Third place:
Paul Dano, Love & Mercy [105 points / 16 votes]
Second place:
Samuel L. Jackson, The Hateful Eight [148 points / 23 votes]
And the Muriel goes to…
Michael B. Jordan, Creed [168 points / 26 votes]
“Michael B. Jordan is tensed up all the way through Creed. Standing up straight, fists in his pockets, always on the defensive, watching. Adonis is an angry guy, bottled up, on the lookout, only able to release himself in a fight, something he stubbornly thinks he's constantly ready for. Jordan's crucial timing in tightening or releasing that tension is the key to his performance.
“Watch his eyes in the scene where he tells his adopted mother, Apollo's widow, that he's heading to Philly to box. She's angry with him for hitting pickup fights in Tijuana, and he reacts: ‘Well, I'm leaving soon.’ It's only after he blurts it out that Adonis realizes how much he's hurt her, revealed with a minuscule loosening of his jaw, a slight droop in the eyelids.
“He does this sort of thing over and over again. Look for the dash of swagger, almost confrontational, in his first encounter with Rocky Balboa. Or the way he sits bolt upright at the dinner table after their argument late in the film, a man who's used to regret but not defeat, and so while his body remains poised his eyes can't meet his mentor's. It's a performance built carefully of microgestures, each one telling its own little story.” ~ Matt Lynch
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