The Bad Guy's Top 50 Movies of 2012

[The Bad Guy]

I've seen over 150 movies from last year, which is the most I've ever watched before writing one of these threads. While many consider 2012 to be a weak year, I found it very difficult to narrow my list down to just 50 titles. I did not see everything, but tried my best to see anything that might have been worthwhile. If something does not appear here there's a good chance that I saw it and chose not to include it based on personal preference. 2012 was the most controversial year since I've started writing these lists, so I know that no matter how I order these people will inevitably be disappointed. As always, my goal is to be as honest as possible.

A quick word about what counts as 2012 - I live in Philadelphia so I am going primarily by non-festival U.S. release dates. I do allow for a small grace period in the month of January for foreign releases that may have received slower distribution. I also will make exceptions at times for films that were released outside of my home state during the month of December. Some films are trickier than others so I evaluate them on a case by case basis. I try to make these lists with an eye towards including rather than excluding films, so you may see some films here that you'd personally consider 2011 or 2013 depending on your system.

Like last year, I have included 20 honorable mentions that are listed in no particular order. Hopefully this gives people some impression of how hard it is to make the list and helps people gauge my favorites beyond the fifty I've listed.


Here are this year's Honorable Mentions:

Sister
Lincoln
Prometheus
Anna Karenina
Looper
The Hunter
First Position
Sleepwalk With Me
The Impossible
Seven Psychopaths
The Innkeepers
21 Jump Street
Elena
Monsieur Lazhar
Wreck-It Ralph
Hara Kiri: Death Of A Samurai
Turn Me On, Dammit!
Headhunters
Bernie
Magic Mike


50. Life Of Pi

http://i.imgur.com/vLKgKFN.jpg

Life Of Pi is arguably the most beautiful of the year, making excellent use of 3D technology and CGI effects. There are many occasions where I was in awe of this film's gorgeous shots, though the scene I've selected above is probably my favorite. The visuals alone make this a compelling film to sit and watch, but it also manages to tell a compelling story, succeeding where many 3D spectacles fall short. As a survival tale the film is captivating and vicariously exhausting (which is a good thing for a film depicting 200+ days at sea).

It may be flawed, but Ang Lee's film is far more thoughtful and artistic than what we'd normally get from a Hollywood blockbuster. It stays true to its source material, though it could have been easy to deviate for a more palatable or family friendly film. The film pulls no punches when it comes to the harsh realities of nature, and the ending retains the dark twist found in the book.

It may not be the most profound comment on religion and it does oversimplify the faith vs reason dynamic. But I think that the message of the film is one that I can get behind, even though I'm personally not religious. It is addressing why many people choose to believe in something. In some ways the point of this film is similar to that of Pan's Labyrinth, though I feel that film made its case for belief in a more compelling and profound way. I acknowledge that there are times where the literal or scientific view is an unpleasant alternative to faith.


49. The Deep Blue Sea

http://i.imgur.com/MrMvtIb.jpg

Terence Davies' film adaptation sets a nostalgic mood with post war London for this tale of tragic passion. Beautifully photographed and well cast, this film version of the famous play manages to avoid sliding off the rails into excessive melodrama. The story is certainly not uplifting, but it has a ring of truth to it about broken hearts as well as the difference between physical passion and sincere affection. Hester is unable to give her heart to her husband, though his love for her is genuine. Her heart wants someone else, so we watch as she spirals downward, unable to pry herself from infatuation and lust.

One excellent scene that stands out in my mind is the flashback to the subway during the bombing of London. Through a long take that spans a great distance of the subway and its patrons, huddled beside each other with lanterns and coats, we listen to the Irish folk song Molly Malone. The song is led by a man at the far end of the subway, his voice echoing through the tube as others gently echo the lyrics of the song. This was one of the most memorable scenes of the year and the highlight of the film, in my opinion.

Tom Hiddleston and Simon Beale give strong performances but the real standout is Rachel Weisz, who gives a fantastic and heartbreaking portrayal of Hester. You could argue that she gives the best female performance of the year.


48. Argo

http://i.imgur.com/TWqvMaF.jpg?1

Ben Affleck's Argo has been raking in the awards this season and the film looks poised to win the Academy Award for best picture, even without the director nod.

I'm not as high on Argo as a lot of award shows seem to be, but I can't deny that this is a well crafted historical thriller. Based on an amazing true story that was unknown to the public for decades, this film chronicles the efforts to rescue six Americans during the Iranian hostage crisis. Affleck's film blends Hollywood schlock with high stakes tension. It has scenes that range from edge of your seat anticipation to laugh out loud humor. If you're looking for profundity or political insight then Argo may leave you disappointed, but if you are looking for an engaging two hours at the movies then this one will not disappoint.

Oddly enough, the weakest part of Argo may be Ben Affleck's acting. It's a shame that he couldn't have cast someone else in the lead role, since he clearly has talent as a director but was fairly wooden and unimpressive as an actor here. It's not as though he's so bad that it sabotages the film, but it would have been better if he had cast someone else in the role.


