2011 was a fantastic year for cinema. On par with 1999, 2001 and 2007. There were numerous films which I will be revisiting many times. This wasn't just a good year, it was a great year. I couldn't pick just 10 this year. There were 20 films that I absolutely loved. Again, I will not be listing the "best" films of the year. I would be listing my "favorites". There is a difference and I like to keep that in mind every year I make these lists. I'm not telling you what you should like, I'm telling you what I liked.
TOP 20 FILMS OF 2011:
1. The Tree of Life & Hugo (tie)
2. The Adventures of Tintin
3. Midnight in Paris
4. The Girl with the Dragon Tattoo
5. Drive
6. The Descendants
7. The Artist
8. We Need To Talk About Kevin
9. Extremely Loud and Incredibly Close
10. The Kid with a Bike & Le Havre (tie)
11. Take Shelter
12. A Dangerous Method
13. Shame
14. Super 8
15. War Horse
16. Rise of the Planet of the Apes
17. Source Code
18. A Separation
19. Tinker Tailor Soldier Spy
20. Young Adult
RUNNERS-UP
50/50
A Better Life
Anonymous
Another Earth
Attack the Block
Beginners
Bridesmaids
A Cat in Paris
Contagion
The Deep Blue Sea
The Guard
Harry Potter and the Deathly Hallows Part 2
The Help
Higher Ground
Horrible Bosses
J. Edgar
Jane Eyre
Kung Fu Panda 2
Like Crazy
Margin Call
Moneyball
The Muppets
Rango
Red State
Sherlock Holmes: A Game of Shadows
Submarine
Terri
Tyrannosaur
We Bought A Zoo
Wuthering Heights
X-Men: First Class
DOCUMENTARIES:
1. George Harrison: Living in the Material World
2. Into The Abyss
3. Senna
4. Cave of Forgotten Dreams
5. Project Nim
2011 was also a year which could easily be identified as a filmmaking year wherein the themes running were recognizably common in many movies. I could outline the year in various categories. But the main theme that ran across many many films was CATHARSIS. The end of bad times. If you look at it broadly, most movies had the characters going through tough times. In the end, they saw better futures. A long-looming problem reached it's peak. There was nostalgia. There were throwbacks. There were characters who were clinging on to their past. But they learned to let go. Cleared their debts and moved on. Some even learned to see how it wasn't that bad at all. There was Midnight in Paris. The Artist. Super 8. Hugo. Extremely Loud and Incredibly Close. Moneyball. The Descendants. War Horse. Bridesmaids. Drive. The Girl with the Dragon Tattoo. Shame. The Help, and The Tree of Life. (Now you see why the Academy nominated the films they did? That's my guess at least)
Why are these films so glaringly about such themes? Yes, movies like these come every year but this year was uniquely significant. Since, these are the things that define the zeitgeist, the times we live. The strain the world is collectively going through. I don't just mean spiritually. I also mean financially, emotionally. A financial depression and period of failures, both emotional and aspirational. All these films were about going through hell, hitting rock bottom and then getting back up again. I love the movies just for this. I may sound sentimental but what is there in the world if it there isn't some hope? Be it Rise of the Planet of the Apes or Harry Potter and the Deathly Hallows Part 2. Justice was announced. Now for some other prevalent themes that I could point out in the films of 2011:
Yes, movies. The motion-pictures. If this year will go down in film history it will go down as the year of the cinema. There were films that weren't just about filmmaking as such but featured people who work in the movies like Drive and Midnight in Paris. Drive was more of a throwback to films of the 80s, more about love in the time of violence and Midnight in Paris about nostalgia (which is also a category below). There were films like The Artist and My Week with Marilyn. About actors. Fictional and real. The one about fictional actors is one of those films that charm you and don't let go of you. The other even though not a bad film at all, had Michelle Williams who I think is the opposite of charming. Thank you for ruining Marilyn Monroe for me. (Please come to the rescue Naomi). But the film worked for me as a tale about a young wannabe-filmmaker who falls for an actress and learns a thing or two about women. This boyish passion of making movies was also captured by J.J. Abrams in the supremely wonderful - Super 8. As an ode to Spielberg, who himself made films on super 8 film in his adolescence, the film is glorious. For some people Attack the Block worked better but I will take Super 8 over Attack the Block. The sentimentalism works for me. (Also that score by Michael Giacchino) This childlike wonder and love for the movies was amplified in Scorsese's attempt at making a Spielberg film.
My favorite of the year (a tie) is a film about the love of films. Hugo is an absolute masterpiece. Scorsese has made a film that does not resemble any of his previous films in story, tone or style. But it is probably the film which is actually borne out of ALL his films. It is truly a celebration of movies. Other movies more than his own. The fact that Scorsese made this is surprising and not-surprising-at-all at the same time. It is the best use of 3D I have ever seen. Robert Richardson's cinematography is bedazzling. I was awestruck not just by the wonderful crane shots but also a shot of Sacha Baron Cohen's face peering out of the screen, slowly. This is when he is talking about a particular "visage". If you want proof of how 3D should be used. This is it. The sets and the costumes are spectacular. Ben Kingsely's wonderful and profound portrayal of Georges Melies. The score by Howard Shore is also my favorite of the year. I couldn't point out a single thing I didn't love about this film. I was in love. True love. No other film touched me like this one did last year. I literally sobbed for one hour, 3D glasses fogged up occasionally. I only feel gratitude and humility when I watch a film like Hugo. Thank you Mr. Scorsese, for making us all a part of the wonderful art of cinema.
