Steven Spielberg‘s Bridge Of Spies (Dreamworks, 10.16) isn’t half bad — a sombre, dialogue-driven, fact-based spy tale. It’s a little Spielbergy in the second half (i.e., visual punctuations or signatures that feel a bit pushed or manipulative) but not in ways that I would call excessive or tedious. It’s aimed at the over-40 crowd as younger auds will most likely steer clear. The only obvious stand-out, Oscar-worthy attribute is Mark Rylance‘s droll supporting performance as real-life Russian spy Rudolf Abel, but it’s a keeper. Rylance owns this movie the way Jane Fonda owns Youth; he may very well snag a BSA nomination.

Regular HE readers know how I feel about Spielberg, and I’m telling you I didn’t feel as if I was suffering through this at all. Half of Spies is actually pretty good and the other half is…well, in and out but basically tolerable. From me that’s almost a rave. And I don’t think that’s proportional. This is not a “great” film but a smart and mostly satisfying one, especially if you’re getting older and fatter and have a few faded memories of the days when Russian commmies were the big baddies.

Tom Hanks, once again portraying a walking emblem for American front-porch decency and Atticus Finch-style values, is James B. Donovan, the late American attorney who defended Abel after his arrest in ’57, and then, following the 1960 Russian capture of U2 spy-plane pilot Francis Gary Powers, was asked to fly to Berlin to negotiate for Powers’ release by swapping him for Abel. Donovan also managed to free wrongly accused academic Frederic Pryor, whom the East Germans were holding on suspicion of espionage.

Spies is basically two espionage flicks, the first and best taking place in New York City in the late ’50s and the second occuring in Berlin in ’61 and early ’62. The Spielbergy stuff starts to kick in during the second half, and when it happens you’ll say to yourself “okay, here we go…time for Spielberg to remind us every so often what a great and exacting cinematic composer he can be.” What’s so great about part one (i.e., the New York chapter) is that Spielberg doesn’t insert any conspicuously brilliant flourishes at all, or at least none that demanded my attention.

Four or five days ago Awards Daily‘s Sasha Stone posted a Best Supporting Actress spitball piece. She settled on ten performances that are probably on the proverbial list at this stage, she feels. Here are those ten plus an extra name or two coupled with my reactions. By my sights there are four near-locks and one compelling maybe. (Open to debate, of course.) The rest feel dubious for this and that reason.

Near locks: 1. Rooney Mara in Carol — emphatically yes. Except Mara will have to figure some way around that impassive ice-maiden thing she kinda gives off, which won’t serve her well in the long run, red-carpet-wise. 2. Jane Fonda in Youth — definitely. A hot-skillet performance given by a respected, consummate pro who knows exactly how to play the game — probably the front-runner as we speak. 3. Alicia Vikander in The Danish Girl — yes, okay, but mainly because her performance is being talked up as better than Eddie Redmayne‘s. 4. Elizabeth Banks in Love & Mercy — yes, definitely. 5. Rachel McAdams, Spotlight — quite possible (this is the “compelling maybe” I spoke of) as she gives a deft, assured performance in a universally admired film.

I finally saw Freeheld on Friday night, and I didn’t find it half bad. A TV movie, okay, but heartfelt, reasonably well constructed, straightforward. But mainly I came away convinced that Michael Shannon‘s performance is the best thing about it, and that coupled with his performance as a guarded real-estate guy in 99 Homes he absolutely deserves a Best Supporting Actor nomination. Shannon is 41 (three months older than Leonardo DiCaprio) and has been delivering honest, first-rate work since the ’90s but especially, I feel, since his breakout role as a dysfunctional but ruthless truth-teller in Revolutionary Road. In Freeheld he plays an Ocean County detective who stands by his lesbian professional partner (Julianne Moore) when she’s afflicted with cancer and has to fight local bureaucrats to pass along her pension to her partner (Ellen Page). I like and respect this guy more than his 99 Homes character, who is basically a scared, flinty prick…but with a measure of vulnerability. Shannon definitely steals that film from Andrew Garfield. And he steals Freeheld from Moore and Page. And both films are playing side by side at the Arclight now. Shannon is the guy, the master of that thing that he does. He doesn’t have to be nominated for anything — he’s fine — but he should be.

Michael Shannon as a fearful real-estate shark in 99 Homes.

As Julianne Moore’s Ocean County detective friend/platonic partner in Freeheld.

Jane Fonda would probably tell you she had a good time last night in Santa Barbara, or more precisely at the Bacara in Goleta. Dressed in a fetching forest green gown and looking like $75 million bucks, the two-time Oscar winner accepted the 10th annual Kirk Douglas Award for Excellence in Film award, which was presented by Santa Barbara Film Festival honcho Roger Durling. The underlying agenda, of course, was to launch her Best Supporting Actress campaign for that fierce seven-minute performance as a fading actress in Paolo Sorrentino‘s Youth, which everyone went apeshit for five months ago in Cannes.

“That’s a burn-through, that scene,” I told her when I was ushered into her realm by a publicist. “You own that film completely or…you know, pretty much. That was definitely the consensus among my know-it-all journalist pals in Cannes.” Yes, a typical kiss-ass thing to say during a ballroom conversation, but it’s true — Fonda blows Michael Caine and everyone else off the screen.

Love & Mercy costar Elizabeth Banks, Diane Lane delivered lecturn praise for Fonda at the conclusion of the ceremony.

Fonda, Santa Barbara Film Festival director Roger Durling following her acceptance of 10th annual Kirk Douglas Award for Excellence in Film award.

Fonda thanked me for the compliment (“It’s the truth,” I replied) but said right after that even though she and Keitel and Sorrentino shot it over and over, she wishes she could’ve done the scene once more. (She thumped my chest with her fist as she made this point — great sensation!) Her actress character is from Brooklyn, she explained, and as she gets more and more wound up during her frank-talk scene with Harvey Keitel (who plays a 70ish director) she could have slightly regressed into her Brooklyn accent. Which would’ve made it a tiny bit better, she feels.

I love this about her. All artists feel these frustrations. They’re glad that what they’ve done has tuned out reasonably well, but they mostly see the flaws, the shortcomings. Fonda said the same thing at the lecturn when she accepted the honor: “People were asking me about the clip reels…what do you feel when you see them? It’s hard…it’s hard. You just want to do them over again, make ’em better. I’m nearly 78 and I still feel like a student.”