Tag Archives: The Future

My 2011 in Film: Favorite 2011 Films

My Top Ten has already appeared over on Row Three, along with all the other contributors’ lists. It’s a good mix, you should check it out. Or, you could just read mine below, copied essentially verbatim, but with added pictures. Below the top ten are a loosely ordered (favorite to less favorite) assortment of other films from 2011 that I think are worth mentioning. Still to come: A post listing my favorite things I saw in 2011, but weren’t released in 2011.

 

TOP TEN

10. Winnie the Pooh

I hoped against hope that Disney would do right by the beloved Pooh bear, and they surpassed all my expectations. With a simple but charming story pulled together from a few of A.A. Milne’s most beloved entries in the series, lovely hand-drawn animation, and a sense of wonder and childlikeness that’s missing from most overly hip children’s films these days, Winnie the Pooh is like a breath of admittedly nostalgic fresh air. Little bits of cleverness like the integration of physical text and the animation style shift for the Backson song just add to the joy of this unpretentious delight. Full review on Row Three

9. Hanna

Joe Wright, of high-quality but relatively staid literary adaptations like Pride & Prejudice and Atonement, is doing an action movie about a teenage assassin? O…kay… But Wright pulls it off in spades, crafting one of the finest genre mashups of the year. With influences from James Bond to La femme nikita and from Run Lola Run to M (okay, it’s a stretch, but it’s there), plus a healthy dose of well-played coming-of-age story, it’s easy to accuse Hanna of not knowing what it wants to be, but on the contrary, it knows exactly what it wants to be – everything. And it manages all that with panache and an exhilarating sense of cinematic space in the action sequences. Great performances, action, editing, music, and immensely entertaining to boot.

8. The Artist

It’s no secret I’m a fan (an emerging one, anyway) of silent cinema, so I’ve been eagerly anticipating 2011′s B&W silent throwback since I heard about it. But films that attempt imitation like this can fail in so many ways, either getting things subtly wrong or failing to capture the thing that made the original so pleasing. Thankfully, The Artist comes through with flying colors (or lack of color, heh), pairing its simple romance and tale of silent cinema’s demise with a charm and vivacity that approximates the joys of silent films quite well. The acting is stylistically believable without feeling forced, the film tone-switches like a pro (as many silent films do), and the bits of gimmickry related to sound end up working better than I feared. It’s ultimately a breezy film, though not without its bits of melodrama, but there hasn’t been as charming a celebration of 1920s Hollywood since Singin’ in the Rain. Scorecard review

7. The Innkeepers

If you want to know what kind of horror hits all my buttons, look no further than Ti West’s supremely enjoyable haunted hotel film. Not only does it succeed with jump and reveal scares as the two ghost-hunting hotel employees spend the inn’s final days investigating the potential presence of the rumored ghost, but it’s just as solid in the more comedic sections of the film, bringing these two characters to life so when shit starts going down, it matters. In addition, West proves a wonderful understanding of cinematic space, using the character and location set-up in the beginning for some fantastic payoffs in the rest of the film. I don’t outright love very many horror films, but I loved this one. Full review on Row Three

6. Attack the Block

By the time I finally saw this, it had been so hyped by bloggers around the country that I was sure I would be in for disappointment. Not this time, though; the hype is pretty much deserved. From the gutsy move of having our heroes be South London thugs who start the film by mugging a young woman to the fantastic creature design of the monsters, Attack the Block succeeds on all levels. The character arcs work, thanks to solid writing and performances from the mostly unknown cast, the social commentary works even when it’s a bit on the nose, the thrills and chills work, and the comic relief works as well, for the most part. Sure to be a staple for genre-lovers for some time to come. Scorecard review

5. Melancholia

Leave it to Lars von Trier to somehow make a film about depression that is gloomy as hell, but actually NOT that depressing, when it comes right down to it. In a role that finally showcases that talent that she’s shown so fleetingly throughout her career (how’s that for a backhanded compliment!), Kirsten Dunst plays Justine first as flighty and fun, but that’s just a veneer shallowly covering her deep depression, which is soon paralleled (manifested?) in the approaching blue planet dubbed Melancholia. Yet it is she, in the second half, who is far better equipped to deal with the end of the world, an eventuality that formerly stable Charlotte Gainsbourg is unprepared to face. It’s self-consciously arty, but that’s part and parcel of the von Trier experience, and this is probably his most accessible and overwhelming film to date. Scorecard review

