In the wake of this week’s utterly unsurprising Oscars, I thought it might be interesting to post my ten best pictures of the year, to be followed next week with a critical piece on the one I consider to be the “winner”.
So, here are the nominees…in no particular order.
Winter’s Bone (Debra Granik)
This thriller set in the bowels of rural Missouri has been lauded time and again for its skillful sense of setting and its perfect tonality. But what I find most impressive is its understated take on the detective genre. Ree Dolly (Jennifer Lawrence) is like a redneck Philip Marlowe, getting to the bottom of things by getting in over her head. The difference here is the very real sense of responsibility which drives her investigation and pays off with a stark and emotionally chilling climax.
Another Year (Mike Leigh)
Another brilliant character study from this veteran auteur. Mike Leigh deftly draws a dividing line between those who are in tune with life, and those who aren’t and forces them to cohabitate. Perfectly performed and subtly crafted, Another Year is the work of a true master on top of his game.
Scott Pilgrim vs. The World (Edgar Wright)
The most fun I had at the movies all year, SPVTW is quick witted, kinetic, and surprisingly mature for a youth romance/comic book action extravaganza. Wright offers us a visual feast with a self-reflexive flare that provides all of the elements of pleasure prevalent in pop cinema while simultaneously subverting them. That clever contradiction must have befuddled the marketing department at Universal because they completely dropped the ball. Nobody saw this thing in theaters. It’s a shame too. In a perfect world, Scott Pilgrim would’ve been the hit of the summer.
Blue Valentine (Derek Cianfrance)
Blue Valentine is an obvious labor of love. It’s a film so intricately crafted, with performances realized to such authenticity that you feel more like you’ve experienced it than watched it. This is about as raw and unapologetic as a movie can get.
Dogtooth (Giorgos Lanthimos)
Nominated for Best Foreign Language Film at the Academy Awards, Kynodontas (as it’s called in its native Greece) is twisted, perverse, jarringly violent, and hilarious in the darkest possible way. This one is not for the faint of heart. It is truly shocking, both in its uncompromising content and its deeply subversive subtext. It also has one of the most amazing dance numbers ever put to film. Available on Netflix Instant.
Animal Kingdom (David Michod)
This crime thriller out of Australia is one of the most tense and well acted movies I’ve seen in years. There’s no showy, “Oscar worthy” acting in this one. The subtle performances and pitch perfect pacing create a tense, authentic atmosphere that kept me nervous throughout.
The Social Network (David Fincher)
Of the ten films nominated for best picture at this year’s Oscars, this one would have been my winner. It’s smart as hell and expertly crafted in every way. Fincher has proven once again that he is a master of visual story craft and Sorkin has shown that he is more than just a great TV writer. His feature writing simply required the right director.
True Grit (Joel and Ethan Coen)
I’ve written enough on this one already. If you haven’t read my previous entry on True Grit, scroll down and you'll see it.
Mother (Joon Ho-Bong)
This Korean import could have been a run-of-the-mill detective thriller but the odd, endearing performances and dark and twisting screenplay make this one of my favorites of the last year.
Valhalla Rising (Nicolas Winding Refn)
This one wins the pure cinema award for 2010. It’s ballsy, spare, and pleasing to the eye. Valhalla Rising reminds us that a movie doesn’t have to be a complex intellectual affair. Sometimes a lot can be said by saying nothing at all.
So, there they are. Tune in next week to see which one gets the write-up.
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