So this post is the climax of a year of cinema-going. Wow. What an achievement. Some quick facts. I saw 202 films this year and went to the cinema 49 times. Why am I even admitting to this? My most watched director was Woody Allen (8 films?! I suppose it's because they're all an hour and half and entertaining). 20 films I saw posted a perfect 10. I saw three films three times (Role Models, Adventureland, Aqua Teen Hunger Force Colon Movie Film for Theaters). Films I didn't see that will no doubt annoy me with their absence when I finally get round to them include Drive, Tyrannosaur, We Need to Talk About Kevin, the Fighter (blu-ray is sitting on my desk as we speak) and The Skin I Live In. As this is all relative, beyond the bottom 2, I'd recommend most of these films. Anyway, let's get this over with. I think a sentence each for 50-15 will suffice?
51) The Wicker Tree (Robin Hardy) - Oh, what a mess. A train wreck on Repo Chick levels. If this movie is lucky, people will end up loving its unintentional humour.
50) Anonymous (Roland Emmerich) - The sole highlight was the hilarious assassination attempt sequence where one man could read the assassin's intent completely by his bizarro stare.
49) Green Lantern (Martin Campbell) - If only this was a Hector Hammond film. Peter Sarsgaard picks this film up and launches it out of the ball park.
48) My Week With Marilyn (Simon Curtis) - So Me & Orson Welles was ignored on release and people went bat-shit over this confused and poorly constructed twaddle? Life never ceases to amaze me.
47) Mother's Day (Darren Lynn Bousman) - I was so surprised by how good the opening 45 minutes were. I was so surprised by the comic book violence in the last 15, especially after the dull torture porn section.
46) The Awakening (Nick Murphy) - Sigh. Dominic West and Rebecca Hall. Why doesn't this film work? Very nice shot of a train early on.
45) Your Highness (David Gordon Green) - Possibly the least funny and most horrific opening 10 minutes I saw all year. It could never recover full after that, but it makes a good effort (almost like the Canadian WJ team against Russia).
44) The Thing (Matthijs van Heijningen Jr) - There were two moments where I found myself impressed with this rather unimaginative prequel/reboot: face rubbing and the ending.
43) The Green Hornet (Michel Gondry) - I am convinced that Seth Rogen cannot succeed as a leading man. That being said, I am convinced that he could be paired with a pane of glass and critics would rave about their chemistry. Jay Chou and Waltz equally try very hard, but the films ultimately feels flat and uninspired.
42) X-Men: First Class (Matthew Vaughn) - Next time, more Fassbender hunting Nazis please? Bacon rocks equally well. Finally convinced me that January Jones is perfect as an emotionally stunted housewife in Mad Men because she is an emotionally stunted actress in Hollywood.
41) Last Screening (Laurent Achard) - First entry of my BFI LFF films. A nice little French giallo. Not that scary, not that polished, but very tense and atmospheric.
40) Last Night (Massy Tadjedin) - Oh, the troubled lives of the upper classes. Very heavy handed, but Keira Knightley impresses in what seems to be the latest arc of her career (the respectable period).
39) Kill List (Ben Wheatley) - I wish that I could shout "THE EMPEROR HAS NO CLOTHES!" over and over again at this film, but the first half is incredible. I haven't seen an ending retroactively make me dislike a film this much since David Fincher's the Game.
38) Paul (Greg Mottola) - Completely worth it for Kristen Wiig's cussing alone. Really shows that Messrs Pegg and Frost compromised all to happily on their script.
37) The King's Speech (Tom Hooper) - I seem to be alone in thinking that Geoffrey Rush deserved the Oscar over Firth. I wish old Colin had won for A Single Man.
36) Sherlock Holmes: A Game of Shadows (Guy Ritchie) - Very much more of the same but now with added Jared Harris who definitely distracts from the fact that this film is far less surprising and interesting in its plot machinations than the first.
35) Thor (Kenneth Branagh) - I love Dutch angles and Kat Dennings. It's a very silly superhero romp, but it was nice seeing a comic book movie villain with a bit of ambiguity.
