Well, the Oscars came and went. Not much to report actually with few surprises other than David Fincher losing best director and Jennifer Lawrence turning out to be the curviest woman in the room. Anyone who's seen her work in Winter's Bone will be stunned by her real appearance. The ceremony moved a little faster than usual, but was pretty lifeless. Hathaway gave it her all, although the big question today remains whether or not Franco was stoned through the telecast. Based on his robotic performance, it's a fair question. The King's Speech was the evening's big winner, a worthy choice in a year without an overwhelming favorite. But it's not the year's best film, as you're about to see (in reverse order).
Note: I saw virtually every notable film released this year excluding documentaries and foreign films (movies are supposed to be fun people), with the exception of Black Swan and Hereafter, which I'll get to eventually. The most amazing thing about the top ten . . . Half the list takes places in or around Boston! Hey, I can't help it if Hollywood finally realized we're the greatest city in the world.
10. True Grit - I considered a half-dozen films for the final spot, including Buried, The Green Zone, The Next Three Days, 127 Hours, Toy Story 3, & Winter's Bone, before settling reluctantly on the latest effort from the Coen Brothers (I would've felt better cutting the list at #7, but 10 is the unofficial required mark for lists like this). While not quite among their finest films, the year's most notable remake slowly drew me in and weeks later I find myself still thinking about it. If the plot was minimal, the visuals were anything but as the Coens produced images that will last long after they've gone. It's a western for sure, but like most of their work, it finds time to be moving, suspenseful, and funny. Newcomer Hailee Steinfeld (only 14!) stole most scenes from veterans Jeff Bridges & Matt Damon, who slid effortlessly into their respective roles. Though imperfect, any film with a major character named LaBoeuf (pronounced "La Beef") has to make my top 10, barely.
9. City Island - The closest thing to a comedy on the list, this little seen gem was a late addition to the top 10. Made for only 6 million dollars, it was one of the year's great surprises, as a small town family from the Bronx tries to conceal personal secrets from one another in hopes of maintaining their 'normal' lifestyle. The writing was delightfully quirky, the characters true individuals. But holding both the family and film together was Andy Garcia playing a corrections officer with closet acting aspirations and a convict son nobody knows about. For my money, it's the best performance in a vastly underrated career.
8. Shutter Island - Despite being one of the biggest movie stars in the world, Leonardo DiCaprio may actually be underrated. HIs haunting, paranoid work in Martin Scorsese's latest may be the most mature performance in a career destined for some type of lifetime achievement award years down the road. The movie opened last February to big business and mixed reviews, but on rewatch the film's debated ending adds resonance to every scene that came before. It's not the easiest film to watch (Scorsese's films are often visually uncompromising), but several individual scenes are among the most compelling of the year. The score and cinematography deserved oscar consideration, as did DiCaprio. Even if history regards this as another 'Cape Fear' from Scorsese, there are worse things to be. And kudos to Marty for choosing MA over NYC again!
7. Harry Potter and the Deathly Hallows, Pt. I - I'd liked all the previous Harry Potter films to varying degrees. This is the first one I've loved. Potential handicaps regarding the split of the lengthy final Potter novel were unfounded as Pt.I concluded dramatically, despite the fact that nearly all of the stories action is on hold for this summer's Pt. 2. Though 150 minutes, the film had me hooked from the opening snake scene (arguably the year's scariest). All three principal actors did their best work in by far the most adult film in the hugely successful series. I saw Pt. I alone in a completely empty movie theater long after it had opened and as I sat in my private auditorium on a Monday afternoon, I repeatedly felt I was watching an epic along the lines of Lord of the Rings. Something tells me they've saved the best for last.
6. Inception - Narrowly edges Potter as 2010's best blockbuster. Christopher Nolan continues to challenge his audiences with his latest mind-bender, focusing on a group of characters attempting to extract information from a target's dreams. A description of the plot doesn't do this film justice. Visually it's the most memorable film experience of the year, even if I'm not completely sold that every aspect of the story comes together. It demands careful audience attention and Nolan deserves credit for not lowering his standards. It boasts the year's best score, while DiCaprio proves the ideal anchor for the 2nd time in 2010, though he's supported by a strong ensemble including Joseph Gordon-Levitt, Marion Cotillard, & Ellen Page. The script was often ingenious, while those rotating city blocks may be the year's single greatest image. I hope that Nolan's second directing snub in three years (he also deserved one for The Dark Knight in '08) isn't the beginning of a trend. I trust the academy will eventually get it right.