47. Smashed

http://i.imgur.com/rOrcFdS.jpg?1

Most movie patrons skipped this film in favor of Flight, though James Pondolst's Smashed is a far superior film about alcoholism. It's a movie about addiction and the road to recovery, but it is free of a lot of the cliches and melodrama that you might expect. The film actually paints a fairly nuanced and honest portrait of how difficult it can be to overcome such an addiction, and how sobriety might not magically solve all of your problems.

Aaron Paul and Mary Elizabeth Winstead portray a couple who clearly care for one another, but whose bonds are severely tested by Kate's desire to stop drinking. Their marriage is based on love, but it is a relationship rooted strongly in their alcoholism. This among other factors make the path to sobriety a challenging one for Kate and we're often left wondering if it has all been worth it, given the amount of hurdles she endures along the way.

While this film has a lot going for it as a story about substance addiction, the true strength of this film is Winstead. She gives one of the best performances of 2012 in this film, and while I've always been a fan of hers I honestly didn't know she was this talented until I saw her portrayal of Kate.


46. Redline

http://i.imgur.com/aAywEXE.jpg?1

Takeshi Koike's Redline is a seven year project may not be high art, but it's an out of control adrenaline jolt that features great animation and a pounding electronic soundtrack. The storyline doesn't break new ground or defy convention, and while it may be a bit cheesy at times it's never boring and manages to put a smile on your face.

If anyone has ever played futuristic racing games like F-Zero or Wipeout then they might have some idea what to expect from this film's races (though these cars have wheels). Cars are modded with all kinds of weapons and features and the vehicles move at breakneck speed. The film starts off with an intense race sequence, with the expectation that this is just the beginning of the madness to come. As we follow JP on his journey to the dangerous Redline tournament, the race sequences that follow do not disappoint.

The presentation is larger than life and the film creates such an imaginative sci-fi universe as the backdrop for these high stakes races that I wish we'd had more than 100 minutes to take it all in. Perhaps sequels and spinoffs might be in the works? I'd definitely be interested in watching them.


45. It's Such A Beautiful Day

http://i.imgur.com/AJ5vUA2.jpg

It’s Such a Beautiful Day is a feature Hertzfeldt completed in three parts over the course of five years. It is comprised almost entirely of basic stick figure animation and the main character is only distinguishable from others due to his hat. But don't let the stick figure animation fool you. This is a film that is emotionally complex and philosophically rich.

One of the strengths of this film is its unique use of the narrator. The narration of the film does a great job of capturing the inner voice of Bill, allowing the viewer to glimpse into the mind of the character in ways that we often only get through works of literature. Our protagonist suffers from mental and physical illnesses which is never fully explained, though there are hints of family issues with schizophrenia coupled with hallucinations. While this kind of inner voice can be neurotic and cloying at times, it is a vivid account of this man's experiences through his trials and tribulations.

The ending of this film takes an unexpected and beautiful turn that I did not see coming. One of my favorite sequences of the year, the conclusion of this film left me in a state of reflective appreciation, contemplating my own mortality.


44. The Kid With A Bike

http://i.imgur.com/jM5wTTt.jpg

The Dardennes' The Kid With A Bike is an inspirational film about random acts of kindness, but it certainly doesn't take an easy path to get there. Normally we'd be inclined to be sympathetic towards a young boy who has been abandoned by his father, though in this film that kid is ill-behaved, ungrateful, and intensely disobedient. This makes our affection for him something born out of appreciation for his unfortunate circumstance, rather than a relationship dynamic that pulls at the heartstrings in the usual way. Still, there is a bit of the film's young protagonist, Cyril, in every childhood. His behavior rings true in ways that are painful to recollect but it reminds us of our own youthful imperfections.

The Kid With A Bike deals with the inherent complexities of peoples' inner thoughts and motivations. Amidst these complexities one simple truth is made clear; people need genuine human connection to feel whole. A meaningful parental relationship can have a transforming impact on one's state of mind. It plays a pivotal in shaping how children mature and it can be just as valuable for the adult.


43. Rust And Bone

http://i.imgur.com/2YAsZzK.jpg

One of the most defiantly optimistic films I've seen in recent memory. Jacques Audiard's latest work may not be on the same level as Grand Prix recipient A Prophet, but I found it to be poignant and emotionally satisfying. It also doesn't hurt that Marion Cotillard and Matthias Schoenaerts give great performances, reminding us that they are among the best in the industry.

Rust And Bone is devoid of pity, despite the seemingly miserable circumstances that one might get from a plot synopsis. It would have been easy for the director or the leads to overplay their hand and give in to excessive emotion or sentimentality. Thankfully, the film is able to juggle its difficult subject matter and maintain a triumphant vibe. It's worth noting that some viewers did not find this to be the case for whatever reason, and while I disagree with those people this remains one of the more polarizing films of 2012 among viewers. The film did receive an impressive number of festival awards and it got mostly positive reception from critics, but Audiard is clearly not a director for everyone.

This is a film with a worldview that I agree with and I feel that it makes a strong case for resiliency in the face of adversity. While not every event in life can be overcome, many things that may seem tragic on the surface do not prevent us from living a fulfilling life and can even give way to new opportunity.


