It’s adamantine to bethink a cine the Billboard staff has anytime been added aflame for than this week’s A Ablaze Is Built-in remake. The trailers, the memes, the bi-weekly profiles, and of course, the “Shallow” — it’s all played a huge allotment in Star getting accounting in larger, der font on our absolution agenda than basically any able agreeable absolution in 2018.
But of course, the bigger acumen we’re so pumped is still pop-related: the long-hyped actualization of Lady Gaga, Arch Lady. There’s article inherently blithe about seeing stars like Gaga on the big awning for the aboriginal time, in roles both ample and babyish — abacus new shades to their long-developed personas, and authoritative them akin added adherent to our aggregate pop culture. Akin aback it goes acutely bad, it’s still appealing great. And aback it goes great, it can be absolute spectacular.
And so, as A Ablaze Is Born hits theaters, we capital to booty a attending aback at 100 of our best admired artisan appearances in affection films. They ambit from Oscar-winning starring turns in authority abstract to burning cameos in bandage favorites, from artists who accept arise to be as akin with blur as with music to artists whose IMDB pages adeptness aloof be a brace entries long. We abandoned had three hard rules for eligibility:
1. The artisan had to be acclaimed for music afore they were acclaimed for blur acting. (Apologies to Jamie Foxx, Lindsey Lohan and — best acutely — Jennifer Lopez.)
2. The artisan couldn’t be starring as themselves in the performance, even in a somewhat fictionalized rendering. (Further abjure to Alice Cooper, The Spice Girls, and The Beatles.)
3. Abandoned one accomplishment per musician-actor.
Besides those, our account encompasses about a aeon of hitmakers-gone-Hollywood history, from the absolute alpha of the complete era all the way up to this year — and yes, Gaga fabricated our list, admitting you’ll accept to apprehend on to see aloof area she ranked. Arise dive in to the abysmal end with us.
100. Britney Spears, Crossroads (2003)
Crossroads remains Britney Spears’ abandoned affection blur starring role – a shame, because for a pop star’s (admittedly raw) aboriginal concentrated ache at acting, the 20-year-old captivated her own amid Zoe Saldana, Dan Aykroyd and more. Remember, this came at a time aback Spears was activity for a slight rebrand to allow her boyhood pop skin; “I’m Not a Girl, Not Yet a Woman” stars in Crossroads’ closing moments, and “Overprotected” ancestor up on the soundtrack. To that end, the film found Spears at a crossroads of her own, and admitting she didn’t break on the amateur path, it charcoal an basal allotment of her pre-In the Zone era. — KEVIN RUTHERFORD
99. Dave Grohl, Tenacious D: The Aces of Destiny (2006)
Part of what makes Dave Grohl so acceptable in Tenacious D is that his actualization is completely over the top, but he absolutely commits to the ridiculousness. Grohl cameos in the penultimate scene as Beelzeboss, a behemothic Satan-esque monster who becomes “complete” with the Pick of Destiny — but who allegation aboriginal face a challenge from the group’s Jack Atramentous and Kyle Gass to a acceptable ol’ ancient bedrock off afore accepting to accumulate it. What follows is the best allegorical arena in the archetypal stoner film, where Grohl’s singing, boot and guitar shredding accomplishment are on abounding display. The abandoned acknowledgment Atramentous and Gass can muster is to “bust a massive monster mamajam” for the ages. And that they do. — XANDER ZELLNER
98. Vicente Fernandez, La Ley del Monte (1974)
The ranchera baron starred in over 30 films dating aback to the aboriginal 1970s, but we accept a particular soft atom for 1976’s La Ley del Monte, a adventure of blighted love, set adjoin the accomplishments of the Mexican revolution. With affluent absolute and chic references, this is not a barmy film. The appellation song alone — which refers to two lovers block their names in the stems of a maguey bulb (think block a affection on an oak tree) — makes it a advantageous watch, if you can still acquisition a archetype lying around. — LEILA COBO
97. Tunde Adebimpe, Rachel Accepting Married (2006)
Director Jonathan Demme’s family drama Rachel Accepting Married was so animate with music at every about-face that you might’ve absent the absolute artisan in the cast: Tunde Adebimpe, frontman for Brooklyn indie heroes TV on the Radio, as the appellation character’s groom-to-be. He’s acutely in his aspect accidentally singing Neil Adolescent as part of his vows in the film’s bells climax, but added absorbing is him agilely but confidently arduous the ancestors ancestor to an ad-lib dishwasher-loading competition: uncomfortable, but accepting warmer. — ANDREW UNTERBERGER
96. Harry Styles, Dunkirk (2017)
What do boy bands and Angel War II accept in common? Not abundant — unless you’re Harry Styles, the One Directioner who fabricated his acting admission aftermost summer arena a weary British soldier alongside Tom Hardy in Christopher Nolan’s nail-biting war brawl Dunkirk. It’s no agnosticism an alarming role for a first-timer, but Styles becoming critics’ acclamation with a arresting affectation of the austere realities of war, burglary some of the mostly bashful film’s best lines. (Example quote: “Survival’s not fair. That’s the price.”) Plus, he manages to accomplish us balloon (even if aloof for a second!) that we’re watching *Harry Styles* — a difficult accomplishment for a world-famous above bandleader with those bleary blue-green eyes. — TATIANA CIRISANO
95. Alicia Keys, Smokin’ Aces (2008)
The star-studded apache affray that was Smokin’ Aces should’ve fabricated for an consistently rewatchable cable classic, but the abandoned accurately acute allotment of it assured up actuality the allure amid hitwomen Sharice (Taraji P. Henson) and Georgia Sykes (Alicia Keys, conspicuously acceptable in a array of wigs and bandage earrings). The closing ends up falling for abomination abettor Sir Ivy (Common) — abrogation the former’s animosity crushingly barren — but we consistently address TarajKeys. — A.U.
94. Phil Collins, Hook (1991)
Remember that arena in the Abate Pan-based Hook area the kids go missing and the cops arise to the abode to investigate, and Robin Williams and his wife are exasperated, and the cop analytic them is Phil Collins, and — what? Phil Collins was in Hook? He was! Collins plays the priggish badge administrator who suggests, with a heel raise, that the children’s dematerialization is a “prank.” It is a acclamation to Collins’ acting chops that he did not stick out in a allowance abounding of professionals, arena the role with a ablaze (or cartel we say, invisible) touch. — CHRISTINE WERTHMAN
93. Rihanna, Ocean’s 8 (2018)
For too long, Rihanna’s adeptness for acting has either been active in box-office flops (Battleship, Valerian) or belted to characters that are, well, artlessly Rihanna (Bring It On: All or Nothing, This Is The End). No more! Ocean’s 8 — this summer’s all-female addition to Steven Soderbergh’s break-in series, set about the Met Gala — changes that, enlisting Rih to brawl stoner-hacker “Nine Ball,” a side-eyeing, tech-savvy badass who wears sunglasses axial and can attenuate a building’s absolute electrical arrangement like that. The film’s flash to Rihanna’s real-life rep as the Met Gala queen delivers, and she’s arguably the best fun-to-watch allotment of the tepidly-received flick — so abundant so that Ocean’s was abundantly criticized for underusing her. — T.C.
92. Paul Simon, Annie Hall (1977)
Although he acquitted himself as a arch man able-bodied abundant in One-Trick Pony, Paul Simon’s abrupt acting career is best remembered for his amusing sliver of a role in Annie Hall. Arena a sleazy, credible music ambassador with biggy amounts of cocaine, Simon helps adolescent New Yorker Woody Allen bribery aggregate he hates about Los Angeles — and all aural about two account of awning time. — JOE LYNCH
91. Brandy, I Still Apperceive What You Did Aftermost Summer (1998)
As Jamie Kennedy’s Scream character would appropriately explain at length, the best acquaintance of the changeable advocate in the meta-horrorverse of the late-’90s rarely fared able-bodied — unless you were played by Brandy Norwood, who in 1998 was artlessly too big and too likeable a ablaze to not improbably survive to the end of I Still Apperceive What You Did Aftermost Summer. Her about-face as Jennifer Adulation Hewitt’s vacation accomplice Karla earned her an MTV Cine Awards choice for advance female; if the best abashed performance category had existed at the time, she’d accept it sewn up. — A.U.
90. James Taylor, Two-Lane Blacktop (1970)
A warm, agreeable singer-songwriter with abundant boilerplate appeal, James Taylor bankrupt into the atramentous bubbles below the credible of his lyrics for his arch role in the bleak, existential alley cine Two-Lane Blacktop. Arena a man artlessly accustomed as The Driver, Taylor’s minimalist accomplishment and blank, quiet annoyance batten to the aerial aimlessness abounding a disillusioned hippie acquainted afterwards the counterculture anarchy of the ‘60s began to abate out at the top of a new decade. — J. Lynch
89. Yasiin Bey, The Italian Job (2003)
Acclaimed New York rapper Yasiin Bey (formerly Mos Def) has continued enjoyed a acknowledged ancillary career as an amiable acknowledging actor, bringing backward agreeableness and base force to a array of films ranging from the beefy to the chiefly silly. He’s had bigger roles than break-in crewmember Left Ear in The Italian Job, but few that deployed him so expertly; akin in a blur abounding of gigantic stars keying admirable set pieces, the best replayable moment charcoal his abnegation to accept details to Mark Wahlberg’s agitator about why he’s air-conditioned out by dogs: “I HAD… A BAD… EXPERIENCE!” — A.U.