For me, 2011 was a year for three things. Looking back, cutting off ties that bind you and freeing yourself. It was about faith and love. In other words, it was about the birth of my spiritual self. But I will not get into that as I don't want my logical reader to shrug and lose track of what this post is about - the best films of the year. Cinema this year was understandably concerned about our existence on this planet. The Mayans started it all. Everyone at the back of their heads is wondering whether the world will really end this time or not. But apart from that there were two films that were deeply spiritual. Two films that were the best on this subject were The Tree of Life and George Harrison: Living in the Material World. Tree of Life, also my favorite film of the year, is not an easy film to watch. The first time I saw it, I couldn't decipher most of what was happening. The second time I got it. After watching it a third time, I can give you running commentary on the film, explaining each scene, each shot. The concepts Terrence Malick is exploring. George Harrison: Living in the Material World is about my idol. George Harrison. I was so glad his spiritual side was explored in the film. Obviously someone as spiritual as Martin Scorsese was needed to bring his story to the foreground. He used to be my favorite Beatle, now he is much more. That's what a good documentary does.
There were two films about the end of the world. Or actually three. One was a shoddy piece of ignorant trite about the end of the world, called Melancholia. The other film was quite powerful, and it was called Take Shelter. Take Shelter is more about empathy and psychosis than it is about predicting the end of the world or taking pleasure in it. I detested Melancholia and loved it at the same time. It is Lars von Trier's epic. If you see it as a grand metaphor for depression, Melancholia works wonderfully. It is cathartic. But there was another film about depression that worked better for me - Bridesmaids. All in all, Kirsten Dunst's character only really needed to be poked by Melissa McCarthy. As a film about the apocalypse, Melancholia fails. Fails miserably. As you can see I'm not a very big fan of nihilism. I'm all for emotional manipulation but not cerebral manipulation.
One more film about the end of the world, but not really by a natural disaster, that worked for me was Contagion. A film about a new planet in the sky that was a compelling watch was Another Earth. But then there was Source Code which I know I will be watching many times in the future, also contains the parallel universe theme from Another Earth. Since I'm taking about spirituality let me make it clear I'm not talking about religion. The three films that explored religion this year, especially the Christian faith were - Higher Ground, Red State and Tyrannosaur. Tyrannosaur also happens to be one of the most powerful films of the year, like a punch in the gut. I wouldn't recommend Red State to anyone. But it was greatly overlooked for the wrong reasons.
Midnight in Paris. This film is the best depiction of nostalgia ever on screen. Ever. It is joyful, it is funny, it is everything I love about Woody Allen. It is also a beautiful ode to the city of Paris. Another filmmaker who was feeling all nostalgic this year was Mr. Steven Spielberg. War Horse is obviously a tribute to the cinema of John Ford and David Lean. The orange-colored sky. The English vistas. It is not just beautiful to look at, it also evokes the feelings that these two masters of the "cinematic epic" were known for. In The Adventures of Tintin, it was more of Spielberg being nostalgic about his own love of Tintin. You can see it in every frame. It is a lovingly made film that sadly America failed to embrace. Too bad. It is still a tremendous achievement and contains some of his best technical skill at work. The Help looked back at times which were tough. It looked back at the times when they were a-changing. It was made in the tradition of The Color Purple, a wonderful and poignant film made by Spielberg but not necessarily an ode to the man. Super 8, on the other hand, was an ode to Spielberg. But this was the commercial Spileberg, the one I like more. The Spielberg that believes in aliens and who single-handedly made science fiction a commercial genre (actually it was Star Wars). The Artist and Hugo are also drenched in nostalgia. One is a better film about silent films and the other is a silent film. Both absolutely lovely. The Descendants was about honoring your past. Thank god, this film did not cut to a flashback. Moneyball, Extremely Loud and Incredibly Close were films about more recent times. But they were also about looking back. Not necessarily good times.
There were many films about children. Isolated children. Those who have to grow up sooner than they want to. Attack the Block, Super 8 and Hugo are already named above. Even The Tree of Life named above has aplot segment concerning a father and son relationship. There were fathers and sons in The Kid with a Bike, Extremely Loud and Incredibly Close and A Better Life. Super 8 and Hugo were also about fathers and sons. Hugo and Extremely Loud and Incredibly Close even had a strand of plot exactly similar, that of the son looking for the message his father has left for him.
I loved Extremely Loud and Incredibly Close. Major props to Stephen Daldry for not casting a kid who is cute. His behavior gets on your nerves. He is rude and there's not much to like about him. Yet, this film managed to make me sob for half an hour. It made me connect with a character who doesn't want to connect with people. I was connecting with him as he learned to connect. Asperger's syndrome has rarely been so realistically and poignantly portrayed. This film also cleverly and rightfully doesn't try to give the audience any direct confrontation with the tragedy of 9/11. Why should it? Why must a film heal the wounds of a global tragedy? But what it does is, it tells a story of a boy who is dealing with the loss of his father. That story is sublimely told. Yes it is sentimental, but I'd rather cry and move on than be stuck and self-absorbed.
