Official Oscar Nominees and reaction

Best Picture
“Black Swan”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”
“127 Hours”
“The Social Network”
“Toy Story 3″
“True Grit”
“Winter’s Bone”

9/10. Missed 127 Hours for The Town. I heard the academy loved The Town, but I guess it was like their screening of Casino Royale several years ago. Loving it doesn't equate with taking it seriously. Can't really argue with any of these nominees, even if I didn't care for The Kids Are All Right. Glad I stuck to my guns on Winter's Bone all season, it really paid off. Given the nomination haul, The King's Speech is the frontrunner, but The Social Network is still very much in the hunt. 

Best Director
Darren Aronofsky, “Black Swan”
David O. Russell, “The Fighter”
Tom Hooper, “The King’s Speech”
David Fincher, “The Social Network”
Ethan Coen, Joel Coen, “True Grit”

4/5 Missed Ethan and Joel Coen for Christopher Nolan. I'm really upset about Nolan missing out here, but these five are pretty deserving anyways. The Coens didn't replace Nolan. Look at the nomination count. True Grit was nominated for 10 Oscars, Inception 8, The Fighter 7. I think Russell was the one who took Nolan's spot here, but again, with ten nominees, we'll never know who the five would have been. Inception could have been in a Jaws situation where it was nominated across the board but lost out on Director ("I got beat out by Fellini!" was the first thing that came to mind when Nolan wasn't called). Or it could be like District 9 last year; a highly respected blockbuster that likely came in 6th and just couldn't compete with more traditional fare. I'm upset Nolan still has yet to receive a Best Director nod, especially considering he's been nominated by the DGA three times. But nothing we can do now. Very happy to see Aronofsky and the Coens here however.  

Best Actor
Javier Bardem, “Biutiful”
Jeff Bridges, “True Grit”
Jesse Eisenberg, “The Social Network”
Colin Firth, “The King’s Speech”
James Franco, "127 Hours"

4/5 Missed Javier Bardem for Robert Duvall. Thank God they didn't nominated Bobby. I love him as much as the next guy, but the performance and the film were nothing special. Javier Bardem, however, is extraordinary, no matter which side of the Biutiful debate you fall on. This is Colin Firth's to lose, and he deserves it. Ryan Gosling should have been here, but it was a very crowded year for leads actors. 

Best Actress
Annette Bening, “The Kids Are All Right”
Nicole Kidman, “Rabbit Hole”
Jennifer Lawrence, “Winter’s Bone”
Natalie Portman, “Black Swan”
Michelle Williams, “Blue Valentine”

4/5 Missed Michelle Williams for Lesley Manville. Very happy to to see Williams, but it feels wrong to have one half of the Blue Valentine duo without the other. Just feels icky and wrong. But I'm glad she's in. Annette Bening doesn't deserve to be here. She's nice in the film, but if any woman from that film should have been nominated, it should have been Julianne Moore. Natalie Portman has this sewn up, so I can't complain too much. 

Best Supporting Actor
Christian Bale, “The Fighter”
John Hawkes, “Winter’s Bone”
Jeremy Renner, “The Town”
Mark Ruffalo, “The Kids Are All Right”
Geoffrey Rush, “The Kind’s Speech”

4/5 Missed John Hawkes for Andrew Garfield. Can't complain about anything here. I'm not sure Ruffalo was as good as Garfield but he gave a very good performance in a film I didn't care for, so kudos. I ador John Hawkes and to see him nominated is awesome. Christian Bale will win and deserves to win. 

Best Supporting Actress
Amy Adams, “The Fighter”
Helena Bonham Carter, “The King’s Speech”
Melissa Leo, “The Fighter”
Hailee Steinfeld, “True Grit”
Jacki Weaver, “Animal Kingdom”

4/5 Missed Jacki Weaver for Mila Kunis. A really strong category again. Can't really complain. Hailee Steinfeld better win or I will choke a bitch. 

Best Adapted Screenplay
“127 Hours”
“The Social Network”
“Toy Story 3″
“True Grit”
“Winter’s Bone”

5/5. Finally I got one right. Nothing to complain about here. I would have put in The Town or How To Train Your Dragon over Toy Story 3, but Toy Story 3 is such a greta screenplay I can't argue with its inclusion here. The Social Network walks away with this in a cakewalk. 