88. Jack White, Walk Hard (2007)
The 2007 music-biopic apology Airing Hard: The Dewey Cox Adventure boasts a laundry account of left-field cameos, but none abruptness absolutely like Jack White as Elvis Presley. White, whose songwriting reveals a affection for tongue-twisters and gibberish, cautiously embodies The King’s larger-than-life persona with an incomprehensible, strung-out beck of mumbo jumbo. With some abruptness Elvis moves in duke — anticipate karate chops, not pelvic thrusts — White translates his sharp, tongue-in-cheek wit into brawl silliness. — BRYAN KRESS
87. Keith Richards, Pirates of the Caribbean: On Stranger Tides (2011)
Somehow, some way, Keith Richards’ adornment role as Edward Teague, Jack Sparrow’s father, in 2007’s At World’s End turned into a acknowledgment for its sequel four years later. Like his antecedent actualization but a little added comfortable, we’re basically aloof talking Keith Richards Dresses Up As a Pirate and Talks to Johnny Depp for a Few Minutes; acting abyss there ain’t. But of course, Depp’s afflatus for Sparrow was Richards himself, so the fan account on affectation is absolute — and for a blur alternation based on a Disney affair esplanade ride, that’s appealing abundant the name of this game to activate with. — K.R.
86. Sting, Quadrophenia (1979)
As the sneering, leather-jacketed Mods assemblage baton Ace Face, Sting all but paved the way for Billy Idol’s ’80s MTV dominance with his blur admission in the movie adaptation of The Who’s Quadrophenia rock opera — indeed, Idol would afterwards brawl the role himself on stage. An anti-establishment hero to the film’s advocate at movie’s beginning, Sting also ends up crushing the lead’s spirit with the afterwards acknowledge that he’s awash out and become a subservient hotel bellhop; aloof brainstorm how the dude would’ve acquainted about “Desert Rose” a brace decades later. — A.U.
85. Andre 3000, Jimi: All Is By My Side (2013)
Andre Benjamin has absolutely best his spots aback OutKast’s 2007 hiatus. Afterwards dipping his toe in acting in the rap duo’s middling 2006 film/album Idlewild (and cameos in airheaded flicks like Be Air-conditioned and Semi Pro), he’s abandoned dozens of rap features, but seemingly caked best of his activity into channeling Jimi Hendrix in this 2013 biopic about the bedrock icon’s aboriginal career — disappearing into the role like he did into his boho ATLien rap persona. From the absent articulation and laconic, angular walk, to the quiet, airy appellant persona and paisley-splashed wardrobe, Benjamin disappears into the role he seems built-in to play. Plus, in a career of larboard turns, this appropriate heel-turn into bedrock biopic makes no absolute sense. — GIL KAUFMAN
84. Bobby Darin, Captain Newman, M.D. (1963)
Gregory Peck played it safe as the strong, amiable advance in this 1963 war dramedy, but genre-hopping accompanist Bobby Darin continued his acting chops as a shell-shocked soldier with a wry, evocative affront who spits out blame at those who try to advice him. The accident paid off for the above boyhood idol, who becoming a best acknowledging amateur Oscar nom for his acclaimed performance. — J. Lynch
83. LL Air-conditioned J, Any Accustomed Sunday (1999)
This 1999 Oliver Stone-directed football brawl boasted a star-studded calendar featuring the casting of Al Pacino, Cameron Diaz, Dennis Quaid, Jamie Foxx and James Woods. Admitting the annealed antagonism for awning time, rapper LL Air-conditioned J managed to about-face in a memorable accomplishment as adept active back Julian “J-Man” Washington, with his behind-the-mic bluff advice aloof as able-bodied abaft an abhorrent line. The rapper may accept taken his adjustment acting a footfall too far, though, as a activity arena with Foxx (playing the team’s agitator new QB) actually escalated into a real-life affray amid the two amalgam stars, complete with badge involvement. — MATT MEDVED
82. Marc Anthony, El Cantante (2007)
In 2007, Marc Anthony, the arch salsa accompanist of his generation, faced the claiming of arena the greatest salsa accompanist of all time: Hector Lavoe. As a built-in Nuyorican, Anthony was weaned on the music of Fania, the characterization that took the Puerto Rican accompanist built-in Hector Juan Pérez Martinez to fame. With his then-wife Jennifer Lopez co-starring as Lavoe’s wife, Anthony embodied the backward Latino amount in both anatomy and voice. The cine soundtrack — on which Anthony sang Lavoe’s hits with musicians that included some of the legend’s aeon — debuted at No. 1 on Billboard’s Top Latin Albums chart, and went on to win a Latin Grammy. — JUDY CANTOR-NAVAS
81. Josh Groban, Crazy, Stupid, Love (2011)
From musically assuming Kanye’s tweets to carrying an uncanny consequence of Michael Buble, Josh Groban has become an absurd access of comedic energy. His abilities were on abounding affectation in his role as Emma Stone’s egocentric admirer in 2011’s Crazy, Stupid, Love. Afterwards a adventurous accessible angle devolves into a arrogant job offer, Groban’s angle absolute dismissiveness adjoin Stone (“I didn’t apprehend you anticipation that we were… there…. yet”) seals the accord as she walks out on him for good. — ERIC FRANKENBERG
80. Joey Fatone, My Big Fat Greek Wedding (2002)
You absolutely wouldn’t accept accustomed Joey Fatone was allotment of one of the best acknowledged groups in pop music history from his actualization as Cousin Angelo in My Big Fat Greek Wedding, a role that basically tells you all you allegation to apperceive in the actualization name. The Italian-American Fatone couldn’t attending added at home aggregate in as one of the continued Portokalos clan, accepting the time of his activity argument with his sister at the ancestors diner, and accouterment the grinning punchline to the brother of the bride’s continued groom-hazing: “Hey Ian! WE’RE GONNA KILL YA!” — A.U.
79. George Strait, Pure Country (1992)
The King of Country would be the aboriginal to accept that his acting chops are stilted, but in this 1992 low-key charmer, Strait assuredly plays Wyatt “Dusty” Chandler, a country superstar who goes off the grid. The cine was a bashful box appointment success, but the soundtrack was a monster, accepting been certified 6X Multi-Platinum by the RIAA. Conceivably animate his limits, Strait did not arise in either of the non-theatrical sequels. — MELINDA NEWMAN
78. Christina Aguilera, Burlesque (2010)
It should arise as a abruptness to no one that articulate assertive Aguilera slays her agreeable numbers as Ali, a abandoned babe who break out of her shell in a Los Angeles caricatural lounge, in this flamboyant movie musical. But can she act? Admitting the blur came off added austere than some accustomed — you’re added acceptable to acquisition traces of Aguilera’s Mickey Mouse Club era than “Dirrty” adapt ego Xtina actuality — watching Aguilera transform into a fishnets-clad diva alongside co-star Cher is angrily fun, and her backbiting fights with on-screen aggressive Kristen Bell are deliciously antic (Bell: “I will not be upstaged by some banty with aberrant lungs!”). But if you came abandoned to see Aguilera advertise her abounding articulate ambit in a Swarovski clear bustier, you won’t be disappointed, either. — T.C.
77. Lyle Lovett, The Player (1992)
Lyle Lovett’s Robert Altman-facilitated alteration from country ablaze to actualization amateur in the aboriginal ’90s couldn’t accept been added seamless — his face abandoned seems to acquaint a hundred acceptance in its angles and creases. His role as Detective DeLongpre in the 1992 comedic meta-noir The Player was altogether destabilizing; as he quote-chants “One of us!” in collapsed banausic at Tim Robbins’ murder-suspect blur producer, he looks like he’s accident his mind, and we’re appropriate there with him. — A.U.
76. DMX, Belly (1998)
Every year or so on Twitter the agitation re-emerges as to whether bandage favorite Belly is absolutely a archetypal or aloof trash, and of advance both are accurate — the Hype Williams-directed abomination flick is gorgeous, incoherent, angrily anachronous and absolutely iconic of its era. The actors, led by a cardinal of turn-of-the-century hip-hop and R&B stars, mostly serve as date props, but DMX’s volatile bandit Tommy “Buns” Bundy is the abandoned accomplishment soulful and arty abundant to angle out amid the widescreen set pieces — arch to a acknowledged additional career for the rapper starring in B-movie book like Exit Wounds and Never Die Alone. — A.U.
75. Iggy Pop, Dead Man (1995)
The rocker built-in Jim Osterberg has spent a half-century arena the larger-than-life punk character Iggy Pop, logging blur cameos abounding (Cry-Baby, Tank Girl) in the process. But his aboriginal absolute acting happened in this black-and-white Jim Jarmusch consciousness-expanding western — a spirit angel apperception cruise starring Johnny Depp — in which he plays Salvatore “Sally” Jenko, donning a brim as a cross-dressing, Bible-thumping fur banker amorous with Depp’s albino hair. In a blur arranged with acting icons and dejected B-listers, Pop — cutting a beanie and abject in the clay like a borderland Gollum — steals his arena with a low-key, circuitous address about the animality of Roman emperor Nero, delivered while amiable up possum for his adolescent travelers. Just Iggy being Iggy, really. — G.K.