There were teenage daughters and fathers too. Most notably in The Descendants and Moneyball. Submarine and Terri were about the problems that teenagers deal with. Submarine is more of a funn, quirky tale about young love. Terri on the other hand was about a fat kid who wears pajamas to school. Terri is absolutely delightful and I would urge everyone to watch it just because it doesn't follow conventions of story. But there are many more reasons why this film is a little gem. Trust was about a teenage girl who messes up big time. Doncha know, you don't talk to strangers online, young lady?
The Adventures of Tintin and Harry Potter and the Deathly Hallows Part 2 were about two brave and too-old-for-their-age adolescents. War Horse also had a bunch of teenagers. All in love with a horse.
But the one teenager that stood out for me was Kevin. And yes now, We Need To Talk About Kevin. We must. This is best horror film of the year except it has absolutely nothing similar to any of the techniques used in any horror film before. It is not even scary. But when human beings are scarier than any ghost, ghoul or monster, that's when you have achieved something. We Need To Talk About Kevin also challenges the way stories are told, it is bold and inventive.
Sons and mothers were never so wonderfully explored since Hitchcock did with Psycho. Hitchcock also made another masterpiece which contains a creepy mother and son relationship. This year the film that reminded me of that was J. Edgar. Edgar doesn't become a villain but he does, Clint Eastwood style.
A Dangerous Method is the most under-appreciated film of the year. Cronenberg has always made films about the body. He then started discovering the mind and sexuality. His films in this decade have focused on something more. This is a film where he carefully sidelines the concept of love. Love is not a concept like body and mind. It cannot be seen. It has no analyses. Yet it is Cronenberg's only film about love.
Shame, on the other hand, is the movie that people wanted A Dangerous Method to be. It explores sexuality in a more physical manner. Also a work or art and also starring Michael Fassbender, this film is also the same as A Dangerous Method. These people are incapable of feeling love. They want to. They try really hard. But they don't know how to. This is as timeless as it can get. The 20th century and the 21st century have similar barriers after all.
I did not like The Skin I Live In. And I call myself a fan of Pedro Almodovar. But I couldn't like this film. It just didn't do anything to me. It only grossed me out. The film that was bold and made me think about sexuality and how judgmental people can be when it comes to this taboo topic was The Girl with the Dragon Tattoo.
The Girl with the Dragon Tattoo was also about violence. That inherent nature in man that drives them to the path of violence. There were two more films that showed this - Drive and Tyrannosaur. It was only We Need To Talk About Kevin, that showed not just the inherent nature of violence but also violence at it's most diabolical. But the one film that scared me as much as We Need To Talk About Kevin did or probably more, was Into the Abyss. Into the Abyss is a documentary that never shows the violence we see in The Girl with the Dragon Tattoo, Drive, Tyrannosaur and We Need to Talk About Kevin but it managed to disturb me like no film ever did before. Many films have dealt with the concept of violence before but Into the Abyss stares right at it. It is a gaze that is haunting and incredibly unnerving. Not one violent act being committed is looked at but everything around them is explored. Herzog makes films about crazy people who dream wild and big. This time he makes a film about equally crazy people, but these people were mad enough to have nightmares. For the people around them and themselves.
The Girl with the Dragon Tattoo is the best crime investigation film in many a years. This and The Secret in Their Eyes, take the most "done before" plots and convert them into films that feel so fresh. Full marks to David Fincher who is a wonderful craftsman. He only adds to the book even while subtracting some sub-plots. The score by Trent Reznor and Atticus Ross also is a plus. Should I even mention that brilliant credit sequence? We rarely get to see an opening credit sequence like this one these days.
Tinker Tailor Soldier Spy is more of an old-fashioned investigation story. The first time I saw it, I missed a lot of details. Because it doesn't spoon-feed you. It wants you to be alert. Sometimes, you aren't that alert. Not because you are sleepy but because the film isn't made like usual films. The non-linear structure does not give you the usual visual hints that it is jumping back and forth. But the second watch was so rewarding that I could see the intricacies and the skill behind this film. Alberto Iglesias' beautiful score takes you to the films of 1950s.
J. Edgar is not really about an investigation. It is about the man who revolutionized criminal investigations. "The most powerful man in the world" This film also explore what a man portrays himself to be than we he really is. I quote John Ford: "When legend becomes fact, print the legend". This film is about the kind of people who wanted legends to be printed. Not the facts.
Some more categories:
FRANCHISES
The best franchise films were: Rise of the Planet of the Apes, X-Men: First Class, Harry Potter and the Deathly Hallows, Sherlock Holmes: A Game of Shadows and Kung Fu Panda 2.
COMEDY
The best comedies were: Bridesmaids, Horrible Bosses, The Muppets and The Guard. The films that weren't strictly comedies but ended up being more: Midnight in Paris, 50/50 and Young Adult.
