I started out the week by actually finishing some things. Yes is the Answer, a sort of oral history of Prog Rock and The Burning Man, Chirsta Faust’s latest Fringe novel. And the end of the week went crazy with Baltimore Comic-Con, and a visit from Dan and Chris.
Dredd: A satisfyingly brutal take on the venerable comic character, Dredd finally does 2000AD’s bent sense of humor and grim future justice. And yes, the helmet NEVER comes off. Karl Urban makes a great Judge Dredd, with a constant frown and that chiseled jaw. The villains are nasty, the heroes are nastier. The violence is weirdly beautiful and the world building is spot on. For some reason I’ll never understand, this movie did not get anything like the audience it should have. I’m constantly seeing stuff online from people just seeing it, saying ‘this is so good; how did I not see it before?’ I don’t know. I saw it in the theater, and had it been there longer, I’d have gone again. Loved it then, and love it on this second viewing.
Battle In Outer Space: A pretty good space launch turned alien attack movie from Japan, this is perhaps too slow paced. Still, in spite of the slow pace and the occasionally meandering plot, I found myself enjoying the adventures of the various characters. Cool Toho type model work. It’s not great, and not as wild and weird as some others of the era. But it’s good.
Mothra: The argument could be made that this is just kind of a Godzilla clone, with a giant moth instead of a giant dinosaur. But so what? It’s fun, it’s well done, and it’s got some cool model destruction. The King Kong style island adventure in the middle is cool. There’s a nice twist in the middle. And the action is solid.
Lords of Salem: I’m actually kind of impressed by just how unimpressive this film is. It’s easy to crap on Rob Zombie. House of 1000 Corpses was a jumbled mess (with a few interesting bits). The Devil’s Rejects (his best) is uneven, to say the least. The Halloween remakes sucks (there; I said it; it sucks). El Superbeasto was absolute garbage. And now Lords of Salem. It has a lot of the disorganized, aimless feel of 1000 Corpses, with the yawn inducing boredom of Halloween. But, it also looks great. That’s the thing with Zombie’s work. He does some good stuff. He works with different cinematographers every time, but always has very cool imagery in his films, which I assume come from him. But the writing. It’s just not there. I loved a lot of the early scenes of Sheri Moon Zombie walking around, and going about her life. It had a very nostalgic, New England in the early 80s vibe to it that I thought was quite nice. But otherwise, the movie is just a mess. I think he was aiming for some combination of The Devil’s Rain and The Sentinel, but he missed the mark.
Hey look. A goat.
The African Queen: “Ain’t a thing I can do about it.” I enjoy the heck out of this light-hearted adventure movie, set against WWI era Africa. Bogart and Hepburn are two down and out people on the edge of nowhere, who come together with a hair-brained plan to strike a blow against the Kaiser. We then follow these two down a torturous river and through the fumblings of a budding romance. I love that the actors don’t look good. Hepburn is clearly getting older. Bogart looks like crap. They sweat, they get dirty, and they just don’t look like movie stars. Yet, the film is beautiful to look at. Is it an amazing, life changing film? No. But I get why it’s a classic, and I do really enjoy it.
Wrong: “I only realized that I loved my face after it had been burned with acid.” Two years ago, Rubber kind of blew me away. It was so out of nowhere, so strange, so sickly clever that a movie about a murderous psychic tire (yup!) made it on my top ten list. Wrong is fun, and it’s weird. But it’s not on the same level. Sure, there’s plenty of weirdass behavior and strange images. But while I enjoyed it, I wasn’t blow away by it.
So, Friday night, Chris and Dan arrived. Saturday morning…way too early Saturday morning, we hopped in the car and headed to Baltimore, setting up the Warrior 27 table. We were each able to make various excursions around the place over the course of the day, and I got to see a lot of cool stuff. This year stood out for me because of the breadth and obscurity of the cosplay. I was impressed. Sure, there were a lot of New Who costumes (only one good enough for me to give a pass on the cliché/overexposure). And there were a bunch of Deadpools (I don’t get it). But there was a Captain Haddock (from Tintin) for crying out loud. There was even a couple of ladies doing the nerdy scientists from Pacific Rim. It was pretty cool. After the show, co-Dork Brad and our friend Robert joined us for some Mexican at a place not too far from my house. Too late to bed, and an early rise the next day for Day 2 of the con. More on that next week, I guess.
Everyone loves William Fichtner, right? I've been fascinated with the man ever since his early days on Grace Under Fire. His roles in Go, Contact, Heat, Drowning Mona, and Black Hawk Down pushed him further into my heart and his recent turn in Drive Angry made him a full blown obsession. Well, he's going to be appearing next in Quentin Dupieux's pet detective mystery Wrong and I'm one of the overjoyed Rubber supporters. However, this has nothing to do with that. Dupieux's DJ persona Mr. Oizo has a new album out and for promotion sake he pit the diabolical William Fichtner against a puppet. See the results below.
