Andy Hart from FandangoGroovers sent us an e-mail asking us what our best movie years are and instead just blurting out what years I chose, I opted for introducing my reasoning behind the chosen years.
Because I’m suicidal.
There have been other posts like this obviously, citing the year that saw the height noir as a style in 1941. It’s easy to assume that the year before, 1940, might be a weaker year but I don’t think so (what were you thinking, Paolo?). I already said that 1941 was the year of the noir and it was the beginning of stylistic achievements that will be influential for the next forty years. But no one wants to peak young Those arguments, I admit, are me trying to put both years under investigation before I declare them as banner years).
What 1940 has is diversity. What other year could boast an animated movie that has different yet complementary aesthetics and another movie that successfully convinces us that the all-American Jimmy Stewart is European and/or a man of class? What year will we find such comedy greats like Charlie Chaplin, Cary Grant and Rosalind Russell? It was also a great actressing year that followed 1939. Joan Fontaine being the light anchor in only Alfred Hitchcock movie that won an Oscar for Best Picture. Katharine Hepburn returns and makes the studios realize that her sense of comic timing can crowd the movie theatres. And Vivien Leigh simply haunts us. The movies: Fantasia, The Shop Around the Corner, Rebecca, The Philadelphia Story, Waterloo Bridge.
Because it was the year of (forgotten) classics.
1955 saw three movies so breathtaking that it almost makes me want to say ‘Revisionist Western,’ although it would be too anachronistic to use that phrase. But those movies subverts North American ideas of villainy, race and It was also the year of the blond.
Doing away with her Academy Award-winning de-glam, Grace Kelly has a career-best performance in another Hitchcock movie as a smart golden-locked woman. Shelley Winters plays victim to Robert Mitchum, too charming to be good, but she might not necessarily be dumb. Marilyn Monroe almost steals Evelyn Keyes’ husband and makes us think differently about the hot air on street vents. Julie Harris, a honey blond, steers the lost James Dean, in his best performance, into sanity and domesticity. But the brunettes represented too, James Dean also finding love in a hopeful teenager Natalie Wood. Jean Simmons making Marlon Brando fly her to Cuba and she still won’t give him the love that he doesn’t deserve yet. And Martine Carol, overshadowed by younger French actresses, gives us a 19th cnetury circus act that we should never forget. The movies: The Night of the Hunter, East of Eden, Bad Day at Black Rock, To Catch a Thief, Lola Montes.
Because I might be suicidal after all.
1974 saw most movies come back to the streets. Walter Matthau deals with a subway train gets high jacked in Manhattan, New York City by good for nothing British terrorists. Los Angeles saw its share of impersonators, near impossible water shortages and crazy ladies chasing for their children riding in school buses. In San Francisco, Gene Hackman and John Cazale do their job as many lovely yet suspicious conversations under wiretap. And the past catches up with the present as Michael Corleone does his best to escape chaos and brotherly betrayal in Havana, Cuba. But that doesn’t mean that the rural areas didn’t get some love, as a singer travels to find a job and a college student finds a crazy family.
When it comes to the Oscars, Martin Scorsese directs a melodrama (he needs to do another one and if you say Hugo I swear I’ll…). Francis Ford Coppola created a kinetic magnum opus and lost Best Picture against himself. A frazzled married woman played by Gena Rowlands and a tough woman with a tougher lawyer in Faye Dunaway lose to determined single mother brought to life by Ellen Burstyn. The movies: The Conversation, The Godfather Part II, The Texas Chainsaw Massacre, Alice Doesn’t Live Here Anymore, A Woman Under the Influence.
Because I’m a hopeless romantic.
2010 was the year I started blogging, the year culminating the plurality that independent cinema has worked for in the past forty years. Indie masters like David Fincher, Darren Aronofsky and Edgar Wright made movies with actors who will become Hollywood’s future and made hundreds of millions of dollars with them. I’m going to try to stop overusing the word ‘indie’ no, although I used it one last time to a movie so good that it doesn’t even need to be finished.
