Friday, February 25, 2011

My TOP 10 FILMS of 2010

This is approximately my 5th Annual Top 10 Films of the Year List, and this, the 2010 Edition, was easily the most difficult so far. 2010 was a tale of two years. The first half of the year was unbearably AWFUL. The second half was EXCELLENT! From January through June I had almost no motivation to get to the theater because everything looked so bad. But the second half of the year has been so crowded with great movies that putting together this Top 10 became incredibly difficult. When it’s all said and done I think 2010 will go down as a great year in film history. Let’s take a look at the list.

1. Brest Fortress [Brestskaya krepost] – This Russian film hasn’t seen the light of day in America, and most of the world for that matter (I had to watch it on Youtube). It’s the tale of the beginning of the conflict between the Soviets and Nazi Germany during WWII, and it’s an absolute masterpiece. Life is going well in the Fortress, but everyone knows war is coming soon. They just don’t know how severe the impact will be and the price they will have to pay. Soldiers and their families fight to defend their ground in the face of certain death. It’s at once inspiring and shattering. The acting is authentic, and the cinematography is top notch, capturing both beauty and utter devastation. The action is unrelenting, but character is never forgotten. After I saw Black Swan I didn’t think there was any way it could be knocked off the top spot… but then Brest Fortress came along. (If you're interested in watching this film, the only way I know how right now is to click this link. http://www.youtube.com/watch?v=JJCUNZbQvjY)

2. Black Swan – This is exactly the type of film that is all too rare in today’s Hollywood. Black Swan is bold; a true artistic statement, yet it doesn’t fail to entertain. This film proves you can break the mold, take dark, edgy subject matter, and still produce a hit. Sadly, Hollywood these days tends to chalk up the success of this type of movie as an anomaly, and then continues to churn out remakes, reboots, sequels, and formula driven comedies. Black Swan is nothing of the sort. It’s the story of a ballet dancer played by Natalie Portman who lands the lead in her company’s production of Swan Lake. It’s a stressful role, demanding perfection in two different styles of dance, and she must go beyond her natural limits to live up to expectations. It’s beautifully shot, acted perfectly, and the tension mounts with every passing moment. It’ll also make you afraid of mirrors for the rest of your life.

3. The Social Network – By now we’ve all become hooked on Facebook, the social networking website that allows you to “connect” with “friends” virtually. This is the story of how (and why) it was created, as well as the subsequent lawsuits that came as a result of its massive success. Much like Black Swan, it takes a subject that very easily could have been done by the numbers; boring and mundane. But it wasn’t. It used a fractured narrative, cross cutting between the linear story of Facebook’s evolution as told from the perspective the two lawsuits. Trent Reznor of Nine Inch Nails did the original score, and the result is an undertone which adds a sinister depth of meaning to every frame. If you think this is just “some movie about a website” you’ve got another thing coming. It’s a near perfect tale of trying to earn respect, but going about it in all the wrong ways.

4. Harry Potter and the Deathly Hallows (Part 1) – The seventh installment of the massively successful Harry Potter franchise is one of the best yet. Personally, I’ll always love The Prisoner of Azkaban the most, but Deathly Hallows Part 1 is perhaps the most “real film” of the series. By that I mean that it takes itself the most seriously, presenting the story not as if it’s part of a children’s fantasy series, but rather as if it’s any other drama. Sure, there’s magic, but it’s presented in such a way that it’s just an assumed part of the story. The film makers assume we’re caught up and don’t bother trying to wow us with overt magical spectacle. Instead they focus on story and character, and let the action unfold naturally.

5. The American – This film hit #1 in its first week, but not very many people liked it. Why? Deceptive marketing. The trailers made The American look like an action spy thriller. In actuality, it was nothing of the sort. It was a slow character study. Not much dialogue. Emphasis on non-verbal storytelling. Long, still shots. When you’re expecting a non-stop thrill ride and instead you get a “boring” art film, most people will be disappointed. I, however, was pleasantly surprised. This film is so much more than we were led to believe. It’s beautiful, and by the end you can cut the tension with a knife. I hope that in time the reputation of this great film comes to reflect its true nature, rather than the one people were hoping for.

6. Biutiful – This is a sprawling film. It’s a Spanish film, the story of a man dying from cancer, trying to set his complicated affairs in order before he runs out of time. He also has the gift of being able to communicate with the recently deceased, and this ability plays an interesting role in the story. Biutiful gives an interesting glimpse into the Spanish underworld of human trafficking, and also of lower class family life. It’s a very difficult film to do justice with a blurb. All I can say is that it’s one of those films that it worth watching even though it’s heavy and challenging.