2011 was a solid year in film. It was no 1999, 2001, or even 2009 but it was a heck of a lot better than 2008 or 2010. Of the films released this year I watched a record 120, that's 19 more than last year. That might not be impressive to some of you hardcore film bloggers out there, but I’m quite pleased with cinematic intake. Sure, I missed a couple films--The Skin I Live In, Take Shelter, and Shame being my biggest regrets. Oh well, that's why we've got Netflix.
What I found most interesting about this year is that Matt & I have very similar lists. Could it be that our work on this blog is infecting us both? Are we becoming one being? What might be more interesting are the films in which we differ. Matt, why oh why is Drive Angry not on your Top Ten!?!? Frankly, I'm disgusted by its exclusion on your list.
The other item of note, this is the first year that my own Top Ten shares many films that can be found on the critic's lists out there. I'm I becoming more mature? Or just a bigger snoot? Again, at least I've got that Drive Angry to separate me out from the herd. Anyway, without further ado:
The Top Ten Films of 2011:
10. Rubber: The first time I saw the trailer for Rubber, I chuckled. I thought, “a movie about a telekinetic killer tire? That’s gonna be craptastic in a Jason X kinda way.” But somehow, director Quentin Dupieux manages to take a pretentious student film and deliver one of the best bits of whackjob cinema I’ve ever experienced. What does it all mean? Hey, they say at the outset “No Reason.” Just roll your wheelchair next to Wings Hauser in the audience and enjoy. And don’t eat that chicken.
9. Drive Angry 3D: According to interviews, Nicolas Cage sees himself as a modern day Vincent Price; latching himself to one bizarre genre picture after the other in a mad dash for cash. It seems to be backfiring for most people, but I honestly enjoyed all three of his B Movies this year (yes, even Season of the Witch). Granted, I have a serious weakness for Cage and although I’m not going to psychoanalyze it here you should take that into account. Drive Angry borrows heavily from one of my favorite 70s exploitation flicks, Race With The Devil as well as other Satanist paranoia movies of the era like The Devil's Rain and Rosemary's Baby. Nic Cage is definitely greasy gross in his drippy, blonde strands and he’s ridiculously serious as the escaped convict hellbent on rescuing his sacrificial lamb granddaughter from the clutches of soulpatched Billy Burke (miss that Charlie mustache from Twilight). William Fichtner probably has the most fun as hell’s accountant with his quippy lines and smug know-it-all smiles, and I love how their relationship eventually plays out with a respectful human skull salute! of Kentucky Bourbon. Even Amber Heard gets the vibe perfect as the southern drawled, daisy duked sidekick who likes naked men to paint her toe nails. Cheese of the highest order.
8. The Artist: Love at first sight. That was me ten minutes into The Artist. A wondrous picture following silent film sensation George Valentin as his relevance comes into question with the emergence of the Talkies. But being a silent film itself, The Artist is no mere gimmick--it's a celebration of cinema, reveling in the power of performance and emotion. Jean Dujardin gives one of the year's best turns as the descending Valentin, but all the actors find a place to shine. From 30 seconds of Malcom McDowell, to the brilliance of John Goodman's exaggerated producer, to James Cromwell's impossibly dutiful chauffeur Clifton. I cannot sing The Artist's praises enough. If you love movies, you must see it in the theater with a crowd. A pure, cinematic experience.
7. Hobo With A Shotgun – It's all in the title. A film that celebrates the joys and the theatrics of The Extreme and miraculously manages to capture that 80s grime found splattered across the best VHS box covers. Rutger Hauer spits and gnashes an epic cult performance; a perfect grasp on the absurd, psychotic dialog. But so does the rest of the cast! It goes without saying that Hobo With A Shotgun is not for everybody, but with the right eagerness it's as thrilling as a bus load of flamethrowered children. Frankly, it's amazing that this film actually lived up to all our ITMOD anticipation.
6. Hanna -- Genetically enhanced super child Saoirse Ronan leaves her father's roost to hunt down her mother's killer and no punches are pulled in this rather brutal PG-13 chase picture. Director Joe Wright takes the simple script and excels with a style exercise--saturation, thumping Chemical Brothers score, odd character beats, and quick stabbing edits. What's the deal with Cate Blanchet's bloody gum obsession? Or the track suited homosexual assassin? Or that hippie-dippie globe-hopping family? Don't know, but it keeps the proceedings wildly interesting.
5. Tinker Tailor Soldier Spy – Gary Oldman gives one of his finest performances (sorry Tiptoes, your hyperbolic trailer holds no water here) as retired Brit spy George Smiley, who must maneuver his way through the treacherously murky waters of MI-6 as he attempts to upturn a mole in “The Circus.” And surrounded by Oldman are some of the U.K.s finest: John Hurt, Mark Strong, Colin Firth, Tom Hardy, Benedict Cumberbatch are all utterly brilliant puttering around this booby trapped script. Don’t expect the shaky cam heroics of The Bourne Identity; the action here is done in small facial distortions, and when violence inevitably erupts it’s quick and brutal.
