Well, it's still January so I don't think it's too late for me to give my thoughts on the year in movies. This isn't a formal "Top Ten" (a meaningless and arbitrary number) or even a "best of" list. These are just the movies that, for whatever reason, captured my imagination in 2010. I'm sure there are dozens of worthwhile films from all over the world that I have yet to see, so this is far from a definitive portrait. Anyway, enough stalling. Here's 2010 at the movies:
DAS WEISSE BAND (THE WHITE RIBBON)
Austrian director Michael Haneke is known for provocative and disturbing subject matter and this is no exception. In a small German village, on the eve of the First World War, a series of strange and maliciously intended incidents threaten to tear the deceptively peaceful community apart. As chilling as any horror movie this is a cold, misanthropic film that's not for everyone. However, if you like challenging, enigmatic drama that refuses to provide easy answers, this is a must see. The black and white cinematography by Christian Berger is luminous, and gives this dark allegory an ironically beautiful surface.
UN PROPHET
This compelling prison drama from France tells the story of a young Arab's rise from powerless convict to crime boss. Avoids the usual prison film cliches through, subtle direction, naturalistic acting and careful, meticulous plotting. Lengthy at 155 minutes, but watching this intelligent and consistently surprising character finesse his way through the prison minefield of violence and ethnic distrust, is never less than engrossing.
IN DEFENSE OF THE LOWLY REMAKE
LET ME IN
I know. It was completely pointless to remake the lovely Swedish vampire film "Let the Right One In" after just a couple of years. Audiences seemed to agree as it was a huge flop at the box office (when my wife and I went to see it we were alone in the cinema). Well that's too bad because this is a very well made film, as moody, creepy and ultimately moving as the original. Even re-located from Sweden to New Mexico this story of a friendship between a lonely boy and an immortal monster in the body of a young girl, retains all of it's subtle pathos. Sadly however,North American audiences have spoken and they prefer their vampires hunky and sparkly. Dammit!
TRUE GRIT
I love westerns above all other films and I'm a huge fan of John Wayne. However, I've never been an ardent admirer of the 1969 film of True Grit. It's an entertaining movie with a fun, if buffoonish, star performance from Wayne but not in the first rank. Therefore I was not at all bothered by the prospect of a remake. Actually, given that it was to be directed by the Coen Brothers and to star Jeff Bridges, I would describe myself as enthusiastic.
Well, they didn't let me down, the new True Grit is a joy. Roger Deakin's cinematography is, as always, flawless, the Coen's really capture the sly spirit of Charles Portis' marvellous novel and the cast is nearly note perfect. I say "nearly" because Matt Damon doesn't quite register as strongly as his co-stars. Bridges is almost as hammy as Wayne but much funnier and far less of a caricature and young Hailee Steinfeld steals the film as the story's real hero the redoubtable Matty Ross. A new classic.
THRILLERS FOR GROWN-UPS
THE GHOST WRITER
Roman Polanski will always be a controversial and divisive figure, and rightfully so, but I'm not here to discuss his transgressions. It's also true that his output of late, "The Pianist" not withstanding, has been well made but relatively uninspired in comparison to his early masterworks. The Ghost Writer is in many ways a return to form. An intelligent, low key thriller for adults that builds it's suspense and palpable feeling of paranoia slowly and carefully. Even if he hadn't directed it, I would have described it as "Polanskian".
Ewan McGregor is the titular character hired to compose the memoirs of a charismatic but shady Ex-British Prime Minister played by Pierce Brosnan in a career best performance. Smart, immaculately crafted and highly recommended.
Great final shot (you'll see what I mean).
THE AMERICAN
George Clooney plays a hitman hiding out in a picturesque Northern Italian village. That's it really. We observe his daily rituals. We see him accept a contract and work at it diligently. We watch as he gradually opens up to the gregarious village priest and begins to fall for a beautiful young prostitute played by Violante Placido. As he gradually becomes more humanized he also begins to unravel, giving in to paranoia and distrust.
A portrait of existential crisis dressed up as a thriller and very European in pace, tone and attitude. Beautifully composed by director Anton Cobijn and cinematographer Martin Ruhe, this would probably be my favourite film of the year if it was just a little more substantial. As for George Clooney, he's at his least ingratiating, forgoing his usual boyish charms and sly smile in favour of a cold brooding intensity. In doing so he captures a little bit of the coiled-spring coolness of an actor like Steve McQueen in his prime. In terms of cool, there is no greater compliment known to me.
A PAGAN VISION QUEST
Confession: I'll watch any movie about Vikings, good, bad or indifferent, so I've seen a lot of them. I can honestly say, though, that there's never been one quite like Nicolas Winding Refn's Valhalla Rising. It begins straightforwardly enough, as we watch a slave called One-Eye forced to engage in combat to the death. These opening scenes are jarringly violent so you'll know early whether this is something you can stomach.
