RIP: James Horner

Academy Award-winning composer James Horner has died, according to multiple news outlets. James Horner was piloting his small plane when it was being reported as having crashed in California. Sad news for film today.

James Horner is probably best known to film audiences as the composer for the film Titanic; for which he won an Oscar. Along with composing the score, James Horner also wrote the song "My Heart Will Go On", which also won an Oscar for Best Song. Surprisingly, Titanic is the only film in James Horner's entire catalog of film scores and songs that ever won him an Oscar.

My personal favorite scores from James Horner, though were early in his career. I grew up watching the film Commando and love the instrumental score that James Horner brought to the film. It's unique and distinctive. Though sounding similar to Commando, the score for 48 Hrs. is another instrumental score that I really enjoy. The scores for these 2 films really invoke a character shot into what could have been just run-of-the-mill action films.

Though not even garnering an Oscar nomination, James Horner's work on the 1989 film Glory is a personal favorite of mine. The score uses some of James Horner's most familiar tropes, but comes together into a very classy score with some added bravura for good measure. Especially outstanding is the track "Charging Fort Wagner" wherein the heroes make their last charge. The track evokes so much all the emotion that has been building throughout the film and really provides the listener with something to remember the film by.

Lastly, I would be remiss if I didn't mention, what could possibly be, James Horner's most iconic work: Aliens. Composed with the urgency that James Cameron shot Aliens with, the score to Aliens is frantic, yet never really feels cluttered. James Horner was interviewed for Aliens about his score and he mentioned that he did not want to work with James Cameron again as he was put under extreme pressure to complete the score in a short period of time. James Horner may not have enjoyed the conditions to making the score of Aliens, but he delivered one of the most iconic film scores of all time; including the track "Bishop's Countdown" which is a staple for many film trailers.

1953-2015

Nightcrawler

Social outcast and small time criminal, Lou Bloom (Jake Gyllenhaal) has a chance encounter with Joe Loder, (Bill Paxton) a cameraman who films news stories and sells the video to local news outlets. Sensing he has found his calling, Lou buys a camera, hires an assistant, Rick, (Riz Ahmed) and pursues a career in recording newsworthy incidents in Los Angeles.

Starting small and losing to the higher-funded, Joe, Lou decides to try and take his filming where others wont go. Lou starts innocently enough by filming a medical emergency closer than Joe does. Using this footage, Lou sells the video to local news director Nina (Rene Russo) who sees value in the footage that Lou is able to offer. Wanting to be the best at his job, though, Lou begins to cross ethical boundaries by altering crime scenes to make the shots more dramatic and putting himself at the center of a crime in an effort to get video coverage first.

First time director Dan Gilroy, shooting from his own script, is able to pull the audience into Lou's off-kilter world. Los Angeles becomes its own character with Dan Gilroy being able to film his own script. Los Angeles hasn't been shot this beautifully since 2004's 'Collateral'.

While riding shotgun with Lou, though, we still do not get a complete understanding of who Lou truly is. Yes, he wants to be the best at his job, but why? In some ways, Lou comes off as just being a social outcast (as mentioned above) or could have a touch of Aspberger's Syndrome in the way he is so meticulous about the details of his job. Maybe the character is underwritten, or maybe we are just not meant to fully understand what goes on in Lou's head, but either way, Jake Gyllenhaal does the best he can with the performance. Sometimes quiet, sometimes frustrated, you see it all come through in a role where the character never explodes because he is so meticulous and has every angle thought out.

The rest of the cast is has to play second fiddle to Lou, and no one really stands out. Rene Russo never really gives off a performance of a director who does not like the position she is in, yet is willing to do what it takes for the ratings. Her character still gives off some light, when the performance should be more cold and cutoff. Though, if Nina and Lou were both cold and cutoff from the audience, this film would be even harder to like.

The film takes its time getting to its definite point. The first hour or so of the film is filled with set up and shot in an almost vignette way with no sign towards an actual plot. Eventually, Lou finds himself involved in a crime and has to find a way to resolve the issue along with being the first to report the status of the crime he is involved in. This is by far the strongest portion of the film as 'Nightcrawler' then begins to feel like the plot is moving forward and towards an exciting conclusion. Unfortunately, the final few minutes derail the good will that had been built up in the preceding forty or so minutes.

A beautifully shot film with a solid performance and sure-handed directing make 'Nightcrawler' a film worth checking out. If the film had gotten to its point earlier and wrapped up differently, this could have been a great film.