34) The Deep Blue Sea (Terence Davies) - Homewrecker! Some nice moments, but the very confused editing kills the opening thirty minutes.
33) Texas Killing Fields (Ami Canaan Mann) - Succeeds very well when it allows the actors to do their job and play off each other. Shame the plot is intent on driving them all apart.
32) The Rum Diary (Bruce Robinson) - I really think that Johnny Depp is way too close to the source material to have made this film work. Some great moments, but strangely characterless.
31) Melancholia (Lars Von Trier) - First half is mostly fantastic with a couple of bum notes, second half is taut but ultimately pointless, which I guess is the point. Paradox!
30) Karen Cries on the Bus (Gabriel Rojas Vera) - A lovely little film about a woman trying to find worth outside of her marriage. Very much a slight art house film, but surprisingly warm and intelligent for a debut.
29) Cedar Rapids (Miguel Arteta) - Ahh, morality in insurance. Something I see often. I wish I did a mean Omar from the Wire, which reminds me I still need to buy that Wire boxset. Slight but fun with a good heart.
28) Tinker, Tailor, Soldier, Spy (Tomas Alfredson) - I really need to see this again. Despite all the praise, I just couldn't get invested in this film. The great performances go without saying, but unfortunately it all feels very meaningless.
27) A Very Harold & Kumar 3D Christmas (Todd Strauss-Schulson) - This almost made me feel festive, which is quite the boast as the only film to do that is Batman Returns.
26) Julie's Eyes (Guillem Morales) - It's definitely not hitting the lofty heights of the Orphanage, but the Hitchcockian supernatural thriller definitely succeeds. An nice little gem for those who hunt it down.
25) Wuthering Heights (Andrea Arnold) - The younger actors impress, but this adaptation suffers from the fact that Wuthering Heights is three books in one and would need a three hour running time.
24) True Grit (Ethan Coen, Joel Coen) - Coens do the West. Treading ground would be overly cruel, but this is definitely harbours a great deal of their traditional whimsy.
23) The Screen Illusion (Mathiew Amalric) - Incredibly similar to the Hamlet adaptation staring Ethan Hawke but surprisingly effective.
22) The Adjustment Bureau (George Nolfi) - Men in hats!
21) Captain America: The First Avenger (Joe Johnston) - My fetish for all things Art Deco continues! Definitely the most successful family adventure film of the year.
20) Blue Valentine (Derek Cianfrance) - Stunning performances from the two leads, but unfortunately the decision to turn Gosling's character into a monster damages the impact of this film. Still completely worthwhile.
19) Another Earth (Mike Cahill) - The more successful of the sudden appearance of other planet films.
18) Black Swan (Darren Aronofsky) - So Mr Aronofsky finally got to make his full-on homage to Perfect Blue. Awkwardly caught between serious psychological profile and daft horror fun. I wonder more if he is going to close out a loose trilogy of films about dedication and if so, what with?
17) Bridesmaids (Paul Feig) - One of the few broad American comedies I enjoy! Wiig and Maya Rudolph are a delight and finally proof that Chris O'Dowd is funny when he's not gurning for laughs.
16) 127 Hours (Danny Boyle) - One day Franco will force peace and undying love onto the world, but for now, we'll just have to make do with humdingers like this performance.
