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)
(The heading’s pretty self-explanatory.)
The first few minutes of “Greenberg” play like a lost Hal Ashby, watching Florence (Greta Gerwig) walking with a dog. It isn’t said if she’s a born Angeleno or if she moved from somewhere else. She straddles the line between smart and ditzy, having the same, almost drowsy voice that girls in their mid-20’s have. She’d be a full ditz if she didn’t have the indie girl look. She has a decent nightlife and sometimes has gigs in bars, crooning about the prairies. I live in Canada and I’m up to here with prairie shit and I didn’t know white girls sang about the prairies down there too.
Then Roger Greenberg (Ben Stiller) comes in to house sit and dog sit for her brother and the mood of the film changes into a portrayal of one bad date into another between Florence and Roger. “Do you remember they played Albert Hammond when it’s raining.” “You like old stuff?” For some frustrating reason she still comes back to him despite warnings from her best friend, who knows from Florence that he’s been in a mental institution, saying “If you see him again, I’ll stop talking to you.” Most of us would say the same thing.
For a while the movie veers into unwatchable territory. Some people have to be prepared for this kind of movie. I wasn’t – this is my first Baumbach. But at the same time, there’s an integrity in showing Roger mistreating people and accusing people of parental issues and people having awkward conversations and having really awkward sex.
The romance between Florence and Roger isn’t cookie cutter at all and it delivers a message that there’s probably no right person for anyone. Metaphorically, the two of them are different pieces of the puzzle. One thing they have in common except for their disfranchisement, which we don’t often remember because they clash so much. But in finding each other, they have to make it work.
There’s also honesty in the multitude of voices in this movie. There’s Florence, there’s Roger’s acerbic humour, there’s Roger’s college age niece and her friend calling other girls sluts. All of these portraits are brutal but not denigrating. When these voices clash, it could be excruciating but it’s, again, honest enough not to have the distance to make those characters hilarious – we empathize with them instead of being entertained by them. Most of the time we’re stuck with Roger’s, but despite how infuriating his personality could be, he is right about a few things and right about calling them out. His best friend (Rhys Ifans) shouldn’t go back to his marriage to a racist woman, it is annoying when people treat public spaces as their living rooms, and what is up with Florence’s ironic Girls Gone Wild story?
P.s. Saw this at the Varsity. I had to change seats because some old guy kept dropping sunflower seed shells on the floor, people kept their iPhones on to navigate through the dark theatre for their friends. Two fratboys in white T’s kept whispering to each other (I couldn’t hear him but a guy with a girlfriend yelled at them at one point), and finally walked out telling everyone in the theatre that the movie was fucking boring (they may have a point, but they didn’t stay ’till the end). These fuckers should have been filtered out after the second week but there they are at week 5. It’s both strange and comforting that Ben Stiller + Artsy movie join forces together and are still standing after a month. But again, apparently not everyone’s cup of tea.
P.s. Speaking of not everyone’s cup of tea, here’s a review from my friend’s friend, Julien.