Who Should've Won the Oscar for Best Actress.

1937.

01. BARBARA STANWYCK, STELLA DALLAS 02. GRETA GARBO, CAMILLE 03. JANET GAYNOR, A STAR IS BORN 04. IRENE DUNNE, THE AWFUL TRUTH

Luise Rainer better be amazing because this might be my favourite set of nominees of all time in the category.

1939.

01. VIVIEN LEIGH, GONE WITH THE WIND (OSCAR WINNER) *** 02. BETTE DAVIS, DARK VICTORY 03. GRETA GARBO, NINOTCHKA 04. IRENE DUNNE, LOVE AFFAIR

1940.

01. KATHARINE HEPBURN, THE PHILADELPHIA STORY 02. JOAN FONTAINE, REBECCA 03. BETTE DAVIS, THE LETTER 04. GINGER ROGERS, KITTY FOYLE (OSCAR WINNER) ***

1941.

01. BETTE DAVIS, THE LITTLE FOXES 02. BARBARA STANWYCK, BALL OF FIRE 03. JOAN FONTAINE, SUSPICION (OSCAR WINNER) ***

1942.

01. BETTE DAVIS, NOW, VOYAGER 02. KATHARINE HEPBURN, THE WOMAN OF THE YEAR 03. GREER GARSON, MRS. MINIVER (OSCAR WINNER) ***

1944.

01. INGRID BERGMAN, GASLIGHT (OSCAR WINNER) *** 02. BARBARA STANWYCK, DOUBLE INDEMNITY 03. CLAUDETTE COLBERT, SINCE YOU WENT AWAY

1946.

01. CELIA JOHNSON, BRIEF ENCOUNTER 02. JANE WYMAN, THE YEARLING 03 OLIVIA DE HAVILLAND, TO EACH HIS OWN (OSCAR WINNER) ***

1950.

01. BETTE DAVIS, ALL ABOUT EVE 02. GLORIA SWANSON, SUNSET BLVD. 03. JUDY HOLLIDAY, BORN YESTERDAY (OSCAR WINNER) *** 04. ANNE BAXTER, ALL ABOUT EVE

1951.

01. VIVIEN LEIGH, A STREETCAR NAMED DESIRE (OSCAR WINNER) *** 02. SHELLEY WINTERS, A PLACE IN THE SUN 03. KATHARINE HEPBURN, THE AFRICAN QUEEN 04. ELEANOR PARKER, DETECTIVE STORY

1953.

01. AUDREY HEPBURN, ROMAN HOLIDAY (OSCAR WINNER) *** 02. DEBORAH KERR, FROM HERE TO ETERNITY 03. AVA GARDNER, MOGAMBO

1954.

01. DOROTHY DANDRIDGE, CARMEN JONES 02. JANE WYMAN, MAGNIFICENT OBSESSION 03. JUDY GARLAND, A STAR IS BORN 04. GRACE KELLY, THE COUNTRY GIRL (OSCAR WINNER) *** 05. AUDREY HEPBURN, SABRINA

1956.

01. NANCY KELLY, THE BAD SEED 02. CARROLL BAKER, BABY DOLL 03. DEBORAH KERR, THE KING AND I 04. INGRID BERGMAN, ANASTASIA (OSCAR WINNER) ***

1957.

01. ANNA MAGNANI, WILD IS THE WIND 02. DEBORAH KERR, HEAVEN KNOWS, MR. ALLISON 03. JOANNE WOODWARD, THE THREE FACES OF EVE (OSCAR WINNER) *** 04. LANA TURNER, PEYTON PLACE

1958.

01. ROSALIND RUSSELL, AUNTIE MAME 02. SHIRLEY MACLAINE, SOME CAME RUNNING 03. DEBORAH KERR, SEPARATE TABLES 04. SUSAN HAYWARD, I WANT TO LIVE! (OSCAR WINNER) *** 05. ELIZABETH TAYLOR, CAT ON A HOT TIN ROOF

1959.

01. AUDREY HEPBURN, THE NUN'S STORY 02. SIMONE SIGNORET, ROOM AT THE TOP (OSCAR WINNER) *** 03. ELIZABETH TAYLOR, SUDDENLY, LAST SUMMER 04. KATHARINE HEPBURN, SUDDENLY, LAST SUMMER 05. DORIS DAY, PILLOW TALK

1960.

01. SHIRLEY MACLAINE, THE APARTMENT 02. DEBORAH KERR, THE SUNDOWNERS 03. MELINA MERCOURI, NEVER ON SUNDAY 04. ELIZABETH TAYLOR, BUTTERFIELD 8 (OSCAR WINNER) ***

1961.

01. SOPHIA LOREN, TWO WOMEN (OSCAR WINNER) *** 02. AUDREY HEPBURN, BREAKFAST AT TIFFANY'S 03. NATALIE WOOD, SPLENDOR IN THE GRASS

1962.

01. BETTE DAVIS, WHAT EVER HAPPENED TO BABY JANE? 02. ANNE BANCROFT, THE MIRACLE WORKER (OSCAR WINNER) *** 03. KATHARINE HEPBURN, LONG DAY'S JOURNEY INTO NIGHT 04. LEE REMICK, DAYS OF WINE AND ROSES 05. GERALDINE PAGE, SWEET BIRD OF YOUTH

1963.

01. PATRICIA NEAL, HUD (OSCAR WINNER) *** 02. LESLIE CARON, THE L-SHAPED ROOM 03. RACHEL ROBERTS, THIS SPORTING LIFE

1964.

01. SOPHIA LOREN, MARRIAGE ITALIAN STYLE 02. JULIE ANDREWS, MARY POPPINS (OSCAR WINNER) *** 03. ANNE BANCROFT, THE PUMPKIN EATER

1965.

01. JULIE CHRISTIE, DARLING (OSCAR WINNER) *** 02. SAMANTHA EGGAR, THE COLLECTOR 03. ELIZABETH HARTMAN, A PATCH OF BLUE 04. JULIE ANDREWS, THE SOUND OF MUSIC 05. SIMONE SIGNORET, SHIP OF FOOLS

Very strong lineup.

1966.

01. IDA KAMINSKA, THE SHOP ON MAIN STREET 02. ELIABETH TAYLOR, WHO'S AFRAID OF VIRGINIA WOOLF? (OSCAR WINNER) *** 03. LYNN REDGRAVE, GEORGY GIRL 04. ANOUK AIMÉE, A MAN AND A WOMAN 05. VANESSA REDGRAVE, MORGAN!

