explorations

Favorite Films of 2009

Now that I've caught up on my favorites from 2010, I remembered that I never posted my top list for 2009—not here on my blog, anyway. And since I posted a list on Facebook, I've seen several more that have seriously adjusted the order.

2010 was a pretty dim year for film, given the Renaissance that we're in right now. A couple really strong ones, but not much else. 2009, on the other hand, is a year that's seeming stronger with every film I see from it. It was tough for me to narrow down to 20 the first go around. It's even harder now. So, with the normal caveats, here goes:

20. Avatar (directed by James Cameron). Despite its love-it or hate-it status, this one has significant value—without being the best film of the year. Yes, its plot is mythic, so if it sounds familiar, it's because it's been told for thousands of years. Yes, its dialogue is awkward, and its acting is wooden, because it was written and directed by James Cameron. The film's real contribution is that it doesn't just initiate film back into the genre of 3D, but does it wholeheartedly, embracing the concept of what kind of story could unfold within that space . . . as opposed to adding frills on afterward.

Favorite Films of 2010

It's that time again. Time to reflect back on the year in film that was, and the films that really made an impression on me. You may remember I'm not a believer in "best" lists (you can't compare apples and oroblancos). I'm also aware that what I thought was best may not resonate with you—since we all love films for personal reasons.

So here goes, the top 10 films that moved me in 2010:

10. Exit through the Gift Shop (directed by Banksy). Is it captivating insight into the world of street / guerilla art? Or is it an exercise in the whims of the art culture? Yes. You may have heard of Banksy by now, one of the most famous—and elusive—of modern artists. This is his first film. Aside from being thoroughly entertaining, the documentary explores new territory in format: most of the footage began as part of another, really lame documentary that Banksy remade into his own. The line between fake and real also becomes curiously thin.

Why do people love Black Swan?

*** (out of 5)

The premise of Darren Aronofsky's newest movie is a question: does a young artist have what it takes to give Tchaikovsky's ballet the production it deserves? In the end, the audience is left asking the same question of Aronofsky and of the film itself. Do they have what it takes? The answer is no.

Now, before you dismiss me as a hater, let me explain: I'm a fan of Aronofsky's films, and have been since I saw Pi right after its 1998 release. I've eagerly anticipated Black Swan for over a year. But though I loved several things about the film, and really wanted—going in—to love the whole thing, I can't.

Many who've seen the film clearly adore it. It's nearly broken into imdb's Top 50 list, for instance. It has an 87% on Rotten Tomatoes. So the burden of proof seems to lie with me. Don't worry: I'm up to the challenge. Here are six reasons people love Black Swan, and some explanation why I believe each reason is unfounded.

Revisiting Inception: Five Questions

Inception (2010)
directed by Christopher Nolan

If you haven't heard of Inception yet, you must have been dreaming over the past few weeks. The film had gotten a healthy share of buzz even before its release, thanks to an innovative marketing campaign and the rabid evangelism of the writer-director's fans. The mystery surrounding it was pretty thick.

Now that the film is public, though, you'd think the cat would be out of the bag. You'd be wrong. As most viewers have discovered, we have not yet begun to figure it out. Discussion boards are a-frenzy, and the film's masterful elusiveness has already landed it a #3 spot on imdb's top 250 films of all time . . . for now.

What makes Inception so special? Well, if you haven't seen it yet, my advice to you is to stop reading immediately, wake up and go watch it. If you have seen it, be aware that beyond this point THERE BE SPOILERS as well as 5 questions for you to consider.

AWOL

Hi friends.

It's been too long, too long indeed. Some of you may know that I'm now teaching for Clemson as well as working for a web firm. That explains why I haven't reviewed anything for roughly a year.

It's not because I've stopped watching films—or caring about them. In fact, I've kept a running list of "Films I Need to Review," and I've even got some bolded that I've really liked. OK, OK, I'll give you the list. If you'd like, let me know if you want a mini-review for now. At some point, I hope to return in full force. You've been warned.

up

Up (2009)
directed by Pete Docter
***1/2

Up confirms two things about Pixar: 1. they're brilliant and unequaled in the world of animation and 2. they're still hit and miss.

Part of me wants to declare just how much I love Up. But, to be honest, I didn't really love it. I enjoyed it, and I thought it had some fabulous moments, scenes, ideas. Actually, in some ways, this is as good as Pixar has ever gotten — the animation was through the roof, the central idea was oh-so-original and compelling, the voice acting was wonderful.

So what's left, you ask? [Beware: beyond this point there be spoilers!]

title sequence 5: catch me if you can

I remember when this film came out. It was delightful, different than what I thought it would be, but in such a better way. Not what I had imagined as a Spielberg movie at all.

And that title sequence! It's a perfect marriage of the old Saul Bass-style animated intros (think Psycho, Vertigo or North by Northwest) and a retro-hip tone to set for the entire film. I count it as a great example of telling the story without telling the story - it's able to subtly prepare you for the film without really having told you anything. Almost good enough to stand alone as a fun piece of art.