The Best Films of 2011

1. THE TREE OF LIFE (Terrence Malick, 2011)

Terrence Malick’s deeply felt THE TREE OF LIFE finds immense potency in its universal evocation of growing up. Malick and his editors expertly weave together the micro and macro strands into a stunning tapestry in praise of creation and natural and supernatural adoration. With its solemn tone and dominant use of hushed voiceover, THE TREE OF LIFE functions as a two-hour, eighteen minute prayer. Malick’s sacred depiction of eternal human conflict, both inward and outward, is one of the great achievements in cinema for this year and any other.

2. CERTIFIED COPY (COPIE CONFORME) (Abbas Kiarostami, 20xx)

CERTIFIED COPY is an endlessly rich study of a relationship as the platonic ideal versus its all too human form. Abbas Kiarostami utilizes Juliette Binoche and William Shimell as signifiers of their genders and worldviews, not necessarily as individuals, as he charts how two people are when a relationship originates and the versions of them that exist years later. This mind-blowing drama of intellectual rigor and emotional resonance uses reflective surfaces that allow CERTIFED COPY to look different every time you see it.

3. MARGARET (Kenneth Lonergan, 2011)

A New York teenager’s reactions to a bus accident serve as Kenneth Lonergan’s way of exploring the national response to 9/11 in this sprawling drama. MARGARET contains untold layers as it follows Anna Paquin’s Lisa lose her innocence in expecting the outside world to conform to her inner life and learning that it won’t. This highly ambitious film vibrates with rage and sorrow and yet also points toward the connections to ease the pain. MARGARET is a major achievement but has been difficult to see. For Columbus-area readers, it’s lone public screening in town takes place March 7 at the Wexner Center for the Arts.

4. TAKE SHELTER (Jeff Nichols, 2011)

TAKE SHELTER considers where the line is that separates a prophet from a madman. Jeff Nichols follows the progression of the protagonist’s mental dilemma and feels the strain that comes from agonizing over a man’s capacity to do right by his family. In an outstanding performance, Michael Shannon portrays such a conflict with great sensitivity and control.

5. SOURCE CODE (Duncan Jones, 2011)

This nimble science fiction-inflected thriller excites via the urgency of a soldier’s mission to stop a terrorist from blowing up a train while bringing compassion to the repeated scenario he cannot affect. SOURCE CODE hints at an intriguing moral question regarding utilitarian philosophy, but whether the film amounts to anything more than a highly entertaining thrill ride isn’t necessarily important.

6. SUPER 8 (J.J. Abrams, 2011)

Playing with his Steven Spielberg movie maker kit, J.J. Abrams fashions a retro blockbuster in SUPER 8 that’s part monster movie and part coming of age story. Many of my favorite films of the year dealt with coming to terms with loss and letting go of the past. SUPER 8 just happened to do so with large, impressive setpieces and tender and funny interactions between kids on the verge of adolescence.

7. MELANCHOLIA (Lars von Trier, 2011)

With MELANCHOLIA Lars von Trier crafts a bold, intensely felt vision of depression via the story of two sisters awaiting Earth’s obliteration by a newly discovered planet. While existence hangs in the balance, von Trier’s fatalistic embrace of impending doom is starkly beautiful and strangely reassuring. Without question Kirsten Dunst’s Justine is the director’s surrogate, someone who finds comfort in the awareness that years of despondency and anxiety were not for naught. Now that her worst possible fear can be confirmed, what else is there to do but submit to the inevitable? In a film full of strong images, its final one is most striking for what it says about accepting those things that cannot be changed.

8. TINKER TAILOR SOLDIER SPY (Tomas Alfredson, 2011)

The art of observation gets a fascinating showcase in TINKER TAILOR SOLDIER SPY. The Cold War espionage thriller is a model of narrative minimalism. With nary an overblown James Bond setpiece in sight, director Tomas Alfredson displays marvelous precision in showing how an agent might do the difficult work, and Gary Oldman is the epitome of quiet cool as the investigating George Smiley. TINKER TAILOR SOLDIER SPY is low key, which is only appropriate, but it is also electrifying when it cuts through the noise to the buried truth.

9. TABLOID (Errol Morris, 2010)

For TABLOID Errol Morris finds a bizarre true story from 1977 known as the Mormon sex in chains case. A former beauty queen was accused of following a man to England and then abducting, seducing, and raping him. How much any of it is to be trusted is left up to the viewer of this wildly entertaining documentary, but Morris suggests that the desire to impose a narrative, whether for personal or commercial reasons, overrules the truth.

10. 50/50 (Jonathan Levine, 2011)

Although the main character is diagnosed with cancer, 50/50 is less about the disease and more concerned with the struggle for loved ones to provide support and for the afflicted to allow them to help. This sharply written and performed dramedy tends toward the glossy side, yet it persuades with healthy doses of sincerity and decency.