6.9/10

Whiplash

Andrew Neiman (Miles Teller) is a jazz drummer at the Shaffer Conservatory. In Andrew's first year at school, he spends as much time as possible perfecting his drumming skills. Conductor Terence Fletcher (J.K. Simmons) notices Andrew and offers him the chance to be an alternate into Terence's band. Unbeknownst to Andrew, being able to meet Terence's lofty expectations for perfection will take a toll of him mentally, physically and emotionally.

 While trying to perfect his drumming, Andrew and his girlfriend, Nicole's (Melissa Benoist) relationship begins to deteriorate. The constant physical and verbal abuse by Terence forces Andrew to break up with his girlfriend in an attempt to perfect his drumming. As the abuse continues to mount for Andrew and others in the band, Andrew has to decide whether continuing under the tutelage of Terence is best for his life.

For about the first hour, Whiplash is a really solid piece of film making. The narrative is tight and the performances are top notch. Watching J.K. Simmons unleash a beat that hasn't been seen before is a sight for sore eyes. If Terence Fletcher were selling Allstate Insurance, everyone would be a perfect driver. Miles Teller performs a solid, if unspectacular job, of trying to show a student that will go through hell in an attempt to become the best drummer he can be.

Now, I said for about the first hour the film was solid. Once we get to a point where Andrew's story shifts from the school, the film loses a bit of momentum, in my opinion. The dynamic we had between Andrew and Terence isn't there and the film suffers for it. The script then finds a way to shoehorn the two characters back together for a big third act that is more predictable than it should be. I guess, the finale is the only way that the film should have wrapped up, but it wasn't as satisfying as most of the movie that had come before it.

With a lesser second half, and some script cliches, (car crash?) I feel Whiplash was somewhat held back from greatness. I did appreciate the characters not having superfluous B-stories and detours from the main plot, which kept the pacing tight overall. J.K. Simmons steals the film in a very showy role that was worthy of an Oscar Nomination (maybe not the Oscar itself, though) while Miles Teller hangs on enough to make the audience understand the hardships he is experiencing.

Slightly uneven, but very watchable, Whiplash deserves most of the praise it has received.

7.9/10

Birdman

Continuing to play catch-up, my latest review is Oscar-contender: Birdman.

Riggan Thomson (Michael Keaton) is an actor on the wrong-side of his career. Decades removed from being an A-Lister with a big budget Hollywood franchise, Riggan finds himself trying to re-establish his career by trying to self-finance a Broadway adaptation of 'What We Talk About When We Talk About Love'. Trying to write, direct and star in the play, though, begins to take its toll on Riggan's professional and personal life.

Riggan's daughter, Sam, (Emma Stone) fresh from rehab takes a job as Riggan's assistant in an attempt to help make Riggan's passion project a reality. Troubles arise when Riggan and his lawyer Jake (Zach Galifianakis) decide to hire method actor Mike Shiner (Edward Norton) for the lead role of his play. Mike's ex, Lesley (Naomi Watts) co-stars in the play and their relationship is still a fresh wound which causes problems during rehearsals. Mike and Sam then begin to flirt which strains Riggan's already fragile psyche.

While trying to ensure he creates the best play he can, Riggan is tortured by Birdman, his inner voice, Birdman constantly reminds Riggan about his time when he was the envy of Hollywood. Egging Riggan on about how he should return to his roots as a Hollywood actor and give up the new life he is trying to start. All of these characters and problems begin to come to a head as Riggan struggles to get his play ready for opening night.

An idea that could be inspired by Michael Keaton's career, Birdman provides a perfect vehicle for himself and all actors within the film. Birdman is dripping with self-indulgence, yet each actor steps up and brings their A-game to elevate the film above its own self-important ideas. Michael Keaton allows the camera to show a man who's life has taken its toll on him. When not hiding behind the wigs used for his play, Michael Keaton is able to play Riggan as a man who understands that his life is not what he would want it to be, yet gives optimism that he may be able to save himself, or at least, what is left of his family.

Equally good is Edward Norton's Mike, who steals every scene he is in. Mike wants to be the best actor he can, and will go to any lengths allowed to be the actor he is. Funny, yet uncompromising, Mike and Riggan butt heads about what is best for the play. The interactions between both actors provide some of the best scenes in the film.

The star, though, is still Michael Keaton. For all the showy scenes in the film, the scene that works best comes when Riggan and his ex-wife, Sylvia, (Amy Ryan) discuss what Riggan has missed in his life by putting his career first. Michael Keaton completely owns the scene and shows how vulnerable Riggan is. The scene is Oscar-bat, for sure, but Michael Keaton uses his acting skills to really invest the audience in seeing that Riggan is a sad man and wants you to root for Riggan in an attempt to regain his life. Definitely one of the best scenes of the year.