74. Harry Connick, Jr., Copycat (1995)
Harry Connick Jr.’s aboriginal roles let him angular on his agreeable skills, like assuming “Danny Boy” in 1990’s Memphis Belle and anguish the keys alongside the titular actualization in 1991’s Little Man Tate. However, he tossed that accessory for the 1995 thriller Copycat. With crazed eyes, a nasal Southern chant and a bedraggled sneer, Connick was assuredly certifiable as a consecutive analgesic who turns Sigourney Weaver’s actualization into an agoraphobic, afterwards anarchic her in the movie’s abominable aperture sequence. — CHRISTA TITUS
73. T.I., ATL (2006)
For his aboriginal advance into the film world, T.I. drew aloft his own adventures of growing up in Atlanta for 2006’s coming-of-age flick ATL. Arena Rashad, the rapper’s Southern agreeableness and afire acuteness helped the capital character’s adventure of aggravating to escape the awning animate feel added authentic. T.I. additionally contributed to the film’s music, whose soundtrack afterwards became his fourth album King, and adored us with the seminal (and double-Platinum) “What You Know” single. — BIANCA GRACIE
72. 50 Cent, Get Affluent or Die Tryin’ (2005)
It’s a bit of a bluff to get props for basically arena yourself in a apart biopic. But, like mentor Eminem a few years earlier, 50 blew out of the aboideau with his aboriginal role as if he’d spent his accomplished activity advancing to brawl conflicted babyish timer Marcus “Young Caesar” Greer. From accepting attempt nine times to active drugs as a boyhood and transitioning to a rap career, 50 is acceptable and natural, arena to blazon while apparently ambuscade a bandage of affect and acuteness below Greer’s hard-ass exterior. — G.K.
71. Lenny Kravitz, The Hunger Games (2012)
In The Hunger Games, Cinna is Katniss Everdeen’s accomplished stylist, so it fabricated faculty to accept addition with a audible actualization his own — Kravitz, natch — play the role in the series’ aboriginal two films. The star brings a bit of a absorbing bedrock ablaze bluff to the role, and the airiness of his one-on-one scenes with Katniss (Jennifer Lawrence) provide the blur with welcome breaths of alpha air: clashing the blithely colored, extravagant, alien bodies about Katniss, Cinna is calm, air-conditioned and collected, a afterpiece articulation to home than best of the Capitol. — K.R.
70. A$AP Rocky, Dope (2015)
Despite his role as a biologic dealer, it is absurd not to ache with A$AP Rocky in the role of Dom in this coming-of-age abomination dramedy. His big-screen admission sees the New York rapper arena a young, acknowledged biologic kingpin, into whose apogee advocate Malcolm — a high academy alarmist who casting ’90s hip-hop — gets alloyed up. Rocky’s automatic accomplishment and congenital adeptness persuades the audience that there is acceptable in Dom’s world. — PAMELA BUSTIOS
69. Snoop Dogg, Starsky & Hutch (2004)
The rapper’s pimped-out accomplishment as Huggy Bear isn’t abundant of a amplitude from his own on-record persona — aloof attending at the name. But the same laidback comic timing that makes him one of hip-hop’s best iconic MCs also comes in accessible as actuality as he walks abroad with the film’s best memorable one-liners. In fact, “I apperceive some bodies that apperceive some bodies that beggared some people” adeptness be the abandoned memorable affair about this tepidly accustomed accommodate of the ’70s action series. — NOLAN FEENEY
68. Tina Turner, Mad Max Beyond Thunderdome (1985)
Cunning but not cruel, artful but honorable, the role of post-apocalyptic villain was played with abnormal abyss and moral aggravation by Tina Turner in the absolutely bonkers ’80s sci-fi activity archetypal Mad Max Above Thunderdome. Whether bellowing “bust a accord and face the wheel” in the titular thunderdome, or acknowledgment her long-game for rebuilding acculturation entire, Turner’s Amazonian Aunt Entity is one of the best berserk aboriginal not-so-evil bad guys in a decade abounding of camp antagonists. — J. Lynch
67. Tyrese, 2 Fast 2 Furious (2003)
Tyrese made an enduring mark on the Fast & Furious franchise in its additional installment, 2 Fast 2 Furious. Playing adjoin the backward Paul Walker’s asleep Bryan, Tyrese’s cackling, s–t-stirring Roman brings levity missing from the aboriginal film. Brought in afterwards Vin Diesel affronted bottomward the adventitious to accomplish the sequel, Tyrese acclimated his about-face to eventually become a key affiliate of the Fast aggregation — and his acknowledgment appearances, alpha in Fast Five, anchored his cachet as the funniest affiliate of the ensemble. — DENISE WARNER
66. Vanessa Williams, Soul Food (1997)
The star-studded ’90s brawl Soul Food, which has become a basal for atramentous families, helped Vanessa Williams prove she was added than aloof a Miss America winner-turned-pop star. Her role as Teri — a.k.a everyone’s abashed auntie with money — represented the agitation some women go through aback affected to be their relatives’ provider. The role additionally birthed one of the best memorable knife-wielding film scenes to date, which served as a assignment for cheating husbands everywhere. — B.G.
65. Carmen Miranda, The Gang’s All Here (1943)
One of the highest-paid actresses of the ‘40s, Portuguese accompanist Carmen Miranda was about casting as a Brazilian by Hollywood (which, because how abominably added movies were whitewashed, was about progressive). In 1943’s The Gang’s All Here, Miranda is activated as Dorita, in a berserk absorbing hodgepodge of showbiz and adventurous artful from director/choreographer Busby Berkeley — and her agitative accomplishment in the banana-and-innuendo-laden “The Lady In the Tutti Frutti Hat” is one of the best acclaimed (and spoofed) in cine history. — J. Lynch
64. Aaliyah, Romeo Allegation Die (2000)
Part of what made Aaliyah such an enrapturing amount as her acclamation and attendance crested in the backward ‘90s was her quiet adeptness to acknowledge a spectrum of talent: aboriginal singing and dancing, then, admitting briefly, acting. In her big awning debut, the backward artisan showed a acclimatized aggressiveness in inhabiting the role of Trish, who’s bent up in a absinthian mob animosity that plays out as a contemporary Romeo & Juliet paean. Aaliyah helped backpack the blur with both acuteness and ferocity, as able-bodied as the array of attitude that abandoned accurate cine stars possess. — STEVEN J. HOROWITZ
63. Tom Waits, Down By Law (1986)
Zack, the actualization Tom Waits plays in Jim Jarmusch’s Bottomward By Law, is a DJ in the Big Easy, acceptable at growing a bristles and glottal his way through accustomed oldies like “Crying,” but afflicted in adulation and with the law. He’s in the bang on a adjustment — a anatomy showed up in the block of the car he was active — which is a tough rap, abnormally aback it requires trading in his hip checkerboard pants and pork pie hat for accompaniment property. (At a angular 37, Waits charcoal handsome in all situations and lighting, regardless.) At aboriginal bloom you’re thinking, oh, it’s Tom Waits arena himself — but the added accuracy is that it’s Tom Waits arena the affectionate of guy Waits writes song about. Big difference. — ROSS SCARANO
62. Miguel Bosé, High Heels (1991)
Pop ablaze Miguel Bosé was accustomed aboriginal in his career as Spain’s acknowledgment to David Bowie. Often assuming onstage in skirts, his articulation arise his admiration for Ziggy Stardust. With his accustomed adeptness for casting, allegorical administrator Pedro Almodovar cast Bosé as a annoyance queen in his 1991 melodrama Tacones Lejanos (High Heels). Bosé, whose actualization is a cloister adjudicator by day, absolved abroad with the account in a arena in which he put on stilettos and lip-synched to Luz Casal singing “Un Año de Amor.” — J.C-N
61. Erykah Badu, The Cider Abode Rules (1999)
R&B ablaze Erykah Badu’s quiet, restrained performance as Rose Rose, the babe in a ancestors of abrupt angel pickers, does added than aloof serve capital actualization Homer’s (Tobey Maguire) evolution. As a woman raped and abounding by her father, Badu’s Rose is tragic, but not afterwards hope. She about speaks in the arena area Homer performs her abortion, but the affliction and abandonment in her face says it all. — D.W.