(Author's note: Since it's a question I've fielded often enough, A SEPARATION [JODAEIYE NADER AZ SIMIN] is not included on this list or my Honorable Mentions for a very simple reason.  I haven't seen it.  It has not yet opened in Columbus nor been available to me. To date, the only chance I had to see it was at the 2011 Toronto International Film Festival, but it wasn't on my schedule.)

2011 in Film: The Honorable Mentions

ARTHUR CHRISTMAS (Sarah Smith, 2011)

Packed with as many jokes as Santa’s bulging bag of gifts, ARTHUR CHRISTMAS treats viewers to a visually inventive, quick-witted dessert for holidays to come. While the 3D isn’t essential, ARTHUR CHRISTMAS uses the extra dimension better than its animated competition.

CAVE OF FORGOTTEN DREAMS (Werner Herzog, 2010)

Werner Herzog makes a case for 3D as an artistic tool as he employs it to convey the space in a place where few are likely to be permitted to visit. The documentary inspires a reverie in seeing and contemplating the prehistoric paintings in southern France’s Chauvet Cave. To enter into it via this film is to consider our species’ origin, marvel at what their lives must have been like, and become aware of how far we’ve come.

CONTAGION (Steven Soderbergh, 2011)

Steven Soderbergh’s thriller lays out a realistic and chilling scenario that shows how the world’s population could be threatened by what’s transmitted from a cough, a handshake, or a common bowl of nuts at a bar. If PSYCHO made people reconsider taking showers and JAWS forced second thoughts about going for swims in the ocean, CONTAGION could inspire obsessive hand-washing and stocking up on antibacterial sanitizers.

THE DESCENDANTS (Alexander Payne, 2011)

Director Alexander Payne takes a family on a sad, funny, and heartwarming journey as they discover what is truly important to them as individuals and as a group. Set in Hawaii, THE DESCENDANTS digs into the regular lives of people who can’t avoid problems and sorrow simply because they inhabit a place that looks like paradise on earth. The rocky mental landscapes are difficult to navigate even while surrounded by beautiful, lush terrain. Payne and his two co-screenwriters hit upon the core of emotion with startling clarity.

HANNA (Joe Wright, 2011)

The pleasantly strange HANNA examines womanhood by way of a Grimm fairy tale crossed with an action film. As a socially naive teenager with lethal survival skills, Saoirse Ronan continues to prove why she’s among the best young actresses around. Director Joe Wright dazzles with a colorful and delirious vision of modern life to an outsider’s eyes.

THE INTERRUPTERS (Steve James, 2011)

Steve James’s powerful documentary about the people trying to break the pattern of youth violence in Chicago gives a ride-along on an emotional roller coaster. THE INTERRUPTERS manages to be touching, frustrating, and uplifting as it depicts the depth of the problem without claiming to have a solution.

INTO THE ABYSS: A TALE OF DEATH, A TALE OF LIFE (Werner Herzog, 2011)

Werner Herzog makes clear his objection to capital punishment in this documentary, but the director isn’t interested in voicing a polemical argument. Instead, in speaking to two death row inmates, their family and friends, the victims’ relatives, and those tasked with carrying out executions, he uncovers the narratives people write for themselves to endure terrible experiences and hold onto their humanity.

MARTHA MARCY MAY MARLENE (Sean Durkin, 2011)

Director Sean Durkin and actress Elizabeth Olsen made two of the year’s finest debuts with the paranoid drama MARTHA MARCY MAY MARLENE. Durkin seamlessly blends the protagonist’s abusive past in a cult with the post-traumatic stress she feels while at the refuge of her sister’s home. Complementing the technique is Olsen’s affecting performance, which delineates the struggle to differentiate between past and present.

OF GODS AND MEN (DES HOMMES ET DES DIEUX) (Xavier Beauvois, 2010)

In OF GODS AND MEN a group of French monks in an Algerian community are forced to choose whether to stay and serve the locals or flee for safety from the encroaching civil war. The quiet and studied nature of the decisions these men make beautifully portrays the struggle of living according to a set of beliefs, especially when following a higher calling may risk one’s life.

PUTTY HILL (Matthew Porterfield, 2010)

Although PUTTY HILL tells a fictional story about a working class community outside Baltimore reeling from a young man’s drug overdose, what Matthew Porterfield captures is surely true to similar real life tales. Borrowing documentary techniques and employing a non-professional cast, the director makes this observation of life on society’s margins feel astonishingly familiar. Porterfield never condescends in creating a compelling and heartfelt film.

WAR HORSE (Steven Spielberg, 2011)

Steven Spielberg’s technically proficient study of war's dehumanization is rendered in a swooningly earnest style in WAR HORSE. The battles sequences are as thrilling and tragic as the World War II fighting in the director’s SAVING PRIVATE RYAN while WAR HORSE’s determinedly old-fashioned storytelling proves a suitable match for its consideration of the old and the modern converging.