4. Rango – Both director Gore Verbinski and ILM’s first foray into feature length animation, Rango is an absolutely bonkers Weird Western that really is nuttier than you could possibly imagine from those initial trailers. Johnny Depp’s Lizard With No Name is a struggling actor trapped in existential crises and looking for life’s part when he stumbles into the metaphorical town of Dirt and it’s Chinatown conspiracy. Definitely not your typical kiddie fare, most of the plot points and icky strange jokes will float above their heads but there are a couple fart jokes (and human spinal columns in feces gags) to keep them satisfyingly giggly.
3. Drive -- Neon L.A. Noir at its finest. Drive is a brutally violent crime story with a fantastic Charles Bronson turn from Ryan Gosling. He manages to pull off a soft, stunted soul that’s also capable of bursting with scary, blood curdling, hammer swinging violence. Director Nicolas Winding Refn keeps the violence short and splashy, but layers the remaining run time of tension with a pulsating Euro techno score. And let’s not forget some of the year’s best supporting performances from psycho evil mini-mobsters Albert Brooks & Ron Perlman.
2. Attack The Block – This year’s internet instant cult classic! Imagine The Goonies if raised on the violent streets of South London battling it out with intergalactic Wolf Apes and you’ve got the year’s most fist-pumpingly entertaining films of the year. John Boyega gives the year’s breakout performance as Moses, the hoodrat thug turned Samurai Alien Hunter. The score is classic John Carpenter with throbbing synth beats that convey the joys of both The Thing and Assault on Precinct 13. And like The Goonies or The Monster Squad, you’ll finish the film wishing these kids were your backyard gang…well, as long as they’d have you. Trust. Believe. Allowit.
1. Hugo – Are you ready for this? Hugo is Martin Scorsese's best film in the last 20 years. Bam. Done. Wrapped up in this kid's adventure film is a beautiful love letter to cinema and I want to grab all my family members, friends, and coworkers to see it so that they'll have a proper understanding of why I love movies as much as I do. Orphan Hugo Cabret lives in the walls of the Paris Train Station, stealing from the local shops he grabs the attention of Ben Kingsley's toymaker and Sasha Baron Cohen's railroad inspector. Here Hugo will discover the clockwork secret to his father's automaton and his purpose within the machine of man. Great performances from all involved, but the true star is Scorsese's Love Affair with Cinema and his mastery over it. I was emotionally rocked by Hugo, and in such a way that I’ve never experienced in a movie theater. A religious experience? That sounds silly, but definitely something of an internal enlightenment.
Best Director: Nicolas Winding Refn (Drive) -- Before Drive, I had only seen Refn's Bronson and Valhalla Rising. I enjoyed the wild intensity of both of those films, but there was some unnamable quantity about them that kept me from going "all in" with the director's vision. With Drive and its star Ryan Gosling, Refn takes a stab at Hollywood mainstream; James Sallis' sparse crime novel provides the perfect backbone for Refn's hyper-stylized vision and the result is a film oozing with Michael Mannish Steve McQueen cool. It's classy. It's Brutal. An oxymoron of shiny noir.
Best Supporting Male Performance: Albert Brooks (Drive) -- Why were we all so shocked to see Albert Brooks as the violent movie producer gangster Bernie Rose? I guess we just love to cage our actors in the roles we discovered them in. But I was shocked...or stunned by Brooks in Drive. He's a beast. And without pages of exposition you get how he got where he is; he's charming and cool, but he's also a disgusting psychotic with an eye for cutlery. Bummer for the sad sacks who get in his way.
Best Supporting Female Performance: Keira Knightley (A Dangerous Method) -- I'm giving her the award based solely on her first fifteen minutes on screen. A Dangerous Method might have been a bit of disappointment coming off the brutal Cronenberg crime sagas of A History of Violence and Eastern Promises, but I cannot remember a time in which I felt more uncomfortable than I was watching Knightley's chin-jutting burst of crazy upon arrival at Carl Jung's nuthouse. It's a cliche to say, but Knightley is absolutely fearless as the sexually complicated patient and I'm stunned that I thought of her more often than either Fassbender or Mortensen when the credits rolled. Hat's off.
Best Leading Male Performance: George Clooney (The Descendants) -- Whether as actor or director, it seems like George Clooney always finds a way to make it on to my year's best. Similar to Nic Cage, I've just got a hard on for Clooney. Crude, but accurate. I saw The Descendants by myself. It was a mistake. The story of Hawaiian landowner Matt King coming to terms with his wife's catastrophic Matthew Lillard affair while she's just days from coma death left me a puddle. Here Clooney proves something I thought him incapable of: sad, pathetic, schlubby, a good dad.