60. Debbie Harry, Videodrome (1983)
Debbie Harry brought her marmoreal air-conditioned and Lower East Ancillary bend to her assuming of an S&M-loving analyst in David Cronenberg’s acutely awe-inspiring techno-fetish flick Videodrome. Whether putting out a cigarette on her or eerily bustling up on a TV awning on an abandoned boat, the Blondie frontwoman’s abandoned ambience gels altogether with the film’s witches’ beverage of UHF TV, softcore core, academician tumors, cabal theories and hallucinations. — J. Lynch
59. David Johansen, Scrooged (1987)
For his assuming of the adventuresome cab-driving Ghost of Christmas Past, David Johansen exchanges the frontman glam of his aboriginal New York Dolls canicule for a fresh-out-the-dumpster look: anemic skin, craven teeth, arenaceous clothes. He’s got the actualization of the awful bout adviser bottomward pat, but his commitment absolutely sells it. Johansen throws some added alluvium assimilate his accustomed Staten Island emphasis as he cackles in the face of Bill Murray’s abhorrence and calmly shouts a bandage at addition disciplinarian that any built-in New Yorker has apparently said before: “Go aback to Jersey, ya moron!” — C.W.
58. Awkwafina, Crazy Affluent Asians (2018)
Crazy Affluent Asians administrator Jon M. Chu wasn’t abiding if rapper-actor Awkwafina — who bankrupt out with 2012’s viral “My Vag” and abandoned her latest project, the In Fina We Assurance EP, beforehand this summer — would “ruin the cine or booty the cine to addition level.” As Goh Peik Lin, the new-money academy BFF of advocate Rachel (Constance Wu), she absolutely does the latter, allegorical Rachel and admirers through the angel of Singapore’s uber-wealthy with rapsy blasphemy and 5-Hour-Energy pep. You’ll acquisition that aforementioned activity in her music: Aback Awkwafina’s own grandmother saw the film’s trailer, she told the star, “It’s aloof like you’re talking normal.” — N.F.
57. Aretha Franklin, The Blues Brothers (1980)
The backward Queen of Body caked her abode as the best advantageous articulation in the allowance for a new bearing with her acting admission as berth dame Mrs. Murphy in the 1980 brawl The Blues Brothers. Already afresh proving her adeptness to move with the times, Franklin repurposed her 1968 hit “Think” into a altogether choreographed exact tongue-lashing. With her duke on her accomplishment and a final feel wag, Franklin reminds her accomplice and audiences akin to anticipate afresh afore counting her out. — B.K.
56. Redman & Adjustment Man, How High (2001)
It’s adamantine to aces aloof one moment or arena that absolutely sums up this twisted, feature-length edger antic — which actualization aggregate from hotboxing Harvard to cannabis allure to the two MCs’ asleep acquaintance Ivory who shows up to advice them canyon the THCs (I know, I know) aback they smoke a accurate casting of bogus marijuana. But all abundant partnerships accept an agent story, and Meth & Red’s in the blur is applicable in its simplicity: “Got blunt?” “Got weed?” The blow is history. — Dan Rys
55. Childish Gambino, Solo: A Ablaze Wars Story (2018)
Thanks to starring roles in Community and Atlanta, we already knew activity in that Donald Glover (a.k.a. Childish Gambino) could act, but his blur abeyant had gone abundantly abstinent above-mentioned to his role as Han Solo’s smuggler frenemy Lando Calrissian in this summer’s Solo. The blur accustomed alloyed reviews from critics, but Glover brought a much-needed bluff and allure to the iconic role that fabricated akin the harshest of Star Wars fans proud. Admitting we (obviously) don’t see Gambino’s agreeable ancillary in the film, we do see Glover channeling his aing Billy Dee Williams — including a spot-on articulate apery — which had admirers adulatory for his own spinoff. — X.Z.
54. Bow Wow, Like Mike (2002)
Like Mike could accept become a cable-TV basal abandoned for the early-2000s NBA nostalgia; a superstars like Jason Kidd, Vince Carter, Tracy McGrady and Michael Finley all actualization up to curiosity at the adolescent phenom who can bandage with the best of ‘em acknowledgment to bewitched sneakers. But Bow Wow (back aback he was Lil, both professionally and physically) draws in the non-basketball nerds with advanced charm, acquirements admired off-court acquaint while ablution on his annoyer Ox (a adolescent Jesse Plemons!) and Allen Iverson with according aplomb. — JASON LIPSHUTZ
53. “Weird Al” Yankovic, UHF (1989)
“Weird Al” Yankovic superfans make up its loudest proponents, but UHF’s bandage afterwards isn’t abandoned due to the enduring musical popularity of its comedic star. The blur as a accomplished is gleefully, unapologetically cool — and Yankovic leads the charge, from the moment his aing swivels 180 degrees to face an impossibly large boulder branch beeline adjoin him after burglary the absolute Academy Accolade that should’ve been his. It’s a bribery abashment this charcoal Awe-inspiring Al’s abandoned advance blur role. Now, who wants to booze from the blaze hose?! — K.R.
52. Alanis Morissette, Dogma (1999)
In the mid-90s, Alanis Morissette re-shaped avant-garde pop/rock in her own image. It makes faculty then, that she was casting as God herself in Kevin Smith’s 1999 religious comedy Dogma — though she was originally declared to brawl the film’s lead, before dropping out due to touring exhaustion. In a impaired role, she makes the best of her abrupt time on screen, ultimately antibacterial Ben Affleck’s Bartleby with a scream as aggressive as the yelps from “You Oughta Know.” — E.F.
51. Maurice Chevalier, The Love Parade (1929)
French cabaret accompanist Maurice Chevalier became a above Hollywood ablaze with his Oscar-nominated about-face in Ernst Lubitsch’s alluringly evocative Pre-Code agreeable comedy The Adulation Parade. As a retired playboy/bored aristocratic consort, Chevalier is sweet, alluring and airy whether he’s admiring or whining, earning the aboriginal of his two Academy Accolade nominations in the process. — J. Lynch
50. Dwight Yoakam, Panic Room (2002)
Country ablaze Dwight Yoakam had already credible his adeptness for arena bad-natured lowlifes in 1996’s acclaimed Sling Blade, but David Fincher’s awkward thriller Panic Room saw him decrepit with so abundant base annoyance he didn’t akin allegation to actualization his face until center through the movie. In a cine area accustomed stars Forest Whitaker and Jared Leto accept to accept the plot’s abomination covered, Yoakam improbably emerges as the primary antagonist, with no account bare above his skin-crawling two-word drawl: “I’m Raoul.” — A.U.
49. Diddy, Monster’s Ball (2001)
In his about-face of the aeon following to adept all disciplines accustomed to man, Diddy proved an instantly acknowledged character actor in the Oscar-winning Monster’s Ball, area he played the afterlife row bedfellow accomplished by Billy Bob Thornton’s advance with absorbing altruism and aught affected nobility. He exits the cine about a half-hour in, but his appulse is acquainted throughout — the arena of him about able to airing to his beheading is maybe the best barbarous moment of an impossibly austere movie, a bedevilled man clumsy to mentally or physically activity his approaching fate. — A.U.
48. Art Garfunkel, Carnal Knowledge (1971)
In Carnal Knowledge’s ablaze opening, Sandy, played by Art Garfunkel, confesses to his acquaintance Jonathan (Jack Nicholson), “I’ve never been able to allocution to any girl.” Administrator Mike Nichols lets the chat run over the credits, apprehension them aerial choir adjoin a atramentous screen. They’re Amherst students in the ’40s, and what follows is a shrewd, formally arduous and bitterly calumniating account of misogyny, bantam affecting growth, and impotence. Garfunkel brings breakable abhorrence to his Golden Globe-nominated assuming of a above-board also-ran whose axial macho accord is as baneful as could be. During an aboriginal scene, at Jonathan’s urging, Sandy afresh tries to blow the s of his aboriginal girlfriend, Susan, played by Candice Bergen, while they’re kissing. She resists repeatedly, anniversary time removing his duke afore assuredly asking, exasperated, “How could it be any fun for you if you apperceive I don’t appetite it?” His reply: “I didn’t say it was fun.” — R.S.
47. Mandy Moore, Saved! (2004)
In the pantheon of turn-of-the-century teen pop queens, Mandy Moore was usually the sweetest, sometimes cloyingly so. She had confused abroad from that angel by 2004, but she adored — and amplified — it in her about-face as the goody-goody, Jesus-loving aerial schooler Hilary Faye in the cine Saved. Her character’s self-righteousness would be abundant if it weren’t so hilarious: “I am abounding with Christ’s love!” she shouts, casting a Bible at the aback of her co-star Jena Malone. The bandy is about adamantine abundant to assault the anamnesis of 2002’s apish A Airing to Bethink out of people’s heads. — C.W.
46. Elvis Presley, Jailhouse Rock (1957)
In his best cine role (which, admittedly, is not adage a ton), Presley is the active advance of bedrock and cycle apostasy as ex-jailbird Vince Everett. Throughout, he oozes a aphotic appeal, and the accomplishment of the appellation clue with his above cellmates charcoal as animating as anytime added than 60 years afterwards — and serves as a forerunner to the modern-day music video that has hardly been surpassed. — M.N.
45. Ludacris, Hustle & Flow (2005)
Playing a actualization so accurate to your career comes with the aggravation of aggressive who you are in absolute life. But Ludacris, on the heels of authoritative his Hollywood admission in The Wash in 2001 and advanced of his aboriginal go in the Fast & Furious franchise two years later, put his acting chops to assignment with absolute success in 2005’s Hustle & Flow. In it, he played a rapper called Skinny Black, riding aerial in hip-hop’s upper echelon and forgetting how adamantine it was to get there, consistent in a acute battle with ablaze Terrence Howard’s ambitious MC DJay. It’s a abrupt adverse to the jovial, activated persona Ludacris embodies in absolute activity — and a attestation to his abilities above the mic. — S.J.H.
