8/13/2023 0 Comments Mark ruffalo avengersThe 'big reveal' was censored on the show and came after Fallon pressed him about the name of the film. Are you sure you’re gonna be in trouble? We c… - jimmy fallon fallon) Better late than never.Dude, it’s too late - already sent the final show to Burbank for air. It’s no wonder it earned him an Oscar nomination, the Academy finally waking up to Ruffalo’s brilliance, nearly two decades after he started acting. In a film filled with incredibly difficult characters that often stretch the limits of your empathy, Ruffalo is its most haunting and loveable protagonist. Here’s a character magnetised to screw-ups, someone charming and sweet but perpetually sabotaging his life and relationships. There’s a lovely sleepy energy to his performance here, but also significant trauma. He plays the anonymous sperm donor to a lesbian couple ( Annette Bening and Julianne Moore), who is surprised by the arrival of two children he didn’t know existed. Ruffalo’s character in The Kids Are All Right feels like what would happen if his You Can Count on Me character grew up, grew a beard and went vegan. He and co-star Meg Ryan, herself disgracefully maligned back then for having the temerity to be in such a dark and sexual film, create an explosive spark like few others before them. He is graceful and effortlessly sexy, while simultaneously volatile and threatening. A notorious flop upon release, In the Cut has only grown in admiration since, partly assisted by Ruffalo’s performance. He is an irresistible enigma here – a cop with a thuggish, seductive presence, whose sexual allure and suave aggression could mask either a troubled soul or a sadistic killer. Jane Campion’s masterful erotic thriller grants Ruffalo the kind of role typically given to femme fatales in these sorts of movies. But Ruffalo plays him with such self-loathing and timid naivety that it’s impossible not to want to take care of him, too. He plays a character that should be insufferable – a damaged, irresponsible man-child endlessly looking to his older sister ( Laura Linney) for advice, money and safety. Ruffalo’s star-making role, at least in critical circles, was this beautifully small-scale drama of siblings and tiny disappointments. But a flashier movie would also take away from the earthy beauty of his work. In a flashier movie, he would have earnt awards attention. Ruffalo feels smaller than usual here, playing a man doggedly fighting a corrupt system that dwarfs him in scale, yet he is also angrier and more empowered at the same time. It would be a mistake to also suggest it’s not therefore a brilliant bit of acting. Alongside Steve Carell’s inexplicably Oscar-nominated scenery-chewing performance as the convicted killer John du Pont, Ruffalo’s natural subtleties were even more powerful than usual.ĭark Waters finds Ruffalo at his Ruffalo-iest, playing a righteous, determined attorney standing on the right side of history and determined to make a difference. He is therefore someone incredibly uneasy about ever stepping out of line. As the murdered Olympic wrestler Dave Schultz, Ruffalo radiates goodness – a man raised to be respectful and kind and work hard for great rewards. That he somehow delivers the film’s most fascinating performance then qualifies as a major victory. Ruffalo has arguably the least interesting role of the trio at the centre of Foxcatcher. He plays his character as every well-read asshole you’ve ever met at a university party, and it’s a performance that proved early on the depths of his range. Playing one third of a spectacularly wrong-headed trio of lovers which slowly implodes over the course of a few weeks, Ruffalo refuses to embody total villainy but instead a very naturalistic kind of ignorance. Potentially the greatest test of Ruffalo’s likeability occurred in this 2002 indie, which cast him as a lusty narcissist incapable of recognising his own failings.
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