Best Leading Female Performance: Charlize Theron (Young Adult) -- And here's another expertly crafted pathetic mess. Charlize Theron taps into her psycho bitch as YA author Mavis Gary on the hunt to steal her now married ex from his drummer wife and infant daughter. Theron spits venom with the best of them, but it's as her plan begins to fumble that the heights of her complicated trainwreck reveal themselves. And her final, naked moments in front of crippled Patton Oswalt are devastating if not heartbreaking (she is a complete witch afterall).
Best Poster: Hobo With A Shotgun -- Just like Jason Eisner's film itself, the poster for Hobo With A Shotgun perfectly captures that brilliant decade of VHS exploitation, The 1980s. Artist Tom Hodge aka The Dude Designs knocks it out of the park in this era of floating heads and photoshop. Thank you, sir.
Best ADR: "Jumping!" (Your Highness) -- I absolutely loved this movie. Seems like a lot of you folks out there don't share that opinion. That's fine. But I just adored this send up of those goofy ass fantasy films of the 80s. Your Highness understands the allure of Deathstalker and The Barbarian Queen films. And drops in some pot humor. But the biggest laugh of the film for me comes at the climax. Danny McBride and James Franco are battling it out with the evil wizard Justin Theroux; as he hops from one castle bridge to the other a bit of last minute ADR screeches, "Jumping!" It's ridiculous. I've seen the film three times now and it crack me up each outing. I have a dumb brain.
Best Coffee: Kato's Cappuccino (The Green Hornet) -- 2011's first film that I saw in the theater turned out not to be the biggest heap of crap that I was anticipating. Sure, it's still not the pulp adventure that I would have wanted, but Seth Rogen comic book movie was plenty fun. However, what I took most out of that film was an insatiable desire for sidekick Kato's special cappuccino machine. That brew looked damn delicious.
The "Hey, I Don't Hate Your Guts Anymore!" Award: Woody Allen (Midnight In Paris) -- I've just never been a fan of Woody Allen. Annie Hall. Manhattan. Match Point. I've tried, but it's all just a snooze to me. So, imagine my surprise when Midnight in Paris put a great big grin across my face AND it nearly made my Top Ten films of the year. Can't believe it, frankly. But it's just such a wonderful geek movie. I completely relate to Owen Wilson's 1920s obsession and the fear of the real world.
Best Super Hero: Captain America The First Avenger -- My initial reaction to Joe Johnston's WWII Marvel adventure was lukewarm at best. I loved the first 2/3rds of the flick but thought the film suffered from one too many montages and was bogged down in preparation for next year's Avengers event. Well, I still feel those things. But now I've watched the film a half dozen times on blu ray and I just adore Chris Evan's Steve Rodgers. And those moments between him and Stanley Tucci's good doctor are so utterly precious. The film through their tiny conversations gets what it means to be a hero. So that first 2/3rds is better than a complete Green Lantern, Thor, or X-Men First Class.
Best Theatrical Episode of Quantum Leap: Source Code -- It might not have rocked my world as much as MOON, but Duncan Jones' sci-fi actioner was an early year bright spot. Gets bonus props for including Dr. Sam Becket aka Scott Bakula as Jake Gyllenhaal's telephone father.
Best Buddy Cop Movie: Season of the Witch -- Goofy. Stupid. Fun. Season of the Witch is that Vincent Price movie Nicolas Cage so desperately wanted it to be; take out the CGI and you've got yourself a solid heir to Roger Corman's Masque of the Red Death. But what I really love about this movie is the strange Crusader pairing of Cage and go-to brute Ron Perlman. It's something I never would have imagined, but this oddity is a wonderful gift to genre fans.
More Dinosaurs Please: Tree of Life -- I enjoyed Terrance Malick's 50s family drama, but the stuff I absolutely adored was all the crazy, pretentious stuff. The Big Bang, The Dinosaurs, The Afterlife...? The Brad Pitt stuff was good and all, but I couldn't quite connect the dots to all this mondo stuff. Apparently there is a 6 Hour cut out there. I'm definitely down for that.
Best Remake: Fright Night -- Another shocker from the year. Colin Farrell as suburban vampire Jerry? David Tennant as rock star magician Peter Vincent? Sounds like a recipe for "Who Cares?" But Fright Night managed to keep a lot of the fun flare found in the original. It doesn't reinvent the wheel, but it also doesn't set it ablaze.
Worst Remake: Straw Dogs -- I would argue that you just can't make a movie like Sam Peckinpah's film anymore. We are just too damn PC. So if you can't even get your lead actress to take her top off than why bother with a sick puppy flick like Straw Dogs? No point.