1967.

01. ANNE BANCROFT, THE GRADUATE 02. FAYE DUNAWAY, BONNIE AND CLYDE 03. EDITH EVANS, THE WHISPERERS 04. KATHARINE HEPBURN, GUESS WHO'S COMING TO DINNER (OSCAR WINNER) *** 05. AUDREY HEPBURN, WAIT UNTIL DARK

1968.

01. JOANNE WOODWARD, RACHEL RACHEL 02. KATHARINE HEPBURN, THE LION IN WINTER (OSCAR WINNER) *** 03. BARBRA STREISAND, FUNNY GIRL (OSCAR WINNER) *** 04. VANESSA REDGRAVE, ISADORA

1970.

01. SARAH MILES, RYAN'S DAUGHTER 02. CARRIE SNODGRESS, DIARY OF A MAD HOUSEWIFE 03. GLENDA JACKSON, WOMEN IN LOVE (OSCAR WINNER) ***

1971.

01. GLENDA JACKSON, SUNDAY BLOODY SUNDAY 02. JULIE CHRISTIE, MCCABE & MRS MILLER 03. JANE FONDA, KLUTE (OSCAR WINNER) *** 04. JANET SUZMAN, NICHOLAS AND ALEXANDRA

1972.

01. LIZA MINNELLI, CABARET (OSCAR WINNER) *** 02. LIV ULLMANN, THE EMIGRANTS 03. CICELY TYSON, SOUNDER

1973.

01. BARBRA STREISAND, THE WAY WE WERE 02. JOANNE WOODWARD, SUMMER WISHES, WINTER DREAMS 03. ELLEN BURSTYN, THE EXORCIST 04. GLENDA JACKSON, A TOUCH OF CLASS (OSCAR WINNER) ***

1974.

01. ELLEN BURSTYN, ALICE DOESN'T LIVE HERE ANYMORE (OSCAR WINNER) *** 02. GENA ROWLANDS, A WOMAN UNDER THE INFLUENCE 03. FAYE DUNAWAY, CHINATOWN 04. VALERIE PERRINE, LENNY 05. DIAHANN CARROLL, CLAUDINE

1975.

01. ISABELLE ADJANI, THE STORY OF ADELE H 02. LOUISE FLETCHER, ONE FLEW OVER THE CUCKOO'S NEST (OSCAR WINNER) *** 03. ANN-MARGRET, TOMMY

1976.

01. FAYE DUNAWAY, NETWORK (OSCAR WINNER) *** 02. LIV ULLMANN, FACE TO FACE 03. SISSY SPACEK, CARRIE 04. TALIA SHIRE, ROCKY

1977.

01. JANE FONDA, JULIA 02. DIANE KEATON, ANNIE HALL (OSCAR WINNER) *** 03. MARSHA MASON, THE GOODBYE GIRL

1978.

01. INGRID BERGMAN, AUTUMN SONATA 02. GERALDINE PAGE, INTERIORS 03. JILL CLAYBURGH, AN UNMARRIED WOMAN 04. JANE FONDA, COMING HOME (OSCAR WINNER) ***

1979.

01. SALLY FIELD, NORMA RAE (OSCAR WINNER) *** 02. BETTE MIDLER, THE ROSE 03. JILL CLAYBURGH, STARTING OVER

1980.

01. GENA ROWLANDS, GLORIA 02. MARY TYLER MOORE, ORDIANRY PEOPLE 03. ELLEN BURSTYN, RESURRECTION 04. SISSY SPACEK, COAL MINER'S DAUGHTER (OSCAR WINNER) *** 05. GOLDIE HAWN, PRIVATE BENJAMIN

1981.

01. SUSAN SARANDON, ATLANTIC CITY 02. DIANE KEATON, REDS 03. MERYL STREEP, THE FRENCH LIEUTENANT'S WOMAN 04. KATHARINE HEPBURN, ON GOLDEN POND (OSCAR WINNER) ***

1982.

01. JULIE ANDREWS, VICTOR VICTORIA 02. MERYL STREEP, SOPHIE'S CHOICE (OSCAR WINNER) *** 03. SISSY SPACEK, MISSING 04. JESSICA LANGE, FRANCES 05. DEBRA WINGER, AN OFFICER AND A GENTLEMAN

1983.

01. JULIE WALTERS, EDUCATING RITA 02. DEBRA WINGER, TERMS OF ENDEARMENT 03. MERYL STREEP, SILKWOOD 04. SHIRLEY MACLAINE, TERMS OF ENDEARMENT (OSCAR WINNER) *** 05. JANE ALEXANDER, TESTAMENT

1984.

01. VANESSA REDGRAVE, THE BOSTONIANS 02. JUDY DAVIS, A PASSAGE TO INDIA 03. SALLY FIELD, PLACES IN THE HEART (OSCAR WINNER) ***

1985.

01. WHOOPI GOLDBERG, THE COLOR PURPLE 02. MERYL STREEP, OUT OF AFRICA 03. GERALDINE PAGE, THE TRIP TO BOUNTIFUL (OSCAR WINNER) *** 04. JESSICA LANGE, SWEET DREAMS

1986.

01. SIGOURNEY WEAVER, ALIENS 02. KATHLEEN TURNER, PEGGY SUE GOT MARRIED 03. MARLEE MATLIN, CHILDREN OF A LESSER GOD (OSCAR WINNER) ***

1987.

01. HOLLY HUNTER, BROADCAST NEWS 02. GLENN CLOSE, FATAL ATTRACTION 03. CHER, MOONSTRUCK (OSCAR WINNER) *** 04. SALLY KIRKLAND, ANNA 05. MERYL STREEP, IRONWEED

1988.

01. MERYL STREEP, A CRY IN THE DARK 02. GLENN CLOSE, DANGEROUS LIAISONS 03. SIGOURNEY WEAVER, GORILLAS IN THE MIST 04. JODIE FOSTER, THE ACCUSED (OSCAR WINNER) *** 05. MELANIE GRIFFITH, WORKING GIRL

1989.

01. MICHELLE PFEIFFER, THE FABULOUS BAKER BOYS 02. ISABELLE ADJANI, CAMILLE CLAUDEL 03. JESSICA TANDY, DRIVING MISS DAISY (OSCAR WINNER) ***

1990.

