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Last
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NOTABLE 2011 FILMS YET TO SEE: The Cave of Forgotten Dreams; Mysteries of Lisbon; The Adventures of Tintin; Rampart; Pariah; The Flowers of War; Tyrannosaur; Aurora; Once Upon a Time in Antolia; Gun Hill Road; Sucker Punch; We Need to Talk About Kevin; Water for Elephants; Page One; Rum Diary; Silver Bullets; The Interupters; In the Family; Being Elmo: A Quiet Life; Household X; Troll Hunter; Pina; Into the Abyss; Weekend; I Saw the Devil; Sherlock Holmes: A Game of Shadows; In the Land of Blood and Honey; Arthur Christmas; Mission Impossible Ghost Protocol; The Darkest Hour; The Way Click the poster for imdb link |
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| 1 |  |
THE
TREE OF LIFE Regardless of your own religious beliefs, The Tree of Life is a spiritual experience. It is one that is less concerned with specific devotion or worship, but rather more on the universal wonderment that lies beyond human control. It is this vast scale that makes Terrence Malick's filmmaking so remarkable - and so fitting in that conventional narrative is typically driven by the very sense of human control which Malick is defying. The Tree of Life is a film that reflects upon the duration and the collective memories of a life - through birth, childhood, the radiance of joy, the reality of pain, the hatred of abuse, the destruction of bitterness, the beauty of forgiveness, and the peacefulness of death. The Tree of Life evokes a spiritual and hopeful awareness to the wonder and inspiration of life's experiences with a remarkably moving sense of mystery and appreciation. Ultimately The Tree of Life feels like a swan song of Malick's defining spiritual expression - finding and accepting love... all things... grace! |
| 2 |  |
TOMBOY Tomboy opens to an expressive shot of a girl being held up by her father as they drive. Seemingly free from the conformity of the world in this moment, as sounds of the wind are evident in the backdrop. The girl is quickly returned to society but this moments lingers throughout this remarkably touching and heartfelt masterpiece. Tomboy is that rare film that evokes layered human depth all with a seemingly effortless touch. So many thoughts and ideas are evoked but they seem to be raised through the simplicity and naturalism of the filmmaking here. Celine Sciamma's directs the film with a delicate compassion that transcends any direct messages it may provoke. This of course is heightened by the incredible performances, mostly notably from the two young girls Zoe Heran (playing Laura) and Malon Leavanna as her younger sister. The moments these two share together on screen are simply magical. |
| 3 |  |
MARGARET Kenneth Lonergan shot this film back in 2005 but it was held back because he failed to keep the film under 150 minutes (as required in the contract). The film has finally been released at 149 minutes and it's messy and wild and unraveled and a masterpiece! Margaret is a gripping film so full of ideas and imagination, all through the point-of-view of a self-absorbed teenage girl - incredibly performed by Anna Paquin. This is a remarkably genuine character so full of life and compound feelings, anxiety and emotions. Conflict, compromise, worry, hate, alienation arise in the face of tragedy and Margaret relentlessly and intelligently understands the nature of daily living, observing with a splendor that is transcendent cinema. Note: Luckily Philadelphia was one of the very few cities this screened at for one week. Hopefully a full release will be coming soon along with perhaps Lonergan's original directors cut. |
| 4 |  |
TAKE
SHELTER With Take Shelter talented filmmaker Jeff Nichols (who's debut was the highly under-appreciated 2007 gem Shotgun Stories) subtly expresses the lingering sense of anxiety which is reflective of our current global economy. Of course this anxiety is also deeply internal and intimate and all this is beautifully and hauntingly expressed in this masterful film. The performances by the married couple at the core of the film (Michael Shannon and Jessica Chastain) are nothing sort of incredible and each shot and sequence within this film are so perfectly and precisely constructed and detailed, all with an effortless touch. Nichols blends the visuals to match the building atmosphere to create a deeper sense of nightmarish doom (much like the building of a giant storm). The ending might be ambiguous but I think (especially in contrast to the films opening) it perfectly completes the film in that Curtis can "take shelter" with his family who are clearly with him in love and acceptance. |
| 5 |  |
YOUNG
ADULT Screenwriter Diablo Cody re-teams with director Jason Reitman (they previously made the enjoyable 2007 comedy Juno together). This seems to be deeply personal for Cody and on repeat viewings I found the film strangely comparable to Stephen King's The Shining. Mavis Gary is not exactly an axe-murderer but she is a writer and she could be something out of a horror film. Young Adult is bold, unflinching and even poetic in its single-minded ambition. Charlize Theron may have won an Oscar for her powerful portrayal in Monster, but this is without question her finest performance - a monster of a different kind, she is extraordinary here - bringing a depth that you can understand and even oddly relate with (and ability Cody has excelled at with her films). As is Patton Oswalt who gives a complex and heartbreaking performance. Cody and Reitman have proven to be a good match for each other and their understanding of contemporary culture and suburbia blends here to make a film that is an incredibly rich and unrelenting dark comedy. This film will earn greater appreciation over time. |
| 6 |  |
THE
DESCENDANTS "What about me? I wanna camp" This touching but quiet moment seems to express the emotional layers this film is working on. Grief absorbs every frame of the film and the films title seems to subtly reflect the rich family dynamics - of which are so perfectly portrayed by this incredible cast. George Clooney gives a career performance and the film finds a beautiful parental tone in his relationship with his two daughters (excellently played by Amara Miller and Shailene Woodley- especially great). This is Alexander Payne at his most restrained and mature. It's been seven years since his critically acclaimed film Sideways, and for me The Descendants is his best work. |
| 7 |  |
A
SEPARATION A Separation deals on multiple levels and takes on many layered ideas and avoids taking easy predictable turns. There is as much an internal struggle as their is with Iranian society. I think this has mass audience appeal and American audiences unfamiliar with Iranian cinema would be pleasantly surprised with just how universal the film's characters and emotions are here. Looking past the countries government policies, Iranian cinema has for a long time proven the compassionate and complex beautiful of their people and culture. The performances are superb (notably by Peyman Maadi as the husband/father) and the film is as suspenseful as it is dramatic. Hopefully A Separation is a film that will reach wide audiences here in the United States, because this is a highly accessible and deeply profound film. |
| 8 |  |
DEAR
PRUDENCE Lead by a gripping performance from Léa Seydoux, Dear Prudence quietly observes a lonely soul dealing with the pain and confusion of loss and adolescence. First time writer/director Rebecca Zlotowski brings a raw and subtly expressive style which leaves a powerful and lingering tone. |
| 9 |  |
BRIDESMAIDS Bridesmaids offers a depth, understanding and even a dark complexity that is truly rare. I wouldn't exactly consider this definitive or ground-breaking "feminist cinema", but there is a freethinking-spirit that makes it refreshing, and the real joy is that there is some rather insightful and complex humanity to the characterizations underneath the surface of the films routine (and often effective) gross-out humor… further proof that the Judd Apatow (who serves as the films producer) formula is universal of genders. The entire cast is superb, but the standout is Melissa McCarthy - who as Megan is hilarious but also genuine and compassionate. |
| 10 |  |
LE
HAVRE Le Havre is the first French film from Finnish director Aki Kaurismaki since 1992's acclaimedThe Bohemian Life. Kaurismaki clearly roots the film on French influences notably those of the Poetic Realism of the 1930s. This film shares the visual look and feeling of those film with a distinctively Kaurismaki touch. His signature style and effortless gifts with camera framing and deadpan humor are a joy, but the films greatest strength lies in its loving compassion and hopefulness. A wonderous and beautiful film! |
| 11 |  |
ABSENTIA Absentia is an independent horror film that is truly an engrossing experience. Writer-director Mike Flanagan flawlessly builds tension and mystery as the film is concerned with that which is hidden of which includes psychological emotions (in this case lingering sadness of grief and loss). There is a depth to this film, heightened by both the atmospheric visuals as well as the engaging sister dynamic (beautifully performed by Katie Parker and Courtney Bell). |
| 12 |  |
MISS
BALA Through its expressive camera movement (of which includes precise, long takes) Miss Bala emerges as an artistic mood piece that is equally thrilling as a action genre exercise as well as a serious reflection of a society's drug violence. Following up his 2008 feature I'm Going to Explode, Gerardo Naranjo has grown into a more artistically mature filmmaker here, channeling the style of a master like Michelangelo Antonioni. Stephanie Sigman is put through alot in this film and she delivers a remarkable performance. Miss Bala is mostly about its style and in that the film is an astonishing achievement. |
| 13 |  |
BEGINNERS Mike Mills follows up his debut feature (2005's Thumbsucker) with this deeply personal film loosely based on his own life. As reflective of the title this is a coming-of-age film but one that works on various levels. From the opening scene (a man going through and trashing old "stuff"), past holds a significant weight on the film, and Mills beautifully reflects this with an intertwining narrative structure of separate time periods. Christopher Plummer gives a standout performance and Melanie Laurent brings more depth to the standard "dream-girl" role. Beginners is an intimate and sensitive film full of genuine tenderness. |
| 14 |  |
ST.