42. Killer Joe

http://i.imgur.com/xkx18zD.jpg

William Friedkin's Killer Joe is a truly bizarre NC-17 noir.

Matthew McConaughey is in his element here, turning in an commanding performance that inspires menace and intrigue. His morally reprehensible character fits right in with a cast full of vile cretins, each of them willing to do despicable things to advance their own self interest. The only true innocent in this film may be Dottie, played by Juno Temple, an enigmatic and dreamlike young woman who glides through the film on a separate wavelength altogether.

While the rest of the film is good, no synopsis or review of Killer Joe would be complete without mentioning the ending. I will spare you details in case you haven't witnessed it, but I will say that the ending of this film is one of the most insane and strangely satisfying conclusions I've ever seen. When the end credits came up on the screen I burst out laughing. I admire the hell out of any film willing to pull off such a crazy finale.

I imagine that this may not be everyone's cup of tea, but if you're in the mood for a depraved, funny, and imaginative film then I highly recommend this one.


41. Tabu

http://i.imgur.com/HlNT86l.jpg

Tabu is unique in a lot of ways. Miguel Gomes employs black-and-white imagery and a 4:3 aspect ratio, paying tribute to a bygone era of cinema. These archaic techniques are not just for show. They also tie in to the film's themes of memory, lost youth, and nostalgia. In addition, Tabu blends verbal storytelling techniques with cinematic execution. For instance, we're often watching a conversation where the participants are talking to one another, but we cannot hear what they're saying. Instead, we only hear the storyteller recounting the events. It's as though we are watching our imagination on screen and the real story is being conveyed orally.

Tabu is a story split into two parts. The first half is set in Lisbon in the present day, while the second half is set in Africa several decades earlier. An elderly woman named Aurora appears to lead an uninteresting life in Lisbon, but after a pivotal event in the film we begin to hear accounts of her life in Africa and learn that she led a very exciting past. What follows is a fascinating tale of a bold huntress and her dangerous love affair with a man named Ventura. I won't give too much away in this review, but it's worth noting that the film is not what it appears to be at first glance.

The film is deeply nostalgic. By juxtaposing the past and present day, we can see the joys and tragedies involved in looking back at days gone by. We're left a sense of eager longing for the past, but also notions of painful regret and thoughts of what might have been.

Speaking of memories, much in the same way that I can't hear 'The Mamas And Papas - California Dreaming' without thinking of Chungking Express I don't think that I'll ever be able to hear 'The Ronettes - Be My Baby' (covered in the film by Les Surfs) without remembering Tabu.

[The Bad Guy]

40. A Simple Life

http://i.imgur.com/D498yP4.jpg

Ann Hui's A Simple Life a simple and compassionate film. It doesn't have bold ambitions or sexy plot twists. This is not a tearjerker or an overly sentimental production. This is merely the portrait of a human being.

That portrait is of an elderly woman who has played the role of servant for the Leung family since she was a teenager. After sixty years of service, Chung Chun-Tao now finds herself in the position of being cared for by Roger, the one person of the family who still resides in Hong Kong. After suffering a stroke, Chung Chun-Tao decides that she would prefer to retire and live out her remaining days at a nursing home. Roger helps oblige her and does his best to look after her and see that she is well taken care of.

The film be straightforward, but it is emotionally resonate and deeply human. Through small acts of kindness and anecdotal accounts we begin to appreciate who Chung is and how she has managed to leave an indelible impression on those around her. That impression is strongly felt by the audience when the credits come on screen.


39. The Cabin In The Woods

http://i.imgur.com/zmOgLt2.jpg

A playful melding of genres, Cabin In The Woods is to horror films what Space Balls is to science fiction. Anyone expecting genuine tension or scares might be disappointed with this one, since the film is firmly established in the horror/comedy genre with an emphasis on comedy.

Joss Whedon's quirky style might not lend itself to all subject matter, but it works like gangbusters here. Taking a page out of the Sam Raimi and Wes Craven playbooks, among others, this twisted story of a cabin vacation gone horribly wrong is one of the most imaginative and enjoyable mash ups to come around in a long time. This is a film that that simultaneously utilizes and pays homage to many different genre tropes. Not only does Cabin take its inspiration from a lot of classic sources, it also manages to come up with new twists on an old genre. This level of creativity and meta humor really elevate this film and make it one of the year's best.


38. In Darkness

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Based on a true story set in Nazi occupied Poland, In Darkness tells the tale of a sewer worker and thief who one day encounters a group of Jews fleeing the liquidation of the ghetto. Using his knowledge of the sewers he agrees to hide them underground for a considerable fee. Leopold Socha isn't exactly your hero archetype, but he is a man that sees the potential benefits of such a scheme and he is adaptable to his circumstances.

Agnieszka Holland's film is suspenseful and morally challenging. It can also be tough to watch. Much of the film takes place in a cold, rank, and claustrophobic sewer system. Given the considerable run time, we begin to feel the effects of this prolonged isolation and paranoia. There is a real sense of disorientation once the film ends.