01. ANJELICA HUSTON, THE GRIFTERS 02. KATHY BATES, MISERY (OSCAR WINNER) *** 03. JULIA ROBERTS, PRETTY WOMAN

1991.

01. JODIE FOSTER, THE SILENCE OF THE LAMBS (OSCAR WINNER) *** 02. SUSAN SARANDON, THELMA & LOUISE 03. GEENA DAVIS, THELMA & LOUISE 04. LAURA DERN, RAMBLING ROSE

1992.

01. MARY MCDONNELL, PASSIOON FISH 02. MICHELLE PFEIFFER, LOVE FIELD 03. EMMA THOMPSON, HOWARDS END (OSCAR WINNER) *** 04. SUSAN SARANDON, LORENZO'S OIL 05. CATHERINE DENEUVE, INDOCHINE

1993.

01. HOLLY HUNTER, THE PIANO (OSCAR WINNER) ** 02. EMMA THOMPSON, THE REMAINS OF THE DAY 03. STOCKARD CHANNING, SIX DEGREES OF SEPARATION 04. ANGELA BASSETT, WHAT'S LOVE GOT TO DO WITH IT

1994.

01. SUSAN SARANDON, THE CLIENT 02. WINONA RYDER, LITTLE WOMEN 03. MIRANDA RICHARDSON, TOM & VIV 04. JESSICA LANGE, BLUE SKY (OSCAR WINNER) ***

1995.

01. SUSAN SARANDON, DEAD MAN WALKING (OSCAR WINNER) *** 02. MERYL STREEP, THE BRIDGES OF MADISON COUNTY 03. EMMA THOMPSON, SENSE AND SENSIBILITY 04. SHARON STONE, CASINO 05. ELISABETH SHUE, LEAVING LAS VEGAS

1996.

01. EMILY WATSON, BREAKING THE WAVES 02. FRANCES MCDORMAND, FARGO (OSCAR WINNER) *** 03. BRENDA BLETHYN, SECRETS & LIES 04. DIANE KEATON, MARVIN'S ROOM 05. KRISTIN SCOTT THOMAS, THE ENGLISH PATIENT

1997.

01. HELENA BONHAM CARTER, THE WINGS OF THE DOVE 02. JUDI DENCH, MRS BROWN 03. KATE WINSLET, TITANIC 04. HELEN HUNT, AS GOOD AS IT GETS (OSCAR WINNER) *** 05. JULIE CHRISTIE, AFTERGLOW

1998.

01. CATE BLANCHETT, ELIZABETH 02. EMILY WATSON, HILARY AND JACKIE 03. GWYNETH PALTROW, SHAKESPEARE IN LOVE (OSCAR WINNER) *** 04. FERNANDA MONTENEGRO, CENTRAL STATION

1999.

01. HILARY SWANK, BOYS DON'T CRY (OSCAR WINNER) *** 02. JANET MCTEER, TUMBLEWEEDS 03. JULIANNE MOORE, THE END OF THE AFFAIR 04. ANNETTE BENING, AMERICAN BEAUTY

2000.

01. JULIA ROBERTS, ERIN BROKOVICH (OSCAR WINNER) **** Doing a sort of bold move for someone who is just labeled as a movie star, in the past she tried to do character work and failed, here she's stretching her skills in ways she never did before and maybe will never do again, her selling point was always to be likable, here, the opposite, she can come off as a pain in the ass, she puts first her character's task and needs and gives her a foul mouth and ruthlessness to achieve what she has to do no matter what stands in her way, great performance.

02. JOAN ALLEN, THE CONTENDER One of the most compelling actresses of her generation here is playing a person facing one situation in particular and she fuels it with aplomb, dignity and confidence, the film is a bit clunky but she becomes such a commanding presence selling the world her character represents and coming out victorious at the end.

03. LAURA LINNEY, YOU CAN COUNT ON ME I think what she and Mark Ruffalo ( her co-star ) are doing is something different in terms of american independent cinema, the rythm of the dialogue, the way they interact with each other, it feels fresh and now you see many films every year inspired by that, needless to say, Linney is great, balancing the theatricallity and more earthy elements of the script.

04. ELLEN BURSTYN, REQUIEM FOR A DREAM Effective, the transformation deserves to be praised as well as everything her character has to face, the preasure to appear on tv, watching losing her son, the stress of going on a diet, and finally her descent to hell, a film and role/performance that capture the zeitgeist of the moment but that I personally found not as powerful on a second or third viewing as much of Aronofsky's work.

05. JULIETTE BINOCHE, CHOCOLAT And I have a special spot for Binoche's turn, it's one of her most lovely perfomances and brings to the surface her great qualities, she's stubborn, free spirited and vulnerable, but is not on the level of the other ladies, still, one of my favourite lineups.

2001.

01. RENÉE ZELLWEGER, BRIDGET JONES'S DIARY A perfectionist as a performer, here feels more comfortable than ever, because she doesn't take herselft too seriously yet is in control at all times, slapstick comedy is her field, is a joy to watch her and creates an emblematic character of the early 00s.

02. JUDI DENCH, IRIS Also very good, is a tender, vulnerable performance, well studied, don't know if the two actresses playing the role were aware of what the other was doing but I completely believed it was the same person at two different stages of her life, she's a close third.

03. NICOLE KIDMAN, MOULIN ROUGE! Gives what can be one of the last movie stars performances of our time, I struggle a lot thinking about a recent one that while watching it, you know you're witnessing a movie star shining so bright that her performance and film will pass as a reference of that specific moment in time.

04. SISSY SPACEK,IN THE BEDROOM Sometimes I find Spacek to be self-aware and mannered, especially as she entered a mature age and this is one of those moments, it's a film packed with emotions but I don't think all of them register in a good way. Still, there are many powerful scenes to her credit.

05. HALLE BERRY, MONSTER'S BALL (OSCAR WINNER) *** I give her credit for the foundation of the character, she makes it clear early on, she's facing a hard life and she's hopeless, however I don't think she's a compelling actress ( at least not here ) to hold her own.

2002.

01. JULIANNE MOORE, FAR FROM HEAVEN Considered one of the great oscar lineups, my choice is Moore without a doubt, just the way she looks, physically, is impossible to forget, and such a careful study that it's like witnessing a machine ( the perfect wife ) coming to life, all her bubbles break and she faces for once her real persona.

02. NICOLE KIDMAN, THE HOURS (OSCAR WINNER) *** Is kind of cliche to portrait tormented artists but Kidman brings something genuine to the table, there's an urgency in what she says, there's a special aura in every step she takes, the whole consuming aspect is evident. Is beautiful work.

