Well, awards season is nearly over. Most of the major critics groups have spoken, though the ultimate prizes won't be announced until Oscar night, this Sunday February 24th. But before Seth MacFarlane unleashes his particular brand of humor on the Hollywood elite, it only seemed appropriate to break down a definitive list of the best films of 2012.
While the sheer volume of movies I saw in 2012 ranked below that of recent years, the percentage of critical favorites and awards contenders rose substantially. My short list of missed opportunities includes Arbitrage, The Impossible, The Perks of Being a Wallflower, and Paul Thomas Anderson's The Master. I've seen eight of the nine best picture nominees, though no bonus points will be awarded for guessing the one that got lost in the shuffle. Alright I'll give you a clue: It features a married couple in their 80s and the whole movie's in French. Look, I'm sure Amour is a lovely film, but paraplegia among senior citizens doesn't exactly scream "Pick Me!" on a Friday night. And call me uncultured, but I'm one of those weirdos who prefers not to read at the movies.
When Oscar nominations were revealed in mid-January, the real shocks came in the Best Director category. Several of the presumed front-runners were left out in the cold, including Ben Affleck, Tom Hooper, Quentin Tarantino, and Zero Dark Thirty mastermind Kathryn Bigelow. The snubs of Affleck and Bigelow, both widely considered locks to be nominated, make me wonder if there's genuine confusion within the academy about what a director actually does. Unexpected recognition for Michael Haneke (Amour), Benh Zeitlin (Beasts of the Southern Wild), and to a lesser extent David O. Russell (Silver Linings Playbook) has created the most wide open Oscar race in memory. The biggest winners at the Golden Globes were Argo, Les Miserables, and Django Unchained, complicating predictions for a field that had seemed predestined to get stomped by Steven Spielberg's Lincoln. His film led the pack with 12 nominations, followed closely by Ang Lee's Life of Pi with 11. And while Lincoln is still viewed as a favorite, momentum has shifted to Argo, which took top prizes from the Screen Actors Guild, Producers Guild, BAFTA, and ironically, the Directors Guild of America.
2012 was unsurprisingly a politically dominated year, with Daniel Day-Lewis (Lincoln) and Bill Murray (Hyde Park on Hudson) bringing to life iconic presidents from opposite parties. The Campaign's Will Ferrell and Zach Galifianakis lightened the mood fighting over North Carolina representation in Congress. Lincoln and Django covered wildly different angles of 19th century slavery, while Les Miserables covered upheaval in France decades earlier. Argo took us back to the Iran hostage crisis, and Red Dawn was a remake of a Reagan era cult favorite. Zero Dark Thirty, Promised Land, and Obama's America rooted their stories more or less in present day. Even some of the year's biggest blockbusters couldn't escape the current climate, with both The Dark Knight Rises and The Hunger Games rooted in themes revolving around maintaining order and controlling the masses through fear. Then there was HBO's Game Change, an entertaining look at the political process that eclipsed many of its more prestigious contemporaries.
If 2012 taught us anything, it's that ending on a high note can be the difference between a nice surprise and a major disappointment. My opinions on a substantial number of films were heavily influenced by their final acts, or in some cases final scenes. Looper supplied an original and completely unexpected second half that defied every screenwriting convention. Both Les Miserables and The Grey concluded with scenes that added resonance to the entire films. Men in Black 3 was a mixed bag until a surprising final scene that became arguably the best of the trilogy. American Reunion waited until the end credits to deliver the single funniest movie scene of 2012, making it impossible for anyone to leave without a smile on their face. Though one of the films detractors, the reason I ultimately gave Lincoln a passing review was because the second half proved far more involving than the first. Even Prometheus, which I found disappointing, nearly swayed me with an intense final act culminating in a brief highlight for any Alien fan.
On the flip side, Total Recall boasted an intriguing first half before abruptly abandoning all ideas around the midway point in favor of routine fight scenes. The Arnold Schwarzenegger original overwhelmed viewers with even more mayhem, but never lost sight of the dream versus reality question at its core. The Bourne Legacy opened with a fantastic extended sequence in the woods of Alaska, before deteriorating into an endless chase that unfortunately dominated the entire second half. It was as if the writers quit with 45 minutes remaining. Then there was Flight, which peaked with a sensational plane crash in the first half hour. Unfortunately, we still had over 100 minutes of drinking and drugs, depression and more drinking, and just to hammer it home, a late scene in which Denzel Washington drank an entire alcohol-filled mini fridge that would've killed any normal human being. The lesson as always: Denzel is a lot more fun with an afro (see Safe House).
