Nordling here.
This is my list. Self-explanatory, right? But since it's my list, it's my rules. And those rules are - anything I saw in 2011 that played in theaters, at home, or at a festival. And I don't count Butt-Numb-A-Thon as a festival, because it's not. It's a party. The movies I saw at BNAT that open next year? I thought it fairer to wait until next year and see how they play out with next year's films, considering that's when they'll be formally released. Plus, BNAT isn't exactly a public venue anyway, while at a festival, theoretically anyone can walk up and purchase a ticket to these movies. So, no THE GREY, no THE CABIN IN THE WOODS. If you don't like those rules, you can pound it down your throat with a hammer. My list, my rules.
Yes, there is at least one tie. Every top 10 list ever made is political, and by that I mean that these are films that I advocate and that I feel need to be seen. Some of these movies flat out aren't easy to see at this point, and maybe their inclusion here will be just the impetus they need to see a further release of some kind. I don't know what the rest of the writers here at AICN are going to pick - we don't collaborate on these things, though I'm sure some of our films may match. These movies are the movies that affected me the most this year. I don't pick movies for their Oscar cred - these are simply the films that I loved the most this year. Some of them played at festivals last year, but I didn't see them until this year. Some of these might never see stateside release, although I deeply hope that that isn't true. My original reviews will be hyperlinked in each listing, if you’re interested in revisiting them.
Let's get started!
10. (tie) PROJECT NIM/RISE OF THE PLANET OF THE APES
I just saw PROJECT NIM a month or so ago, and I was stunned by the power in this documentary, which tells the story of Nim, the chimpanzee raised from birth like a human baby, as an experiment in societal behavior. When the experiment doesn't go as planned, Nim is tossed aside by the ones who started the experiment, and what happes next with Nim's story is powerful, heartbreaking, and poignant. We tend to anthropomorphize animals like Nim, but this film never lets us forget that just because Nim isn't human that he doesn't have any less value, and that we may well be judged by how we treat these "lesser" creatures. You can't help but see thematic parallels in RISE OF THE PLANET OF THE APES, but while PROJECT NIM tells its story in a factual manner, RISE is all about setting up a longstanding movie series. But you don't have to see the other PLANET OF THE APES movies to enjoy RISE (although it certainly adds to the flavor) and we're also treated to the Lon Chaney of the digital age, Andy Serkis, who is amazing as Caesar, the leader of a new revolution. RISE OF THE PLANET OF THE APES was unexpected - a genuinely great movie that could have been another cash grab. It rises (pun intended) above that and becomes something of real worth and value.
9. HUGO
Lots of firsts for Martin Scorsese with HUGO - his first foray into 3D, his first family film - but what we get at the end is pure cinema that only a master like Scorsese can make. It's the first 3D film that I can think of that truly explores the spiritual and thematic potential of the medium, and more than any other 3D film thus far, it's probably a requirement to see in 3D. Ben Kingsley turns in a terrific performance, but it's Scorsese that truly shines with HUGO, playing with a new set of toy trains and making something marvelous out of them. Seeing Georges Méliès' A TRIP TO THE MOON in 3D is a real treat, and HUGO isn't just about preserving our film history, but ensuring our film future. Movies are art, even if the weight of commerce seems to cloud that at times, and it's films like HUGO that remind us all of the transformative power of what great cinema can do.
8. THE MUPPETS
Few films brought me as much genuine pleasure as the return of THE MUPPETS did this year. Is it riding a wave of nostalgia? Sure it is. But THE MUPPETS is nostalgia done right - while it evokes those emotions of yesteryear, it isn't content simply to stay on those laurels but brings something new and wonderful to the mix. THE MUPPETS is a movie about the power of joy over cynicism, and it’s just one of the happiest times I had at the movies this year. I feel a lot like Walter these days, writing for AICN, and this movie maybe hit me in a more personal way than it did other critics. I’ve had an amazing year writing for Harry this year, and if there’s one movie that captures the kind of joy that I’ve experienced working at AICN, THE MUPPETS is it.
