Article: The Year That Was: 2015

When we were hurtling towards the end of another year, I was politely asked by two online outlets, if I would be so kind to deliver a top ten list. After a brief rumination, I decided why not? I may not invest too much into lists any more, but the internet still wolfs them down like the sweet clickbait candy that they are. Remember who you're writing for, I guess.

Apologies for the slight snark. I mean no harm. However, since last year, I’m finding myself more interested in things I found in the year overall, rather than a scything down the favourites in order to separate the crop.

Subjects like sex and erotica had a torrid time in the few films I saw, which focused on them.  The over hyped, unevenly baked 50 Shades tried to sell vanilla sex scenes as more than they actually were (or could ever be), because whips and chains. Shades may not have been the total turkey man had thought (and secretly hoped). Its box office gross clearly showed that, be it hype, curiosity, friskiness or a mix of all three, there was an adult (mostly female) market to be exploited. It’s a pity that despite a rise in sex accessories, the film’s vanilla sex scenes do little to take it’s ideals of sensual escapism further.

The Arthouse scene, which has far less qualms in explicit material gave us Gasper Noe’s self-indulgent Love. A plodding, underwritten sex fest with a narrative of angsty Sundance aspirations. Noe’s shoe gazing feature not only pales in comparison when observing the trillions of gigabytes of internet porn (which deliver their cumshots with far more earnestness), but feels vastly inferior to mumblecore features of a decade ago. Lest we forget Lars Von Trier’s flawed saga Nymphomaniac (2013), which despite being also indulgent and overlong, at least attempts to say something greater about how our emotions conflict and contrast with our physical intimacy. Love’s narrative, give or take a few elements, wouldn’t feel too out of place in a line-up of overegged young adult features. 50 Shades may have been born from young adult fan fiction (Twilight), but Love’s self-conscious anxieties make E. L James’ opus feel like a heady brew of maturity.

Documentary Chemsex did its best to spread moral panic, while feeling light on facts. Important insights of isolation and community almost get lost between a vast mass of talking heads and stories, which never give us enough time to breathe. It’s main conceit; that sectors of homosexual males are mixing a deadly cocktail of drugs and unprotected sex, is so focused on one sector of Britain, it feels inconclusive and incomplete.

The winner for me when it came to any discussion of sex or sensuality within cinema, was Peter Strictland’s dreamily shot The Duke of Burgundy. The film comments on sex, kink and love with the type delicacy and emotion we should expect from erotica. The film’s Crown Jewel? It’s all woman cast, which help provide a fresh take on dominance, submission and obsession. Losing the need of the all-seeing, all-encompassing male gaze.

This brings me on to 2015 bringing forth some engaging features which give a positive engagement of the dreaded word of diversity. The films that lingered in my head, were often great with their commentaries and ideas of gender and race. Dear White People updated Spike Lee’s School Daze with a grander scope and little Do the Right Thing structuring. Straight Outta Compton was a blockbuster biopic, which did quite well in depicting N.W.A as a glossy, urban version of The Sex Pistols. The aforementioned The Duke of Burgundy and it’s all female cast, Carol, were all well put together. The 7th Fast and Furious once again revelled in its multi-racial cast and multi-million box office haul.

Star Wars: The Force Awakens illustrated organic progressive qualities, while Fury Road gave us a new, well rounded female hero wrapped within a Mad Max film. It’s important to remember that Fury Road’s white male director made the most of its female editor. Rebecca Ferguson’s covert agent in the fifth MI entry also helped the aims and intentions of the Internet film culture, if not the wider culture, in terms of gender.

It was, however, the Martian that I found to be the most warming and heartening in a world that's feeling increasingly isolating and dangerous. Now an Oscar nominated feature, it’s we are the world commentary may feel a little trite, but god damn it made the idealist in me smile.

Ryan Coogler’s (Fruitvale Station) Creed has made waves recently, revamping the Rocky franchise with an African American lead. I have yet to see it at the time of writing this, yet its solid word of mouth is showing us that both Coogler and Michael B Jordan may certainly have something to say in the realms of representation. The fact these aforementioned films with their successful attempts at bringing across diversity show that the passive white male hero can be joined by others quite easily. Just make the material compelling. It's important to realise that roughly around 500 Hollywood movies get released each year. The fact that The Huffington Post can only find 11 films with black cast members (not even leads) of that average, worth watching that's not even of the same percentage equivalent. You can see the frustrations. It's more troubling when we place into consideration that we're seeing artists break down the speaking parts of the POC cast by the minute. We don't a complete reversal of the casts. But we do need at least try and achieve the percentage representation.