Best Original Screenplay
“Another Year”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”

4/5 Missed Another Year for Black Swan. I had a feeling Black Swan might get left out, since the script is it's weak link, and Aronofsky's films have yet to get a screenplay nomination. Not a fan of The Kids Are All Right being here at all. It has the writing quality of a Lifetime Orignal Movie, but whatever. I guess I will happily remain in the minority on that film. The King's Speech will likely win, but I think Inception deserves it for sheer command of structure, page discipline, and thematic resonance. But I wouldn't be upset if The King's Speech won, since it is a great screenplay as well. 

Best Art Direction
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows: Part I”
“Inception”
“The King’s Speech”
“True Grit”

4/5 Missed Harry Potter for Shutter Island. One of many categories Shutter Island was shut out of, garnering zero nominations for what I think is a masterpiece of craftsmanship. But whatever. Inception deserves to win this in a hearbeat, since it's Architecture: The Movie. 

Best Cinematography
“Black Swan”
“Inception”
“The King’s Speech”
“The Social Network”
“True Grit”

4/5 Missed The Social Network for Shutter Island. Again no love for Robert Richardson's work in Shutter Island, which was the best cinematography of the year. But it was foolish to bet against The Social Network. Roger Deakins will likely win here, and certainly deserves to. But in all honestly, as much as I love his work in True Grit, this should be Pfister or Libatique's to lose. I love Deakins, but I prefer his more interesting work in Jesse James or No Country for Old Men. But if he wins, I will be very happy for him. He deserves it. I just would prefer Pfister for Inception. 

Best Costume Design
“Alice in Wonderland”
“I Am Love”
“The King’s Speech”
“The Tempest”
“True Grit”

3/5 Missed I Am Love and The Tempest for Shutter Island and Inception. Should have went with my head on this one instead of my heart. But I didn't want to be against my favorite costume design of the year in Inception, nor against the beautiful work in Shutter Island. If this is our slate, True Grit should win, but The King's Speech or Alice will probably win. 

Best Film Editing
“Black Swan”
“The Fighter”
“The King’s Speech”
“127 Hours”
“The Social Network”

4/5 Missed 127 Hours for Inception. Almost more infuriating than Nolan missing out for Best Director is Lee Smith missing out for Editing in Inception. HOW do you not nominate the true best editing of the year? It's insane. The film is an editing showcase, the third act in particular. The editing branch really ought to be ashamed of themselves here. Just appalling. The Social Network likely wins here, but Black Swan should win. 

Best Makeup
“Barney’s Version”
“The Way Back”
“The Wolfman”

1/3 Missed The Way Back and Barney's Version for Alice in Wonderland and The Fighter. Never underestimate aging makeup. The Way Back likely wins, but The Wolfman should win. This isn't Best Makeup in a good movie, folks, it's Best Makeup period. Rick Baker's work in The Wolfman is a work of art. 

Best Music (Original Score)
“How to Train Your Dragon”
“Inception”
“The King’s Speech”
“127 Hours”
“The Social Network”

4/5 Missed 127 Hours for Toy Story 3. I would be happy with How to Train Your Dragon, Inception, or The Social Network winning, but I think this is Zimmer's to lose, and I couldn't be happier. But Reznor is breathing down his neck here. Daft Punk really should have been here for their amazing work in TRON: Legacy. 

Best Music (Original Song)
“Coming Home” from “Country Strong”
“If I Rise” from “127 Hours”
“I See the Light” from “Tangled”
“We Belong Together” from “Toy Story 3″

3/4 but I predicted 5 nominees so technically 3/5. Missed Country Strong for Burlesque/Waiting for Superman. I think A.R. Rahman takes home his third Oscar, since Randy Newman and Alan Menken will likely split the Disney votes. 

Best Sound Editing
“Inception”
“Toy Story 3″
“TRON Legacy”
“True Grit”
“Unstoppable”

4/5 Missed Unstoppable for The Social Network. Not surprising, but disappointing. Loudest =/= Best. Inception wins here, and deserves to. 