But in 2010, I surprisingly found sympathy within mopey characters aimlessly wandering the streets of Los Angeles. Or it could be London, where a reluctant king impersonates an Emperor penguin for the young daughters who themselves will make history. Boston also has its share of competitive brothers, both brothers and their entertainingly abrasive mother, sisters and wives. A brother and sister explore what we assume is Lebanon and learn a heart wrenching through, out of all things, mathematics. The fashionable Milan has a shy, Russian housewife learning what love is in its primal states, throwing her life away from him. And I learned how to love an overrated director since he created characters who can make the Parisian streets of their dreams shake and bend. The movies: Greenberg, I am Love, Meek’s Cutoff, Scott Pilgrim Vs. The World, The Fighter.
Other years under further investigation: 1927 – the year when the Academy started getting it wrong (Sunrise, Metropolis), 1939 – the height of the studios (The Wizard of Oz, Gone with the Wind), 1966 – the year when we said terrible things to each other a lot (Who’s Afraid of Virginia Woolf, Persona), 1988 – when he loved and hated the Germans (Der Himmel Uber Berlin, Die Hard), 1991 – genre versus genre (Silence of the Lambs, Terminator 2: Judgment Day) and 2001 – weirdest sexiest year ever (Mulholland Drive, Y Tu Mama Tambien).
I’m not even properly doing this list, while just writing about the first ten awesome films off the top of my head. [ETA: Because of distribution randomness, movies like The Conspirator won’t come out so I can’t really make a proper list until April this year. Nonetheless, here I am.]
I wanna commend the naturalism of Noah Baumbach‘s latest film Greenberg. I’m not sure if I can really call this mumblecore because I feel the emotions are just as explosive as it would in a typical drama. The characters of this film underact their deliveries of empty threats and misunderstandings, but they have to come back together eventually.
It wasn’t until now that I realized that I am Love echoes Hitchcock in portraying quiet eroticism, obsession and guilt within the elegant trophy wife Emma Recchi (Tilda Swinton). The editing is snappy yet buttery from, for example, close-ups of nature scenes to close-ups of Emma’s body perfectly captures the impressionistic waves of her emotions.
The obligatory animated film spot goes to How to Train Your Dragon, again, with its rousing music score that helps portray the fantasy within Hiccup (Jay Baruchel) as he befriends a slick dragon. It’s interesting to see an animated film convey such human intimacy and freedom, its modest ambitions captivating its audiences.
A tidbit in this month’s GQ described Inception as a heist version of an Alain Resnais film, and my love for this film makes sense by reading that. The film’s intricate structure messes with your head without seeming deranged. It’s an enveloping experience combining narrative, visuals and sound. Most importantly, it’s got style.
Edgar Wright’s Scott Pilgrim vs. the World is a marvelous achievement in editing that translates the comic book into film. I really felt like I was flipping through the book itself. The eye-popping graphics are also lovely, making the film an esoteric experience, going hand in hand with Scott Pilgrim’s (Michael Cera)’s energy level, kicking ass.
I’ve referred to the influences that Meek’s Cutoff, illuminating its audiences with colour while presenting the Oregon Trail’s dangers in quietness. Director Kelly Reichardt shows how much she’s mastered the art of composition, where every skirted, persevering woman or tree or rock looks like artwork. I can’t wait to get the film’s DVD to screencap it.
As I’ve said in my review of this film, I’ve given mercy fives but the one movie that truly blew me away this TIFF is Confessions, which, as I’ve said earlier, is a mixture of elegy and revenge as a genre. It also exposes a society where children do the unthinkable. people don’t stop learning but don’t evolve as mature human beings neither.
Debra Granik’s Winter’s Bone takes us with the tough Ree Dolly (Jennifer Lawrence) go head to head with her enemies who just happen to be on her extended family, like her uncle Teardrop (John Hawkes) and the matriarch (Dale Dickey). Despite the survivalist and drug-addled reputation it may give, this haunting tale put the Ozarks on the map.
I probably like The King’s Speech mostly for the quotes. Does anyone else think that the future King George VI’s (Colin Firth) words as adorable? Obviously the story about him and his unlikely mirror, Lionel Logue (Geoffrey Rush), both of whom show their inadequacies and hurdles. People who call this ‘Oscar bait’ are amateurs.
