A traditional Top Ten list doesn’t make much sense to me. I can pick out my absolute favorite few movies in a given year, but beyond those, I’m not really sure what distinguishes my seventh favorite movie of the year from my eighth. By the same token, cutting the list off at ten seems equally pointless if the idea is to highlight the movies from the year that meant the most to me. Again, I’m not sure how to differentiate number ten on my list from number twelve. So what follows is a look at my favorite movies from the year, period…starting with the top of the top and working my way through the rest alphabetically rather than assigning arbitrary rankings.
And away we go…
#1:
PRECIOUS
If you’ve been afraid to see this movie, get over it. Yeah, it’s not exactly the feel-good movie of the year….but for my money, it was easily the best, so no excuses. You may think that the story of Claireece “Precious” Jones – an obese, illiterate 16 year-old, abused every which way by her monstrous mother and pregnant with her second child by her father – will be unbearably dark and depressing, but you couldn’t be more wrong. Remember last year’s crowd-pleasing indie (and winner of eight Academy Awards) Slumdog Millionaire? Precious is satisfying in much the same way. It doesn’t have the same stand-up-and-cheer momentum going for it, but like Slumdog‘s protagonist Jamal, Precious refuses to be defined by her environment or background and will not allow others to set her limitations. From an audience’s perspective, the more important similarity between the two films is the emotional response they earn. As unforgiving as Precious’ circumstances are, she has the courage to fight against the forces that threaten to keep her down, and in her struggle is beauty and hope. She may still face a bleak future, but she’ll face it on her own terms, and not without a fight. Precious is not depressing; it’s inspired and inspirational.
As the producer of films like Monster’s Ball and The Woodsman, Lee Daniels has shone a light on dark, complex stories that ask more of us than another empty Mummy sequel or Katherine Heigl romantic comedy…and which give us more in return. Now he reveals himself as a director just as willing to tackle challenging material and find a way to make it accessible to a mainstream audience. With a script by Geoffrey Fletcher, adapted from the novel Push by Sapphire (the film’s full title cites its source material), Daniels strikes a delicate balance between the harsh realities of Precious’ life and the fantasies that provide her an escape, and he employs carefully measured cinematic flourishes to keep the gritty elements from becoming too overbearing. He is aided in this effort by the terrific, undersung cinematography of Andrew Dunn, who keeps dark the stifling apartment Precious shares with her cruel mother, but also bathes it in an orange glow as if the fires of hell are burning just offscreen. He contrasts this with brighter, more natural lighting for the classroom where Precious begins to come into her own.
In the title role, newcomer Gabourey Sidibe does more than just fulfill the highly specific physical requirements of the character. She nails the girl’s soul, and her performance is only more impressive once you see an interview with her and realize what a transformation she makes, holding every part of her physical self differently in order to become Precious. Lenny Kravitz and Mariah Carey shine in smaller roles as a nurse and social worker, respectively. Carey, especially is a wonderful surprise. Shedding her known persona entirely, she plays an average woman working a difficult job that takes its toll, and the strength of her performance is that in just a few scenes she shows us more about this woman than the movie has time to tell. She’s really excellent. At the alternative school where Precious begins her new journey, she finds a friend and supporter in the lovely Miss Rain, played by Paula Patton with an open heart and a tough edge lurking below the surface. The girls who play Precious’ classmates are also essential to the film’s success. Each brings a unique charm to the table and gives the sense that they could be the subject of their own compelling story.
Then of course, as Precious’ mother Mary Jones, there is Mo’Nique. Where did this woman come from? I don’t think I had seen her in anything prior to this, and only had marginal awareness of her as a comedic actress. Well there’s nothing comedic about her work here. Mo’Nique strikes with the fury of a hurricane, delivering a performance so powerful, so searing, so scary and riveting that for all of the character’s savagery, you just want more of her. You can’t take your eyes off her, and every single one of her scenes packs an unforgettable punch to the gut. The movie, and Mo’Nique’s performance, challenge the audience to understand that even a monster has its motivations. We aren’t asked to excuse or forgive anything Mary does, but in seeing what drives her, we are made to see that evil has roots. It doesn’t simply spring from nothing, and Mo’Nique drives that point home in the year’s best performance.