Best Sound Mixing
“Inception”
“The King’s Speech”
“Salt”
“The Social Network”
“True Grit”

3/5 Missed The King's Speech and Salt for TRON: Legacy and Black Swan. Nothing to say about Salt other than, again, loudest =/= best. The King's Speech being her shows major support that will push it to a Best Picture win I think. Inception wins this category as well, and deserves to. 

Best Visual Effects
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows: Part I”
“Herafter”
“Inception”
“Iron Man 2″

3/5 Missed Hereafter and Iron Man 2 for TRON: Legacy and Scott Pilgrim Vs. The World. What an embarrassment here. I guess de-aged Bridges was a deal breaker for VFX guys, but everything else in the film is breathtaking. Hereafter has one tsunami scene that I honestly thought looked atrocious. But what do I know? Scott Pilgrim missing out here is just shameful, one of the most, if not the most visually inventive film of the year. The way VFX blends seamlessly with the Art Direction of the film is stunning. I didn't think the visuals in Iron Man 2 were anything special, save for some cool 3D interface stuff. But seriously, this is awful. Inception will win and deserves to win. 

Best Animated Feature Film
“How to Train Your Dragon”
“The Illusionist”
“Toy Story 3″

3/3. FINALLY I got another one right. They chose the right films. How to Train Your Dragon and The Illusionist were better than Toy Story 3 but it will win, and I'm ok with that, since I love all three films. 

Best Foreign Language Film
“Biutiful” (Mexico)
“Dogtooth” (Greece)
“In a Better World” (Denmark)
“Incendies” (Canada)
“Outside the Law” (Algeria)

4/5 Missed Dogtooth for Live, Above All. I haven't seen any of these films outside of Biutiful and Dogtooth. I think Biutiful is a work of art, but I love Innaritu. Dogtooth, on the other hand, is akin to Antichrist; a big avant garde fart. Sorry fanboys and fangirls. Biutiful should win, but In A Better World will win. 

Best Documentary Feature
“Exit Through the Gift Shop”
“Gasland”
“Inside Job”
“Restrepo”
“Waste Land”

4/5 Missed Exit Through the Gift Shop for Waiting for Superman. One of the best categories of the year. Even though I didn't love Exit Through The Gift Shop, it's a highly entertaining documentary. But I will be rooting for Restrepo all the way. Inside Job likely wins, but watch out for Banksy. 

Overall, a mixed bag. Some great stuff, some bad stuff, some meh stuff. But that's just like every year. I faired decently on predictions. How did you do? How do you feel about the nominations? Have at it in the comments section.  

Final Oscar Nomination Predictions: The Calm Before the Storm

Best Picture
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech 
The Social Network
The Town
Toy Story 3
True Grit
Winter's Bone


Best Director
Christopher Nolan - Inception
Tom Hooper - The King's Speech
David Fincher - The Social Network
Darren Aronofsky - Black Swan
David O Russell - The Fighter



Best Actor
Jeff Bridges - True Grit
Robert Duvall - Get Low
Jesse Eisenberg - The Social Network
Colin Firth - The King's Speech
James Franco - 127 Hours


Best Actress
Annette Bening - The Kids Are All Right
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winter's Bone
Natalie Portman - Black Swan 
Lesley Manville - Another Year


Best Supporting Actor
Christian Bale - The Fighter 
Andrew Garfield - The Social Network
Jeremy Renner - The Town
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The King's Speech


Best Supporting Actress
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Mila Kunis - Black Swan
Melissa Leo - The Fighter
Hailee Steinfeld - True Grit



Best Adapted Screenplay
127 Hours
The Social Network
Toy Story 3
True Grit
Winter's Bone

Best Original Screenplay 
Black Swan
The Fighter
Inception 
The Kids Are All Right
The King's Speech 


Best Art Direction
Alice In Wonderland
Inception
The King's Speech
Shutter Island
True Grit


Best Cinematography
Black Swan
Inception 
The King's Speech
Shutter Island
True Grit 

Best Costume Design
Alice in Wonderland
Inception
The King's Speech
Shutter Island
True Grit


Best Editing
Black Swan
The Fighter
Inception
The King's Speech
The Social Network


Best Makeup
Alice in Wonderland
The Fighter
The Wolfman




Best Original Score
How to Train Your Dragon
The King's Speech
Inception
The Social Network
Toy Story 3