I say this as social media and ignorance has seemingly helped warp the ideal of progressiveness on both sides. American cinemas felt it necessary to bulk up security for Straight Outta Compton for reasons that are quite transparent to people like myself. That said, things such as the push for Idris Elba to play everybody, or the internet outrage which sparks the moment a z-lister feels hard done by, are well intentioned but often feel short sighted. For me the push for more BAME filmmakers in a stronger position to create their own stories is far more important to me than forcibly seeing a POC become James Bond or fighting to get Ava DuVernay to do a Marvel film. Particularly when we see just how clear these franchise films run on a track. Coolger’s positioning into the Rocky franchise may hold a certain amount of transparency (all about the franchise Benjamins), but its success for both director and star may help open up new pathways for POC artists. The same certainly goes for Straight Outta Compton.

I have missed a load of films for the simple reason that either they've been smaller release that don't enter cinemas. Or mainstream fare that looks like tripe. Annoyingly, with the likes of Disney owning Star Wars, Marvel and of course, their own product. There's a bleakness that sometimes hovers over me like a dark cloud. Films that will look and sound the same, now dictate openings with such velocity, it can feel depressing. Avengers Age of Ultron did little to remain in my thoughts. Only really adding more characters to a larger film that doesn’t wish to end. Other franchise entries such as Spectre felt exactly like the name suggests; a ghostly re-tread of Bonds of the past with what little deviation gained from the earlier Craig movies being rubbed out. Franchise films are beginning to feel rushed and neglectful of their scripts. When Marvel and Disney release their timelines and release dates for their ongoing franchises. May mind was instantly cast back to When Alien 3 (1993) had a release date before a finished screenplay. There’s been many examples of this, although none stick out as egregiously as that one.

Yet now fan demand and the demands of commerce outstrip artistic creativity in mainstream cinema so perversely, it’s sometimes hard to see the forest for the trees. The Mamo Podcast gave the perfect description of the 2nd biggest film of the year: The good enough blockbuster.  Jurassic World is dumb, weakly scripted and spiteful, yet has enough branding and call backs in it for fans to be happy and the book with its palatable themes can be forgotten once more. A shame.

Also worrying was while Star Wars: The Force Awakens was a fun re-entry to a much loved cinematic world, it also felt like a re-polished Episode 4. A film with no real surprises (despite the cries of no spoilers), and an insurance that nothing will be really tampered with. Lest we upset fans by offering something new.

That both titles made a ton of cash with the audiences trading in the more solid storytelling of the previous films for the chance to hear the music, see the characters and feel like a child again is quite perturbing. Escapism is fine, but I wish these films would be scrutinised as much as other films which are just as fictional but don't have the nostalgia to lean on.

For all the issues the Sony hack delivered, isn't it funny that The Interview, the film that was called to be banned, still pooped out a cinema release, before cropping up on Sky a few months later? It is now widely available and not much happened about the hack since. Although a fair damage certainly hit Sony at the point of impact, like so much of our view of such events, everything was quickly forgotten. Meanwhile the revealing talk about race that came from some of the executives’ emails, including the dubious riff what Obama’s film tastes, help highlight why I’m not surprised at yet another Oscar whitewash year. I wonder if such attacks, along with the PS4 hack may become more familiar. Though how it will affect our entertainment is another story.

So we’re three weeks into the New Year with more franchise features and sequels to look forward to. In the past four weeks, we’ve lost four artists (Haskell Wexler, Alan Rickman, Vilmos Zsigmond and David Bowie) whose contributions to cinema will certainly inspire many for years to come. In light of my aforementioned ramblings, I certainly do hope so.  Film critics will of course lament where the medium of criticism is going. Soon after expect the same critics to attack audiences/other critics/filmmakers with cheap snark and not see the connection. Twitter will get angrier. Brands will amass more cash. But as long as the films get made and entertain, things will be interesting.

THE YEAR THAT WAS: 2013

2013 turned out to be a pretty bad year for me from a personal standpoint. My pleasant experiences have been marred and tainted by many displeasing ones, including job losses, suicide and relationship worries. It’s nothing that many others have faced, but for the first time in my own life, I’ve found it more than a little overwhelming. Mostly due to the intense timeframe of when these things occurred.  It is times like these that make me happy that I can still lose myself in the glare of the screen.

On New Year’s Eve, I once again found myself talking to some old friends about movies, with more current features gaining much of the focus. “I just want to watch silly, stupid things” said a old university friend, who quit film studies during the first year as he felt the course sucked the fun out of the actual watching of movies. 

Another friend (who completed film studies with much displeasure) appeared to nod in agreement. This isn’t new to me. I’ve seen a few old friends both in college and university, become disinterested in film, due to having to study it.