4. Drive

One of the most stylish films of the year for sure, and maybe it’s a case of style over substance, but I don’t really care. From the hot pink title lettering to the movie-LA locations to the mishmash of genre film references to the laconic main character himself, I was totally enthralled with this film. Ryan Gosling cements himself as an actor to be reckoned with, doing a lot with a very subtle role, and managing to stand out against a stellar supporting cast of more over the top supporting characters. Already an arthouse favorite thanks to his earlier films, Nicholas Winding Refn delivers a slam-dunk calling card to Hollywood without losing the personal aesthetic that he’s known for. I’ve seen this twice in theatres, and that wasn’t enough. Full review on Row Three

3. Certified Copy

A heady yet emotionally grounded inquiry from Abbas Kiarostami into the nature and value of originals and copies played out in a most unusual way – a couple of strangers (or are they) who have been discussing the ramifications of copies in an academic fashion suddenly begin acting as if they’ve been married for years (and perhaps they have). How does a simulcra of a marriage related to a real marriage, and if the fake becomes real, what is real? The film is thoughtful, cerebral, and academic, yes, like its male protagonist. But it’s also warm, heartfelt, and resonant, like its “Elle” (a wonderful performance from Juliette Binoche) – though these roles are no more set in stone than their relationship. I’ve still only seen it once, but I’ve pondered it perhaps more than any other film I saw in 2011, unable to get it out of my head. Full review on Row Three

2. We Need to Talk About Kevin

My first Lynne Ramsay film, but certainly not my last, and hopefully not hers, either. (One worries when filmmakers take 9-year breaks in between films.) One of the most disturbing and terrifying films of the year, yet with essentially no on-screen violence or gore – Ramsay conveys everything through unsettling sound design, jarring structural juxtapositions as she tells the story out of chronological order yet with a perfect thematic flow, and the wonderful central performance of Tilda Swinton as a woman who embodies the worst fears of parenthood in one tightly wound little ball. The film is assaultive in many ways, and one thing’s for sure – whether the parents who need to talk about Kevin do so or not, audiences certainly are and will be. Scorecard review

1. The Tree of Life

The Tree of Life is an intensely personal film, despite its ambitious scope. It depicts the whole history of the universe, yet affirms the importance of humanity even when faced with the enormity of the cosmos – we are tiny, but an endless summer in small-town Texas can be all-important. The film is clearly a passion project for Terrence Malick (as all his films are, really), and much of its pleasure is in how much it resonates personally with the viewer – it hit me dead-on, to the extent that I drank it all in and couldn’t really process anything else for several hours or even days. It was one of the great cinematic experiences of the year for me (and that’s really what it is, an experience, privileging associative resonance over narrative drive), and that’s why it’s remained at the top of my list all year.

 

OTHERS WORTH MENTIONING

The idea that only ten films a year are worth mentioning seems pretty ridiculous to me, so even though I go along with it for list posts and such just to conform to some sort of standard, I really feel like end of the year posts should highlight other worthwhile films of the year as well. So this is a non-numbered listing of other films I really really liked this year. Largely ones I like better are toward the top, ones I like less well toward the bottom, but this is pretty much every film from 2011 (or 2010 in a few cases, like Attenberg, which released in Greece in 2010 but still hasn’t hit the US outside of festival screenings) that I really liked/loved. They all deserve recognition.

Attenberg

My first exposure to the current wave of Greek cinema was a very good one, with just enough oddness in its coming-of-age and dealing-with-death story and stunted-growth characters to go along with its stark Czech New Wave stylistics, without falling over the deep end of weirdness. Austere but also quite relatable. Full review on Row Three

Café de Flore

An absolute marvel in terms of using music and editing for maximum emotional impact, the last section of Café de Flore floored me (no pun intended). The French Canadian film parallels two stories of love and potential loss, one of a modern-day Montreal DJ torn between his ex-wife and his new, younger lover, the other of a mother in 1960s Paris raising her Downs Syndrome son. How they come together will make or break the film for you; it totally made it for me. Scorecard review

The Dynamiter

A tiny film from an indie director out of Mississippi, starring all unknown actors. Checking these types of films out at festivals is always a risky proposition, but this one paid off for me like crazy, with its tender but unsentimental coming of age story balanced by some charming performances from the young actors, not to mention some gorgeous cinematography. Full review on Row Three

Meek’s Cutoff

Kelly Reichardt’s prickly Western gets across the hellish nature of cross-country pioneering with devastating claustrophobia. Potentially lost, nearing the end of their supplies and sanity, trusting themselves to a guide who may not know anything more than they do – yet no other choices are better. A hard film to get close to, and yet a hard one to get out of your head, with an evocative metaphysical layer as well.