Birdman is a true tour de force, filmed with the appearance of one-take by director Alejandro G. Innarritu. The acting, directing and screenplay are all top notch with the exception of the final scene. The film builds towards opening night and delivers in all ways one would expect. My issue comes after opening night. I will not go into specifics, but my feel is that Birdman should have ended with opening night as it feels like the logical conclusion. The last scene, though good in its own right, does not jive with the film that came before it. A slight letdown in an otherwise great film.

With great acting and directing, Birdman is my favorite film of 2014 and hopefully gets the recognition is deserves from the Academy.

8.2/10

Foxcatcher

Director Bennett Miller continues his streak of films based on a true story with Foxcatcher.

Based off the true story, Foxcatcher tells the tale of Olympic Gold Medal winning wrestlers Dave Schultz (Mark Ruffalo) and his younger brother Mark (Channing Tatum). One day, Mark is contacted by John du Pont (Steve Carrell) about training a group of wrestlers for the 1987 World Wrestling Championship and the 1988 Olympic Games. After living in the shadow of his older brother, Mark decides to take the opportunity in an attempt to separate himself from Dave.

Moving onto John's property and working under the name: Team Foxcatcher, Mark excels at training the wrestlers recruited and beginning to feel the confidence he lacked while training with Dave. John, as coach, begins to feel he is creating something special that can live up to his mother: Jean's, (Vanessa Redgrave) high, yet cold standards.

Having John and Mark on the same property, though, proves troublesome to each other as we see both characters and their insecurities arise. As John and Mark deal with their personal lives, the drive for winning at wrestling begins to suffer. John senses that Mark is not strong enough to handle what he wants and begins a pursuit to coax Dave onto his compound in an attempt to return the wrestling team to John's high standards.

Having seen Bennett Miller's past 2 films: Capote and Moneyball, this film follows in the same tradition I have regarding his past films. Performances are splendid, yet the films are somewhat hollow. This is not a knock on Foxcatcher or films prior, but Bennett Miller seems to really know how to get solid performances out of his actors, yet struggles to find a way to incorporate a solid story with the acting.

Speaking of the acting, the three leads are able to handily bolster the material. With Mark Schultz, Channing Tatum is tasked with anchoring the film as he is the primary focus for the first half of the story. I wasn't entirely sold on his performance as he mainly lacks any empathy and holds the audience at bay while projecting a tough exterior. The tough exterior, though, really doesn't come through as each character, and the audience, can easily see the cracks in Mark's foundation.

The roles that sell the film are Steve Carrell's performance as John and Mark Ruffalo as Dave. Steve Carrell becomes almost unrecognizable under his makeup while playing billionaire John du Pont. The way Carrell plays John, though, is with sadness and empathy. John is not a bad man, thought treated as one by his mother. The script provides no favors as we are only able to scratch John's surface. Thankfully, Carrell steps up to elevate the material. You may not be able to sympathize with John, but you can certainly understand why he is the way he is.

Mark Ruffalo is the true standout of the film as the Mark's older and caring brother, Dave. Even though the role is not showy, Ruffalo is able to project a warmth over the character and never loses focus on what matters most to him: family. Even when Mark and Dave begin to fall out, Dave still has Mark's best interests at hand and is skeptical that John has Mark's best interests at hand also. In true form, Mark Ruffalo can take even the simplest material and make wonders of it.

With three solid performances, Foxcatcher is a few steps above Moneyball and Capote. Now if Bennett Miller were able to find a script to go along with the performances he gets out of each film, he could be a continuous threat come awards season.

7.7/10

American Sniper

The yearly Clint Eastwood-Oscar bait freight train rolls right along through the end of 2014.

Based on the book of the same name, Chris Kyle (Bradley Cooper) is a good ol' Texas boy who, along with his younger brother, are taught tough lessons by their father; Chris in particular, doing a good job of hunting with his dad. While performing rodeos in Texas, Chris attracts the attention of Taya Renae; (Sienna Miller) both hitting it off immediately. Early into their relationship, Chris decides to give up on the rodeo gig and enlists for the Navy SEALs.