Another Oscar bait ‘guilty pleasure’ is The Fighter, a movie capturing the rustic, rupturing cadence of a working class family in Lowell Massachusets as they stick to their own mythologies through boxer and comeback hero Micky Ward (Mark Wahlberg). This movie has a male protagonist surrounded by strong women and is the definition of the ensemble cast.
- Top Ten Movies of 2010 — Aaron Peck Edition (seattlepi.com)
Hey, it’s Lucy from “The Office UK“/”Studio 60″/”Ugly Betty.”I don’t know which one of those shows that she had a character named Lucy but I’m gonna call her Lucy anyway. And a guy who plays Poppy’s (Sally Hawkins) brother-in-law in Happy Go Lucky. I swear casts in British films are so incestuous, although they never mix the ‘rich’ ones with the ‘poor’ ones. The one on the middle is Simon Pegg and the one who’s back is facing the audience is a zombie.
His name is Eddie…Paulson? Fact! The first time I saw this film was at Daylight Savings Time at Much More Music. Technically the movie went on for an hour. I also can’t remember how it ends. I’ve always been afraid to watch the movie on the big screen because apparently if you mess up the words, you get stripped in front of everyone. Anyway, Meat Loaf is telling off that boy something fierce. Also, why does every ‘bad’ movie between 1967 to 1980 need a muscle-y blonde man bimbo? That rule still exists today, a muscle-y blonde man bimbo appears as a character in Xavier Dolan’s Heartbeats.
Was Alfred Molina ever this skinny? Is my question too generous? Although I’ve only seen it enough to get the gist of it, I have the DVD here and my rusty French translates the title to Nights of the Devil or Diabolical Nights or something.
Ohh, Gaad! Anyway, I’ve always thought of Mr. Blonde (Michael Madsen) as Quentin Tarantino‘s on-screen double. Also, Coconut is so the best song in this movie.
Note to Americans: only the gay Canadians have the ‘beady little eyes.’ And fine, it’s funny hearing Anne Murray being called a bitch.
If I was a Congressman, I’d make America F**k Yeah the national anthem. Although best part of this film involves its parody of Susan Sarandon. And I usually hate homophobia in film, but seeing Tim Robbins and Sean Penn be called F.A.G.’s seemed really funny. Well, mostly because I hate Sean Penn.
After the Team America clip, we have this, and for a split second the curtains and the wallpaper made me think of the balcony space in ‘The Muppets.’ But no, this is a real person from Blue Velvet‘s wacky world. There’s always interludes of 1960’s American songs, and we thank David Lynch for seeing something dark in that decade. Speaking of the 60’s, I wonder what would happen if David Lynch directed an episode of “Mad Men.” Oh wait, that already happened.
Sookie! When I yelled that at the screen, the hipsters in front of me laughed. Funny thing is I don’t even watch “True Blood.” And again, I didn’t even know she was in this movie, especially since I loved Anna Paquin as a child. I previously blogged about how I hate Kate Hudson, but I kinda like her again here. Here her face still looks like that of an awkward teenager’s, and it’s still mesmerizing to watch her sing. I declare an Almost Famous curse, because the cast members except Billy Crudup ended up doing bad movies. Well, Paquin did have 25th Hour, and she’s better than doppelgänger Claire Danes can aspire to be.
I’m so ashamed to not know the lyrics to this song, because my dad is like the biggest Tears for Fears fan and I listened to this stuff in high school. My dad thinks the members of Tears for Fears met in a mental ward. Anyway, my favourite movie in high school, and one that needs revisiting stat! Also, when Donnie (Jake Gyllenhaal) and Gretchen (Jena Malone) kiss. Joy Division has never been better used in a soundtrack.
Joseph Gordon Levitt for mayor! Although Joe Levitt would sound like he’s running in the South.
Dance, white boy, dance!
‘Singin’ in the Dark’ programmer Shawn Hitchins says that this is what it’s gonna be like if Rob Ford gets elected for mayor. Best film criticism I’ve heard all year.
Courtney Love auditioned for the role of Nancy in… Sid and Nancy, but the casting agents considered her too young and it went to Chloe Webb. Love thanks the gods for not giving her the role because British TV called Chloe Webb ugly. I agree. And was Gary Oldman ever that young?