Don’t be afraid of Precious. You know it was showered with awards and accolades, you know you’re supposed to like it, but maybe it just sounds like so much work. Well listen to the words being typed by my fingers: this is a great, great film that will, in the best way possible, knock you on your ass. Vibrant characters, wonderful acting, humor, heart, drama…do not miss it.
The Rest:
(500) DAYS OF SUMMER
Writers Scott Neustadter and Michael H. Weber and director Marc Webb have pulled off one of the hardest types of films to do: a refreshing, original romantic comedy. Forgoing the gloss of such by-the-numbers studio efforts that have kept the likes of Kate Hudson and Matthew McConaughey busy over the last several years, (500) Days of Summer enjoys a breezy indie feel in its structure (jumping around through days in the relationship), its look (there’s a nice earthtone palette employed by cinematographer Eric Steelberg, and it actually makes Los Angeles look like a pleasant place to live) and certainly in its casting of Joseph Gordon-Levitt and Zooey Deschanel as the couple. As the romantic Tom and the cynical Summer, Gordon-Levitt and Deschanel embody a relationship that is sweet, sad and authentic in all its ups and downs. I’m not even sure it’s fair to label it a romantic comedy; that might be limiting. The more dramatic elements feel real, rather than tacked on in order to hit story beats. It reminded me of Eternal Sunshine of the Spotless Mind in its capturing of a moving, believable relationship that evokes the yearning, excitement, joy, confusion, frustration and heartache that will be recognizable to anyone who’s ever been young and in love.
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ADVENTURELAND
I’ve never worked at an amusement park; there wasn’t a lot of sex or drugs in my youth; and I was only 10 years old in 1987, the year in which this film is set. So I’m not quite sure what it was that I so personally connected with in the story of a college grad forced to take a summer job at a local, old-school fun park. Perhaps it was just the pleasure of watching a winsome story in an interesting setting with a colorful, appealing group of characters. Or maybe I’m just a sucker for movies where kinda nerdy guys get to hook up with hot girls. Whatever it was, the film slowly, warmly snuck up on me, just as the experience does on the protagonist James, played by Jesse Eisenberg. It’s evident that writer-director Greg Mottola (The Daytrippers, Superbad) has a lot of affection for this story and these people, and the cast – including Kristen Stewart, Martin Starr, Ryan Reynolds and Bill Hader – couldn’t be better. A few lesser-known actors also stand out: watch for Margarita Levieva as the park’s resident fantasy girl Lisa P. and Matt Bush as its resident bonehead, Frigo. Great movie for a warm summer night.
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AVATAR
Despite its less-than-original story and simplistic characters, Avatar succeeded for me as a thrilling and transportive cinematic experience, introducing the beautiful but dangerous world of Pandora. Sure, I wish that James Cameron’s vivid imagination could have extended far enough to, say, create a less obvious name than Unobtanium for the planet’s elusive mineral sought by the humans as an energy source. (Seriously….Unobtanium?) It doesn’t hold up to Cameron’s past films, and its allure will probably fade over time, but right now in its recent wake I can say that the technical and creative achievements won me over. Plus, Sigourney Weaver makes everything better.
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DISTRICT 9
The mysterious marketing campaign peaked people’s curiosity, and Peter Jackson’s name as producer didn’t hurt, but once we showed up it was co-writer and director Neill Blomkamp’s vision that carried the day. The film thrusts viewers immediately into the action, offering the minimal amount of history needed to set-up the story of an alien population in Johannesburg being forced out of the slum they’ve occupied for 20 years in favor of new, government-sponsored housing further outside the city, all while their massive, immobile mothership hovers overhead. How did the aliens and the humans learn to relate? How did they learn each others’ language? The answers may be interesting, but we don’t get them and we don’t need them. We accept the world as it is and dive into the story.