Alternating between the multiple tours of duty overseas and his ever-increasingly troubled home life, director Clint Eastwood never gives the film time to establish either story the film is trying to tell. While in Iraq, Chris is teamed with a group of soldiers, yet none of them are able to be properly set-up in an attempt to distinguish one from another. Some of these soldiers die, yet you never really feel the loss that Chris does because the audience has never been given the proper time to be invested with Chris' core group of soldiers.

When not continuing on with his kill-count, Chris and Taya's relationship strains further and further as they become an ever-growing family. Yet, when at home, the and the trouble Chris has with being a normal civilian never rings true as their is no angst; just Chris not being able to handle his time away from military duty. The tension that should be in these scenes falls flat as, instead of watching someone deteriorate before our eyes, it instead feels like an afterthought that Chris just can't handle a normal life anymore. This is not a knock on either Bradley Cooper or Sienna Miller, as I felt both did a solid job.

The script, adapted by Jason Hall, does not allow the film to take any chances nor allow us to invest with anybody in the film besides Chris and, to a lesser extent, Taya. Not having read the book, the script feels very rudimentary in its pacing; choosing to play safe and not take any chances either when: Chris is in Iraq or at home. The typical cliches are there, including: making difficult decisions when sniping, not wanting to leave the war, trouble adapting back home, etc. The actual story behind Chris Kyle is more interesting than the script provided. I'm sure not too many liberties were taken with the source material, but the script could have taken a less cliched route.

As with most Clint Eastwood films he has directed, the film is established well and tight in the overall narrative. Even though the film feels tight, what American Sniper really lacked was tension. Everything from the opening sequence where Chris has to decide if he is going to kill a mother and child to the climax in a sandstorm felt derived of tension. If anything, I expected Clint Eastwood to deliver some white-knuckle moments with the sniping scenes, yet I never sat on the edge of my seat. As stated on the wonderful Karina's review, "A definite cinema watch, but it is by no means a classic".

The movie itself is not terrible, yet is not great either. It's very middle of the road, and with a story like this and the talent involved, being middle of the road may be worse than being terrible.

6.4/10

Oh yeah, and there's the fake baby too...

Boyhood

Telling the story of a child growing up, director Richard Linklater provides the audience a glimpse into the life Mason Evans, Jr. (Ellar Coltrane) as he grows from boyhood to adulthood. Beginning with Mason Jr. as a six-year old and continuing onward through the beginnings of college, Mason Jr. experiences all the joys, anxieties and letdowns each child experiences within their life. Does a film that provides you with a fly-on-the-wall type experience deserve best picture as it seems positioned to win? No.

That's not a knock on the film as it is well-acted (for the most part) and provides the viewer with a sense of realism by not adding in unwanted plot developments. Instead, Richard Linklater lets the story play out in an almost natural fashion as Mason Jr. continues to grow. The problem is, there really never seems to be any conflict at stake. Mason Jr.'s mom Olivia Evans (Patricia Arquette) is a single mom who has been raising Mason Jr. and his sister Samantha Evans (Lorelei Linklater) after divorcing their father, Mason Sr. (Ethan Hawke).

Mason Sr. begins the story as a man who loves his toys and is not the father he should be to either child while Olivia seems to be getting her life in order. Olivia then begins to have relationships with stereotypical "bad fathers" while Mason Sr. begins to get his life in order. In the middle of this, Mason Jr. struggles with Olivia's choices for a male figure in the house while also dealing with struggling to conform within the boundaries of what life expects from him.

Shooting a film over a 12 year period is a Herculian task and Richard Linklater should be applauded for attempting such a difficult task and being able to keep all the same actors over the period of time. The male characters that Olivia attracts become your cliched trope of wrong choices: the alcoholic, abusing husband or the strict, military-type who disapproves that Mason Jr. does not want to follow in his shoes. These characters seem to be the only sense of conflict that Mason Jr. encounters, but are so stereotypical that it takes away from the naturalistic feel that Richard Linklater is trying to establish.

Along with that, the feeling that there really is no struggle for any of the characters leads (at least to me) a question of why I should watch. There really is no struggle and Mason Jr. is going to follow his own path no matter what gets in his way. The story moves along and may only glimpse some other conflict that Mason Jr. may be up against; then decides to skip ahead in time and we witness that Mason Jr. is continuing with his path in life. It feels like a "greatest hits" of someone's life instead of a full-length album. Yes, most of the beats are hit, but the film never made me feel fully-invested into Mason Jr's struggle with growing up.