NICK I adore the way St. Nick, the debut feature from writer/director David Lowery finds the perfect balance between poetic fairy-tale and heartfelt emotional drama. The film creates this lyrical sense of an isolated childhood world and the environment they wander through is as effectively expressive as the terrific performances from the young real-life siblings Tucker Sears, Savanna Sears. |
| 15 |  |
KATI
WITH AN I There is a visual and editing style to this documentary that gives it a very lyrical sense of beauty and the intimacy of the subject along with the slow building tension really make this an involving film. It follows a young girl from her last day of school to graduation as she prepares to leave for college alongside her older boyfriend. The feeling of uncertainly fittingly lingers throughout the film. Kati with an I is the best documentary of 2011! |
| 16 |  |
ATTACK
THE BLOCK This film is definitely one of the most enjoyable films of the summer! Attack the Block works as sort of a modern genre throwback to the 80s but without falling into overly nostalgic traps. Its very simplistic in approach and makes great use of its location as well as its alien designs. Besides being fun and adventurous, the film has compassion that is worth embracing, plus its hero (Moses) is a beautifully constructed character (aided by a fine performance from John Boyega). |
| 17 |  |
THE
GIRL WITH THE DRAGON TATTOO David Fincher's adaptation of the beloved international novel The Girl with the Dragon Tattoo is (to me) vastly superior to the mediocre Swedish adaptations. Both films are held down by the source material's heavy plot, but Fincher masterfully crafts the film into something that fittingly looks and feels like his films (which in many ways works as a nice companion piece to his brilliant previous film The Social Network). Fincher gives this film more humor and a much more alluring atmosphere overall - starting as early the awesome opening title sequence! Rooney Mara (a scene stealer in The Social Network) is given a juicy role here, and she delivers with a powerful performance that is both fragile and tough. The films master touch, is its ending, and Mara deserves much of the credit... It is a heartbreaking ending and a defining emotional portrayal of Lisbeth Salander. |
| 18 |  |
MIDNIGHT
IN PARIS Midnight in Paris is one of Woody Allen's most charming films in years. It has the spirit of The Purple Rose of Cairo in the way the film perfectly blends fantasy and humor as a reflection of art, love and life. Owen Wilson seems a perfect fit as Allen's leading man, giving one of the best performances of his career, and the always enchanting Marion Cotillard is a magical screen presence once again here. I would consider this alongside Match Point as Allen's best film in the last 20 years. |
| 19 |  |
MILDRED
PIERCE This five hour mini-series from the great Todd Haynes starts off a bit slow but really packs an emotional and cinematic punch as it builds. Kate Winslet gives a superb lead performance and Haynes along with his cinematographer Edward Lachman add an expressive depth through the films skillful use of visual compositions (most notably the endless uses of reflections). The effort and detail put into this film is truly worth applauding as the film seems (for better or worse) dedicated to fully embracing and adapting its original source novel (something the wonderful 1945 film from Michael Curtiz was less focused on). |
| 20 |  |
CARNAGE This stagy, theatrical material and setup seems a bit surprising to come from a director like Roman Polanski, who co-wrote the terrific screenplay with Yasmina Reza - the writer of the source play upon which the film is based. Polanski brings a subtle sense of cinematic touches through the use of visuals, notably in the expression of objects within the confined environment (which is also heightened through the use of space, and mirrors, doors and windows). The characters are beautifully drawn and the talented cast delivers (with Jodie Foster being especially terrific alongside Kate Winslet, Christoph Waltz and John C. Reilly). |
| 21 |  |
HUGO The story is indeed one aspect of this film but at its core Hugo is rooted in its love and appreciation of film and the pure magic of filmmaking. This is why the film seems so suited for its director Martin Scorsese, who at first glance would seem an odd choice to adapt a family film in 3D. However one could argue this is essential Scorsese and indeed a very personal achievement. For me its surpassed only by Coraline (one among my all-time favorite animated films) at the peak of 3D artistry - as early as the films dazzling and elaborate opening dolly shot through the train station (which itself embodies another character of the film). |
| 22 |  |
DRIVE Drive feels a bit like an action film from the 1970s or perhaps something from Jean-Pierre Melville. Gifted filmmaker Nicolas Winding Refn (Valhalla Rising) delivers an exciting, carefully composed and subtly performed film. The cast is strong (nice to see Albert Brooks given such a juicy role to work with) but this is mostly all about Ryan Gosling in a pitch-perfect emotionless performance that really works. The film is not without flaws but is has such a wonderfully absorbing mood to it. |
| 23 |  |
TINKER
TAILOR SOLDIER SPY Swedish filmmaker Tomas Alfredson follows up his brilliant 2008 film Let the Right One In with this adaptation of John le Carre's Cold War spy thriller novel (itself adapted into a 7-part miniseries for British television). Gary Oldman takes on the role previously played by legendary Alec Guinness, and he delivers a performance that is outstanding for its subtleness. The entire cast is superb (with Tom Hardy being another standout). Tinker Tailor Soldier Spy is flawlessly constructed and performed with every shot and detail. As with his previous film Alfredson gives the film a sense of feeling and atmosphere through his use of set deigns. |
| 24 |  |
UNCLE
BOONMEE WHO CAN RECALL HIS PAST LIVES Those familiar with the films of Apichatpong Weerasethakul (Tropical Malady, Syndromes and a Century, Blissfully Yours). will know what to expect here, and he delivers his trademark style with a film that may be even more reflective and hypnotic then anything he's done in the past. This also is probably his most experimental film and the dreamy strangeness of it all becomes a rather wondrous and even exciting cinematic experience. This is definitely not one for all audiences and while I wasn't as enthralled as some of Weerasethakul's previous films, Uncle Boonmee Who Can Recall His Past Lives is a groundbreaking film worth respecting. |
| 25 |  |
BELLFLOWER Bellflower is a bit of a gritty mess of a film and that is essentially its charm. It is a film with an attitude and a spirit that might turn in into an eventual cult classic of its generation. I can't say it all makes coherent sense but its nightmarish, 1970s throwback look and feel are quite thrilling to experience. |
| 26 |  |
CATERPILLAR Veteran Japanese filmmaker Koji Wakamatsu's Caterpillar is a brutal antiwar film. Lead by a terrific restrained performance by Shinobu Terajima as the wife of a soldier who has returned from the Second Sino-Japanese War without his arms, legs and the ability to speak. |
| 27 |  |
COLOMBIANA Luc Besson wrote and produced the film for director Olivier Megaton, and like all his projects it definitely has his stamp on it (i.e. a rail-thin heroine with a single-minded vision of rebellious revenge). Colombiana offers some really fun and exciting B-movie pleasure. The real surprise is that it packs emotional punch thanks mostly to the fiery performance of Zoe Saldana. |
| 28 |  |
THE
NAMES OF LOVE Full of quirkiness The Names of Love is a romantic comedy with political and cultural significance. Its humor occasionally reaches for shock but the film is above all carried by a wonderful lead performance from Sara Forestier. The Names of Love draws from some of the clever wit and intelligence that made Annie Hall such a lovely romantic comedy. It might not reach that level, but Forestier's performance makes this a funny and charming film. |
| 29 |  |
TERRI With his previous features (Momma's Man, The GoodTimesKid), indie filmmaker Azazel Jacobs has proven a clever understanding and appreciation of outcasts and here he takes his observant gifts to a formulaic High School coming-of-age film. The result is a deeply tender achievement with a strong performance by John C Reilly as the Vice Principle that gives counseling sessions in a big brother-type role for Terri (played by Jacob Wysocki). The film really thrives towards the last half when Terri grows a bond with two other school misfits (the perceived slut - Olivia Crocicchia, and troublemaker - Bridger Zadina). It is here Jacobs seems more in his comfort zone, and while it's not exactly Nicholas Ray, it remains compassionate, moving and funny. |
| 30 |  |
JANE
EYRE This is the best of the three Jane Eyre adaptations I've seen. Mia Wasikowska and especially the superb Michael Fassbender gives outstanding lead performances as they along with the haunting sense of atmosphere provided by talented director Cary Fukunaga in his sophomore feature, heighten the films mix of passionate emotions - which range from violent to firmly controlled. |
| 31 |  |
HANNA Hanna is a refreshing genre departure for Joe Wright (previously known for his David Lean type films). This doesn't carry the rich complexity of Atonement or the lovely warmth of his Pride & Prejudice, but I think Hanna succeeds as a supercharged action/musical fantasy - which like an amusement ride is fast, engaging, fun and leads you right back to where it starts. |
| 32 |  |
MEEK'S
CUTOFF Kelly Reichardt's film is a visual wonder as she uses the camera framing and the hauntingly isolated landscapes to further express the characters desolation. The film does not quite resonant as deeply as the humanism of Reichardt's previous efforts (most notably Wendy and Lucy), but it is a remarkable achievement in visual and sound. |
| 33 |  |
INSIDIOUS Insidious does not offer anything groundbreaking but the film is skillfully made and highly effective genre work. Director James Wan is clearly a fan of old horror and monster movies and in many ways this is a throwback ghost story. The film resonates on every intended level in a way that is both haunting and fun. |
| 34 |  |
WE
BOUGHT A ZOO Cameron Crowe considered retiring from filmmaking after the critical and box-office failure of his 2005 film Elizabethtown (a film I enjoyed and found under-appreciated). We Bought a Zoo is perhaps Crowe's way of finding a financial hit as this is an undeniable crowd-pleaser. Cynics may balk at some of the films sentiments here but they would again be under-appreciating what Crowe brings. He has a tremendous understanding and heart for characters and dialogue as well as his trademark hopeful belief in humanity. At the emotional core of this films lies a father-son relationship that is expressed in some powerful moments (of both conflict and love). We Bought a Zoo is a deeply touching film with excellent supporting performances from Scarlett Johansson and Thomas Haden Church. The final portions of the film are truly heartwarming and the ending scene is pure magic! |
| 35 |  |
SUBMARINE It easy to find the influences of this film, whether they be 1970s Hal Ashby or 2000s Wes Anderson. However, Submarine is a highly enjoyable film with superb characters and terrific performances. Craig Roberts and Yasmin Paige are charming as the young leads, and Noah Taylor, and Sally Hawkins are especially great as the young boys parents. This is the filmmaking debut of Richard Ayoade and he displays a nice talent for characterizations and a wisdom for balancing dreamlike fantasy with reality. |
| 36 |  |
ATTENBERG Though the tone is a bit more serious, Attenberg is destined to be compared to last year's wonderfully wacky hit from Greece Dogtooth, not only because it deals with similar issues of sexual and social repression but also because Dogtooth director Yorgos Lanthimos makes a memorable appearance in the film. |
| 37 |  |
FINAL
DESTINATION 5 Final Destination 5 is pretty much the same formula as the previous entries into the franchise but this may be the very best of the bunch in terms of execution. Not only is the use of 3D technology fully accomplished, Final Destination 5 best exploits our own fears and it is also effectively develops the characters on a level you can invest into the paranoia and fears of our vulnerabilities. Ultimately the film is alot of fun. |
| 38 |  |
THE
MYTH OF THE AMERICAN SLEEPOVER The Myth of the American Sleepover intertwines so many characters that it is difficult to get emotionally invested, yet to the filmmakers credit it is impressively constructed and ultimately creates a kind of lyrical atmosphere to the whole film. The films strengths is in the way these teenagers don't communicate, as much of the expressions are left to what is unsaid. It is a very well made high school film. One that seems to exist in a previous time (notably with the absence of modern technologies) but this only heightens the dreamlike tone it takes. |
| 39 |  |
WAR
HORSE There are plenty of Steven Spielberg type moments within this film and his influence from John Ford is as evident as ever. However, War Horse is a film unlike anything Spielberg has ever done before, as here the narrative drive is less on plot, instead it is an episodic structure which uses a non-human protagonist as a reflection of a larger human epic scale. This is one of Spielberg's most reflective films, alongside A.I. Artificial Intelligence (which to me remains his greatest masterpiece as a filmmaker). |
| 40 |  |
MARTHA
MARCY MAY MARLENE Martha Marcy May Marlene is a film that is surrounded by a sense of dread and its shifting narrative in time slowly builds the overall looming doom, which reaches it's internal peak in the films ambiguous final shot - one that seems to suggest Martha's psychological pain and paranoia is incurable in "normal" society. This debut feature from Sean Durkin shows the potential of a gifted filmmaker as well as a strong performance from Elizabeth Olsen. Not everything works but there are some incredible moments (John Hawke's singing 'Marcy's Song' certainly stands out!) and Jody Lee Lipes cinematography is typically brilliant. |
| 41 |  |
A
DANGEROUS METHOD A Dangerous Method deals with quintessential David Cronenberg themes of repression and internal/external ideas of the mind and the body. The films setting is at the turn of the 20th Century, and the film is expertly detailed in its period touches, all while still keep a tone that is indeed Cronenbergian. The film mostly relies on its performances - carried by two of the finest actors in contemporary cinema (Michael Fassbender and Viggo Mortensen as Carl Jung and Sigmund Freud). They both bring an intelligent depth to their subtle performances, which contrasts that of Keira Knightley's over-the-top portrayal of Sabina Spielrein. It is not as exciting as Cronenberg's finest masterpieces (A History of Violence, Spider, Dead Ringers) but A Dangerous Method is provocative, intelligent and skillfully made. |
| 42 |  |
HOW
TO DIE IN OREGON As intimate, powerful and important as it subject would indicate How to Die in Oregon is an incredibly moving and thoughtful documentary which follows the terminally ill and their families and doctors in the state of Oregon which was the first to legalize physician-assisted suicide. |
| 43 |  |
REAL
STEEL Real Steel is one of the really great surprises of the year to me. It follows a typical formula we've seen before but it does so with such inspiring success that you can not help but enjoy it - wholeheartedly in fact! The blends concepts of fantasy with some heartfelt father-son dynamics (aided by the energetic performances of Hugh Jackman and newcomer Dakota Goyo). Real Steel is highly entertaining crowd-pleaser! |
| 44 |  |
BLACK
DEATH Black Death opens with a series of landscapes devoured by fog - and this bleak visual sets the tone for this atmospheric 14th Century period piece from talented horror filmmaker Christopher Smith (who previously directed the highly underappreciated 2009 film Triangle). The film questions the presence or absence of God but it does so without preachy any messages instead relying on the sense of doom that carry the visual and emotional weight of the film from haunting opening to maddening conclusion. |
| 45 |  |
SPY
KIDS: ALL THE TIME IN THE WORLD 4D I had a great time with this film and its whole "4D" experience, which while gimmicky worked with the fun and goodhearted nature of this film. What might be most wonderful about this Spy Kids is how incredibly personal the film appears to be for its filmmaker Robert Rodriguez - here expressing the troubles of a career vs parenthood and the importance of spending time with children. The films visual look and feel creates a dreamlike atmosphere that blends perfectly with the fun, playfulness of the film. |
| 46 |  |
LIKE
CRAZY Felicity Jones carries the emotional heart and soul of this film with a beautiful performance. The films is intelligent in the way it captures early love and then the pain of whether that love can survive time as well as personal desires and the everyday passing of life. This charming film is both sweet and heartbreaking. |
| 47 |  |
50/50 Screenwriter
Will Reiser drew some of this film from his own battle with cancer and
it is reflective in the films small details and intimate emotions. 50/50
finds the pitch-perfect blend of comedy and drama in dealing with such
a serious subject. The result is a film that feels fresh and heartfelt.
