A Look Back at 2007: The Breakout Stars

I wanted to give out an award for the actor who had the best year in 2007, but in trying to narrow it down to one I realized it was nigh impossible. Too many people had too great of a year. So I decided instead to focus on the five actors who had the biggest breakout this year. These are people who were either largely unknown or generally disregarded before 2007 rolled around. Thanks to their work this year, each is now a household name, and we can certainly expect a lot from each in the coming years. In alphabetical order:

Casey Affleck

The films: Ocean's Thirteen, The Assassination of Jesse James by the Coward Robert Ford, Gone Baby Gone

The less famous Affleck finally became the bigger of the two in 2007. Casey has largely been on the fringes of film, most notable for his supporting role in the Ocean's trilogy. He started his year off as the best part of Ocean's Thirteen before heading into serious fare with Assassination and Gone Baby Gone. These films demonstrated that he could hold a film on his own. No longer hidden in his brother Ben's shadow, he seems to be on his way to getting an Oscar nomination this year for his portrayal of Robert Ford.

Coming Next: Not yet announced.


Josh Brolin

The films: Grindhouse, In the Valley of Elah, American Gangster, No Country for Old Men

The former Goonie has been languishing for years in middling fare like Hollow Man and Into the Blue. But somehow he completely reinvented his image in 2007 with four major films. He has excelled this year at playing the creepy guy, be it as a villain (Grindhouse, American Gangster), or as the hero (No Country for Old Men). I can see his career taking on a similar trajectory to that of another former child star, Christian Bale. Bale seemed to be gravitating to these sorts of roles a few years back before he hit it big with Batman Begins. So long as he doesn't waste all this new found attention, he could be huge.

Coming Next: Milk, the true story of the murder of San Fran politician Harvey Milk. He plays the murderer.


Michael Cera

The films: Superbad, Juno

No actor's breakout this year makes me happier than Michael Cera. To those who knew him from Arrested Development, it felt like we had this little secret we wanted to share with the world. Well now the secret is out, and Cera seems poised to be the next big comedic actor. Impressive for a 19 year old. I realized just how much of a chord he'd struck with audiences after Superbad hit when I saw the Juno trailer for the first time. When asked who fathered her child, Juno says "Paulie Bleeker" and the trailer cuts to Cera's mug. The whole audience burst into laughter. To elicit that kind of laughter in a trailer by simply being on the screen for a split second is huge, especially for someone still so new to film. If he does prove to be a bankable comedic star, perhaps they'll finally be able to convince Fox that an Arrested Development film is viable.

Coming Next: Nick and Norah's Infinite Playlist

Emile Hirsch

The Films: Alpha Dog, Into the Wild

Hirsch is a guy I just never expected much from, career-wise. I figured he'd languish in teen exploitation films like The Girl Next Door or Alpha Dog before disappearing. But with Into the Wild he popped in a big way. Suddenly he is gaining respect as one of the best new actors of his generation. Oscar glory seems to be in the cards as well if all goes well next January. How did this happen? Well, Sean Penn certainly deserves some credit, as he was the one who discovered that Hirsch could do something big given the chance. The best comparison I can think of is Leonardo DiCaprio, who also didn't seem to get much respect as a young actor and had to work that much harder at gaining the respect he deserved. I honestly hope people continue to doubt Hirch in the future, because that kind of doubt will only push him to try more and more challenging work, something that has proved to elevate DiCaprio above the peers he was once seen as inferior to.

Coming Next: The ultra trippy looking Speed Racer.