The Worst Films of 2011

If you're wondering why THE HUMAN CENTIPEDE II (FULL SEQUENCE) isn't repeating its predecessor's achievement in topping my Worst of the Year list, the answer is that I had no desire to watch it.

1. BATTLE LOS ANGELES (Jonathan Liebesman, 2011)

Using rapid-fire edits and dispensing with a tripod have been action movie trends for some years, but BATTLE LOS ANGELES pushes these techniques to the limit in a film that is absolutely incomprehensible. No logic exists in how shots are juxtaposed. The nonstop noise and visual bombardment is so fatiguing that it practically induces blindness, as though the information overload shuts down one’s eyes for a few seconds at a time. Rather than entertaining with the military fending off an alien invasion, BATTLE LOS ANGELES assaults the viewer.

2. BELLFLOWER (Evan Glodell, 2011)

With its homemade flamethrowers and MAD MAX-inspired DIY car, BELLFLOWER arrives at the toxic intersection of indie film, fanboy sensibilities, and Etsy. This exceedingly dark plunge into wounded masculinity is merely an artier, Instagram-filtered version of the hypnotically awful cult film THE ROOM.

3. APOLLO 18 (Gonzalo López-Gallego, 2011)

Never mind that the overactive sound design and aggressive cutting in APOLLO 18 blows its found footage conceit. If it is what it purports to be--a document condensing leaked footage of the last manned mission to the moon--withholding secrets until late is pointless in this form, especially if what we’re seeing had previously been uploaded to the internet . While waiting for the filmmakers to reveal the supposedly shocking truths, this tedious fake documentary wanders aimlessly and abuses the Super 8 filter. Making APOLLO 18 in a standard form might not have resulted in a less stupid film, but it surely would have been a better one.

4. THE DARKEST HOUR (Chris Gorak, 2011)

A hot young cast, class of 2007, fills a feature film reminiscent of a lousy TV pilot when networks were churning out LOST clones. The alien invaders are usually invisible, which eases the strain on the FX budget but doesn’t do much for creating excitement while the bland survivors roam a deserted Moscow.

5. NEW YEAR’S EVE (Garry Marshall, 2011)

NEW YEAR’S EVE plays out as if it is an experiment in auto-generated screenplay writing and cast like one fills teams for a draft in fantasy sports leagues. Take a bunch of generic storylines, populate them with recognizable actors, fill a lot of the inconsequential roles with other familiar performers, and toss it all together to create a big pile of ambivalence. Nothing about it feels personal, funny, sad, romantic, or vital in the slightest way. It’s as revelatory as emptying one’s mind and staring at the wall for two hours.



6. JUST GO WITH IT (Dennis Dugan, 2011)  

JUST GO WITH IT features an extraordinarily bad match of star Adam Sandler and farcical material. Sandler has never been the most energetic screen presence, and this romantic comedy’s slack pace kills any potential humor found in the deceptions and misunderstandings. As with GROWN UPS, JUST GO WITH IT feels like a way for the actor to subsidize a vacation with friends under the guise of making a movie.

7. ZOOKEEPER (Frank Coraci, 2011)

If a thousand monkeys at a thousand typewriters can produce Shakespeare, then ZOOKEEPER must have been banged out by one primate pecking away at a keyboard between sessions playing on a tire swing. This nearly laugh-free amalgamation of DOCTOR DOLITTLE and NIGHT AT THE MUSEUM spends far too much time on romantic comedy machinations and away from the talking animals that are presumably the film’s calling card.

8. THE ROOMMATE (Christian E. Christiansen, 2011)

Say what you will about the bad qualities of THE ROOMMATE, and there are many, but it is easy to watch garbage worth a few derisive laughs. This thriller, which might as well have been titled SINGLE WHITE FEMALE: THE COLLEGE YEARS, fails to nurture a sense of isolation or palpable fear. Then again, it’s hard to feel scared when stars Minka Kelly and Leighton Meester give such hilariously terrible performances.

9. BEASTLY (Daniel Barnz, 2011)

The Classics for Tweens adaptation BEASTLY bedazzles the oft-told BEAUTY AND THE BEAST story with smart phones, social media, tattoos, and Jujubes, but such contemporary things won’t keep kids from noticing how super lame it is. It’s a bad CW drama posing as a feature film and one undisguised as a Hollywood executive’s wish to horn in on that jackpot of sweet, sweet teen supernatural romance cash.

10. CONAN THE BARBARIAN (Marcus Nispel, 2011)

This remake is basically a gorier, bigger budgeted version of a basic cable or syndicated TV series. Lacking in personality and any narrative interest, it’s merely a repository for the gallons of digital blood spilled in the incessant battle sequences.