ROMANCE
Th best romantic films were: Wuthering Heights, Jane Eyre, Like Crazy, Beginners, The Deep Blue Sea and Weekend.
DOCUMENTARIES
The best documentaries were: George Harrison: Living in the Material World, Into the Abyss and Senna. Others that I found intriguing were Cave of Forgotten Dreams, Project Nim and Pina.
ANIMATION
The animation films that stood out for me were: The Adventures of Tintin, Rango, A Cat in Paris, Kung Fu Panda 2, Arthur Christmas, Cars 2, Chico and Rita and Winnie the Pooh.
There were also many films year that worked on the tear-ducts. I love a good cry in movies. In order: Hugo (bawled for an hour), Extremely Loud and Incredibly Close (the last half hour is non-stop waterworks), The Help (Viola Davis, you hurt me), The Descendants (Goodbye my love, goodbye my pain), War Horse (the whistle), 50/50 (Angelica Huston), Super 8 (Letting go), We Bought A Zoo (Look at your mom, kids) and Warrior (the final scene).
The rest of the my favorite things from last year are listed below.
DIRECTORS:
The Old-schoolers:
1. Terrence Malick - The Tree of Life
2. Martin Scorsese - Hugo
3. Steven Spielberg - The Adventures of Tintin
4. Woody Allen - Midnight in Paris
5. David Cronenberg - A Dangerous Method
The soon-to-be old-schoolers:
1. David Fincher - The Girl with the Dragon Tattoo
2. Alexander Payne - The Descendants
3. Jean-Pierre and Luc Dardenne - The Kid with a Bike
4. Stephen Daldry - Extremely Loud and Incredibly Close
5. Aki Kaurismaki - Le Havre
New talent:
1. Nicolas Winding-Refn - Drive
2. Michel Hazanavicius - The Artist
3. Lynne Ramsay - We Need To Talk About Kevin
4. Jeff Nichols - Take Shelter
5. Steve McQueen - Shame
PERFORMANCES
Actors -
1. Ryan Gosling in Drive
2. Leonardo DiCaprio in J.Edgar
3. Ben Kingsley in Hugo
4. Brad Pitt in The Tree of Life
5. Michael Shannon in Take Shelter
6. Gary Oldman in Tinker Tailor Soldier Spy
7. Michael Fassbender in Shame
8. Andy Serkis in Rise of the Planet of the Apes
9. Jean Dujardin in The Artist
10. Demian Bichir in A Better Life
11. Max von Sydow in Extremely Loud and Incredible Close
12. George Clooney in The Descendants
13. Alan Rickman in Harry Potter and the Deathly Hallows Part 2
14. Viggo Mortensen in A Dangerous Method
15. Patton Oswalt in Young Adult
Actresses
1. Rooney Mara in The Girl with the Dragon Tattoo
2. Tilda Swinton in We Need To Talk About Kevin
3. Viola Davis in The Help
4. Glenn Close in Albert Nobbs
5. Olivia Colman in Tyrannosaur
6. Meryl Streep in The Iron Lady
7. Charlize Theron in Young Adult
8. Jessica Chastain in The Tree of Life
9. Octavia Spenser in The Help
10. Keira Knightley in A Dangerous Method
11. Kristen Wiig - Bridesmaids
12. Vera Farmiga - Higher Ground
13. Carey Mulligan in Shame
14. Melissa McCarthy in Bridesmaids
15. Sandra Bullock in Extremely Loud and Incredibly Close
Young Performers
1. Ezra Miller in We Need To Talk About Kevin
2. Thomas Doret in The Kid with a Bike
3. Thomas Horn in Extremely Loud and Incredibly Close
4. Hunter McCracken in The Tree of Life
5. Asa Butterfield in Hugo
6. Elle Fanning in Super 8
7. Joel Courtney in Super 8
8. John Boyega in Attack the Block
9. Jacob Wysocki in Terri
10. Craig Roberts in Submarine
11. Sairose Ronan in Hanna
12. Liana Liberato - Trust
SCREENPLAYS
Original:
1. A Separation
2. Midnight in Paris
3. The Tree of Life
4. Margin Call
5. The Kid with a Bike
7. Take Shelter
8. Shame
9. Beginners
10. Bridesmaids
Adapted:
1. We Need To Talk About Kevin
2. The Descendants
3. Hugo
4. Tinker Tailor Soldier Spy
5. The Girl with the Dragon Tattoo
6. The Adventures of Tintin
7. Moneyball
8. A Dangerous Method
9. Drive
10. Extremely Loud and Incredibly Close
MUSIC
Original Scores:
1. Hugo - Howard Shore
2. War Horse - John Williams
3. The Girl with the Dragon Tattoo - Trent Reznor and Atticus Ross
4. Extremely Loud and Incredibly Close - Alexandre Desplat
5. The Adventures of Tintin - John Williams
6. The Artist - Ludovic Bource
7. Super 8 - Michael Giacchino
8. Tinker Tailor Soldier Spy - Alberto Iglesias
9. Drive - Cliff Martinez
10. X-Men First Class - Henry Jackman
Special Citation: Contagion, A Dangerous Method, Hanna, Jane Eyre, Rise of the Planet of the Apes and Rango.