03. RENÉE ZELLWEGER, CHICAGO Also great, teasing you about what she does, if she's aware and why, it's so malevolous at times, charming at others.

04. DIANE LANE, UNFAITHFUL I prefer Lane in the first half, I think she's put aside the rest of the film and overall is contrived but her performance makes it watchable and not just a Sunday afternoon pulpy thriller and there's one particular scene where she's fantastic, she takes the train back home after her first encounter with the tall dark stranger.

05. SALMA HAYEK, FRIDA I've never been a fan of Hayek's acting, I don't think she ever fully becomes a character, but here, the driving force is palpable, I don't think she ever look more confident in a role and play it with such gusto.

2003.

01. NAOMI WATTS, 21 GRAMS At the time, she was on top of the world, giving great performance after another, and 21 Grams might be the cherry on top. The transformation her character goes through reveals the enormous talent she has and even though the film has such a chaotic structure, she keeps it congruent.

02. DIANE KEATON, SOMETHING'S GOTTA GIVE Charming, bringing her movie star persona, aging gracefully, she and Nicholson made a great duo, I just wish I didn't loathe the film, I find it repulsive.

043. SAMANTHA MORTON, IN AMERICA Always an interesting presence, here she plays a mother, her chemistry with Paddy Considine and the little girls is fantastic, you totally believe their history together, there's one particular scene where the whole family is at the fair and the father is wasting money he shouldn't and her reaction to that moment is a thing of beauty.

04. KEISHA CASTLE-HUGHES, WHALE RIDER She was just 12 years old when she made the film but she has an uncanny presence that summons the dramatic depth that makes her performance extraordinary. It's almost an invincible performance but is imposible not to notice what she feels, what she thinks.

05. CHARLIZE THERON, MONSTER (OSCAR WINNER) *** I'm in the minority here, didn't buy her for a second, Ricci is the one doing the heavy lifting for me. The f_ck you Leslie moment is brilliant though, wish there was far more pitch black comedy.

2004.

This is one of my favourite set of nominees.

01. KATE WINSLET, ETERNAL SUNSHINE OF THE SPOTLESS MIND At her peak, playing against type, she's brash, impulsive, punky, a romantic with hunger to know about love and existence, the Winslet/Carrey duo is for the ages.

02. IMELDA STAUTON, VERA DRAKE Really strong as well, immerse ourselves to her daily life, and with Leigh directing her creates a well balanced character and never judgemental of her actions, however my only complain is the moment of revelation and how quickly she changes.

03. HILARY SWANK, MILLION DOLLAR BABY (OSCAR WINNER) *** She's great in this kind of roles, however in this particular case, I think is better to watch her completey cold and unaware of her character because I don't think is as effective once you know what happens. The physical work on this performance is irresistible but it is her presence what's does the heavy lifting here, once it happens what it happens is impossible not to resent the movie and punishing the way it does and that's just because what Swank created.

04. CATALINA SANDINO MORENO, MARIA FULL OF GRACE A force to be reckon with, it would be so easy to be on her character's side but is how she does it that raise the entire film.

05. ANNETTE BENING, BEING JULIA Delightful, is a smart / over the top performance, she's in classic comedy tone, but here again, I feel her character betrays herself with what she does in the third act, because the smart woman becomes childish, it could've been solved better, and that makes it stand far below her strongest competition.

2005.

01. REESE WITHERSPOON, WALK THE LINE (OSCAR WINNER) *** Wins this by a landslide, she overshadows her co-star, the movie is more interesting when is about her struggles and facing them, she sings wonderfully, fits the period like a globe and gives layes of nuance and details to a part that could've easily just be the beautiful but suffering wife.

02. FELICITY HUFFMAN, TRANSAMERICA Faultless, she didn't blew me away but is not a bad performance at all.

03. CHARLIZE THERON, NORTH COUNTRY Raise the pretty cliché material that she's working with and makes us get into that woman's head and turns it into something more than just a dennouncing film.

04. KEIRA KNIGHTLEY, PRIDE & PREJUDICE She's perfect for this period but it feels mannered at times, it just lacks the IT factor.

05. JUDI DENCH, MRS HENDERSON PRESENTS autopilot.

2006.

01. PENÉLOPE CRUZ, VOLVER Cruz and Almodovar achieve something far greater and unique than the rest, one never interferes with the other's vision yet the bond that exist capture our attention, even our heart. There's a vividness and intensity that Cruz conveys that is irresistible at the same time that takes inspiration from Anna Magnani and Sophia Loren for the ultimate working class woman and a playfulness and confidence to embody the different tones of the film, it can be the Douglas Sirk melodrama or Hitchcock's suspense. It's a marvelous creation.

02. JUDI DENCH, NOTES ON A SCANDAL Insanely watchable, displaying a dexterity that she only keeps for her best on screen moments, there's a vicious, psychotic haze surrounding her character with a vulnerable side, and Dench simply is having a ball with it. Also a strong contender

03. MERYL STREEP, THE DEVIL WEARS PRADA Iconic, it's a real pleasure to see her having fun with a role and rocking those clothes, you can tell her character has been in the fashion business for decades, her line delivery is aces. Also a strong contender

04. KATE WINSLET, LITTLE CHILDREN Gives one of her most detailed performances in her career, not exactly the same character that is in the novel, but one that works within this film

05. HELEN MIRREN, THE QUEEN (OSCAR WINNER) *** Gives a correct if rather boring performance, showing pride, grace and shame but not much surprise here.

2007.

01. MARION COTILLARD, LA VIE EN ROSE (OSCAR WINNER) *** A challenging task, because it's an entire life condensed in 2 hours, it's all to her credit to transmit all the facets of Piaf's life, it's a passionate, robust, lived-in performance, one she feels in every fiber of her being, the movie works because of her.

02. JULIE CHRISTIE, AWAY FROM HER In one of her finest hours, has a special connection with her director, both are in sync to what they want to do, give a glance of a devastating disease, but in an elegant way, Christie is able to glow the screen in her first scenes, it's luminous and while the film continues that light starts to fade, beautifully performed with no self-awareness, it's incredibly controlled.

03. ELLIOT PAGE, JUNO Makes the film be as believable as it is only because of their performance, a full understanding of the character, lived through and through by Page, the reason why one is so involved in the film is him.