Using a combination of documentary-style footage with traditional narrative structure, Blomkamp and co-writer Terri Tatchell introduce us to Wikus Van De Merwe (impressive newcomer Sharlto Copley), a mid-level bureaucrat at Multi-National United, a global corporation which has been placed in charge of the massive alien evacuation operation. A seemingly minor incident in the field winds up having life-altering consequences for Wikus and puts him at odds with MNU, forcing him to seek help from the creatures he’s trying to displace.
It’s interesting to me that in this strong year for science-fiction, when genre god James Cameron returned to the game with a film huge in scope and budget, young filmmakers like Blomkamp and Duncan Jones (see Moon further down) are still carrying the torch of ingenuity that Cameron displayed 25 years ago with The Terminator. With its simple but imaginative premise, low-tech style and adrenalizing tension, District 9 reminded me of Cameron’s 1984 breakthrough. If we’re lucky, this is the first step in a similarly awesome career.
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FANTASTIC MR. FOX
Wes Anderson’s foray into stop-motion animation manages to be a completely original film even while sharing the now-familiar DNA that runs through all of the director’s work (including 1960’s rock and roll from artists like The Rolling Stones and The Beach Boys, appearances – vocally only, in this case – by Bill Murray, Jason Schwartzman and Owen Wilson, and camerawork that slides and glides over immaculately designed sets). The fact that the film fits so snugly into Anderson’s oeuvre reinforces what a singular talent he is. His charming take on Roald Dahl’s classic story perfectly casts George Clooney as the voice of the title character who, despite his effort for a normal, domestic life, can’t turn away from his natural hunting instincts. His brazen thievery from the local farmers Boggis, Bunce and Bean endanger the entire animal community as well as his marriage. Among the pleasures of the adaptation by Anderson and Noah Baumbach is one of my favorite characters of the year, and one not featured in Dahl’s source material: Mr. and Mrs. Fox’s outcast son Ash, voiced by Schwartzman. Ash is frustrated that he lacks his father’s suave style and athleticism, and it upsets him all the more when his seemingly perfect cousin Kristofferson comes to stay. Ash gives the film much of its humor, and much of its heart as well.
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THE HANGOVER
The high-concept premise of this hilarious comedy is sort of brilliant in its cleverness and simplicity: three men wake up in their wrecked Vegas hotel suite the morning after a bachelor party, unable to find the groom or recall anything about the previous night’s activities. Going off what few clues they have – including a tiger in the bathroom and a baby in the closet – they try to piece together what happened in time to find their friend and get back to L.A. for the wedding. The journey is full of belly laughs, but the trio itself is the key to the movie’s magic. Bradley Cooper is the cool party boy, Ed Helms is the uptight straight-arrow and Zach Galifianakis is…well, words really can’t do justice to Galifianakis’ oddball man-child, but he’s nearly worth the price of admission alone. If you don’t have the taste for a little raunch in your comedy, this probably isn’t for you. But if movies like Old School and Wedding Crashers are up your alley, The Hangover will have you rolling.
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HARRY POTTER AND THE HALF-BLOOD PRINCE
As a die-hard fan of the Potter books, I have (like many such fans, I suspect) a complicated relationship with their movie adaptations. This one was no exception, and my list of “why did they change that” and “it makes no sense to keep this if they didn’t include that” was long. Still, there’s a lot to enjoy about Half-Blood Prince. Director David Yates and screenwriter Steve Kloves manage some magic of their own in the balance they strike between the darkness encroaching on all the characters and the humor that comes as a result of the students’ raging hormones. To the latter point, two standout additions to the cast are Jessie Cave and Freddie Stroma as Ron’s girlfriend Lavender Brown and Hermione’s suitor Cormac McClaggen, respectively. Both are welcome and, at times, hilarious additions to an already amazing cast. Jim Broadbent, the latest British stalwart to join the series, shines in the key role of a professor from Hogwarts’ past. And as a teenage Voldemort in some too-brief flashbacks, Frank Dillane is frighteningly good, ever-so-subtly capturing the malice and menace that lurks just below the respectable prefect’s surface. Cinematographer Bruno Delbonnel casts a spell as well, with striking camerawork that moves furtively in and out of the shadows and helps conjure the feeling of dread that hangs over the story. Unfortunately the film oddly and frustratingly deflates in its last few scenes, when it should be hitting its emotional heights. But up until then it’s the moodiest, funniest and most beautiful film in the series so far.