While it will remind people of other holocaust themed atrocities in film, In Darkness sets itself apart with its unique circumstances, an intensely personal connection with its victims, and an unlikely protagonist who must face morally dicey decisions along the way that have bad and worse outcomes. It's a deeply unpleasant film, but one that also has glimpses of hope and a defiant nature.


37. I Wish

http://i.imgur.com/28drQb0.jpg

A film written and directed by Hirokazu Koreeda, I Wish is a beautiful portrait of the world through the eyes of children. It's a coming of age film that flows with a relaxed pace, in tune to the wonders of everyday life and childhood imagination. It is a rare treat for a film to capture the experience of youth in such a natural way. I'm not sure if the pacing of this film would work for young children, but adults will certainly appreciate what Koreeda has accomplished here.

The grandparents in the film become discouraged that one of their favorite candies, karukan cake, is no longer easy to find. So they set out to make their own batch so that they can enjoy this delicacy that they were once so fond of in their youth. The children of the modern day, however, don't seem as impressed with the cake's lightly sweet flavor. But the subtle flavor of the cake begins to grow on the older brother Goichi, even if his younger sibling can't appreciate it yet. In many ways the film itself resembles the karukan cake. It is a simple and delicate film, sweet but not cloyingly so. It is easy to lose sight of a gem like this in a world filled with loud blockbusters and more sensationalized drama. But for those of us willing to take the time to let a film like I Wish work its magic, we are rewarded with something special.


36. Oslo, August 31st

http://i.imgur.com/LY54FCM.jpg

There were quite a few movies about substance addiction in 2012, but none were better than Joachim Trier's Oslo, August 31st.

The film follows a suicidal addict named Anders who has been released from rehabilitation to attend a job interview. Along the way he meets old friends, acquaintances, potential colleagues, and strangers. In one particularly striking scene at a cafe, we hear Anders overhearing the conversations of many different strangers as their discussions range from the deeply personal to trivial joviality. The juxtaposition of this ever moving world and our troubled protagonist is haunting.

Oslo never comes off as preachy, nor does it even claim to have some deep insight into the nature of addiction and how it can be overcome. We see a man faced with many paths that he may or may not choose to follow. Every moment presents new opportunities for Anders, but we are ever mindful of his disease and we're often left discouraged at the decisions he makes. It is easy to second guess Anders at every step, but despite his poor judgment we can't help but feel for him. The film is ultimately a deeply empathetic vision of addiction and the toll it can take on a person's life.

[Skitch]

Good read.

[Lucky]

Yes, I don't have much to say as I've neglected film watching in 2012, but I'm enjoying following your list and am taking mental notes.

[The Bad Guy]

Thanks for the feedback and encouragement.

It's nice to know that people are following along. I should have more up later today.

[Pop Trash]

Moar plz.

[Derek]

Moar plz.

This.

Great write-ups so far. If there's anything MatchCut loves more than lists, it's countdowns with commentaries.

[Irish]

Jumping on the bandwagon with positive feedback. Your taste differs from mine, but I enjoyed reading these posts.

[The Bad Guy]

35. Footnote

http://i.imgur.com/STsLUMk.jpg?1

Eliezer and Uriel Shkolnic are Talmudic scholars who have devoted their lives to their profession. The father, Eliezer, has been largely forgotten in the academic community. The son, Uriel, is considered one of the most important and influential professors alive. But the tables turn one day when Eliezer receives a phone call informing him that he has been chosen to receive the Israel Prize, the most coveted award that one can aspire to. Eliezer is overjoyed that he is finally getting the recognition he believes he deserves. There's just one problem... Eliezer was phoned by mistake due to a clerical error with the last names being the same. Uriel is informed of the mix up behind closed doors, but how can he claim the prize for himself when doing so would be devastating to his father?

You don't have to know much about Judaism or academia to appreciate this thoughtful human drama. Joseph Cedar (who wrote and directed) is mainly concerned with the father son dynamic and the tricky ethical issues that stem from the film's premise. The film pokes fun at the ego-maniacal world of academics, but it's also a challenging morality tale that leaves a lasting impression on the viewer. Without giving anything away, I'll say that the final shot of this film is one of the more unforgettable of the year.


34. Jiro Dreams Of Sushi

http://i.imgur.com/DyIdQIE.jpg

Jiro Ono is 85 years old and runs Sukiyabashi Jiro, a ten seat sushi-only restaurant located in a Tokyo subway station. Despite this meager setup, his is the first sushi restaurant to ever be awarded a Michelin 3-star rating and Jiro is considered by many to be the world's greatest sushi chef.

Even if you don't care for the cuisine, this is a thought provoking film about a man's love/obsession with his work. In many ways this is an inspirational documentary, because it illustrates just how much you can accomplish through hard work and dedication to your craft. Something as basic looking as sushi is richly complex and demanding if you are trying to be the best in the world at it. Jiro understands this and has been working tirelessly at it since he was a young boy. However, there are moments in the film where you wonder whether Jiro is a cautionary tale about workaholics. In one recounted story we hear about his young children running to their mother in fear because there was a "strange man in the house". Jiro had come home early that night from work, which was exceedingly rare, and his sons did not recognize their own father.

