Saturday, December 31, 2011
Thursday, December 29, 2011
Wednesday, December 28, 2011
Sunday, December 18, 2011
I would pick favorites in each of the categories but it's just so hard to choose. Best Actor was by far the strongest field; in some of the other categories I reached a little bit for HMs, etc. Blue and bold means that the perf is from a movie not released in the calendar year that I ended up seeing somehow else. Classifications for "leading" and "supporting" here are not exactly perfect: sometimes I based them on convenience, sometimes on the conventions of the awards bodies (like Berenice Bejo; I would have included her as Best Actress), etc.
George Clooney, The Descendants
Tom Cullen, Weekend
Jean Dujardin, The Artist
Michael Fassbender, Shame
Peyman Moaadi, A Separation
HM: Lior Ashkenazi, Footnote; Xavier Dolan, Heartbeats; Thomas Doret, The Kid With a Bike; Ewan McGregor, Beginners; Chris New, Weekend; Brad Pitt, The Tree of Life; Michael Shannon, Take Shelter; Andre Wilms, Le Havre
Sareh Bayat, A Separation
Olivia Colman, Tyrannosaur
Ariane Lebed, Attenberg
Adepero Oduye, Pariah
Ana Ularu, Outbound
HM: Kirsten Dunst, Melancholia; Leila Hatami, A Separation; Elizabeth Olsen, Martha Marcy May Marlene; Anna Paquin, Margaret
Best Supporting Actor:
Raul Castillo, Cold Weather
Shahab Hosseini, A Separation
Christopher Plummer, Beginners
John C. Reilly, Terri
HM: Shlomo Bar-Aba, Footnote; Rory Culkin, Margaret; Michael Fassbender, Jane Eyre; Vangelis Mourikis, Attenberg; Charles Parnell, Pariah; Mark Ruffalo, Margaret
Best Supporting Actress:
Nicole Beharie, Shame
Berenice Bejo, The Artist
Melanie Laurent, Beginners
Carey Mulligan, Shame
Shailene Woodley, The Descendants
HM: Charlotte Gainsbourg, Melancholia; Sarah Paulson, Martha Marcy May Marlene; J. Smith-Cameron, Margaret
Technical achievements maybe at a later date. (Edits have been made on this post, due to performances being brought to my attention again.)
Saturday, December 17, 2011
Films in blue will not receive a US release in 2011. Nonetheless, I saw them in 2011 and, as you can see, they are very much a part of the film landscape for this year. It's 18 because that's the number of As, A-s, and B+s I gave. I have not gotten around to seeing a number of films that may have made an impact on here, among them "The Girl With the Dragon Tattoo," "Tinker Tailor Soldier Spy," "Hugo," "The Adventures of Tintin," "Carnage," "The Arbor," and "Le Quattro Volte." From my reviews of them (if and when I do end up seeing them), you should be able to tell if and where they would have fit on this list.
A special mention goes to Rainer Werner Fassbinder's "World on a Wire," which blew me away during a Janus Films rerelease this year. And a huge omission based on release is Abbas Kiarostami's "Certified Copy," which I included at #8 on my Top Ten list last year and would place at #5 on the first list and #3 on the second. I didn't want to include it in multiple years as that wouldn't exactly be fair.
Dishonorable mentions to "We Need to Talk About Kevin," "Shut Up Little Man!" and "The Man Who Fell to Earth," my three least favorite films that I saw this year (the last in a re-release). "Tyrannosaur" (minus Olivia Colman) is down there too.
18. Pariah (Dee Rees)
Rees showcases her remarkable way around a scene, allowing able actors to give their best in a movie that only really falters when you pull back to survey the entire (uneven) picture. The cinematography is extremely evocative, perhaps even too much.
17. City of Life and Death (Lu Chuan)
Some sudsy subplots dilute the greatness here, but what works emotionally is magnificent and truly devastating. If Lu Chuan can harness the transcendent power given off in fits and starts by this movie and make a fuller film, the results will be breathtaking.
16. Pina (Wim Wenders)
If only Wenders had elected to make the film completely dance-based. The 3D is wonderful, and it helps create a beguiling, enjoyable experience unlike anything I’ve ever seen (even though there are apparently other movies about Bausch’s troupe).
15. Heartbeats (Xavier Dolan)
An exuberant, opulent film that moves adeptly between relaxed and quietly upsetting modes (knowing when to step on the narrative gas pedal and when to kick back and just let the images roll by). Dolan makes it quite entertaining, both by being in it and filling it with wowing design.
14. Cold Weather (Aaron Katz)
Katz takes humorous and incisive jabs at slackers with this well-made, slow-paced, strongly-acted piece. I hope to see Cris Lankenau and especially Raul Castillo again in later films; they rank high among my acting discoveries this year.
13. The Myth of the American Sleepover (David Robert Mitchell)
Enjoyable and with strong cinematic qualities, “Sleepover” disarms with its engaging characters and the smart screenwriting decisions of developing director Mitchell. I wouldn’t call it exactly indelible, but surely meaningful and diverting.