As usual, I opened my big mouth and nearly killed the conversation with my belief that when it comes to film, there must be a decent balance between easy entertainment that most audiences appear to crave and of course films which look to enrich the viewer with what it considers intelligent discourse. While it’s great to crunch the corn, slurp the soda and zone out to the often stated (by critics) “mindless spectacle”, I do believe there should also be room for something else. Something that can be savoured without the need for a second or third part to rectify all that was “missing” from the film you just spent XX amount on. What frustrated me with a lot of this year’s viewing, looking back, was that I really noticed that balance starting to slip. Not just from film to film (just speak to Mark Kermode about the false belief of choice at a multiplex) but within film themselves.

Many complained about how disappointing the summer blockbusters were and there are some interesting theories behind that. For me what I found was a lack of risk, ambition and that very balance that we used to find in films before. Three of the biggest films; Iron Man 3, Star Trek into Darkness and Man of Steel were all different franchises at different stages in their cycles, and yet every villain was a typical terrorist and their schemes had very little to differ them. All had lengthy running times, but plots that couldn’t really sustain them. All were shinny enough for brief amusement but did little to cement them within my mind. I couldn’t tell you anything about Star Trek in Darkness now, and I only watched it in the summer. I warmed to Man of Steel while I wrote about the film, but after a week I felt I lied about what I had scribbled down previously. There are other entries that I would like to re-engage with, but I know that deep down those titles can wait. Honestly; it’s not usually like this.

I think part of the problem is this the continuous arrested development which is taking place in mainstream movies. These features are becoming more and more impersonal with the only thing connecting them being the knowledge of the brand itself. The Benidict Cumberbatch’s twist that wasn’t a twist in Star Trek into Darkness was a very clear example of this. The reason this character exists in this film universe is only to remind you that he does. The same goes with the vague and needless nods that littered Spike Lee’s oddly limp Oldboy.  The words cut and paste has never felt more apt. But then again it is said that they’re all singing from the same hymn sheet.

With that in mind, I found it harder to gain that inmate connection I often get with movies. I’m now even less surprised by the continuous rise of the television golden age. The Walter Whites and Dexters of the small screen, present character conundrums that seem to appear less and less as brand recognition and franchise entries strengthen their hold. Let’s not lie to ourselves as if the era of Don Simpson didn’t exist and that all mainstream, populist films gave us intellectual sustenance. Broad is broad. But you only need to watch the first 30 minutes of A Good Day to Die Hard to notice there’s been an uncomfortable shift somewhere. As these characters and narratives are given less nuance, the warm feeling I enjoy has dimmed slightly.

The rabid internet culture hasn’t helped things, nor has the transitional state caused by technology dismantling the business model as we know it. Now we have an audience that want original and new product that doesn't stray from whatever source material it’s from and they want it at decent quality... for free. A quick glance at a film forum, comment board or twitter feed has reminded me just how all consuming the internet as become.

Normally I’m more critical of the idea that the quality of films are going down and often mention that we, the audience, are masters of our own cinematic destiny. Yet as 2013 wore on, I found myself becoming wearier of things I usually found easier to ignore. I’ve moved back to a town which has two cinemas, and yet both still show signs of only chasing the same audience to compete. It becomes maddening to know that certain films play at both while others (that could possibly do ok business) play at neither. I’ve upped my streaming options at home by signings on Netflix, but as this article illustrates, Netflix isn’t as welcoming to certain types of film lover as you may think. Issues I’ve found problematic in the past have improved their voice and learned to shout a little louder.

I shouldn’t complain too much, because as always, I still had some great film experiences at the cinema as well as at home. I still managed to struggle with picking ten favourite films out of a fair few that really hit the mark and I still enjoyed more than I truly hated. I’m just in the minority that’s seeing a bit too much of mould, and wouldn’t mind it being broken a bit more. Silly stupid films are fine, but there used to be a time when they felt smarter than that. 

As always; these are my favourites and you shouldn’t complain if you don’t see yours (No order):

Zero Dark Thirty

Stoker

Behind the Candelabra

Before Midnight

The World’s End

Only God Forgives

A Hijacking

Frances Ha

Gravity

What Richard Did

Damn Fine Honorable Mentions:

Django

Side Effects

Mud

Filth

Captain Phillips

Bling Ring

THE YEAR THAT WAS: 2012

Looking back at my personal favourites of the year, if there's one thing that stands out, it's that ever slippery concept of time. I watched a fair amount of features at the cinema this year and yet, looking at my list, I can only think of the films I had wanted to see and yet had no time to watch them. No Holy Motors, no Tabu and No Once upon a time in Anatolia. My cinema viewing (and blogging) has always leaned to more typical multiplex viewing and I do not apologize for that. However there is always an Animal Kingdom or Dogtooth that creeps up and reminds me of just how much how vast the world of cinema is. My top ten favourite lists are never chocked filled with foreign imports, but this year I've been more aware of how little world or even independent cinema I've managed to catch. A lot of this can be boiled down to mood, as you have to be in the right frame of mind for the likes of something like Holy Motors.