Another citation for Alexandre Desplat's beautiful score of The Tree of Life which was barely used in the film.
Music primarily borrowed from other sources:
1. The Tree of Life
2. Midnight in Paris
3. Shame
4. The Descendants
5. Melancholia
TOP 20 FILMS OF 2011:
1. The Tree of Life & Hugo (tie)
2. The Adventures of Tintin
3. Midnight in Paris
4. The Girl with the Dragon Tattoo
5. Drive
6. The Descendants
7. The Artist
8. We Need To Talk About Kevin
9. Extremely Loud and Incredibly Close
10. The Kid with a Bike & Le Havre (tie)
11. Take Shelter
12. A Dangerous Method
13. Shame
14. Super 8
15. War Horse
16. Rise of the Planet of the Apes
17. Source Code
18. A Separation
19. Tinker Tailor Soldier Spy
20. Young Adult
RUNNERS-UP
50/50
A Better Life
Anonymous
Another Earth
Attack the Block
Beginners
Bridesmaids
A Cat in Paris
Contagion
The Deep Blue Sea
The Guard
Harry Potter and the Deathly Hallows Part 2
The Help
Higher Ground
Horrible Bosses
J. Edgar
Jane Eyre
Kung Fu Panda 2
Like Crazy
Margin Call
Moneyball
The Muppets
Rango
Red State
Sherlock Holmes: A Game of Shadows
Submarine
Terri
Tyrannosaur
We Bought A Zoo
Wuthering Heights
X-Men: First Class
DOCUMENTARIES:
1. George Harrison: Living in the Material World
2. Into The Abyss
3. Senna
4. Cave of Forgotten Dreams
5. Project Nim
2011 was also a year which could easily be identified as a filmmaking year wherein the themes running were recognizably common in many movies. I could outline the year in various categories. But the main theme that ran across many many films was CATHARSIS. The end of bad times. If you look at it broadly, most movies had the characters going through tough times. In the end, they saw better futures. A long-looming problem reached it's peak. There was nostalgia. There were throwbacks. There were characters who were clinging on to their past. But they learned to let go. Cleared their debts and moved on. Some even learned to see how it wasn't that bad at all. There was Midnight in Paris. The Artist. Super 8. Hugo. Extremely Loud and Incredibly Close. Moneyball. The Descendants. War Horse. Bridesmaids. Drive. The Girl with the Dragon Tattoo. Shame. The Help, and The Tree of Life. (Now you see why the Academy nominated the films they did? That's my guess at least)
Why are these films so glaringly about such themes? Yes, movies like these come every year but this year was uniquely significant. Since, these are the things that define the zeitgeist, the times we live. The strain the world is collectively going through. I don't just mean spiritually. I also mean financially, emotionally. A financial depression and period of failures, both emotional and aspirational. All these films were about going through hell, hitting rock bottom and then getting back up again. I love the movies just for this. I may sound sentimental but what is there in the world if it there isn't some hope? Be it Rise of the Planet of the Apes or Harry Potter and the Deathly Hallows Part 2. Justice was announced. Now for some other prevalent themes that I could point out in the films of 2011:
CINEMA
Yes, movies. The motion-pictures. If this year will go down in film history it will go down as the year of the cinema. There were films that weren't just about filmmaking as such but featured people who work in the movies like Drive and Midnight in Paris. Drive was more of a throwback to films of the 80s, more about love in the time of violence and Midnight in Paris about nostalgia (which is also a category below). There were films like The Artist and My Week with Marilyn. About actors. Fictional and real. The one about fictional actors is one of those films that charm you and don't let go of you. The other even though not a bad film at all, had Michelle Williams who I think is the opposite of charming. Thank you for ruining Marilyn Monroe for me. (Please come to the rescue Naomi). But the film worked for me as a tale about a young wannabe-filmmaker who falls for an actress and learns a thing or two about women. This boyish passion of making movies was also captured by J.J. Abrams in the supremely wonderful - Super 8. As an ode to Spielberg, who himself made films on super 8 film in his adolescence, the film is glorious. For some people Attack the Block worked better but I will take Super 8 over Attack the Block. The sentimentalism works for me. (Also that score by Michael Giacchino) This childlike wonder and love for the movies was amplified in Scorsese's attempt at making a Spielberg film.
My favorite of the year (a tie) is a film about the love of films. Hugo is an absolute masterpiece. Scorsese has made a film that does not resemble any of his previous films in story, tone or style. But it is probably the film which is actually borne out of ALL his films. It is truly a celebration of movies. Other movies more than his own. The fact that Scorsese made this is surprising and not-surprising-at-all at the same time. It is the best use of 3D I have ever seen. Robert Richardson's cinematography is bedazzling. I was awestruck not just by the wonderful crane shots but also a shot of Sacha Baron Cohen's face peering out of the screen, slowly. This is when he is talking about a particular "visage". If you want proof of how 3D should be used. This is it. The sets and the costumes are spectacular. Ben Kingsely's wonderful and profound portrayal of Georges Melies. The score by Howard Shore is also my favorite of the year. I couldn't point out a single thing I didn't love about this film. I was in love. True love. No other film touched me like this one did last year. I literally sobbed for one hour, 3D glasses fogged up occasionally. I only feel gratitude and humility when I watch a film like Hugo. Thank you Mr. Scorsese, for making us all a part of the wonderful art of cinema.