12. A Separation (Asghar Farhadi)
The most beloved foreign film this year, “A Separation” doesn’t quite live up to the colossal hype in my view. But it’s still very good, with four extremely affecting performances that should shake anyone and certain scenes (especially the ones with the judge) that heave with relentless, powerful emotion.
11. Weekend (Andrew Haigh)
Naturalism is tricky, but Tom Cullen ends up hitting all the right notes as the real lead in “Weekend” (as the film is essentially viewed from his POV). Chris New provides the ideal support, as do Haigh directing and Urszula Pontikos shooting, and the result is a terrific character study that looks at being gay in today’s world.
10. The Kid With a Bike (Jean-Pierre and Luc Dardenne)
The last scene is what lingers most to me, but “The Kid With a Bike” is absorbing from beginning to end, built on an exceptional performance from child actor Thomas Doret. The casting is exquisite and the storytelling is conventional but wonderfully spiraling a la “Bicycle Thieves.”
9. Attenberg (Athina Rachel Tsangari)
More watchable and less uncomfortable than fellow Greek New Waver “Dogtooth,” but just as observant and unsentimental. Ariane Labed puts on a disturbingly dedicated act in the lead. Friendships and father-daughter relationships have rarely been as weird, but both speak profoundly.
8. Footnote (Joseph Cedar)
I had extremely low expectations going into this film, which was a second choice at the time of the viewing, due to some bad buzz from critics I respect. Yet I haven’t stopped thinking about it since. Cedar’s gripping, transcendent, deeply moral movie about the nature of winning features an excellent performance from Lior Ashkenazi and a screenplay that should win more than just a prize at Cannes. I found the stakes to be very high (the relationship of a father and a son is hardly inconsequential), and the ending shot as haunting as anything I’ve seen this year.
7. Beginners (Mike Mills)
Attacked for being too cutesy, I found it to be sweet and loved it in all of its radiant, blissful, and tragic turns. Mills strikes a superb balance between these different modes. Ewan McGregor, Melanie Laurent, Mary Page Keller, and especially Christopher Plummer are an ensemble to be reckoned with, but they’re not the only ones: the supporting cast is startlingly good as well. I’m sad that I haven’t had time yet to see it again.
6. Into the Abyss (Werner Herzog)
What do you want from a Herzog documentary? You might not be totally satisfied with “Into the Abyss” if you’re looking for the usual Herzog personality, though there are some of his hallmarks. He’s reined in many of his quirks here to deliver some of the most potent moments of his career. Taking apart a Texas town, he closely examines a continuing history of felony that doesn’t look to be ending anytime soon. Not only is “Into the Abyss” wrenching with its intense personal scenes, it’s also an exceptional example of pristine nonfiction craft, beautifully assembled. It’s easily his best film in some time and a strong work of emotional, empathetic, precise journalism.
5. Shame (Steve McQueen)
One of my most anticipated films of the year when I saw it at Telluride, and for me and many other critics at that festival and Venice, it did not disappoint. However, once it hit Toronto (after buzz had started to build), things changed; many of the Twitter tastemakers who are now championing “Margaret” as a cinematic messiah bared their teeth. The film was turned very fast from a superb follow-up to an overhyped piece of Oscar-bait. Now the film isn’t really taken seriously anymore (see the Film Comment and New Yorker reviews, which, due to a quirk of release, both tackily compared it to Julia Leigh’s “Sleeping Beauty”), and I doubt McQueen’s future films will be seen in the same light.
Admittedly, I’m developing apologist tendencies for McQueen, but it must be said that the man is making unique, powerful, atmospheric, artistically sound works about intensely interesting subjects. Though “Shame” appears to be more domesticated due to its urban setting, it’s as alive as “Hunger” was, even as it follows a man falling deeper and deeper into himself. And even though certain parts are vague (which, as I see it, is intended), I doubt many filmmakers working today could make a film with the candor of “Shame,” with regards to both relationships (familial and otherwise) and sex. Oh yeah, and Michael Fassbender and Carey Mulligan and Nicole Beharie are all astonishing. I have some quibbles about a certain scene (cited by Ignatiy Vishnevetsky and Blake Williams as well) that has some weird connotations, but otherwise, this really isn’t a movie to just toss out. Just like McQueen isn’t a director to just forget about.
4. The Turin Horse (Bela Tarr)
Black and white movies to me provide many of the most memorable and often times excruciating film experiences. “The Turin Horse,” perhaps Tarr’s final film, may eventually come to be seen as the king of the relentlessly colorless. Due to brilliant means of evocation (wonderful sound design, dulling cinematography), the uncompromising director gets his point across and does so while leaving many behind. Definitely not recommended as entertainment (as it serves a similar purpose to “Jeanne Dielman,” a title wisely invoked by Mike D’Angelo that used many of the devices “Turin” does), but as a valuable film that invades viewers and throws them into the windblown environment of its characters.