04. LAURA LINNEY, THE SAVAGES Linney is just as good as his co-star Philip Seymour Hoffman, both gave honest depictions of adults not happy with their lives and make the movie engrossing and fun to watch because of the comedic tone.

05. CATE BLANCHETT, ELIZABETH: THE GOLDEN AGE Entertaining but goes more into camp territory in a movie that is not, she's having fun with trashy material. A Medieval Carrie Bradshaw

2008.

01. KATE WINSLET, THE READER (OSCAR WINNER) *** The best aspects of Winset's performance are in what could be her more oscary-designed moments, the entirety of the trial, where more of her character's personality starts to manifiest and let us see through her eyes the reasoning of why she did what she did, there's a thin line that she plays wonderfully that gives room for different interpretations and all of them would feel right for her character, what she does is almost electric without being a loud performance and it helps to find more meaning to the first hour of the film where she's just an enigma and trying to understand who she is, is carefully done, is a puzzle and Winslet is at the top of her game.

02. MELISSA LEO, FROZEN RIVER Also impressive, the ultimate working mother trying to make ends meet, is easy to have empathy for her character but I felt many scenes drive her to play it so incredibly straight that the situation becomes far more important, leaving not much room to expand the character.

03. ANGELINA JOLIE, CHANGELING Very similar feelings to Melissa Leo's performance.

04. ANNE HATHAWAY, RACHEL GETTING MARRIED I give a lot of credit to Hathaway's performance, she completely shakes off her movie star quality and she doesn't have any kind of hesitation to be so unlikable and be judged, it comes from within, the style of the movie can be off putting but she's in sync with the tone and feels like a piece of the puzzle, however I like many other members of the cast better than her.

05. MERYL STREEP, DOUBT lol

2009.

The decade ends with an uninspiring lineup.

01. GABOUREY SIDIBE, PRECIOUS The default choice, natural talent, she's great, believe the perfomance completely, however I found it a bit limited because of the recurrent narration that could've done without, still, I give her a lot of credit because there are moments that even though are bleak there's a little bit of levity, is a deeply felt performance.

02. HELEN MIRREN, THE LAST STATION Luminous, is always great to see her giving this type of performance that feels so passionate and with a lot of energy, I think is one of her best performances and she has to overcome some poor characterization that at times makes her look like a loony.

03. CAREY MULLIGAN, AN EDUCATION Fine, the film and her performance overall are more an introduction to a new talent and what she would be able to do in years to come.

04. MERYL STREEP, JULIE & JULIA Has her moments but she's playing the same note the whole time, becomes monotonous after a while.

05. SANDRA BULLOCK, THE BLIND SIDE (OSCAR WINNER) *** Well, she never becomes that person because the yellow hair stand out so much and she simply doesn't have the charisma of Julia Roberts and have the guts to try something different and play with it, it's just vanilla, she wants her gold star for being the white savior of the year.

2010.

01. MICHELLE WILLIAMS, BLUE VALENTINE One of the great american actresses right now, 2010 was her year, she had Blue Valentine, Meek's Cutoff and Shutter Island, what she did reminded me of Burstyn in the 70s. There's something fearless and full of understanding in what she does and Blue Valentine epitomise that perfectly. In the end, the film feels like a vanity and indulgent project for the actors but her creation is packed of beautiful details.

02. JENNIFER LAWRENCE, WINTER'S BONE A discovery. Here she is more driven by instict and highlights her better qualities as a performer.

03. ANNETTE BENING, THE KIDS ARE ALL RIGHT She has a very special energy on screen (a highly stylized one) and on paper it shouldn't work within such a naturalistic enviroment but is exactly that energy that makes her character's reactions and motivations all the more believable particuarly when it comes to the sharp writing and trying to keep her family together. But as great as she was here, she's even better in Mother and Child that same year.

04. NATALIE PORTMAN, BLACK SWAN (OSCAR WINNER) *** Effective but I don't think she always gets the tone right, moments that were supposed to be driven by pitch black comedy she took them very seriously and if anyone deserves the oscar, is the editior who clearly is more responsible for the impact of the character.

05. NICOLE KIDMAN, RABBIT HOLE and talking about being serious, Kidman is so somber and sad in such ridiculous material, I couldn't take her seriously at all.

I wish Hailee Steinfeld was here, in the category where she belongs, alongside Lesley Manville (Another Year), Emma Stone in Easy A, Catherine Keener for Please Give, or even Claire Danes giving a film performance far worthier of an Oscar than an Emmy in Temple Grandin

2011.

Quite a disappointing lineup considering the depth of the category in this particular year.

01. VIOLA DAVIS, THE HELP Davis and her co-stars, Octavia Spencer and Jessica Chastain steal scene after scene, the three actors are the only thing close to be wonderful in such a condescending film, plenty of characters around them are simply cartoons but Davis rounds her part.

02. GLENN CLOSE, ALBERT NOBBS Deserves a lot of admiration for a bold performance because there's really nothing to latch on to her but just to feel sorry for her character, unfortunately I think her film doesn't help because her situation is so miserable that at times becomes laughable and scenes that are supposed to be fueled by emotions are blank spaces or unintentionally funny.

03. ROONEY MARA, THE GIRL WITH THE DRAGON TATTOO I find the movie totally uninteresting and robotic and that sentiment translates to the character itself (that didn't happen with the Noomi Rapace trilogy), she looks great the part and there are moments where I see the outsider she is and the driving force behind but most of the time is all surface and her face, in this particular film, is not as interesting or says much.

04. MICHELLE WILLIAMS, MY WEEK WITH MARILYN Does her best with what she's giving, there's a sincerity, particularly when an audience is not around, it might be accurate or an invention but humanizes the iconic movie star and when she plays the public persona, she maintains an aura that indicates the woman is not just the pixie dream. That part of her performance I'm not so sure about as Monroe definitely knew how to work the room.

05. MERYL STREEP, THE IRON LADY (OSCAR WINNER) *** I don't think Streep really connected with this character, is all surface, not to mention than most of the time, she looks like a transexual Austin Powers from Hollywood boulevard but her scenes as the very old Thatcher are fantastic, a shame there's not a lot of that, a chamber piece just around that period would've been a better idea for a movie.

2012.

01. EMMANUELLE RIVA, AMOUR An incredibly moving performance should've won the Oscar without a doubt, even though her performance is understated, you can feel the character's desire to put end to her misery and creates a lot of tension with the people around her, particularly with her husband, where you can tell from the very beginning the history both of them have together. The honesty in Riva's performance is uncompromising, even cruel but it's filled with dignity and love.