It would be a crime if this didn’t see some kind of theatrical release outside of the festival circuit. It’s fun, smart, uproariously funny, moving, and it’s one of the best films to describe the true life of Cuba since… well, since I can’t think of when. Plus, it’s a great zombie movie. It’s got everything. Pound for pound it’s one of the most entertaining films I’ve seen this year, and Alejandro Brugues wasn’t just making homage to the great films of George Romero, or even Edgar Wright’s SHAUN OF THE DEAD. Title notwithstanding, JUAN OF THE DEAD is strikingly original (besides the zombie premise) and has quite a bit to say about the political and social situation in Cuba. The final shot, of Juan facing the zombie horde with only his heart, and a really badass oar, as his weapons, made me stand up and cheer the first time I saw it, and I had to see it again at Fantastic Fest to make sure I wasn’t wrong in my reaction. I wasn’t. This movie deserves to be seen by horror fans the world over. With any luck, they will, and I’d bet that they’ll love this movie like I do.
6. WE NEED TO TALK ABOUT KEVIN
Lynne Ramsay’s parental horror film is a scarring portrait of a child that is simply, intrinsically, wrong. Can we blame Tilda Swinton’s character for being a lousy parent, for making the mistakes that she made? Or is it simply fate that Kevin (Ezra Miller) turns out so genuinely… bad? The movie doesn’t have answers, and for a parent like myself, WE NEED TO TALK ABOUT KEVIN is a nightmarish journey into one parent’s personal hell. Tilda Swinton is tremendous in this film. She gives the best performance of the year, man or woman, and as she goes through the motions of life after Kevin does… something and destroys everything she’s built, you cannot judge her harshly, but you can look at the road that led up to the one moment that destroyed her forever and know that she can’t say she didn’t see it coming. Lynne Ramsay’s film is devastating, frightening, disturbing, and utterly brilliant.
5. I SAW THE DEVIL
Kim Jee-woon’s awesome serial killer film would have been amazing with Choi Min-sik’s performance alone, but the nasty twists this film takes, and with the journey into darkness that Lee Byung-hun’s character goes on, the movie becomes something like SILENCE OF THE LAMBS meets a Warner Brothers Roadrunner cartoon. Its humor is jet black, its gore is ample (there’s an Achilles’ tendon cut that still has me wincing thinking about it), and it’s smart filmmaking that doesn’t pull any punches. I’ll admit that it goes off the charts when it comes to any kind of realism, but that’s the point – I SAW THE DEVIL walks that fine line between black comedy and Fincheresque despair. I watched I SAW THE DEVIL 3 times in a row this year - first by myself, and the second two times with friends because I just had to share this inspired, lunatic movie with people. If this movie were ever remade in America, it wouldn’t have nearly the impact. Punches would most definitely be pulled. So if you haven’t seen it yet, make sure you see it before that happens.
I’ll pimp out Joe Cornish’s directorial debut as long as there are people to hear me who haven’t seen it. It’s a fantastic genre film that has real meat behind it, with a terrific performance by John Boyega as a boy growing into manhood and taking responsibility for his life. And it’s thrilling, with unique alien monsters that are scary and formidable. I’ve seen it several times now and there’s no fat on the movie at all. It has great characters, an enjoyable story, and it calls back those great films from the 1980s from guys like John Carpenter or Joe Dante. I honestly don’t understand people who didn’t enjoy this film – for many it’s certainly not best-of-the-year material but the movie just works on every level that I suspect they’re being contrary just for the sake of it. There are directors who work their entire careers to make a movie that works as well as ATTACK THE BLOCK does, and the fact that Joe Cornish nailed it right out the gate means that he’s definitely a director to watch in the coming years. I love that Spike Lee saw this film, loved it, and cast John Boyega in his HBO series practically the next day. ATTACK THE BLOCK is an awesome film, and in my opinion absolutely deserves to be on this list. You'll notice that from my earlier review my mind has changed about ATTACK THE BLOCK being the best of the year, especially considering the next film on my list, but that's how it goes. Thought is fluid, and opinions change. But there is no doubt in my mind that ATTACK THE BLOCK will be discovered by audiences for many years to come.