Joseph Gordon-Levitt seems perfectly casted here and the supporting
cast is fine as well (Seth Rogen, Bryce Howard, Philip Baker Hall, Anjelica
Huston and Anna Kendrick - in perhaps her best performance to date). |
| 48 |  |
13
ASSASSINS It is difficult to keep up with all the new releases from prolific Japanese director Takashi Miike since he seems to make 2-3 films every year. Based on what I've seen 13 Assassins may be my favorite film from Miike in the last 10 years. The film is a straight genre throwback with a nice mix of his typical touch. It is a fine piece of filmmaking and certainly a crowd-pleaser for samurai fans. |
| 49 |  |
HOSPITALITY Hospitality is not without flaws but the film has a charming sense of storytelling with a fine blend of dark humor and social drama. The great strength of the film is that it seems to be dealing with large philosophical and social ideas as well as metaphors yet it is made with a touch that feels unconscious of such ideas. |
| 50 |  |
EGOIST Under Ryuichi Hiroki 's direction, Anne Suzuki (most known for 2004's Hana and Alice) gives a standout performance that really propels this film to greatness. Hiroki is clearly channeling cinematic influences here but the film still feels fresh and is never dull, capped off by a masterful ending scene in which Suzuki shines. |
| 51 |  |
LITTLEROCK The beauty of this film is the way in which it operates - almost fully through the humanity of the characters (notably a Japanese tourists - a brother and sister - who get stranded in the small town of Littlerock CA where they meet a group of Americans). The presence of culture lingers throughout the film and because it mostly avoids plot creating a deep sense of isolation which is heightened by the films town (itself a character). Littlerock is engaging in a unique way as you never really know where the film is headed but understand everywhere it goes. |
| 52 |  |
THE
GUARD Brendan Gleeson gives a career-defining performance as the political incorrect cop who is hired by American FBI agent (pitch-perfectly played by Don Cheadle) to stop an Irish drug dealers. Gleeson and Cheadle share superb chemistry and the film offers plenty of comedy. Gleeson's previous standout performance was in the film In Bruges which was written and directed by Martin McDonagh. The Guard is writer by his brother John Michael McDonagh and it shares a similar sense of wit for drama and comedy. |
| 53 |  |
WINNIE
THE POOH There is not a cruel element to be found anywhere in this lovely little 63-minute animation film from Disney. There is such a timeless quality to this gentle and beautifully colorful film. This G-rated feature is a perfect film for children of all ages, carrying with its charming visuals are some pretty tender ideals of selflessness and love. |
| 54 |  |
MELANCHOLIA Brilliant opening, heightened by beautiful painting-like compositions and music. As typical of Lars von Trier films Melancholia will polarize audiences. This is another depressing film from him but it is more bearable then his previous effort Antichrist. Here the focus lies almost solely on depression and most notably the way two main characters contrast when faced with a looming tragedy. As the sisters, Kristen Dunst and Charlotte Gainsbourg (who was superb in Antichrist) are both excellent here (not surprising considering that Von Trier films are always carried by strong female performances, not to mention the fact that Gainsbourg and Dunst are usually always terrific). The film lacks some psychological depth in the characters, but it does linger with you - notably for its striking imagery, its fine performances and of course its stunning opening ten minutes. |
| 55 |  |
CONFESSIONS This psychological revenge drama was Japan's 2010 selection for the Academy Awards, but its a far to unpleasant film to have had any chance to win that award. It has picked up strong acclaim throughout eastern Asia. The film is brutal and made in a very artistic style. The tone was quite different then the previous film I have seen from Tetsuya Nakashima (2004's Kamikaze Girls), but this has me curious to seek out his earlier films. Not everything works perfectly as the film feels a bit forced with its style at times, but Confessed is a very good (albeit disturbing film). |
| 56 |  |
COLD
WEATHER Aaron Katz's previous efforts were more in the mumblecore mode, but with Cold Weather he blends that style (or movement?) with standard genre detective story. Of course this has plenty of unusual quirks, but the real strength of the film is how effectively visual it is (giving the film a norish atmosphere through its repetitive use of reflections). It might get a bit too clever for it own good in the end, but Cold Weather is an interesting exploration for Katz as a filmmaker and I found it full engaging to watch. |
| 57 |  |
MONEYBALL Bennett Miller (Capote) directs this script by Aaron Sorkin (The Social Network) and Steven Zaillian (Schindler's List), who adapted Michael Lewis's best seller. The film is a real surprise in how well executed and engaging it is. Much of the credit goes to Brad Pitt who delivers what is in my opinion the very best performances of his career. The action of this sports drama mostly takes place in the management and business side, but it still has a deeply human underdog theme that is evident in the most formulaic and inspiring sports films. Funny and heartfelt, Moneyball is a beautifully made winner. |
| 58 |  |
RISE
OF THE PLANET OF THE APES Rise of the Planet of the Apes is a highly engaging reboot of this long-beloved franchise. The film is skillfully made as a genre piece and the special-effects here are spectacular. This is great summer movie fun specifically as it builds towards the second half when the apes start to revolt against the humans. The emotional connection of the film undoubtedly lies with Caeser, who is essentially given the most depth. This film is pure entertainment and it works on multiple genre levels. |
| 59 |  |
THE
DOUBLE HOUR The Double Hour is a film inspired by it genre roots and film noir style and while the films does not always work on its execution of plot, it is quite successful at finding the right subtle details such in the way the films uses camera framing or sound design. The twists and turns nearly become overbearing but The Double Hour has some wonderful moments and embraces its noir influence. |
| 60 |  |
CONTAGION Highlighted by an impressive ensemble cast Steven Soderbergh structures this in the mode of his terrific 2000 epic Traffic. Here the narrative is centered around intersecting stories each concerning a deadly worldwide outbreak. The film is rather gloomy and offers up some shocking ideas. The star cast takes a back seat to the scale of the questions and issues at hand. Not without flaws Contagion will at least (for better or worse) raise some thoughts about what you are in contact with on a daily basis. |
| 61 |  |
WARRIOR Having already succeeded with the American sports drama (2004's Miracle) Gavin Hood has seemingly found his trademark with his latest film Warrior, based on two brothers that enter an MMA competition. There is plenty of melodrama here but its expertly constructed and performed by the leads (Joel Edgerton and Tom Hardy). This is an inspiring film that has mass audience appeal because it themes and emotions are so universal. |
| 62 |  |
THE
WOMAN Lucky McKee is a talented filmmaker that seems to understand the importance of the genres tone and atmosphere. Teaming once again with co-writer Jack Ketchum this is McKee's most violent and disturbing films to date (even causing a big stir with audiences at the Sundance who walked out in disgust). McKee effortlessly shifts the tones to play with the audience, and the precise camera work seems equally simplistic and complex. The film goes completely over-the-top towards its conclusion, but Pollyanna McIntosh's performance is always strong and the film ultimately avoids falling into the typical traps of other torture films. |
| 63 |  |
RANGO Rango is a really fun film. There is such superb and unique visual detail put into every animated frame (be it within the characters themselves or most notably the landscapes the characters live in). With countless references and homages (notably borrowing a portion of its story premise and lead villain from Chinatown), Rango is as much (if not more) one made for film buffs as its is children. Rango is more then just spoofy-farce, as its aided by a stunning and incredibly detailed visual design. |
| 64 |  |
THE
EAGLE Kevin Macdonald (Touching the Void, The Last King of Scotland, State of Play) is a solid director and he gives this film a truly involving and exciting entertainment. Epic in scale The Eagle blends action with a great sense of feeling and atmosphere. You care for these characters (finely played by Channing Tatum and Jamie Bell). The setting is 140 AD but the film has a universal quality that makes it equally contemporary. |
| 65 |  |
SOURCE
CODE Duncan Jones sophomore effort (following his underappreciated debut Moon) is well paced, highly entertaining sci-fi thriller. It is a concept film but one that is mostly intelligent without resorting to over explanation. The ending feels a bit forced or detached from the rest of the film which is quite gripping. |
| 66 |  |
OF
GODS AND MEN Both upsetting and thought-provoking, Of Gods and Men is a story of ordinary men whose compassion is challenged in the most unsettling manner. It is a powerful film and is made with beautiful touches which really engage the audience into this world and culture. |
| 67 |  |
OUR
IDIOT BROTHER There are a few overdone stereotypes but this is such an engaging film notably for the very likable performance by the films lead Paul Rudd, as a lovable trustworthy character. He is contrasted by the many self-centered people within his life, most of whom look at him as though he's a child. The film never really goes into the complexities of this contrast outside of the surface, but it does a fine job of drawing out many of the characters, all performed by a talented cast (Elizabeth Banks, Zooey Deschanel, Emily Mortimer, Kathryn Hahn, Steve Coogan, Rashida Jones). |
| 68 |  |
THE
ADJUSTMENT BUREAU Based on a Philip K. Dick paranoia story about secret agents that control the events of the planet, The Adjustment Bureau is thrilling and intelligent. Where I think the film really thrives is the chemistry of its cast - notably the leads Matt Damon and Emily Blunt. There first scene together (in a mens bathroom) sparkles with the wit and charm of old Hollywood. Their connection is ultimately the core of the film which is as much romantic as it is thriller or science-fiction. |
| 69 |  |
HARRY
POTTER AND THE DEATHLY HALLOWS PART 2 Harry Potter and the Deathly Hallows Part 2 is an excellent conclusion to what has been a mostly good series (notably since the third entry - The Prisoner of Azkaban, which to me stands as the peak of the film franchise). This conclusion finds a great blend of impressive action and emotional connection (especially in its moments shared between Harry and Professor Snape - excellently played by Alan Rickman). |
| 70 |  |
DRIVE
ANGRY 3D There is a ridiculous quality that makes this film surprisingly endearing. Not only is it the performances (which are so wonderfully strange from Nicolas Cage, William Fichtner, and David Morse), but the film embraces 3D technology with such a silliness that it is almost masterful (especially in connection with the rather outrageous premise). The result is a highly entertaining and fun film experience. There are some incredible action sequences and stunt work here. |
| 71 |  |
THE
MECHANIC I have yet to see the original 1972 film this is based on, but this is solid genre filmmaking. Jason Statham seems to be apart of many of the good modern action films because he (like the films) has a throwback quality that is rare. Sure there is a B-movie element at play here but the film embraces those conventions as well as its cinematic influences, with a cleverly stylish and playful approach. More action films could take a lesson from this one (or a few other entertaining Statham films - The Bank Job, and Crank). |
| 72 |  |
WAKE
WOOD Wake Wood is an impressive atmospheric horror film very much in the mode of the 1973 cult classic The Wicker Man. It's nice to see Hammer making feature films again (after last years Let Me In ended a long drought for the company). |
| 73 |  |
CATCHING
HELL Directed by Oscar-winning documentary maker Alex Gibney, Catching Hell is a film that takes on many great thoughts beyond just the game of baseball of sports fanatics. This also looks in-depth at a manipulated mob-mentality that took place against this poor fan, who to this day has not spoken publicly (despite being offered thousands for interviews). I don't even consider myself much of a baseball fan, but I was completely engaged by this very well made documentary. |
| 74 |  |
