LISTFUL THINKING: 2012 Superlatives

1 01 2013

New Year’s Day always marks a very interesting balancing act, reflecting on the old while also ringing in the new.  So while people are still thinking about 2012, let me offer up the first annual Superlatives post for the films of 2012.  I’ve already weighed in with the best and worst 10 of 2012, but what about the other 80 movies of the year?  What about the performances?  What about all sorts of other things?  This is the post where I get all sorts of stuff floating in my mind out there.

For the sake of review, I’ll go ahead and re-list my 10 best and worst of 2012.

Top 10 of 2012

10 Best of 2012: “21 Jump Street,” “Argo,” “Hitchcock,” “Killing Them Softly,” “Looper,” “Bernie,” “Zero Dark Thirty,” “Les Misérables,” “The Master,” “The Queen of Versailles

Prometheus

Honorable Mentions: “Rust and Bone,” “Prometheus,” “Beasts of the Southern Wild,” “Wreck-It Ralph,” “End of Watch,” “Holy Motors

Worst 10 of 2012

10 Worst of 2012: “The Grey,” “The Bourne Legacy,” “John Carter,” “Gone,” “The Vow,” “Killer Joe,” “The Paperboy,” “The Deep Blue Sea,” “The Watch,” “Casa De Mi Padre

pitchperfect2

Honorable Mentions: “Pitch Perfect,” “Something From Nothing: The Art of Rap,” “Abraham Lincoln: Vampire Hunter,” “First Position,” “Keep the Lights On,” “Being Flynn

10 More 2012 Releases I Still Need to See: “The Hobbit: An Unexpected Journey,” “The Impossible,” “Promised Land,” “The Intouchables,” “Seven Psychopaths,” “Hyde Park on Hudson,” “Not Fade Away,” “Smashed,” “The House I Live In,” “Searching for Sugar Man”

Vanellope

5 Most Surprising Movies of 2012: “Wreck-It Ralph,” “Bernie,” “End of Watch,” “Hitchcock,” “21 Jump Street

Denzel Washington in Flight

5 Most Disappointing Movies of 2012: “The Dark Knight Rises,” “Django Unchained,” “Lincoln,” “Flight,” “The Bourne Legacy

Bachelorette

10 Most Forgettable Movies of 2012 (in alphabetical order): “Bachelorette,” “Hysteria,” ”Jeff, Who Lives at Home,” ”Lola Versus,” ”Man on a Ledge,” “Men in Black III,” ”Salmon Fishing in the Yemen,” ”Seeking a Friend for the End of the World,” “Take This Waltz,” “Trouble with the Curve

Silver Linings Playbook

5 Most Rewatchable Movies of 2012: “21 Jump Street,” ”Silver Linings Playbook,” “Wreck-It Ralph,” ”Argo,” “Ted

Lincoln

5 Movies of 2012 I’m Glad I Saw But Will Never Watch Again: “Lincoln,” “Amour,” “The Invisible War,” “Compliance,” “ReGeneration

Killing Them Softly

5 Most Underrated Movies of 2012: “Killing Them Softly,” ”Les Misérables,” “Prometheus,” “Safety Not Guaranteed,” ”End of Watch

The Avengers

5 Most Overrated Movies of 2012: “The Sessions,” “Lincoln,” “Django Unchained,” “Life of Pi,” “The Avengers

PSH

5 Movies That Got Better with Distance and Time: “Killing Them Softly,” “Zero Dark Thirty,” “The Master,” “Silver Linings Playbook,” “Prometheus

Brave

5 Movies That Got Worse with Distance and Time: “Brave,” “Lincoln,” “Flight,” “The Sessions,” “The Dark Knight Rises

Argo

5 Movies That Felt Shorter Than Their Runtime: “Zero Dark Thirty,” “Les Misérables,” “The Dark Knight Rises,” “Argo,” “Django Unchained

Keira Knightley in "Anna Karenina"

5 Movies That Felt Longer Than Their Runtime: “Lincoln,” ”Anna Karenina,” “This Is 40,” “Damsels in Distress,” The Five-Year Engagement

BOTSW

Breakout Performances: Quvenzhané Wallis in “Beasts of the Southern Wild,”  Eddie Redmayne in “Les Misérables,” Ezra Miller in “The Perks of Being a Wallflower,” Garrett Hedlund in “On the Road,” Scoot McNairy in “Argo

Silver Linings Playbook

Breakthrough Performances: Bradley Cooper in “Silver Linings Playbook,” Michael Pena in “End of Watch,” Jack Black in “Bernie,” Channing Tatum in “21 Jump Street,” Elizabeth Banks in “People Like Us