7. Winter’s Bone – This is the story of a teenage girl who is running her household after the disappearance of her father. She’s going to school and trying to feed her siblings at the same time. It turns out her father is due in court and he’s put up the family home as collateral. If he doesn’t show up for his hearing they’ll lose the house, so she has to go find him. In the process she uncovers an underground drug network and faces increasing danger while she tries to save the family. Like The American, it’s a film that takes its time with each shot, never rushing to get through the story. We have to peal the onion at the same pace as the protagonist.

8. 127 Hours – Quite frankly, this is a film that just shouldn’t work. It’s the true story of Aron Ralston, a young outdoorsman who gets his arm stuck under a boulder while backpacking through a canyon in Utah. The vast majority of the film is Aron pinned under the rock, talking to himself and trying to survive as long as possible. But through clever use of flashbacks and voice over it’s a thrilling tale of the power of the human spirit.

9. The Town – Ben Affleck’s second film as a director proves that his solid debut, Gone Baby Gone, was no fluke. It’s the story of a crew of bank robbers in Boston. They hit a bank and take a hostage as cover during their escape. After they let her go they have to make sure she can’t identify them, so Affleck’s character tales her, approaches her, and eventually starts a relationship with her. In the meantime, the FBI is busy trying to take down the crew while the local crime boss is pressuring them to take even more daring scores. Of the many films over the years that have compared themselves to the masterpiece Heat, this is the first one that can legitimately do so.

10. Remember Me – Of all the films I’ve seen from this year, none had the emotional impact on me that Remember Me did. Objectively speaking, it probably doesn’t really deserve to be on the list, but I’m giving it extra points for making me feel something. It’s a, throwback. It reminds me of films of another era, like A Streetcar Named Desire or Rebel Without a Cause. There’s something raw and dangerous about this film. Robert Pattinson, known most for the Twilight films, seems like the second coming of James Dean and Marlon Brando all rolled up together in this movie. It’s the story of a young man trying to make his way through life on his own terms, frequently in trouble, until he meets the girl of his dreams. Trust me, it’s a lot less corny than it sounds, and the ending will leave you shaken to the core.

Special Mention. Catfish – This is a documentary, and I’ve never known how to rate documentaries against traditional films, so I just don’t. But you should make an effort to see Catfish. The Social Network may be known as “The Facebook Movie” but Catfish is actually the real deal, defining this generation in ways that the former doesn’t. It’s scary because it’s real. It’s almost impossible to talk about the specifics of the film without spoiling it, so just do yourself a favor and rent it from your local Red Box.

The rest of the films I’ve seen from 2010, ranked & rated...

11. Inception - 9/10
12. Greenberg
13. Edge of Darkness
14. Blue Valentine
15. The Fighter
16. Green Zone

17. The Kids Are All Right – 8/10
18. The King’s Speech
19. Toy Story 3
20. Shutter Island
21. Kick-Ass
22. True Grit
23. Scott Pilgrim vs. The World

24. Robin Hood – 7/10
25. Unstoppable
26. Clash of the Titans
27. Despicable Me
28. The Book of Eli

29. Alice in Wonderland – 6/10
30. Date Night
31. Leap Year
32. The Other Guys

33. Valentine’s Day – 5/10

There are actually quite a few films that I wanted to see that I haven't been able to get to yet. However, I always try to put my Top 10 list out around Oscar time, so I had to go with what I've seen so far. Here's a list of films from 2010 that I still need to see. Once I get to these I might do an updated version of the list.

How to Train Your Dragon, Flight [Udaan], Mission London, Another Year, Rabbit Hole, Tron: Legacy, Secretariat; LSD: Love, Sex, and Deceit; Never Let Me Go, Wall Street: Money Never Sleeps, The Ghost Writer, Buried, Easy A, I'm Still Here, Cemetary Junction, Four Lions, Somewhere, I Saw the Devil, Incendies

Tuesday, January 4, 2011

My TOP 100 FILMS

The following list is my Top 100 Films of All-Time. I started this list when I was about 12 and I've kept updating it for the past 14 years or so. It's meaning has changed a bit with each incarnation. Right now, it's an interesting blend of films that I feel are the greatest, in a more objective way, and films that are personal favorites of mine, more subjectively. Enjoy!