15) 13 Assassins (Takeshi Miike)
So now onto the upper crust. As you can tell from above, I enjoy reading my own thoughts on films, so here come more words and sentences on that subject. Takeshi Miike is a very odd film maker. If you have a passing interest in world cinema, you'll probably already know about his prolific output. Sometimes I think this is the only reason he is famous because, Lord knows, it really affects his films. Out of the six directorial efforts of his that I've seen, two thirds of them definitely suffer from a rushed ending. Connecting the dots, I assume that in editing, he is already so excited by his next film that he loses interest in his current one. Yes, I assume him to be like a six year old distracted by something shiny. 13 Assassins doesn't fit that mould at all. Not only does this feel more like a complete film that his other work, but his incredibly frantic energy seems conspicuously absent also. Fortunately this doesn't hurt. The film is a remake of a 1963 film of the same title and it seems that Miike has been influenced by that more staid and slow paced era of cinema. Thankfully, not all of his personality has been removed by this altered style. His love of gore and his dark humour are still there by the bucket load, especially in the last act. As a testament to how entertaining this film is, when I went to see it a couple of weeks after it opened, it was still playing to a full house with some customers commenting on how this was the second or third time they'd seen it. Try and hunt it down as I doubt you'd ever see Miike direct with such confidence without having to resort to the excessively odd.
14) Source Code (Duncan Jones)
It is currently a very exciting time for low-to-mid budget science fiction. Sure, everyone can point at Inception as a current high water point of the genre at large, but truth be told, the more interesting work is being done by a trio of less famous directors (Duncan Jones, Shane Carruth and, soon to join them, Rian Johnson). Shane Carruth's strikingly obtuse and original Primer is definitely the most individual of the completed works of this group, but the most accomplished was Moon, a rightly hyped film directed by Duncan Jones. What really struck with this film was how it captured the wonderfully sparse and paranoid atmosphere of science fiction films from the 1970s but without being a mere pastiche (as many have argued that the current released the Artist is). So, I was a big fan of Moon and looked forward to this greatly. Whereas it could be argued that it doesn't as accomplished a work as Moon, it shows Duncan Jones to be an incredibly versatile filmmaker. Sure, this film is another science fiction piece and yes, it still feels rather like the 1970s, but I could not imagine two more wildly different films under such a tight scope. Whereas Moon felt like a Ridley Scott/Stanley Kubrick collaboration with more warmth (but still sparse on the dialogue), this is a heady mix of Hitchcock, Groundhog Day and the Towering Inferno. Jones excels visually here (the opening tracking shots are stunning), but shows great ability in directing his cast (with the exception of Jeffrey Wright who comes across far too villainous). What I have loved most about his work is that both his films contain elements that, in less capable hands, could appear as gimmicky twists, but he uses them as an intelligent way to develop the story in a completely unforeseen manner. If his statements regarding his next film (allegedly his last science fiction piece) are true, then make sure you mark down the release date in your calendar. It is incredibly rare to see a director so developed at this point in his career.
13) Cold Weather (Aaron Katz)
So Sherlock Holmes was dropped into two films this year. First there was Guy Ritchie's sequel to his bizarrely successful action romp (see #36), but closer to the preconception of most people's idea of our favourite deerstalker-wearing detective was this little gem. Considering how many reviews lead with the joy of the Holmes-esque sleuthing, it is a little surprising how long this film takes to get to that aspect of the plot. Unfortunately, the promise of intrigue and mystery definitely makes the first half of the film feel a bit restless. Thankfully though, this really is a film that inhabits its very own world and draws you in part due to the fantastic characterisations present. This is a deceptively interesting film and once it had settled into its own pace, I was hooked.
12) Hugo (Martin Scorsese)
I wish I could put this higher. Let's make no bones about this, I loved this movie. In fact, I was so emotionally engaged with it that I sobbed on more than a few occasions during its 128 minute running time. So why isn't it higher? Because other things exist in this film other than Ben Kingsley. He is absolutely perfect and there is an awful lot to love in his performance alone. Unfortunately, the more melodramatic lines in the script fall flat, especially when uttered by the younger members of the cast. Also the "adventure" section of the plot is neither as interesting, involving or passionate as the moments where Scorsese focuses on sharing his love of cinema. Like a dreamy mix between Cinema Paradiso and the Adventures of Baron Munchausen, the film still delights when tapping into the joys of creativity and imagination.