And we end this ding along with blasphemy. This is both optimistic and cynical. The Eric Idle character tries to comfort us, but they all end up alone and deserted, no one venerating them for their deaths. Yet.
Multitude of thanks to Hitchins for giving me the list of movies he chose for his sing along “Singin’ in the Dark” as part of this year’s Nuit Blanche, which is like the only event in my calendar. Photos courtesy of Universal (Shaun of the Dead, Blues Brothers) 20th Century Fox (Rocky Horror Picture Show), Alliance Atlantis (Boogie Nights) Miramax (Reservoir Dogs), Paramount (South Park: Bigger, Longer and Uncut), Pandora Films (Donnie Darko), MGM (Blue Velvet, Sid and Nancy), Fox Searchlight (500 Days of Summer) Warner Brothers’ Pictures (A Clockwork Orange), HandMade Films (Life of Brian).
Un Chien Andalou (1927) – Starting in one place and ending in another.
Looney Tunes (1930-1969) – Pointed out by Brad Brevet. Fight captions, as well as Scott leaving through the window.
A Star is Born ’37 – Lights on a cityscape far-ish away ?
The Lady Eve (1941) – Barbara Stanwyck reveals her many – fictional – exes to her new husband on public transportation. In the original graphic novel, Ramona does this on the Yonge-Finch subway train. Ha!
Singin’ in the Rain (1952) – Goofball bursts through painted backdrop. Also, love triangle between histrionic and ‘intellectual.’
Vertigo (1958) – John’s Ferren’s thin white whirlpool. [ETA: Also, zoom in dolly out when Scott and Lucas Lee run to each other and fight.]
Pillow Talk (1959) – Split screen, especially in phone conversations.
Eraserhead (1977) – The white screen.
Hausu (1977) – Asian schoolgirls, one of whom is named Kung Fu, and thus, kicks ass.
Star Wars (1977) – I can’t believe it took me days to realize the swords. Fucking duh!
The Last Waltz (1978) – Sex Bob Omb plays empty room. Also, Young Neil looks like a young Neil Young.
[ETA] Hair (1979) Medium (?) close-up of Knives Chau’s (Ellen Wong) image panning from right to left just like the Asian girl singing ‘Walking in Space.’
Phantom of the Paradise (1980) – Evil rock band contract deals. Final fight scene in rock venue where, SPOILER, both men technically die.
Ferris Bueller’s Day Off (1989) – Scott apparently modeled between Ferris and the other guy.
“Seinfeld” (1990) – I didn’t know Jerry was gay. Not that there’s anything wrong with that.
Poison (1991) – A gay guy and a straight in sleeping in the same bed?
Riki-Oh (1991) – Hero fights hunks first before fighting skinny Asian dudes. What the fuck is up with that?
Dracula ’92 – Enemy evaporates at will?
The Big Lebowski (1998) Dream sequence portraying altitude and doors and love.
Rushmore (1998) – Dweeb in a love triangle between white girl and Asian.
American Beauty (1999) – But instead of roses, there’s a shower of hearts.
Fight Club (1999) – Protagonist fights many enemies and eventually has a fight with SPOILER himself.
High Fidelity (2000) – Pretentious CD store with rude customer service – the Sonic Boom people are nice, by the way – and movie about exes and the one true love.
Romeo Must Die (2000) – Guy uses girl to fight other girl, or the other way around.
ETA: Harry Potter (film series) (2001-2011) – Scott’s sister says ‘It’s been over a year since you got dumped by “she who will not be named.”‘
Gerry (2002) – Hazy desert scene. Dead white boy.
Phone Booth (2002) – By the way, there is no phone booth like that in Bloor and Bathurst.
“Arrested Development” (2003) – Apparently Michael Cera and the lesbian ex dated in a string of episodes.
Kill Bill Vol. 1 (2003) – Animation interludes depicting violent childhood. Also, fight between velvety voiced white girl and shout-y Asian. [ETA: Scott fighting Lucas Lee’s stunt doubles remind me of the Crazy 88.]
Pirates of the Caribbean: The Curse of the Black Pearl (2003) – Pirates are in this year!