I believe that anything worth doing is worth doing well, but while I can appreciate Jiro's mastery of sushi I do not feel that his level of dedication is healthy. In this way the film serves as an insight into the viewer because you'll walk away from this film with awe or concern, and possibly both. I believe there is a balance to be struck between one's work and personal life. Trying to figure out how to draw that line is different for everyone. This is the kind of film that will encourage serious reflection on that topic and should provide for some interesting conversation.


33. The Dark Knight Returns (full)

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Based on the 1986 graphic novel by Frank Miller, this two part animated recreation brings the famous story to life on screen.

For those who aren't familiar with the premise, the story begins with Batman retired for a decade after the government banned superhero activity. But the disappearance of Harvey Dent and the ongoing brutality of the mutant gang begin to force Bruce's hand and he decides to resume doing what he does best. From these meager beginnings the story starts to branch out in a lot of different directions. The result is an incredibly fast paced film that spans multiple plot threads that include Two Face, a Mutant gang, the Joker, and even Superman. Oh, and there's even a young girl named Kelley who plays the part of Robin. As you might imagine, there isn't a lot of time to catch your breath.

Jay Oliva directed the film and has worked on the storyboards Batman: Under The Red Hood as well as Batman: Year One. Several other Batman veterans were involved in the making of the film, and you can tell that this was a project handled with loving care and one that respects its source material. The result is a gritty, violent, and epic conclusion to the Batman legacy. If you're even remotely interested in this sort of thing then you owe it to yourself to check this out.



32. Barbara

http://i.imgur.com/b6PQcwX.jpg

Christian Petzold's Barbara has intrigue and mystery, but it doesn't take long to settle in to its basic plot. Barbara, played by the impressive Nina Hoss, is a Berlin doctor who has been banished to a rural East German hospital during the Cold War. She feels out of place and makes no efforts to connect with her colleagues or the environment around her. Already she is scheming of ways to get back to the West and the man she loves, despite constant Stasi surveillance that has her living in a perpetual state of fearful paranoia.

Barbara is not an earth shattering drama, but it's a very wise and insightful film. The film succeeds at recreating the feel of the rural GDR environment and the culture of fear that the protagonist must endure, but these are not the most important aspects of Barbara. It is at its best when it deals with human connections and moral obligations. The relationship Barbara forges with her colleague, Dr. Andre, is sincere and captivating. Her relationship with her patients reveals a deeply personal side of her that we don't see initially in the film. All of this builds towards a final act that brings the film to a beautiful and memorable conclusion.


31. The Secret World Of Arrietty

http://i.imgur.com/IVbYiPq.jpg

A long time animator for Studio Ghibli, Hiromasa Yonebayashi established himself as a visionary director with The Secret World Of Arrietty.

The most noteworthy thing about Arrietty is how beautiful the animation is. I found myself marveling time and time again at just how gorgeous the images were from this imaginative, hand-drawn world. In my opinion this deserves recognition alongside films like Life Of Pi, Prometheus, Skyfall etc. as one of the most visually excellent films of the year. I would strongly recommend watching this on Blu Ray with subtitles for the full immersive effect, assuming you have access to a copy.

Based on the book series 'The Borrowers', this is a film that tells a simple story with sincere emotion. I thought that the story was at turns delightful and deeply nostalgic. It left a much stronger impression on me than I was expecting, reminding me of how I felt after walking away from other Ghibli classics like Spirited Away. And while I don't think it surpasses my favorite Ghibli films, this is a very worthy addition to their cinematic library and my favorite animated movie of 2012.

[Watashi]

I saw exactly 50 movies from 2012. Only about half of them would be worthy of a list.

[elixir]

Good stuff...maybe it's just me, but centered text kinda kills me.

I definitely prefer the other two Petzolds I've seen over Barabara...it's still alright (and I really enjoy Nina Hoss), just ultimately too enervating for me. The conclusion felt kinda silly.

[Derek]

Good stuff...maybe it's just me, but centered text kinda kills me.

Yeah, left or justified alignment FTW! A minor quibble though.


I definitely prefer the other two Petzolds I've seen over Barabara...it's still alright (and I really enjoy Nina Hoss), just ultimately too enervating for me. The conclusion felt kinda silly.

I had the same reaction. It's becoming a tiresome indie and foreign cliche to leave the audience in the dark only to save a major revelation for the final 15-20 minutes that completely reshapes how we see everything that preceded. It can certainly be done well, but Barbara felt a bit too forced to be effective.

[The Bad Guy]

Moar plz.


This.

Great write-ups so far. If there's anything MatchCut loves more than lists, it's countdowns with commentaries.


Jumping on the bandwagon with positive feedback. Your taste differs from mine, but I enjoyed reading these posts.

Thanks, everyone, I appreciate it.

Also, feel free to share your thoughts on the list throughout the process. 2012 was a very divisive year so I imagine there's the potential for a lot of interesting feedback.