11) Submarine (Richard Ayoade)
Being a big fan of Garth Marenghi's Darkplace, I was excited when I first spied Ayoade's name on a huge-mangous poster on the tube. Although the styling is very different, there is great similarity conceptually between these two projects in that Ayoade has established himself as a master of visual pastiche. Whereas his work on the aforementioned television series was firmly rooted in low budget 80s television and Stephen King adaptations, this is a very offbeat and British take on Truffaut. In a year where we've seen some incredible performances from younger actors, the central pairing of Craig Roberts and Yasmin Paige as the offbeat, somewhat destructive couple in this coming-of-age tale tops my list. In fact, the entire ensemble is supremely talented.
10) Silver Bullets (Joe Swanberg)
Unlike most people, I don't have a huge issue with mumblecore. Strangely though, despite my love of Andrew Bujalski, I've never really specifically sought out any film in this terribly defined genre. So this was the first film I've seen from the extremely prolific Joe Swanberg and, although there are definitely issues with this film, I don't think people give him enough credit for just how interesting and well-thought out his films can be. The plot revolves around Joe Swanberg, Kate Lyn Sheil and horror director Ti West playing versions of themselves. Joe plays a pretentious low-budget director, Ti plays an up-and-coming horror director, Kate plays an actress dating Joe but caught imbetween them both artistically and romantically. People may not like his work, but Joe Swanberg is an incredibly brave and self-aware director. I think few people could tackle their own issues and anxieties on-screen without having to doll up the people and situations involved in metaphor and other forms of layering. Though the unprofessional sheen may test some viewers' patience, I feel more compelled and excited by the approach Swanberg takes to movie making. Hell, I find it down right inspirational how much he can achieve with so little equipment. (On an extra note, this film possesses a fantastic soundtrack and poster).
9) Moneyball (Bennett Miller)
As I've stated before on this blog, I don't understand baseball very well. Fortunately however, an understanding of the game isn't needed to become invested in the drama of watching a group of people try and take on the status quo with far more limited means. This isn't the most complex or thought provoking film I saw this year by any stretch, but it is very well put together work. The writing is snappy and intelligent, the acting incredibly sharp (even if Brad Pitt is well on his way to becoming Robert Redford) and the whole thing is held together by Miller's taut directing.
8) Senna (Asif Kapadia)
Ayrton Senna is an incredibly polarising figure. He certainly changed Formula One motor racing both through what he achieved as a driver and the consequences of his death, and it can be argued that some of which was not necessarily for the better. This however, is not to detract on how awe-inspiring a human being he was and Asif Kapadia cuts straight to the heart of this. Similar to many other recent successful sports documentaries, the liberal editing certainly presents only a half truth, but this doesn't change how humorous, fantastic and emotional a narrative the viewer is taken through. For a F1 fan, there's a whole bucket load of race footage and rare behind-the-scene views of the politics of the paddock to geek out about, but much like Moneyball above, this is not a film that requires an intimate knowledge of the sport. This is simply a story about a man wanted to be recognised as the greatest at what he did and the challenges he faced both on and off the track. I don't think there's a more excruciating moment in film this year that the onboard footage at Imola. Kapadia is incredibly brave to let that footage play out.
7) Take Shelter (Jeff Nicols)
This film is so complex and well developed that I'm sure that my terribly strung together words can't do it justice. All I will endeavour to say is that there is a mere handful of characters that I care more deeply for than the family at the centre of the storm in this film. The characters are so incredibly well fleshed out and a lot of that is due to the incredible performances of Michael Shannon and Jessica Chastain. The ending is a tad polarising, but I was fortunate to hear an interpretation of it that really connected with me.
6) 50/50 (Jonathan Levine)
Delicious cappuccinos. I make no bones about it, Joseph Gordon-Levitt is one of my favourite actors and has been ever since Mysterious Skin. On the other hand, however, Seth Rogen is definitely someone I have a love/hate relationship with. That's not to say I don't find him funny, because that wouldn't be true. Hell, most of the quotes I share with friends are his from Pineapple Express. Hell again, if I had a friend that acted like Seth Rogen, I'd probably hang out with him all the time, but for some reason I end up not loving the films that he features heavily. Mystery. Fortunately, I don't think I saw a funnier film than this all year and I can say that Seth Rogen is a big part of that. Also extra bonus points go to this film for using The Other Side of Mt. Heart Attack. I pretty much cry when I hear that song on its own, so imagine how emotional I got when it appeared in this film!