02. JENNIFER LAWRENCE, SILVER LININGS PLAYBOOK (OSCAR WINNER) *** Her performance is a testament to hernatural gift as a performer, giving more than just a sassy, promiscuous girl, if there's something that works on that film, it's her performance, too bad she's supporting.

03. QUVANZHANE WALLIS, BEASTS OF THE SOUTHERN WILD She has a pair of good scenes but she felt flat to me, she doesn't have the charisma or sharpness of other child performances I've seen in the past. 04. NAOMI WATTS, THE IMPOSSIBLE She's almost always great but in this film she doesn't have a character, she's just a mom in trouble, so instantly becomes null to me.

05. JESSICA CHASTAIN, ZERO DARK THIRTY Outside of her last scene, she's just bad, it's melodramatic and more focused on the task that how her character is supposed to deal with the situation and living it. Her acting in this film for me was just as bad as the one Mariska Hargitay has delivered in Law & Order through 100 years or so.

2013.

Given that this is what I consider one of the greatest years for female lead performances ever, the final line-up is a disappointment, does not reflect that richness at all.

01. CATE BLANCHETT, BLUE JASMINE (OSCSAR WINNER) *** The only one I'd include in that category, gives the film an absorbing and darkly comedic tone, it's a full-bodied performance conveying an internal storm of emotions. By the end it's like a punch in the stomach.

02. JUDI DENCH, PHILOMENA Fine, somewhat refreshing, giving a warmth edge to her character that is not usual in the majority of her performances.

03. MERYL STREEP, AUGUST: OSAGE COUNTY She's good in the second half of her film.

04. SANDRA BULLOCK, GRAVITY She was just a gimmick and her line delivery is really annoying

05. AMY ADAMS, AMERICAN HUSTLE poor Amy Adams she has to play like 10 different characters and she's just awful in it, but I don't blame her, O. Russell doesn't know how to write characters. Problably the worst performance nominated in this decade

Alternative Oscar choices: Plenty to chose from, Greta Gerwig in Frances Ha, Felicity Jones in The Invisible Woman, Adele Exarchopoulos for Blue is the Warmest Color, Julie Delpy Before Midnight, Emma Thompson in Saving Mr. Banks, Brie Larson in Short Term 12, Julia Louis-Dreyfuss in Enough Said...

2014.

02. ROSAMUND PIKE, GONE GIRL She's having a ball with the zigzag-like nature of her character and what she has to go through and how much subtlety she adds to the procedures especially as the film unfolds, perfectly embidies the cold nature of the film yet the sociopath she brings to life is insanely watchable.

02. MARION COTILLARD, TWO DAYS, ONE NIGHT The crowning achievement of an amazing run she had during this era, here she gets rid of her movie star presence and becomes an evey-woman, stripped of her dignity, she doesn't have anywhere to hide, the camera is always on her face and her body movement is outstanding, especially the facial reactions.

03. FELICITY JONES, THE THEORY OF EVERYTHING The Theory of Everything is a better movie thanks to Felicity Jones, she has the key role because it's about how a person affects or what effects has on the people around her and in this case she has all that to deal with, the film rest on her shoulders. If there's something that kept me to rak her higher, even Cotillard is that both Jones and Redmayne look like kids disguised as adults/mature people.

04. JULIANNE MOORE, STILL ALICE (OSCAR WINNER) *** While technically brilliant, she's playing more the situation than a real character, she says a lot how her intellect define her and all that but I never saw a real person there.

05. REESE WITHERSPOON, WILD One of her best turns if only there was less narration that spell us what she's going through and limitates the character

Overall this might be the best lineup of the decade but that's more to do with the fact that there wasn't a lot to choose from (in terms of Oscar), maybe Hilary Swank in The Homesman.

2015.

It's between the top two for me.

01. SAOIRSE RONAN, BROOKLYN She just behaves beautifully throughtout the film, fits perfectly in the enviroment, her performance is so carefully structured, the maturity she displays to remark her character's evolution is breathtaking without overdoing it at any moment, she keeps it at an specific speed, the right one to accompany her through her journey.

02. CHARLOTTE RAMPLING, 45 YEARS More in her usual mode but still is extraordinary, in some scenes when the camera just observes her face are the most powerful, is almost an invisible performance but you believe the history she has with her husband and her dilemma, her last scene is pure dynamite.

03. JENNIFER LAWRENCE, JOY Cemented herself as a movie star in Joy and that's exactly what elevates her movie, is all about her charisma and she has loads of them, she may be playing an old lady at some point but is to her natural talent what keeps it watchable.

04. CATE BLANCHETT, CAROL Becomes a perfect heroine of Hayne's universe and slowly we see the most vulnerable side of the perfect wife, but if I'm honest it feels pre-designed, there's not much surprise.

05. BRIE LARSON, ROOM (OSCAR WINNER) *** There's a certain self-awareness in her work that is easy to detect the machine working, she can be a powerful presence (Short Term 12) but here she lacks that power, she can be great but didn't register in key moments, not to mention the film gives a wrong turn and puts her to the side in the second half, this was a good case to put her in supporting if they really wanted to give her an oscar. I believe she won just because of her role ( Hollywood likes her victims ) and not the performance.

The one omission that hurts is Charlize Theron in Mad Max, basically a silent performance, is different from Theron where she doesn't have to rely on sharp writing, and the make-up is a part of her creation not the center of attention. Her physicality is telling the story.

2016.

01. ISABELLE HUPPERT, ELLE Huppert gives the movie a certain edge and ebb, she makes the movie be what it is because of her and gives her character a certain haze that keeps you guessing throughout what's she's going to do next, and Verhoeven gives her the room to do that, this is the perfect example of a successful relationship between actor and director, which is what I look for the most when it comes to acting on film. She gives two different sides of the character at once, confident and vulnerable, elusive yet focused. Her performance is so open that invites us (the audience) to decide what the character is thinking and come back to this movie again and again for a more insightful meaning. Yes, this is something she has done in the past but she has never been this playful before.

02. RUTH NEGGA, LOVING Her face is a discovery and it's wonderful what she does with it, no other actress has been this good at "wife at telephone" scenes.

