25. The Beaver directed by Jodie Foster
There's no way this film was going to be able to escape the baggage brought on by it's star's off-screen problems. And, sure enough, it didn't. Mel Gibson's erratic and unhinged behavior in his personal life may have overshadowed The Beaver, a film about a severely depressed man who begins to use a beaver puppet as a conduit between himself and the rest of society, but for those of us who managed to see it, I can't help but believe that Gibson's persona as a real-life whacko may have added to the appeal of the film.
Obviously, I'm not condoning anything Gibson may have done, especially the violent things he is accused of, but I am trying to look past all of that in order to fully appreciate a unique and thought-provoking film that takes on depression and coping with it in a whole new way. For something this odd to really work onscreen, you need an actor who not only possesses a great deal of talent, but one who you can believe in just enough. This is a bizarre film and it's inevitable that some people may laugh at things that, at least in the context of the script, aren't supposed to be funny, but it really needed a fully committed lead to pull the audience through those murky waters of uncertainty toward a fuller payoff in the end.
24. Midnight in Paris directed by Woody Allen
Perhaps one of the more beloved Woody Allen films in recent years, Midnight in Paris is a whimsical tale that sees Owen Wilson filling in for Allen, as a Hollywood screenwriter spending time abroad with his fiancee (Rachel McAdams). Though she is militantly practical, he's a bit of a dreamer, searching for artistic refuge amongst the ghosts of Paris' culture. Through the magic of the night, he's transported to a different era, spending the wee small hours with Ernest Hemingway, F. Scott Fitzgerald and Picasso, among others.
The allusion that life was better, at least artistically, in the 1920s, is shattered when Wilson and his new female companion from the Roaring 20's (Marion Cotillard) transport back even further in time to the 1890s. She believes this is the best time to be alive as an artist. Unfortunately though, once there, the time travelers are met by the artists of the day, who are complaining about the times they live in as well. The point is really that you can't depend on the circumstances of today to be satisfied as an artist, but you must depend on yourself instead. When shown the truth about other periods of time, Wilson realizes that no matter when you are alive, you get used to it and bored with it and take it for granted.
I liked the film, thought the performances were dead on and definitely laughed out loud a few times. This is definitely a flick that I would have loved to have seen Allen himself in, but unfortunately time catches up with everyone. I'm pleasantly surprised by the awards attention this film is receiving, because it hardly seems like the people that hand out the awards are interested in films like this anymore.
23. My Week With Marilyn directed by Simon Curtis
Unlike J.Edgar, which was a biopic too broad in scope to be effective, My Week With Marilyn is a quick, intimate snapshot of the most famous woman of her time. By giving us the behind-the-scenes story of Marilyn Monroe's time in England, working with Sir Laurence Olivier, we're shown a woman on the brink of disaster, all the while existing on the edge of legendary. In another superb performance, Michelle Williams captures the vulnerability and insecurities that defined Monroe's life. I found this film to be funny and touching, in an almost unconventional way. And although I love Scarlett Johansson, I'm glad she passed on this role. She may have the look, but Williams has got the look and the acting chops to deliver a classic performance.
22. The Tree of Life directed by Terrence Malick
Sometimes art can be confusing or frustrating. Sometimes it can be too big to comprehend on any level. The Tree of Life is poetic and epic, not even remotely resembling what you would typically consider to be theatrical norms. It is more of an experience than it is a movie, but even having said that, there are still film characteristics that are unbelievable present here. The part of the film that has actors (if you haven't seen the film, this may be a bit confusing, but trust me, the parts without actors are significant enough to separate from the parts that do) are paced so differently than any other film I can ever remember seeing that at first it's a bit jarring. But once you get your bearings, you're treated to some real knock out performances, so beautiful cinematography and the most unique filmmaking of the year. Brad Pitt and Jessica Chastain are haunting in this film. The young actors, especially Hunter McCracken, are precocious, exuding a subtle brilliance even the most emotionally challenging moments of the film.
But the true weight of a film like The Tree of Life expands much farther beyond the scope of acting and directing and all the other traditional ideas of film. It is a film based on emotion and emotional response. It's not something that many people will love, but those who do will love it so fiercely that it will seem irrational. The visuals will likely confound some viewers, elate others. Malick has created a film that will undoubtedly polarize audiences, make many feel uncomfortable even, but will likely be studied in film classes for decades to come.
21. Moneyball directed by Bennett Miller
Like a cross between The Social Network and The Blind Side, Moneyball sought to capture both the intellectuals who would admire Billy Beane & Co's ingenuity and the suckers for an underdog story. Though Brad Pitt gives another real solid performance (though, in my opinion, not nearly as dynamic as his turn in The Tree of Life), this films fails to achieve Top 10 of the Year status mostly due to a poorly constructed ending and a needlessly waterlogged back story for Beane, which, I can only guess, was constructed in order to further develop his character.