AlexanderKhan's TOP 100 FILMS

1. Apocalypse Now (1979, F. Coppola)
2. Lawrence of Arabia (1962, D. Lean)
3. The Thin Red Line (1998, T. Malick)
4. 8 ½ (1963, F. Fellini)
5. 2001: A Space Odyssey (1968, S. Kubrick)
6. Mulholland Dr. (2001, D. Lynch)
7. Raging Bull (1980, M. Scorsese)
8. The Godfather Part II (1974, F. Coppola)
9. Heat (1995, M. Mann)
10. Alien (1979, R. Scott)

11. Lost in Translation (2003, S. Coppola)
12. Amadeus (1984, M. Forman)
13. The Empire Strikes Back (1980, I. Kershner)
14. The Insider (1999, M. Mann)
15. Goodfellas (1990, M. Scorsese)
16. Blade Runner [Final Cut] (1982, R. Scott)
17. Once Upon A Time in the West (1968, S. Leone)
18. The Assassination of Jesse James by the Coward Robert Ford (2007, A. Dominik)
19. Seven Samurai (1954, A. Kurosawa)
20. The Lord of the Rings: The Return of the King (2003, P. Jackson)

21. Malcolm X (1992, S. Lee)
22. The Shawshank Redemption (1994, F. Darabont)
23. Crouching Tiger, Hidden Dragon (2000, A. Lee)
24. Magnolia (1999, P.T. Anderson)
25. There Will Be Blood (2007, P.T. Anderson)
26. The Silence of the Lambs (1991, J. Demme)
27. City of God (2002, F. Meirelles)
28. The Godfather (1972, F. Coppola)
29. Network (1976, S. Lumet)
30. The New World (2005, T. Malick)

31. Dances With Wolves (1990, K. Costner)
32. The Nightmare Before Christmas (1993, H. Selick)
33. Vertigo (1958, A. Hitchcock)
34. Aliens (1986, J. Cameron)
35. La Dolce Vita (1960, F. Fellini)
36. Ali (2001, M. Mann)
37. Field of Dreams (1989, P.A. Robinson)
38. The Lord of the Rings: Fellowship of the Ring (2001, P. Jackson)
39. Das Boot (1981, W. Petersen)
40. Fargo (1996, J. Coen)

41. The Aviator (2004, M. Scorsese)
42. Harry Potter and the Prisoner of Azkaban (2004, A. Cuaron)
43. The Big Lebowski (1998, J. Coen)
44. Persona (1966, I. Bergman)
45. Mr. Smith Goes to Washington (1939, F. Capra)
46. Kingdom of Heaven [Director’s Cut] (2005, R. Scott)
47. In The Bedroom (2001, T. Field)
48. The Graduate (1967, M. Nichols)
49. Schindler’s List (1993, S. Spielberg)
50. Star Wars (1977, G. Lucas)

51. Bringing Up Baby (1938, H. Hawks)
52. Pulp Fiction (1994, Q. Tarantino)
53. Apollo 13 (1995, R. Howard)
54. Taxi Driver (1976, M. Scorsese)
55. The Lives of Others (2006, F.H. von Donnersmark)
56. 25th Hour (2002, S. Lee)
57. The Constant Gardener (2005, F. Meirelles)
58. Shaun of the Dead (2004, E. Wright)
59. Stranger Than Fiction (2006, M. Forster)
60. Blue Velvet (1986, D. Lynch)

61. Adventureland (2009, G. Mattola)
62. Cache (2005, M. Haneke)
63. Wild Strawberries (1957, I. Bergman)
64. Donnie Darko (2001, R. Kelly)
65. (500) Days of Summer (2009, M. Webb)
66. Synecdoche, New York (2008, C. Kaufman)
67. Pan’s Labyrinth (2006, G. del Toro)
68. Sling Blade (1996, B. Thornton)
69. The Prestige (2006, C. Nolan)
70. Days of Heaven (1978, T. Malick)

71. The Road (2009, J. Hillcoat)
72. Requiem For A Dream (2000, D. Aronofsky)
73. Gattaca (1997, A. Niccol)
74. WALL-E (2008, A. Stanton)
75. I’m Not There. (2007, T. Haynes)
76. Inland Empire (2006, D. Lynch)
77. 21 Grams (2003, A.G. Inarritu)
78. In Bruges (2008, M. McDonagh)
79. Lenny (1974, B. Fosse)
80. Moon (2009, D. Jones)