Best DVD Release of the Year: Sweet Smell of Success Criterion Blu Ray -- Another year another twenty or so amazing releases from Criterion. And this year might have been the best one yet. Not only did we get Sweet Smell of Success, but also Kiss Me Deadly, 12 Angry Men, The Great Dictator, and The Three Colors Trilogy. But there are no greater cinematic bastards than Tony Curtis and Burt Lancaster as Falco and J.J. Hunsecker. Watching Curtis squeeze and sleaze his way through the world of New York press is both painful and delightful--especially when he's bashing up against Lancaster's towering, omnipotent columnist. And the dialog! "The Cat's in the bag and the bag's in the river." "I'd hate to take a bite out of you. You're a cookie filled with arsenic." Monstrous!
Most Overrated Film of the Year: Melancholia -- I just don't get this one. Kirsten Dunst's bride is just too damn crazy for me to relate to; how on Earth did this wedding ever come to fruition anyway? Sure, Lars Von Trier's visuals are sometimes stunning but not stunning enough or often for me to give a crap. Similar to last year's The Social Network, I just did not care what happened to these horrible people. Kiefer Sutherland was a tiny bright spot.
Most Unfairly Maligned Film of the Year: Cowboys & Aliens -- Craig and Ford feel right at home on their horses and I'd love to see further adventures with these chracters with or without the battle toads. And I maintain that Favreau's genre mashup is a damn fine popcorn Western with an excellent breed of actors chewing up the scenery. Don't think the film is going to convert modern audiences to the cowboy picture, but fans of outlaw cinema will find enough to enjoy. Besides, name a better weird Western? And don't say Rango...cuz yer right.
The Worst Films of The Year!
1. Dylan Dog Dead of Night -- SOOOOOOOO BOOOOOOOORRRRRIIIIIIIIIIIINNNNGGGG. Thanks to small roles in Chuck and Scott Pilgrim vs The World I've become quite the fan of Brandon Routh. Unfortunately, Dylan Dog presents a tremendous blow on that status. Not one single original thought or idea flutters across the screen. Instead we're presented with one cliche after the other and an endless narration that dares you to rip every follicle from your skull. Painfully dull.
2. Conan The Barbarian -- Terrible. Do I have to go on? Hard to muster up the energy for a film so disappointing. It's not like the Arnie classic got the Robert E Howard stories pefectly, but it definitely got those Frank Frazetta paintings! This is just cheap immitation with a completely lifeless lead in Jason Momoa who just seems to give high-fives and point his sword in the air.
3. Red Riding Hood -- How is this the same woman who made Thirteen & The Lords of Dogtown? Those were not great movies, but they were well crafted or at the very least not completely incompetent like this and that first Twilight flick. What's wrong with our country that we'll shell out cash for this? What's wrong with me?
4. Spy Kids All The Time In The World -- It's been a while, but I remember Robert Rodriguez's first two Spy Kids films having a serious dose of childish, somewhat farty intelligence. But this latest outing in the decade old franchise is a true embarrassment. I was pretty much lost from the opening scene; watching a full blown pregnant Jessica Alba zip lining through an action sequence as her water breaks...I'm just thankful I didn't attend one of those aroma-scope theatrical experiences. And the film is just NOT FUNNY! From Ricky Gervais talking, butt-bombing dog to Joel McHale's well-quaffed Spy Hunter--the jokes fall flat. Robert Rodriguez seriously needs to make a good movie, and soon.
5. Sucker Punch -- Forget all the asylum Return to Oz mumbo jumbo, I would have much rather watched a movie set in a Fantasy world filled with Gatling gun toting samurai and bomber chasing dragons than this dreary can't-handle-reality tale. Plus, the lead "badass babes" are dull, dull, dull and the only actor I sorta enjoyed was Scott Glenn's Yoda warrior, and I couldn't really figure out his purpose anyway. There are some great visuals here and it made for a helluva teaser trailer, but there just really isn't much here to savor. I don't hate Zach Snyder, just the opposite. This was really the first film of his that I just could not enjoy on any level. Fingers crossed for Man of Steel.
Biggest Disappointments!
1. The Girl With The Dragon Tattoo -- I didn't really dig the book or the original Swedish film. I was hoping David Fincher would bring something new to the picture, but it's basically a rehash of the mediocre material. Besides have the greatest James Bond opening credits in a non-James Bond movie there really just wasn't much here for me. Probably my least favorite Fincher film.
2. A Dangerous Method -- It's a solid film with some fun performances from Michael Fassbender, Viggo Mortensen, and Keira Knightley. But it lacked that extra bit of oomph. I don't think I wanted another Eastern Promises, but this was just too dry for me.
3. Super 8 -- I'm not going to dwell on this cuz I know Matt loved the heck outta this flick, but it just didn't light my world on fire. It's a good movie. But after a rewatch it just doesn't hold my interest. JJ Abrams makes one pretty flick and I think the kids in this film are absolutely amazing. But the eventual sci-fi reveal is a little lackluster. It's good nostalgia.
