Top 10 of 2010

Ok, yes, so 2010 ended over a month ago, but I finally just finished seeing all of the films on my “must-see” list for the year, and I wanted to wait until then to compile this…(Caveat: I didn’t see “127 Hours” or “Winter’s Bone” because I don’t particularly care too). Oh, and it goes without saying, here there be spoilers….So, without further ado, here are my top 10 films of 2010:

10. The Kids Are Alright: It’s been hailed as a deft portrait of modern marriage, and I think that’s an accurate description. The film is brilliant because of the way it accomplishes this though: it takes what could be a source of controversy, a story about two lesbian partners and their sperm-donor produced children, and makes it a story about the American family that everyone can relate to. Children, especially college age students, can all say they’ve been there when observing the frustrations and mistakes of the two teenage children. And the relationship between Annette Bening and Julianne Moore is such a marvelous encapsulation of the trials of marriage – there is such tension between them, but also such an easy, relaxed, yet deep-seated love. The film allows us to simply examine the ups and downs and meaning of the ties that bind – marriage, love, family, etc. rather than getting caught up in any sort of political statement, and that’s what makes this a truly beautiful piece of work. Marriage may be hard, but watching this film certainly isn’t.

9. Tangled: Definitely the best Disney film since Hercules! I loved this movie because it returned me to the glory days of Disney, in that rather than pandering to audiences, it simply told a beautiful story with a perfect mix of heart, charm, hilarity, and romance. Granted, none of the music was as memorable as any of Alan Menken’s previous work with Disney, but it still was more remarkable than the “Princess and the Frog” soundtrack (which I must admit, I also quite liked). But it was great to have a story that focused equally on a male and female protagonist, without reducing one of them to a mere prince or princess. Furthermore, the animation was so lush it was like looking at an impressionist painting brought to life on screen. Few images this year were as lovely as the lantern-filled sky here. And what really sealed the deal was that the story carried many moments of unpredictability, while ultimately, still adhering to the happily-ever-after we so desire.

8. Inception: Ok, so character development was weak here, motivations were fuzzy, and the third act was slightly too long, but this film merits a place in the top 10 for originality in concept and visual artistry alone. I don’t remember the last time I felt myself thinking so actively in the theater as when I was watching this film. I actually had a headache when I left from my desperate attempts to make sense of the mind-blowing plot and images streaming at me. The whole dream within a dream within a dream thing captured my imagination for weeks. And as a piece of cinema, this is strong technically – an intriguing story, insane visuals (enhanced by superlative cinematography), and a perplexing score. But what really makes the film is the visual effects (most of which were done without the aid of CGI, which makes them all the more amazing). The no-gravity fight sequence and elevator drop is one of the most jaw-dropping, masterful, astonishing sequences of cinema I have ever seen. Pure visual artistry at work there. And any film that gets this many people talking about it, certainly deserves recognition – cause I’m sure we all still want to know, did it stop spinning or didn’t it?

7. The Fighter: The story, of a working-class Massachusetts boy with a controlling mother and girlfriend with the proverbial heart of gold who rises to become a boxing champion, is not unique. Though, I guess I can’t really call that a weakness, given that it all comes from true events. But despite the rather predictable storyline, it’s still an example of top-notch filmmaking, and earns a spot on the list for its impressive performances alone. Christian Bale, Melissa Leo, and Amy Adams are beyond superb in their roles and offer us a master class in acting here. Christian Bale has received much attention for this role, and deservedly so. He really is a chameleonic actor, and his transformation into the drug-addled, well-meaning, broken down Dicky is some of his finest work. Dicky is really the heart of this film, and Christian Bale’s performance only makes it more impressive. Melissa Leo – everything people have said about this performance rings true, but honestly, I was almost more impressed by Amy Adams, largely because she is so successful playing a role incredibly against type for her. I would have never pegged her for the trashy, bartender type, but boy does she pull it off, and the best parts of the film are her fights with Micky’s family: a catfight with his sisters, and an argument turned into understanding between her and Dicky. Without a doubt, this film features some of the best acting of the year.