The Adventures of Tintin

I don’t like 3D and I don’t like motion capture. Yet I really, really enjoyed this film. It’s a whiz-bang adventure film in the style of 1930s serials, with a breathlessly gung-ho young hero, his adorable dog, and great comic relief from all the supporting characters. The one-take motorcycle chase at the end is the obvious highlight, but the camerawork is great throughout, as is the use of space within the frame. Scorecard review

The Girl with the Dragon Tattoo

After loving the Swedish version of this, I was a little wary of this one, but trusted Fincher to come through, and come through he did. A bit edgier, a bit slicker, a bit tighter, and a bit more expansive, his version of Dragon Tattoo stands on its own as a solid and hard-hitting thriller. Scorecard review

Kill List

On a purely visceral level, this film is one of the best experiences I had all year – a slow-burn opening following a former hitman trying to get back into the game to support his family turns into something much more sinister, with some heart-pumping scenes that’ll keep your heart racing long after the movie is over. There are some large plot holes, but the film is remarkably effective anyway. Scorecard review

Jane Eyre

Yet another version of Charlotte Bronte’s classic gothic novel? Yes, and one that does a remarkable job of getting those moody gothic elements onscreen. Switching the narrative around a bit works to escalate cinematic tension, and Mia Wasikowska cements the promise she showed in Alice in Wonderland (being in a much better film helped) with a performance that captures both Jane’s willfulness and her reticence.

This is Not a Film

Iranian filmmaker Jafar Panahi has been placed under house arrest and banned from making films by the Iranian government. So he calls a friend over to film him talking about the film he was intending to make before the ban. From there we get not only a surprisingly humorous yet desperate documentary about Panahi’s situation, but a treatise on filmmaking itself – what a film is and isn’t, and how artists find ways to express themselves even under suppression. Full review on Row Three

Extraterrestrial

Waking up from an awkward one-night stand, a pair of near-strangers realize that an alien ship has taken up residence above their city. But the threat of her boyfriend finding out about them and the annoyance of a next-door neighbor are more immediate in this hilarious and original film from the writer/director of Timecrimes. Full review on Row Three

Rango

One of the most uniquely-designed and entertaining animated films of the year, with a Johnny Depp-voiced chameleon setting himself up as a gunslinger to a thirsty town, but then he’s expected to follow through to save the town. Loads of sly, well-placed references to cinema history just add to the fun.

Midnight in Paris

With lovely Parisian locations and a charming story both playing on and debunking nostalgia, it’s really hard to dislike Midnight in Paris – obviously so, as it’s become Woody Allen’s highest grossing film ever. It doesn’t totally all work for me, especially in the modern-set scenes, but the travels back in time are fantastic.

The Guard

Both a hilarious caper of an old-school Irish policeman forced to partner with a black American FBI agent to take down a group of drug smugglers, and a sober and insightful character study, and better than both those bald-faced descriptions would suggest. The combination pays off just as well or better here for John Michael McDonagh as it did for his brother Martin McDonagh in In Bruges. Both have the advantage of a terrific Brendan Gleeson. Full review on Row Three

Contagion

Steven Soderbergh tries a lot of different things, and I don’t always think they’re successful, but this time he takes on an ensemble drama following the spread and attempted treatment of a deadly disease and pulls it off wonderfully – even if the frequent criticism that the film makes it a bit hard to connect emotionally with the many different people involved is probably accurate, as a thriller showing what could be a very real event in a detached way, it works like gangbusters. Full review on Row Three

Familiar Ground

This is a comedy, though it’s so extremely dry that sometimes it’s hard to tell. It took me a little while to get used to the particular brand of awkward and slow-to-pay off humor, but it was well worth it in this French Canadian dysfunctional family tale. Capsule review on Row Three

Super 8

Super 8 does an awful lot of things right, especially the casting of the kids, who are all simply fantastic. Getting the sense of nostalgia and childhood wonder right is essential for this kind of film, and it does a great job of it until the very end, when J.J. Abrams can’t resist going a little too bombastic and a little too CGI with the fight against the monster. Still, there are shadows of greatness here.