Best Exotic

Breakdown Performances: Anna Kendrick in “Pitch Perfect,” Salma Hayek in “Savages,” Tom Cruise in “Rock of Ages,” Emile Hirsch in “Killer Joe,” Dev Patel in “The Best Exotic Marigold Hotel

frame 01021605R

Best Body of Work in 2012: (tie) Anne Hathaway in “The Dark Knight Rises” and “Les Misérables,” Jennifer Lawrence in “The Hunger Games” and “Silver Linings Playbook

The Deep Blue Sea

Worst Body of Work in 2012: (tie) Rachel Weisz in “The Bourne Legacy” and ”The Deep Blue Sea,” Taylor Kitsch in “John Carter” and “Savages

Jessica Chastain in Zero Dark Thirty

Best Heroes: Jessica Chastain as Maya in “Zero Dark Thirty,” Mark Ruffalo as The Hulk in “The Avengers,” Hugh Jackman as Jean Valjean in “Les Misérables

John Carter

Worst Heroes: Andrew Garfield as Spider-Man in “The Amazing Spider-Man,” Taylor Kitsch as John Carter in “John Carter,” Jeremy Renner as Aaron Cross in “The Bourne Legacy

Catwoman

Best Villains: Anne Hathaway as Selina Kyle/Catwoman in “The Dark Knight Rises,” Russell Crowe as Javert in “Les Misérables,” Leonardo DiCaprio as Calvin Candie in “Django Unchained

Skyfall

Worst Villains: Tom Hardy as Bane in “The Dark Knight Rises,” Javier Bardem as Silva in “Skyfall,” Rhys Ifans as Lizard in “The Amazing Spider-Man

Joaquin

Best Possessed Performance: Joaquin Phoenix in “The Master

The Paperboy

Worst Possessed Performance: Nicole Kidman in “The Paperboy

Bernie

Best Comedic Performance: (tie) Jack Black in “Bernie,” Channing Tatum in “21 Jump Street

The Watch

Worst Comedic Performance: The cast of “The Watch

Uggie

Best Cameo: Uggie in “The Campaign

Ryan Reynolds

Worst Cameo: Ryan Reynolds in “Ted

Eddie Redmayne

Best Singing: Eddie Redmayne in “Les Misérables

Alec

Worst Singing: Alec Baldwin in “Rock of Ages

That’s about all I can come up with for now … may add to this later!  Happy 2013, everyone!





REVIEW: This Means War

28 11 2012

Guilty pleasures.  We all have them, even people like me who put on the serious critic face and laud the potential contributions to cinema in Paul Thomas Anderson’s “The Master.”  Mine happen to be romantic comedies, which don’t disgust me as much as most reviewers (or men, for that matter).  As long as I buy the chemistry and the formula isn’t totally cloying or transparent, I’ll generally find some enjoyment.

Maybe the auditorium of my tiny seat-back on the plane ride home from France made me a particular captive viewer, but I was totally enthralled by “This Means War.”  I found myself laughing at inappropriately loud levels and thus the victim of a number of sharply cutting glances from my mom.  For whatever reason, I was just totally operating on this movie’s wavelength.

Sure, it’s brutally corny at times.  (What rom-com isn’t these days?)  Some of the melding of action with the inherently chick flick core of the film doesn’t always function as smoothly as it should.  The relationships aren’t always totally believable, probably a victim of how they are written on the page.  However, in spite of all this, I had a good time and was willing to put a lot of my issues to rest.

The fun probably came from just how much I enjoy these three actors.  I will probably always view any Reese Witherspoon film through a rosy lens because of my well-documented crush on her since around, oh, 2001.  As Lauren, she finds herself in a familiar predicament for Reese Witherspoon characters – choosing between two men vying for her heart (“Water for Elephants,” “How Do You Know,” and “Sweet Home Alabama” have all hinged on a similar dilemma.)

The competition is all the fun as her suitors are best friends from their work in the CIA.  Chris Pine’s FDR is the more suave, rom-com jerk that the audience and the girl eventually come around to like.  But Tom Hardy’s Tuck is a quieter, more sensitive guy and proves to be an interesting antidote to the typical kind of guy that screws her over.  Hardy struggles a bit with the romantic side of Tuck, and it’s clear that he’s best off in manly man movies like “Bronson” and “Lawless.”  In the latter movie, Jessica Chastain is the one who has to court him, and that seems more logical.

