is not the product of his work here but simply that it checks all the boxes necessary: play real person, play real dead person, play real dead person who just died, actorly mannerisms (read: mimicry), media worship, previously undervalued actor makes good. Despite all that I can admit that this IS a good performance, Foxx is engaging and charismatic and he certainly channels Ray Charles perfectly. But, alas, it is just that: Foxx acting just like Charles is no great feat, all the actor is doing her is mimicking without giving the audience any real character to grasp. Why people always confuse this sort of thing with great acting continues to astound me.

And now I just read this and realised that I haven't really given any reason why this performance made this list at all. The thing is it is enjoyable: Foxx has the charisma to carry the plodding film and to entertain. I most surely like this performance (maybe even quite a bit) but it is vastly overrated.

89. Topher Grace, In Good Company

In Good Company is a film that means terribly well but can never seem to get off the ground. All the ingredients for success are there: good writer/director, good cast, good story, but the film ends up less than the sum of its parts: plodding, uneven and, it its final third, falling back on cliched ideas. None of this, however, is the fault of Topher Grace. The young actor wipes clean the dreaded memory of That 70s Show with one fell swoop. He imbues the film with an energy otherwise missing, giving in a performance that crackles with energy, spark and wit- it seems like the role Grace was born to play. There's a moment in Ocean's 12 where Grace playing an exaggerated version of himself says, mid-breakdown, that he phoned in "That Dennis Quaid movie"-- that line couldn't be further from the truth.

90. Dustin Hoffman, I ♥ Huckabees

Its been a long while since Hoffman has given a performance that impressed me, in fact, save for the minor bright spot Wag the Dog, the last time Hoffman was truly Hoffman was Tootsie, twenty-four years ago. So you can imagine how thrilled I was to see his work in David O. Russell's film. Hoffman's work may not take centre stage but he manages to turn out an absolutely ebullient performance. His Bernard Jaffe, spouting on about transcending space and time and interconnectedness, is an absolute joy. He seems to sing every one of his lines, perfectly in touch with the nuances of Russell's writing and direction, adding to both the role and the film tremendously.

91. Emin Toprak, Uzak

Uzak's title translated into English reads 'Distant', and that is exactly fitting. Nuri Bilge Ceylan's wonderful film is cold and bleak, it's humour comes not from one-liners and sight gags but from separating the characters on screen so far from the audience that every day life begins to create its own humour. Playing Yusuf, an out-of-work rural born twenty-something who is so disenchanted and detached from life that he can't seem to get himself started, Toprak finds a humour and warmth in his character that works for the film. This is, of course, a miraculous achievement since the film relies most sternly on it's cold mood and lack of warmth and humour but Toprak is (or rather, was) one of those actors who can find the exact balance between shining in their own right and serving the film throughout. Tragically, Toprak died in a car accident shortly after filming ended, lending the performance a greater poignancy.

92. Don Cheadle, Traffic

Don Cheadle is often given the mantel of 'Most Underrated Actor' and, I admit, I am guilty of having undervalued his talent. Even though I'm not as continuously impressed with his work as others are, when he does hit it home I still tend to dismiss it. This is quite possibly because Cheadle is one of those actors that never seems to break a sweat- he's effortless, walking on screen and grounding whatever film he's in. Traffic is a film filled with great characterizations but Cheadle stands out. His funny, sardonic and sly performance is perfect foil for the grim subject matter. Note an early scene where Cheadle and his associate, Luis Guzman, are in an office and Guzman decides to tell a bad joke-watch Cheadle's face: there lies everything you need to know about the scene.

93. Clifton Collins, Jr., Capote

Capote was one of the most celebrated films of '05 with two deservingly Oscar-nominated performances from Philip Seymour Hoffman and Catherine Keener, but behind the gargantuan buzz for PSH's snide imitation was the film's ethereal murderer. Collins takes what could've been a stock role in the hands of a lesser actor and creates a full blooded character. He brings to life every single contradiction in Perry Smith's character thus creating the film's most heart-wrenching moments. This is a star waiting to happen.