81. Coraline (2009, H. Selick)
82. The Fountain (2006, D. Aronofsky)
83. The Reader (2008, S. Daldry)
84. Brokeback Mountain (2005, A. Lee)
85. Traffic (2000, S. Soderbergh)
86. Moulin Rouge! (2001, B. Luhrmann)
87. Die Hard (1988, J. McTiernan)
88. Dazed and Confused (1993, R. Linklater)
89. Trainspotting (1996, D. Boyle)
90. Rear Window (1954, A. Hitchcock)

91. The Virgin Suicides (1999, S. Coppola)
92. Dogville (2003, L. von Trier)
93. The Matrix (1999, A. Wachowski/L. Wachowski)
94. Twelve Monkeys (1995, T. Gilliam)
95. The Diving Bell and the Butterfly (2007, J. Schnabel)
96. On The Waterfront (1954, E. Kazan)
97. Fight Club (1999, D. Fincher)
98. Chinatown (1974, R. Polanski)
99. American Beauty (1999, S. Mendes)
100. The 400 Blows (1959, F. Truffaut)

Tuesday, September 28, 2010

Busted Block: The End of an Era

On September 23rd, Blockbuster Inc., the video rental company, filed for bankruptcy, ending one era and beginning another. Blockbuster is saddled with over $900 million in debt and has been in decline for the last few years due to the rise of mail-based rental companies like Neflix, On-Demand services from cable and satellite TV companies, and cheap rental kiosks. Blockbuster has been closing locations by the hundreds and old-fashioned brick and mortar based movie renting is on its way to the grave.
There was a time, not all that long ago, when people would venture out to the video store, browse the shelves, read the plot summaries on the back of the boxes, and select a movie or two to take home for the next few days. It was a family affair, parents often taking their kids out to find something to watch together in the living room. But times have changed. It’s an “on-demand” age now.

While Blockbuster is working out a deal with creditors to allow its doors to stay open (for now), the days of being able to go to a mainstream video rental house are numbered. They will operate with only a few physical locations and focus on a digital business going into the future. Digital is the new videotape.

Now it’s more common to simply click through your cable menu screens to select a movie to watch instantly on one of your three flat screen HDTVs, or to scroll through your Netflix queue to see what to bump up to the top so all you have to do is walk to your mailbox to grab the latest release. Netflix also has an Instant View option which allows you to stream movies and television episodes on your computer. This feature also works through some videogame systems like Nintendo’s Wii or through Blu-ray players hooked up to the internet. There’s also an increasing number of automated kiosk rental stations, such as Redbox. For about a dollar you can drive to the nearest Redbox machine and select a title from a list of new releases to be returned the next day.

For the consumer, these are all positive developments. Advances in technology allow viewers to have access to a greater number of titles with dramatically improved quality from the days of VHS tapes on 4:3 SDTVs, often for a lower price. You get to see exactly what you want, exactly when you want it. But could there be any downsides to this new digital, on-demand marketplace?

In the grand scheme of things, it wasn’t all that long ago when there were only three major television networks and the only movies you could watch at home were the ones the networks decided to run. It wasn’t until the 80s when VHS broke into the market, and up until then consumers had no real choices if they felt like watching a film at home. But it was this lack of choice that fostered a shared national culture. The entire country watched the same shows and saw the same movies, including older classics. Perhaps it’s easy to see the rise of on-demand media as purely beneficial, giving people real control over something in an otherwise stressful, modern life. But these benefits do come at a cost.

The fibers that bind Americans together are tearing. Politics are becoming more extreme at both ends of the spectrum, and part of the reason for this is because people are increasingly exposed to only the media they choose, directly. Instantly. While we have much easier access to media we immediately desire, it’s becoming much more difficult to be exposed to ideas we don’t already agree with, or to randomly discover a great film just because it’s the only thing playing on TV that night or because you stumbled upon the box at the video store. It might not be much, but think about that the next time you’re ordering a movie on-demand, instead of taking a trip to your local Blockbuster.

Wednesday, June 23, 2010

Busted: The Failure of the 2010 Summer Blockbuster

Thirty-five years ago, a film was released that ushered in a new era in Hollywood and forever changed the way movies were marketed to the public. The film, directed by newcomer Steven Spielberg, was called Jaws and it invented the “Summer Blockbuster”. It wasn’t long before George Lucas followed in his friend’s footsteps and released Star Wars, proving the concept was here to stay.