SLEEPING
BEAUTY While it has some influence on the filmmaking style and themes of Catherine Breillat, this is not the same film as her 2011 release The Sleeping Beauty (which I have yet to see). This is also certainly not an adaptation of the classic Sleeping Beauty made famous by Disney animation, but its title certainly takes on dark, psycho-sexual twist on the fairy-tale. There are some beautiful compositions here and Emily Browning delivers a bold performance. The film is a bit artificial emotionally but it lingers and I think my interest in the film will improve upon repeat viewings. |
| 75 |  |
WIN
WIN Writer-director Thomas McCarthy has made quite a name for himself in the American independent filmmaking scene. His third feature follows a similar vein in that it is a character-driven dealing with thoughtful and moral human issues and like his previous film that lead performances are outstanding. Some of the supporting roles feel a bit miscast but the acting is never weak and McCarthy has a gift for dialogue and character development. |
| 76 |  |
DREAM
HOUSE Dream House seems a bit of a change of pace for great director Jim Sheridan (In America). However while the look and feel of this film draws off of some old-fashioned horror visual designs, ultimately this is a deeply emotional and internal psychological film. There is a compassion to this film that is worth embracing. This film is very unpretentious and it will likely be under-appreciated. |
| 77 |  |
A
BETTER LIFE A Better Life openly borrows a basic premise of Vittorio De Sica's timeless 1947 classic The Bicycle Thief for this moving drama about an illegal Mexican immigrant living in LA with his alienated teenage son. A Better Life has some small, intimate moments and mostly avoids contrived or preachy messages while still delivering a powerful awareness of the Desolation felt by the characters. Demian Bichir is a longtime star in Mexican cinema and he delivers a powerful and inspiring performance. |
| 78 |  |
ONE
DAY Lone Scherfig follows up her acclaimed 2009 film An Education with this romance. It follows a gimmick premise, and is open for many flaws in it's rapid-paced narrative jumping in time. There is a bit of disconnect between the leads but perhaps that is part of the point as the film progresses. One Day does have a nice understanding of life transient moments of which include the triumphs and the disappointments. |
| 79 |  |
SUNNY Sunny is a film about a group of friends from High School that called their gang Sunny. The film follows both the past (when they were in high school) and the present (as adults). Sunny was a big hit in Korea and its understandable because the film deals with some heartwarming emotions and characters that are easy to relate with. The film is full of energy and nostalgia with moments that are very compassionate. |
| 80 |  |
THE
TRIP This is the feature length film of the BBC miniseries which was twice as long. As such The Trip feels a bit episodic but it is s a fun time mostly for the one-liners and comic timing of it's stars - Steve Coogan and Rob Brydon, both playing themselves as they did for Michael Winterbottom in the wildly fun and inventive 2005 film Tristram Shandy: A Cock and Bull Story. This one doesn't work as sharply as that but it has plenty of good laughs and one-liners. |
| 81 |  |
MONTE
CARLO Monte Carlo is a surprisingly entertaining and well made film. Director (and co-writer) Thomas Bezucha brought some poignant emotional depth to the underrated 2005 The Family Stone and this offers some similar touches of touching human emotions and life progressions. The three leads (Selena Gomez, Leighton Meester, and Katie Cassidy) are quite good mostly in the way they each share the screen without overplaying the performances. |
| 82 |  |
THE
ARTIST It is quite rare and bold for a commercial film to attempt anything like this so for that alone The Artist is worth applauding. It's a lovable throwback to a the magic of silent cinema and there are some beautiful moments that truly capture this magic (none better then the scene when Berenice Bejo wraps her arms around a hanging jacket). It doesn't quite soar as far as I was hoping (never really capturing in-depth the masterful filmmaking of this era) and some of the films historical aspects are questionable, but I guess pointing these flaws out is missing the idea of this entertaining film. There are countless direct references to cinema classics - both silent and talkies (I saw direct shot references to films of Ernst Lubitsch, Orson Welles, Fritz Lang, William Wyler). The clever, double-meaning opening "You're not going to get me to talk!" reminded me of the way Chaplin playfully began City Lights, and the overall narrative recalls the classic storytelling of a film like A Star Is Born. I'm torn on wondering how much of this is gimmicky upon seeing the end result, but the effort is worth appreciating. |
| 83 |  |
THE
HELP Perhaps historical and period inaccuracies plaque this film as an uncomplicated view of segregation in Mississippi in the early 60s. However as a film, The Help offers a strongly performed, well-intended and often touching story. There is a fairytale aspect to this film that I can respectfully imagine dividing audiences opinions, but overall I found The Help an enjoyable and often moving film with some inspiring personal messages. |
| 84 |  |
A
SCREAMING MAN A Screaming Man opens with two men playfully battling in a competition to see who can hold their breath longest under water, and it concludes with pushing body down a river. This reflective moments embody what is a quiet and meditative film. |
| 85 |  |
HORRIBLE
BOSSES Some of the characters are a bit over-the-top but that is essentially the mode of this film, which cleverly takes a noirish concept and blends in elements of a modern screwball comedy. Horrible Bosses is an easy film to enjoy and the cast has a good time - be it the three buddies (Jason Bateman, Charlie Day, and Jason Sudeikis) or their bosses (Kevin Spacey, Jennifer Aniston and Colin Farrell). |
| 86 |  |
NORWEGIAN
WOOD Japanese writer Haruki Murakami's beloved novel is said to be unfilmable yet it is still a bit disappointing that this film doesn't soar. My expectations were high based solely on the films director - Vietnam's Tran Anh Hung, who is responsible for two of the most beautiful and breathtaking films I've ever seen (The Vertical Ray of the Sun and The Scent of Green Papaya). The cinematography (from Lee Ping-Bin) and music (by Radiohead's Johnny Greenwood) bring an element of hypnotic reflection, but this lacks the sensual connection and feeling that has defined Tran's films. |
| 87 |  |
THE
IDES OF MARCH The Ides of March slightly fails in its cynical last-third mostly because it feels a bit mechanical in its political agenda. While it doesn't work in this regard, the film thrives in its sexiness both in lust as well as the political campaign (or in many cases both together - such as a superb seduction scene shared between Ryan Gosling and Evan Rachel Ward). |
| 88 |  |
PARANORMAL
ACTIVITY 3 I must admit this franchise has done a nice job of extending each of these films into something worth watching. This film (a prequel of sorts - directed by the duo that made last years "documentary" Catfish) is probably only for fans of the first two films, but it makes a worthy entry in the series. This offers up much of the same stuff as the previous films which were effective for there subtle ways of space framing and editing to create scares (here they have an clever panning-fan used as one of the cameras). |
| 89 |  |
THE
HEDGEHOG For a film that heavily references the great Yasujiro Ozu (to me the worlds greatest filmmaker of all-time) The Hedgehog is a bit of a disappointment in that it lacks any genuine sense of depth or feeling. Flaws aside, there are definitely some cute, feel-good elements here and the film seems to embrace life celebratory moments. |
| 90 |  |
CAPTAIN
AMERICA: THE FIRST AVENGER For me Captain America is the best of the 2011 superhero blockbusters (up against Thor, X-Men: First Class, and Green Lantern). It does an outstanding job at capturing the look and feel of this comic world, using retro-style visuals and dialogue amongst the World War II setting. Director Joe Johnston has proven he can make enjoyable summer films and Chris Evans effectively sells that lead as both Steve Rogers and Captain America. After the credits a clear setup is made for The Avengers film (which has been setting up for sometime and will finally release in 2012). |
| 91 |  |
CRACKS Cracks is the feature debut from writer Jordan Scott. The film has some uneven tone but overall is well made and very intriguing in the way it gradually builds psychologically darker. I like Eva Green and she delivers a bold performance here. Cracks has a nice visual look to aid the films atmosphere. |
| 92 |  |
MARGIN
CALL Rather then becoming overly stylized, Margin Call relies strongly on its dialogue and performances. The film is a depiction of the 2008 financial crisis, here mostly centered around the 48 hours prior. It gradually builds up the chain of the company toward CEO Jeremy Irons. Much of the film effectiveness lies in the internal characterizations - their greed and their moral struggle. The film has some overdone metaphors but it also has some quiet complexity to go alongside the dialogue-heavy script. |
| 93 |  |
I
WISH I Wish is directed by one of my favorite filmmakers Hirokazu Koreeda, who's previous film (Air Doll) was a bit of a disappointment. With I Wish Koreeda looks to blend his early documentary gifts as well as the childhood drama of his brilliant 2004 film Nobody Knows. The film features some big name Japanese actors mostly playing minor supporting roles (Hiroshi Abe, Kirin Kiki and Yoshio Harada). The setup is pure sentiment yet as usual Koreeda limits any forced emotions with his simplistic, natural style. Overall it lacks the connection of his best work and is actually kind of a disappointment for a filmmaker like Koreeda. |
| 94 |  |
THE
LINCOLN LAWYER The Lincoln Lawyer offers up plenty of cliches but it has a nice style to it and is fully engaging from beginning to end. I'm not the biggest Matthew McConaughey but he really does an excellent job in this very fitting role. Director Brad Furman gives the film a tough neo-noir look and feel. |
| 95 |  |
THE
OREGONIAN The Oregonian opens in a dreamlike state and never lets up. This is a surrealistic horror film with obvious influence from David Lynch. As a narrative this doesn't make much sense, but the film is an uncomfortable experience but one that generates a sense of nightmarish feeling. |
| 96 |  |
THE
MUPPETS Full of nostalgiaThe Muppets is the return to the big-screen (for the first time since 1979) with the much-beloved puppets. This is clearly a personal film for Muppets-fans Jason Segel, who co-wrote and stars. It takes a bit to get going but the film is hard to resists it's sweet-nature fun. |
| 97 |  |
JUMPING
THE BROOM Jumping the Broom is a well-made family comedy centered around a marriage which raises several class and culture issues amongst the couples families. Comparisons with last years Our Family Wedding expected, though this one feels much less like a sitcom then that film did. |
| 98 |  |
FRIGHT
NIGHT This remake of the popular cult 1985 film is actually better then I expected. The film has a very playful spirit that makes it fun, and it effectively takes a modern approach to the story while still respecting the original film (with some nice homages including a funny cameo appearance by the star of the 1985 film Chris Sarandon). |
| 99 |  |
SAWAKO
DECIDES This film has been compared with the work of Juzo Itami. Though I don't think this ever reaches that level Sawako Decides does have alot of quirky charm and offbeat characters. Hikari Mitsushima essentially carries the film with a bold and fun lead performance. |
| 100 |  |
WILD
TARGET There is nothing all that new about Wild Target (a remake of a 1993 French comedy) but it is an enjoyable film. The cast (lead by Bill Nighy, Emily Blunt, Rupert Grint, Rupert) appear to believe in the material and they have a lot of fun on screen. More then anything this cast sells you on the film and makes you forget its flaws. |
| 101 |  |
THE
GREEN HORNET Mostly an action buddy-comedy, there is probably more of Seth Rogen's (who stars and co-wrote) stamp on this film then director Michel Gondry, but it is still a lot of fun. I like Rogen very much and that helps makes this film more enjoyable, but I was hoping for more of the clever vision Gondy tends to bring to his films. The two have a bit of contrasting approaches to filmmaking but the duo of Rogen and Gondry is interesting enough to keep this film enjoyable. Also, Christoph Waltz gives the film an exciting villian. |
| 102 |  |
LOVE