Best Original Song
Burlesque
127 Hours
Tangled
Toy Story 3
Waiting for Superman


Best Sound Editing 
Inception 
The Social Network
Toy Story 3
True Grit
TRON: Legacy


Best Sound Mixing 
Black Swan
Inception 
The Social Network
True Grit
TRON: Legacy


Best Visual Effects 
Alice in Wonderland
Harry Potter and the Deathly Hallows: Part 1
Inception
Scott Pilgrim vs. The World
TRON: Legacy


Best Animated Feature Film
How to Train Your Dragon
The Illusionist
Toy Story 3 


Best Documentary Feature
Gasland
Inside Job
Restrepo
Waiting for Superman
Wasteland


Best Foreign Language Film
Outside the Law
Incendies
In A Better World
Biutiful
Life, Above All


So that's pretty much it. Now we just wait. Let us recite the Jesus Bale prayer 


Our Father
Who art in Hollywood
Hallowed be thy beard
Thy Oscar come
Thy journey be done
On TV as it is in reality
Give us this day
Our daily Bale-out
And forgive us our rages
As we forgive those
Who walk on to our sets
As we forgive those
Who do not fucking understand
And lead us not into Gotham
But deliver us from the Joker
Amen

See ya bright and early tomorrow folks. Have at it in the comments section. 

Golden Globe Predictions

Sicne the Golden Glboes are tonight I figured I might as wel offer up predictions, even if they have no impact on the Oscars whatsoever. Anyone who tells you different is lying to you and to themselves. In any case, it's a fun party to watch and to predict. I will be driving back to Austin this afternoon and thus unavailable until the ceremony actually starts. So consider this an open thread. Let's get on with the show, shall we?



Best Picture Drama - The Social Network

Best Picture Musical or Comedy - The Kids Are All Right

Best Director - David Fincher: The Social Network

Best Actor Drama - Colin Firth: The King's Speech

Best Actor Comedy or Musical - Johnny Depp: Alice in Wonderland

Best Actress Drama - Natalie Portman: Black Swan

Best Actress Comedy or Musical - Annette Bening: The Kids Are All Right

Best Supporting Actor - Christian Bale: The Fighter

Best Supporting Actress - Melissa Leo: The Fighter

Best Screenplay - The Social Network

Best Foreign Film - Biutiful

Best Animated Film - Toy Story 3

Best Original Score - Inception

Best Original Song - You Haven't Seen the Last of Me - Burlesque

The Year In Superlatives aka If I had a ballot

I've already had my say on my top ten films of the year but I figured I would also sound off on what I thought were the best singular achievements in film this year, if for no other reason, to keep my self and my readers from getting bored. Call it the 1st Annual Film Studies and Other Shenanigans Awards, if you will. Anywho, here it is.






Best Picture
The Social Network


Best Director
Christopher Nolan - Inception


Best Actor
Ryan Gosling - Blue Valentine


Best Actress
Natalie Portman - Black Swan


Best Supporting Actor
Christian Bale - The Fighter


Best Supporting Actress
Hailee Steinfeld - True Grit


Best Adapted Screenplay
The Social Network (Aaron Sorkin)


Best Original Screenplay
The King's Speech (David Seidler)


Best Art Direction
Inception


Best Cinematography
Shutter Island


Best Costume Design
Inception


Best Film Editing
Shutter Island


Best Makeup
True Grit


Best Music (Original Score)
Inception


Best Music (Original Song)
We Belong Together (Toy Story 3)


Best Sound Editing
Inception


Best Sound Mixing
TRON Legacy


Best Visual Effects
Inception


Best Animated Feature
How To Train Your Dragon


Best Documentary Feature
Restrepo


Best Ensemble
The Fighter


Most Underrated Film of the Year
Shutter Island


Most Overrated Film of the Year
The Kids Are All Right


Best Directorial Debut
Tim Hetherington and Sebastian Junger - Restrepo


Breakthrough Performance (Male)
Tahar Rahim - A Prophet


Breakthrough Performance (Female)
(tie) Hailee Steinfeld - True Grit & Jennifer Lawrence (Winter's Bone)