5. The Ghost Writer - Sometimes all the elements fall into place and the result is a perfectly crafted motion picture. Roman Polanski's latest thriller is one such film, a mystery that keeps the audience off-balance and guessing until the very last frame. Of any 2010 release completely ignored by the academy, The Ghost Writer has the biggest beef. Few films this year evoked a stronger sense of time and place, or boasted a more intelligent script. The film was also perfectly cast, with Ewan McGregor, Pierce Brosnan, Olivia Williams, and especially Tom Wilkinson turning in fine performances. Every last detail seemed a deliberate choice, including a memorable musical score that matched the considerable atmosphere. Polanski, like Scorsese, is among a handful of directors who have a style that is unique to them and them alone. There's even a brief shot of that most familiar green Mass Pike sign reading Exit 17 Newton-Watertown. How good is that? But for some reason I don't have a strong desire to see it again. I appreciated knowing virtually nothing about the story going in, but because of this certain films are most effective with one viewing. Rewatchability is a major factor in establishing which movies stand the test of time and it's the reason that the #4 spot goes to another thriller, barely.
4. The Town - I have a hunch this one will rise in the rankings every 6 months or so. On my initial viewing of Ben Affleck's 2nd directorial feature (following 2007's near perfect Gone Baby Gone), I enjoyed it immensely while dismissing it as a fun heist movie. Another look revealed a deeper story and an establishment of location as character that surpassed The Departed in many ways. This is the 'most' Boston I've experienced at the movies in some time and while I don't claim to have grown up in Charlestown, everything just felt right. On the surface it's about the leader of a team of successful bank robbers who falls for the wrong woman. Underneath it's about survival and how there's really no right side of the law. Affleck is a good actor who for a time got stuck with lame star vehicles, but here he wisely surrounded himself with top talent, most notably Jeremy Renner whose performance as the volatile Jem was one of my 3 favorites from 2010. Strong turns were also given by Rebecca Hall, John Hamm, Chris Cooper, and the late Pete Postlethwaite. The Town will undoubtedly find it's way into my dvd collection if only for the action scenes, but it's better than that. As Fergie the Florist put it in that great, thick accent, "Taking down the cathedral of Boston? Priceless."
3. The King's Speech - I didn't want to see this movie. It looked like another stuffy, British period-piece with funny accents and few American actors. But overwhelmingly positive reviews and word of mouth forced my hand and I'm glad it did. While it'd be worth seeing if only for it's attention to setting detail, this film arguably had more heart than any other major release in 2010. Oscar winning director Tom Hooper turned a relatively simple story (a dehabilitating stammer forces King George VI to seek a speech therapist) into something truly compelling that builds momentum from a slightly slow start to it's perfectly handled climax. Interestingly enough, my top 3 movies are all based in large part on true stories. While not a reflection on the quality of these particular films, it certainly supports the notion that Hollywood no longer takes chances with original material. What distinguishes The King's Speech from the field are it's headlining performances. Colin Firth was sensational in his oscar winning title role, while Geoffrey Rush was every bit his equal as Lionel Logue. The two had remarkable chemistry in a film that was sad yet funny, tragic yet uplifting. Amongst recent best picture winners, it falls short of The Departed & No Country For Old Men, but easily surpasses Crash, Slumdog Millionaire, & The Hurt Locker. But it wouldn't have been my choice for the best of 2010.