4. Red State -- I don't know what I thought this was going to be, but I just could not stand this movie. I love Michael Parks' crazed preacher and John Goodman is decent. But the second half of the film is nearly unbearable. The G-Men are so damn cliche and jerkwady. I just don't buy it. And then Smith doesn't have the guts to stick with the twisty climax.
5. Meek's Cutoff -- As a Western nut I was really looking forward to this wayward pioneer story. And I love Bruce Greenwood's beard here! But it's a little too indie and spare for me to enjoy. Definitely a pretty picture though. But I much preferred Sam Shephard's Butch Cassidy sequel Blackthorn.
The Actor of the Year!
Ryan Gosling: This time last year I found it pretty easy to dismiss Ryan Gosling. What, that kid from The Notebook? Hey, check out Half Nelson! Yeah, yeah, I heard that's good, I'll get to it. But then 2011 brought us Drive, Crazy Stupid Love, and The Ides of March. One, Two, Three. Can't ignore that. In Drive, of course, Gosling is a quiet monster ready to strike at those he perceives as villainous. A Badass Psychotic. Crazy Stupid Love is a rare treat, a romantic comedy that's not just typical Jo Lo mushy blather fodder and Gosling is Super Cool TNT as the smug, know-it-all lothario. And then in George Clooney's The Ides of March he delivers a twisting transformation as the do-gooder campaign secretary turned inevitable political hypocrite. And, apparently, next year Gosling is set to team-up once again with director Nicolas Winding Refn for Only God Forgives--a Bangkok police drama involving a Thai boxing tournament. WTF? Sign me up. In the meantime I'm gonna Netflix The Notebook.
The Most Anticipated Film of 2012: Django Unchained -- This year is gonna be insane. The Dark Knight Rises, The Avengers, Prometheus, The Hobbit, Skyfall, Ghost Rider 2, World War Z, GI Joe Retaliation, The Expendables 2, and uh...Battleship. But of all the films to look forward to, the one I'm gorging pins & needles for is Quentin Tarantino's Western Django Unchained. The man has been paying homages to the great genre in almost every film in his cannon and now he finally has the opportunity to let loose. I remember when QT first optioned Elmore Leonard's novel 40 Lashes Less One--the very idea of cowboys in his Mexican Standoffing universe is enough to make the 14 year old boy in me squeal. And what a great cast he's got lined up: Jaime Foxx, Leonardo DiCaprio, Kurt Russell, Sam Jackson, Christophe Waltz, Joseph Gordon Levitt, James Remar, and Sacha Baron Cohen. That's amazing. Is it December yet?
Wow. 2011 was a heck of a year for film. Once again proving to me that people who complain about there being ‘nothing good’ or ‘nothing new’ or who lament that they ‘don’t make movies like they used to’ are in fact, completely full of crap. I mean FULL of it. And they need to get over their cynicism, put down their rose colored, past-aimed glasses, and pay attention, or get out of the pool. Because people like myself, who actually have love for the movies, would like to enjoy them, thank you very much.
Movies this year were all over the place, from drama to comedy, from nostalgia to avant garde, from extreme trash to old-timey wonder. There were plenty of the almost workman like blockbuster types; some good, some not. But, between the effects laden extravaganzas, there were so many smaller, grander movies. It was honestly one of the best years I’ve had as a movie viewer in a long time. Probably since 1999.
Top Ten Films
10. Hobo with a Shotgun: As a teen, I discovered the majesty of Troma with The Toxic Avenger and Class of Nuke ‘em High, and nothing was ever quite the same. The squirm educing, goofy, outlandish awfulness of the films knocked me for a loop, and I loved it. The rules seemed different somehow. Hobo With a Shotgun put me right back in that headspace. It felt like 20 years hadn’t passed, I was still poking through the VHS boxes at the skeezy video rental shop a few blocks from my house, looking at the lurid covers and figuring out if I was going to pick up the new Full Moon or the new Troma film that night. Movies like this are satisfying in a way that more ‘serious’ films can never be. It’s like the art of swearing. Sometimes you need a good bit of profanity, just to keep your sanity.
9. The Rum Diary: Certainly not as demented and trippy as Depp’s other foray into the world of Hunter S. Thompson, this movie is still quite entertaining. Watching the young, semi-ideological reporter get a quick-fire education in the realities of life, while falling in love (both with a woman and with his chosen profession) was a nice, cathartic experience for this often shiftless writer. Plus, it’s darned funny.
8. Rango: Amazing animation aside, the extremely clever script alone should be getting someone talking about Oscars. Rango, while OK for kids, is NOT a kids’ film in any way. It’s smart, funny, snappy, and full of great characters and great moments. And the visuals…Oh, goodness they’re something to see. The film is absolutely gorgeous from start to finish. You could take a frame from almost anywhere in the film, frame it, and hang it on the wall.