Instead of successfully turning Billy Beane and the Oakland Athletics into a meaningful metaphor, something beyond sports or cinema, Moneyball often relied too heavily on sports movie cliches and familiar ground. Instead of properly emphasizing the moment Beane turns down the big market Red Sox in order to stay in Oakland, it's presented more as an afterthought, obscured by the big stage and trite theatrics of Scott Hatteberg's home run to clinch the record for consecutive wins by a franchise. Overall, it's small matter of contention, but it kept a really good film from being a great film.
20. War Horse directed by Steven Spielberg
What would happen if you took Forrest Gump, changed the setting to World War I and then switched out a learning disabled man for a horse? You would get War Horse, the second Steve Spielberg-directed film released around Christmas this past year. Using a horse as the constant, Spielberg moves between several different camps during the war, giving us multiple angles of a conflict often overshadowed in cinema by other wars throughout history. It looks and sounds like everything we've come to expect from Spielberg, except, unlike most of his other post-millennium work, this film lacks big name movie stars. It's an enjoyable film - far from Spielberg's best, but also far from his worst - but it's probably a bit too sentimental to really stand the test of time.
The one key thing though that really stood out for me about War Horse, though, is the music. I've really had it with the over-dramatic John Williams scores. They ultimately rob the film of it's emotions during key moments, rather than enhance them. All you need to see is the trailer in which Joey (the horse) is running across No Man's Land, a ravaged battleground between the English and German trenches, accompanied by a poignant silence. In the actual film, this scene, which is really one of the most pivotal of the whole movie, is nearly ruined by the sappy, overwrought music blaring over it. It's disgusting.
19. Hugo directed by Martin Scorsese
This is the film Martin Scorsese has been wanting to make for a very long time. You just know it. Yes, we often associate the man with brutally violent films, usually with the mafia or some other organized crime outfit at it's center. Or maybe you focus on films like Taxi Driver, Raging Bull and Cape Fear, films that showcase the misfits of society. Either way, you probably do not associate Scorsese with a child's film that takes place in France starring the girl from Kick-Ass and Borat.
But you don't need to be a Scorsese biographer to know that he cares deeply about film, especially preserving the history of it. This cause is at the center of Hugo, his latest film, one that forsakes violence for whimsy, profanity for hope. Hugo is a visually compelling film, one in which each frame is designed to dazzle the audience, to transport them into a different time and place, one that may or may not have ever really existed. And, in a way, I think it's appropriate that Scorsese filmed Hugo to be in 3D. It shows him to be embracing the changes in cinema and observant of the shifts in expectations. After all, being rated PG makes Hugo a film that all ages can see (something of a rarity for Scorsese) and children today have different ideas of what movies look, sound and feel like than they did when Marty was a boy.
By the time I'm actually getting around to posting this, Scorsese has won the Golden Globe for Best Director for this film, something that I definitely considered to be something of a surprise. But in a year without a true standout, maybe it's appropriate that some more adoration is heaped upon a legend while he's still among us, still working. Hugo is just proof that we don't always know what to expect from a director who's been entertaining us for decades.
18. Crazy Stupid Love directed by Glenn Ficarra, John Regua
In a world where crap like Whitney and Are You There, Chelsea can air in prime time, it's hard to imagine films like Crazy Stupid Love, ones without the vapid, casual raunch we're supposed to interpret as "edgy," are able to exist. This film never has to be propped up by a crutch of faux-intellect or snark or "gotcha" humor. It never falls victim to the character traits of our time, ones that often rob art of any semblance of meaning or any possibility of staying power. Yes, it's true that Crazy Stupid Love is a romantic comedy, a genre often plagued with lightweight scripts and superficial performances, but this film is able to rise above the distinction of it's classification. Bolstered by hearty performances from Steve Carell, Ryan Gosling and Julianne Moore among others, this film is memorable, good-hearted and sweet. Without preaching, it manages to tell us more about relationships and ourselves than all of those horrible shows and flimsy movies combined. If it wasn't for an ending a little too unbelievable, then I'd have no problem putting this one in the top 10.
17. Mission: Impossible - Ghost Protocol directed by Brad Bird
Tom Cruise returns to the world of superstardom with the latest installment in the Mission: Impossible franchise, which is easily the best of the series since the first one. With a new cast that features Jeremy Renner, Simon Pegg and Paula Patton among others, Mission: Impossible reboots in Russia (and soon to other corners of the globe as well). It's a popcorn movie, a big budget blow out - no one would dispute that - but it's a damn good time. Cruise proves he can still deliver as an action hero, after a string of box office duds and disappointments.