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THE HURT LOCKER
Director Kathryn Bigelow’s best film since Near Dark is an unrelentingly intense experience that places viewers alongside a three-man bomb squad in Iraq. Jeremy Renner plays the daredevil leader Will James, whose apparent lack of fear and casual discarding of protocol troubles his fellow soldiers, the cautious J.T. Sanborn (Anthony Mackie) and the nervous, struggling Owen Eldredge (Brian Geraghty). Even amidst the heart-pounding set-pieces, the film manages to be an intimate character study, drawing the audience close to the three men through simple glimpses into their days and nights, on duty and off. Working from a solid script by Mark Boal, a journalist who spent time with bomb squads in the field, Bigelow directs with restraint and a documentary-like unobtrusiveness, letting the natural tension of each situation do the work. She’s also not afraid to exercise the patience required to convey the men’s quieter challenges, demonstrated by a sequence in which they fall under attack in the middle of the desert by a sniper and must wait their enemy out for hours. This is a tight, compelling drama offering an unflinching look both at the broad experience of contemporary warfare and the personal experiences of the soldiers who fight it.
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INGLOURIOUS BASTERDS
“Once upon a time in Nazi Occupied France…” is the kickoff to Quentin Tarantino’s long-gestating World War II tale. Over the course of five chapters, the writer-director tells two stories: one about a squad of Allied soldiers hunting and scalping Nazis across the French countryside; the other about a young Jewish woman, the sole survivor of her family’s murder at the hands of the SS. The two threads meet in a bravura, 40-minute final act that finds Tarantino audaciously and thrillingly re-writing world history. Along the way, he plays with tension like he never has before. He’s described his efforts as equivalent to stretching a rubber band as far as it can go before snapping. Scenes are often lengthy, and he wrings the maximum amount of suspense he can before delivering the payoff. The film’s ensemble – winner of the Screen Actor’s Guild award for Best Performance By a Cast – features Brad Pitt, hamming it up amusingly as the U.S. lieutenant in charge of the Basterds; Melanie Laurent as the Jewish girl; Michael Fassbender as an undercover British officer; Daniel Bruhl as a Nazi war hero; and Diane Kruger as a German movie star. But the standout performance belongs to Christoph Waltz as the cunning Nazi colonel Hans Landa, a simultaneously genial and sinister detective. It’s a great role, and in his American film debut, the veteran Austrian actor makes an unforgettable impression. He’s won nearly every acting prize available to him since the film premiered at last May’s Cannes Film Festival. All the hallmarks we expect from Tarantino are here: brilliant dialogue, shocking violence, great performances and an obvious love of films and filmmaking.
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IN THE LOOP
This hilarious satire of diplomatic relations between the U.S. and the U.K. in the days leading up to a Middle East war flew under the radar last summer, but demands to be seen by anyone who likes their comedy whip-smart and their language extra-salty. The Oscar-nominated screenplay combines the rapid-fire wordplay of Aaron Sorkin with the precise and artful profanity of David Mamet. Few of the players are household names (James Gandolfini and Steve Coogan are the biggest stars on hand), but they are a sensational group of new and familiar faces who helped make this one of the best surprises I’ve had at the movies in recent memory. See it as soon as you can. And check out the lengthy collection of deleted scenes on the DVD – they’re every bit as good as what remained in the movie.
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THE LOVELY BONES
I know that in offering praise on this film, I’m in the minority. Adapted from the 2002 best-seller by Alice Sebold, it received mixed to savage reviews, with Roger Ebert calling it “deplorable.” (Even if you weren’t a fan of the movie, I think a look a Ebert’s review shows that he’s way off base in his interpretation). Having not read the book – in fact, having the opinion that the story of a murdered teenage girl observing her family and her killer from heaven sounded kinda stupid – I came to the film only with the expectation that Lord of the Rings director Peter Jackson would create something interesting. As far as I’m concerned, he succeeded. Saoirse Ronan plays Susie Salmon, the murdered girl caught between earth and heaven in a place whose landscapes are constructed from her own memories and from where she watches her family (Mark Wahlberg and Rachel Weisz portray her parents) deal with her loss while her neighbor and killer (Stanley Tucci in a creepy, change-of-pace performance) covers his tracks.