2. The Fighter - The most entertaining film of 2010 also challenged The King's Speech for the year's best ensemble. The latest from quirky director David O. Russell stars Mark Wahlberg as Mickey Ward, a welterweight from Lowell (give it up for another film set in Massachusetts!) who struggles to become anything other than a stepping-stone for other boxers due to his dysfunctional family managed team. At the film's center is Mickey's relationship with older half-brother Dicky, his drug addicted trainer who simultaneously represents his greatest inspiration and obstacle. It's hard to make an original boxing movie, because the general plot-line has become such a cliche: An individual fights either underdog status (Rocky), personal demons (Raging Bull), or other various obstacles (Cinderella Man, The Hurricane, Million Dollar Baby) on his way to love & respect, if not a championship of some sort. But there's something inherently compelling about this structure that not only attracts audiences, but top talent due to the high-profile nature of these roles. Wahlberg is the film's rock in a strong performance, but it's Christian Bale (this year's best supporting actor) who walked off with the movie. It's the most convincing performance yet in a career filled with impressive transformations. I couldn't turn away any time Bale was onscreen. It was as if the filmmakers wandered into Lowell and cast a drifting crackhead! Also terrific were Amy Adams as Mickey's tough girlfriend (nominated) & another oscar winner, Melissa Leo as Mickey's mother and manager. The fighting scenes were believable and filmed with flair, but these relationships outside the ring were what made this more than just another boxing movie.
1. The Social Network - A close call for the top spot, but David Fincher's latest gets the nod (sorry T) for it's undeniable bond to the 21st century. No film in recent years felt as much a product of it's time as this one. I'd imagine it's how audiences connected with The Graduate & Easy Rider in the late 60s, or The Breakfast Club & Wall Street in the mid-80s. It tapped into something very real and very modern about the way we interact and a society that lives online (even grandparents use facebook). Of course all of this would be irrelevant if the film weren't so well made. The script sparkles with creative dialogue (from oscar winner Aaron Sorkin) as it chronicles the invention of facebook by Mark Zuckerberg and subsequent lawsuits over ownership rights to what has since become the world's most popular website. Early scenes at Harvard provide a perfect snapshot of college life (for many I'm sure) in the last decade, while introducing vividly realized characters. As Zuckerberg, Jesse Eisenberg cements his status as one of the best young actors working. His rapid fire delivery and lack of understanding in human relationships makes him an easy target for others contempt once he hits the jackpot. Nearly his equal was Andrew Garfield as facebook cofounder and Zuckerberg's former best friend Eduardo Saverin, who (according to the movie) was more-or-less tricked out of his company shares. Justin Timberlake was also noteworthy as Napster creator Sean Parker, who's role in the rise of facebook was news to many viewers (myself included). Fincher made the movie fascinating from one end to the other. It's a two hour movie that feels about 1/2 that length. I liked it even more on 2nd viewing and suspect it's the film that will stand the test of time.
Before mentioning the year's worst films, it's worth mentioning a few of 2010's GUILTY PLEASURES, defined as "Something that brings pleasure but is considered taboo, unadvisable or lowbrow." The definition isn't full proof (a few of these are pretty decent movies) but for the most part, these are movies I greatly enjoyed despite being unable to defend on any sort of intellectual level. Perhaps unsurprisingly given the category title, a distinct 80s feel permeates the group.
The A-Team - My favorite of the big, loud, dumb, summer offerings (besting The Expendables in the battle of testosterone-fueled 80s mayhem), the umpteenth remake of a famous TV show was pure adrenaline. They cast all 4 leads exceptionally well (Liam Neeson, Bradley Cooper, 'Rampage' Jackson, & Sharlto Copley) and kept the Lethal Weaponish banter rolling throughout. The action was suitably over-the-top, although it lost a little momentum by the end. Copley's failed attempt to jump start an ambulance with a defribillator was a highlight.
Diary of a Wimpy Kid - No 2010 release brought so many unexpected smiles to my face. Junior High is an often neglected era in people's lives (there have been 100s of High School movies) and the film version of the children's book got much of it just right. I remembered all the silly insults, the awkwardness of puberty, our views on adults & siblings, and those last years of male bonding before girls became something more than that other weird species in class. This one struck a chord.