CRIME Quietly plotted and designed with specific details placed upon the use of set design and space, Love Crime is ultimately most impressive for its star-power. Ludivine Sagnier, and Kristin Scott Thomas deliver superb performances which battle against one another. While Thomas thrives on the icy villainous role the standout is Sagnier, who reaches all levels on the emotional scale here. |
| 103 |  |
THE
DEBT The Debt is a sophisticatedly made political thriller that suffers a bit from a seemingly forced conclusion. It does a fine job of intertwining the two time periods and the cast is excellent in both of them (Sam Worthington, Marton Csokas, and Jessica Chastain - enjoying a remarkable year! - play a younger Ciaran Hinds, Tom Wilkinson and Helen Mirren). The conclusion feels as though it was tacked on to conveniently wrap everything up, but otherwise this film is very engaging and well executed. |
| 104 |  |
RED
STATE Kevin Smith's first venture into horror filmmaking, Red State is setup with potential for greatness, and there are moments, but ultimately the film seems to lack genuine truth or heart. Red State has an excellent visual look and feel (with strong performances and some intense moments) but it's ugliness seems to lack the understanding that made a film like Dogma so clever and daring. This is just as straightforward as Dogma but its direct cruelty feels artificial here. I will give this film another viewing because there is certainly potential of a good horror film. |
| 105 |  |
THE
SKIN I LIVE IN Taking an obvious nod from Georges Franju's eerie psychological horror classic Eyes Without a Face (1959), Pedro Almodovar has constructed one of his most nasty and depressing films. Emotionally it is quite different then his superb recent efforts (I'm thinking Volver, Talk to Her, and Bad Education). It nowhere near the class of those films, but The Skin I Live In is impressive in its use of space and layered melodrama (usual staples of Almodovar). |
| 106 |  |
SUPER
8 Writer-director J.J. Abrams packs this nostalgic love letter with endless references and homages to Steven Spielberg (this films producer) beloved sci-fi adventure films. The film does lack the control of Spielberg's storytelling and there are some special effects sequences that are way overdone (the cargo explosion for sure). There are some super moments, notably in the performances of the young actors - Elle Fanning is set to receive most of the acclaim (and she is very good - especially in her "acting" scene), but Joel Courtney is the films standout in the lead role. Of course also worth applauding is that wonderful zombie-movie that plays over the end credits! |
| 107 |  |
WHAT'S
YOUR NUMBER What's Your Number is a romantic comedy done mostly right. Of course it's strongest factor are the leads which is always essential with any great romantic comedy. Anna Faris is very talented and she is so wonderful in this lead role. She shares terrific chemistry with Chris Evans. The film is pretty standard genre formula, but its done right and its done well. |
| 108 |  |
SHARK
NIGHT 3D I'm not sure what you can really expect from a film called Shark Night 3D, so this probally delivers all that can be expected in most areas. The films misstep is that it lacks any sense of atmopshere but to its credit Shark Night does offer some exciting moments and surprisingly well developed characters (certainly a step up from director David R. Ellis previous efforts - Final Destination 2 and The Final Destination). I do think this would have benefited from an R rating but Shark Night 3D is as good (and in some aspects better) then expected. |
| 109 |  |
PARADISE
LOST 3: PURGATORY Paradise Lost 3: Purgatory is the conclusion of the documentary series on the West Memphis 3, which started with the release of the renowned 1996 film that began a nationwide movement. I guess because it has been over ten years since the previous entry (Paradise Lost 2: Revelations), there is a lot of recycling or recapping what the previous films already detailed. There is another follow-up film that could be made here, one that shows us how these three teenagers (now grown men) have adjusted to life outside of prison. |
| 110 |  |
COLDFISH After his wonderfully clever 2008 film Love Exposure, Shion Sono surprised audiences with the family drama Be Sure to Share. With this bloody shocker the director returns to his more definitive filmmaking roots, but like all his films Coldfish is clearly marked with its directors weirdness stamp. Coldfish is a twisted film indeed (with both its intense gore and its psychology), making enjoyment or repeat viewings a difficult challenge. |
| 111 |  |
CEDAR
RAPIDS Following on the success of his role in The Hangover Ed Helms is given a lead role here to further develop his on-screen persona. Helms is aided by a strong supporting cast who really offer up most of the films laughs - most notably John C. Reilly who steals the whole film with a quietly complex comic performance that is equally poignant and hilarious. The film is at its best (both comically and dramatically) when its free and not held down by plot points. As such the final act looses some steam but Cedar Rapids is still a watchable film with a great performance from John C. Reilly. |
| 112 |  |
THE
DILEMMA The Dilemma wrestles with itself as both a comedy and a drama. This film actually works best for its dramatic elements notably the way it deals with the struggling internal emotional chaos. While there is plenty of formula here, director Ron Howard's film has some intelligence and the cast is very strong (Vince Vaughn and Jennifer Connelly share great chemistry, and Winona Ryder is especially good). I guess as a way of ending on a positive note the film concludes with a very bad scene at a Blackhawks hockey game. |
| 113 |  |
JANIE
JONES Janie Jones is a familiar story - even a recent as last years brilliant film from Sofia Coppola, Somewhere. This offers more predicated cliches and less expressionistic beauty then a film like Somewhere, but this kind of storytelling can always be emotionally effective, especially when the performances are as charming as Alessandro Nivola and Abigail Breslin are here. |
| 114 |  |
SEVEN
DAYS IN UTOPIA In its filmmaking, Seven Days in Utopia does plenty of things wrong but it also does some things right. It is mostly worth appreciating for it quiet, goodhearted storytelling which while religious seems mostly concerned with valuing inner spirituality rather then specific moral agenda. Robert Duvall may be the finest living actor and he delivers another beautiful performance that captures the spiritual heart of the film - as he guides a struggling golfer (played by Lucas Black) towards peace. Sure its predictable, but the films real flaw its its poor execution of flashbacks- using a flashy, over-the-top technique that is really unnecessary. |
| 115 |  |
FROM
PRADA TO NADA I admit to being a big fan of all things Jane Austen and I've been a follower of Camilla Belle since seeing her in the underrated 2005 film The Ballad of Jack and Rose (though she has done very little since), so I decided to give From Prada to Nada a chance. It is a modern adaptation of Austen's Sense and Sensibility, now set in East LA and given a Latina spin. The end result is a surprisingly fun and lighthearted film that is well executed by the filmmakers and cast. |
| 116 |  |
I
AM NUMBER FOUR I Am Number Four works as a genre vehicle for its target audience. The film does have some strong themes and is in many ways a metaphor of puberty and growing into an adult. Unfortunately the films story and depth is often overshadowed by its loud and chaotic special effects (a reminder that the films producers are Michael Bay and Steven Spielberg). I'm not sure how effective the impending sequel(s) could be but this one works. |
| 117 |  |
SHAME British visual artist Steve McQueen showed a bold and skillful filmmaking approach in the unconventional methods of storytelling with his 2008 feature debut Hunger (which was carried by a remarkable performance from Michael Fassbender). Fassbender joins McQueen again for his sophomore effort, the NC-17 rated Shame. Its another daring and terrific performance from Fassbender and while McQueen's gifts with visual composition and his skillful use of sound is again evident Shame ultimately lacks a core to match its style. My initial viewing left me bored but I will give this film another viewing in hopes of the possibility that my feelings for it would improve, because I am a fan of both Fassbender and McQueen. |
| 118 |  |
CROSSING
HENNESSY Crossing Hennessy is notable for the big screen return of Tang Wei, who's brilliant performance in Ang Lee's 2007 Lust, Caution was followed with controversy from China's SARFT (State Administration of Radio, Film, and Television). Wei had to relocate to Hong Kong and struggled finding roles until this. Crossing Hennessy certainly doesn't offer the kind of daring performance that Wei displayed with Lust, Caution as it is a rather light romantic comedy/drama. It's pretty formulaic but writer-director Ivy Ho does give this film some touches of realism. Wei brings her charm to the film, and hopefully this will guide her back on path to stardom. |
| 119 |  |
THE
GIFT TO STALIN The strength of The Gift to Stalin is unquestionably in its poetic rhythm. Much of this borders on manipulation but to the filmmakers credit (director Rustem Abdrashitov), the film is mostly controlled by its atmosphere and relies on its terrific performances. |
| 120 |  |
THE
BIG YEAR This is an enjoyable comedy that offers up an interesting look at the bird watching subculture. It seems to do a fine job of capturing the passions of this world (albeit in a mostly light manner). There are obviously some life messages here but to the films credit it doesn't become overly forceful instead relying on the three leads - Steve Martin, Jack Black, and Owen Wilson. |
| 121 |  |
OUTRAGE With Outrage Takeshi Kitano returns to the violent gangster genre that defined his early career and made him one of the worlds most influential filmmakers. The films displays some of his mature developments as a filmmaker but ultimatelyOutrage offers nothing new from Kitano be it his violent action or his clever dark humor. There is some superbly executed action scenes and Kitano is always interesting on screen, but this film starts to wear down and gets a bit confusing keeping track at times. Yakuza fans will be pleased but don't expect anything groundbreaking. |
| 122 |  |
PAUL Simon Pegg and Nick Frost reteam (here under talented director Greg Mottola) for another spoofy homage - this time playing off the science-fiction films, notably those from of the 1980s. Pegg and Frost share pitch-perfect comic chemistry and this is a fun film even if it lacks the invention of the Edgar Wright directed Hot Fuzz or Shaun of the Dead. |
| 123 |  |
FOOTLOOSE It's been awhile since I've seen the original 1984 film but this modern remake is mostly well done. Talented directed Craig Brewer (Black Snake Moan, Hustle & Flow) does bring a bit of his Southern style. The actors aren't required to invest much outside of dancing but they are all surprisingly good here. Footloose is a fun time, capped off by the films exciting dance conclusion. |
| 124 |  |
TWO
GATES OF SLEEP Haunting cinematography highlights this debut feature from Alistair Banks Griffin. There is definitely a film-schoolish element to this film with an emotional connection that feels artificial and with the profound depth the film seems to suggest. Talented cinematographer Jody Lee Lipes brings a strong atmosphere of claustrophobia and gloom to the film and Griffin does seem to have a talent for compositions. |
| 125 |  |
A
BEAUTIFUL LIFE Andrew Lau goes away from his trademark genre with this romantic comedy. Starring the wonderful Shu Qi the film sparkles with charm early on but really starts to loose some steam when things turn a bit melodramatic in the more serious second half. This is an interesting experiment of sorts for Lau as a director and its always a joy watching Shu Qi on screen. |
| 126 |  |
HOT
COFFEE Hot Coffee takes a deeper look at the famous McDonald's coffee case which has been routinely cited by the media as an example of how citizens have taken advantage of the legal system. This film looks at a different perspective of the case and reveals how the perception has been molded by corporations and the media. I'm not sure how objective the film is but it certainly offers up some thought-provoking ideas that are important to be raised and discussed. |
| 127 |  |
POTICHE Talented French filmmaker Francois Ozon returns to the mode of his 2002 hit 8 Women - a wonderful mystery/comedy/musical with a heavy-list of French stars. This film is not as delightful fun and charming but it does feature a few icon French stars - Catherine Deneuve, Gerard Depardieu and Fabrice Luchini. The film is incredibly light in tone and colorful in its visual design, heightening the overall playful nature of it. |
| 128 |  |
J.