The Best Films of 2010

1. LOURDES (Jessica Hausner, 2009)

LOURDES asks what a miracle is, on whose terms one should be determined, and who is deserving of such a blessing. A marvelous Sylvie Testud plays a woman with severe multiple sclerosis who is healed while on a pilgrimage in the southwestern French town. Director Jessica Hausner observes with detached amusement and seriousness how this seeming miracle changes the individual and the crowd in typical and unexpected ways. LOURDES shows reverence to the mystery while skewering how people try to divine it.

2. INCEPTION (Christopher Nolan, 2010)

Dazzling in its conception and execution, INCEPTION continues Christopher Nolan’s reign as the maker of Hollywood’s brainiest and eye-popping films. This multi-layered leap into the dream world electrifies with its visual and narrative construction. Perhaps INCEPTION’S commercial and critical success will plant the idea that blockbusters don’t always have to appeal to the lowest common denominator.

3. TRUE GRIT (Joel Coen and Ethan Coen, 2010)

Joel and Ethan Coen settle into a vintage western remake that also has room for their signature quirks and humor. TRUE GRIT may be the most classical Hollywood film the brothers have made, but they’ve invested it with a great deal of craftsmanship and personality too. The performances are outstanding across the board. Hailee Steinfeld carries herself well with the immature certainty of youth while while Jeff Bridges’ Dude-ified Rooster Cogburn keeps the laughs coming.

4. FOUR LIONS (Chris Morris, 2010)

Comedies don’t get any nervier than director Chris Morris’s FOUR LIONS, which is built on the exploits of bumbling Islamic terrorists in a cell near London. Boldness in and of itself in a comedy doesn’t mean the material is actually humorous; however, FOUR LIONS is packed with razor-sharp wordplay and glorious slapstick that make it an explosively funny and unsettling film.

5. EXIT THROUGH THE GIFT SHOP (Banksy, 2010)

The brash and hilarious survey of the street art scene in the documentary EXIT THROUGH THE GIFT SHOP is enough to put one’s head spinning. Banksy, a celebrated graffiti artist and the film’s director, presents a quick history of this underground. Then he turns things around to discuss the nature of art, authorship, commerce, and hype. You never know when the rug will be pulled out below you in this thought-provoking and highly entertaining film.

6. HADEWIJCH (Bruno Dumont, 2009)

HADEWIJCH delves into its study of religious ecstasy and confusion with uncommon thoughtfulness. Julie Sokolowski delivers a great performance as a young woman working to make her proud displays of faith more humble, especially after she is sent from a cloistered life back into society. Her religious belief and assurance is powerfully examined as a lifelong dialogue instead of a simple choice that ends the conversation.

7. TOY STORY 3 (Lee Unkrich, 2010)

The well is usually long dry by the time of the third film in a series, but the creative minds at Pixar again prove themselves an exception to the rule. TOY STORY 3 brings what should be a fitting conclusion to the adventures of Woody, Buzz, and the rest of the crew in this breakneck action picture and affecting meditation on family.

8. NEVER LET ME GO (Mark Romanek, 2010)

Spanning 1978 to 1994, NEVER LET ME GO tracks three special children who grow up together in a boarding school. In his skillful adaptation of the fantastic Kazuo Ishiguro novel, screenwriter Alex Garland reveals the secret about these characters basically from the outset, yet the underlying science fiction aspect is treated as a canvas for the relationships and emotional turmoil instead of being the main focus. NEVER LET ME GO can be about the soul, technological innovation, media messaging, or any number of things beyond what the plot spells out. Still, the main story regarding love and purpose plays as its own kind of beautiful heartbreak.

9. THE TILLMAN STORY (Amir Bar-Lev, 2010)

THE TILLMAN STORY is a tough and principled documentary about a family’s loss, their persistent search for the truth, and the manufacturing of myths and heroes. Pat Tillman did the unthinkable for a professional athlete. Months after the September 11, 2001 attacks, he left a lucrative career in the National Football League to become an Army Ranger. Tillman refused to explain his motivation for the choice. After he was killed in action, the official report told of a heroic battlefield death that didn’t mesh with the covered-up facts. Tillman became a symbol for the war that he never wished to be. In telling the story of his family’s pursuit for answers, director Amir Bar-Lev also explores our need for unquestionable heroes and how creating them is a disservice to them.