3. Outbound (Bogdan George Apetri)
It’s hard to understand the lack of distributors chomping at the bit for this formal masterwork. Attention must be allotted to it. Working from an albeit formulaic idea (there were at least a couple of other movies using the same race-against-time device at New Directors/New Films, where I saw it), Apetri employs his incredible craft and tension-building skills to create the year’s strongest, most despairing thriller. I hope this isn’t the last from this amazingly talented director, though his future efforts have much to surpass.
2. Nostalgia for the Light (Patricio Guzman)
Guzman’s extraordinary, revelatory exploration of the human and solar galaxies deserves inclusion in the short list of significant documentaries (like “Waltz With Bashir”) to sit alongside “Shoah” in the canon of remembrance cinema. Among patrons of the independent, this got some attention, but, due to a number of factors (including time of release), it received nowhere near the reverence that it truly commands.
1. The Tree of Life (Terrence Malick)
I don’t think it’s perfect. I can understand some of the arguments against it. But I couldn’t possibly ignore “The Tree of Life”’s unprecedented achievement and the overwhelming feelings of wonder it inspired in me. The bar was set so, so high, and, even if he didn’t satisfy everyone, Malick surely delivered, in that he created a work of historic technical virtuosity and ambition. A film that could have died out as a little project called “Q” but instead came bursting to the best sort of life possible.
A more proper (w/r/t US release dates) Top ten list might look like:
1. The Tree of Life (Terrence Malick)
2. Nostalgia for the Light (Patricio Guzman)
[Certified Copy (Abbas Kiarostami)]
3. Shame (Steve McQueen)
4. Into the Abyss (Werner Herzog)
5. Beginners (Mike Mills)
6. Weekend (Andrew Haigh)
7. A Separation (Asghar Farhadi)
8. The Myth of the American Sleepover (David Robert Mitchell)
9. Cold Weather (Aaron Katz)
10. Heartbeats (Xavier Dolan)
Best performances of the year coming at later date.
Monday, December 5, 2011
Saturday, December 3, 2011
Sunday, November 20, 2011
Saturday, November 19, 2011
Friday, November 11, 2011
Sunday, November 6, 2011
Thursday, November 3, 2011
Monday, October 31, 2011
Tuesday, October 25, 2011
Saturday, October 22, 2011
Saturday, October 15, 2011
Thursday, October 13, 2011
Sunday, October 2, 2011
Sunday, September 25, 2011
Saturday, September 24, 2011
Friday, September 16, 2011
Tuesday, September 6, 2011
Telluride 38 is over, and although it was somewhat exhausting, I am sad to see it go. On the final day at the festival, I tried to get into Asghar Farhadi’s much-loved and Berlin-winning “A Separation,” but, for the first time, I was shut out due to a massive turnout at a small venue. Thus, wanting to see at least one more film while I was in Colorado, I made my way over to see Joseph Cedar’s “Footnote.” I had wanted to watch it, due to a recommendation or two and its Best Screenplay prize at Cannes, but I didn’t have the highest expectations. I had read some negative coverage earlier in the year and figured that it might be below average.
Instead, powered by Cedar’s rightfully awarded script (in Hebrew), “Footnote” is sharp and haunting, a propulsive film that ruminates on the cost of a great legacy. It centers on the awarding of the Israel Prize, given for excellence in research of the Talmud, as the thorough Eliezer Scholnik (Shlomo Bar-Aba) realizes his career dream by winning it. The problem is, his much more well-known son Uriel (Lior Ashkenazi) was actually supposed to have been given the honors. The announcement has already been made in the paper, though, so Uriel feels as if Eliezer would be devastated if he found out that he had lost and that Uriel (whom he resents) was the real recipient. But the judges, especially the chief (Micah Lewensohn), who has ties to Eliezer’s past, feel as if the prize would be trivialized if given to someone who wasn’t voted the winner. Thus, a shattering choice is created that will birth horrible consequences no matter the way taken.
It doesn’t help that Eliezer is an insufferable narcissist who has a reputation for covering all the bases but no major works to show it. His winning the award seems as times to make no sense even to him, but it would boost opinions of his career and thus he really wants it. Uriel consciously made sure never to nominate himself for the prize any of the many years that Eliezer has been trying to win it, but he receives a nod by one of the judges and finds himself in a decidedly unenviable position: both wanting prestige and happiness for his father. Meanwhile, his own son isn’t satisfying Uriel’s grand plans for his future and another strain comes as a result.
The film is exceptionally written, full of strong scenes, the most prominent one coming when Uriel is informed of the situation by the judges in an extremely small room. The characters always sound like real people and what they say is all the more piercing for it. Ashkenazi’s terrific performance as Uriel definitely helps the film as well, as he nails the part’s mix of conviction and uncertainty. The film’s use of close-ups also adds a layer of anxiety to the already tense mood.
I think “Footnote” is a couple steps below a masterpiece due to its suitably traditional but enervating and too forceful score (Cedar lacks the confidence in other places that he displays in his writing) and at times not living up to the clarity and thematic prowess of its centerpiece discussion. I also can see some (possible) echoes of the work of Zadie Smith in the film’s structure and the characters’ traits. But these flaws can be forgotten once you get pondering Cedar’s perceptiveness. B+
That's it for me. It was a great festival, and I hope to return next year.