EDGAR Clint Eastwood continues with his recent trend of biopics, here making a surprising team with screenwriter Dustin Lance Black (fresh off his Oscar win for Milk). The films core is that of a man who lived a deeply secretive life all while trying to expose the secrets of others. The homosexual element attempts to humanize him while still exposing the violent inconsistent obsession he was notorious for. Leonardo DiCaprio is given a bit too much make-up in this Oscar-baity role, but overall it is well-made (though pretty standard biopic stuff). |
| 129 |  |
THE
WHISTLEBLOWER The film follows the true story of Kathryn Bolkovac, a Nebraska cop who exposed an extensive human-trafficking scandal while working as an independent contractor in Bosnia-Herzegovina. Larysa Kondracki gives the story a strong stylish look and feel, and Rachel Weisz delivers a powerful lead performance. |
| 130 |  |
SANCTUM Sanctum is an entertaining B-movie. It has plenty of James Cameron (who is the films executive producer) storylines and two-dimensional characters, but refreshingly without the preachy environmentalism. Some of the characterizations also recall Rio Bravo and Hurt Locker in the way the film explores heroism. Don't expect anything near the level of those films but Sanctum is well made and effective at building the tension as it goes. |
| 131 |  |
RUBBER Rubber opens to a narrator of sorts explaining to his audience that throughout the history of movies unanswered things have happened in them " for no reason." This clearly prepares us for this surrealist film concept - a tire begins to develop telepathic powers which turn murderous. This idea doesn't sustain very long but the film has some intrigue especially early on. |
| 132 |  |
PROM Prom is typical Disney fantasy, but director Joe Nussbaum makes the most out of this and at least embraces the material and the characters in a way that makes this a surprisingly enjoyable film. There are some cute and some funny moments (seeing the different ways each couple asks to go to the prom, and the film wisely avoids cheap jokes. |
| 133 |  |
PREY Prey doesn't offer anything new, but it does a decent job of keeping a thrilling pace and you can feel the tensions build in the characters as it moves along (blending survival with a family drama). The film has some nice special effects which are not overdone. Its probably one for genre fans only but Prey is worth watching. |
| 134 |  |
JUDY
MOODY AND THE NOT SO BUMMER SUMMER Adapted from a series of books by Megan McDonald (who also co-wrote the screenplay), Judy Moody and the Not Bummer Summer works as a goofy, high-energy kids film. Jordana Beatty carries the charm of the film as the eight-year-old Judy Moody. This is not going to win over critics but its a fun family film for those familiar with the books. |
| 135 |  |
FAST
FIVE Fast Five works on all intended levels - which are to purely entertain with mindless Summer fun and action. Suspension of disbelief is certainly required here, but overall this is as good as you can expect from the fifth film in this franchise (it might very well be the best Fast film yet). This film sorts of brings in all the characters from the series as well as adds on The Rock as a tough FBI agent out to stop them before their last big heist. |
| 136 |  |
WASTED
ON THE YOUNG Wasted on the Young is an interesting film that gets a bit weighed down by its style and script. This is the debut feature from writer-director Ben C. Lucas and he shows talent but also needs to display a bit more subtlety. |
| 137 |  |
HALL
PASS Minus some moments (the Mexican border chase) and supporting characters (the psychotic DJ) Hall Pass does have some good humor. Many of the ideas of this film recall last years mumblecore film Breaking Upwards though obviously on a much more mainstream scale. The Farrelly brothers films usually have heart and insight to go along with their comedy and while not their best effort this seems to be a more mature film from them. It certainly is an improvement on their previous film Heartbreak Kid (but then again what film isn't an improvement of that?). |
| 138 |  |
DOLPHIN
TALE There are some moments that are a bit over-the-top here, but overall Dolphin Tale is a touching true story that easily wins you over - mostly because of the chemistry shared by the cast lead by Nathan Gamble and the real rescued dolphin Winter. |
| 139 |  |
EVERYTHING
MUST GO This debut feature from Dan Rush (based off a Raymond Carver short story) takes a simplistic approach in both its acting and narrative. Will Ferrell essentially carries the film with a low-key performance that fits the entire tone of the film. |
| 140 |  |
TAKE
ME HOME TONIGHT Another 80s throwback, Take Me Home Tonight is actually pretty good - mostly because it avoids falling into the overt nostalgic traps. It does follow many of the coming-of-age / one-crazy-night-out comedies but the formula is effective here in that Take Me Home Tonight features a likable cast (lead by Topher Grace and the always great Anna Faris) and it never takes itself too seriously. |
| 141 |  |
X-MEN:
FIRST CLASS After the disaster that was Brett Ratner's X-Men: The Last Stand this series probably needed some kind of revision. Here they go the route of the prequel to Bryan Singer's original 2000 film, centering around the early friendship of the Professor and Magneto. The film is surprisingly performance actor-heavy (almost Shakespearean) and Michael Fassbender and James MacAvoy (both terrific actors) deliver top notch performances - certainly much better then you'd expect from a summer comic book film. |
| 142 |  |
MY
WEEK WITH MARILYN While this film takes place over the course of a week (based on the memoir of Colin Clark's friendship with Marilyn on the problematic set of Laurence Olivier's The Prince and the Showgirl) it still follows most of the tradition biopic formula. Nothing about Marilyn is new here, but the most interesting dynamic of the film is the contrast to her and Olivier - where her is a serious dramatic actor desperate to be a star, she is a natural star who longs to be a serious actress. Both physically and emotionally it is a challenging role for Michelle Williams, playing such an iconic figure. It's not her best performance but she delivers. Awards tend to favor these performances and Williams has been ignored for her best work (Blue Valentine, Wendy and Lucy, Brokeback Mountain) so It'll be nice to see her win some this time. |
| 143 |  |
FRIENDS
WITH BENEFITS Will Gluck follows up his surprise high school hit Easy A with another charming romcom throwback with modern twist. Where Easy A seemed rooted in John Hughes comedies from the 1980s, this seems to be influenced by the playful battle of the sexes comedies of the 1940s and 50s. Like Easy A (a superior film if for nothing more then Emma Stone's performance - and she makes a brief appearance here as well), Friends with Benefits becomes a bit too clever for own its good at times, but you can't help have fun with it and the cast helps make it so (Justin Timberlake, Mila Kunis, Patricia Clarkson, Jenna Elfman, Bryan Greenberg, Richard Jenkins, Woody Harrelson). |
| 144 |  |
THE
THREE MUSKETEERS Paul W.S. Anderson takes his hand at bringing The Three Musketeers back to the big screen. The fun with this film is mostly shared by that of the films supporting roles - notably Christoph Waltz and Milla Jovovich, who each ham up their own well known screen persona's. Anderson has made plenty of duds so The Three Musketeers might be his most impressive film to date. |
| 145 |  |
ANOTHER
EARTH Credit to filmmaker Mike Cahill for a pretty impressive low-budget science-fiction film. The film seems to lack a strong screenplay and is never really as complex as it seems to suggest. The sci-fi element of the film is really minimal to what is essentially a psychological film on guilt and regret. |
| 146 |  |
THE
THING This remake/prequel to John Carpenter's The Thing shares a similar storyline structure with Howard Hawk's 1951 The Thing From Another World, while also borrowing a bit from the style and characterizations of Carpenter's beloved 1982 version (not to mention some James Camerons films as well). The films big difference and flaw in comparison to the 1982 version is here the monster is treated like something out of a slasher film, where as Carpenter expressed a frightened vulnerability in both the monster and the humans. I adore Mary Elizabeth Winstead and she is capable of carrying the difficult challenge of matching Kurt Russell iconic persona. Fans of the original films will find things they like and dislike here, but they will certainly enjoy it for the most part and they'll surely smile at the ending of this version, which leads exactly into the start of the 1982 version. |
| 147 |  |
IN
TIME Andrew Niccol (Gattaca, Lord of War) has made some better films in this mode before, but In Time has an interesting premise and a non-stop pace to keep it entertaining. This uses elements of Hitchcock's "wrong-man" device with a mixture of James Bond sexy cool and Bonnie & Clyde rebellion. It's not as good as its influences and for such an inventive concept the films unfortunately resorts to a bit too many cliches making it quickly forgettable, yet overall In Time is very entertaining to watch. |
| 148 |  |
THE
KILLER ELITE Killer Elite works as a solid tough-guy, action effort. It is well made as an action film mostly because it avoids some of the special effect traps that tend to diminish the effectiveness. Jason Statham tends to deliver the best in this genre. I'm not sure how much of this is actually a true story (as we are told in the opening), but it is a watchable film on a purely genre basis. |
| 149 |  |
SARAH'S
KEY Writer-director
Gilles Paquet-Brenner's (Pretty Things) latest film Sarah's Key
is a Holocaust film that shifts in time and place. As expected it deals
with some horrifying moments that aren't exactly "entertainment".