I hope you can, because at the halfway point this film becomes something very surprising. Through circumstances I needn't dwell on, One-Eye finds himself on an ill-advised trip to the "holy land" with a crew of Christian Vikings. Things don't go well. Far from a straight forward adventure narrative, the film becomes increasingly strange, even hallucinatory. It invokes some of the visionary qualities of early Werner Herzog combined with the spiritual striving of Andrei Tarkovsky. A film that begins in mud and blood becomes, ultimately a story of transcendence. An original and striking work.
ONE FOR THE NERDS
SCOTT PILGRIM VS. THE WORLD
Flat out, the most fun I had at the movies this year. Edgar Wright's fantasy rom-com should have been a defining hit for the 8-bit generation but went sadly unappreciated in a summer crowded with mediocrity. The story of a likeable but self-absorbed hipster doofus, played by the much maligned Michael Cera, who meets his (literal) dream girl and has to deal with her baggage, namely seven "evil exes" who all want a piece of him. Epic battles ensue in the fight for true love and self respect. Wright pulls out all the stops and the film is a tour de force of visual invention. The young cast are all terrific with the scene stealing award going to Kieran Culkin as gay roomie Wallace. I predict this will be considered a classic some day. You wait.
ONE FOR THE HISTORY BUFFS
THE KINGS SPEECH
Surprisingly moving account of George the VI and his struggle to overcome a serious speech impediment. Not sure how reliable this is as a piece of history but as drama it's a total success. Colin Firth has always been a solid and consistent actor but over the last couple of years has really hit his stride. Helena Bonham Carter and Geoffrey Rush are equally effective in support. It also helps that the director Tom Hooper has a good cinematic eye so the film avoids the "masterpiece theatre" look that seems to plague so many costume dramas.
Solid classical film making.
WICKED GOOD BOXING DRAMA
THE FIGHTER
A surprising film from the mercurial David O. Russell the man who gave us "Three Kings" and "I Heart Huckabees". Surprising in that it's a fairly conventional rags-to-riches boxing story with all the working class hero cliches intact. Luckily it all works beautifully due to terrific acting and a solid screenplay. Chrisian Bale is excellent in the showcase role of the junkie older brother but Mark Wahlberg is completely believable as both a fighter and a native of the tougher areas of Boston. Good work from Amy Adams and the always great Melissa Leo as well. I was a bit shocked by how caught up in this I became. You really want the best for these people.
CLASSY TRASHY COOL
BLACK SWAN
Darren Aronofsky's psycho sexual horror ballet film is a daring, delirious piece of pure cinema. Is it over the top? Absolutely, and gloriously so. Take elements of Polanski's "Repulsion", Cronenberg's "The Fly", bits of "Mommy Dearest", a smidgen of "Showgirls" (that's right "Showgirls") and a lot of "The Red Shoes" and you've got this wonderful mad melodrama bursting with more cinematic life than a half dozen other films combined. Natalie Portman's character is a bit one-note (until the very end) but what a note! A fine brave performance.
MY TOP TWO
WINTER'S BONE
Newcomer Jennifer Lawrence gives, perhaps, my favourite performance of the year as a teenage girl, in the Ozarks, trying to keep her dirt poor family from losing their home. A portrait of true courage and determination, she sets out in search of her meth cooking father despite being warned off by her hoodlum uncle and various other local lowlifes. Director Debra Granik directs with simple grace and screenwriter Anne Rosellini never judges or condemns any of the characters no matter how vile their surface. John Hawke provides excellent support as her frightening but strangely sympathetic uncle. A great film in a small, unpretentious way.
THE SOCIAL NETWORK
Well at this point, what can anybody add about this film. Great ensemble cast led by the brilliant and abrasive Jesse Eisenberg, a tremendous screenplay that squeezes the maximum amount of drama and entertainment from what could have been a very dry subject and of course, the director. David Fincher has been one of the most consistently interesting filmmakers working in the U.S. over the last two decades. His choice of challenging and complex subject matter combined with a striking eye for lighting and composition have placed him in the top rank. His work on The Social Network is no exception. I just wish his film "Zodiac" had recieved nearly as much attention. Anway, a great film that, I think, will endure.
Whew, almost done just let me tie up some loose ends:
HONOURABLE MENTIONS:
TOY STORY 3: Yeah, I know, it's great and should be numbered amongst the best of the year. I have to admit, however, I am getting ever so slightly suspicious of Pixar's slick emotional button pushing. I saw three animated films in 2009 that I found far more delightful and surprising than recent Pixar work. Still, it's a strong film and a great send off for the characters.
THE TOWN: Solid crime drama from Director Ben Affleck. Good performances and a great sense of place. Just too many cliches for greatness.
INCEPTION: Like all Christopher Nolan's work, I enjoyed this while it lasted but it didn't really resonate. Clever, exciting and, fairly, original but not the masterpiece we were led to expect.
GUILTY PLEASURES:
PIRANHA 3D: Cuz who am I to turn up my nose at a movie with an underwater nude lesbian scene. In 3D!
THE EXPENDABLES: For Mickey Rourke, who manages to find grace notes in the testosterone haze.
Oboy, that took a lot out of me. Well, I hope you enjoyed it and that it may give you some idea of what I look for in a film.
I gotta go lie down now.
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