Well, another year has passed, and another top ten of the year has been written. Now as always, keep in mind that this list is based off of all of the films that I saw last year, and not every movie released last year. That being said, I've seen probably 80-90% of the films of note, so this is pretty comprehensive.
The Best Films of 2011:
1. The Artist- While yes, this film is pure Oscar bait from start to finish, it is also brilliantly original, and incredibly well-made. It takes a premise that would seem very gimmicky, a silent black and white film, and turns it on its ear. The plot, about an aging silent film star and the young peppy actress who steals his spotlight, is so perfectly crafted that I found myself smiling throughout. I defy anyone to watch this film and not be swept away with its charm. If you are hesitant due to the silent film aspect of this, trust me, while yes, the film is silent, it is not attempting to mimic the style of old cinema, but rather tell a story set in old cinema. The pacing, editing and cinematography are all very much contemporary, which I think is what makes this such an original piece of work. In a year that I think will go down as not one of the best for cinema, this reminds us of a heyday long gone.
2. Bridesmaids- At first glance, this comedy about a woman dealing with her best friend's wedding, and the competition that arises with the new best friend, would be regarded as simple chick-flick fluff. But writers Kristen Wiig and Annie Mumolo elevate this into the best film about how women relate since Mean Girls. In fact, I sort of think of this as the adult Mean Girls. And like that film, these relationships aren't just mocked, but dissected, so that we can really laugh at what makes them tick. In any given scene I found myself alternating between cringing and laughing. Wiig's performance here is also one of my favorites. She turns Annie into a living, breathing person, and not the caricature that would have been the easy way out. It's not only the best comedy of the year, it's the best comedy in years.
3. Martha Marcy May Marlene- Who knew that the year's best horror film would be a quiet drama that premiered at Sundance? This film, about a young girl who escapes a cult and is haunted by what she experienced there, is the definition of a slow burn. It's a movie that never reveals it's hand to you, until you're so tense and afraid that you don't want it to. Elizabeth Olsen gives a tour-de-force performance as Martha, never choosing the conventional acting beats, but the more challenging, difficult ones. Writer/Director Sean Durkin, a self professed fan of horror, understands that to not show the monster is sometimes so much worse then just getting it over and done with. There is absolutely nothing visually graphic in this film, but the feeling of dread that you get will stick with you for days. A stunning debut from Durkin, and Olsen who is an actress that with this film has become a force to be reckoned with.
4. Pariah- You can sort of think of Pariah as the anti Precious. It isn't blunt, mean, sad or pandering. This story of a young black lesbian living in New York, struggling to come out to her family, is filled with so many great performances, all of which sell realism and reject dramatic gestures. Writer/Director Dee Rees brings us into a world that is rarely seen in mainstream films, and if it is, it's never treated with this much care and honesty. The main character, Alike, gives a speech near the end of the film that I felt encapsulates the fantastic message of this film “Breaking is freeing, broken is freedom.” She's a character that doesn't want or need anyone's acceptance, and is more powerful because of it. This is an important film, one that I fear will go unnoticed by most, which is a huge shame.
5. Drive- I hated this film the first time I saw it. I found it to be one of the most pretentious, boring, and gratuitously violent films I've ever seen. But there was something there. And I gave it one more shot. Boy am I glad I did. Drive, about a Hollywood stunt driver who gets in over his head with the mob, is absolutely one of the best films of the year. And in fact, I think it's the one that I had the most fun with upon second viewing. This is an exercise in style, of course, but the tension and pacing are perfect. And it doesn't hurt that it has one of the best soundtracks in years.
6. Pearl Jam Twenty- My favorite documentary of the year. This film, chronicling Pearl Jam's twenty year career, is one that can be enjoyed by folks who aren't fans of their music. I certainly enjoyed them before watching this, but was by no means a fan. I am now. The movie is directed by Cameron Crowe, who made the definitive film about rock and roll, Almost Famous, and I found myself thinking when this started that I wished that Crowe had simply taken this and created a narrative film. But the strength of this film is that it has been crafted with such care for story that it is totally a narrative film. Sure, there are talking heads, but the footage that Crowe has is so all-inclusive, there isn't much left to say after you see the film. There is a moment at the end of the movie, where Crowe shows a concert of Pearl Jam's and intercuts it with another concert earlier in the film, and the moment is pure magic. A return to form for Crowe for sure.
7. Midnight in Paris- I don't know where Woody Allen was hiding this, but I am so happy that he's back in perfect form. The plot, about a Hollywood screenwriter obsessed with nostalgia who travels back in time every night in Paris, is so charming, and oddly meta I hardly knew where to begin when dissecting it. The film seems to offer us a glimpse into Allen's own frustrations with the way that his work has been glorified, and is saying to the audience that it's ok to like the past, but just don't live in it. It's his best screenplay since Match Point, and feels just as fresh. Also, in pure Woody Allen form, he has assembled an incredible cast.