6. The Social Network: Let me say, before I explain why I liked this film, that I really do feel that it is largely overrated in many ways. I want to give it a second look, but on first viewing, my thoughts were that the film is so of the moment that it may have trouble earning a lasting spot in the film canon. Furthermore, it’s hailed as defining a generation, and as a member of that generation, I beg to differ. It tells the story of a few select individuals, and by no means, encapsulates an entire group of people. But it is on this list for a reason, and that is threefold: brilliant writing and wordplay, deft direction, and strong ensemble acting. Aaron Sorkin is one of the best writers working today, and this film showcases his talents marvelously. “Juno” was hailed for its witty dialogue, but the sharp, biting wit of “Social Network,” and the speed and intelligence at which the story and characters work blasts “Juno” out of the water. This is a film about smart people for smart people…lose even a couple sentences, and you’ve lost out on crucial information, as nothing Sorkin includes is superfluous. He’s a master wordsmith, building a striking character study throughout. And honestly, this is why I’ve placed this so high on the list: it’s refreshing to have a film written intelligently for intelligent people. As an audience member, I get sick of being pandered to.

5. The Town: Yes, I thought it was better than The Fighter and Social Network. Yes, you probably disagree. But, I think it’s a travesty that this film didn’t make it into the Best Picture top 10. Focusing on characters and relationships, it was a refreshing take on the heist/gangster genre that is often reduced to fixating on the heist itself rather than any of the characters and their depth as people. With this film, Ben Affleck proved that he really can act, and what’s more, he can direct (and his direction, I would argue, is even better than this acting. He should really stick with this as a career from now on). I’ve only been to Boston once, but just from my one visit, and the opinion of other friends who have actually lived there, this film really captures the essence of the city. It being about bank robbers, you might think that’s a negative assessment of Boston as a place, but through its characters, it really emphasizes what I felt made Boston such a unique city: a small-town feel with really deep-seated loyalties coursing through the veins of many Bostonians. Furthermore, Jeremy Renner is a marvel. His barely contained anger was reminiscent of Cagney in some of his best gangster films. We never knew when he would fly off the handle, and the combination of this sheer insanity with his unswerving devotion to Ben Affleck was intriguing. Blake Lively also gives a surprising and excellent performance: movies this year featured a lot of traditionally uptown girls playing the” skank,” and it worked surprisingly well. Finally, the idea to combine two American icons – the shootout and the baseball park (and the most American of all baseball parks alongside Wrigley)—was a stroke of hybridic genius. Maybe I’m reading too much into it, but this, to me, had so much to say about Americanism and the decline of many things, that I found it an entirely fascinating moment. And really, despite all of this, when it comes down to it, The Town is just damn good story-telling, that keeps you on the edge of your seat throughout.

4. True Grit: As a piece of cinema, this film is better than the original. Yes, the original should always hold a special place in our hearts, John Wayne’s performance is iconic and special, and the ending is infinitely better! But this film resoundingly proved that the Western is not dead when it is well-made. Again, we have another great acting ensemble here, with strong performances from Jeff Bridges, Matt Damon, Josh Brolin, and Barry Pepper. But Hailee Steinfeld is truly a revelation. Her performance is wise beyond her years (Can’t believe she was only 13 when she made this), and she really blows Kim Darby out of the water. In the original, the “true” grit and determination is all Rooster’s. Here, we come to realize, that the one with the most grit of all is Mattie Ross. Daring to swim a horse across a river, shoot a man down, etc. she is one hell of a character, and I found myself wishing I could find even an ounce of that courage inside myself. The cinematography is also superb, with sweeping shots of the frigid, wintry American West. Score, imagery, acting, etc. all complement the tone of the film, making for a beautiful picture. Yes, it doesn’t do anything new for the genre, but that’s partly why I liked it so much. It was nice to see a classically rendered film, especially from the Coen Brothers.