44. Lena Horne, Cabin In the Sky (1943)
In this heavily religious adventure of acceptable and affronted affronted for a accursed man’s soul, Lena Horne is the aimless apparatus of Lucifer as the seductive, carnal Georgia Brown. Oozing civilian charm, one flash from the deliciously devilish Horne will accelerate you active to the confessional booth. In a less-racist adjustment of American history, Horne would accept been a major leading lady — but as it is, her about-face in Cabin In the Sky stands as a attestation to her smoldering, luminescent on-screen presence. — J. Lynch
43. Flea, The Big Lebowski (1998)
If the analogue of a abundant accomplishment is to balloon that the amateur is a real-life actuality alfresco the actualization they’re arena on the screen, then Flea’s about-face as one-third of a hapless accumulation of faux-kidnapping, arguably-German nihilists fits the bill. It’s not so abundant that Flea’s role stood out in any way, it’s added the actuality that it didn’t — the acclaimed Red Hot Chili Peppers bassist slipped into the surrealism of the allotment perfectly, all the way through his final scene, aback he took a aerial bowling brawl to the abdomen in the following of… something. This cine rules. — D.R.
42. Rubén Blades, Crossover Dreams (1985)
Rubén Blades showcased his agreeable and affecting abilities in 1985’s Crossover Dreams. Set in the annoying NYC of the ’70s, the cine follows his adapt ego Rudy Veloz’s attempt to accomplish his name in the bloodthirsty music industry above the Latin club scene. While his actualization did not succeed, Blades’ own crossover, propelled by his song “Pedro Navaja,” charcoal aberrant for a salsa artist. This indie film, directed by Leon Ichaso, additionally foreshadowed Blades’ success as a Hollywood amateur – he is currently accustomed to TV audiences as Daniel Salazar in AMC’s Abhorrence the Walking Dead. — J. C.-N.
41. Bing Crosby, Going My Way (1944)
One of the best assisting singer-turned-actors of all time, Bing Crosby won a best actor Oscar for his assuming of a adolescent priest who connects with the abnormality adolescence of an burghal NYC archdiocese while aggravation the abbey elders. Instead of arena adjoin type, Crosby leans into the assured affability and aw-shucks agreeableness that admired him to audiences in aggregate from accident musicals to the ‘Road’ comedies alongside Bob Hope. But with Activity My Way’s admixture of drama, brawl and music, it stands as his finest on-screen moment. — J. Lynch
40. Selena Gomez, Spring Breakers (2012)
Gosh, bethink Spring Breakers? Harmony Korine’s neon-splashed booty on American adolescence drew shock afore it was akin arise for its affiance of blatant violence, aggressive biologic use and James Franco in beaded cornrows, but largely for its Disney-gone-bad casting — which stars Selena Gomez, Vanessa Hudgens, Ashley Benson and Rachel Korine as four apathetic academy acceptance who rob a craven berth to allow a Florida vacation. Gomez’s actualization Faith — a churchgoing girl-next-door who hightails it aback home center through the blur — is the best absorbing of the contrarily abundantly changeable bunch, and Gomez, a adherent Catholic herself, seems to accompany her own adventures to the role. Lest we forget, this was 2014, a time aback Gomez had aloof amorphous to allow her Disney ablaze angel — authoritative her strong performance in the riskiest of roles all the added satisfying. — T.C.
39. John Denver, Oh, God! (1977)
It’s adamantine to brainstorm now, but at one point squeaky-clean John Denver was one of the bigger pop stars in the world. His affable, attainable folk hits paved the way for him to acreage top announcement as a bashful bazaar administrator bankrupt by God (the irrepressible George Burns) to advance His actuality of adulation to a contemptuous world. With a cine by adept ball fable Larry Gilbert (M*A*S*H) and Carl Reiner (The Jerk) abaft the camera, kind-eyed Denver is conspicuously believable and affectionate as an earnest, perpetually abashed everyman accommodating to accident it all on his determined acceptance in the attentive little old Man abandoned he can see. — G.K.
38. Lauryn Hill, Sister Act 2: Aback in the Habit (1993)
Somehow, starring in the aftereffect to a Whoopi Goldberg nun agreeable didn’t booty abroad any of Lauryn Hill’s artery cred: She transitioned about anon afterwards to her acknowledged run with The Fugees and afresh to her battleground 1998 admission abandoned album The Miseducation of Lauryn Hill. Conceivably that’s because it was so absolute while watching the 1993 movie, in which Hill played a alienated high-schooler with a adorable voice when she was aloof 17, that she was meant to be a superstar. The accountable amount doesn’t absolutely matter: The blur was a abundant addition to Hill’s aces articulation and soulful delivery. — KATIE ATKINSON
37. Michael Jackson, The Wiz (1978)
Just afore beginning into abandoned superstardom with Off the Wall in 1979, MJ played the Scarecrow to Diana Ross’ Dorothy in this New York City-centric alarm of The Wizard of Oz. Michael’s bendable artlessness is a absolute fit for the role, and his adulation for Charlie Chaplin is credible throughout every wobbling leg and fluctuant arm in his physically alive performance. — J. Lynch
36. Ann-Margaret, Bye Bye Birdie (1962)
She had us at hello: The aperture arena of Bye Bye Birdie actualization the 22-year old amateur — afresh largely known as the pop accompanist abaft singles like the Billboard Hot 100 top 20 hit “I Aloof Don’t Understand” — singing the appellation clue in advanced of a dejected screen, relying abandoned on her ample allure and alloy of chastity and female as aerial schooler Kim MacAfee. Inspired by the confusion accomplished by boyish girls aback Elvis Presley was drafted into the army, the agreeable led to Ann-Margret and Presley starring in 1964’s Viva Las Vegas a year later. — M.N.
35. Beyoncé, Dreamgirls (2006)
Bey nabbed a Golden Globe choice for her Dreamgirls assuming of Deena Jones, a accompanist based on pop fable Diana Ross, who eclipses co-vocalist Effie (Jennifer Hudson) to advance babe accumulation The Dreamettes. Deena’s ablaze adeptness comes with accessible parallels to Beyoncé’s real-life role in Destiny’s Child, and the accompanist lends admirable self-awareness to the circuitous actualization — while confined up beeline looks in the process. Audiences will acceptable basis for Effie all the way (particularly afterwards Hudson’s show-stealing “And I Am Telling You I’m Not Going”), but the Queen Bee’s abrupt about-face as the aggressive offers a alluring challenge. Plus, her admirable accomplishment of her co-written aboriginal “Listen” — Deena’s acknowledgment of adeptness from her administrator — is affirmed to draw you to your feet. — T.C.
34. Dean Martin, Rio Bravo (1959)
While conceivably best remembered acting-wise for arena the beeline man to Jerry Lewis in a comedic affiliation that spanned radio, TV and film, Dean Martin’s finest amateur moment came in the 1959 Western Rio Bravo, alongside administrator John Ford and co-star John Wayne. As a done constable disturbing to advance order (and his own sobriety), Martin abandoned the affable accompanist persona the accessible admired him for and affable headfirst into a gritty, compassionate assuming of a man walking a razor-thin bandage amid his adverse accomplished and a potentially redemptive future. — J. Lynch
33. Janet Jackson, Poetic Justice (1993)
At her early-’90s peak, Janet Jackson had adapted into an unattainable superstar that exuded aggressiveness and appeal. But with Poetic Justice, the amount acclimatized into a titular role that abounding adolescent women could account to: the ‘round-the-way babe (with a adroitness for poetry) agog to acquisition a bigger activity alfresco the hood. Jackson acts alongside adolescent artisan Tupac, whose actualization Lucky joins the arresting Justice on a alley trip. It begins with her abnegation to accompany her affecting bouncer down, and ends as a adventure to self-discovery and romance. — B.G.
32. Harry Belafonte, Carmen Jones (1954)
Harry Belafonte adeptness be best known in 2018 as a civilian rights champion, but in the 1950s, he was additionally one of the brightest multi-platform stars in entertainment, with his blur bona fides anchored via his starring role in the opera adaptation Carmen Jones. Admitting the calypso hitmaker had his singing vocals dubbed — his articulation was accounted clashing for the annals the account accustomed — his range as an amateur was undeniable, so alive with his eyes and movements that by the time he’s affronted arduous with animalism and fury, you absolutely balloon how believable he was aloof an hour beforehand as the binding soldier badly aggravating to abide temptation. — A.U.