8. Bellflower- Here's a film that took me completely by surprise, and forced me to pay attention to every incredible minute. Two friends obsessed with apocalypse films, spend their time building flame throwers and flame shooting cars. That plot alone in an independent film as small as this would be impressive enough. But then, a relationship plotline is added with our main character, Woodrow and the girl who steals his heart, Milly. Their love affair is treated with so much care that it sort of shocked me that we're watching a film about flame throwers and killer cars. But then, the film folds in on itself once more, and becomes such a cluster of arresting images and sequences, it's almost like the movie itself explodes. It's an unbelievable debut from Writer/Director/Producer/Editor and Star Evan Glodell. Hollywood had better be taking notice. This guy is one to watch for sure.
9. Young Adult- The marketing for The Girl With the Dragon Tattoo would have you believe that film is the feel bad movie of Christmas, when in reality it's Young Adult. And yet, it's not the kind of feel bad movie that you don't completely enjoy from beginning to end. Charlize Theron stars as an author of young adult novels who decides to go back to her hometown to try and get back with an old boyfriend, and in the process breakup his family consisting of his wife and newborn baby. Writer Diablo Cody and Director Jason Reitman sidestep every cliche that you think this film will fulfill and instead gives us one of the most consistent character study I've ever seen. And to top it off, the film contains the best supporting performance of the year from Patton Oswalt.
10. Super 8- The best blockbuster movie of the year. There's no question that this is a total rip-off of classic Spielberg films like Close Encounters and E.T., but director J.J Abrams turns in a film that is funny, entertaining and thrilling. The story, set in 1979, involves a group of kids who, while filming their homemade zombie flick, witness a train crash that thrusts them into the middle of an alien mystery. The film stumbles in its final act, but the first two thirds of this are just perfection. The kids are perfectly cast, especially Elle Fanning, who between this and We Bought a Zoo, proves that Dakota may have not been the most talented Fanning child after all. Her performance here is Oscar worthy. No joke.
The Movies The Just Missed The Cut:
HappyThankYouMorePlease- Writer/Director Josh Radnor's charming debut, this romantic comedy set in New York reminded me of the kind of small, independent films that we got a ton of ten years ago, but are few and far between now. It's a great little movie, and deserves to be discovered.
I Will Follow- Writer/Director Ava DuVernay's film chronicles one day in the life of a young woman in the process of moving out of her Aunt's house, who has recently died, and the twelve people she meets throughout the day that help her. This is a wonderful, understated film that has some of the best editing I've seen all year, and truly great performances. Seek it out if you can.
The Skin I Live In- Pedro Almodovar's weirdest movie yet, by far. This one, about a plastic surgeon who creates a synthetic skin, and the woman he's holding captive as a test subject, is totally twisted, but also plotted with such precision you can't take your eyes off it. Recommended for those in the mood for something very much out there.
Like Crazy- Drake Doremus' intimate romantic drama about a young couple's relationship is painfully realistic, but also incredibly sweet and touching. Felicity Jones is absolutely electric here, and commands every scene she's in. I can't wait to see what she does next.
Don't Be Afraid of the Dark- Troy Nixey and Guillermo del Toro have crafted a devilishly fun little horror flick in the same wheelhouse as 80s classics Gremlins and Child's Play. It's the kind of horror film that is truly a roller coaster ride of thrills, and it doesn't help that the Cinematography is absolutely gorgeous (considering the genre). If you're looking for a fun horror flick, this one was surprisingly good!
And Finally The Worst Films of 2011:
The Marvel Films (Thor, Captain America)- I really really hate these movies. Marvel has taken interesting filmmakers like Kenneth Brannagh and Joe Johnston and taken out everything that made them unique and instead create these totally generic superhero films devoid of any characterization and drama. These films simply exist so that we can get The Avengers this year, which judging by these movies, is going to be one to watch with extreme caution.
No Strings Attached/Friends With Benefits- Two films with exactly the same plots, beats, and outcomes. I'm totally sick of these romantic comedies that point out the cliches and then make sure to follow through on every single one of them. It's not clever, it's lazy and boring.
Transformers: Dark of the Moon- The latest attempt by Michael Bay to kill our senses with bombastic, obnoxious filmmaking, this was dumb dumb dumb. And a total waste of Chicago. And also the highest grossing film of the franchise. God help us.
The Beaver- Jodie Foster's completely misguided attempt at something, I'm just not sure what. This movie is dead on arrival, and can't even be enjoyed on a so bad it's good level. It's just sad.