[The Bad Guy]

Good stuff...maybe it's just me, but centered text kinda kills me.


Yeah, left or justified alignment FTW! A minor quibble though.

I honestly had no idea that this might be a problem for some readers. I have re-aligned the text back to the standard.


I definitely prefer the other two Petzolds I've seen over Barabara...it's still alright (and I really enjoy Nina Hoss), just ultimately too enervating for me. The conclusion felt kinda silly.


I had the same reaction. It's becoming a tiresome indie and foreign cliche to leave the audience in the dark only to save a major revelation for the final 15-20 minutes that completely reshapes how we see everything that preceded. It can certainly be done well, but Barbara felt a bit too forced to be effective.

I don't think that the ending of Barbara was out of left field or reshapes our perception of everything that preceded it. I feel that the film telegraphs the ending well in advance, so much so that it would have been shocking if it didn't occur that way. As far as whether the ending is silly or not, I guess that would depend on your own subjective interpretation. I thought the ending was lovely.

[transmogrifier]

I saw exactly 50 movies from 2012. Only about half of them would be worthy of a list.

I've seen 60, and only 5 scored over 70.

[The Bad Guy]

30. Somewhere Between

http://i.imgur.com/UxA2OVQ.jpg

I can't say that I was excited to watch this documentary. I've never been too interested in issues of racial identity and cultural heritage. As a Caucasian American descended from Scottish ancestry I've always found it hard to relate to the issue. I did not even bother to visit Scotland when I had the opportunity overseas. So you can imagine my surprise when this documentary about adopted Chinese girls living in the U.S. turned out to be one of the most emotionally powerful films of the year.

China implemented the One Child policy in 1979. Since 1989, 150,000 children from China have been adopted around the world. 80,000 of them live in the United States and most of them are girls. Linda Knowlton's documentary follows four of these teenagers and lets them tell their stories. These girls speak candidly and display a wisdom beyond their years, offering some fascinating insights into how they deal with the notion of being abandoned and how they see themselves in society.

Towards the end of the film one of the girls makes the trip to China and makes an effort to see if she can find her parents through the adoption agency, despite the lack of records and the improbability of success in such a vastly populated country. What follows are some of the saddest and most emotionally gripping scenes I've seen in years.


29. Goon

http://i.imgur.com/6axZMvP.jpg

Goon is a violent sports comedy with a surprisingly heartfelt performance from Seann William Scott. The story centers around Doug "The Thug" Glatt, an exceedingly nice but dimwitted guy who gets hired to be an enforcer for a local hockey team. Doug has never played hockey before in his life. In fact, he doesn't even know how to skate. But he makes a name for himself when a player charges the stands and gets leveled by Doug's fists.

One of the most interesting things about Goon is that it breaks a usual convention found in sports films. There isn't a real antagonist anywhere to be found in this movie. Even Doug and his key rival, an aging enforcer named Ross Rhea, share a mutual respect for each other. In one of the film's best scenes, Doug and Ross Rhea happen upon each other in a diner and Ross talks about how his career is coming to a close. He believes that Doug is his replacement and compliments him on having "the stuff", even if he doesn't consider what they do to be hockey. They understand that they'll have to fight each other at some point, but this is mainly so that Rhea can end his career by giving the fans what they want - a bloody showdown between Ross "the boss" and Doug "the thug".

Goon is vulgar, exceedingly violent, and often ridiculous. It's also one of the funniest films I saw all year and it holds impressively on repeat viewings. It isn't often that a comedy can have me laughing this loud or this frequently. It can stand on laughs alone, but this one even works as a sports film about team camaraderie and sacrifice.


28. Brooklyn Castle

http://i.imgur.com/qcL7dTt.jpg

In Brooklyn school district I.S. 318 the cool kids are the chess players. Despite 65% of the students living below the poverty line, this inner city school has the highest ranked junior high chess program in the United States.

The film takes an unexpected turn when the economic crisis begins to cut severely into the school's budget. Normally something like field trips to chess tournaments would be considered a non-essential expense and a no-brainer when it came time to make hard cuts. But everyone from the school's principal, the chess teacher, the parents, and the children themselves sees the value in the chess program and fights to keep it alive. Pobo Efekoro, nicknamed "Pobama" by his classmates, even launches a student presidential campaign with the goal of restoring a million dollars lost in the budget cuts so that the chess tournaments can continue. It's easy to see why everyone rallies behind this unorthodox goal as a major academic priority. Chess has given this school and these kids so much more than trophies or medals. It's a program that has helped transform lives and given these young people confidence.

Katie Dellamaggiore's documentary is an inspirational journey and you really fall in love with the students and teachers along the way. By the end of the film you come to know these characters intimately, because their personalities and their stories are so easy to relate to. It's one of the most uplifting movies of the year.


27. Dredd

http://i.imgur.com/yEno8MN.jpg

It's hard to understand why Dredd was a box office flop. Perhaps moviegoers associated it with the awful Sylvester Stallone film from the 90s. It's also possible that the "Dredd 3D" title made viewers cautious, thinking it was another gimmick to squeeze their wallets. Whatever the reason, Dredd lost a considerable amount of money and it's unlikely that we'll see any more films set in Mega City One. That's too bad, because this movie is seriously entertaining.