The Karate Kid - Although A.J. will consider this blasphemy, I wandered into the remake of one of my favorite 80s movies about a month after it opened and found myself enjoying it almost as much as the original. The main cast was younger, but they made it work. Jackie Chan replaced Pat Morita, but he made it work (he may have actually been better). It was at least 20 minutes too long, but it was sweet, funny, & well acted with a satisfying ending, though the climax fell FAR short of the original.
Predators - Who would've thought Adrien Brody could so capably replace Arnold Schwarzenegger? He held the movie together with tough-talking charisma, as those around him were gruesomely picked off one-by-one. Although Lawrence Fishburne turned up briefly (in a segment that made little sense), the remake did a reasonably faithful job replicating the somehow claustrophobic jungle-like-setting of the original. The headlining villain remains one of the last truly inspired visual creations in the movies.
She's Out of My League - That romantic-comedy with the nasal voiced Jay Baruchel? Really? Baruchel often inspires eye-rolling when I see his name, but he has a strange charm that manages to win over the viewer by the end. The movie was less raunchy than one might expect from the ads, but it suckered me in with our hero constantly at odds with his own self-esteem as he struggled to date the stunning Alice Eve (only in a movie could this happen). Put it this way . . . It wouldn't have been worth paying to see, but it's a nice little comedy on a rainy night on DVD.
A few more movies I can recommend without reservation, depending on your mood:
For the action/thriller crowd:
From Paris with Love (Travolta's best role in years)
Frozen (several genuinely frightening moments)
Iron Man 2 (a worthy sequel that plays better at home)
Kick-Ass (Cage's best paycheck role in a decade)
Unstoppable (a genuine adrenaline-rush, could've been the sequel to Speed)
For the adults in the room:
Conviction (another Mass-based story w/ a great performance by Sam Rockwell)
The Kids Are All Right (well-acted & written, but wildly overpraised)
Love and Other Drugs (successfully took a young adult relationship seriously)
Morning Glory (slight, but fun look at a TV newsroom w/ a strong cast)
Solitary Man (an inspired Michael Douglas performance, far better than his mediocre Wall Street sequel)
For the kids in the room:
Alice in Wonderland (Tim Burton's most entertaining, creative film in years)
How to Train Your Dragon (a lot of fun for all ages)
Shrek Forever After (better than the previous two sequels)
Sadly, I couldn't put together a legitimate comedy list. An abundance of high-profile studio comedies came out in 2010, but it seemed the bigger the stars, the greater reliance on their appeal for laughs. There was nothing to approach the laugh ratio of movies like Superbad ('07) or even The Hangover ('09). Instead we got new entries from Sandler (Grown Ups), Ferrell (The Other Guys), Carell (Dinner for Schmucks/Date Night), Cusack (another 80s throwback Hot Tub Time Machine), Stiller (Little Fockers), Rock (Death at a Funeral), & Downey Jr. (Due Date). All were sort of amusing in spurts, but ultimately forgettable. Of all this year's major comedy releases, the most consistently funny was probably Get Him to the Greek. Too bad.
And finally we've arrived at the year's worst. I had to choose only 5 from the remaining 25 or so films I haven't mentioned, no easy task. Many were merely mediocre and will escape my wrath. But there's no excusing the next group, all of which I genuinely hated (thankfully I didn't pay to see any of them) . . .
5. Cop Out - Narrowly edged The Bounty Hunter (which I turned off before finishing) & Prince of Persia (which I should've) for the final spot. I've always liked Bruce Willis in spite of his inconsistent (to be kind) career choices and this lame action/comedy was one of the worst. Tracy Morgan, who can be funny in small doses, is annoying to a fault here in a movie that has no identity. Is it a standard order police thriller or is it trying to lampoon the genre? Most disheartening is that it's terribly directed by Kevin Smith, who no doubt could've mustered a few laughs had he written it himself. This is the worst kind of mainstream entertainment, a movie that attempts little and can't even succeed at that. A complete bore.