03. NATALIE PORMTAN, JACKIE She's doing something different from what she normally does, she puts on an accent and wig and she's in control of what she does, is a performance within a performance, she gives a whole spectrum of an icon, the director (Pablo Larrain) and Portman are a perfect match.

Those three are all deserving.

04. EMMA STONE, LA LA LAND (OSCAR WINNER)*** Does her best to infuse personality to a character that doesn't have any flaws and it's just a glorified trophy girl, which is frustrating, but still, she's charming and cute enough to make it bearable.

05. MERYL STREEP, FLORENCE FOSTER JENKINS Does atrocious work, playing it for the laughs, to be the clown of the hour, there's no personal feel to it, if you can watch Marguerite, it's on Netflix and see how the story should've been told.

Plenty of fantastic performance that unfortunately the Oscars would never look at them twice: Sandra Hüller in Toni Erdmann, Rebecca Hall in Christine, Kate Beckinsale in Love & Friendship, Sally Field in My Name is Doris, Sônia Braga in Aquarius, Annette Bening in 20th Century Women... and yet they went for comfort food.

2017.

01. MARGOT ROBBIE, I, TONYA Quite fresh to see young actresses playing insolent women, truly embraces her character's take-no-prisoners, white trash identity. A full-body performace that beautifully navigates the different tones the screenplay throws at her.

02. SAOIRSE RONAN, LADY BIRD Playing the little brat fits her like a glove. She gives what the movie lacks: depth. The structure is a series of vigettes and on paper she shouldn't be able to sink her teeth on such skin-deep character but she pulls it off, she's Lady Bird

03. FRANCES MCDORMAND, THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (OSCAR WINNER) *** She's great, ferocious and all that but there's moments where the abrupt change of tones within the film made her look widely over exagerated for no reason , at moments becomes day-time soap opera, but yeah, good stuff. She's on fire.

04. MERYL STREEP, THE POST Surprisingly reserved and focused work, it's was a throwback to her 80s acting.

05. SALLY HAWKINS, THE SHAPE OF WATER She was ready to deliver a character for the ages but as the movie moves forward, everything becomes less and less interesting, she has an expresive face but she doesn't has a lot to do, in fact many times looks like crucial moments of her performance were left in the editing room.

WHO WAS LEFT OUT? Not many performances under the oscar radar but Vicky Krieps was a logical choice. Cynthia Nixon in A Quiet Passion would've been a nice addition as well.

2018.

01. OLIVIA COLMAN, THE FAVOURITE (OSCAR WINNER) *** Big, carnal, electric and bombastic, but also vulnerable, emotional, soft, mad, comic, and within all that she finds depth and humanity, is the kind of performance you'll never forget.

02. MELISSA MCCARTHY, CAN YOU EVER FORGIVE ME? Her performance recalls the true sprit of 90s NY writer without being a cliché, and that goes without saying she also plays a lesbian with a cat, yet is never a cartoon. She has a ball with the one-liners that I wish the screenplay was written by Paddy Chayefsky

03. LADY GAGA, A STAR IS BORN She's fine I guess, but I truly dislike the fact that the second half of the movie she just cries cries and cries and bow down to her man.

04. GLENN CLOSE, THE WIFE Her movie is kinda laughable, thinks it takes place in the 1700s, are we really suppose to believe she will take all that crap for all those years? It takes itself so seriously and Close doesn't sell the character: she never at any moment suggest to be a creative person, let alone to be someone who revolutionized the 20th century novel and short story industry.

05. YALITZA APARICIO, ROMA I think she hides behind way too much "subtlety"

WHO WAS LEFT OUT? More like who wasn't, Toni Collette in Hereditary, if they nominate the director of Cold War, why not the actress (Joanna Kulig), Charlize Theron in Tully, The Favourite actresses in the right category, Carey Mulligan in Wildlife...

2019.

01. SAOIRSE RONAN, LITTLE WOMEN. Wonderfully in-period performance, believable as a creative person, her best scenes are those with Tracy Lets, to all his criticism she reacts with defience, vulnerability and insecurity.

02. SCARLETT JOHANNSON, MARRIAGE STORY Happy that she finally received recognition (she's better performer than any other young hollywood starlet with an Oscar this decade) unfortunatelly her movie has no tone, she keeps it watchable but there's no surprise in her acting, she's done this before.

03. CHARLIZE THERON, BOMBSHELL Saving grace of an embarrasment of a movie, she's become a top tier actress during the course of the last 2 decades, she's doing a lot here that on paper would be oscar-baitiness at its finest but she's giving a minimalist and raw performance, very 70s.

04. RENEÉ ZELLWEGER, JUDY (OSCAR WINNER) *** A movie about Garland craves for vitality and robust filmmaking, we have to settle with sad little indie modest celebration, Zellweger gives a correct, heartfelt performance but lacks creativity. This is homework

05. CYNTHIA ERIVO, HARRIET Her movie sucks, doesn't let her play it from within, she just goes from point A to point B the whole time, Erivo is a presence to be reckon with but she's annonymous here, better watch Octavia Spencer´s genious rendition of Harriet Thubman once more....

WHO WAS LEFTOUT? Not a very good year for actresses but Lupita Nyong'o dual subtle/over-the-top performance in Us deserves a spot and if the Academy, Awkwafina is incredibly charming in The Farewell as well.

01. VIOLA DAVIS, MA RAINEY'S BLACK BOTTOM Usually her solemnity bores me to death, but finally she's giving something new, this is a robust, strange, uninhibited brash performance.

02. CAREY MULLIGAN, PROMISING YOUNG WOMAN She's one the better actors working around, blends different elements successfully, the sadness that surrounds her character is on point, a sense of loss that overcomes her, there are moments when she goes from agitated to furious to frightened in just a few seconds.

03. FRANCES MCDORMAND, NOMADLAND (OSCAR WINNER) *** A feat to see a Hollywood star so in tune in this environment, she looks destroyed but also engaged by the nomads that she ecounters throughout her journey.

04. ANDRA DAY, THE UNITED STATES VS. BILLIE HOLIDAY You want to see an first-time screen actor rescue a movie from the catlap and give it a reason to see it, this is it, Day is a star, shame her introduction came from this crappy movie.

05. VANESSA KIRBY, PIECES OF A WOMAN She's always been a stand out in everything she's in, shining in a sea of first-class performers in The Crown and stealing every scene she's in films like Mission Impossible or Fast and Furious. Here she makes something as random as to smell an apple interesting and meningful, and she connect every disjointed piece of the movie, where every pulse and breathing counts, she needs to take the 2020's by the horns, she's that great.