The basic premise of the film is that Judge Dredd and his rookie sidekick, played by the gorgeous Olivia Thirlby, must fight their way through the slum highrise of Peach Trees. The building is controlled from top to bottom by a brutal gang leader named Ma-Ma who has ordered the judges killed. The gang also manufactures a new drug called Slo-Mo, which makes time seem like it's passing at one percent of normal speed. If the premise sounds like an excuse to feature a bunch of action sequences, well, it is. If the drug sounds like an excuse to show off the pretty special effects and 3D, you would be correct in assuming that, too. But none of the contrivances seem to matter when you're watching the film, because Dredd has thrilling action sequences and great eye candy. The film also revels in its self-satire and deadpan humor without compromising its source material.

If you're looking for philosophical depth then I suggest you look elsewhere. But check out Dredd if you like to indulge in some quality, lowbrow action every now and again. You could do a lot worse.


26. Silver Linings Playbook

http://i.imgur.com/BFIwExa.jpg

Silver Linings Playbook is a romantic dramedy. Juggling heavy subject matter with laughs is a delicate balance but the film manages to pull this off this off and succeeds at both. I appreciate the film's ambition, since most rom-coms are content to fill their run times with fluff or whimsy. Silver Linings goes to some dark places on occasion, many of which deal with problems of mental illness and depression. The result is a film that feels sincere, even as it consistently uses dark comedy to get laughs. The film does have a tonal shift during its last act that many have criticized, and while I do acknowledge that the later scenes are far more conventional I don't agree that this is a misstep. I thought that the conclusion managed to tie things together nicely and I left the theater without any major criticisms.

In addition to a a well written script Silver Linings Playbook also boasts a great cast of actors in Bradley Cooper, Robert DeNiro, and Jacki Weaver. All of them do a commendable job, but the real standout here is Jennifer Lawrence, who is exceptional in her role as Tiffany. I was quick to sing her praises as one of the best actresses after her performance in Winter's Bone, but she was relatively obscure back then. With this and Hunger Games it appears that she has finally arrived as a household name, and I'm happy to see people giving her the respect that she deserves.

Romantic comedies are normally a very weak genre, with countless sub-par titles released each year. A film like Silver Linings Playbook is the exception that proves the rule. We should appreciate it for the rare gem that it is.

[Irish]

Re:

Jiro - Ebert posited that the film's weakness is that it never shows the audience the downside to Jiro's lifestyle, and all the sacrifice he had to have made in order to operate as he does. I tend to agree. There is no "work life balance" at Jiro's level, or Michael Jordan's level, Stephen King's level, or Daniel Day Lewis' level. What you do consumes you. That's the kind of sacrifice few people are willing to make, or even consider.

Dredd - Watching this made me want to pelt the producers with Tsui Hark's entire filmography (on VHS, natch, so it'd hurt a little more) while screaming "WHY DIDN'T YOU MAKE A BETTER MOVIE?". It's not bad, per se, just generic. Like it was cobbled together from a dozen other actioners and the writers, director, and producers just went with the first ideas that popped into their heads. Those kinds of ideas are always boring, because the audience has seen them dozens of times before. And so we have "Dredd."

Silver Linings Playbook - The A-story is totally rote, and oddly formulaic. You can almost imagine Mickey Rooney popping out and yelling, "Hey kids, let's put on a show!". B-side had a great insight into the final dance, about how a certain aspects of it mimic Pat Jr's illness. I'd say he stopped short, and the dance actually mirrors the entire relationship between the two leads. It's also a helluva great metaphor for Pat Jr's problem and how he ends up solving it. (Also, given your write-up, you're my new best friend).

[dreamdead]

Your recommendation of Somewhere Between (in the How to Survive a Plague thread) was revelatory for me. It helps because I'm myself interested in starting the process toward adopting a Chinese child in another year or two, but the film's study of what these children go through made me that much more committed. The ways in which these girls maintain a feeling of being blessed after going through the situation that they have is quietly amazing, and the coverage of the CP girl is just heart-rending. And yet it doesn't feel brazenly manipulative in part because so much of the narrative is about honest cultural and identity exploration.

It might be the best kept secret of the documentaries put out this year, though I wish it'd focused just a little more on the comparative normalcy of Ann's life.

[The Bad Guy]

Your recommendation of Somewhere Between (in the How to Survive a Plague thread) was revelatory for me. It helps because I'm myself interested in starting the process toward adopting a Chinese child in another year or two, but the film's study of what these children go through made me that much more committed...

Wow

This is an awesome post.

I'm so glad that you got to see Somewhere Between and that it strengthened your resolve to adopt. I think that would be a great thing for both yourself and the child.

[Dukefrukem]

Great thread. I do this on my blog, but it doesn't get this kind of traffic. I don't post here because my writing sucks.

[Ivan Drago]

You're not kidding when you say Dredd has great eye candy. Anthony Dod Mantle's cinematography was one of my favorite things about the film.