94. Dario Grandinetti, Talk to Her

Pedro Almodovar is quite easily the most consistently brilliant director working today. In this new decade he's been doing particularly well giving us no less that 2 masterpieces and 1 great film since '99 (with one more apparent masterpiece on the way) and his most superlative talent is his ability to write great parts for women. Ironically, it was in Talk to Her that Almodovar wrote two of his greatest male characters. Marco Zuluaga is a wrenchingly distraught man, suffering because the woman he loves, a bull fighter, is comatose but Almodovar and Grandinetti, in a flawless performance, lend so much joy and life to the character that you never feel bogged down by the morbid subject matter. The first shot in the film is Grandinetti's tear stained face and it marks a superb moment. For an actor to be able to move his audience so thoroughly with just one look is a true mark of talent, here's hoping we see a lot more of this particular one in the future.

95. Ben Stiller, Zoolander

Is there a funnier performance? Probably. Is there one so completely infectious, self-effacing and unafraid to project a character's negative traits so completely? Still probable, but Stiller's work here is so flat-out laugh out loud that it deserves mention. Stiller directs himself here and it seems he's the only director willing to let himself out of that rickety old prissy-Jewish guy persona he has in every other film. Big bonus points for "Merman! Merman!", "Eugugalizer' and, of course, "WHAT IS THIS, A CENTRE FOR ANTS?!"

96. Jessie Eisenberg, Roger Dodger

I mentioned this film in an earlier post, talking about how much I identified with this character, the thing is I can't see any teenage boy not being able to identify with Eisenberg's longing, nervous and vulnerable teenager trying so desperately to be cool in front of his uncle while at the same time failing so dearly. In fact I can't see anyone not being able to identify with his work because despite material squarely in guy territory, Eisenberg's openness as a performer can resonate with any viewer, regardless of sex.

97. Paul Giamatti, American Splendor

American Splendor is one of those films that I want to love so bad but I just can't. The film's cold demeanor that may work for some just leaves me that: cold. However that has nothing to do with Giamatti's performance, he's crafting a persona that will no doubt haunt his career forever: the cantankerous, sloppy loner. The performance is mesmerizing, as Harvey Pekar, Giamatti seemed to have found the perfect role, equal parts his public persona and a characterization. It is a joy from start to finish.

98. Adrien Brody, The Affair of the Necklace

This may surprise some since Brody is thought of as pretty much a one-hit wonder so far (and that performance will feature on this list much, much later), but his sly, greasy and sensual turn in this 2001 period piece clunker is like watching the birth of the star. Albeit, it can't be hard to grab the screen when you're sharing space with such deadweights as Simon Baker and ol' horse face but that shouldn't take away from his achievement here. From the moment he walks on screen Brody owns this little movie, cavorting around, stealing, bedding virgins and generally being an asshole, he breathes life into an otherwise trite piece of trash.

99. Steve Coogan, Coffee and Cigarettes

Jim Jarmusch's Coffee and Cigarettes is a sweet little film that benefits as much as it suffers from the great shifts in mood from vignette to vignette- while it lends a casual and off-beat rhythm to the film it also makes it feel disjointed in parts and dull in others. It would be easy for an actor get lost in a film of what is essentially a series of 5 minute scenes but Steve Coogan is up to the task of standing out. Playing an exaggerated version of himself opposite Alfred Molina, Coogan stars in the best skit of all 'Cousins'. Sure, he's playing on the usual time tested jokes about celebrities being crude and snobbish but Coogan adds such a slyness and wit to his performance that its like we've never heard em before. The final twist in the scene in its final minutes is hilarious and this is in no small part thanks to Coogan, who's aching desperation is both funny and bitterly elegiac. This coupled with his equally stunning work in 24 Hour Party People puts Coogan right in the race for the best comedic actor working today.

100. George Clooney, O Brother, Where Art Thou?

Aaah...The Clooney Factor. I know love for George is high right now considering his fantastic year but my level of affection for him has always been rather low. He's a nice guy, a great movie star and a very good actor but he never flat-out impresses me, save for this wonderful performance. Working with the Great Coen Brothers (who also produced Clooney's other great performance in Intolerable Cruelty) Clooney crafts a delectable performance as Ulysses Everett McGill. The actor is fresh, funny and so gloriously over-the-top that this performance glows. Most importantly (and characteristically of Clooney's work) the actor looks like he's having so much fun playing the part that it becomes infectious.