Oh, and as Lauren struggles to decide as she dates both men, we are treated to a running commentary of Chelsea Handler as her sister Trish.  She brings an incredibly beautiful sardonic and deprecating wit to “This Means War” that most genre flicks lack these days, voicing the frustrations we often have as viewers.  Leave it to Handler, one of the funniest women in the world right now, to turn the typical groans into side-splitting laughs.  B+





REVIEW: The Dark Knight Rises

29 07 2012

I don’t force every domestic drama I see to stand up to “American Beauty.”  Nor do I weigh every romantic comedy against “Annie Hall.”  So in a sense, why should I make a superhero movie stand up to “The Dark Knight?”  I consider it every bit as paradigmatic as the two previously mentioned Best Picture winners, so an apples-to-apples comparison is hardly even possible.  It’s more like apples-to-Garden of Eden fruit.

Indeed, a number of directors have tried to make their genre films a little more in the mold of Christopher Nolan’s iconic tale of the Caped Crusader, such as Jon Favreau’s “Iron Man 2” and Matthew Vaughn’s “X-Men: First Class,” to little success.  Yet even “The Dark Knight Rises,” the sequel to the revolutionary film itself, can’t recreate its magic nor cast a comparable spell.  Perhaps its time to declare those heights unattainable to avoid further disappointments.  If Christopher Nolan himself can’t reach them, surely it is time for Hollywood to find its next golden goose.

“The Dark Knight Rises” also has the added disadvantage of being scrutinized as a Nolan film, not merely a post-”Dark Knight” facsimile.  Coming off an incredible decade of filmmaking (five supremely acclaimed films: “Memento,”  ”Batman Begins,”  ”The Prestige,”  ”The Dark Knight,” and “Inception“), it is hardly premature to call him the Millenial equivalent of Steven Spielberg.  His movies are so good that they have merited many a repeat viewing, allowing dedicated fans to really analyze what makes his work so exceptional.  Now, it’s immediately recognizable when his films are not up to the sky-high standard he has set for himself.  For instance, in the opening scene of “The Dark Knight Rises.”

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REVIEW: Lawless

21 05 2012

Cannes Film Festival

Every year, the studios with any self-respect release a film or so between August or October meant to fill a very small hole in the market: respectable films that aren’t quite Oscar contenders but have more brains than your average popcorn flick. Occasionally, one of these will break away and compete in awards season (“Moneyball,” to name one from last year), but more often than not, they just gain respect and claims at the bottom of a few year-end underrated lists (“Contagion,” to take another 2011 example). There’s nothing wrong with this middle except for just like in politics, where it is more popular to go to extremes than be a moderate, such products are hard to bundle and sell if an audience does not know exactly what it will be getting.

Lawless,” John Hillcoat’s drama set in Prohibition-era Virginia countryside, fills such a groove. It does not quite have the overall package to compete for Oscar gold, but it’s hardly a bad movie by any stretch of the imagination. It has flaws, particularly in the insipid first act weighted down by exposition; however, when the film kicks into high gear, it provides a riveting ride.

While I haven’t been a big fan of Shia LaBeouf since “Even Stevens,” which I can now continue to argue is his most accomplished work to date, “Lawless” gets bolstered by a number of supporting performances that should garner the actors some much overdue recognition. Surprisingly, one of these tour de forces is not given by Jessica Chastain, cinema’s new “it girl.”  She’s fine, don’t get me wrong, but Chastain and Mia Wasikowska seem only relevant to the film for marketing purposes, token females to help reach another quadrant.

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REVIEW: Tinker Tailor Soldier Spy

19 03 2012

The impressive accomplishments in Tomas Alfredson’s “Tinker Tailor Soldier Spy” are manifold.  The first, and perhaps what will stick with me the most, is how immaculately crafted the movie is.  Every aspect below the line is crisp and precise, be it Alberto Iglesias’ subtle score, Hoyte van Hoytema’s swift camerawork, Maria Djurkovic’s richly detailed sets, or the unbelievably meticulous control over sound and silence.  ”Hugo” may have been the Academy’s technical darling of 2011, but this movie can rival its excellence in all those categories (except maybe visual effects).

The second is Gary Oldman’s performance as George Smiley, one of his finest on-screen roles yet.  Much was made of how criminal it was that the lauded character actor had not received an Oscar nomination before “Tinker Tailor,” and thankfully now that has been corrected.  But there is much more to this work than merely endowing Oldman with the epithet “Academy Award nominee.”

Oldman shows his mastery of understatement playing Smiley, a man of few words.  When he’s not speaking, we never have a doubt that Oldman is totally within his character’s mind, never moving a pore without purpose.  When he is speaking, Oldman is forceful and commanding, owning the screen that includes one of the largest casts of acclaimed British actors outside the “Harry Potter” series.  It’s an acting master class from one of the industry’s best and brightest, definitely one Hollywood could learn a lesson or two from as well.