There are plenty of things to enjoy about the film; Patricia Arquette and, especially, Ethan Hawke are really good in the film. I did appreciate the story line between these two characters and how they were handled. Ethan Hawke's character, for me, flowed most naturally and brought the film to life whenever his character appeared on screen. Patricia Arquette had a bit more a a typical Oscar-bait role as someone who tries her best, yet never seems to get what she wants. Multiple scenes of crying follow, yet her acting saves this character from being your typical "wife who chooses the wrong paths" type.

The last thing that should be mentioned is whether this film deserves Best Picture at the Academy Awards. Yes, the film was a daunting task and Richard Linklater deserves credit for that. The problem is, I think the people voting are confusing technical achievement with what film is best. Just because it took 12 years to complete this film, shouldn't automatically make the film a front runner for best picture. The film lacks conflict and at times just seems to meander. Yes, life is like that, but that doesn't make the film great. A film like Hoop Dreams did basically the same thing (only better), yet wasn't nominated for Best Picture.

If Boyhood wins Best Picture, it wouldn't be the worst thing in the world, but I hope "best" and "technical achievement" aren't being confused when voting by the Academy happens.

7.6/10

Dallas Buyers Club

The film that transformed Matthew McConaughey into an Academy Award winner.

Set during the 1980's, Ron Woodruff (Matthew McConaughey) lives a wild lifestyle of having unprotected sex with prostitutes and being a rodeo enthusiast. After an accident at work, Ron discovers that he has AIDS and is only given 30 days to live. He initially approaches Dr. Eve Saks (Jennifer Garner) about getting an FDA approved drug called AZT. Her boss Dr. Sevard (Denis O'Hare) leads the group for clinical trials of AZT.

Once on the drug, Ron discovers that his body is worsening quicker than usual. Finding out that AZT appears to do more harm than good, Ron goes to Mexico and meets with Dr. Vass (Griffin Dunne) who informs Ron that AZT kills the cells in one's body. Dr. Vass instead gives Ron alternative drugs that are not FDA approved. The unauthorized drugs appear to work and Ron begins to transport the drugs over the Mexico border for his use and to sell to others who also are infected by HIV. One of those infected, a transgender woman named Rayon, (Jared Leto) butts heads with Ron.

Eventually, the two form an uneasy alliance to sell the non-FDA approved drugs under the moniker of the Dallas Buyers Club for $400 a month. Dr. Saks eventually sees the negative side effects to AZT while also seeing that the non-FDA approved drugs do appear to be helping those suffering from HIV. Dr. Sevard does not see eye-to-eye with Dr. Saks or Ron and tries to shut down the Dallas Buyers Club.

This is a film that is really all about the performances. The script really didn't do much for me, and am surprised the script got an Oscar nomination. Enough can't be said, though, for the performances of Jared Leto and Matthew McConaughey. Leto disappears into the role of the wise Rayon, who knows that she is on borrowed time, yet is trying to do what she can. McConaughey puts his own spin on the stereotypical anti-gay man who must bond with those he does not get along with, role. Both roles were deserving of their nominations and awards.

As stated, the story is nothing you haven't seen before, but anchored by two solid performances, this is a film that should be seen to see how Matthew McConaughey is becoming one of this generation's better actors.

7.3/10

American Hustle

Continuing to play catch-up, here's my review of Oscar hopeful: American Hustle.

Based off the ABSCAM operation and set during the late 1970's and early 1980's, Irving Rosenfeld (Christian Bale) is a low level con artist working with his girlfriend Sydney Prosser (Amy Adams). After both are caught in a scam by FBI Agent Richie DiMaso, (Bradley Cooper) Irving and Sydney reluctantly work for Richie to bring down various politicians including the mayor of Camden, New Jersey, Carmine Polito (Jeremy Renner).

Due to the complexity of the undercover operation, not all parts go smoothly. Irving's unpredictable wife Rosalyn (Jennifer Lawrence) complicates matters as a potential love triangle forms between Irving, Richie and Sydney. As the operation progresses, Irving and Carmine start to become friends and Richie wants the operation to grow in size in an effort to take down more and more corrupt politicians. The size of the operation begins spiral out of control and all parties involved begin to struggle to keep everything in order.

The plot is not as complex as it sounds, but it is more of a foundation for what truly makes this film entertaining: the performances. Even as I felt this was my favorite film of the year, I understand that American Hustle is not a great film. The plot falls by the wayside in favor of letting you enjoy the performances and the fun that the actors and director, David O. Russell are having.