In the subsequent years Hollywood perfected the idea, often advertising the big summer releases 6 months in advance during the Super Bowl. Summer Blockbusters have the actors with household names, they have the biggest production budgets, the best special effects, and they’re adapted from the most popular books. At this point, 35 years into the game, it’s a tried and true formula that almost never fails to turn big profits for the industry. That is… until this year.

Sex and the City 2 took in $26 million less than its predecessor during its opening week. Comedies like Killers and Get Him to the Greek debuted with only $16 million and $18 million respectively, far less than similar films in recent summer seasons. Shrek Forever After, the forth film in the incredibly successful Shrek series, is pulling in the worst numbers of its franchise. Ridley Scott’s Robin Hood just barely cracked $100 million domestically, though it did much better overseas. It’s the same story with Prince of Persia. So far only Iron Man 2 has proven to be really successful, making more than the first installment did in 2008.

The 2010 summer season has studios scratching their heads as film after film expected to make a big splash has disappointed at the box office. But the explanation should actually be quite obvious. Hollywood’s own past success has crippled its creativity, and the lack of ideas is becoming all too noticeable. Exhibit A, The Sequels: Iron Man 2, Sex and the City 2, Nanny McPhee 2, Twilight 3, Toy Story 3, Step Up 3, and Shrek 4. Exhibit B, The Adaptations, Remakes, and Spin-offs: Prince of Persia, MacGruber, The A-Team, Jonah Hex, The Karate Kid, The Last Airbender, Robin Hood, and Get Him to the Greek. Starting to get the picture? The vast majority of the big films being pushed this season are either rehashed ideas or sequels made in an attempt to cash in a second (or fourth) time on the strength of previous success. It’s lazy, and it seems as though the public has finally caught on.

The thing that’s easy to forget about the original Summer Blockbusters like Jaws and Star Wars is that they were simply really good stories that focused on character development and had well written scripts. They just so happened to be told in a big, flashy way and marketed on lunch boxes, but the core values of quality film making were never left out at the expense of a cool special effect. Jaws, Star Wars, along with many other big summer films that followed, were successful because they connected with people on a human level. Story first, spectacle second. Ultimately, whether they know it or not, audiences crave this type of personal connection, and this summer Hollywood isn’t providing it; instead insulting the audience by assuming that any old sequel will sell.

However, even after the darkest night, the sun will eventually rise. Inception, directed by Christopher Nolan, fresh from The Dark Knight, and starring Leonardo DiCaprio, is due out July 16, and it looks to be just the kind of interesting, thought provoking, personal film that could salvage the summer movie season. Hopefully audiences go see it in droves, sending a message to Hollywood that it takes more than slapping a “2” at the end of a title to guarantee a hit.

Tuesday, June 22, 2010

New DVD/Blu-ray Release: Remember Me

New DVD/Blu-Ray Release: “Remember Me” (Available June 22)

Remember Me, a film by director Allen Coulter, starring Twilight’s Robert Pattinson, is the type of film that is becoming too rare in today’s Hollywood system. It oozes raw energy, drips authenticity and heart, has a thought provoking, well written script, and it only cost $16 million to produce. Too often films today are designed as franchise vehicles and use their $100+ million budgets as marketing tools. Remember Me, however, is a real film, centering around a young man named Tyler in New York struggling with the death of his older brother and a detached, workaholic father, played surprisingly well by Pierce Brosnan. Tyler is intelligent but directionless, and ends up in some trouble with the law. But it’s this incident, which doesn’t seem overly significant at the time, that leads him down a new path in life. He meets a girl named Ally (Emilie de Ravin), who happens to be the daughter of the officer (Chris Cooper) who arrested him. Despite the fact that they are very different people, they quickly form a strong bond, and suddenly the world is a little less lonely.

This movie is a must see for anyone seeking a quality, meaningful film in a year where we’re asked to endure Iron Man and Sex and the City sequels. Pattinson is proving to be an actual talent with real potential beyond the Twilight series, and he has real chemistry with co-star de Ravin, best known for her work on the TV series Lost. Brosnan and Cooper are Hollywood veterans and they lend considerable gravity to their supporting roles. Remember Me is exactly the kind of movie we need right now, a film that reminds us of the power of true film making, where character and story matter above flashy special effects. Make sure to stick this one through to the end, because the ending perfectly ties subtle narrative threads together that run under the surface throughout the whole film.