That said, this year has really shown just how my geography has affected what I watch. Back when I lived in Buckinghamshire, My local Picture House cinema was a bus ride away, and a trip to London was ten pounds cheaper. Now, living in Peterborough has reminded me just how annoying distribution can be here in the UK. My local Multiplex has a decent amount of screens and yet still very limited choice at the best of times. At least London is still within touching distance. I can only pity the poor souls who live in areas who have even less possibilities.

The tide is turning however, through the power of the internet. Yes, we still have the kinks in the armour (product value, piracy, availability, et al), however, in spite of this, it's slowly becoming clear just how much of a resource the web has become in terms of watching features. From streaming services such as Curzon on Demand and Mubi, to podcasts such as Filmspotting SVU, the areas of both distributing and acquiring are starting to see benefits in web releasing. So much that in the upcoming year I will have to evolve and develop my outdated ways of viewing and stop relying on just one web outlet for my viewing desires. Our viewing possibilities are becoming as extensive as the amount of films released. 

So here’s my (belated) favourite of the year 2012, as always in no order. Due to that elusive beast called time, there is one film that appears here, that did not gain a review. This is subject to change in the future. Note as always that these are my on personal favourites and not the "best", so locating me in any form and complaining on why XYZ isn't on the list will only met with a dead eyed gaze.

Shame

New York's restless being is encapsulated by one man's unquenchable desire for lust in Steve McQueen's dark and disturbing second feature. 

The Cabin in The Woods

   It polarised and pissed more people off than I had expected. However I fund Cabin to be a sneaky, deceptive and most importantly entertaining beast.

Searching for Sugarman

A good man is not measured by his work alone. Searching for Sugarman is a sensitive story of what lies 

behind a true artist. 

Something for Nothing: The Art of Rap

Rapping as a craft, expressed passionately by those who know it best. Ice-T's documentary may allow some glitz to get in the way, but it's humbleness of it's subject keeps it grounded.  

End of Watch

An aggressive and bold thriller about two good men who look for good in an corrosive environment.

Killer Joe

Matthew McConaughey beats the rom-com monster that near consumed him and becomes just one of the highlights of this twisted Kentucky Fried Melodrama

Looper

Rian Johnson updates La Jetee and 12 Monkeys in this invigorating Time Travel Thriller.

The Imposter

A dark disturbing character essay, that quite literately needs to be seen to be believed. 

Sightseers

Ben Wheatley's blackly comic take on lovers on the lam. Think Badlands in the Lake District.

The Master

P.T Anderson's feature polarises as much as it compels. Mesmerizing and ferocious performances, gorgeous cinematography and a unrelenting feeling of dread. Anderson finds beauty in the films ugly characters.  

HONOURABLE MENTIONS: The Grey, Chronicle, The Dark Knight Rises, Argo, The Avengers

End of 2011 Videocast - Part 2

The second half of our Videocast Nonsense.


Enjoy!

End of 2011 Videocast - Part 1

As some may know, I do a audio podcast named Cinematic Dramatic, which can be found on Geek Planet Online and Itunes. This year myself and co-host Iain Boulton have decided to bring out a Videocast of what we liked and disliked of the last year. This is Part One, which is of our individual picks from our respective top tens. Part two will feature the picks that appear on both of our lists.  Forgive our faces, they are clearly much more acceptable on an audio podcast.

THE YEAR THAT WAS 2011

At the end of last year I moaned about people’s attitudes to remakes and sequels and unfortunately due to the abundance of such films that flowed through this year, it seems that once again I’m  bitching about such things once more. Sorry.

The ever excellent MAMO podcast made the amusing point this year that all these people whining about remakes of foreign films are talking about movies that have already been adapted for them. Getting on your soapbox about the latest remake is one thing but the fact that they haven’t realised that said foreign film has been adapted to make sense for them in the way of subtitles anyway, helps make the argument moot.

 It seems that even the makers of the original features are now even above such talk. To find out that director Tomas Alfredson thought that his reaction towards American remake Let me in was childish, speaks volumes to a tinterweb brigade who are quick to yell BOYCOTT and ORIGINAL MOVIES when the next upcoming remake is announced but a quick to step in line when the next book/comic/graphic novel to film adaptation launches. It hasn’t escaped me that despite all this “Hollywood is so unoriginal” talk, the highest ranking film based on an original idea (Bridesmaids) lies 12 in worldwide box office gross.  Closer to home in the U.K. we see that yet again despite some fine features making appearances and friends not only on these shores but in the U.S, you’d be hard pressed to find the likes of Attack the Block making even a dent in the top U.K 30, let alone the top ten. This makes the homegrown antics of The Inbetweeners Movie quite an achievement, whether based on a T.V program or not.