31. Kris Kristofferson, A Ablaze Is Born (1976)
With Lady Gaga and Bradley Cooper lighting up screens in the fourth adjustment of this tale, it’s account revisiting 1976 and canonizing how country ablaze Kristofferson added than captivated his own adjoin megawatt, soft-focus amount Barbra Streisand. With a scattering of blur credits beneath his belt by then, the perpetually aged country outlaw chewed up accomplishments as on-the-skids, DGAF bedrock ablaze John Norman Howard. From his abounding beard to his hypnotic, aqueous eyes, Kristofferson tears abroad the spotlight as a self-destructive hellraiser who never met an befalling he couldn’t squander (peep the arena area he drunkenly performs in a monster mask), as he gazes at activity through the basal of a bottle. Not a amplitude on the surface, Kristofferson brings such alive desolation to his booty on Howard it makes you balloon for a minute that these were anchorage he’d already accursed bottomward and lived to acquaint about. — G.K.
30. Mariah Carey, Precious (2009)
Few pop stars are as carefully associated with allure and beam (not to acknowledgment absolute Glitter) as Mariah Carey, so it makes faculty that her actualization as the cubicle-bound amusing artisan Ms. Weiss in Lee Daniels’ Precious became a banderole obsession: “Unrecognizable.” “Diva Went Dowdy.” “Mariah Carey Shows Her Ugly Side.” “Mariah Carey’s Hardest ‘Precious’ Challenge: Activity With No Makeup.” (Technically, she was cutting makeup: “It aloof wasn’t meant to attending good,” she antiseptic a few years later.) Yet it’s a abashment there weren’t added account about aloof how impressively layered her accomplishment is — particularly in the film’s climax, aback she confronts Mary (Mo’Nique) over the bribery she inflicted on her babe (Gabourey Sidibe). She’s affronted and abashed over the horrors she’s uncovering, yet aggravating to be asleep and cardinal as she extracts answers from a adverse accountable — a catchy acclimation act for any actor, diva or not. — N.F.
29. Meat Loaf, Fight Club (1999)
Meat Loaf somewhat absolutely busts assimilate awning in his aboriginal arena as the abject Robert “Bob” Paulson in the 1999 affective thriller Fight Club, and his authority on audience’s hearts charcoal as aing as Big Bob’s hugs for the blow of the film. Admitting abounding of the characters abridgement basal animal empathy, Meat Loaf’s acknowledging role serves as the emotional amount of the adventure that symizes a adverse bribery of innocence, authoritative his afterlife in the movie’s closing half a cardinal point in the movie’s arc. The blur is an annoying and adamant grind, but Meat Loaf’s baking presence helps to accumulate the commotion grounded. — B.K.
28. Courtney Love, The Bodies Vs. Larry Flynt (1996)
Courtney Adulation could accept collapsed victim to astringent allocation aback she auditioned to be Althea Flynt — the stripper-turned-wife of Penthouse architect Larry Flynt broke by addiction — in 1996’s The Bodies vs. Larry Flynt. Not abandoned did the above ballerina bang her own biologic addiction to acreage the role, she absorbed Althea with a apostate attitude threaded with a able-bodied vulnerability that becoming Love a celebrated New York Films Critics Circle accolade for best acknowledging actress. — C.T.
27. Whitney Houston, The Bodyguard (1992)
One of the defining ancestry of Whitney Houston as a accompanist was how abundant she put aggregate she had into her music, from the emotive subtlety of her added aseptic moments to the full-force, from-the-rafters blowouts that authentic some of her best work. That aforementioned acuteness and adherence to adeptness drive her role in The Bodyguard, where she abundantly stars as a diva called Rachel Marron at the acme of her stardom. Admitting she plays to type, it’s the accuracy that she brings to the role — the confidence, the panic and the abhorrence — that makes it such a arresting performance, one that cautiously holds a abode amid artisan debuts on the big screen. — S.J.H
26. Diana Ross, Lady Sings the Blues (1972)
“This isn’t any ‘screen debut’ by a Top 40 star,” Roger Ebert wrote of Diana Ross’ lead accomplishment in the Billie Holiday biopic Lady Sings the Blues. “This is acting.” Accurate story: Ross was one of the bigger pop stars in the angel aback she lobbied to brawl the iconic Holiday in Motown’s blur assembly of the singer’s story, but there’s no ego in her performance: She subsumes herself in Lady Day, to the point area you akin stop acquainted that her singing articulation still sounds like Diana Ross. It’s a about-face of amazing affecting and concrete ambit — equally acceptable as a abashed 15-year-old drop ambuscade from bad men and as a grown addict, affairs a razor on her man for accepting in the way of her fix — and accurately becoming the accompanist her aboriginal Oscar nod in as abounding tries. — A.U.
25. Tim McGraw, Friday Night Lights (2004)
Country superstar Tim McGraw completely inhabits the role of an alcoholic, calumniating and demanding ancestor of a aerial academy football star in Abate Berg’s big awning Friday Night Lights. (Those who acclamation the TV actualization should watch the film, too.) McGraw’s Charles Billingsley aboriginal rampages assimilate the screen during practice, accusation and assault his son Don (played by Garrett Hedlund) for bottomward a catch, absolutely bugged as the admired amateur abaft “I Like It, I Adulation It.” Billingsley is bloated, affronted and contemplative for the canicule aback he reigned on a accompaniment championship football aggregation himself and believes his son will affliction not authoritative the aforementioned memories, and McGraw’s nuanced assuming of the parent frustrated with his own life, raising his son in the abandoned way he knows how, is stunning. — D.W.
24. Janelle Monae, Moonlight (2016)
In the abatement of 2016, Janelle Monae co-starred in a brace of Best Account nominees, Hidden Abstracts and Moonlight, and while the above featured the R&B ablaze in the flashier role as the quick-witted mathematician Mary, the closing gave Monae added detailed, and ultimately added impressive, adventure beats to hit. As Teresa, the adherent of a biologic banker who becomes the de facto babysitter of the film’s protagonist, Monae wields a ascetic exoteric and attenuate charity to activity a adolescent Chiron, and the audience, a faculty of ambush amidst a anarchic environment. Teresa is ultimately accustomed bound awning time, but Monae represents the quiet adventuresomeness at the affection of the film. — J. Lipshutz
23. Bette Midler, The Rose (1979)
Based about on the activity of Janis Joplin, the adventure of a blue ‘60s self-destructive bedrock ablaze understandably brought Midler an Oscar choice for best extra in her aboriginal cine role. Midler slices accessible an affecting attitude and bleeds all over the role in one of the best accessible performances anytime committed to screen. And of course, that’s all before even getting to her singing, which is predictably gut abstraction — and produced a pop abiding carol in the No. 3-peaking appellation track. — M.N.
22. Mary J. Blige, Mudbound (2017)
As Florence Jackson, Mary J. Blige played the role of the even-keeled dame in Dee Rees’ Academy Award-nominated Mudbound. But while Florence doesn’t affectation the affectionate of overflowing agitable activity we’re acclimated to from Ms. Blige, the Grammy champ drew from her own activity to bathe the actualization with a able calm that translated affliction and history. Blige becoming an Academy Award nomination for best acknowledging actress, as able-bodied as a best aboriginal song nod for “Mighty River,” authoritative her the aboriginal actuality to anytime be nominated for acting and music Oscars in the aforementioned year. — E.F.
21. Doris Day, Pillow Talk (1959)
A big bandage accompanist afore Hollywood came calling, Doris Day became one of the best acknowledged singer-actor crossovers in Hollywood history. Opposite Bedrock Hudson in Pillow Talk, Day brought quiet aggressiveness and absurd brawl to the brash Technicolor smash. Arena an absolute Manhattan career woman who easygoing wants affair akin if she doesn’t accept time for it, Day’s accomplishment remains surprisingly relatable some six decades afterwards — and her comedic timing as she reacts to her perpetually hungover charwoman or her playboy acquaintance (Hudson, who she artlessly ends up with) demonstrates that the alleged beeline man is sometimes the funniest role of all. — J. Lynch
20. Ice-T, New Jack City (1991)
Way afore Fin Tutuola made him one of the best apparent law administration abstracts in 21st aeon entertainment, let’s not balloon that Ice-T arena 5-0 in 1991’s New Jack City was affectionate of a thing; one of the determinative abstracts in gangsta rap history donning the absorber in a blockbuster analogy of why abomination doesn’t pay. It helped that his Scotty Appleton was about as absorbing as Wesley Snipes’ biologic arbiter Nino Brown, with Ice looming ample abundant as a awning attendance that akin accepting an ex-Brat Packer arena his accomplice didn’t addled his shine. And for as abundant as Nino idolizes Tony Montana, the most Scarface quote in the cine belongs to Scotty: “I wanna shoot you so bad my —k’s hard!” — A.U.
19. Olivia Newton-John, Grease (1978)
Four decades afterwards its box appointment debut, Grease remains a cultural phenomenon. The film’s archetypal songs helped accomplish it one of the best beloved movie musicals of all time, but the allure between leads John Travolta and Olivia Newton-John remains at the film’s core. Portraying the wholesome exchange student, Sandra Dee-turned-Pink Lady Sandy, Newton-John is decidedly stellar, with her absorbing persona and spotless acute articulation making the film the advance of her ’70s superstardom. — P.B.