Best Cameo Performance (Male)
Dakin Matthews - True Grit


Best Cameo Performance (Female)
Emily Mortimer - Shutter Island


Best Performance in a Bad Film
Carey Mulligan - Never Let Me Go


Worst Performance in a Good Film
Ellen Page - Inception (not her fault — terrible casting)


Best Hero
Rooster Cogburn - True Grit


Best Villain
Nina Sayers - Black Swan


Best Poster
Black Swan (link)


Best Trailer (for a trailer released in 2010, not necessarily a film released in 2010)
The Social Network


Most Surprising Film of the Year
Enter the Void


Most Disappointing Film of the Year
Never Let Me Go


Most Ambitious Film of the Year
Inception


Most Intriguing Failure
TRON: Legacy


Best Action Sequence
Inception - Spinning hallway fight. No contest.


Entertainer of the Year
Leonardo DiCaprio - The most ambitious and hard-working actor of his generation, instead of just cashing in on paycheck roles, he continues to push himself creatively, professionally, and intellectually. His work in Inception and Shutter Island shows just that.


Ten Worst Films of the Year (that I saw, anyway)

1. The Last Airbender
2. Prince of Persia - The Sands of Time
3. The A-Team
4. Alice in Wonderland
5. The Tempest
6. How Do You Know
7. The Expendables
8. Knight and Day
9. Due Date
10. Never Let Me Go


Top 10 Films of the Year

1. The Social Network
2. Shutter Island
3. Inception
4. Black Swan
5. True Grit
6. How to Train Your Dragon
7. Winter's Bone
8. The King's Speech
9. Blue Valentine
10. Enter the Void

Moving On and Letting Go - The Best Films of 2010

Maybe I'm a big crybaby, maybe I'm just sentimental about my all time favorite television show, LOST,  coming to an emotional close this year, but I feel that this year my views on films have really been shaped by themes of letting go or moving on. How to define 2010? A lot of people have been saying it was a weak year for cinema. Personally, I thought it was the strongest year since 2007.

This year, there was an embarrassment of riches on screen. My cup runneth over with great films, so to speak. In fact, quite a number of films that were dismissed or passed over by audiences and critics alike really truly spoke to me in a profound way. There was an abundance of creativity, with directors, actors, and screenwriters finally bringing passion projects to the screen, and breaking new ground. Some have cited the summer movie season as one of the worst in recent memory. I couldn't agree more, but where there was darkness, light was also to be found.

By the end of the year, you have to try to ignore as much talk of Oscars and the like and really think about what films you saw and cherished. You start to think about what films you want to share with everyone as your favorites, the ones you truly loved.

I certainly loved watching the first part of the final chapter of the Harry Potter saga come to life on screen, even if it's not yet a complete film. Scott Pilgrim vs. The World is probably the most fun I've had in a theatre all year, with its unique brand of comedy and action solidifying it as one of the most inventive and wildly entertaining films all year. And while Iron Man 2 was a bit of a disappointment compared to its predecessor, it was certainly a lot of fun watching Robert Downey Jr. continue to do his thing on screen, with Mickey Rourke stealing the show in every scene he was in.

The Fighter, if treading on familiar ground, very much came together as a compelling drama about family and the baggage they bring, headlined by a masterful supporting turn from Christian Bale. Kick-Ass certainly delivered on the hyper-stylized ultra-violence, if falling a little short in the storytelling department. But it's such a joy to watch Chloe Morentz in a star-making performance that one forgives the film's minor shortcomings.

There was no shortage of great documentary filmmaking this year. Restrepo, a film that is a miracle to even exist, really gave viewers a riveting insight into the realities of combat in the most dangerous posting in the U.S. military, putting us right in the front-lines with them. And while Exit Through the Gift Shop and Catfish never really came together for me as best films of the year, they certainly had a lot to admire about them.

There were a small handful of films I wanted to give a special mention to outside of my top ten. A runner up section, if you will.

15.) Let Me In


Matt Reeve's Cloverfield follow up is not a typical remake. A lot of passionate supporters of Thomas Alfredson's 2008 film Let the Right One In scoffed at the notion of an American remake of a film they held dear. While I certainly liked the Swedish film a lot, I felt Matt Reeves's version was superior, trimming all the fat and creating a much more refined, frightening piece of cinema. Part vampire film, part love story, the film succeeds on crafting a violent nightmare of young love and friendship caught in a larger, grislier conspiracy. Succeeding in atmosphere and moving narrative, the film really solidifies Reeve's place as a genre force to be reckoned with.