The final entry of the Harry Potter series speaks much of the cinematic landscape. Based on a book, brand awareness in heaps, bankrolled by Warner Bros yet filmed here with British talent. Yes, lavish praise was once again heaped on the wizard franchise by muggles. And while I agree that such films like Potter and Bond are around and keep highly skilled crew in jobs in our world famous studios. The amount of profit made by these ventures don’t appear to putting as money into our fledging British film industry as one would like. It does however help allow mediocre films like Clash of the Titans sequels to get funded.

This brings me to the problematic area of distribution in which our mainstream cinemas still don’t believe in a fair fight. When I first worked in a cinema; I remember discovering that two major studios owned it. Much may have changed since I’ve left but I’m sure that the major studios still have the biggest stake in our cinemas and the ultimate decisions in what get shown. I’m constantly frustrated that movies seem to only be slanted towards an ignorant 15-24 male demographic whose only concerns are Robots hitting each other but this is something one must grin and bear until I move closer to London again and allowed to wallow in the glorious glow of the Curzon Cinema in Soho. As a lover of cinema, I will still try and seek out smaller gems when I can. The problem is of course, it’s most likely to be a home with microwave popcorn. Away from cinema screens filled with noisy, iphoning, dingbats.

Such talk explains why things don’t appear to be changing. If people are waiting to watch certain types of cinema at home, online or on blu-ray with massive screens then why would cinemas try and alter the viewing choices? The major budget films are all about those first three days (or more depending on those advanced screenings) in as many screens as possible, and it seems to be working still (despite falling viewership) Smaller films (particularly overseas markets) seem to be happy with the long game with the knowledge that it could find the audience it desires on the smaller screen. It’s all good asking for change, but even when the likes of Jonathan Rosenbaum have decided to set up shop at home than the cinema then many must be asking “what’s all the fuss about?”

With all this said I still watch as many movies as I can. It’s easy to bemoan many aspects of modern viewing (and I do at length), but the love of sitting in a dark room watching a movie still bewitches me. My only ask is that film should be viewed more importantly, as an art form and as a way we shape our culture. With the ability to capture motion being so easy for us these days, we take for granted how powerful the medium can be. Yes, entertainment does and will always be a factor when I pick up something to watch but one of the things that makes warm is when a film as the ability to teach, spark thought or debate, and of course move you. This year has been one in which such aspects have made that mark.

My favourite ten of the year (as always in no order):

Animal Kingdom

Grubby crime cinema from Australia. More in line with Greek Tragedy than Goodfellas. Michôd's feature debut is may have a low key feel, but the tension is ratcheted to its highest. It’s opening scene hooked me. It’s final moments left me on the ropes.

 Melancholia 

Melancholia is at times just as visually arresting as Von Trier's Antichrist, but is a far more precise being. Von Trier is far more accurate here and one of the reasons seems to be that the subject matter is closer to his heart. The dark clouds of depression loom large over both Antichrist and Melancholia but the latter shows a director whose far more in the mood to tackle (and even embrace) his demons then letting them run amok. Self absorption and pomp are still abound from the "best director in the world" but this is far more focused, far more at peace.

Hanna

It slips from action to drama without difficulty, it shrugs off its unoriginality and sketchy plot with well drawn out themes, strong lead character and visual flair. The music is immediate and kept me in the moment and I adored the films quiet loud quiet rhythm. Hanna doesn't say much different, but it has the ability to be more articulate when it's shouting it's message from the hills.

NEDS

Unrepentant to the end, provocative and just as relevant for now as it is for the era it’s set in. Like it’s lead character it’s tough to watch at times but compelling throughout.

Tree of Life

Malick’s film is a celebration of life, a joy in contemplation of us merely existing and how this fact alone can provide resonance in others. That our simply being here can provide happiness to those we touch.  This simple and yet deeply profound and affecting ideal is why I loved the film.

Rise of the Planet of the Apes

I thought it would be the weakest blockbuster of the year. Turns out was the most exhilarating one and one of the only summer flicks that actually wanted to tell a story. The film also featured one of the most fist pumping, barnstorming set pieces of the year, set on the San Francisco Bridge.

Drive

If I wanted to act clever; when talking about Drive, I'd say something along the lines of: A brutal symphony, tinged with flecks of 80's nostalgia and machismo.  But I’m better off in stating that Drive is a highly entertaining, stylish piece of trash. A classically tragic anti-hero, a soundtrack that once heard you can’t shake off and a beautifully shot L.A. I was in heaven watching this.

Tinker Tailor Solider Spy

Alfredson's film works so well because it take time over showing how deeply isolated the spy game is. Close relationships are broken, belittled and bargained for, information is called gold dust for good reason and moral compasses are as murky as the films cold, drab colour scheme that Alfredson utilises to enhance the tone of the film. The film is literally as grey as the the shades these characters dwell in.