A transcendent prayer of a movie. I’ve only seen it once. I’m actually nervous to see it again, because I honestly don’t know what effect that film will have on me the next time. I’ve got the Blu-Ray on my shelf right now, unopened, and yet I know for a fact that I will see this film again, if for nothing else, so that I can share it with my wife. On the surface, this story of a young man growing up in rural Texas seems deceptively simple, but THE TREE OF LIFE takes flights that are not only necessary for the themes of the film, but are beautiful and inspired in their own right. Emmanuel Lubezki’s camerawork is the best cinematography of the year, bar none. Brad Pitt’s performance as the distant, but strict father is probably the best acting work he’s ever done. And then there is Terrence Malick’s singular vision, of a world where grace is more powerful than nature, and although I’m not a religious person, THE TREE OF LIFE made me very aware of that empty space in my life. It’s a religious film in all the best ways – never preachy, never judgmental, but it opens up the universe to the potential of something greater than ourselves. It’s not a film that is easy to watch – there’s work involved to engage with it. But once you do, I think you’ll find it so rewarding that it just make force you to reassess your own place in the world. It’s that powerful.
I love a great family film. For me, family films are the entry points for young children into the great joys of cinema. Much like HUGO this year, it’s an invitation to a wondrous world. It’s a serious shame that a film like A BOY AND HIS SAMURAI won’t be seen stateside because of language issues. It’s a shame because it’s one of the best family films I’ve ever seen, and it’s one of the most genuinely happy movies I’ve ever seen. A young samurai, transplanted through time, winds up becoming a dessert chef and helps a single mother take care of her little boy. It’s so well told, and so charming, and I love how the film goes off on tangents that are completely unexpected. Great family films are rare – most of the time it’s simply a two hour long commercial for something – and I’d absolutely put this with films like E.T. or IRON GIANT. It’s emotionally moving and the little boy is completely adorable. Plus, it’s got more sweets than a diabetic going on a week-long sugar bender. Just mouthwatering good stuff. I love foodie movies, and this one’s one of the best. I realize that Yoshihiro Nakamura’s film opened in 2010, but it first played here at Fantastic Fest this year, so I’m counting it. My list, my rules.
1. DRIVE
I was definitely hesitant on Nicolas Winding Refn. Although BRONSON is a great film, there’s something about it that keeps me at a distance. Perhaps it’s Tom Hardy’s performance as Bronson – while it is genius, it’s also absolutely terrifying, and part of me backs away from the movie just because of his work alone. VALHALLA RISING, for me, was a mood piece that, again, features a great character played by Mads Mikkelsen, but for some reason I felt on the outside looking in when it came to that movie. Well, from the first few minutes of DRIVE, I was fully engaged and a part of that movie. Ryan Gosling does more with the quiet spaces than most actors can do with reams of dialogue. Albert Brooks is truly terrifying, not because he will quickly mess you up at a moment’s notice, but because how impersonal he makes it. It’s all business. Carey Mulligan is lit like an angel in DRIVE and there’s no doubt that anyone in the Driver’s shoes would instantly fall in love with her. DRIVE is sheer joy, and what on paper reads like a simple crime movie is elevated to something far more by Refn’s work here. The scene in the elevator, as the lights brighten, and the music swells, just before the Driver commits his horrible act of violence, is one of the most cathartic, purely cinematic moments in film all year. The soundtrack is perfect, not only with the score of Cliff Martinez, but the cool 1980s Michael Mannesque songs. DRIVE is, for film fans like me, movie heroin. I want more from Nicolas Winding Refn, because with DRIVE, he has become a formidable director. And he’s made the best film of 2011.