The movie is not without problems. The role of Susie’s grandmother, played by Susan Sarandon, seems to exist mainly for comic relief, but I expect there was more to it in the book. Similarly, a plot thread involving a classmate of Susie’s who seems able to sense the dead girl’s presence is underdeveloped and probably had more significance on the page. From what I’ve seen, most of the negative reviews come from critics who’ve read the novel and feel that Jackson buried its beauty and soul in an orgy of CGI. (The “In-Between” that Susie occupies in death is aggressively art directed, no doubt.) Still, I think that overall Jackson created an engrossing and haunting movie that finds power in the depiction of a family torn apart, a killer trying to keep himself together and young victim trying to make sense of what happened to her and where she’s headed.
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MOON
There’s something cool about Duncan Jones, the son of David Bowie, making his feature directorial debut with a science-fiction film whose haunting quality evokes his father’s classic song “Space Oddity.” The film centers on astronaut Sam Bell, the lone occupant of a lunar space station, as he enters the final two weeks of a three-year stretch running an operation in which the moon’s surface is mined for a substance that is sent back to Earth and converted to energy. As Sam’s departure looms, he has an accident which leads to a devastating discovery.
Among the smartest things that Jones does with his movie is casting the great Sam Rockwell in the lead role. The discovery that Bell makes and the situation he finds himself in as a result provide a great showcase for the actor, who deserves every opportunity to show off his stuff. Even with a setting as expansive as the moon and the emptiness of space around it, Jones keeps the film feeling intimate and Sam’s isolation palpable. And while, like many space stories, this one may seem a bit cold and cerebral, the director and his leading man offer something strangely moving and highly satisfying. This one really stayed with me.
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THE ROAD
Director John Hillcoat and screenwriter Joe Penhall don’t mess with Cormac McCarthy’s Pulitzer Prize-winning source material in their adaptation. The story is so sparse, there’s not much messing that could be done. They faithfully tell the story of a father and son moving through the cold, dismal, ashen landscape that remains after an undefined natural disaster has destroyed the world. They search for food, they search for shelter, they try to avoid other survivors – many of whom have turned to cannibalism – and they try to reach the coast, where they hope to find warmer weather and perhaps hope itself. That’s it. Boring? Never. Viggo Mortensen is at his understated best as the protective father, striking a natural rapport with Kodi Smit-McPhee as his compassionate son. Watch for a brief but astounding performance by Robert Duvall, who digs deeper in five minutes of screen time than many actors can go in a whole film.
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A SINGLE MAN
The impressive feature directorial debut of fashion designer Tom Ford looks as great as one would expect, but luckily Ford is concerned with something more than just the scenery. In the best performance of the year by a male lead, Colin Firth plays George Falconer, a college professor struggling and failing to deal with the sudden death of his partner. Taking place over the course of one day (with flashbacks illuminating the relationship between George and Jim, played by Matthew Goode), the film gives us a character perilously close to losing his way but still in possession of a desire for life, even if he doesn’t realize it. The journey of discovery that comes as George navigates his grief is one experienced by the audience as much as the character, for we get to see Firth dig into a role deeper than anything he’s done before. The scene where he receives the phone call about Jim’s death is a masterful example of restraint and internalization.
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STAR TREK
An epic, imaginative reboot of the beloved but recently stalled-out Star Trek franchise that successfully introduces yet another new crew to follow, succeeding despite the challenge of having audiences accept this new team as younger versions of the original cast. Director J.J. Abrams pulls it off thanks to a smart script by Roberto Orci and Alex Kurtzman (how is it that these guys write so well for Abrams and so poorly for Michael Bay?) that takes the Trek continuity fans are familiar with and through that most wondrous and liberating storytelling device known as time travel, spins it into an alternate reality that paves the way for a new franchise. Some fans cried foul, accusing the filmmakers of using time travel as a cheat that would let them ignore the history of a universe already deeply established. Others heralded the bold choice as just what Star Trek needed, a creative jolt that shows respect to its roots but frees the filmmakers from the shackles that had begun to hold the series back. I agree with the latter, and the fact that Leonard Nimoy shows up to bridge the gap – just as William Shatner appeared alongside Patrick Stewart in Generations to help pass the baton to The Next Generation crew – helps smooth the transition.