It's not even that the plotline of Ghost Protocol is necessarily that much better than Mission: Impossible 2 or 3, it's just that the execution is better. The action is more electrifying, more focused. The strategic use of IMAX also works wonders for a film like this and I would recommend checking it out on of those screens if at all possible. I missed some of the big Summer action movies, caught others, but Mission: Impossible - Ghost Protocol puts them all to shame. I'd actually be excited for a fifth one...
16. The Debt directed by John Madden
Perhaps the most unexpected film to make my top 20, The Debt, is a thriller that jumps back and forth in time between 1965 and 1997. In the past, Mossad secret agents Rachel (Jessica Chastain; Helen Mirren), Stefan (Marton Csokas; Tom Wilkinson) and David (Sam Worthington; Ciaran Hinds) found the former Nazi, Vogel, in East Berlin. In a daring and unforgettable scene, they abduct the war criminal and seemingly are able to accomplish their mission. But what really happened sets the stage for the dramatic conclusion to their story that will play out 32 years later.
This movie has the right mix of intensity and intrigue that will keep you guessing while also keeping you on edge. Great performances all around (Was Jessica Chastain in every movie this year??) and some really well-executed action sequences. I was really caught off guard by how much I liked this film. It didn't really receive any award recognition, which doesn't necessarily surprise me, but is still a shame.
15. Margin Call directed by J.C. Chandor
I think a really big theme in 2011 was the ability of some writers and directors to know how to encapsulate something large into one, solitary story. In this list, I mentioned that My Week With Marilyn was better at telling us about Marilyn Monroe than J. Edgar was about J. Edgar Hoover not despite it's narrower focus, but because of it. In other words, more impact can be made by using one example, rather than to try and use all of the examples. Margin Call, an independent film about the collapse of Wall Street, is the same way. By just giving us the view of one (somewhat fictional, but likely based in reality) company and it's employees, we're able to see something larger and to feel the scope of the situation on a more personal and thus more effective scale. Debuting at last year's Sundance Film Festival, Margin Call was a little film with an ensemble cast that you can tell was the product of passion and desire.
Days later, I found myself still thinking about the film and what it meant to me and to the country overall. This is how you know a film is not only good, but effective. I'd be very interested to see where writer/director J.C. Chandor's career goes from here.
14. Martha Marcy May Marlene directed by Sean Durkin
There is a darkness present throughout Martha Marcy May Marlene that is unsettling. It is a feeling cultivated by the murky transitions back and forth in time, between the years our lead character Martha (aka Marcy May, aka Marlene; played by Elizabeth Olsen) lost in a bleak, sexualized cult (led by John Hawkes, who gives another tremendous, award-worthy performance) and the present, now that she has escaped and sought apparent refuge with her estranged, married sister. We understand almost immediately that Martha has been damaged, although the extent of her issues is unknown. We're also never really sure what propelled her to fall into this bizarre clan in the first place.
But the fact that we don't have all the answers is all part of what makes this an excellent film. The main thing we take away is that even though Martha has gotten away from this cult, she hasn't really escaped. She is still a prisoner of her haunting memories and her ever-present paranoia that they are still after her. Whether they actually are or not is unclear and it doesn't really matter in the context of the story - She believes that they are and that is enough. This is a bold and gritty film, one that should not be ignored.
13. Super 8 directed by JJ Abrams
In a year that saw the return of Steven Spielberg to the director's chair, there were also some cinematic tributes to his work, specifically from the 1980s. JJ Abrams' film Super 8, one that Spielberg himself produced, worked kind of as a cross between The Goonies and E.T., with some of Close Encounters thrown in for good measure. With a precocious, young cast, Abrams develops Super 8 more like a mystery than a sci-fi flick, but the film's strength is it's heart.
Joe (Joel Courtney) has lost his mother to a work-related accident. He and his father (Kyle Chandler) are unsure of how to pick up the pieces to their lives. They are stuck in a bizarre world of stagnation, where reality hurts too much to face. While this is happening, Joe's friend, Charles, is in the process of making a film for a local competition. It's a zombie movie and it stars Joe and Charles' group of friends. Seemingly on a whim, Charles decides to ask Alice Dainard (Elle Fanning), the pretty girl in school to be in his movie. It just so happens though that Alice's father was the one who called off drunk from work the day Joe's mother was killed. You see, he was the one that was supposed to be there when the accident happened. Not Joe's mother, who subsequently was working a double-shift.