Shia LaBeouf

The Films: Disturbia, Surf's Up, Transformers

Every decade seems to have one or two big stars. There was Jack Nicholson in the 70's, Harrison Ford in the 80's, Tom Cruise and Hanks in the 90's, and Johnny Depp and Will Smith now. Come next decade, we will be talking about Shia LaBeouf in that same manner - assuming he doesn't achieve that status in the next two years, which is entirely possible. Before you accuse me of being some Shia fanboy, a little history: I had almost no idea who he was before this year, and I wouldn't consider any of his movies this year to be among the year's best. But there is no denying that he has that star quality that so few seem to have. He was able to make the otherwise mediocre Disturbia fun, and his work in Transformers made me believe in giant transforming robots more than any special effects ever could. He has such charm and charisma that I get sucked into his films inspite of whatever misgivings I might otherwise have. It also helps that he has Spielberg in his corner. So long as his life doesn't fall apart like so many other former child actors' do, he's already on his way to superstardom.

Coming Next: Indiana Jones and the Kingdom of the Crystal Skull. Seriously, do you really want to bet against this kid?

The Assassination of Jesse James by the Coward Robert Ford

The Assassination of Jesse James by the Coward Robert Ford is a two hour and forty minute talky Western that spoils the climax in its title. It's a very deliberately paced, contemplative film with only a few scenes of action. It's a film that has been "sitting on the shelf" for over a year. In short (a word this film is not familiar with in any way, as indicated by the title choice) it has everything going against it. So how on Earth did it turn out so spectacularly?

I'm not sure who we can thank for this cut of the film, as it's been rumored that the studio and director Andrew Dominik have been quarreling over the final cut for a year, but whoever it is, they did a fabulous job. They were able to create a film that doesn't make "long" synonymous with "slow." It's a film that plays out almost like a novel, complete with a narrator giving us inside details on the characters, life at the time, politics, and whatever else might set the mood. It's not the kind of film that is meant to entertain you in a surface way, instead trying to evoke certain feelings and emotions that will last long after you've left the theater. If that's the kind of experience you want to get from your movie-going adventures, then this movie is for you. If not, 3:10 to Yuma is an equally enjoyable Western that operates on the opposite spectrum of the genre.

One can't talk about this film without first noting its strongest asset: cinematography. You'd be hard-pressed to find better cinematography in a film this year, as DP Roger Deakins has crafted a sight to behold. Whether it be James wandering through a field, or people traversing through the snowy mountains, every shot is stunning. On top of that, these shots serve to set the mood. Many wide shots of James alone in big open spaces help to illustrate how lonely and shuttered off from the rest of the world he feels. Ford, on the other hand, seems often to be so tightly framed that he feels uncomfortable, like the world is pressing in around him, suffocating him. It's a visually spectacular film, almost reason enough to see it.

Thankfully, the visuals are not the only reason to see Assassination. Brad Pitt and Casey Affleck both give quite possibly their career best performances. Pitt is able to make James frightening and menacing, while also adding hints of sorrow and longing for another life. He's a conflicted man who ultimately receives our pity when the titular action occurs. Affleck, on the other hand, has created a role that should finally launch him out of his brother's shadow and into the forefront of Hollywood. His take on Robert Ford is truly a sight to behold. You may often find yourself asking what is this character thinking? His shifty eyes and cracking voice make you question him from the get go. What is he after, exactly? What are these big things he thinks he is destined for? To call him the film's villain would be misleading, as there isn't a villain per se. He is a man who is thrust into a world that he simply wasn't ready for, and as a result he did something that ruined his life and many others' forever. We grow to dislike him as we watch him, but the film's final twenty minutes attempt to pardon him, reminding us that he was only human. He sees the errs of his way, and is forced to live with that for the remainder of his life. It's surprisingly poetic.

This is a film that feels unfair to point out what is great, because everything is as good as it could possibly be. Yes, the writing, acting, directing, and cinematography are excellent - but so is the sound design, with such fine attention to details. So is the score, perhaps the year's best with its simple, melancholy piano cues. So is the art design. So are the costumes. You get my drift. There is no weak point to be found, assuming you are open to this sort of tale. It is a rewarding experience to those who like to be sucked in to a mood, to a story. Few movies can warrant a length much over two hours, but this is one of the few that I would have gladly sat through another hour had there been more to tell. Simply stunning all around.