14.) The Town


Ben Affleck's sophomore effort as a director may not reinvent the heist genre, but it doesn't need to. Boasting one of the year's best acting ensembles, the film not only succeeds as an engrossing character study of a man trying to escape his life, but also as a riveting crime thriller. Featuring some of the most intense action sequences of the year, and a killer sound mix, the shootouts and chases in the film are as good as anything Michael Mann has ever done. While I respond to a bit more stylistic, art-house approach like Public Enemies and Heat Affleck's film really soars effortlessly on every level, making it one of the most entertaining and compulsively watchable films of the year.

13.) The American


In what may be George Clooney's most subtle, refined, and mature performance to date, he embodies an assassin on the run who simply can't outrun fate. Some will rebel against the film's deliberate pacing and long stretches of silence, however I found it one of the most compelling thrillers of the year. Director Anton Corbijn's eye for shot composition is incredible, and it shows here, in the golden sheen that envelopes a small town in Italy. It's not intense in a traditional sense, rather, it's a slow, beautiful burn that serves as the ultimate show don't tell film.

12.) 127 Hours


While I've cooled a bit on Danny Boyle's latest film since seeing it back in October, it remains one of the finer works of his career, featuring a masterful lead turn from James Franco, an actor I've admired for some time.
Watching the film, I saw a lot of myself in Aron Ralston, a man who lives in self-imposed isolation from the people who love him in order to seek out his own rush. An adrenaline junkie of the fiercest kind, rather than finding his plight a hindrance or bad experience, he comes out of it a better man. It only took losing an arm to get there.

11.) Toy Story 3


Not since The Lord of the Rings: The Return of the King has there been a more emotionally satisfying conclusion to, what I feel, is a now vital franchise in motion picture history. In a lot of ways, this is a film made for those of us who grew up with the first two films, when we were a mere 5 to 10 years old. A real-time sequel if you will, it hits home for all of us who ever played with toys and have long since outgrown them, departing for college. But have the toys outgrown us? Can they ever let go of a life once shared in youth? The film closes on an emotional climax that reduced many a viewer, myself included, to a pile of weeping mush in the theatre, giving us closure on a chapter in our lives. If the opening scene of Up is perfect, the final scene of Toy Story 3 is as well. So long partners, we'll miss you. 

Before I get to my top ten films, I want to give a special mention to a film that, while technically a 2010 US release, has always been a 2009 film in my mind, and will stay that way. However, it remains one of the most incredible films I've seen all year, and is a must-see, no question. 

A Prophet

Jacques Audiard's prison gangster masterpiece is one of the most thematically, visually, and narratively rich and complete films I've seen all year. With an incredible ensemble headlined by a powerhouse performance from newcomer Tahar Rahim, the film ranks amongst the greatest crime epics of all time, schooling everyone on how to make a modern gangster film, the likes of which would make Martin Scorsese and Francis Ford Coppola proud. Featuring some of the most beautiful images you'll see on screen, the film leaves the viewer breathless from start to finish, ending on a melancholy note that concludes a masterful portrayal of the loss of innocence and the corruptive nature of power. 

And now, without further adieu, the top ten films of 2010 are

10.)  Enter the Void

Director Gaspar Noe's three hour hallucinatory nightmare may just be the most visionary and innovative film this year, not just pushing the envelope on narrative filmmaking, but tossing it out the window. Slow, deliberately paced, pretentious, indulgent, offensive, shocking, and ultimately the most philosophically challenging and stimulating film to come out this year, it's a bit like watching the "Jupiter and Beyond" segment of 2001: A Space Odyssey for nearly three full hours. Certainly not a film for everyone, especially those without patience for slow, somewhat narrative structure-free films, and especially not for people susceptible to motion sickness or seizures (plenty of strobe-light effects and flashing lights and colors), it's one of the most intense cinematic experiences I've had, and certainly one of the most rewarding.

