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The Golden Raspberry Awards, also known as the Razzies, had an easy choice for Worst Supporting Actor in 2015. That’s not to say that any one performance was notably worse than the others. When it comes to the Razzies, that’s beside the point. The main goal of the Razzies is not to showcase the worst in film, but to blindly hack at low-hanging fruit in a desperate bid for attention. And as luck would have it, Eddie Redmayne, who had won an Oscar the previous year for The Theory of Everything, was nominated for Worst Supporting Actor for his villainous turn in Jupiter Ascending. As obvious targets went, he was no Kardashian, but he would do.

Giving Redmayne the “prize” would guarantee at least a few headlines delighting in the juxtaposition between Oscar gold and…well, whatever the Razzies are. If they were lucky, he’d show up in person to prove he was a good sport, like The Blind Side-era Sandra Bullock did for All About Steve five years earlier. Things played out as expected. Redmayne “won” the Razzie, beating out competition like Kevin James in Pixels and Jason Lee in Alvin and the Chipmunks: The Road Chip. As is the case with the vast majority of Razzie nominees, he declined to make an appearance. He would go on to other notable roles on screen and stage, leaving Jupiter Ascending as a mildly embarrassing footnote in his career. But does it deserve better?

Jupiter Ascending, the Wachowskis’ earnest, ambitious, utterly ludicrous space opera, was a box office bomb upon its release. Many critics lambasted its convoluted plot (something about a space princess, genetically modified soldiers, and an intergalactic family of evil rich weirdos) and howled with laughter at its clumsy dialogue. But even then, it had its defenders; in time, a cult following developed, especially among women and LGBTQ+ sci-fi fans. Some dislike the plot but admire the Wachowskis’ creative vision, particularly the concept art and visual effects. Others genuinely enjoy the dazzling, unrestrained indulgence, which shows real passion and enthusiasm for classic sci-fi tropes while giving them a feminine twist. Still others giddily go along for the ride, seeing it as campy and silly in the best possible way. They may like the movie for different reasons, but they’re all likely to agree on one thing: for better or worse, Eddie Redmayne is one of the most memorable parts of Jupiter Ascending.

RELATED:Watch: Eddie Redmayne Finally Explains That Weird ‘Jupiter Ascending’ Voice

Was Eddie Redmayne's Villain Really Razzie-Worthy?

Redmayne plays the main villain, Balem Abrasax, the ruthless eldest son of an ultra-powerful family whose corporation produces an elixir of eternal life. If Jupiter Ascending were a normal movie, he would be an intimidating figure of stone-cold evil, like Darth Vader or Baron Harkonnen. But Jupiter Ascending couldn’t be normal if it tried, and as such Balem is a screaming inferno of deranged psychosexual camp. He’s the love child of Kylo Ren and Sting’s codpiece from the 1984 Dune movie. He’s Norman Bates as played by an evil gay cat from space. I can keep going with the metaphors all day, and I’d only scratch the surface.

Redmayne delivers almost every line in a hoarse, breathless whisper, as though he’s trying to seduce someone through a crushed windpipe. His airbrush-smooth skin, glassy eyes, and puffy-lipped smile suggests a particularly self-obsessed plastic surgery addict. He swings wildly from narcotized calm to bug-eyed bursts of rage, with every line reading calibrated for maximum petulance. His voice cracks when he shrieks “go!” at his minion; when he declares “I create life!”, it cracks again, this time while he clutches at the air like Skeletor. When Jupiter Jones (Mila Kunis) confronts Balem for killing her mother (who is now reincarnated as Jupiter... it’s complicated), he gives her a big, soap opera-esque backhanded slap before choking out “how dare you?” with the histrionic verve of Faye Dunaway in Mommie Dearest. He somehow manages to overact plummeting to his death. It rules so hard.

At first glance, Redmayne’s performance might seem like a classic case of a great actor jazzing up a paycheck gig with some attention-grabbing hamminess, but that’s not giving the Wachowskis enough credit. Jupiter Ascending is an unruly, almost incoherent movie, but it was clearly made with care and passion. The Wachowskis are one of the few big-budget genre auteurs we have left, and while not every choice they make works, even their most bizarre moments never feel like an accident. If Eddie Redmayne is in Jupiter Ascending acting like an emphysemic drag queen, it’s because that’s what the Wachowskis wanted from him. And from what we know about the Wachowskis, it’s not hard to see why.

The Sci-Fi Elements Stand the Test of Time

Even now that the nerds have won the culture wars, there are still different kinds of sci-fi that are seen as more respectable than others: genre tentpoles like Blade Runner, or cerebral art films like 2001. Whether through prestige, name recognition, or influence, these are the kinds of sci-fi that are taken seriously. The Wachowskis, however, love all sci-fi — and I mean all sci-fi. They love Blade Runner as much as the next person, but they have a deep and abiding appreciation for the genre at its pulpiest and most colorful, from comic book serials to obscure anime. Jupiter Ascending is not a tastefully curated portfolio of influences; it’s a glorious explosion of geeky id, paying homage to every schlocky B-movie and sci-fi novel the Wachowskis devoured in their formative years. The villains in these stories aren’t all sinister badasses with booming voices; sometimes, they’re just total weirdos in elaborate costumes. They don’t have to be scary, or even particularly credible as a threat; they just have to be memorable.

Summary: Rating C+.

[...] It is worth acknowledging his short cinematic career to put into context just how undefined his on-screen presence is. While this can be good in that there is room for him to leave his mark, it is also potentially perilous in that he hasn’t worked out what type of actor that he really wants to be yet. With his latest, My Policeman, we see that the search is still ongoing with no clear answers having been found yet. However, this time his inexperience as an actor is itself reflected in the character he is portraying in ways that are more interesting than the film itself.