HONORABLE MENTIONS – Steven Spielberg’s one-two punches with THE ADVENTURES OF TINTIN and WAR HORSE were great cinematic moments for me, and WAR HORSE only missed this list by a very small margin. Filip Tegstedt's MARIANNE was an amazing ghost story - think if Ingmar Bergman had made POLTERGEIST - and I hope more people get to see it. CAPTAIN AMERICA: THE FIRST AVENGER and X-MEN: FIRST CLASS were terrific superhero films, and I want to see more like them, willing to explore the past and make interesting observations about our present. 13 ASSASSINS is another film that almost made the list, and it’s Takeshi Miike going full-out Kurosawa, and it’s a samurai movie for the ages. Steve McQueen's SHAME is amazing, and Michael Fassbender is amazing in it. A real adult film that has much to say and doesn't hold back saying it. TAKE SHELTER features an amazing performance by Michael Shannon, and the film is almost an anti-CLOSE ENCOUNTERS as a man is nearly driven mad by visions of apocalypse. MIDNIGHT IN PARIS has Woody Allen exploring the power of nostalgia, and it's yet another grand film from him that you can add to the long list of grand films. I loved SLEEPLESS NIGHT when I saw it at Fantastic Fest, more than simply the French DIE HARD; it’s a film that has riveting action and a compelling story. I’m very curious to see how the American remake works. While THE DESCENDANTS isn't Alexander Payne's best work it does have a great George Clooney performance and Shailene Woodley is a revelation. Pedro Almodovar’s THE SKIN I LIVE IN is a revenge story done colder than the Klingon proverb, and Antonio Banderas is wickedly good. Unlike HUGO, THE ARTIST doesn’t have much to comment on when it comes to silent cinema, but simply uses the medium, but it does so in such a winning way that it’s hard not to fall a little bit in love with it. Elizabeth Olsen is haunting in MARTHA MARCY MAY MARLENE and the movie is a dark exploration into the mind of a young woman who is spiritually trapped by a cult led by the terrific John Hawkes. I loved Steven Zaillian and Aaron Sorkin’s script for MONEYBALL, and if the movie doesn’t quite reach the upper decks it’s through no fault of Brad Pitt or Jonah Hill, who do very good work. KUNG FU PANDA 2 and RANGO were far more charming and inventive than Pixar’s CARS 2 this year, and RANGO, in particular, features a really wonderful performance from Johnny Depp, a performance of a quality that I’ve missed these past few years. I loved the South Korean film HAUNTERS, and while the title doesn’t make much sense in the context of the film, it’s still a terrific Shyamalanesque (did I just use that word?) superhero movie. 50/50 was funny and heartfelt, featuring a great script and a winning performance from Joseph Gordon Levitt. BRIDESMAIDS is one of the best comedies of the year and Kristen Wiig gives a performance that would make Lucille Ball proud. HARRY POTTER AND THE DEATHLY HALLOWS PART 2 is a fitting end to the film series and Alan Rickman does great work as the conflicted Professor Snape. TINKER TAILOR SOLDIER SPY is a dense spy film that rewards those who pay attention, and Gary Oldman gives one of the finest performances of his illustrious career. MISSION: IMPOSSIBLE – GHOST PROTOCOL is Brad Bird’s first live-action film and right out the gate he becomes one of the best action directors around. Finally, Steven Soderbergh’s CONTAGION is a movie about finding common bonds with humanity, even as a disease threatens to unravel everything.
WORST FILM OF THE YEAR
I hate this category. I’m not afraid to say what movie is my personal worst film of the year but I think most people use this category to simply become vindictive or catty when it could be used to make a constructive statement for what constitutes bad cinema. It's easy to rag on films like JACK AND JILL or even HUMAN CENTIPEDE 2, but for me, "Worst Film Of The Year" has always meant a film that disappoints, that doesn't meet with the expectations that it sets, and worse, that might have had the potential to be far better than what it wound up being. This year came close to being a tie, but the other film, which I’ll be reviewing in the coming days, just didn’t reach the level of irritation that PIRATES OF THE CARIBBEAN: ON STRANGER TIDES achieved. It’s a pointless sequel, and worse, it’s turned a great actor like Johnny Depp into a corporate stooge. Because the film made a googlebillion dollars there’s no doubt that we’ll be seeing another one of these, but really, the only film in the franchise that was any good was the first one, and that one was still too long by 20 or so minutes. It’s time to sink this boat, and I miss the Johnny Depp that made movies like FEAR AND LOATHING IN LAS VEGAS, or ED WOOD, or DEAD MAN, or even EDWARD SCISSORHANDS. This franchise has seriously damaged his credibility as an actor, in my opinion, and I sincerely hope that he walks away from these big movies for a while and gets back to the work that we love him best in. Depp is great in RANGO, so I know he still has the skills and capability. I can’t say what kind of movie DARK SHADOWS will wind up being, or THE LONE RANGER, but I’m already filled with dread.
I’ve seen three films for 2012, and of those the best is THE GREY. I hope that 2012 kicks all our collective asses before it all comes crashing to an end next December at the end of the world, and I hope you all had as great a moviegoing year as I did. I’d like to thank Harry Knowles for everything that’s happened this year. It truly has been an amazing journey for me writing for AICN and I can’t wait to see what the next year brings. Thanks for reading.
Nordling, out.