SPIRITUALITY
For me, 2011 was a year for three things. Looking back, cutting off ties that bind you and freeing yourself. It was about faith and love. In other words, it was about the birth of my spiritual self. But I will not get into that as I don't want my logical reader to shrug and lose track of what this post is about - the best films of the year. Cinema this year was understandably concerned about our existence on this planet. The Mayans started it all. Everyone at the back of their heads is wondering whether the world will really end this time or not. But apart from that there were two films that were deeply spiritual. Two films that were the best on this subject were The Tree of Life and George Harrison: Living in the Material World. Tree of Life, also my favorite film of the year, is not an easy film to watch. The first time I saw it, I couldn't decipher most of what was happening. The second time I got it. After watching it a third time, I can give you running commentary on the film, explaining each scene, each shot. The concepts Terrence Malick is exploring. George Harrison: Living in the Material World is about my idol. George Harrison. I was so glad his spiritual side was explored in the film. Obviously someone as spiritual as Martin Scorsese was needed to bring his story to the foreground. He used to be my favorite Beatle, now he is much more. That's what a good documentary does.
There were two films about the end of the world. Or actually three. One was a shoddy piece of ignorant trite about the end of the world, called Melancholia. The other film was quite powerful, and it was called Take Shelter. Take Shelter is more about empathy and psychosis than it is about predicting the end of the world or taking pleasure in it. I detested Melancholia and loved it at the same time. It is Lars von Trier's epic. If you see it as a grand metaphor for depression, Melancholia works wonderfully. It is cathartic. But there was another film about depression that worked better for me - Bridesmaids. All in all, Kirsten Dunst's character only really needed to be poked by Melissa McCarthy. As a film about the apocalypse, Melancholia fails. Fails miserably. As you can see I'm not a very big fan of nihilism. I'm all for emotional manipulation but not cerebral manipulation.
One more film about the end of the world, but not really by a natural disaster, that worked for me was Contagion. A film about a new planet in the sky that was a compelling watch was Another Earth. But then there was Source Code which I know I will be watching many times in the future, also contains the parallel universe theme from Another Earth. Since I'm taking about spirituality let me make it clear I'm not talking about religion. The three films that explored religion this year, especially the Christian faith were - Higher Ground, Red State and Tyrannosaur. Tyrannosaur also happens to be one of the most powerful films of the year, like a punch in the gut. I wouldn't recommend Red State to anyone. But it was greatly overlooked for the wrong reasons.
NOSTALGIA
Midnight in Paris. This film is the best depiction of nostalgia ever on screen. Ever. It is joyful, it is funny, it is everything I love about Woody Allen. It is also a beautiful ode to the city of Paris. Another filmmaker who was feeling all nostalgic this year was Mr. Steven Spielberg. War Horse is obviously a tribute to the cinema of John Ford and David Lean. The orange-colored sky. The English vistas. It is not just beautiful to look at, it also evokes the feelings that these two masters of the "cinematic epic" were known for. In The Adventures of Tintin, it was more of Spielberg being nostalgic about his own love of Tintin. You can see it in every frame. It is a lovingly made film that sadly America failed to embrace. Too bad. It is still a tremendous achievement and contains some of his best technical skill at work. The Help looked back at times which were tough. It looked back at the times when they were a-changing. It was made in the tradition of The Color Purple, a wonderful and poignant film made by Spielberg but not necessarily an ode to the man. Super 8, on the other hand, was an ode to Spielberg. But this was the commercial Spileberg, the one I like more. The Spielberg that believes in aliens and who single-handedly made science fiction a commercial genre (actually it was Star Wars). The Artist and Hugo are also drenched in nostalgia. One is a better film about silent films and the other is a silent film. Both absolutely lovely. The Descendants was about honoring your past. Thank god, this film did not cut to a flashback. Moneyball, Extremely Loud and Incredibly Close were films about more recent times. But they were also about looking back. Not necessarily good times.
ADOLESCENCE
There were many films about children. Isolated children. Those who have to grow up sooner than they want to. Attack the Block, Super 8 and Hugo are already named above. Even The Tree of Life named above has a
I loved Extremely Loud and Incredibly Close. Major props to Stephen Daldry for not casting a kid who is cute. His behavior gets on your nerves. He is rude and there's not much to like about him. Yet, this film managed to make me sob for half an hour. It made me connect with a character who doesn't want to connect with people. I was connecting with him as he learned to connect. Asperger's syndrome has rarely been so realistically and poignantly portrayed. This film also cleverly and rightfully doesn't try to give the audience any direct confrontation with the tragedy of 9/11. Why should it? Why must a film heal the wounds of a global tragedy? But what it does is, it tells a story of a boy who is dealing with the loss of his father. That story is sublimely told. Yes it is sentimental, but I'd rather cry and move on than be stuck and self-absorbed.