YOU MIGHT ALSO LIKE…

A Streetcar Named Desire (1951)

Remember Me is a film filled with raw emotion and as a viewer you never feel entirely safe. It has a dangerous, gritty quality while still retaining accessibility and charm. While A Streetcar Named Desire has a very different plot, it is also defined by a raw sexual energy and a general feeling of insecurity, set in an authentic urban environment. Directed by Elia Kazan and starring Marlon Brando, Vivian Leigh, and Kim Hunter, Streetcar is an all-time classic.

Blanche DuBois (Leigh) arrives in New Orleans, trying to outrun her personal problems, and drops in on her sister Stella (Hunter) and her husband Stanley (Brando). Stanley is a dominating figure and the presence of Blanche upsets the dynamic of his relationship with Stella. After learning about Blanche’s past troubles there’s a crash course to an inevitable confrontation that doesn’t end well.

Sunday, March 28, 2010

Sci-Fi at the Oscars

Most movies fall into only a handful of major genres. Drama, Comedy, Action/Adventure, Musical, Fantasy and of course… Science Fiction. You might think that since there are only a few basic categories that at one point or another a film from each major genre would have earned Best Picture at the Academy Awards. But not so. No Sci-Fi film has ever won the top prize, and in the entire history of the Oscars only a few have even been nominated for Best Picture.

Before this year, the only Sci-Fi films ever to be nominated for Best Picture were A Clockwork Orange (1971), Star Wars (1977), and E.T. The Extra-Terrestrial (1982). That’s it. Three films since the annual ceremony began in 1927.

Then, in 2009, two Sci-Fi films were nominated among the expanded field of ten films, nearly matching the entire history of the Oscars in a single year. Those films were District 9 and Avatar.

District 9 was a relatively low budget film, set in South Africa, and it told the story of aliens being forced to live in a prison camp. It was a political film that echoed the real life struggle of the black population under apartheid in South Africa. Avatar was a massive three hour epic that pioneered a new type of motion-capture digital animation in 3D about a soldier who infiltrates an alien tribe using “avatar” technology. A human gets strapped into a machine and their consciousness is linked to a new body genetically engineered to look like those of the aliens. It went on to make more money than any other film in history, proving the box office viability of the Sci-Fi genre.

There were also other great Sci-Fi films in 2009. Star Trek, the re-booted story of the classic original characters, got the famous franchise that began in the ‘60s back into the mainstream. It got back to the roots of the original series, combining drama, humor, and adventure. There was also a very low budget film called Moon, starring Sam Rockwell who turned in perhaps the best performance of the entire year, about an astronaut on a three year solo mission on the surface of the moon. Science Fiction has a unique ability to make political points and comment on our culture by showing us other worlds, species, and time periods. Sometimes in order to learn about ourselves we need to put the story into a context that isn’t quite so familiar. Star Trek shows a future in which humanity has cured disease, stopped wars among countries, and united as a planetary race to explore the universe after it is discovered Earth isn’t the only home for life out there. District 9 exposes the ugliness of prejudice and racism by showing how fear leads people to subjugate those they don’t understand. Both Moon and Avatar make statements about corporate greed and the willingness to sacrifice lives and natural wonders for the sake of making money.

Science Fiction films have always played an important role in our popular culture, but have never quite gotten the respect they often deserve from the critics. They are never taken quite as seriously as they should, perhaps because of their subject matter. The very thing that allows them to be great can also make them appear silly on a surface level. But hopefully, 2009 was the beginning of a resurgence in the Science Fiction genre, and one day soon a Sci-Fi film will actually take home the Oscar for Best Picture.

Monday, March 8, 2010

TOP 10 FILMS OF 2009


10) A SINGLE MAN - No, NOT A Serious Man. That's a different movie altogether. A Single Man was maybe the most beautiful movie of the year. Each shot is meticulously composed by first time writer/director Tom Ford, previously best known for his work in the fashion industry. Colin Firth redefines himself as a leading man in this film, giving one of the best performances of the year. It's a film about realizing what's important in life and sorting out your priorities while you still have time.

9) THE IMAGINARIUM OF DOCTOR PARNASSUS - This was Heath Ledger's last film. He died during production, but his final performance was fantastic, as were the performances of his friends (Johnny Depp, Jude Law, Colin Farrell) who filled in to complete his work after he died. Terry Gilliam directed a film in Imaginarium that is almost impossible to describe and it has to be seen to be believed. It's a wild, artistc free-for-all.