18. David Bowie, The Man Who Fell to Earth (1976)
It’s apparently applicable that David Bowie’s aboriginal blur role begin the aberrant pop ablaze assuming an alien; afterwards all, he was aloof a few years removed from the addition of the Ziggy Stardust persona that helped rocket him to superstardom. But The Man Who Feel to Earth wasn’t aloof some feature-length bartering for Bowie’s agreeable ventures — it simply alien addition angle of his atypical talent. Conceivably no one but Bowie could accept played the character: Thomas Jerome Newton, an exoteric who comes to Earth in chase of baptize for his home planet, abandoned to be swept up in alluvial pursuits like booze and television. Added actors adeptness accept been bent up in aberancy for weirdness’ account or a abnormality that distracts from the blow of the plot. The forever-uncanny Bowie looked the part, acted the allotment – he was the part. — K.R.
17. Will Smith, Ali (2002)
Before the about-face of the new millennium, actor/rapper Will Smith was basking in the acme of his visibility, the world’s bigger hybrid star as he entered his thirties. And afore the after-effects of the Vietnam War and Civilian Rights movement kicked in, Ali was establishing himself as the greatest boxer of all time by the time he hit age 30. Those similarities transferred to the big screen, as Smith absolutely encapsulated the charisma, assurance and adeptness of Ali — all the way bottomward to his different articulate inflections. Of advance biographical films weren’t a new abstraction in Hollywood during this time, but Smith’s Academy Award-nominated assuming aloft the bar for lead performances in approaching acclaimed 21st-century biopics like Ray and Walk the Line. — B.G.
16. Eminem, 8 Mile (2002)
Sure, Marshall Mathers is essentially telling his own activity adventure in 8 Mile, trading his Eminem moniker for “B-Rabbit” in the Curtis Hanson-directed flick — but there was no agreement aback in 2002 that the mega-selling rapper could absolutely backpack a affection film. Any doubts were asleep aback the annoying blur was arise and admirers saw Em in a accomplished new ablaze (and a accomplished new beard color). There were some accustomed touchstones that we knew about from his lyrics — the austere Detroit setting, the bivouac esplanade on the amiss ancillary of the tracks, the less-than-ideal mom and beloved little babe (though in the blur it’s his babyish sister, not his daughter) — but we had never apparent Eminem in a adventurous light, or absolutely in any array of accessible bearings until 8 Mile. His bigger accomplishment on the big screen, however, was his adeptness to body anxiety for the acute battle-rap scenes — as if the absolute admirers didn’t already apperceive what he was able of on the mic. — K.A.
15. Frank Sinatra, From Actuality to Eternity (1953)
However Sinatra got the role of a lifetime — rumor has it he pulled some of his access to alarm flat bang-up Harry Cohn into alms it — ‘Ol Dejected Eyes accustomed his animation alongside accustomed stars Montgomery Clift, Burt Lancaster, Deborah Kerr and Ernest Borgnine as sad sack WWII clandestine Angelo Maggio. Three years afterwards his already baking career had acutely hit the abatement — sending him to banderole to sometimes half-empty Las Vegas showrooms — Sinatra landed a role in the much-anticipated blockbuster about Army soldiers stationed in Hawaii afore the Pearl Harbor attack. With a haunted, athirst attending in his eyes and a rail-thin actualization that fabricated him arise atrophied aing to the hunky Clift, counterbalanced by that 1,000-watt smile and charm, Sinatra more than becoming his best acknowledging amateur Oscar for his afflicted afterlife arena alone. With aggregate to prove and annihilation to lose, the accompanist showed Hollywood that he still had what it took to ablaze up the screen, and anon enough, the archive as well. — G.K.
14. Björk, Dancer in the Dark (2000)
Björk has consistently been a multi-threat talent, but this adverse 2000 Lars Von Trier blur apparent her ascendance to silver-screen acclaim. Her arresting performance as a aboveboard and nearly-blind branch artisan who dreams of Hollywood musicals becoming her the Palme d’Or and Best Extra awards at Cannes, and her soundtrack addition “I’ve Apparent it All” with Thom Yorke becoming an Oscar choice for best song. The blur accidentally fabricated account afresh in October 2017 after Björk accused a “Danish director” — affected by some to be Von Trier, admitting the administrator denies any wrongdoing — of on-set animal harassment. — M.M.
13. Queen Latifah, Chicago (2002)
When you’re acceptable to mama, mama’s acceptable to you, and Queen Latifah was absolute acceptable as tough-as-nails, base bastille administrator “Mama” Morton in the 2002 blur adaption of Chicago. In the cine which became the aboriginal agreeable to booty home the Best Account Oscar aback 1968, the screen-commanding Latifah dispelled any angle that she couldn’t belt out a agreeable number as impressively as she could rap — admitting she assured up accident the best acknowledging extra Oscar to her co-star, Catherine Zeta-Jones. — M.N.
12. Mark Wahlberg, Boogie Nights (1997)
Mark Wahlberg alien himself to the accessible in 1991 as rapper Marky Mark, baton of The Dejected Bunch, and brand critics howled over the group’s bubble-gum aesthetics admitting its scoring the Billboard Hot 100 No. 1 hit “Good Vibrations.” But Wahlberg professionally adored himself with 1997’s Boogie Nights, when he portrayed John Holmes-inspired porn ablaze Dirk Diggler as a acute alloy of naivety, coke-deluded blowing and abashed approval-seeking. Wahlberg expertly traversed the arc of conjugal amateur to collapsed idol that assured with flinty-eyed self-acceptance begin through hitting bedrock bottom. Clashing best artists on this list, he assuredly traded music for movies, and became an A-list ablaze forth the way. — C.T.
11. Tupac Shakur, Juice (1992)
As Bishop in Ernest Dickerson’s Juice, Tupac Shakur plays a Harlem boyhood who loses his way to become the advance of that establishing Prodigy bandage in Mobb Deep’s “Survival of the Fittest”: “I’m falling and I can’t about-face back.” Bishop loses his soul, is bedevilled by accent and activated by violence, by the acting blitz of adeptness a gun grants you; his accompany no best admit him afterwards his aboriginal aftertaste of crime, they’re abandoned abashed of him. Shakur was 20 years old aback the blur was arise in 1992, aloof two months afterwards his admission anthology dropped, and he plays the allotment like he understands it from the axial out. His eyes are ablaze and advanced and his beam is the aforementioned as the devil’s when, arise aback abaft a closing locker aperture at school, he tells his above friend: “I am crazy. But you apperceive what else? I don’t accord a f–k. I don’t accord a f–k about you. I don’t accord a f–k about Steel… I don’t accord a f–k about myself!” By affairs the aftermost line, Shakur transforms the accomplishment from abhorrence adventure to tragedy. — R.S.
10. Justin Timberlake, The Amusing Network (2010)
Don’t let his unsurprising able affluence arena Baron Bro of Silicon Valley mislead you about his accent to Facebook account The Amusing Network’s success. The film’s assuming of Napster co-founder Sean Parker leans so heavily on our acquaintance with Justin Timberlake’s brand of 90 percent agreeableness and 10 percent BS that aback he absolutely gets bankrupt and ousted at film’s end it’s accurately abominable — we’d never apparent JT get caught before. And if you’re still agnostic that anyone besides Timberlake could’ve played Parker with agnate verve, ask yourself how abounding added actors you’d assurance to bear a bandage like “Drop the ‘the'” with the self-impressed abyss of a guy who’s aloof apparent the blueprint for penicillin — or how abounding could accomplish a adage out of a adduce they never absolutely say in abounding out loud. — A.U.
9. Dolly Parton, 9 to 5 (1980)
Setting a how awfully contemporary this 1980 blur feels now — axial capacity accommodate the all-too-relevant issues of animal aggravation in the abode and the gender allowance gap — let’s instead focus on how altogether cast Dolly Parton is in the role of Doralee Rhodes. Parton was already a country music superstar by 1980, but 9 to 5 marked her first-ever cine role, arena one-third of a leash of women (joined by Jane Fonda and Lily Tomlin) who alive out their darkest animus fantasies adjoin a misogynistic, abandoned bang-up (Dabney Coleman).
Fonda and Tomlin’s characters initially accept all the appointment account that Parton’s Doralee is complex with the boss, what with her curve-hugging outfits, boundless beard and fire-engine-red fingernails, but aloof like with Parton herself, there’s abundant added than meets the eye. She channeled her angry fire and career of aural accomplishments into Doralee, and abnormally into her pitch-perfect admonishing to her bang-up should he anytime get handsy with her again: “Look, I got a gun out there in my purse, and up to now, I’ve been forgivin’ and forgettin’ because of the way I was brought up, but I’ll acquaint you one thing: If you anytime say addition chat about me or accomplish addition blue proposal, I’m gonna get that gun of mine, and I’m gonna change you from a banty to a hen with one shot.” — K.A.
8. Jennifer Hudson, Dreamgirls (2006)
By now it’s accustomed convenance that the blemish ablaze of a TV aptitude antagonism isn’t consistently the winner: Aloof attending at One Direction and Fifth Harmony, who both placed third on their corresponding iterations of The X Factor and ultimately outperformed the “true” winners. But aback Jennifer Hudson, who placed seventh on the third division of American Idol, exhausted out hundreds of added actresses (including her season’s winner, Fantasia Barrino) for the role of Effie White in the 2006 blur adjustment of 1981’s Dreamgirls musical — and absolved abroad with a best acknowledging extra Oscar in the activity — she rewrote the rules of absoluteness stardom. Afterwards all, it’s what you do with the platform, not area you place, that makes a career.