The GuardIn yet another year in which I found most of the Hollywood comedies waning somewhat, it’s was wonderful to stumble upon this low-fi Irish indie gem. A film I hope find its audience on DVD like it’s kissing cousin In Burges.

We need to talk about Kevin

Ramsay’s direction as never been so precise, while Swinton simply dominates the screen in this psychological battle of wits. The films draining central relationship  (with Ezar Miller giving a particularly malicious performance) manages to keep it’s ambiguity and tension to the end.

Honourable Mentions: Beats, Rhymes & Life:The Travels Of A Tribe Called Quest, Archipelago, Senna, Essential Killing, Red State, Warrior, Kill List

Other Film highlights: Meeting directors Duncan Jones (Moon, Source Code) and Joe Cornish (Attack the Block). The biggest thing for me this year however was meeting one of my idols; Mark Kermode, in Oxford and talking to him about The Ninth Configuration, Thelma Schoonmaker and Shutter Island

THE YEAR THAT WAS 2010

We have reached a point in mainstream American Cinema in which original thought is now more often than not being looked past for brand recognition. In over 100 years of cinema, there has always been remakes, adaptations, and sequels. However, times have changed and in order to make money (it's called show business for a reason) the Hollywood machine are now really playing it safe. Looking at the top ten grossing movies of this year you will find that only two (Inception and Despicable Me) are based on original ideas. Ten years ago there were five. The change is only slight but still speaks in volumes. I mean just ten years ago there was more of a chance of an original screenplay being put through the machine right?

Well the answer to me is an awkward yes and no. It is more likely for me to get a draft of a 3D, sequel of a reboot optioned in this day and age over say my roman gladiator in space idea. On the flip side of this, are that many people actually going to watch the original ideas that are managing to slip though the cracks? I mean this honestly because we see a lot of big talk on teh tinterwebz from faceless commentators bemoaning the state of movies today. Usually quick to crap on the news of the next remake. Fair enough they can get frustrating. However, it was a bizarre feeling going up to the cinema on a Saturday afternoon with my girlfriend, her friends and my podcast co-host (total of five people) going to watch Whip It and being the only people in the screen. Granted it's primary target market is a particular one but it still didn't stop the film from being one of my hidden gems of the year. It's not just Drew Barrymore debut getting shafted. Here in England there's always talk about how crap (enter u.s film here) but a good search around and you can also see that they didn't really give a shit about the UKFC being scraped either.

It's not as clear cut as the half-baked reasons I've just placed above. When certain films come out they dominate more than one screen, pushing smaller films out the way. Also marketing has a huge hand in the process. Don R Lewis tweeted this about Tron: "The greatest trick the Disney ever played was making you think you ever gave a sh*t about Tron". To point I agree as Tron: Legacy is based on a 28 year old modest hit/cult movie, has no discernible entry point for new viewer with a poor storyline to boot. However with it's $200 Million budget...it had to be everywhere as it's not allowed to be an expensive flop. There's also the hilarious factor that most films are being made and targeted at the age of "young uns". But that's another story.


With all this said it is still down to Joe Six-pack to make the choice on what they're going to watch and to me the choice of many is quite simple. When you want to be entertained, are you going to take a risk and increase the chance of disappointment? Or do you go with what you know? So yes while 2010 has brought the amount of remake/reboot/sequel titles to critical amount and we can bitch about the lack of ideas as much as we want, we do enjoy the safety of what we know. We're not waiting for Bond 23 for no reason are we?

Here is my Top Ten Favorite movies of the year which features four adaptations and one semi-remake. Interestingly enough the trends within the ten are ones of fractured mindscapes, unreliable narrators with a couple of anti-heroes thrown in. As with last year, these are personal favorite choices so telling me that I'm wrong is folly as I don't do "best of the year".


Rambling over. Here we go:

Shutter Island

Before I saw Inception I considered that this was the finest acting I've seen from DiCaprio. Looking back I still think it is. He is dominant here and it's through his performance he takes us through the wringer. The breakdown of DiCaprio's Teddy is heightened by the gorgeous visuals, deceptive editing and bombastic classical soundtrack. But it's the graceful melding of these elements by Martin Scorsese and his ability to tell a story that did it for me.

Bad Lieutenant: Port of Call - New Orleans

An OTT, comical semi-remake of Abel Ferrara grim character study. A subversion of the police procedural which makes full use of its outlandish humor and hallucinogenic imagery. Cage's cartoonish performance becomes hypnotic as you watch to see how just how much of the barrel Lieutenant Terence will scape with his bare hands.