5) Kaboom (Gregg Araki)
I don't think I have smiled so hard and for so long in a film than I did for this film. Funny, riotous, exciting. Don't go expecting a revelatory message, but do if you want to see a film maker going completely full pelt.
4) The Future (Miranda July)
I was very fortunately to watch this with the film maker in attendance for a Q&A session to follow the film. I hadn't seen Miranda July's other film and I was walking into this one with very limited knowledge about it. I had seen the trailer almost by accident a couple of days prior to the screening. The trailer concerned me. The trailer look awful. I'm so glad that I didn't let that scare me off this film, because it is a wonderfully funny and moving portrait of the hurt that people can inflict when they're scared. I've heard people say that you only really know what you're like when you're put in a vulnerable position. Usually, they're talking about situations of great stress. Whether that's in a war or when you lose a loved one, it doesn't matter, but people seem to ignore the seemingly innocuous moments that can redefine who you are as a person. The entire chain of events depicted in this film is set off when a couple decide to adopt a stray and injured cat. This decision ends up completely shattering their life. I really need to see Ms July's other film because if it is even half as imaginative and inventive as this film, I'm sure I'd love it. This film definitely contains one of my favourite depictions of heartbreak in any piece of art.
3) Midnight in Paris (Woody Allen)
I really don't understand how anyone wasn't charmed by this film. I was lucky enough to see it twice and the audience reacted very differently both times (seems like people in Cumbria didn't find Hemingway's manner of speech very funny, but people did think it was acceptable to act like a living Cliff notes for their friends who weren't aware of the Fitzgeralds or Man Ray). My reaction didn't change, I was completely enthralled throughout. I am definitely guilty of believing that if I had lived in another age, all my problems would disappear (hell, if I had it my way, life would look like the Stark Expo in Captain America). The film definitely says it right; it's a minor insight, but that doesn't mean it isn't a worthwhile one. I had a very similar idea for a script (though mine involved the Berlin film scene of the 30s), but I can't be too angry with Mr Allen as this is definitely one of his better works in the last decade. I think what really makes it work is that, although some of his other films lately have been more adventurous in terms of plotting and characters, this never feels like it is retreading old ground despite it's more familiar Allen-isms.
2) Rabbit Hole (John Cameron Mitchell)
I don't think I have the words in me to do this film justice. John Cameron Mitchell really surprised me with this film. I had previously only seen Shortbus, which I found to be interesting but problematic and I've never got round to seeing Hedwig and the Angry Inch. Given the content of those two films, a small character piece based around a couple trying to navigate their relationship after the death of a young child comes somewhat out of left field, but he shows to be an extremely capable and mature director. Unlike Blue Valentine, another film about a troubled relationship, this film excels in not making a villain of either party and is all the better for it. A truly simultaneously upsetting and heart-warming film.
Mortality is something that we all have to face. True, it is rare for the younger to spend their time pontificating and worrying about the other side, but I certainly know that my thoughts will drift there, at least at a shallow depth, from time to time. Fortunately, we don't have strict expiration dates, so we don't have to concern ourselves with the pressure of our limited time. How much life we have in front of us is a complete mystery, so the time spent worrying is mostly a waste of time unless it is inspiring you to take better care of yourself or to use the time you have in a more satisfying manner. On the whole, providing we are lucky enough to be healthy, we all take our time, not necessarily for granted, but at a lax pace. We don't run to reach our goals, we allow the path to develop naturally. Our passions and personalities develop through trial and error. Our loves and lives are a wonderfully ill-defined adventure that ends up defining us. We don't sit and think at age 12, I may only have 14 years left, best get a move on if I'm to achieve all I want...
...but, what if that wasn't the case?