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REVIEW: Warrior

2 10 2011

I had the benefit of seeing “Warrior” in August well before critics had really begun to weigh in on the movie, thus alleviating me of the responsibility of sorting out exacerbated expectations.  But after I watched it, rave reviews started rolling in by the dozen.  My response was a lot of head scratching.  What exactly did they see in the movie?

If we are really so desperate for an underdog story in these hard times that “Warrior” is exalted as a great film, then the recession has run a lot deeper than I thought.  Gavin O’Connor’s film is an over two hour snooze, hitting cliché after cliché with no imagination and even less personality.  It has no emotion, no character, no fire in its belly – something especially disappointing that O’Connor is the man who helmed the fantastic “Miracle,” one of the last truly great sports movies.

“Warrior” gives you no reason to care for anyone, not Tom Hardy’s washed-up soldier who wants to deny his heroism, not Joel Edgerton’s struggling teacher who boxes on the side for extra cash, nor their recovering alcoholic father who has estranged these two brothers played by Nick Nolte in a shameless “life imitating art” ploy.  They slowly – and I’m talking molasses slow – train towards the MMA Sparta tournament, Hardy’s Tommy with his father Paddy and Edgerton’s Brendan with an old buddy.  It’s about as moving as watching me type this review.

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F.I.L.M. of the Week (October 22, 2010)

22 10 2010

Tom Hardy wasn’t first on the table for discussion after anyone saw “Inception,” simply because there was just so much to talk about.  Yet once all the disagreement over the ending and what Christopher Nolan intended to be real was over, everyone could pretty much settle on one thing – that British guy Eames was a great scene stealer.  He did, after all, deliver one of the movie’s few laughs with “You mustn’t be afraid to dream a little bigger, darling.”

Curious on what could have prompted Nolan to cast such an unknown actor in a high-profile role in a $175 million movie, I went back to Hardy’s roots and discovered his big breakout, a small British action-thriller entitled “Bronson.”   It’s a great masculine movie, filled with merciless fighting and almost ceaseless violence.  (Sounds like a great date night rental, doesn’t it, ladies!)

While he was born Michael Peterson, Britain’s most dangerous prisoner will go to the grave as Charles Bronson, his fighting name.  He’s a ball of destruction that ultimately becomes too much for the country’s jails to handle.  Strangely enough, this is a man sprung from a fairly affluent middle-class family who had nowhere to go but up.  And perhaps that’s one of the movie’s messages – it doesn’t matter where you come from if you have violent tendencies.  They will take over you.

These violent outbursts land Bronson in the slammer, which hardly calms or rehabilitates him.  He sees it like a stage where his violence is his show for a hardly-impressed audience of guards.  The film perfectly captures the theatrical nature of Bronson’s violence, even spoon-feeding it to those who don’t pick up on it from Hardy’s brilliant portrayal of obsession.  Because of this, “Bronson” is more than just your average prison thriller.  It’s a portrait of a potentially demented man who will throw a punch no matter what the consequences are guaranteed to get the testosterone pumping through your body.





REVIEW: Inception

16 07 2010

Filmmaking is about creation.

The creation of a character, a couple; a feeling, a frame; a narrative, a novelty; a relationship, a romance; a moment, a mystery.  Have no doubt about it, filmmaking is creation, no matter the size of the budget or scope.

But there are very few filmmakers with the knowledge, the willpower, and the vision to create a world.  We all remember the first time we stepped into the galaxy far, far away that George Lucas took us to in “Star Wars.”  Recent examples include The Wachowski Brothers leading us into the world of “The Matrix,” Peter Jackson lifting Middle Earth off the page and displaying it before our very own eyes in “The Lord of the Rings” trilogy, and, very recently, James Cameron giving us a crystal-clear, in-our-face look at Pandora in “Avatar.”

And now, with the release of “Inception,” we can officially add Christopher Nolan to that impressive list of filmmakers.  He unravels before our very own eyes what he envisions to be the world of the dream.  It’s an incredibly complex world, governed by a set of rules that have graver implications that we could ever imagine.  Only he holds the keys to unlocking the secrets of his creation, and he tantalizingly dangles them before our eyes.

Yet he also challenges us to use just the sight of them to figure it out for ourselves.  I have no doubt he left us clues throughout the movie, but it’s not possible to catch them your first time.  You are simply too awe-struck by what’s on the screen, too busy puzzling out the intricacies of the plot, and too preoccupied trying to stay ahead of Nolan to go a layer deeper.  And to go that extra mile, to find what’s really bubbling under the surface of “Inception,” you will have already dug to a great depth.  Some people won’t even be willing to go that far, and they will feel left in the dust by the movie, like a kindergartener sitting in a calculus class.  But Nolan doesn’t design it for those people, making it an even sweeter treat for those willing to take their mind on a journey it won’t always understand.

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