Lastly, I must mention that 2012 was probably the best year for Hollywood blockbusters since the 1980s, if not ever. Unforeseen competition is one reason The Dark Knight Rises failed to receive even a single Oscar nomination, including technical categories. The unusually strong output of summer and winter hits led to the highest number of movie tickets sold in three years, no small feat with theater prices consistently rising and home viewing options expanding. While sorting through dozens of choices for my final top 10, I was amazed to find so many mainstream hits in serious contention. Hopefully this points toward increasing intelligence in future popcorn flicks, though recent history indicates this was likely an aberration. Overall, 2012 was my most satisfying year at the movies since 2007, when No Country For Old Men took best picture honors.
Honorable Mention (the 2nd 10):
From out of nowhere: Beasts of the Southern Wild received strong notices when it arrived quietly in independent theaters last June, but few expected it to generate interest come Oscar season. In his feature film debut, director Benh Zeitlin (only 30) created arguably the strongest sense of place in any movie last year. First time actors Quvenzhane Wallis and Dwight Henry were completely believable as six-year old Hushpuppy and her father Wink, both stubborn to a fault and tough as nails. Their strained, yet codependent relationship drew added significance within a tiny community living sparsely in the southern Louisiana marshlands. I appreciated the word choices and imagery used to describe Hushpuppy's view of a world much larger than her own, though I would've preferred more clarity during some key sequences in the second half. My only real criticism is that Beasts barely had enough story to sustain its short running time. Still, the film earned its tears and has stayed with me weeks after catching up with it On Demand.
How I take my popcorn: The Expendables 2 is certainly the dumbest movie I loved from 2012. Its success depended on nostalgia for a cast of icons whose best days were decades in the rear view. I also wouldn't be surprised if the script was written by a team of monkeys. And yet, it was almost too awesome for words, proving more enjoyable than the 2010 original. Sometimes you want a mindless popcorn movie that allows you to turn your brain off and enjoy that perfect summer combination of central air and a triple digit body count. I honestly don't even remember the plot so much as the Chuck Norris cameo, Jean-Claude Van Damme playing a bad guy named Vilain (I'm not kidding), and Arnold Schwarzenegger busting through a wall with a cigar before announcing "I'm back!" I saw a late showing of The Expendables 2 on opening night in a theater filled with men between the ages of 15-65. My dad smiled enthusiastically every second he wasn't howling at the nonstop mayhem and testosterone-fueled exchanges. Clearly, Sylvester Stallone knows his audience. I'm proud to be among them.
When acting elevates: "The only thing worse than a visit to the dentist is one to the censor." - Hitchcock could've been more accurately titled "The Conception of Psycho," as it focused on a very small window in the legendary director's life. But despite occasionally feeling like an M.O.W., Hitchcock came alive every time Anthony Hopkins and Helen Mirren shared the screen as "The Master of Suspense" and his dutiful wife Alma. Together they portrayed a convincing, if decidedly sad couple who collaborated on some of the most important movies ever made. The biggest surprise though was Scarlett Johansson, completely credible as star Janet Leigh. Scarlett win the 2012 James Franco trophy for sporadic achievement in film. Unlike the Oscar, the "Franco" is awarded annually to an actor who's been famous for over a decade, yet we still have no idea if he or she is any good.
Winter/Spring leftovers: I covered both The Grey and The Hunger Games in my recap of the 2012's first six months, so I'll keep this brief. In the former, Joe Carnahan took a familiar survival premise and imbued it with more depth and humanity than 99% of thrillers. It also marked Liam Neeson's best role in years. The latter meanwhile was not simply the latest Hollywood phenomenon, but a hugely entertaining movie that did justice to its source material (so I've been told. I don't read). The eagerly anticipated sequel Catching Fire hits theaters next November, with Jennifer Lawrence returning as Katniss Everdeen.
Wes doesn't suck, although: Is there a more divisive director today then Wes Anderson? Moonrise Kingdom, which followed a pre-teen romance on a New England island in the summer of 1965, was probably his most accessible film to date. Drawing stellar reviews last May, Moonrise marked a nice rebound for the filmmaker, whose recent misfires The Life Aquatic and The Darjeeling Limited left most audiences cold. But here he delivered a distinct visual experience filled with heart and relatable characters, brought to life by a dynamite cast. Still, for an equally whimsical tale without Anderson's overt weirdness, check out Jeff, Who Lives at Home. Filmed in New Orleans and featuring the best performances to date from Jason Segel and Ed Helms, Jeff, Who Lives at Home followed Segel's title character on a spiritual journey to find value in his underwhelming life. Though it lacked a conventional plot, the film was sweet and funny in equal doses, and should resonate with anyone whosever had a sibling.