10. MARWENCOL (Jeff Malmberg, 2010)

The documentary MARWENCOL reveals the imaginative creations that bloomed out of tragedy and need for one man. After being assaulted Mark Hogamcamp lost his memory and turned to a unique way of rediscovering his identity and trying to recover. In his yard Hogancamp builds a World War II-era Belgian town he dubs Marwencol and fills its with dolls that function as the the alter egos of himself and those important to him. Director Jeff Malmberg provides a deeply empathetic view of loneliness and powerful evidence of art as an outlet. He also exercises restraint and displays respect for Hogancamp as he freely and frequently talks about the pain of being alone. This artist born out of necessity discusses his Marwencolian representation and imaginary world with a depth of feeling that most would reserve for real acquaintances. Some of the documentary’s most touching portions provide insight into the expressive and healing properties of the art on the creator.

2010 in Film: The Honorable Mentions

BLACK SWAN (Darren Aronofsky, 2010)

BLACK SWAN merges the sexual hysteria of Roman Polanski’s REPULSION with the ballet drama of Powell and Pressburger’s THE RED SHOES and throws in a generous dollop of Cronenberg-like body horror for good measure. Director Darren Aronofsky’s lurid mixture of high and low art makes for an often intoxicating film about creative risk and personal development. Natalie Portman’s performance thrills with how she manifests her ballerina’s psychosis, swinging from delicate technical precision and emotional repression to bold, forceful expressions.

CARLOS (Olivier Assayas, 2010)

Although five and a half hours long, Olivier Assayas’s CARLOS is a brisk and absorbing study of the infamous Venezuelan terrorist known as The Jackal. A magnificent setpiece recreating the 1975 raid on OPEC headquarters in Vienna and Edgar Ramirez’s magnetic lead performance are among the treasures in a biopic stocked with plenty to unpack regarding global and personal politics and how their tides shift.

CATFISH (Henry Joost and Ariel Schulman, 2010)

Whether CATFISH is or is not a documentary--I don’t think it matters--it stands as a compelling look at the thrills and pitfalls of living in the social media age. The film follows its subject, one of the directors’ brothers, as online communications lead to emotional investment with a family hundreds of miles away and romance with one of the daughters. As doubt creeps in about the truth of the situation, the filmmakers make a surprise visit to find out who they’re talking to. The answers they find have a lot to say about what we’re seeking when we reach out to make connections over the internet.

EVERYONE ELSE (ALLE ANDEREN) (Maren Ade, 2009)

The exquisitely made EVERYONE ELSE is a painfully observed exploration of a relationship and each person’s culpability when it frays. In watching how people interact when they are alone, especially two who want to break away from the pack, the film is astonishingly keen in its intimate insights. As the couple, Birgit Minichmayr and Lars Eidinger do an extraordinary job of conveying the small ways people test and hurt the ones they love.

THE FIGHTER (David O. Russell, 2010)

In THE FIGHTER director David O. Russell tells the true story of underdog welterweight boxer Mickey Ward as part dysfunctional family comedy and part inspirational sports movie. A stellar supporting cast featuring Melissa Leo, Christian Bale, and Amy Adams often swipes scenes from Mark Wahlberg’s understated main character. Humming with humor and working class determination, THE FIGHTER finds that the most important sparring matches often occur outside the ring.

THE GHOST WRITER (Roman Polanski, 2010)

Co-writer/director Roman Polanski fashions THE GHOST WRITER as a '70s-styled potboiler bubbling with paranoia and conspiracy. This isn't CHINATOWN level work from Polanski, but THE GHOST WRITER still succeeds as an above-average thriller that dabbles in the political and the personal. A ghost writer's purpose is to tell someone else's story in that person's voice. As co-writer and director Polanski gets to speak for himself through the film, but for all of it's mirroring of real life circumstances, THE GHOST WRITER'S shrouded revelations are ever transitory.

GOING THE DISTANCE (Nanette Burstein, 2010)

GOING THE DISTANCE is a consistently funny romantic comedy, which is rare enough. It also possesses the wisdom to explore the natural challenges in Drew Barrymore and Justin Long’s bicoastal romance rather than contriving conflicts. Although the set-up is familiar, the film’s warmth, vulnerability, emotional truth, and raunchiness distinguish it from the pack of so-called love stories.

GREENBERG (Noah Baumbach, 2010)

Writer-director Noah Baumbach’s dramedy GREENBERG is a deeply felt observation of flawed individuals trying to cope with life’s problems. Ben Stiller does some of his finest cinematic work as the prickly and self-sabotaging title character. The performance requires looking beyond the surface to see a wounded soul who believes he can only feel better by making others miserable. Greta Gerwig matches Stiller’s performance with a turn that shows how awkward and unguarded optimism can survive among disappointment and sadness.

THE KIDS ARE ALL RIGHT (Lisa Cholodenko, 2010)

THE KIDS ARE ALL RIGHT overdoes it in laying out its themes in the final act, but nevertheless, writer-director Lisa Cholodenko and co-writer Stuart Blumberg have crafted a funny and generous film about family ties. Although gay spouses anchor the film, it illuminates the universal strains that come with coupledom and parenting rather than speaking to anything specific to sexual orientation. THE KIDS ARE ALL RIGHT finds gentle laughs among and enormous sympathy for the trials of family.