The Future

Miranda July’s films (she’s only made two features, including this one) leave me feeling a bit uneasy, but in this case, I think that’s utterly intentional. A couple faced with their own mortality give up their work-a-day jobs to follow their creative dreams, but that just reveals a lot of their personal insecurities and drives a wedge between them. A bit of a downer, perhaps, but one that certainly speaks to thirty-somethings, especially creatives, who feel like they’re drifting. Full review on Row Three

Take Shelter

A tour-de-force for Michael Shannon (though Jessica Chastain holds her own against him) as a loving husband and father tormented by recurring dreams of an impending storm. Real portents of the future, or the sign of a troubled mind? Either way, the lengths he goes to try to protect his family actually threaten to tear it apart. Scorecard review

The Bad Intentions

Ten-year-old Cayetana is firmly convinced that when her announced baby brother is born, she will die, a cynical fantasy she uses to cope with her aloof parents and the raging of terrorist activity surrounding her home in Peru. Perhaps a spiritual cousin to Pan’s Labyrinth – nowhere near as visionary and breathtaking as that film, especially in its overly-meandering third act, but solid and often quite funny. Capsule review on Row Three

Captain America: The First Avenger

I totally wasn’t expecting to enjoy Captain America as much as I did, but maybe that’s why I did. This is the sort of whiz-bang wide-eyed fun I want from a comic book movie, with gorgeous BioShock-infused set design, a hero who’s earnest in all the right ways, and a treatment of alternate history that pleased me very much.

The Adjustment Bureau

This, to me, is what the average Hollywood wide release film should be – not necessarily in story, though I did quite like its combination of thoughtful sci-fi and chemistry-laden romance, but it’s a solid, adult-aimed film that knows how to use its stars (Emily Blunt in particular makes great use of a character that could’ve been really flat), knows how to blend its genres together, and comes out with a satisfying whole that still gives you something to think about when it’s over.

Headhunters

An extremely solid genre thriller with a nice bait-and-switch plot as an art thief ends up embroiled in a corporate plot much bigger than he is, having to overcome his innate cowardice to survive and get his life back. Lots of OMG and WTF moments punctuate a well-written character arc. Scorecard review

On Row Three: The Future in Print and Podcast

I forget sometimes that not everyone who follows me here may read Row Three as well (and vice versa, but that’s a different thing), so I’ll try to remember to put up a note whenever I post something major over there. Mostly all I’ve had time to post over there are the weekly Film on TV and DVD Triage posts anyway, which I crosspost here as well. But this week I guested on the Row Three Cinecast, one of three podcasts the site hosts, led by Andrew and Kurt. We talked about Miranda July’s The Future, Joe Cornish’s Attack the Block, John Michael McDonagh’s The Guard, as well as various other things we watched over the past week. It’s a pretty lengthy, informal podcast – nice to throw on in the car or on the train if you have a long commute.

I also wrote a full review of The Future published last week; here’s an excerpt of that.

For some reason it’s difficult to believe that The Future is only Miranda July’s second feature, and that it’s been six years since her previous one, Me and You and Everyone We Know. That film gathered huge success on the festival circuit and among indie film audiences with its particular brand of twee quirkiness – a quirkiness that fits in with the Sundance crowd but rings a little truer, a little deeper. She’s been busy with short films, performance art, short stories, and spoken word recordings in between, and even though I haven’t seen or heard a whole lot of that work, you can feel it in this film. It feels like an organic outgrowth of July as a writer and performer; not like a long-overdue follow-up to a successful film but merely the way this particular story needed to express itself, so she made a film rather than a book or a performance piece. Because though it would be easy for naysayers to dismiss July as merely quirky, she’s tapping into some very real and meaningful places in the lives of the now thirty-something middle-class artistic-minded people she writes about and to some degree represents.

The Future begins with a narrative framing device that’s likely to offput many – it was my least favorite part of the film, though I did like much of the actual narration as written. The narrator is a cat, voiced by July in the most gratingly annoying voice she could come up with and visually represented by a pair of paws. Paw-Paw is a stray cat that July’s actual character Sophie and her boyfriend Jason rescued and are planning to adopt when he’s out of quarantine at the vet’s. But Sophie and Jason aren’t sure they’re ready for the responsibility and decide they need to do everything they always wanted to do in the thirty days before they go to pick Paw-Paw up. On the surface, it seems like a fairly silly plot, but July is deep in metaphor in this film (and will get deeper), using Paw-Paw as a catalyst to energize Sophie and Jason out of their complacency in decent but unfulfilling jobs with the realization that they’re getting into their thirties and haven’t really even started to do the things they’d always planned to to in the future.

LA Film Fest 2011: Day 9 (Saturday)

Well, I was doing so well at getting these out on a fairly regular schedule, and then the festival actually ended and I lost all motivation. But I don’t want to leave the last two days hanging, so I’ll try to finish these up and get them posted rather quickly. After a week of working plus festivalling, it was wonderful to get to sleep in on Saturday morning; the first screening of the day wasn’t until 1:30, leaving a nice leisurely morning to recover a bit from the week. But then I’d gotten used to the lighter attendance during the week, and ended up further back in line for every screening on Saturday than I wanted. Ah, well. I still got into everything fine, so I can’t really complain.