4. Valentine's Day - Makes the previous year's He's Just Not That Into You look like an oscar contender. For a while Valentine's Day got by on the sheer volume of popular actors they'd assembled. But it quickly became clear that the studio behind this disaster had no intention beyond drawing a holiday crowd opening weekend, which they sadly achieved. There is no real story at all, just a collection of uninspired vignettes highlighting the small problems that arise every February 14th. And in an attempt to accommodate so many stars, this lifeless mess of a romantic-comedy clocks in at more than 2 hours! Forget Valentine's Day: this should be played at every Passover Seder so we never forget the pain of our ancestors.
3. Robin Hood - The worst film ever directed by Ridley Scott, and it's not even close. I wanted to see the latest version of Robin Hood in theaters but stayed away on the advice of most critics and I'm glad I did. Sitting through this nonsensical, ugly 150 minute movie was a monumental waste of time. There wasn't a single exciting scene, it was poorly paced, with no character development. The latter was unacceptable given they cast two of the finest actors in the business (Russell Crowe & Cate Blanchett) in the leads. Neither brought anything special to their roles and I'm starting to think Gladiator (2000) is the worst thing that could've happened to Scott's career. It seems ever since he's been trying replicate the success of the blockbuster best picture winner (the similarly themed Kingdom of Heaven was also a dud) when his greatest strength has always been quieter films based on atmosphere and character. You'd be better off revisiting the Costner version, which is saying something.
2. Eat Pray Love - I'm not sure I've ever hated a lead character in any movie more than Liz Gilbert, the subject of 2010's most insufferable chick flick. Reportedly people either love or hate the book upon which it's based, detailing Gilbert's year long personal exploration in Rome, India, & Bali. Not only was the story among the most self-indulgent I've ever witnessed onscreen, but I found Gilbert herself completely unredeeming. She came off as selfish and boring and nothing about this woman warranted a big screen treatment. It's worth noting there's nothing wrong with the performances. Julia Roberts was actually quite good in the lead and was given strong support by the likes of Richard Jenkins and Javier Bardem, the latter one of many men she couldn't muster up the nerve to give anything that didn't first benefit herself. It's hard to like a film in which you want to choke the main character every time she appears onscreen, which was pretty much every scene. Not only that, but this slight tale dragged on FOREVER! Even T left the room with about 30 minutes remaining. Take this review with a grain of salt. Obviously I was not the target audience for this trash heap, but I'd like to believe I could identify a thoughtful take on an adult woman having a midlife crisis. This wasn't it.
1. The Last Airbender - A close call over Eat Pray Love, but at least one could argue that film was assembled with at a vague degree of competence. The latest from M. Night Shyamalan is the worst film yet on a resume that now includes The Village, Lady in the Water, and The Happening. No small feat there! What's most disheartening is it was only a decade ago many thought Shyamalan was the most talented writer/director to emerge in years, a fearless cross between Spielberg and Hitchcock. Some have claimed the mega-success of The Sixth Sense ('99), with it's shocking twist ending ruined the director with audience expectations that couldn't possibly be met. But that's bullshit. Even if the endings to follow ups like Unbreakable and Signs fell short of his signature, they were none-the-less well told stories with attention to craft and detail. 2010 Shyamalan is much closer to Michael Bay than the aforementioned directors. Airbender is so stupid, so dull, so completely devoid of any thought, it's as if someone bet Shyamalan that he couldn't ruin his career in a 5 year span. The story is not for anyone above the age of 10. The special f/x are hokey. The only notable name in the cast is Dev Patel, a far cry from the days when Willis & Crazy Mel were headlining his pictures. The rest is comprised of no names acting like they are in a bad 3rd grade stage play. I considered turning this movie off a half-dozen times, but I stubbornly have a rule that I need to finish movies I've started. I wish I didn't. If I followed my gut and stopped watching fifteen minutes in, I could've spent that afternoon doing laundry, cutting my toe nails, emptying the dishwasher, shaving, and job hunting. For the record those are 5 of my least favorite activities on Earth. And all would've been preferable to experiencing The Last Airbender.
EDIT: 11/02/11
How Do You Know, featuring Reese Witherspoon, Paul Rudd, Owen Wilson, & Jack Nicholson is one of the worst romantic comedies in a decade. Unoriginal, unfunny, and completely boring. It would probably take the #3 spot on my worst list if I'd seen it earlier.
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