MOTHER (MADEO) (Bong Joon-ho, 2009)

MOTHER co-writer and director Bong Joon-ho assembles an expertly constructed thriller with a surprisingly deep well of emotion and ribbons of humor. Kim Hye-ja’s remarkable performance speaks to the fierce devotion and love that a parent can exhibit when protecting a child.

PLEASE GIVE (Nicole Holofcener, 2010)

Writer-director Nicole Holofcener’s PLEASE GIVE humorously grapples with the problems of the fortunate, particularly those burdened with white liberal guilt. PLEASE GIVE shares a comedic sensibility with Woody Allen’s films while taking a female perspective on ordinary family problems, fear of mortality, self-image issues, and the illusion of control one has in life.

SHUTTER ISLAND (Martin Scorsese, 2010)

SHUTTER ISLAND is Martin Scorsese’s sublime version of a 1950s Hollywood thriller. It’s a treat to see one of the all-time greats having fun with a genre film. Scorsese utilizes the overheated tone and vivid colors produced in Robert Richardson’s cinematography to ratchet up the suspense unlike few can.

THE SOCIAL NETWORK (David Fincher, 2010)

THE SOCIAL NETWORK is as elegant and brilliant as a well-written line of code. Director David Fincher and screenwriter Aaron Sorkin's fictionalized account of Facebook’s founding dives into some of today’s big questions brought about by technological advancements and boasts a complex and masterful lead performance from Jesse Eisenberg. The script provides the foundation for a hugely entertaining drama that has a fair share of big laugh lines. Fincher’s smooth direction guides us through complicated legal proceedings and a social world not nearly as neatly organized as a social media tree.

SOMEWHERE (Sofia Coppola, 2010)

Although SOMEWHERE throbs with dissatisfaction and longing for purpose, writer-director Sofia Coppola’s film reveals itself as a dryly funny meditation on being adrift in Hollywood. Coppola sympathizes with a movie star’s burdens while observing the inherent absurdity of the profession. Elle Fanning shines as the daughter who helps routine-stuck father Stephen Dorff emerge from his privileged and suffocating cocoon.

WILD GRASS (LES HERBES FOLLES) (Alain Resnais, 2009)

When WILD GRASS was released, French director Alain Resnais was 87 years old and 48 years removed from when his classic LAST YEAR AT MARIENBAD debuted, yet his ability to confound hasn’t dimmed. In this puckish and unpredictable romantic comedy-drama-mystery, meaning is elusive as ever, but WILD GRASS is a delight from beginning to end, especially the inscrutable ending.

WINTER’S BONE (Debra Granik, 2010)

Co-writer/director Debra Granik captures an outstanding sense of place yet never condescends in the Ozarks noir WINTER’S BONE. Jennifer Lawrence gives a terrific lead performance as a teenager who embarks on a harrowing journey in search of her no-good father so as to save the family’s house.

The Worst Films of 2010

1. THE HUMAN CENTIPEDE (FIRST SEQUENCE) (Tom Six, 2009)

The most notorious film of 2010, at least among cinephiles on the internet, was also the year’s worst. Like a carnival barker, THE HUMAN CENTIPEDE entices the adventurous with the promise of a repulsive display that begs to be seen but fails in its delivery of gory one-upmanship. The film’s most shocking quality is it’s capacity to bore. THE HUMAN CENTIPEDE is a repellent film, but that's exactly the condemnation it needs to advance its reputation as a transgressive work. Being disreputable is the film's only distinguishing characteristic, even if in this case its offenses have been overhyped to Barnum-esque proportions successfully enough that a sequel is in the works.

2. TRASH HUMPERS (Harmony Korine, 2009)

TRASH HUMPERS, from cinematic agitator Harmony Korine, is a tiresome example of shock for shock’s sake. Shot on VHS and edited to resemble a weird, grubby found videotape, it’s a bunch of performance art nonsense with the director and others in old people masks humping garbage and vandalizing. Just because it’s outré doesn’t mean it’s profound or artful.

3. ENTER THE VOID (Gaspar Noe, 2010)

French provocateur Gaspar Noe’s ENTER THE VOID certainly doesn’t lack ambition. This psychedelic, first person perspective of a young drug dealer’s death, voyage into the hereafter, and rebirth is artistically indulgent in the worst way. With the camera floating around Tokyo, watching ENTER THE VOID is like seeing a sexed-up two and a half hour loop of the old Dolby Digital Broadway promo while on heavy depressants and hallucinogens.