Four Lions

I love Chris Morris' work because he captures the absurdity of our moral panics so accurately. His Brass Eye pedophile special (and the hilarious angry commentators in its aftermath) craftily show how quickly we can take things out of context and propagate our own fears in a blink of an eye. Four Lions is a cinematic extension of this; taking the touchy subject of terrorism and displaying it as the confused and stupid thing it can can. Morris (with help from the peep show writers) not only taps into the alienation and misplaced anger (and not the religious heretic)  that bestows many extremists but also reminds us that our fear-fueling world helps hide how truly random something like suicide bombing can be. It also helps that i found it constantly quotable and consistently funny.

Exit Through the Gift Shop

Does it matter if Banksy's film takes you round the houses? It manages to say more about the state of art, be it graffiti, hip-hop or movies themselves than than it should. Toying with the idea of art as identity and how commerce and celebrity can distort such things. I found Banksy's "documentary" holds the same reckless spirit that his street art has.

 Winters Bone

It's lead performance is a stoic and selfless one from Jennifer Lawrence, who portrays a heroism that needs to be seen more often in female driven movies. The surroundings are barren and the family "community" within it almost make the Texas Chainsaw family look homely but Lawrence's Ree Dolly fights on no matter what the odds in this Ozark mountain based fable. The outcome is much like the films screenplay: sparse, uncomplicated but quietly touching.

Black Swan

I know it's cheating (it's released in the U.K next year) but I had to rebel a bit as this film gave me the most visceral impact this year. The techniques may hint towards the Wrestler but Arononfsky decides to direct things towards psychological horror. The naive performance; perfectly articulated by Natalie Portman leads us into a dark, claustrophobic tale of sexual awaking, social isolation and grueling routine. The early reviews have a touch of the marmite to them, but this film made it hard for me to stand up afterward.

Scott Pilgrim vs The World

Speaking of Marmite...Not everyone liked this clearly cult, hyper-active, sugar fueled, little upstart of a movie. Hell, it wasn't even caught at the cinema by most people! I however did manage to catch this on the big screen and fell in love with it instantly. Scott Pilgrim's rapid firing dialogue, dazzling visuals and bold ambition bowled me over, while it's game cast had me grinning like a loon without. As a teen comedy, I've seen nothing like it.

Dogtooth

Playing out like an absurd, European Clockwork Orange, Dogtooth plays out like a mixture of Haneke and Palahniuk. Thing is...the weirder it got the more absorbing the film became. Hilariously deadpan with some provocative imagery, Dogtooth is one of those off the beaten track movies that I urge those who are into the films that are truly nuts should try and watch once.

The Social Network

The moment Trent Reznor's pulsating soundtrack kicks after an unflinching and brutal break-up, I knew the "facebook" movie wasn't going to be just a flash in the pan product. Fincher's Rashomon-like feature; plays out it's power plays and pride filled arguments with glee, but is ultimately tells the story of how one of the worlds most social web based program built it's foundations out of the blood, sweat and tears of other peoples fractured relationships. The ensemble cast are immense, the screenplay is zippy and the direction of story is as razor sharp as Fincher gets. It doesn't matter how much of it is true as it's damn fine fiction.

Inception

So much has been said about this little film that it's worth keeping this as short as possible. I do wonder that in a another world where more original screenplays were given the backing and trust that Nolan gained, would we be ranting an raving over this one? I do believe that we would. It's not just the amount of ideas that flow through the movie that make it so interesting, but also the execution, the visual scope and the general thrill that I (and many others) felt when watching the movie. It's interesting that so much emphasis was placed on how complex the film is. It's not, but it's ability to take themes what could be considered as lofty and make them palatable and enjoyable for a general audience? That's a skill.

Damn Fine Honourable Mentions:

The Road

Up in The Air

The Girl With the Dragon Tattoo

The Killer inside me

Whip It

Toy Story 3 

THE YEAR THAT WAS 2009

It was a shit year for movies...

I heard this ever so much. It was a phase that rang through my ears constantly. However, my fellow readers, you will not hear it from me. In fact I don’t fully believe in “bad years” for movies. My reasoning isn’t great but hear me out:

This year I watched over 80 movies at the cinema, and had more than enough movies to make a shortlist for my top ten. Of course there were the other movies that I found not so hot but as always the Bad didn’t outweigh the good, and until the day I struggle to create a top ten list of favourites (which I doubt considering how many films I watch) then I can’t see there ever being a “bad year”.

Of course not everyone has the time or wish to watch as many movies as myself and may only get to watch what really interests them. The problem I find however seems to be that so many people don’t truly search out films that could interest them, or films that could SURPRISE them. I mean what’s so wrong with watching something a little different?

So to those who were “disappointed” with the year I say this: It’s not always the filmmakers fault that you picked more movies that you disliked than liked. These days over 40 films are released during a month and yes, it is difficult for people to pick out some of the most independent titles, but the internet has opened up so many more outlets for people to watch, download (not illegally), stream and rent movies that it’s coming more and more impossible for a cinephile NOT have a bad year.