The fun that the actors and crew are having does not take you out of the film. Instead the film brings you in and provides you with one of the best comedies of the year. Everything from the bad wigs, to bad accents and the way the characters handle the complicated scam that is presented in this film as a fun, but not overly-complicated 2 hour film. Even the title card that starts the movie, really sets the tone for how serious the film handles the ABSCAM plot that the film is based on. American Hustle tries really hard to entertain you, and based off what David O. Russell and the cast offer, I feel the film succeeds on that level.

The one weak link in the film for me, personally was Jeremy Renner. Everyone else in the film felt like they were on the same page, but with his character everything felt off and out of place and ultimately felt that Jeremy Renner was miscast as Mayor Polito. As the film progresses towards its conclusion, there is a scene where Irving and Carmine confront each other in Carmine's house. Carmine asks Irving if he is lying to him; at which time I felt bad for the character itself, but not by the performance delivered by Jeremy Renner.

I know there's been a lot of hate and backlash towards the film lately, but as just an enjoyable piece of cinema with overall good performances, it's hard to not rank American Hustle near the top of the best films list of 2013.

8.3/10

31 In 31: Misery

Rob Reiner brings one of the best adaptations of Stephen King's work.

Paul Sheldon (James Caan) is a successful novelist who specializes in a series of boks featuring a character named Misery Chastain. After completing his latest novel, which does not include Misery, Paul sets out to Los Angeles during a blizzard. He loses control of his 1965 Mustang and crashes. Local resident Annie Wilkes "happens" to be near, drags Paul from his car and takes him to her house.

Annie is a nurse who bandages Paul up and provides medicine. She reveals herself to be Paul's number one fan; even naming her pet pig Misery. Annie lets Paul know that the phone lines are down and that all roads into town are blocked. Though, thankfully for Paul, Annie states that she will take care of Paul in the meantime.

Slowly, though, Paul realizes that Annie is an obsessed fan who is unhinged. Annie continues to make excuses as to why she hasn't taken him to the doctors and has random moments of outbursts at Paul, especially regarding Misery. After picking up the last book in the Misery saga, Misery's Child, Annie cannot take the idea that Paul killed off the Misery character to focus on book non-Misery-related. Annie decides to keep Paul at her house while Paul writes a new novel to bring Misery Chastain back to life.

As Paul is trapped within Annie' house, his publisher Marcia Sindell (Lauren Bacall) contacts local sheriff Buster (Richard Farnsworth) inquiring about him being missing. Buster begins looking into Paul's disappearance and he sets off on a path that will cross with both Paul Sheldon and Annie Wilkes.

Rob Reiner directs Misery like a play. Most of the main story takes place in Annie's house; mainly in Paul's bedroom. Reiner directs these scenes initially very loose, almost bordering on some light-hearted humor, but then surprises us when Annie's psychotic side comes out. When we follow Buster and his b-story, he interacts mainly with his on-screen partner and wife Virginia (Frances Sternhagen). The interactions between these two characters is jovial and cute as they flirt with each other while trying to solve the Paul Sheldon mystery.

As most Stephen King adaptations are horribly executed, it is always nice to enjoy a film that isn't (as someone close to me would say) complete balls. Anchored by two strong performances, including Kathy Bates and her Academy Award winning role and sure-handed direction, this is a very good horror film.

RIP: Michael Clarke Duncan

Sad news reported out of Hollywood today. News has reported that Oscar nominated actor Michael Clarke Duncan passed away today, September 3, 2012 at the age of 54.

Before breaking out in Hollywood with his Oscar-nominated role in 1999's The Green Mile, Michael Clarke Duncan had bit parts in films including Friday, A Night at the Roxbury and Armageddon. I will admit, both Armageddon and A Night at the Roxbury is where I first noticed Michael Clarke Duncan. He was a big man, but also seemed like a gentle giant in his small roles.

And speaking of gentle giant, his turn as prisoner John Coffey in The Green Mile broke open the doors. Michael Clarke Duncan portrayed John Coffey with the gentlest of touches. Even as his character was a convicted rapist and murderer, he also possessed a gift to "take back" certain things from people including: bringing a mouse to life and removing a brain tumor from the warden's wife.

As he should have, Michael Clarke Duncan, received a Best Supporting Actor nomination for his performance. Ultimately, he lost the award to Michael Caine for The Cider House Rules.

Not letting a loss deter him, Michael Clarke Duncan continued to make films throughout the 2000's including: Planet of the Apes, Daredevil, Sin City and Kung Fu Panda. Though he never was able to return to an Oscar caliber role like The Green Mile, his mark was definitely left in cinema history.

Thank you Michael Clarke Duncan for some great acting and for providing us with over a decade's worth of film memories.