7. The Muppets: For anyone who grew up watching the Muppets, this movie is a real treat. It’s a celebration of the show, the love we had for it, and that place in our hearts we still hold aside for things from our childhood. Like the best of Henson’s work, this doesn’t talk down to the audience, making it perfectly enjoyable for young and old. And in spite of a good deal of the cast being made out of stuffing and felt, the emotions always feel genuine.
6. Hanna: How often do we see this premise these days? A young woman or girl turns out to be a super powerful killer somehow connected to a shadowy government-like organization. To say it’s been done is an understatement. However, Hanna manages to overcome cliché, pull the viewer in, and pack some serious thrills. I guess writing a list like this already makes me a bit pretentious, so I’ll just say it. It’s a thinking man’s action movie. And it’s full of memorable characters and scenes.
5. Rubber: If you’re a slave to plot or logic, you should probably skip this one. It simply is. Watch it. But don’t get too hung up on the details. Sure, on the surface, it’s about a tire that animates, then roles around the desert blowing people up with psychic powers…or something. But, that’s not really what the movie is about. Or, that’s not what’s really going on for most of the movie. It can’t be explained. At least, not by me. But I know I sure enjoyed the ride. Surrealism at its best, without the smug “ART!!!” film vibe.
4. Attack the Block: Last year, Harry Brown took us into the slums of England and made me glad I live in the States. Well, we’re back, and this time there are some otherworldly problems poking their blue toothed snouts in. What I found interesting is that the main group of kids are exactly type of awful, ignorant thugs Harry Brown faced off against, Death Wish style. They’re not good guys. But, when their situation changes, and things get out of control, they’re still people, and they’re still driven by the same things that drive the rest of us. And, even in punk kids who’ve been written off by society, there can lurk the hearts of good men in search of a cause. It’s fascinating to watch these reprehensible scumbags shake off their slum-locked ways and rise up to be real men, especially gang leader Moses, who has one of the more compelling character arcs I’ve seen in a while. It’s also quite funny and full of great callbacks to other genre films.
3. Super 8: Coming to you from the early 80s is this kid-adventure film with all the hallmarks of a Spielberg classic. J.J. Abrams is a bit older than me, but we both grew up watching a lot of the same movies, and it shows here. A great cast of kid actors should take their place as the Goonies for a new generation. Capturing so much of the wonder of those 80s films, like The Last Starfighter, The Goonies, Explorers, and Gremlins, it left me with a warm fuzzy feeling that reminded me of seeing movies as a kid at the Bangor Opera House, still one of my favorite viewing venues (if only it hadn’t stopped playing movies 25 years ago).
2. The Artist: Holy smokes, this came out of nowhere to shoot almost to the top of my list. Everything feels so right in this wonder filled homage to the romance and magic of silent films, and movies in general. The leads are great, and the familiar faced extras and background actors all add to the fun. If you love movies; if you love the classics; if you want something uplifting and charming, The Artist fit’s the bill. It’s swell.
1. Drive: Riding out of the neon-lit late 70s comes Drive, a movie about a guy, some crooks, some money, and a difference of opinion. I kept expecting a young James Caan or Robert Forster to show up. The music and slow, dreamy pace belie movie’s underpinning tensions and violence, which is slow to built and brutal in its sudden explosiveness. In the theater, folks were gasping in horror on more than one occasion, and at least two couples bolted during especially horrific moments. The whole work is fascinating and pensive. At the end of the day, there isn’t all that much to the movie, except what you bring in to it. And sometimes that’s all the difference in the world.
Best Director: Joe Wright -This was really hard, and kind of a toss-up of five people out of the Top Ten. I picked Wright because the subject matter (really, another little girl assassin movie?) is overused enough that making it so good/watchable can’t have been an easy task.
Best Supporting Actor: James Cromwell for The Artist -I gave serious contemplation to giving it to John Goodman for the same film, but I finally chose Cromwell because of how quiet (no pun) he played it, yet still got across a goodly amount of emotional resonance.
Best Supporting Actress: Cate Blanchett for Hanna -The harsh, obsessive weirdo who has Hanna in her sights, Blanchett is a bundle of neuroses kept bottled up as tightly as possible. Throughout the film, I kept wanting to know what her deal was, and that’s because she genuinely seemed to have something going on inside, not just a thug or suited drone as she easily could have been in less skilled hands.
Best Actor: Jean Dujardin for The Artist -This guy did such an amazing job, not only of capturing the acting style of the time, but of transcending it, able to hop from subtle to stylized acting and back again. It’s a part that could easily have shifted into parody, but he never even came close. All class.
Best Actress: Saoirse Ronan for Hanna -I had wanted to give her an award for her performance in The Lovely Bones, but disliked that movie so much I couldn’t bring myself to do it. Still, Ronan is one to watch. She consistently turns in extremely effective performances and has shown range few adult actors can reach, much less teenagers. And I love that she and Blanchett worked together in Hanna, as I can easily see Ronan stepping into Blanchett’s shoes in another 10 or 15 years.