The films seems centered on memories of the past and it becomes a bit
melodramatic. The strength of the film, is the performance of Kristin
Scott Thomas. |
| 150 |  |
SUPERHEROES Superheroes is an interesting documentary mostly because it made me aware of a subculture that I didn't even know existed. The HBO doc is based on a group of real-life superheroes that dress-up, create characters and fight crimes in their local city. |
| 151 |  |
RIO There is alot going on in this film both in the visuals and the messages. Sometimes it's a bit over done but Rio is worth applauding for its vibrant colors, high energy and mostly entertaining enjoyment. |
| 152 |  |
DIRTY
GIRL Dirty Girl is disappointing because there is potential for a better film despite the charming chemistry shared between Juno Temple and Jeremy Dozier (as two high school misfits on the run - the school slut and an overweight homosexual). The film resorts to some cheap characterizations but the connection between the cast keeps the film enjoyable. |
| 153 |  |
THE
FUTURE Writer-director-star Miranda July made quite a splash in the independent filmmaking scene with her surprise hit Me and You and Everyone We Know. This film shares much of that films quirkiness and originality but it becomes a bit overbearing. I admit to getting a bit bored through this (even at a running time of only 90 minutes), but July is an artist worth appreciating and this film is definitely watchable. |
| 154 |  |
THE
IRON LADY The Iron Lady follows many of the traditional biopic formula. The narrative use of present day and flashbacks is nothing new but it does seem to work for this particularly film giving Margaret Thatcher a reflecting contrast of the nostalgic past and the sad and lonely present. Meryl Streep keeps you engaged with a typically strong performance. |
| 155 |  |
LAST
NIGHT Last Night has a sophisticated visual look and a beautiful looking cast, but it does lack a sense of feeling and some of the editing techniques tend to overplay the films otherwise subtle expression. |
| 156 |  |
GEORGE
HARRISON: LIVING IN THE MATERIAL WORLD It's tough to grade this film. I enjoyed watching it for the music and for appreciation of George Harrison's remarkable spirituality. As a film it doesn't really offer anything new or insightful about Harrison, though it does have a few nice interviews with Beatles members Paul McCartney and Ringo Starr. |
| 157 |  |
SCREAM
4 Wes Craven returns to the Scream series bringing back all the original cast (as well as writer Kevin Williamson). Relevant to modern society the films centers strongly around the importance of social media in the youth world and as always with Craven's Scream films there is plenty of self-conscious winking going on here. It all works relatively well but losses some momentum with an ending climax that may be a bit over the top (even for this series. Craven may not make films as good as he once did but Scream 4 is still worth watching. |
| 158 |  |
THE
TREE I adore Charlotte Gainsbourg and this film has some beautiful cinematography but its definitely a bit overdone in its symbolism. At the core of the film is grief and family struggle. Gainsbourg is always a joy but otherwise nothing about this film really stands out. |
| 159 |  |
THE
BEAVER With a premise that borders between dark comedy and depressing drama, The Beaver takes a mostly serious tone regarding a depressed family man struggling through a mid-life crisis. Mel Gibson is given a juicy role and he is solid here, mostly for his portrayal of the beaver voice (using his native Australian accent). If you can handle the films overloaded melodrama and messages its watchable. |
| 160 |  |
LIMITLESS Neil Burger's fourth film as director, Limitless offers an imaginative concept that unfortunately does not reach its potential as a film. After its initial concept the film seems to run out of ideas and becomes tiresome with forced plot add-ons. I do admire the way the film visually presents the effect NZT takes - as we see Cooper separating into another world in which he easily comprehends everything. Above all the film does have some thought-provoking ideas but still seems like a missed opportunity. |
| 161 |  |
DON'T
BE AFRAID OF THE DARK Writer-producer Guillermo Del Toro based this on an American TV movie that scared when he was a kid. It has plenty of similarities to his far superior efforts (The Devil's Backbone, and Pan's Labyrinth). The performances aren't really inspiring and the film is not all that scary, but is effectively creates an old-fashioned horror atmosphere through mood an visuals. |
| 162 |  |
THOR Actor Chris Hemsworth seems to fit the part and he is surrounded by a respected cast (including veterans Natalie Portman, Anthony Hopkins , Stellan Skarsgard). Kat Dennings brings some refreshing comedic-timing to the film which is full of little one-liners and puns. Kenneth Branagh is mostly known for his Shakespeare efforts and one can see his slant with this material. The films problem is that is really becomes rushed, especially over the last half. Still an enjoyable (if forgettable) time. |
| 163 |  |
APOLLO
18 A somewhat effective low-budget sci-fi horror film. Apollo 18 does a fine job of creating a claustrophobic look and feel as well as a realistic archive scenery. It doesn't have much going for it to sustain it 88 minute running time and is not all that scary but the film does have some engaging appeal. |
| 164 |  |
THE
OTHER WOMAN It was a busy early part of the year for Natalie Portman, who won the Oscar for Black Swan and starred in five films playing within a couple months of each other. The smallest of those is The Other Woman, which was completed in 2009, but delayed its theatrical release until this year. Director Dan Roos sorts of always brings the made-for-TV style melodrama to his films and such is the case here. But overall the characterizations here are strong. |
| 165 |  |
CRAZY,
STUPID, LOVE I'm not the biggest Steve Carell fan but I do like this cast. Surprisingly the chemistry here is rather weak (except for some of the intimate moments shared with Ryan Gosling and Emma Stone, which are undoubtedly the highlight of the film). Embarrassingly bad end sequence at the middle school graduation, which further preaches the film key message about finding your true soul mate. Crazy Stupid Love is structured very much like a TV sitcom with typical sitcom gags. For that it works. |
| 166 |  |
EXTREMELY
LOUD & INCREDIBLY CLOSE Extremely Loud & Incredibly Close is a feel-good tear-jerker that overdoes its manipulative emotions. The film is essentially a fantasy but only because it is mostly artificial at its core. The films protagonist (Oskar Schell) is definitely over-enthusiastic and sentimental, but Thomas Horn does a fine job in the lead role. Max von Sydow brings the film a fitting tone with his mute performance. Von Sydow is such a superbly expressive silent actor - well known for his collaborations with Ingmar Bergman (the master director of the human face). There are certainly touching moments here, but Stephen Daldry's films continue to leave me disconnected. I'm sure this will be well received during the awards season. |
| 167 |  |
KIDNAPPED The popular trend of home invasion films is certainly not restricted to American cinema. Films like the original Funny Games or Ils are examples of some European films that perhaps even influenced some of the popularity in the States. Kidnapped is the latest entry and the film offers very little thought-provoking ideas or emotions. This starts off rather effectively but ultimately is a glorified torture fest that losses control towards the final half. |
| 168 |  |
TEXAS
KILLING FIELDS Michael Mann produced this film for his daughter Ami Canaan Mann, making her second feature film as a director. The film has a fine cast but is a bit messy in structure making much of the narrative incoherent as you watch. There is some brief moments in which the tone of the film absorbs, but ultimately Texas Killing Fields is all over the place in its editing and structure. |
| 169 |  |
LEBANON,
PA Nothing really stands out here, but Ben Hickernell's Lebanon, Pa is a well performed indie drama. Ultimately this film is quickly forgettable even despite dealing with thought-provoking issues (abortion). |
| 170 |  |
SUPER Super works a bit more then last years Kick-Ass did for me perhaps because I found the tone a bit more even. This cast also has quite a bit of fun in these roles but this satire might have been better with a more camp-approach. It offers some laughs and surprises and this film will definitely find an audience of strong supporters. |
| 171 |  |
HOBO
WITH A SHOTGUN I get what this film is all about (notably an homage to 80s Troma films) but I never had as much fun with Jason Eisner's feature debut as I was hoping (or even as much as some of Robert Rodriguez's similar homage efforts. This is a film like Snakes on a Plane that uses it's campy, grindhouse title (and main star - here it is Rutger Hauer) as part of its fun selling point. |
| 172 |  |
UNKNOWN Unknown provides plenty of Hitchcockian setups and style (wrong-man suspense, classy blondes) as well as twists and turns throughout. While this works most of the way it looses some steam towards the final half. |
| 173 |  |
THE
BLEEDING HOUSE Written and director by first-time filmmaker Philip Gelatt, The Bleeding House opens to a shot of a burning house before cutting to a quiet isolated home and as we go inside we begin to sense the strange past that surrounds the family (beginning with the unusual daughter - a miscast Alexandra Chando). The problem is nothing about this film is done subtly. It quickly get tiresome and the final showdown between the psychotic religious nut and the daughter is poorly executed. |
| 174 |  |
CINEMA
VERITE Cinema Verite is a behind-the-scenes look at the making of the first American family to be the subjects of a reality TV show. Its approach is interesting because it is a fiction film, based on a true story, shot like a documentary, about a documentary. Directors Shari Springer Berman, Robert Pulcini have ventured this territory before with their 2003 debut film American Splendor. |
| 175 |  |
TOWER
HEIST The pace of the film is a bit too fast forcing scenes to get bunched together unevenly. I guess Tower Heist is supposed to be relevant with the financial times, but ultimately the film is a star-powered mindless blockbuster that is entertaining and then quickly forgettable. |
| 176 |  |
THE
RITE The Rite keeps the gore and horror minimal instead relying on a realistic approach to exorcism. Director Mikael Hafstrom attempts to give the film an elegance and the reliance on the performances are quite theatrical. |
| 177 |  |
THE
WARD Perhaps a case of some rust from being away from the game for so long (his last directorial feature was 2000's Ghosts of Mars), The Ward is absent of John Carpenter's masterful craftsmanship (of which includes composition and editing) that has influenced and defined genre filmmaking for generations of directors. It is refreshing to see a young actress like Amber Heard take on these unique roles (see her in this years absurd but fun film Drive Angry 3D). This psychological thriller has some moments but you expect more from a filmmaker like Carpenter. |
| 178 |  |
THE
RESIDENT I'll always respect Hilary Swank if for nothing else her wonderful performance as Maggie Fitzgerald in Million Dollar Baby. Here she plays the lead in a thriller that (at least on the surface) might recall the apartment thrillers of Roman Polanski. Though this is never near that level of filmmaking or atmospheric sense of paranoia, The Resident is worth watching even for it script flaws. |
| 179 |  |
THE
TWILIGHT SAGA: BREAKING DAWN PART 1 Breaking Dawn is the first part of the final entry in the Twilight saga. This offers more of the same deal with Bella running around whining. However this films offers more then the previous two Twilight films which became overwhelming with teenage soap opera. This one (directed by veteran Bill Condon) offers up some decent moments of suspense and action, and the love-triangle drama is alot less tedious. |
| 180 |  |
SOUL
SURFER Real life story of Bethany Hamilton (played by AnnaSophia Robb), a surfer almost died after a shark bit off her left arm. Her calm composure kept her alive, but it was the support of her family (very strongly performed by two underrated actors Helen Hunt and Dennis Quaid) as well as her religious friend (Carrie Underwood, who does not fare so well here). |
| 181 |  |
THE
ART OF GETTING BY The Art of Getting By is a film with potential and has some moments that really work. The dialogue gets to be a bit forced and the films falls into too much indie cliches. Freddie Highmore and Emma Roberts are both developing from young child stars but they bring a poise to these roles that often don't work fully in this film. |
| 182 |  |
GUZAARISH The
story centers around a paralyzed magician who petitions the court for
the right to end his own life. Heavy drama is expected and with acclaimed