There were teenage daughters and fathers too. Most notably in The Descendants and Moneyball. Submarine and Terri were about the problems that teenagers deal with. Submarine is more of a funn, quirky tale about young love. Terri on the other hand was about a fat kid who wears pajamas to school. Terri is absolutely delightful and I would urge everyone to watch it just because it doesn't follow conventions of story. But there are many more reasons why this film is a little gem. Trust was about a teenage girl who messes up big time. Doncha know, you don't talk to strangers online, young lady?
The Adventures of Tintin and Harry Potter and the Deathly Hallows Part 2 were about two brave and too-old-for-their-age adolescents. War Horse also had a bunch of teenagers. All in love with a horse.
But the one teenager that stood out for me was Kevin. And yes now, We Need To Talk About Kevin. We must. This is best horror film of the year except it has absolutely nothing similar to any of the techniques used in any horror film before. It is not even scary. But when human beings are scarier than any ghost, ghoul or monster, that's when you have achieved something. We Need To Talk About Kevin also challenges the way stories are told, it is bold and inventive.
Sons and mothers were never so wonderfully explored since Hitchcock did with Psycho. Hitchcock also made another masterpiece which contains a creepy mother and son relationship. This year the film that reminded me of that was J. Edgar. Edgar doesn't become a villain but he does, Clint Eastwood style.
SEXUALITY
A Dangerous Method is the most under-appreciated film of the year. Cronenberg has always made films about the body. He then started discovering the mind and sexuality. His films in this decade have focused on something more. This is a film where he carefully sidelines the concept of love. Love is not a concept like body and mind. It cannot be seen. It has no analyses. Yet it is Cronenberg's only film about love.
Shame, on the other hand, is the movie that people wanted A Dangerous Method to be. It explores sexuality in a more physical manner. Also a work or art and also starring Michael Fassbender, this film is also the same as A Dangerous Method. These people are incapable of feeling love. They want to. They try really hard. But they don't know how to. This is as timeless as it can get. The 20th century and the 21st century have similar barriers after all.
I did not like The Skin I Live In. And I call myself a fan of Pedro Almodovar. But I couldn't like this film. It just didn't do anything to me. It only grossed me out. The film that was bold and made me think about sexuality and how judgmental people can be when it comes to this taboo topic was The Girl with the Dragon Tattoo.
VIOLENCE
The Girl with the Dragon Tattoo was also about violence. That inherent nature in man that drives them to the path of violence. There were two more films that showed this - Drive and Tyrannosaur. It was only We Need To Talk About Kevin, that showed not just the inherent nature of violence but also violence at it's most diabolical. But the one film that scared me as much as We Need To Talk About Kevin did or probably more, was Into the Abyss. Into the Abyss is a documentary that never shows the violence we see in The Girl with the Dragon Tattoo, Drive, Tyrannosaur and We Need to Talk About Kevin but it managed to disturb me like no film ever did before. Many films have dealt with the concept of violence before but Into the Abyss stares right at it. It is a gaze that is haunting and incredibly unnerving. Not one violent act being committed is looked at but everything around them is explored. Herzog makes films about crazy people who dream wild and big. This time he makes a film about equally crazy people, but these people were mad enough to have nightmares. For the people around them and themselves.
INVESTIGATIONS
The Girl with the Dragon Tattoo is the best crime investigation film in many a years. This and The Secret in Their Eyes, take the most "done before" plots and convert them into films that feel so fresh. Full marks to David Fincher who is a wonderful craftsman. He only adds to the book even while subtracting some sub-plots. The score by Trent Reznor and Atticus Ross also is a plus. Should I even mention that brilliant credit sequence? We rarely get to see an opening credit sequence like this one these days.
Tinker Tailor Soldier Spy is more of an old-fashioned investigation story. The first time I saw it, I missed a lot of details. Because it doesn't spoon-feed you. It wants you to be alert. Sometimes, you aren't that alert. Not because you are sleepy but because the film isn't made like usual films. The non-linear structure does not give you the usual visual hints that it is jumping back and forth. But the second watch was so rewarding that I could see the intricacies and the skill behind this film. Alberto Iglesias' beautiful score takes you to the films of 1950s.
J. Edgar is not really about an investigation. It is about the man who revolutionized criminal investigations. "The most powerful man in the world" This film also explore what a man portrays himself to be than we he really is. I quote John Ford: "When legend becomes fact, print the legend". This film is about the kind of people who wanted legends to be printed. Not the facts.
Some more categories:
FRANCHISES
The best franchise films were: Rise of the Planet of the Apes, X-Men: First Class, Harry Potter and the Deathly Hallows, Sherlock Holmes: A Game of Shadows and Kung Fu Panda 2.
COMEDY
The best comedies were: Bridesmaids, Horrible Bosses, The Muppets and The Guard. The films that weren't strictly comedies but ended up being more: Midnight in Paris, 50/50 and Young Adult.
ROMANCE
Th best romantic films were: Wuthering Heights, Jane Eyre, Like Crazy, Beginners, The Deep Blue Sea and Weekend.
DOCUMENTARIES
The best documentaries were: George Harrison: Living in the Material World, Into the Abyss and Senna. Others that I found intriguing were Cave of Forgotten Dreams, Project Nim and Pina.