Abrams and his technical crew have created a great looking film, one that revels in widescreen glory and fills the frame with icy blues and sunbright oranges. ILM’s gorgeous visual effects enhance the cinematography and art direction, and advances in technology have allowed Abrams to ramp up the intensity and speed of Trek’s space battles. (Even in the original spate of Trek movies, working with higher budgets and fewer limitations than the TV series, the battling ships didn’t move very fast or evasively. The climactic pursuit of the Enterprise by the Reliant in Wrath of Kahn was less cat and mouse than two blind mice). Credit also goes to the cast assembled to fill the shoes of the beloved original Trek crew. When Chris Pine’s casting was announced, I was skeptical. I hadn’t seen him in anything, but he looked like a dime-a-dozen pretty boy. Watching the movie, I was pleased to find he had charisma to spare and that, at moments, was able to almost capture that elusive Shatner magic. Zachary Quinto’s casting, on the other hand, seemed too good to be true from the get-go, and the story crafted by Abrams, Orci and Kurtzman allows him to add surprising new dimensions to Spock, a character we thought we knew so well. Quinto and Karl Urban, as Dr. McCoy, most successfully channel their predecessors, although Simon Pegg is full of promise as Scotty and Zoe Saldana is a smart, sexy Uhura.
Abrams does occasionally falter, most glaringly in a brief but distracting segment involving not one but two over-the-top CG creatures that serve no real purpose. He also has a tendency towards humor that goes a little too goofy, as when Kirk’s hands swell like balloons as the result of an injection he’s given by McCoy. Luckily these moments are brief and forgivable, overshadowed by a sense of fun and excitement that whets the appetite for continuing voyages.
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UP
The Pixar formula might be getting boring if there was actually anything formulaic about what they do. But building a movie around a grumpy, 80-year old man isn’t exactly playing it safe. The fanciful adventure is set in motion when widower Carl Frederickson (voiced by the great Ed Asner) equips his house with enough helium balloons to carry him to Paradise Falls, an idyllic South American locale that he and his wife Ellie always dreamed of visiting but never managed to reach. The plan first goes awry when Carl discovers an inadvertent stowaway named Russell, a neighborhood boy trying to earn his latest Scout badge. Things continue to unravel from there, with talking dogs, an exotic bird and a mysterious figure from the past all standing between Carl and his dream. Among the movie’s many pleasures is an early montage depicting Carl and Ellie’s life together, and it is among the best and most moving scenes all year, a beautiful example of economic and emotional storytelling. It seems Pixar’s only formula is to come up with great stories and tell them superbly. If only they could share the secret, maybe all movies would be this imaginative and touching.
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UP IN THE AIR
Avatar wasn’t the only movie released in December to feature wondrous three-dimensionality, and it wasn’t the best either. That honor belongs to this shimmering comedic drama from Jason Reitman, whose script (also credited to Sheldon Turner, who worked on earlier drafts, and based on a novel by Walter Kirn) provides three of the year’s richest roles, as well as a timely commentary on how the economic disaster affects the lives of everyday working folk. George Clooney, continuing to exhibit superb taste in material, plays Ryan, a consultant hired by companies to come in and handle layoffs. He loves the traveling-man life that goes along with the job, and has perfected the art of living simply and efficiently. Then the arrival of two women into his perfect world has unexpected effects. One is co-worker Natalie (Anna Kendrick), a recent Cornell grad with big ideas to redefine Ryan’s company; the other is Alex (Vera Farmiga), a fellow frequent flier with whom Ryan becomes romantically involved.