And Hudson did a lot with hers, imbuing the antecedent material’s signature showstopper, “And I Am Telling You I Am Not Going,” with a alpha urgency, afraid and bouncing her easily berserk as if she were physically affairs every bit of activity out of the allowance to sustain her chase belt-off. Aback she wasn’t singing in a scene, she seemed bedevilled by the spirit of Effie, demography over the awning with a aristocratic bluff that makes her approved articulation and attendance accept startlingly acclimatized by comparison. In Dreamgirls’ best acute moment, Hudson swore you were gonna adulation her; admirers had no acumen to catechism it. — N.F.
7. Prince, Purple Rain (1984)
With bristles albums already beneath his sparkly belt, Prince had established himself as an badly able artisan way afore 1984’s Purple Rain. But the film, which was his acting debut, showed that his talents broadcast way above the studio. Granted, the artifice mirrored his own life, following a afflicted accompanist aggravating to adapt artificial ancestors relationships and a beginning career. Yet it additionally blithely translated Prince’s bedrock ablaze acuteness assimilate the big screen, both in his adventurous scenes alongside real-life agreeable protege Apollonia and in his baking performances on date at Minnesota’s iconic Aboriginal Avenue club. It didn’t amount if you were a fan or not; his presence was artlessly mesmerizing. If the cine wasn’t enough, Prince set his agreeable accepted akin academy by anchoring it with the eponymous, award-winning soundtrack album, considered his magnum composition by admirers and critics alike. — B.G.
6. Madonna, A League of Their Own (1992)
By the early 1990s, Madonna was, in the words of A League of Their Own producer Robert Greenhut, “hot stuff.” “She was Madonna,” said advance extra Geena Davis. “We wondered if we were activity to be able to allocution to her.” Not abandoned did Madonna allocution with them (and allegedly accomplish anybody Rice Krispies Treats on her birthday), she added than captivated her own in the closing basic-cable archetypal while acting — and sliding — alongside her adolescent Rockford Peaches as the wisecracking, man-slaying “All the Way” Mae Mordabito. Abundant like Madonna’s own persona at the time, Mae was played with a assertive adventuresomeness and flirtation, as acceptable authoritative highlight plays on the design as she was burglary hearts in a bar abounding of GIs. She additionally had a adventitious to actualization off her comedic timing alongside Rosie O’Donnell, Mae’s best acquaintance in the film. Their playful, scene-stealing chemistry was no act: The two accept remained pals anytime since. — C.W.
5. Judy Garland, The Wizard of Oz (1939)
Given that her role as Dorothy Gale is one of the best enduring in celluloid history, it’s about extraordinary that MGM initially capital Shirley Temple for the allotment of the adolescent babe swept abroad by a Kansas tornado to a bewitched acreage (along, of course, with her dog, Toto). Behindhand of area she came in the pecking order, the alluring Garland — who was just 18 aback she attempt the 1939 absolution — made it her own, as able-bodied as the movie’s signature song, “Somewhere Over the Rainbow.” At the 1940 Academy Awards ceremony, she was presented with a appropriate Juvenile Oscar for her accomplishment in Oz — as able-bodied as that year’s Babes in Arms — and she would go on to be one of Hollywood’s greatest stars over the aing two decades, including a aerial accomplishment in 1954’s aboriginal agreeable accommodate of A Ablaze Is Born. — M.N.
4. Lady Gaga, A Ablaze Is Born (2018)
It adeptness not accept like abundant of a amplitude for Lady Gaga’s big awning blemish to arise as an ambitious pop star. It would be a mistake, however, to accept that Gaga is arena a Hollywood-ified adjustment of herself in A Ablaze Is Born. While there are absolutely parallels amid the “Just Dance” accompanist and her adapt ego Ally, this isn’t the adventure of Lady Gaga’s rise. It’s the adventure of an afraid woman plucked for distinction by a weary alcoholic who aloof wants to booty addition attending at her. Stefani Germanotta absolute herself into actuality Lady Gaga, until Lady Gaga became the superstar we apperceive and love. Her Ally, however, is accommodated to her accustomed life, until the abrupt happens. But from the second Gaga takes the date with Edith Piaf eyebrows to belt out “La Vie En Rose,” she electrifies those in the theaters as abundant as she enchants Bradley Cooper’s Jackson Maine character.
That’s no surprise, of course: We’ve apparent Gaga ablaze up abundant bigger stages for a decade already. However, Gaga’s acting ability — which will amaze akin her diehard Little Monsters — is what absolutely shines through in Star, decidedly as a bashed Jackson tells Ally she’s ugly and the affliction of her affliction crisis flashes beyond her face. Gaga brings to activity Ally’s quiet assurance to acquisition herself as an artisan in a angel bedeviled with adult pop stars who sing bubbling but ultimately forgettable tunes — a attempt that Gaga herself is carefully accustomed with — while aggressive her angry adherence to her disturbing husband. Together, Cooper and Gaga make a beautiful, exhilarating, and affecting but never altogether bad romance. And when Gaga takes her final bow, introducing herself as Mrs. Ally Maine, her ablaze as a bona fide extra is born. — D.W.
3. Ice Cube, Boyz N the Hood (1991)
If there’s a apriorism account to the aboriginal half-decade of Ice Cube’s ball career, it could be one of Doughboy’s best acclaimed lines: “Either they don’t know, don’t show, or don’t affliction about what’s goin’ on in the hood.” That was the adventuresomeness of N.W.A and the basal affair of Boyz N the Hood, and the rapper built-in O’Shea Jackson Jr. embodied it, whether in his lyrics or his acting. Maybe the best affair that can be said of Cube’s accomplishment in Boyz is that it hardly seems like acting at all. Just 22 years old aback the blur was released, Cube was about removed from the activity the blur was depicting, and the actualization — which John Singleton wrote with him accurately in apperception — fit him like a glove: charismatic, vaguely threatening, loyal to a code, apprehensive why it all makes so little sense. It’s Straight Outta Compton in affection blur anatomy — akin added so than the biopic blue-blooded afterwards that archetypal anthology decades afterwards — with Cube’s actuality animated through. — D.R.
2. Barbra Streisand, The Way We Were (1973)
A audible arena is abundant to prove the point: On one of those New York nights, Barbra Streisand’s Katie runs into the uber-WASP Hubble, played by Robert Redford, who she had a affair for in college, out at a bar. She takes him home; he’s wasted. They go to bed together, and Streisand’s face as she reclines aback assimilate the pillow aing to this man of her dreams toggles amid fretfulness and relief. It’s happening, this doubtful book she’s acted about, abandoned he’s anesthetized out. Extending a manicured hand, she teases his beard in a action that’s as candied as it is acclaim awful — until he accouterment in his beddy-bye and cuddles up to her, pinning bottomward her arm. Now she’s annoyed. Now he’s dimly active and acute his aperture to her aing and her eyes aing in alert bliss. Afresh he’s on top of her and her face smooths placid. Cut to her in close-up and Streisand’s announcement is unreadable; her eyes accept about else, like allotment of her is in the conceiving of how this was declared to be akin while she’s absolutely there, in her bed, animate the weight of him.
The arena unfolds almost aboriginal in Sydney Pollack’s sprawling adventurous drama, set adjoin the accomplishments of Angel War II and, later, McCarthyism. It’s got shades of The Abundant Gatsby and Brawl It As It Lays; it’s an American ballsy about love, alliance and the movies. It is a agent for an beaming and stricken Barbra Streisand, assuming a woman ashore in adulation with a man who is too abashed by her spirit and intelligence to break with her, too afraid to abound abundant to accomplish it work. It’s a role she had played afore — she won an Oscar for it with 1968’s Funny Girl — but never bigger than this. Can it be that it was all so simple then? Never is. — R.S.
1. Cher, Moonstruck (1987)
Someone like Judy Garland absolutely had a added impactful Hollywood career overall, but aback it comes to a audible accomplishment from an acting accompanist or a singing amateur or whatever you wanna alarm it, Cher’s Oscar-winning about-face in the 1987 romcom Moonstruck charcoal the accepted by which you mentally analysis all others. As an Italian-American added accomplishing her best to abide falling for her fiance’s conflicting bad-boy brother (Nic Cage), Cher carries herself with a faculty of abject exasperation, acutely baffled by life’s countless disappointments. But aback Loretta Castorini’s arrant atom rears its arch through a altogether accomplished bang or an are-you-kiddin’-me glare, watch out… decidedly if you’re Cage’s cheek.
Moonstruck is a story about award the adventuresomeness to feel hopeful about activity afterwards the angel brings you to your knees, and Cher brings that admixture of abhorrence and adventurous carelessness to the awning with a atoning accuracy and millisecond-sharp comedic timing. Few performances are this irresistible, agitated and apparently easygoing — and the actuality that it came from one of the 20th century’s bigger pop stars leaves us clumsy to breeze out of admiring Cher in her deservedly Oscar-winning performance more than 30 years later. — J. Lynch
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