9.) Blue Valentine

Derek Cianfrance's portrait of a marriage in crisis is everything Sam Mendes' Revolutionary Road was trying to be, and so much more. Almost unbearably heartbreaking, yet subtle and gentle, the film never outstays it's welcome and never once beats its audience over the head with sadness. To say Ryan Gosling and Michelle Williams give two of the best performances of the year would be an understatement. Both actors have come into their own in a way only hinted at in already incredible careers, with powerhouse performances behind them. Gosling in particular, gives what I think is one of the most emotionally complex and devastating performances since Heath Ledger in Brokeback Mountain, breathing life into a portrayal of a person who starts off as a ne'er-do-well man working as a mover, eyes-wide with ambition and love for life, to a broken, beaten down shell of his former self, complete with glasses, a receding hair line, and a beer gut. A tough film to sit through, but ultimately a rewarding emotional experience that will leave many in tears.

8.) The King's Speech

Tom Hooper is not a household name by any stretch, but what he accomplishes here should get him playing in the big leagues now. A truly moving tale of friendship and letting go of one's demons to fulfill one's destiny that is nothing short of brilliant. From the pitch-perfect original screenplay to Colin Firth and Geoffrey Rush's phenomenal performances, the film is an exquisite insight into a man who had to overcome his fears and be the man he was always capable of being, even if he was terrified of being that man. So much more than the "Oscar bait period piece" people tout it as, the film has a true artistic and directorial identity to it that elevates it beyond whatever others may say it is or isn't, into a nearly perfect film.

7.) Winter's Bone

Debra Granik's outing into the Ozarks isn't the thriller it was advertised as. It's a beautiful and compelling piece of modern noir set in the backwoods South with some of the scariest thugs in recent memory: meth dealers and addicts. Featuring a star-making performance from Jennifer Lawrence, and a scene-stealing turn from longtime Deadwood fan favorite John Hawkes, the film boats some of the most under-appreciated cinematography of the year. As a detective story, the dark, depressing nature of the film can be almost unbearable, but it's the fierce will and determination of Ree Dolly that really keeps the film from wallowing in self-pity and breathes life into what could have been an otherwise overbearingly gloomy film. A minor masterpiece of sorts that will hopefully garner more attention for Granik, Lawrence, and Hawkes. 

6.) How to Train Your Dragon

For everything Pixar has accomplished this year, the true animated marvel of 2010 surprisingly comes out of Dreamworks Animation, long considered the less sophisticated little sibling of Pixar. What bursts out of the gates is a near-flawless film about friendship and trust, the likes of which we haven't seen since  E.T. The Extra Terrestrial. Featuring jaw-dropping gorgeous animation overseen by the legendary Roger Deakins, the film hits all the right notes, never once missing a beat. Hilarious, thrilling, and moving, the film never fails to get the waterworks out of me by the end with it's beautiful tale of a boy and his dog, err, dragon. At the risk of sounding cliche, the film soars. 

5.) True Grit

Many fans of the Coen Brothers aren't really sure what to do with their newest film. Lacking the cynicism and dark nature of their previous efforts, its emotional warmth and earnestness has left quite a few Coen enthusiasts scratching their heads. However, to me, it's not only an incredibly moving tale of causality and the elusiveness of closure, but also the finest western since Unforgiven. However, unlike Clint Eastwood's film, it isn't trying to be a deconstruction or dissection of the genre. Rather, it's almost a love letter to the films of John Ford, Anthony Mann, and Sergio Leone. Western fans are a little wary of a supposed remake of a film they treasure. Not only is the film not a remake (it's a more faithful adaptation of the novel both films are based on), but it also surpasses the John Wayne film on every level. Jeff Bridges is nothing short of iconic in his turn as Rooster Cogburn, Matt Damon is a mini-revelation as Texas Ranger Laboeuf, and Hailee Steinfeld emerges as the biggest breakout star of the year in a performance that should win her the Oscar for Best Supporting Actress, even if such a statement supports category fraud. If nothing else, the cinematography by Roger Deakins is worth the price of admission alone, but this is truly extraordinary filmmaking on every level. 