Indian director Sanjay Leela Bhansali you can always expect plenty of
beautiful compositions and slow-motion visuals. His filmmaking style
can be a bit overwhelming and (for me) often boring, but they seem made
to win awards and perhaps Guzaarish will. |
| 183 |  |
ARTHUR I guess the lighthearted nature of this film made me like it more then I expected I would. I guess it helps that Greta Gerwig is in this film though her role (essentially that originally played by Liza Minnelli) is reduced to a cliched and underdeveloped "free-living, dream girl". Russell Brand's schtick can get a bit overdone but he has some funny moments in this. The focus here centers on the mother-son relationship of Arthur and servant (now played by Helen Mirren). |
| 184 |  |
BATTLE
LOS ANGELES The latest alien invasion film, Battle Los Angeles is watchable but quickly forgettable. The film offers all you expect - loud explosions and impressive CGI special effects, but little you hope for - some sense of intelligence or depth. The film wants so desperately to be taken seriously, yet it teases us with general characterizations only to quickly move along to its chaotic action (which it does offer some impressive moments of). |
| 185 |  |
TRESPASS The suburban home invasion has become a popular trend in the horror and thriller genres. Trespass (like Funny Games) combines that with the previously popular trend (torture). The film (directed by veteran Joel Schumacher) is extremely overdone but it might haven been more enjoyable if didn't aspire to be something its not. Schumacher found the right tone with Falling Down. |
| 186 |  |
WRECKED Wrecked is a psychological survival thriller sort of in the mold of last years Buried or 127 Hours, in that it isolates its leading actor (Adrien Brody) within a confined space as he struggles to break free. We get brief flashes of how and why he got in this accident as well as his potential trouble past (including visions of a mysterious girl and a dog he befriends). Wrecked never really reaches the emotional suspense of 127 Hours and its not visually as effective as Buried. |
| 187 |  |
CHANGE-UP These kind of films were popular in the 80s and I guess they're still and have always been around. The formula usually relies on the success of its leads and that is really the strength of Change-Up is Ryan Reynolds and Jason Bateman doing their usual screen personas - and then in turn doing the others. There is absolutely nothing new here and the opening scene establishes the films low aim. |
| 188 |  |
STRAW
DOGS Sam
Peckinpah's 1971 Straw Dogs is a disturbing film. This remake
from Rod Lurie is mostly dull. Visually and structurally the film is
nearly a shot-for-shot duplicate. The differences lie in the treatment
of the characters and that is what makes this film far less complex
and daring then Peckinpah's version. Lurie resorts to cliche characterizations
wasting an otherwise excellent performance from Kate Bosworth. |
| 189 |  |
THE
HANGOVER PART 2 I was never a big a fan as some others of the original Hangover film, but will agree that it was a fun film. Fans of the original will likely enjoy this as it follows the traditional moneymaking safe bet by following the exact same formula except now with a bigger budget and an exotic location (this time its Bangkok). Director Todd Phillips finely crafts this structure (as he did with the first film) but this offers little suspense and alot less humor. |
| 190 |  |
30
MINUTES OR LESS Ruben Fleischer follows up his successful debut (Zombieland) with this far less interesting comedy. Like Zombieland this film does show the gifted talents of the director with some clever techniques but unlike that film 30 Minutes or Less is a mess in terms of its tone and the comedy here resorts mostly to cheap-jokes (the best of which were more enjoyable in the trailer). |
| 191 |  |
CARS
2 Cars 2 is setup for disappointment with the accompanying short film that preceded the screening (Toy Story Hawaiian Vacation). Disney's persistence to make cash-easy sequels has really started to take a toll in the originality Pixar thrived at for years reaching its artistic peak with 2009's Up. Cars 2 is undoubtedly the weakest Pixar film to date and it safe to say its the first film from the studio that actually isn't very good at all. |
| 192 |  |
LOVE,
WEDDING, MARRIAGE The film opens to a familiar title card "Once upon a time a guy met a girl and like most men in love, he did not know what to say." A series of familiar wedding scenes follow as the film is ultimately centered around the journey of the marriage of the young couple - played by Kellan Lutz and the always charming Mandy Moore. As a fan of Moore I'm still holding hope that she can find a film more worthy of her talents. |
| 193 |  |
CHOOSE The opening scene sets this film up in that the basic premise is somewhat intriguing on a certain level and the overall filmmaking is well executed if a bit overdone. That remains with the film throughout as Choose becomes a bit overbearing and the narrative focus of the films looses steam in the climax third act when the killer is revealed - capped off by a rather silly ending as some sort of a forced attempt to end gloomy. |
| 194 |  |
GNOMEO
& JULIET Gnomeo & Juliet is a film that suffered through some production issues and has a writing credits list of over ten names. Those are usually recipes for disaster. The film is not really a disaster but it is certainly nothing very memorable. It sure does have plenty of puns. Overall it is cute and kind of strange but the production issues likely resulted in an incohesive film. |
| 195 |  |
COWBOYS
& ALIENS Harrison Ford's performance is rather silly in this film and it pretty much embodies the film as a whole, which is not really effective as a clever genre hybrid or throwback homage (to westerns and science fiction films). Director Jon Favreau has done better with this type of far in the past but this film struggles may be its multiple screenwriters (I counted seven!). |
| 196 |  |
SYMPATHY
FOR THE DELICIOUS Actor Mark Ruffalo makes his directorial debut with this film about faith healing. The film is bit uneven in its storytelling and while trying to remain subtle in its messages the film instead becomes a bit forced in treatment of characters (notably the homeless). Ruffalo is an interesting actor but his debut as a director is not as inspiring. |
| 197 |  |
CREATURE This film sort of made box office news setting an all-time record for the worst opening weekend for a wide release film. Sadly I was one of the few that actually saw this in the theaters, I guess with the hope this could be a watchable low-budget horror film. I like that the studio would give a low budget horror film a chance in the mainstream, but couldn't they have found something better? Now the box office disappointment of this will scare off other films which have potential to be much better then this. |
| 198 |  |
JUST
GO WITH IT The basic story of Just Go With It is an update on the 1969 film Cactus Flower, which is itself is an adaptation of the English version of a French stage play. I tend to tolerate Adam Sandler and usually enjoy his films but they seem to be getting worse over the last few years (at least those being produced under the 'Happy Madison' label - i.e. not including Funny People which remains his best film since his brilliant performance in Punch-Drunk Love). |
| 199 |  |
YOUR
HIGHNESS I understand why David Gordon Green ventured into mainstream comedy, teaming with the Judd Apatow and Seth Rogen machine for Pineapple Express (an excellent film in my mind). I thought that might open the door for Green to expand his creativity after having a financial success. Apparently that is not the case as his latest, Your Highness is a failed comedy film in every sense. Re-teaming with his All the Girls friends (Danny McBride and Zooey Deschanel) this offers very few laughs and the mix of action is equally uninspiring. |
| 200 |  |
GREEN
LANTERN It has been another busy year for superhero films. Green Lantern may be the weakest of the 2011 bunch. It metaphoric and religious meanings are a bit obvious but the films biggest problem is its complete lack of direction or any sense of visual cohesiveness. This is surprisingly directed by Martin Campbell, who did such a fine job reviving the Bond series with 1995s GoldenEye and 2006's Casino Royale - perhaps the finest Bond film to date). Ryan Reynolds does a decent job of bringing some charisma to the lead role. Blake Lively (so good in last year The Town) does not fare so well here. |
| 201 |  |
WAITING
FOR FOREVER Here is a film that seems to insist its protagonist is lovable but even optimists have to roll there eyes at the actions and dialogue here. I get some of the intentions of his film and for the most part they are worth applauding, but this is a bit ridiculous in just how delusional and insightful Waiting For Forever is. |
| 202 |  |
LARRY
CROWNE Larry Crowne is lighthearted and cute but the failure of the film is that it lacks any sense of wit, feeling or chemistry. When the film goes for laughs its usually cheap jokes at the expense of the characters. The fantasy of this film is not exactly its problem but it doesn't exactly embrace its own fantasy, instead disguising itself as some sort of serious reflection of our current reality. The result is more irritating then charming. |
| 203 |  |
RED
RIDING HOOD How do you adapt a very short children's story into a full length feature? Well I guess you hire the director of the first Twilight film (Catherine Hardwicke) and blend the two stories together… or at least that is what seemed to have been done here. Once upon a time Hardwicke made a very gripping film about teenage girls (2003's Thirteen ) but she has failed to reach that potential since. The film has some visuals that are nice to look at and a fine cast which includes Amanda Seyfried, Gary Oldman, and the great Julie Christie, but otherwise everything about this looks as feels as if its moving in slow-motion. |
| 204 |  |
THE
SITTER There was a time when David Gordon Green was making great films, but he has suddenly directed two of the worst films of 2011, capped off with this loose re-imagining of 1987's Adventures in Babysitting. I wanted to like this film and the cast does a strong enough job, but Green's film is a complete mess in execution and structure. I like that Green is making comedies (Pineapple Express is excellent) but The Sitter is quite honestly not funny or even entertaining. |
| 205 |  |
SEASON
OF THE WITCH A hybrid action, horror 14th century period film Season of the Witch does not even work as campy entertainment. Nicolas Cage does his usual over-the-top screaming but it is far less watchable then usual ostly because the film is rather boring - despite a potential for a pretty decent premise. |
| 206 |  |
NO
STRINGS ATTACHED Ashton Kutcher tends to have strong chemistry with his co-star but his films are never really that charming otherwise. Here he is fine with a solid supporting cast (Natalie Portman, Greta Gerwig, Olivia Thirlby) but most of the comedy goes for quick jokes that never really work - neither does the films attempt at being emotionally provocative. |
| 207 |  |
SALVATION
BOULEVARD This "dark comedy" satire is pretty direct (and rather unfair) in its messages and treatments of characters. Salvation Boulevard has a likable cast, but the film is otherwise unlikable (regardless of what your views are on Christian fundamentalists). |
| 208 |  |
AND
SOON THE DARKNESS This is a remake of a decent 1970 British mystery thriller of the same name. The setting has changed from France to Argentina, the girls here are both American and this time its the brunette that goes missing. Otherwise these films mostly share the same story except the execution is quite different - as this remakes resorts to cheap and overused thriller style and techniques (including a completely different opening - now a torture scene). |
| 209 |  |
BAD
TEACHER Bad Teacher is a "comedy" that is never funny and relies on a premise that is more suited for a 15 minute sketch. While this premise could be effective (see 2003's Bad Santa) this film lacks any genuine tone, instead relying on a few shock-value one-liners. The cast is a decent one and I guess they do their best (with the possible exception of an embarrassing performance from Justin Timberlake). |
| 210 |  |
BURNING
PALMS No redeeming or even rewatchable quality in this rather sick film. Burning Palms offers little depth but just cartoonish-characters in what is posing as some sort of dark-humored indie art film. I'm sure this will find an audience and if you like the film I won't take that away, but this doesn't work for me at all. |
| 211 |  |
THE
ROOMMATE This isn't even a fun film to watch just to laugh at. The Roomate openly recycles the ideas of Barbet Schroeder's effective 1992 thriller Single White Female, with the setting changed to a modern teenager (PG-13) world. I guess the cast and the "high-style" of the film are beautiful (at least on the surface) but everything at the core of this is ugly and messy. |