4. JONAH HEX (Jimmy Hayward, 2010)

The adaptation of the graphic novel JONAH HEX was the most ineptly made major studio film of the year. Like PUSHING DAISIES' Ned without the delicious pie-making skills, Josh Brolin's disfigured anithero can resurrect and speak with the dead for a few moments, but making the film comprehensible at all is beyond his powers or anyone else’s powers. JONAH HEX isn’t merely bad; it’s flat out incompetent.

5. THE BLACK WATERS OF ECHO’S POND (Gabriel Bologna, 2009)

That the Z-grade horror film THE BLACK WATERS OF ECHO’S POND managed to swing a theatrical release is something of a miracle. This is more like a cheap knock-off found in the DVD bargain bin than a multiplex. A despicable group of young, bland, and obnoxious people are stuck on an island playing an evil board game that predictably leads to most of them being killed. The murky visuals and number of scenes reliant on ponderous dialogue show every bit of its low budget on the screen.

6. THE VIRGINITY HIT (Huck Botko and Andrew Gurland, 2010)

The hugely off-putting teensploitation comedy THE VIRGINITY HIT purports to be a documentary about a hateful group of friends seeking to document the last of the bunch having sex for the first time. The premise itself isn’t drastically different from other teen sex comedies, but what makes it truly insufferable is the conceit that these are real home videos of their adolescent shenanigans. For these characters, personal privacy and intimacy are just obstacles to putting every experience on YouTube.

7. THE WARRIOR’S WAY (Sngmoo Lee, 2010)

THE WARRIOR’S WAY mashes up genres and styles in an unlikely and catastrophic manner. Imagine a martial arts western as directed by a Prozac-addled Jean-Pierre Jeunet. Imagine how terrible that sounds, even with some late arriving ninjas. That’s THE WARRIOR’S WAY.

8. THE NUTCRACKER IN 3D (Andrey Konchalovskiy, 2010)

The hideous poster for THE NUTCRACKER IN 3D practically promised that it would be one of the year’s worst. Call it truth in marketing, even if that surely wasn’t the intent. Unfortunately this adaptation of the classic ballet is just a dull, badly conceived, effects-heavy farrago than the amusingly terrible movie I’d hoped for. Still, it does have Nathan Lane playing Einstein, or someone suspiciously close to him, and an impending toy holocaust that is sure to horrify any kids with the bad luck to see it.

9. CATS & DOGS: THE REVENGE OF KITTY GALORE (Brad Peyton, 2010)

I can’t imagine any poor souls were holding their breath for nine years in anticipation of a CATS & DOGS sequel, but 2010 produced this inessential follow-up anyway. As the titles suggests, CATS & DOGS: THE REVENGE OF KITTY GALORE is a lame spy movie parody with talking animals. Does it recycle all the tired cliches one expects? You bet.

10. SEX AND THE CITY 2 (Michael Patrick King, 2010)

SEX AND THE CITY 2 takes self-absorption in front of and behind the camera to new levels. The comedy represents all of the worst stereotypes of Americans at home and abroad. It’s an amazingly tone deaf film with the audacity to pat the nation’s mothers on the head when two of the spoiled characters bemoan the weight of parenting without a nanny. The critics heaped scorn on SEX AND THE CITY 2, and it was all deserved. But never mind that. SHOES!!!

For your listening consideration

My half-hour conversation with Columbus Alive's Melissa Starker about the Central Ohio Film Critics Association 2008 award winners and some of the year's other notable films is now online. Listen to the podcast here.

The Worst Films of 2008

There's value in observing what makes films successful and what makes them fail. Sometimes it's easier to learn from bad movies than it is from the good ones. Explaining what works can be more difficult to pin down than spotting the techniques that lead to cinematic disaster.

There's value in finding what you like, what you don't like, and why you have those likes and dislikes. I'm an introspective sort anyway, so to me it's helpful to understand why certain things speak to me and other things don't.

High-mindedness aside, if I wasn't a critic, I would not have subjected myself to most of the films making my worst list, but I believe there is an obligation to keep up with what's out there, even if that means visiting the dregs of the cinema.

1. COLLEGE (Deb Hagan, 2008)

Although COLLEGE has its roots in raucous higher education comedies, what it really wants to be is SUPERBAD minus the affection for the characters. COLLEGE double majors in raunch and degradation of the trio of high school friends and actors portraying them. It's humiliation as career move for former Nickelodeon star Drake Bell and squeaky clean AMERICAN IDOL finalist Kevin "Chicken Little" Covais. The filmmakers are all too happy to dish out the indignity. For as much disdain that COLLEGE possesses for its characters and actors, it is equally as contemptuous of its audience. Nudity and vulgar depictions of hard partying and hazing are apparently all COLLEGE thinks viewers want. Original or funny jokes don't matter. Being offensive is one thing; COLLEGE makes you feel dirty for having watched it.

