Talking Movies

January 28, 2011

Top 10 Films of 2010

(10) Whip It!
Drew Barrymore’s sports comedy-drama about Ellen Page’s smart high-school girl rebelling against her conservative mother’s ideal of beauty pageants by joining the riotous Texas Roller Derby is an awful lot of fun. Filled with sparkling turns from a female comedic ensemble, and some well-choreographed and bone-crunching stunts, the creaking of the plot mechanics does become a bit audible in the second act, but the third act is pleasingly subversive on two counts.
(9) Avatar
This is closer to the Cameron of Aliens than we could have hoped for. The script appears to have been generated by the same computers as the impressive bespoke special effects but, Worthington aside, the actors sell it well, aided by the fact that Cameron remains a master of emotionally manipulative action sequences; with the 9/11 style destruction of Hometree genuinely upsetting while the final half-hour is pulse-poundingly emotive and well orchestrated.
(8) Kick-Ass
A little gem of ultraviolent comic-book capers from the imagination of Mark Millar this faithfully follows the origin myth template but without PG-13 imposed morality; Batman would be feared by criminals because he acted like Big Daddy, gangsters would react like Mark Strong’s exasperated Don. Matthew Vaughn’s script improves on its source material in mining an unexpectedly deep vein of emotional pathos in the Big Daddy /Hit-Girl relationship.
(7) Let Me In
Matt Reeves follows Cloverfield with an incredible stylistic switch but retains his stark vision. This intimate horror features a number of nail-biting suspense sequences and improves on the Swedish version by making Abby scarier and more manipulative, with Owen more complicit, and by re-instating moral horror into this coming-of-age story. Reeves upsets everything we know about Americanisation by taking an over-rated film and making it bleaker and more affecting.
(6) Iron Man 2
A fine and very fun film with excellent cleverly counterpointed performances from Downey, Cheadle, Rourke and Rockwell as a consulting villain and a real villain, and a responsible hero and a drunken hero. The first act moves at an insane pace verbally and is full of wonderful comedic touches. So what if Nick Fury solves the plot for Tony Stark, my gripe is with the inconsistent relationship between Pepper and the poorly used Black Widow and the déjà-vu action finale.


(5) Scott Pilgrim Vs the World
The comedy of the year is deliriously nonsensical, filled with joyous touches, played perfectly by the youthful ensemble (aided by insane cameos), and is chockfull of superb visual gags. It is, like Wright’s Hot Fuzz, a bit too long but this is as crazy and original as big studio films get and, like (500) Days of Summer , characters break-up not because of dastardly secrets but because they’re as fickle as Ramona with men or as shallow/cruel as Scott dumping Knives after two-timing her.
(3) The Bad Lieutenant
Werner Herzog’s ecstatic madness finally returns to his dramatic features in an examination of the bliss of evil. He drags a barnstorming performance worthy of Klaus Kinksi out of Nicolas Cage and plasters the insanity of his recent documentaries onto what is structurally a solid police procedural, before you add iguanas and drugs, and nonsense, lots of nonsense. This black comedy towers above Ferrara’s portentous original aided by a surprisingly reflective ending.
(3) A Single Man
Colin Firth’s stunning performance is only one of many dazzling elements in a heart-breaking film punctuated by outstanding moments of black comedy and shot with an amazing eye for style, sartorial and visual. Director and co-writer Ford has managed to transform a forgotten Christopher Isherwood novel into a compassionate meditation on human relationships and the crushing nature of bereavement and grief which is also sprinkled with hilarious lines.
(2) The Social Network
The founding of Facebook was played out with amazing scenes, lines, and ideas and gripped like a vice with a constant unnerving tension surrounding the actions of central villain Mark. There were echoes of Fincher past in Trent Reznor and Atticus Ross’ rumbling beats, especially underneath Sean’s first meeting with Mark and Eduardo, and Sean was in a way the Tyler of this tale, whose rejection leaves no happy ending. Sorkin’s script has witty repartee but its emotionally raw opening scene sets the movie’s tone. Favouring Fincher’s pessimism over Sorkin’s optimism makes this an uneasy masterpiece.


(1) Inception
Nolan wins not just for the tremendous redemptive emotional kick the whole movie builds to, when you read the film on its most superficial level where it’s too neat structurally for its own good, but because once you look deeper you realise that this is a puzzle piece worthy of a UCL English graduate; it supports many contradictory readings, none of them definitive. See a loose thread and pull and the garment does not unravel, it changes pattern and remains coherent. ‘Ellen Page’s character is too obviously an expositional device’. Yes, unless her insistence on talking through the plot with DiCaprio’s character is because she’s a therapist hired by the rest of the team to exorcise Mal from his memory… This is a blockbuster rubik’s cube of a caper movie combined with sci-fi thriller, which exploits the ability give physical reality to subconscious emotional scars, in order to dazzle both eyes and mind with spectacle, ideas, and meaty drama.

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February 10, 2010

A Single Man

Fashion designer Tom Ford makes a stunning directorial debut with a film whose unsurprisingly impeccable tailoring and gorgeous visuals are matched by surprising depth of characterisation and emotional maturity.

Colin Firth stars as George Falconer, a very English professor of literature in a small college in Los Angeles who we follow over the course of one day, November 30 1962. The Cuban Missile Crisis has the world on edge but for the suicidal George the world already ended 8 months previously when his partner Jim died in a car accident. This being 1962 George has no public outlet for his crushing grief, indeed, in the most upsetting scene you will see all year, George only finds out about Jim’s death because one of Jim’s cousins defies Jim’s parents and rings from Colorado to inform George, before telling him that he can’t come to the funeral – which is for family only…

George outwardly appears to be exactly who is supposed to be, as he informs us in the opening voiceover but he is pretending on two levels, and the more important deception is not the pretence that he is straight but the pretence that he is okay. In fact he struggles to find any compelling reason to get out of bed every day as the one person who anchored his existence in the world is gone. Ford makes great use of suddenly varying the colour saturation within shots to show the bleakness of the world from George’s point of view, with occasional surges of colour when he is momentarily aroused or excited, or when he is overtaken by a sudden flood of memories.

Matthew Goode is wonderfully warm in these flashbacks as Jim, George’s partner of 16 years. What’s most refreshing is that Ford’s depiction of this gay couple prioritises the latter element over the former as we see them in scenes of cosy domesticity trading barbed insults alongside serious musings. A scene where they discuss women is marvellous for mapping changing gay mores as George remembers his youthful sexual relationship with his best friend Charley (Julianne Moore), an alcoholic divorced fellow English exile who is now his most tangible link with the world. Charley and an enigmatic young student (Nicholas Hoult) who is apparently stalking him might be the only forces able to stop George from killing himself, other than his endless inability to find a comfortable enough position in his bed in which to pull the trigger – a sequence of jet-black hilarity.

Ford, who financed the film as well as co-writing and directing, has managed to transform a forgotten Christopher Isherwood novel into a compassionate meditation on human relationships which is also sprinkled with hilarious lines. Firth’s performance which is full of dry wit beside the expressive grief is a career highlight in an early contender for film of the year. Highly Recommended.

4/5

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