The ascension of Hathaway: The Dark Knight Rises, the final chapter in Christopher Nolan's blockbuster franchise, had more to overcome than any other 2012 release. It's predecessor The Dark Knight broke box office records and rode a tidal wave of hype following the death of Heath Ledger, whose performance as the Joker still resonates. The film is still considered by many to be the best of the superhero genre. Then two months before opening, Marvel's The Avengers shattered all critical and commercial expectations, shrinking the perceived scope of future competitors in the process. Finally, the experience for millions was dimmed by the senseless tragedy that claimed many lives and left dozens injured at the film's midnight premiere in Aurora, Colorado.
Judged solely on merit, The Dark Knight Rises was at times a breathtaking ride, though probably still the weakest in the trilogy. Unlike past entries this one felt bloated, and In hindsight I wonder if the long cave sequences were really necessary. Nolan also pulled the rug out with a late surprise that diminished the effectiveness of the primary villain Bane, played well by Tom Hardy. Still, the film was redeemed by a momentum building final act that ranks as the best in the series and ended the story convincingly. Amid clear shots (take note Michael Bay) and superb action, we never lost sight of individual motivations. The character arcs of Batman, Alfred, and Blake, a young cop played by Joseph Gordon-Levitt, closed in particularly satisfying fashion. However, in a huge cast featuring the likes of Christian Bale, Michael Caine, Gary Oldman, Marion Cotillard, & Morgan Freeman, the best performance was given by Anne Hathaway as leather clad burglar Selina Kyle. Compare her work with that of Katie Holmes and Maggie Gyllenhaal before her and you feel an edge that had been lacking. If it wasn't against Academy rules, I'd argue Hathaway should've been nominated twice in the supporting actress category, along with her stunning work in Les Miserables.
Though a seemingly strange comparison, the classic musical held more in common with the Batman finale then one would think. Both films suffered from very long middle acts and would've improved considerably by cutting 25 minutes. Societal rebellion against insurmountable forces dominated the backgrounds for each. And Hathaway's portrayals were the best things in both films. Although her role in the latter couldn't have exceeded half an hour, her tragic circumstances set the entire story in motion. Les Miserables featured outstanding production design and stirring music that swayed my emotions, no small feat considering I often had little idea what was going on. The film should be a lock to win for sound mixing given the brave decision to live-record the songs rather than record the vocals in studio ahead of time. Russell Crowe was ripped in some corners for his work as Javert, but while his singing paled in comparison to other cast members, his presence was crucial to the overall tone of the film. And as Jean Valjean, Hugh Jackman carried Les Mis on his mutant back in what may be the best performance of his career. My only question; whose idea was it to dress Jackman exactly like Bilbo Baggins for the final hour? Speaking of Baggins . . .
Busting on the bubble: The Hobbit: An Unexpected Journey was undoubtedly the most unfairly reviewed film of 2012. Following one of the most celebrated trilogies in the history of cinema almost a decade after the hype subsided, perhaps this prequel was doomed from the get-go. Many chastised the decision to split a roughly 300 page book into three films, even though Peter Jackson and his writing team are expanding the appendices from The Lord of the Rings to add material that better connects the sagas. With no attachment to J.R.R. Tolkien's original source material, my only concern is whether or not the movie worked. And as an epic adventure that demands to be seen on the big screen, The Hobbit succeeded admirably, just missing my top 10 by the narrowest of margins.
I actually enjoyed it more on first viewing than Fellowship of the Ring, although that probably has more to do with my increased familiarity with Middle Earth and its inhabitants. The film was a little long-winded in the early going, but concluded on a dramatic high note, with split stories merging at the perfect time. Though Jackson is a master of spectacle, the most intriguing scenes in The Hobbit were quieter ones, like the white council meeting and a game of riddles between Bilbo and Gollum, who made a triumphant return. As Gandalf, Ian McKellen once again provided wisdom as the movie's anchor, while newcomer Martin Freeman transformed the title character who will one day pass his tale on to Frodo. The film's final shot whetted the appetite for the next installment, which will arrive in December. I can't wait.
Stay tuned for Part II and the Top 10 Movies of 2012, which will be posted before the Oscars.
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