[...] What soon becomes abundantly clear, to the audience at least, is that Tom and Patrick are actually having an affair. Marion has been made into an unwitting beard for them.

[...] Styles only has a couple of modes of emoting, either repressed or angry, making the shift between them quite jarring in a way that feels rushed. There are a few subtle moments between characters that hint at a more measured perspective, such as a key chat Marion has with a caring friend, though they soon get lost in the shuffle.

While the film is more than Styles, it is his performance that represents the make or break point of the experience. The complexity of this character certainly made it a big role for him to take on so early in his acting career and this shows in the work that would have been far better with a more seasoned actor. This isn’t to single him out as he isn’t the first musician to make the leap from the stage to the screen. However, there is something about Styles that feels distinct in observing how he is still finding his footing. He plays Tom as abundantly nervous and uncertain about himself in every aspect we get to see of his character.

Regrettably, much of this seems caught up in how Styles himself is uncertain and nervous as an actor playing the character. When seen alongside more multifaceted work from Dawson and Corrin, he comes off as being one-note. The older cast is similarly more confident and assured, making Styles stand out that much more. There could be an interesting reading of his performance as itself being a performance of heterosexual masculinity that is meant to ring false, though this is a bit too generous of an interpretation that requires overlooking quite a lot that just doesn't resonate. If anything, his celebrity status continues to subsume whatever character he is meant to be. Shedding this is a tough task for even the most talented of performers and Styles just isn't skilled enough yet as an actor to do so.

This is all a shame as the film is rather handsome to look at as Grandage takes his time placing us in each textured setting. It is unfortunate that the same can’t be said of the story itself which seems to purposely eschew complexity, especially in its rushed conclusion that plays like it just wants to get you out the door. Without giving away any details, there is a massive revelation that comes in the last ten minutes that smashes through the story like a freight train. This is something readers of the book will know is coming, but the way the film presents this revelation doesn’t adequately grapple with its emotional impact.

The way it plays out is akin to someone coming up to you, whispering something truly horrifying in your ear, before waving goodbye and leaving with no further explanation. It is far too neat, relying on a bit of hollow hand waving and a forced false equivalency, when we are still reeling from the revelation that we just heard. It makes for an uneasy finale that tries to paper over any complexity or residual cruelty to half-heartedly cap off an already wobbly experience. For all the anticipation about this being a star turn for Styles, the lack of depth in his performance and of the film itself ensures it won’t leave nearly the impression it set out to.

Open message to the idiot at Collider.com who works on 9-1-1 articles and the idiot at Collider.com who does NOT oversee the first idiot or turns a blind eye on spoilers in the main title for articles about one of todays biggest shows, whether U.S. region or internationally. For fucks sake, not even every American who watches the show might have seen the big and shocking current ep!!! Why do you fucking idiots at Collider.com blur and hide stuff about other shows or movies regardless of their release date when you write titles for articles and choose preview thumbnail images... but NOT FOR 9-1-1?!

This list according to the American film institute is the 10 best movie scores of all time both Jaws and Star Wars scores by the composer John Williams made the list

I know from experience how music can make and break a film we used both the main themes from Star Wars and Jaws for Viarous scenes in the in the Tolerance short film.

Here is what the Collider film website said about both of these top film scores first Jaws which made number 6 in the AFI list

The 1975 thriller Jaws revolutionized the film industry by becoming the prototype for the modern blockbuster. Steven Spielberg directed a terrifying and exhilarating adventure about a group of men hunting down a great white shark terrorizing beachgoers at a summer beach town.

Two notes are enough to turn Jaws' score into a timeless and impactful work of art. Scored by the one and only John Williams, Jaws' score is simple yet incredibly effective. Williams does the unimaginable, putting feelings of anxiety and paranoia in music form, creating a one-of-a-kind soundtrack that has become synonymous with danger in all its forms. Few films can say they are as indebted to their scores as Jaws is; Williams' music is not only integral to the plot but one of the main reasons for the film's enduring legacy.

Here is what was said about Star Wars which topped the AFI list for the best film soundtrack

Star Wars is undoubtedly the best space opera in American cinema. George Lucas' wildly imaginative sci-fi adventure centers on young Luke Skywalker, who joins the Rebel Alliance's plan to destroy the Death Star, the main weapon of the sinister Galactic Empire, led by the dangerous Darth Vader.

The film's score, composed by John Williams, is as integral to American cinema as any of the many films considered classics. The music is so iconic, so ingrained in modern pop culture that it's impossible to describe it using mere words. The score for Star Wars is a feeling, a memory, a sense of belonging, a celebration of science fiction, and the ultimate confirmation that Williams is a musical genius.

The Collider website has just printed this list of the 10 best movie trilogies the Dollars trilogy thats a fist full of Dollars for a few Dollars more and the good the bad and the ugly made number 5

Here’s what they said about the Dollars trilogy

The great Clint Eastwood and Sergio Leone collaborated to make three fantastic spaghetti westerns from 1964-1966. Eastwood is the quietly intense gunslinger in this series and manages to make it all the way through the trilogy without establishing any type of name, given or otherwise. These films serve as the paragon of the Italian-based, rustic shoots of outlaws, thieves, and a litany of other scoundrels. The unmistakable scowl of "The Man with No Name" and the tense standoffs and gunplay are all hallmarks of what represents the very best of the western genre and turned Eastwood into a bona fide superstar. He parlayed the success of this trilogy into subsequent big roles including Dirty Harry, the outlaw Josey Wales, and William Munny in the 1992 classic Unforgiven.

What shocked me was that the orignal Star Wars trilogy didn’t even rate a mention