4.) Black Swan

Darren Aronofsky is quite possibly the most exciting filmmaker of his generation. If nothing else, he's incapable of making a boring film. That's certainly true of his psychological horror masterpiece, which stands as the most terrifying film since The Silence of the Lambs. And what more can be said of Natalie Portman's performance? It's nothing short of a revelation. Never once coming off as anything by genuine and authentic, she transforms herself, much like her character, fully making the transition from the little girl we all saw in Leon, to a woman of iconic stature. But the film is so much more than its horror genre beats suggest. A glimpse into the performing artist's plight, the film rings true for anyone who's been a dancer, musician, or actor, in search of perfection in their craft. Featuring some of the most dynamic imagery and film editing of the year, Aronofsky's film really is nothing short of breathtaking. 

3.) Inception

Christopher Nolan showed us all two years ago that he could elevate the comic book genre out of its trappings and craft a crime saga masterpiece about morality, the nature of heroism, and how we react in the face of unstoppable evil. This year, he set out to bring his passion project about dreams, the nature of reality, and guilt to the big screen in a big way. And the result is the most original and intelligent blockbuster in decades. Featuring state of the art cinematography and art-direction, and a third act that serves as a master-class in set-piece construction, the heart of the film is a tragic love story between and man and a woman who lost sight of their own reality and how that man comes to terms with his grief and guilt. An extraordinary masterpiece from one of today's visionary masters, the film solidifies Nolan's place as one of today's most original and ambitious filmmakers of our time.

2.) Shutter Island

Unfairly maligned by critics upon its February release, Martin Scorsese's genre exercise is a stunning homage to Hitchcock and Wise, and yet finds an identity of its own in what is quite possibly the most moving film of the year. Many viewers were left agitated by a conclusion they felt was a cheat, but the real twist comes at the final moment of the film. Was this man ever cured? Or was he content to stay in his fantasy if it meant never having to live with the reality of the horrible truth of his life? A masterwork of craft and style, it's a film about human frailty in one of the most fascinating trips down the rabbit hole into the labyrinth of a very disturbed man's mind. As a narrative, the film doesn't rely on a twist to be a riveting piece of cinema, since it is an entirely different experience upon repeat viewings. It stands as the most under-appreciated film of the year. Featuring a career-best performance from Leonardo DiCaprio that serves as the culmination of his eight year collaboration with Scorsese, and the best cinematography of the year, the film is not just a stylistic and atmospheric masterpiece, but a truly moving tale of guilt and human frailty. 

1.) The Social Network

It's easy to call a film like The Social Network overrated. But that's only because people like me keep piling on the praise for it. Easily David Fincher's best film since Se7en, there is a rhythm to the film that never once lets up or misses a beat. Intentionally lacking a traditional three-act structure, the film plays out like a long drum solo, never taking breather a skipping a note, and in my mind, this is the future of dramatic filmmaking. That Fincher filmed the entire thing on memory cards, no film, no tape, is a feat in and of itself. Quite a brave new world of filmmaking. Andrew Garfield and Justin Timberlake shine as supporting players, each one a voice in Zuckerberg's head, with Garfield the angel and Timberlake the devil. But it is Jesse Eisenberg who towers above the rest of the cast in one of the finest performances of the year. Some say it wasn't enough of a stretch for him, but given the amount of thought and preparation he put into the role, I'd say it was plenty difficult enough. And what more can be said about Aaron Sorkin's incredible screenplay? The dialogue is razor sharp and in Eisenberg, Sorkin has found the perfect actor to speak his language. But the film just comes together in a way that no other film does this year. It may be cliche at this point to join in on the praise for Fincher's masterpiece, but it's hard to argue with the evidence right in front of us. And while I never bought into the idea that the film defines a generation (I personally feel that the film needs more time before such proclamations are made), it's a brilliant character study within a profound statement about business culture, entrepreneurship, and what it means to create something. It is my choice for the best film of the year. 

What a tremendous close to 2010! I for one am looking forward to seeing what 2011 brings us. Bring on the new year! Once again, the ten best films of 2010 are

1. The Social Network

2. Shutter Island

3. Inception

4. Black Swan

5. True Grit

6. How To Train Your Dragon

7. Winter's Bone

8. The King's Speech

9. Blue Valentine

10. Enter the Void

What are your favorite films of 2010? As always have at it in the comment section! Thanks for a great year and here's to another great one!