Eternal Sunshine of the Spotless Mind (2004) – Dweeb hooks up with girl who changes her hair colour a lot.
Shaun of the Dead (2004) – MegaScott kinda looks like Zombie Ed.
The Fantastic Four (2005) – Chris Evans. Good actor.
The Last Winter (2006) – CGI air animals? We’ve probably seen this before.
Superman (2006) – The unrecognizable Brandon Routh.
[ETA] Juno (2007) – Michael Cera probably loses his movie virginity for the first time here.
Let the Right One In (2008) – The snow and swings. Also, ovaries > balls.
The Fantastic Mr. Fox (2009) – Jason Schwartzman kinda plays a superhero ?
Up in the Air (2009) – Anna Kendrick reuses her archetypal role as the younger but sane one.
Chloe (2010) – Movie about Toronto, awesome architecture, creepy phone calls.
Armond White is correct, okay? There are tons of movie references. If I wanna over-read these references, most of the recognizable are from movies made in the past decade, which means that these movies are worth referring to. Despite my pessimism, new movies aren’t so bad after all.
Yes, it underperformed at the box office, probably because of apprehensions, as Peter Martin points out, that the references do target the ‘video game generation.’ The first reference I pointed out is from 1927. I don’t know if that helps ‘people over 30’ to be herded into the theatres, but if I could see a relationship to pop culture before video games, hopefully someone else will.
- Michael Cera tries 2 revive his career by making a viral video with Tony Danza (hipsterrunoff.com)
While introducing Riki-Oh, the Story of Ricky, Edgar Wright reads from a list of keywords that includes the different ways Ricky could do damage to the bad guys’ bodies. Foot on leg, head bashed in, head ripped off. I know they don’t even try to make the blood look real but it was still oh-so-disgusting.
‘He does one thing in the end and we ask “Why didn’t he just do that in the first place?”‘ I guess he just had to make sure that it wasn’t an empty gesture. But yeah, there’s many ways he could have escaped the prison or at least a room where he’s in. Don’t life the damn ceiling, that guy just broke the brick wall over there! But no, he has to do it the hard way. He has to be the hero, he has to hurt himself, he has to be shirtless all the time, he has to break flutes, he gets buried alive, he has to soak himself in the rain and do karate moves for dramatic effect. I do give him props for not getting grossed out while touching maimed body parts. And his acting is more tolerable if you’re hearing the dialogue in Chinese.
When the film looks back at Ricky’s childhood, his uncle asks, ‘You are no longer a boy, do you still have your superhuman strength.’ Because his uncle knows smooth segues like that. Knowing that, we understand how he can heal quickly when he gets cuts on his face.
Also, horrendous Asian haircuts. I also don’t understand why the gang leaders need licenses to ridiculous outfits and hairdos.
All in all, ridiculousness. Not that there’s anything wrong…
After talking about spousal abuse and Ingmar Bergman, I decided to let my hair down and go watch Flash Gordon ’80 as part of Edgar Wright’s series “The Wright Stuff,” educating Toronto hipsters about movies he likes. Flash Gordon is like Barbarella with a dude and less sex and more coherent and funnier.Basically, our hero Flash and his love interest, Dale, accidentally find themselves as prisoners and rebels on the Mongo empire. There’s a scene when Flash tries to telepathically communicate with Dale, but he gets distracted.
Flash: Oh my God. This girl’s really turning me on!
Dale Arden: I didn’t quite get that. Think it again…
Oh, girl. You did not wanna know.
Or the scene when the opposite prongs of the love triangle, Dale and Princess Aura finally meet. They yell at each other about being prisoners without talking about who is imprisoning them. And of course, pillow fight!
Maybe this movie was too early for its time, with its snark and all, but at the same time the aesthetics totally belongs to the cusp of the 80’s. It also fits within the transition between New Hollywood and the 80’s in a way that this movie is where the crazy went too far. But you know, it’s a beautiful film. Queen provides the soundtrack. Timothy Dalton is in a perfect age in this movie, acting as if this movie was Shakespeare, proposing to his girlfriend Princess Aura after she gets him out of the dungeons. Max von Sydow elevates yellow face into an art form, and yes, an Asian guy just wrote that.