One of the strongest lineups in quite a while and still I'd make room for Radha Blank in The Forty-Year Old Version.

2021.

01. PENÉLOPE CRUZ, PARALLEL MOTHERS She's at the point of her career where she's in absolute control of her technique and teaming with Almodovar is a match made in heaven, gorgeous performance. Almodovar brings a pretty blunt political edge to the film, I don't think that really works but Cruz intuitive sense brings the right tone to make it as organic as possible, especially in the last moments where plenty went unsaid and/or roughly thrown at the screen.

02. OLIVIA COLMAN, THE LOST DAUGHTER I like the perversity she brings to her performance, all the baffling decisions her character takes make sense because of that foundation, unfortunately the movie is very dull where nothing ever is at stake.

03. NICOLE KIDMAN, BEING THE RICARDOS I give her a lot of credit to be able to become a person behind all that stupid-looking make-up, mostly she's bringing a lot of physicality to her performance, very rare for Kidman, a confident/movie star aura that sells the deal, if only the movie was at her level

04. JESSICA CHASTAIN, THE EYES OF TAMMY FAYE (OSCAR WINNER) *** She does all the characterization right but this is yet again an actor doing the homework, she sings, dance, does the annoying voice toperfection, blah blah, what else is new? there was a missed opportunity to question Tammy's actions but the mistake comes directly from the screenplay, everything is just a heartfelt, positive picture of a tv sensation that deserved something far more confrontational. And Chastain herself could've done more with that poorly written screenplay (she has done it before), a shame.

05. KRISTEN STEWART, SPENCER She's the new Kidman, all whispering otherwise she probably wouldn't be able to do the british accent properly. She has no screenplay, comes off as a spoiled millenial who does not listen to her superiors and is paranoic of everything for no reason, stupid movie, stupid character, dull performance. Spencer very well could be a movie of a random paranoic woman who believes she is princess Diana and everyone around her is just going with her flow until she goes to the next room and bothers someone else with her act.

The year had a lot of potential, it could've been the moment for Gaga win her Oscar for her farcical and delightful creation in House of Gucci, Alana Haim possessed by the friendliest ghosts of the 70s was incredibly charming in Licorice Pizza, Renate Reinsve annouces herself as an open book in The Worst Person in the World, if CODA was it, then Emilia Jones, the one great performance in that movie deserved the nomination.

2022.

01. CATE BLANCHETT, TÁR. A titanic task brought to life in magnificent form. A visceral, full-bodied performance, highly stimulating, never oppressive, is a treat to watch an actor performing their tricks of the highest degree of dificulty and stand on their feet. Is what Blanchett has been trained to do all her life. A performance for the ages, one that goes in hand to what Brando or Pacino did at their prime.

02. MICHELLE WILLIAMS, THE FABELMANS Overcomes what Julia Roberts never could in Mother's Day (that ridiculous penis-like wig). That alone deserves an Oscar. It's truly a wonderful and divisive creation, if I responded favorably is to the fact that every single irrational (or highly premeditated, depending on your interpretation) action is of a piece with what she created. And even though is never directly adressed by the film, the yearning, anxiety and oppressiveness she feels is evident and a foundation to most of behavior.

03. ANDREA RISEBOROUGH, TO LESLIE I'm jealous of Andrea and Leslie as both are surrounded by people who are rooting for their succes in life. And both deserve it, especially Andrea who truly is one of the great actors working right now.... This performance evkes to me the great american actors of the 70s (Pacino in Needle Park, Rowlands in Opening Night), true, the scenario is basic as hell but the passion and technical brilliance is right there.

04. MICHELLE YEOH, EVERYTHING EVERYWHERE ALL AT ONCE (OSCAR WINNER) *** Similar to Blanchett in Tár, it feels like Yeoh had to go through everything in her professional life to get to this moment, and there's a viral photo of her holding her script wth a endless amount of bookmarkers, and is evident that does her best to do everything everywhere all at once but the structure of the film is a problem, there's an endless amounf of possibilities and situations and for that very same reason she can't sink her teeth because is such a busy movie, looking back this is the most unlikely baitiest Oscar role ever and one that deserves to be treasured because of that.

05. ANA DE ARMAS, BLONDE This is a director's movie and she's the main doll he's playing with, and she fits the role perfectly

2023.

01. EMMA STONE, POOR THINGS (OSCAR WINNER) *** True, the most physically demanding role of the five, true, she appears naked for long stretches of the film but those kind of adjectives diminish what she's actually doing, Stone creates this human being (not a woman but something more primal and abstract) and there's a wide variety of small little details that she brings to the table that at one point or another will resonate with something she does, if the film is as watchable, funny and moving is because of her performance.

02. LILY GLADSTONE, KILLERS OF THE FLOWER MOON If the whole movie had the luxury to keep her at the front and center, she'll be lengedary, all the courtship between her and DiCaprio, the little actions and gestures, she does have many different egdes to it that makes her presence so valuable, you could say there's denial from her part, a lack of recognition, a part of her that likes to objectify her love interest, there's a sea of possible intereprestions so the moment she fells sick and stays like that for 80 minutes is kind of a bummer, she does reclaims her place by the end yet again bringing an unexpected (but congruent to her character) closure. A very close second. Put her in more movies!!!

03. SANDRA HÜLLER, ANATOMY OF A FALL She's a phenomenal actor, this nomination should invite audiences to explore her filmography, even in small parts she makes you wish the movie was just about her. She's fine in Antomy of Fall but reminded me of Scarlett Johansson in Marriage Story and the limitations that come with a movie aiming for so much and ending delivering it in the most straight face way possible. There are hints at a satire of the whole situation and there's the idea if she did it or not but it is predesigned to favor her and spell some truths that is not much of a high-wire act. Still a treat to watch Hüller for almost 3 hours being so confident and entitled and encarnating a socipath.

04. ANNETTE BENING, NYAD Nominated and all but still underrated. Maybe she's taken for granted but she's moving mountains to make this movie compelling. I love how unlikable and stubborn she makes her Nyad, a true monster of the ocean and as Theron said it on Oscars night, sensorial.

05. CAREY MULLIGAN, MAESTRO Jessica Lange at the Oscars said it all, she carried that bloke's movie on her shoulders.

One of the great line-ups in recent history.

Who should be here? Margot Robbie in Barbie, she's the Gene Kelly of this musical.