First up was Disney’s new version of Winnie the Pooh, and it was only the second screening of the festival (that I went to, anyway), that was doing a bag search and checking computers/cameras. They did leave us cellphones (Drive did not), but still. I get why big studios like Disney are paranoid about their films leaking, but it was still kind of annoying. I’ve successfully managed not to pirate 24 other films at the festival, most of which will be lots harder to come by in the future and thus more ripe for pirating. Anyway. The film was delightful, an extremely faithful hand-drawn throwback to the original Winnie the Pooh shorts, even down to the live-action opening with the narrator telling us about Christopher Robin’s stuffed animals and their adventures in the Hundred Acre Woods. The story is largely a combination of finding Eeyore’s lost tail and trying to capture the monstrous Backson (which they believe has kidnapped Christopher Robin), both well-worn in the Pooh universe, but woven together really well here. The film is explicitly literary, with the characters interacting with the narrator and the very words on the book’s page as the narrator reads it – I love this sort of thing, so I was enamoured right the way through. The humor is warm and gentle, and in every way, this is a film I’d 100% rather see and take my kids to (if I had kids) than most of the animated fare out these days, Pixar notwithstanding. I do so hope Winnie the Pooh does well when it comes out in a couple of weeks, so we get more movies like it from Disney in the future.

After a refreshing iced coffee and stroll around LA Live in some rare between-screening down time, I headed in to see Miranda July’s new film The Future. July is well-known in a certain corner of the artistic community for her quirky and thoughtful, if sometimes a bit twee, outlook expressed in many art forms from feature and short films to short stories and essays to performance art and experimental albums. This is only her second feature film, following 2005’s You and Me and Everyone We Know, which I liked but wasn’t totally won over by, so I came into The Future interested but not set on loving it. I actually liked it more than You and Me and Everyone We Know, but not everyone will. First off, it’s narrated by a cat (voiced by July) that couple July and Hamish Linklater rescue and take to the vet with a broken paw. The prospect of adopting the cat in exactly 30 days (after the paw heals and before the hospital euthanizes her) sends the couple into an existential crisis, thinking about how much they wanted to accomplish by this point in their lives and haven’t. So they quit everything and try to make this 30 days count. Meanwhile, the cat pops in with narration every once in a while looking forward to the prospect of being adopted and not living on the street anymore. The voiceover will be VERY grating for many, and I found it the weakest part of the film (though I did like the content of the voiceover by and large). The fact that something so simple as adopting a cat would cause so many repercussions in these people’s lives seems a bit unbelievable, but it works in the film, and so do the faint sci-fi elements. But there were some plot elements that I didn’t quite believe, like the major conflict of July’s character’s affair with another man. By and large, I enjoyed the film and thought July’s sensibility carried it off quite well, but like You and Me and Everyone We Know, there were a few elements that just didn’t sit quite right with me.

Despite finding it really interesting, I had to leave Miranda July’s Q&A session in the middle to try to obtain a good spot in line for Mysteries of Lisbon, my marathon film of the festival. Clocking in at 4 hours and 17 minutes (thankfully they did include an intermission), the film presented a challenge to me I just couldn’t pass up. I did want a seat behind the railing, though, which allows for putting your feet up and increasing the comfort level by roughly 63%. Alas, the guy in line right in front of me snapped up the last of the railing seats. DRAT. I still managed through okay, though, and even though I will admit to drifting into a bit of a stupor a few times, the film remained intriguing throughout the epic run time. Directed by Chilean expat Raul Ruiz, now working in Europe, the film is based on an epic Portuguese novel that follows a fatherless boy in a parish school, but tangents off frequently into lengthy related stories – such as how his mother and father met and were driven apart, how the priest who cares for him came to be a priest, and even about the neighboring nobleman who intersects with his life a few times. Well, the stories seem tangential but actually intertwine quite closely and ingeniously. The fact that you’re actually watching several interrelated stories of many different characters makes the running time not quite so much of a burden, and then the ending will have you wondering about everything you just saw. It’s paced fairly slowly, but gives a languid sense of the setting and society of the 19th century – that plus the length give plenty of time to maneuver around all the different characters and their different personas throughout the multiple storylines. It’s a masterwork of narrative structure, and I definitely want to revisit it to get nuances I missed when zoning out here and there.

Nine days down, one to go. Twenty-three films down, two to go.