Best Soundtrack: Drive
Best Score: Hanna
Moulder’s Beard (the one good thing about an otherwise unwatchable film): Kristofer Hivju in The Thing
Best 3D Film: Drive Angry
Best Mustache: Michael Fassbender’s cream mustache from A Dangerous Method
Most Forgettable Movie: I Am Number 4
“Glad to See You Again” Award: Kick-ass Clive Owen in The Killer Elite (it’s been a while, mate)
Video Discovery
10. Cool Air
9. Run! Bitch, Run!
8. Arsenic and Old Lace
7. Room in Rome
6. Gog
5. Seven Women for Satan
4. Being There
3. Wings of Desire
2. The Right Stuff
1. Kiss Me Deadly
Best Straight to Video: The Lost Future
Best DVD Rediscovery: Metropolis: The Complete Version
Awesome Older Films I Discovered on the Big Screen (thank you AFI Silver!):
Best Villain: Drake from Hobo With a Shotgun (Not only was it good to see Stan the Man [Brian Downey] on the big screen for the first time, but he’s just so danged vile, he’s pitch perfect for this Troma-type madness).
Best Cameo: Malcolm McDowell in The Artist
Best Animated Film: Rango
Best Mission: Impossible Movie of the Year: Mission: Impossible-Ghost Protocol
Best “Truth in Advertising” Award: Hobo With a Shotgun
Best Existential Viking: Hans from TrollHunter
Most Unnecessary Remake: The Girl With the Dragon Tattoo (Nothing wrong with the movie, but I already saw it the first time. If you don’t have anything new to say, why remake it?)
Most Perfect Casting in a Bland Film: The Cast of A Dangerous Method (Everyone is so good! The movie is so…OK).
“Hey! It’s better than Avatar” (Films that might not have been great, but bored me a heck of a lot less than Avatar)
5. Source Code
4. Priest
3. The Girl With the Dragon Tattoo
2. Real Steel
1. Battle: Los Angeles
Most Unfairly Maligned: Cowboys & Aliens (I still don't get the hate for this film. It's a fun mash-up of two genre that have always gone well together. The cast does a fine job, it looks good, and was very entertaining. Heck of a lot better than either Iron Man film, that's for sure.)
Biggest Disappointments:
5. The Ides of March (The first Clooney helmed project I haven’t liked, the movie simply never engaged me. Everyone did a fine job, it looked nice, etc., but not long after seeing it, I couldn’t remember anything about it. Not up to his previous directorial efforts at all.)
4. Green Lantern (I kinda like the comics, but this film misses every mark, mostly ignores the elements that make the Lantern unique, and churns out an uneven, by the numbers superhero movie that is everything wrong with the subgenre.)
3. Sucker Punch (I really like Snyder's previous efforts, but this movie doesn’t work on every level. Nothing is right, from pacing to plotting to acting and beyond. Just a boring, garish mess.)
2. X-Men: First Class (All the scenes with adults are good. All scenes with the teens are awful. The balance fell with the teens. Ugh.)
1. Captain America: The First Avenger (The first two thirds are great. The final act is a lame preview for The Avengers. This should have been allowed to stand on its own. Squandered potential.)
The Bottom 5 Films of the Year:
5. Red Riding Hood (You thought Twilight was awful? Try this. Even Gary Oldman sucks in it.)
4. Dylan Dog (You know, there's a comic series with the same name. I wonder if they'll ever try adapting it.)
3. Sucker Punch (Like watching anime. Loud, flashy, and stupid.)
2. Bellflower (Hipsters suck.)
1. Conan The Barbarian (One day, there will be a Conan movie made by people who have actually read the Conan stories...One day.)
Like this movie, she blows.
Actor of the Year: I was tempted to give it to Johnny Depp, as he’s got three movies in my top 20, two of them in my top 10. And Daniel Craig had two films I enjoyed quite a bit. But, I think it’s crazy Nicolas Cage who has turned an affliction (horrible acting) into an art form who wins the day. The last couple years, he’s become this amazing…well, something. He’s like a good, but strong spice. Alone, kind of awful, but used properly, he can make the whole thing so much better. I don’t want to see Cage play a normal guy. He can’t do it. I want him playing only the craziest, wackiest, most over the top people. He only has one speed, and it’s balls-out! He is what John Travolta only wishes he could be. So, with Season of the Witch and Drive Angry (in 3D!), Nicolas Cage takes my Actor of the Year award.
Complete Top 20
20. Fast Five
19. Thor
18. Cowboys and Aliens
17. Fright Night
16. Paul
15. Immortals
14. The Adventures of Tintin
13. TrollHunter
12. Sherlock Holmes: A Game of Shadows
11. Drive Angry
10. Hobo with a Shotgun
9. The Rum Diary
8. Rango
7. The Muppets
6. Attack the Block
5. Rubber
4. Hanna
3. Super 8
2. The Artist
1. Drive