3. Toy Story 3: The film that wins the prize for making me both cry and laugh the hardest that I did at the movies all year (which generally can be said for whatever treat Pixar has presented us with for the year. What a studio!). The laughter came from many great moments, including a roulette table made from “What does the Farmer Say?”. But I laughed so hard I could barely breathe at Mr. Tortilla Head…even just thinking about it, I can’t help but smile and chuckle. Just the sheer ridiculousness of it was hysterically funny. A uniquely comic moment. And the tears came freely both in the incinerator scene where the toys all reach for each other as they face their doom, and the final moments of the film when Andy must give up his toys and move on into adulthood. I felt, as I’m sure many college students did, that this film was made expressly for me – having grown up with Woody, Buzz, and the rest of the gang, it was as difficult for us as audience members to have to say goodbye, and remember also the horrible pangs and fears of what going to college and being out on your own means. Pixar continually manages to get at something deep within our humanity and tell extraordinary stories. The fact that they manage to do this even in the third film in a trilogy is a testament to the level of their work. Going to college, or any major turning point in your life, is such an emotionally mixed experience, and Pixar manages to convey all these feelings deftly, through the eyes of toys no less. Truly wonderful film-making!

2. Black Swan: Quite possibly the best 3rd act I’ve ever seen! And part of the magic is how it builds to this surprisingly subtly (though nothing in the film can truly be described as subtle). At its start, I felt extraordinarily detached from the film and the characters. I felt that cinematically, it was pitch perfect, but I just couldn’t connect to it on an emotional level as a drama. But that’s the brilliance of Aronofsky…he wants you to think that, so that the shocking, horrific moments build as little surprises, and before you realize it, you’ve been sucked into Nina’s life and story. Things take a turn quite rapidly, and you can’t escape the swirling vortex of insanity as it surrounds you as the audience member. And the grand twist…that all along we’ve been watching Swan Lake comes in a moment that really pulls the rug out from under you. Quite possibly one of the only times I’ve had goosebumps for an extended period of time after leaving the theater. Each time I’ve seen it, I find myself sitting in stunned shock as the credits roll. Though I was wholeheartedly impressed by the film’s effective use of genre and story-telling to manipulate the viewer, what puts it in the number 2 slot is its sheer perfection on a cinematic level. It has some of the best cinematography I’ve ever seen: from the opening prologue to the haunting shot of the broken music box to Portman alone on a stage with a single light to the beautiful finale on-stage, each image is well-crafted and visually stunning. The score is flawless and an amazing deconstruction of Tchaikovsky. Production design functions expertly as a reflection of the subjective point of view at work, and really helps build Nina’s world around us—relying on black, white, and pink to effectively communicate thematics. And I could go on…a nearly flawless piece of film-making in many ways.

1. The King’s Speech: I had a friend describe watching this film as akin to looking at a painting, and I think that’s a perfect summation of this film: an utter work of art. One of the best acting ensembles to ever grace the screen is led by a mind-blowingly talented Colin Firth. I don’t know how he did what he did, but it’s a performance for the ages. And could you ask for better supporting talent around him than all of the notable British faces found in it? The cinematography and shot composition is also extraordinary here: tracking shots out of doorways are entirely lovely, and shots continually placing Firth at the edge of the frame and in the corner expertly underline the isolation imposed upon him by his speech impediment. I also must call attention to the shot where he goes to be granted the monarchy, and Tom Hooper uses a brilliant, distorted low-angle shot to put us right in the character’s head, as he looks up at paintings of great monarchs before him exerting pressure on him to succeed. The score is utterly lovely, and a perfect complement to the work of art unfolding before our eyes. But what makes this film number one in my eyes is that it is just a classic piece of film-making. It reminded me of everything I love about classic films in that it was just expert story-telling and display of craftsmanship on all levels. Here, there is no need for technical wizardry or explicit content (minus one scene that plays well for comedic value). Hooper simply tells the story, allowing all of the aspects of the film to speak for themselves, and it’s this subtlety, this lack of showiness, that makes this my pick for best film of the year. For me, it comes in ahead of Black Swan, because for every visceral moment that hits you over the head in “Black Swan,” there is an equally powerful moment of subtle storytelling here. “The King’s Speech” is truly a work for the ages, a marvelous film, and something I can’t recommend enough. Long Live the King!