This quiet drama, bubbling just underneath the surface while the kids make their movie, is all part of the backdrop when a derailed train changes everything about their small, quiet town. Something has escaped from the wreckage, but the government isn't talking. It's got all the ingredients of classic Spielberg.
Some people were overly critical of this film and you know what? They're lame. The expectations were probably too high (side note: Super 8 did have probably the coolest trailer of 2011). It's a feel-good movie done well on a large scale. Is it similar to E.T. at times? Yes. But there is enough here to make Super 8 it's own unique film. The kids making there own movie is a great touch, one that was probably taken directly from Abrams' own childhood. Fanning, like she did in last year's Somewhere stands out with another amazing performance. And the rest of the cast was solid, too. I really liked this film and I think if people could get past their cynicism and remember what it was like to really experience those Spielberg films of the 70s and 80s for the first time, they would love this film, too.
12. Hanna directed by Joe Wright
Perhaps the most overlooked film of 2011, Hanna is the story of a government experiment gone wrong. Hanna (Saoirse Ronan) is a 16-year-old assassin, trained by her father (Eric Bana) in the frozen wilderness for the entirety of her life. Once she is ready, she must face down government agent, Marissa (Cate Blanchett), who is eager to eliminate Hanna and her father, as they are evidence of a great misdeed she once commissioned. It's a thinking man's action flick, complete with a mesmerizing soundtrack from The Chemical Brothers.
With the glut of mindless action/shoot-'em-up crapfests inflicted upon audiences each year, it's refreshing to see films like Hanna, ones that are cleverly mapped out and executed. Ones that stand up to multiple viewings and deserve our thought and discussion. But there was also room for humor in this film, too. When Hanna happens upon a family of tourists during one of her escapes, she interacts with a girl her age for the first time. Her new friend, played hilariously by Jessica Barden, is unsure of what to make of her new peer. It's moments like these that separate Hanna from the rest of the pack.
11. The Help directed by Tate Taylor
Is there any doubt that Emma Stone is the biggest actress in the world? OK, maybe not the world, but she's certainly got this country locked down. Yeah, maybe there were some duds after Superbad, which seems like the first big hit she was in, but once she appeared in Zombieland, which was a huge, surprise winner at the box office, she's been golden. Last year, Stone scored big with Easy A, which earned her a Golden Globe nomination, as well as the distinction of being an actress who can open a movie in a big way. This year, the unexpected box office juggernaut of the year was undoubtedly The Help. Now to say that The Help's success is completely the work of Stone or to say that she gave the most memorable performance in the film is absurd. Viola Davis, Octavia Spencer, Jessica Chastain and Bryce Dallas Howard all give incredible performances, many of which have already been recognized with gold statues or will be soon. In fact, Spencer, Chastain and Davis were all nominated for Golden Globes for their work on this film (only Spencer won, although Davis was expected to - she'll probably grab the Oscar, actually).
But, it goes without saying, that Emma Stone is the straw that stirs the drink. She's America's sweetheart, the new Julia Roberts, perhaps. There were articles proclaiming that before Easy A or The Help! Maybe she just knows how to pick projects. Either way, The Help was a huge film and as Oscar nominations are announced, it will only get bigger.
The Help is not necessarily the most artistic film on this list. Beyond the obvious one, there's no statement being made here that needs to be deciphered. It's also not a film that will be remembered for breaking any new ground when it comes to filmmaking or storytelling. It's not an epic blockbuster type or a special effects bonanza. It's just a good movie. That's all. Sure, it has it's faults. Similarly to The Blind Side, it's another story about the white savior. It also oversimplifies a very complicated issue from a complex time. Some people would perhaps call the film condescending. Though these may be valid criticisms to an extent, they are kind of missing the point. Yes, The Help is an oversimplification of a time in American history. But that's what movies are, for the most part. Sometimes you need to be able to see the forest through the trees, or however that expression goes... The bigger picture may be a lesson we should already know, but it's one that is sometimes forgotten. Instead of focusing on the small things, sometimes you just need to be able to appreciate good storytelling and wonderful acting performances.
OK... So speaking of acting performances, I know I promised to list my favorites of the year in this post... Well, I don't feel like it. It took me too long to write out this chunk of the list. I think what I'm going to do is break up the final 10 into 2 more posts (as it seems I have more to say about these top movies) and include the performances in these last posts (males in one, females in the other, or something like that). Not that it matters because it's not like anyone is reading this...
Oh, saw another movie that didn't qualify, as it was not released in Pittsburgh during 2011, Carnage. Loved it, certainly would have made the top 20 had it been out here in time. Oh well, it's tough to be a movie critic when you don't live in LA or New York.
PART ONE
PART TWO
PART THREE
PART FOUR
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