ANIMATION
The animation films that stood out for me were: The Adventures of Tintin, Rango, A Cat in Paris, Kung Fu Panda 2, Arthur Christmas, Cars 2, Chico and Rita and Winnie the Pooh.
There were also many films year that worked on the tear-ducts. I love a good cry in movies. In order: Hugo (bawled for an hour), Extremely Loud and Incredibly Close (the last half hour is non-stop waterworks), The Help (Viola Davis, you hurt me), The Descendants (Goodbye my love, goodbye my pain), War Horse (the whistle), 50/50 (Angelica Huston), Super 8 (Letting go), We Bought A Zoo (Look at your mom, kids) and Warrior (the final scene).
The rest of the my favorite things from last year are listed below.
DIRECTORS:
The Old-schoolers:
1. Terrence Malick - The Tree of Life
2. Martin Scorsese - Hugo
3. Steven Spielberg - The Adventures of Tintin
4. Woody Allen - Midnight in Paris
5. David Cronenberg - A Dangerous Method
The soon-to-be old-schoolers:
1. David Fincher - The Girl with the Dragon Tattoo
2. Alexander Payne - The Descendants
3. Jean-Pierre and Luc Dardenne - The Kid with a Bike
4. Stephen Daldry - Extremely Loud and Incredibly Close
5. Aki Kaurismaki - Le Havre
New talent:
1. Nicolas Winding-Refn - Drive
2. Michel Hazanavicius - The Artist
3. Lynne Ramsay - We Need To Talk About Kevin
4. Jeff Nichols - Take Shelter
5. Steve McQueen - Shame
PERFORMANCES
Actors -
1. Ryan Gosling in Drive
2. Leonardo DiCaprio in J.Edgar
3. Ben Kingsley in Hugo
4. Brad Pitt in The Tree of Life
5. Michael Shannon in Take Shelter
6. Gary Oldman in Tinker Tailor Soldier Spy
7. Michael Fassbender in Shame
8. Andy Serkis in Rise of the Planet of the Apes
9. Jean Dujardin in The Artist
10. Demian Bichir in A Better Life
11. Max von Sydow in Extremely Loud and Incredible Close
12. George Clooney in The Descendants
13. Alan Rickman in Harry Potter and the Deathly Hallows Part 2
14. Viggo Mortensen in A Dangerous Method
15. Patton Oswalt in Young Adult
Actresses
1. Rooney Mara in The Girl with the Dragon Tattoo
2. Tilda Swinton in We Need To Talk About Kevin
3. Viola Davis in The Help
4. Glenn Close in Albert Nobbs
5. Olivia Colman in Tyrannosaur
6. Meryl Streep in The Iron Lady
7. Charlize Theron in Young Adult
8. Jessica Chastain in The Tree of Life
9. Octavia Spenser in The Help
10. Keira Knightley in A Dangerous Method
11. Kristen Wiig - Bridesmaids
12. Vera Farmiga - Higher Ground
13. Carey Mulligan in Shame
14. Melissa McCarthy in Bridesmaids
15. Sandra Bullock in Extremely Loud and Incredibly Close
Young Performers
1. Ezra Miller in We Need To Talk About Kevin
2. Thomas Doret in The Kid with a Bike
3. Thomas Horn in Extremely Loud and Incredibly Close
4. Hunter McCracken in The Tree of Life
5. Asa Butterfield in Hugo
6. Elle Fanning in Super 8
7. Joel Courtney in Super 8
8. John Boyega in Attack the Block
9. Jacob Wysocki in Terri
10. Craig Roberts in Submarine
11. Sairose Ronan in Hanna
12. Liana Liberato - Trust
SCREENPLAYS
Original:
1. A Separation
2. Midnight in Paris
3. The Tree of Life
4. Margin Call
5. The Kid with a Bike
7. Take Shelter
8. Shame
9. Beginners
10. Bridesmaids
Adapted:
1. We Need To Talk About Kevin
2. The Descendants
3. Hugo
4. Tinker Tailor Soldier Spy
5. The Girl with the Dragon Tattoo
6. The Adventures of Tintin
8. A Dangerous Method
9. Drive
10. Extremely Loud and Incredibly Close
MUSIC
Original Scores:
1. Hugo - Howard Shore
2. War Horse - John Williams
3. The Girl with the Dragon Tattoo - Trent Reznor and Atticus Ross
4. Extremely Loud and Incredibly Close - Alexandre Desplat
5. The Adventures of Tintin - John Williams
6. The Artist - Ludovic Bource
7. Super 8 - Michael Giacchino
8. Tinker Tailor Soldier Spy - Alberto Iglesias
9. Drive - Cliff Martinez
10. X-Men First Class - Henry Jackman
Special Citation: Contagion, A Dangerous Method, Hanna, Jane Eyre, Rise of the Planet of the Apes and Rango.
Another citation for Alexandre Desplat's beautiful score of The Tree of Life which was barely used in the film.
Music primarily borrowed from other sources:
1. The Tree of Life
2. Midnight in Paris
3. Shame
4. The Descendants
5. Melancholia
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