8) UP IN THE AIR - This is a film that on the surface appears to be very ordinary, but it's filled with such subtle quality, and it's the perfect film to define the economic times we're in today. Of the 10 films nominated for Best Picture, this is the only one that I agree should have been among the 10 best of the year.

7) MOON - Compared to the 3 big Sci-Fi hits of 2009 (Avatar, Star Trek, District 9) very few people saw this low budget gem. But I highly enourage everyone to see it now that it's been released on DVD and Blu-ray. Sam Rockwell turned in the single best performance of the entire year, and it's a shame he didn't even get a nomination for his brilliant work as an astronaut on a 3 year solo mission at a mining colony on the surface of the moon. This is the 2001: A Space Odyssey of this generation, without the psychedelic ending. That being said, it's still a bit of a mind bender.

6) CORALINE - UP was good, but Coraline was better. Digital animation may be king right now, but this old-school stop-motion animated film is a wonder to behold. Not only is the animation beautiful, but the voice acting is top notch, especially by Teri Hatcher. It's a dark tale about a bored kid who goes on an adventure to entertain herself, and it leaves the audience spellbound as well.

5) WATCHMEN - This film, adapted from possibly the greatest comic book/graphic novel of all-time, was said to be impossible to film. One, because of the sheer size and scope of the complicated story, and two, because it would just be so hard to do justice to the source material in a normal feature length film. But Zack Snyder was able to do just that. It's a superhero movie unlike any you've ever seen before. It supposes that costumed heroes are just regular people and it analyzes what their impact would be on society and on the psyche of those who wear masks to fight crime. It's dark, bloody, and not your father's comic book movie.

4) THE ROAD - Based on the Pulitzer Prize winning novel by Cormac McCarthy, The Road tells the tale of a post-apocalyptic world in which almost all life on Earth is dying, food is scarce, and your life depends on staying hidden from bands of cannibals. The novel is a masterpiece, but the film succeeds in being even darker, bleaker than the source material. Viggo Mortensen turns in another amazing performance as a father trying to keep himself and his son alive for as long as possible, and the cinematic vision of the film is so complete you really fear for the lives of the characters and feel that any moment could be their last.

3) (500) DAYS OF SUMMER - This was the big surprise of the year for me. Just a wonderfully perfect movie. The soundtrack is fantastic and the two leads, Zooey Deschamel and Joseph Gordon-Levitt, turn in excellent performances as lovers who weren't meant to be. (That's not actually a spoiler because they tell you in the first minute of the movie). It's a fantastic twist on the "boy meets girl" formula and it's a movie that can be re-watched 100 times and never get old. It resonates on such a personal, emotional level while still being able to maintain a light tone.

2) HARRY POTTER AND THE HALF-BLOOD PRINCE - I don't know how they do it, but the Harry Potter series just keeps getting better. Half-Blood is the best installment from the wildly popular series so far, and that's saying a lot. While it may have been disappointing to those looking to see more magic and fantasy, the story instead really develops all the characters into three dimensional people, perfectly setting up the final film. It's a slow burn, and by the time you get to the end your emotions are running sky high. It's about love, loyalty, life, and death. Look for an excellent performance from the young actor Tom Felton as Draco malfoy.

1) ADVENTURELAND - And Finally, the best film of the year, Adventureland. It was mis-marketed as a silly teen comedy, trying to capitalize on the success of Suberbad, but Adventureland is so much more than that. It's a deeply personal story about a kid about to go to an ivy league college, but his parents are suddenly in financial trouble and can't afford to send him to the school he's been accepted to. Instead of taking a trip to Eurpoe with his friend he's forced to take a a job at the local amusement park. It's a coming of age tale told in such a delicate and honest way. Honest is really the best word I can use to describe the film. There is never a moment that rings false, and the acting and pacing is perfect throughout. Unfortunately, this amazing film only made about $16 million at the box office, but if there's any justice in the universe it will become a hit as people look back at it over the years.


Close, but no cigar...

The Hurt Locker
Where the Wild Things Are
Star Trek
In The Loop
Drag Me To Hell
Whip It
9
UP
The Hangover
Inglourious Basterds
Away We Go
Public Enemies
A Serious Man
Nine
District 9

(and no, Avatar wasn't even in the running. An amazing technical achievement to be sure, but the script is so poor that it just knocked it too far out of the contest.)