None of the three are quite what they appear to be, and Reitman’s generosity as a writer and understanding of great characters and relationships is beautifully displayed, particularly between Ryan and Natalie. They’re forced to go on the road together so Ryan can show her the ropes, and Reitman doesn’t just coast by throwing them into a constantly contentious relationship that finally thaws after one special moment finally brings them to a mutual understanding. Their relationship is more layered than that. There is tension, but Ryan doesn’t treat Natalie with total contempt or disrespect. He wants her to understand what he does and how her proposal would affect that. Though his goal is to stop her plans from going into practice, he’s supportive of her as she learns the job. She, in turn, is open to his guidance even as she wants to prove herself as more than the naive girl she feels he takes her for. As she watches him handle the challenge of firing someone, she knows that she has overlooked the nuance involved, and the more Natalie learns, the more Kendrick shines. None of this may sound like much, but many movies wouldn’t give its characters such shadings. Reitman doesn’t present us with archetypes; he presents us with realistic people…who admittedly, have perhaps unrealistically great dialogue to speak. There is so much to enjoy about this movie, from the Oscar-nominated performances of Clooney, Kendrick and Farmiga to the supporting players that include Danny McBride, Amy Morton and Reitman’s Juno alums Jason Bateman and J.K. Simmons; from the crisp editing and cinematography that visually convey the precision of Ryan’s lifestyle to the inspired stroke of weaving in scenes with non-actors who really were laid off from their jobs; from the blend of levity and thoughtfulness to the lack of a tidy resolution. With his third film, Jason Reitman cements his standing as one of contemporary cinema’s great storytellers.
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WHERE THE WILD THINGS ARE
Director Spike Jonze and his co-screenwriter Dave Eggers accomplish a small miracle with their adaptation of the classic children’s book by Maurice Sendak, turning the story known as much for its brevity as its charm into a psychologically fascinating meditation on loneliness, love and family. It’s the best, most honest and moving depiction of adolescent isolation and longing I’ve seen since E.T. Actor Max Records is a natural as the rambunctious, lonesome protagonist with whom he shares a name, but the wild things are the real stars. Beautifully realized by Jim Henson’s Creature Shop, enhanced by the visual effects team at Double Negative and voiced by James Gandolfini, Catherine O’Hara, Forest Whitaker, Lauren Ambrose, Chris Cooper and Paul Dano, they are a stunningly original group of characters. I could not get enough of them, and my only disappointment with the film is that at an hour and a half, I didn’t get to spend nearly as much time with them as I wanted. The movie got a bit lost in the crowded fall schedule, and has been disappointingly overlooked during the awards season. I hope that in time, it will be re-visited, re-evaluated and eventually appreciated far and wide for the work of art that it is.
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ZOMBIELAND
Because a certain faction of my friends were going through a big zombie-phase – from video games like Left 4 Dead to graphic novels like The Walking Dead to regular novels like World War Z – I felt compelled to rally the troops for what looked like a fun little movie on a favorite subject. I had no idea just how much fun it would be. It was, in fact, the most fun I had at the movies all year. Opening night, a packed house – always a good way to see a comedy – and from the first moments to the last (a post-credits easter egg worth sticking around for), Zombieland delivered bigtime. The pairing of Jesse Eisenberg (who had the A to Z “land” spectrum covered in 2009) and Woody Harrelson is inspired, the former’s nervous, nebbish energy providing a great counterpoint to the latter’s cool, cavalier alpha male. Adding to the fun are Emma Stone and Abigail Breslin as too-cool-for-school (if-there-were-still-school-but-there-isn’t-because-all-the-teachers-and-classmates-are-zombies) sisters out for themselves. The movie’s aim is firmly to have fun, but it goes just deep enough to remind us what these four characters have endured and lost, which enriches the story in a small but meaningful way. It also boasts the best surprise celebrity cameo of the year; maybe the best ever. So avoid all spoilers, and remember: double-tap!
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There we have it. I could list plenty of other movies from the year that I enjoyed a lot, but these are the ones that left the strongest initial impressions. The film lover in me feels bad leaving certain others out, but I’ll exercise some restraint and leave you with these montages posted to YouTube from other movie fans out there, honoring the year in film.
(Click here for the creator’s blog listing all the clips featured here)
I Am DB 