We as consumers have the choice to seek out a range of films that we can enjoy as opposed to being spoon fed with say another Hollywood remake or Comic Book sequel. For me, I had a blast. I haven’t seen so many movies in years and if I can equal or beat that amount next year that will be grand. If by some unfortunate circumstances I see more bad films than good I still won’t care. Why?

The Good movies will be brought, re-watched and live within my memory forever. The bad will be forgotten as soon as I leave the cinema (after the review). So without further ado shall we get on to the list?

My Ten Favourite Films of the year (No Order):

Note that I use the term favourite as these films are personal to me and not the “best” of the year. To claim that the movies that affected me the most, when discussing something as subjective as film is extremely pompous.

Drag Me To Hell

Horror comedy is difficult to do well and easy to fail at. Rami is of course an old hand at this and his rollercoaster ride of tension and laughs beat out any horror entry that poke it’s head out during 2009. Hated by many expecting a different beast entirely...Those who remember and loved the lighter side of Ash Williams and Co were completely down with this horror with humor combo. Also Possessed Goats are made of win.

(500) Days of Summer

Cynicism is rife with me when it comes to the Romantic Comedy. Quite simply, the genre doesn’t try hard enough and insults the intelligence of its fans constantly. Here however, was a quick shot in the arm of the bride wars, bridget jones and the sex in the citys that we constantly witness. Humor that stems from the characters, feelings that come from a truth place and characters that I can root for. The date movie never had it so good.

The Hurt Locker

Quite simply the gutsiest movie of the year. Cameron’s Avatar may have the visuals but his ex-wife Bigalow has the tension and the drama. A sublimely crafted action feature.

Inglourious Basterds

Many have bemoaned that the motormouth “can’t write” any more. I don’t think it’s that, I think his writing is evolving and just not appealing to the people who are looking for pulp fiction 2. Tarantino’s film is in love with language, movies and storytelling. He also adds to this some of his best scenes this side of Pulp fiction and one of the writer directors best characters (handsomely played by Christopher Waltz) to date. Not only War as fiction but war as fun, something that shouldn’t be able to be done considering the connotations...and yet he surprised me again.

Moon

The pulsing soundtrack, the claustrophobic visuals, its grand themes and a lead performance from Sam Rockwell that would get awards if I could rig the ceremonies. Duncan Jones brings us Sci-fi that the 70’s used to make. An arresting film that well and truly knocked me for six. Somewhere Stanley Kubrick is Smiling.

UP

With scenes that carry more pathos than many of the movies I watched this year. Pixar once again bring us a family film with thought. Ratatouille, Wall-e and now UP have made sure that Pixar make the leap from best animated film contenders....to best picture contenders.

A Serious Man

The Coens are having yet another fabulous run of movies, playing with the ideals of fate. This movie decides that even God great plan should be knocked about for a laugh. Full of Coen’s black humour, great performances from a relatively unknown cast and a plot that plays with fatalism in a way that only these two bothers can.

Fish Tank

Due to Hollywood’s dominance in the U.K we often forget that we Brits even make movies let alone good ones, Andrea Arnold (and Moon’s Duncan Jones) wishes to change all that. With her kinetic kitchen sink-esque Drama that many have felt evoked the spirit of Loach (not that he’s dead). Arnold’s film is culturally astute, beautifully realised and features the combustible chemistry of Newcomer Katie Jarvis and Irish chameleon Michael Fassbender (also great in Basterds). A mesmerising second feature.

Where The Wild Things Are

Problems overcome and emotions found in Spike Jonez once troubled feature. A film with not only a wonderful looks but a true nostalgic feel of childhood. Max Record’s difficult character is easy to love while the fantastically created wild things reminded me of those conflicting issues that I had as a child. The film brings a nostalgic feeling given without the need for branded toys or well known television characters, but with the fact that everyone is bigger than you and can change their emotions in a blink of an eye from fun to dangerous without you knowing why. To capture this mixture of fear, joy and amazement is a difficult one but it's one that Jonez handles with aplomb.

Anvil! The Story of Anvil

Likened to Spinal Tap but could really be a companion piece to Metallica: Some Kind of Monster, Anvil is a loving tribute to following your dreams no matter what. Many have watch these two aging rockers playing young ‘uns and considered them sad. But if other Musicians still had has much hunger and passion as these guys at the age they are there’s be even more great music going. The film also has one of the most loving relationships I saw captured this year. How the wives cope with these two is beyond me.


HONOURABLE MENTIONS

The Wrestler, Frost/Nixon, Observe and Report, District 9, Me and Orson Welles

Sherlock Holmes, Fantastic Mr Fox