2. MEET THE SPARTANS (Jason Friedberg and Aaron Seltzer, 2008)

MEET THE SPARTANS, a feature-length parody of 300, isn't terribly different from VH-1's BEST WEEK EVER, except for the lack of self-conscious irony and smugness. It stands above (or below) the culture and takes potshots at easy targets. The triumvirate of celebrity bad girls are mocked, Spartans are totally gay for each other, and reality TV judges are self-absorbed clowns. Burn! Writer-directors Jason Friedberg and Aaron Seltzer have made a career out of pop culture-mocking time capsules with exceedingly short shelf lives. Maybe there wouldn't be anything so wrong with the disposability of their movies if they were funny.

3. ZOMBIE STRIPPERS (Jay Lee, 2008)

Like so many exploitation movies, the title ZOMBIE STRIPPERS is more enjoyable and memorable than the actual product. Unsurprisingly ZOMBIE STRIPPERS is poorly acted, written, directed, edited, and lit, but it is so tedious to watch that this might be the first movie that would be improved if Uwe Boll were calling the shots. At least the oft-derided director would have dropped the pretense of shoehorning in political subtext in an attempt to bring class to such a trashy film.

4. AN AMERICAN CAROL (David Zucker, 2008)

Writer-director David Zucker has been coasting for a long time on early career, exclamation point-punctuated creative successes (AIRPLANE!, TOP SECRET!, and POLICE SQUAD!), so objections to his latest so-called comedy are not primarily political. He hasn't made anything worthwhile since THE NAKED GUN, and AN AMERICAN CAROL'S recycled silliness keeps him on the schneid. Sure, jokes based on meager Republican talking points don't do the film any favors, mainly because putting ideology first is rarely funny. As unworthy of debate as the film's flimsy grandstanding is, AN AMERICAN CAROL isn't particularly inflammatory except for a tasteless invocation of 9/11. Reasonable people can disagree about issues facing the nation, but AN AMERICAN CAROL'S comedy style and politics are sorely missing that kind of thoughtfulness.

5. NOBEL SON (Randall Miller, 2007)

The nasty, self-satisfied NOBEL SON comes straight from the mold of mid- to late-1990s Tarantino imitations dominating video store shelves. Like so many of its theatrical and direct-to-video brethren, NOBEL SON is fueled by perceived cleverness rather than actual wit and innovation. Lots of "style" is imposed with little effect on this glib exercise in plot convolutions and hateful characters.

6. THE WOMEN (Diane English, 2008)

MURPHY BROWN creator and THE WOMEN writer-director Diane English aspires to present strong women, but this miserable lot come off as fragile, helpless, and sorely lacking an arsenal of witty retorts that their counterparts in the 1939 original possessed. Rather than a funny, empowering look at modern females, THE WOMEN serves laughless reinforcement of many of the old stereotypes.

7. MAX PAYNE (John Moore, 2008)

A video game adaptation slathered with action scenes and film noir atmospherics might sound like potentially brainless fun, but the mind-numbing repetition, emotionless performances, and needlessly complicated plot make MAX PAYNE earn a title promising extreme suffering.

8. MAMMA MIA! (Phyllida Lloyd, 2008)

In a classic example of mistranslating material from stage to screen, first-time movie director Phyllida Lloyd calls for her actors to deliver broad performances that reach the last row of the auditorium. For a medium dominated by close-ups, and a shot selection Lloyd often favors, the over-the-top acting style quickly becomes overbearing. Usually it is a joy to watch Meryl Streep practicing her craft, but in MAMMA MIA! it's embarrassing to see her mugging and flouncing about like a skittish teenager. ABBA's songs are as insanely catchy as always, perhaps maddeningly so, but if that's all MAMMA MIA! has to offer, one would be better served by their greatest hits CD than the mostly amateur hour singing in the film.

9. DISASTER MOVIE (Jason Friedberg and Aaron Seltzer, 2008)

Friedberg and Seltzer's DISASTER MOVIE is their "better" 2008 parody, meaning that they provided a more solid framework for stringing together sketches and I actually laughed a few times. Hip fave-turned-backlash recipient JUNO takes a few well-deserved licks, but other than that it's the same old toothless humor that might be called juvenile if the film could reach the intellectual standard of playground taunts.

10. FOUR CHRISTMASES (Seth Gordon, 2008)

Apparently Hollywood believes nothing gets folks into the holiday spirit like movies about how much scorn people deserve. CHRISTMAS WITH THE KRANKS, SURVIVING CHRISTMAS, and DECK THE HALLS are some examples with little to no good will toward men or filmmaking prowess. (At least the crude and misanthropic BAD SANTA has the charity to donate laughs.) This joyless affair with Reese Witherspoon and Vince Vaughn as family-avoiding grinches employs Christmas gatherings more for MEET THE PARENTS-like possibilities, but whatever the aim, FOUR CHRISTMASES couldn't be more unappealing in spirit and cinematography.