[Scar]

Subscribed.

[MadMan]

Great to see you are doing the list here, Bad Guy. Even though once again I am woefully behind on current viewings.

[The Bad Guy]

25. The Dark Knight Rises

http://i.imgur.com/rgSra35.jpg

I spent more time thinking about how to rank this film than any other this year. On the one hand it was a great theatrical experience in IMAX and I enjoyed it enough to see it twice in that format. On the other hand, the further removed I get from my initial viewing the more troubled I become by this film's flaws. I have seen it four times now, which is a testament to the film's quality but it has also brought me to recognize that this may be Nolan's messiest film.

Still, this is a film that got a lot of major things right. It has a great cast, gritty atmosphere, solid action sequences, good music, and a real sense of tension that is often lacking in modern day blockbusters. This tension is made possible by a fantastic villain in Tom Hardy's Bane, who is as menacing as he is formidable. He may not be as mesmerizing as Ledger's Joker, but he is one of my favorite villains in comic book movie history and he is able to get the better of our protagonist in ways most other movies wouldn't dare.

While I like the ending, I feel that Nolan could have made the last act of this film darker and more daring. I would have preferred if the uplifting reveal at the end had been omitted, since I feel that would have been a historic conclusion and one of the most memorable sequences ever. Ultimately, this final installment may not be the best of the trilogy, but it's an emotional and thrilling conclusion to a series I've grown to love over the years.

Also, Nolan ripped a real plane apart in mid air. That has to count for something, right?


24. Chasing Ice

http://i.imgur.com/aC4uIa7.jpg

The most frightening movie of 2012 is arguably the most important. Chasing Ice chronicles the disappearance of ice caps and glaciers through time lapse video.

The footage was captured by the tireless efforts James Balog and his crew, who had to install and monitor electronic equipment in some of the harshest conditions on Earth. They did it because knew that despite the overwhelming consensus in the scientific community, climate change remains a polarizing issue among the general public. So if the scientific community is unable to persuade the electorate through charts and peer reviewed study, perhaps there was a more direct way to show climate change's real impact on the environment. The video and images they capture are beautiful to behold on the big screen, but they are also wrenching. Watching these glaciers recede over months and years in a matter of seconds or minutes is emotionally devastating.

My only real criticism of this documentary is that it often spends too much time focusing on James Balog's bum knee or his family. I understand the thinking behind this, because it makes the story more personable and accessible as human interest. I just personally think that with a subject this important (and a run time this brief) that more time could have been devoted to the video images and the science. Those time lapse videos are some of the most astounding sequences I've seen at the movies and they're a testament to the power of moving images.


23. The House I Live In

http://i.imgur.com/QFI4bgT.jpg

I admire the hell out of Eugene Jarecki and David Simon. I'm also opposed to drug prohibition and feel that it causes more harm than good on the whole. So you can imagine my excitement when I saw that Jarecki's newest documentary was going to be a critique of the War On Drugs. It's a hugely ambitious subject to tackle, because the problems it presents are so complex and the amount of critical research involved is daunting. It is also a subject where it can be difficult to persuade people into changing their minds, since it is a sensitive political issue that inspires passionate feeling on both sides of the debate. So does Jarecki succeed at making a great documentary about the drug war? The answer is (for the most part) yes.

The documentary features some impressive guest interviewers, the most notable of whom is David Simon, creator of HBO's The Wire. Some of the most fascinating testimonials in the film come from those involved in the system itself. An Iowa U.S District Court judge and an Oklahoma corrections center security chief hold nothing back and give a scathing critique of a system they feel powerless to change, yet find themselves intimately involved with on a regular basis. It's not hard to see the institutional injustices that are at play or the devastating impact they have had on minorities and the poor.

It's a remarkably intelligent, well-researched documentary. I just wish that it had been a bit more diplomatic in its approach. There are times where I find myself agreeing with the larger point, but was worried that by using words like "holocaust" many people would respond to that emotional cue unfavorably rather than see the nuanced point being made. Sadly, it appears that some of this did make the film's points less effective than they could have been.


22. The Day He Arrives

http://i.imgur.com/COR5gzn.jpg

Hong Sang Soo is fond of dividing his films into segments that explore similar circumstances or characters through different vantage points. In The Day He Arrives, we see the story through a filmmaker named Seongjun who spontaneously arrives in Seoul to meet a close friend. We explore his arrival the next day under similar circumstances, as though we were viewing a hypothetical reality. Soo appears to be asking us to think about what the day would have been like if Seongjun had happened to arrive on another day. Despite the seemingly minor variations, we can see that these small differences have a dramatic outcome on the trajectory of the day and the dynamic of human interactions.

Are we witnessing different possibilities of what might have been? Is our protagonist aware of his recurring arrival? It's difficult to say, but it's not very important in the end. The film works as a philosophical exercise that has a dry comedic wit. It explores the geometry of human relationships while asking us to reflect on the role of chance and circumstance in our ever day lives. As someone who is skeptical about free will, this was a delightful and thought provoking journey. It's a shame that this film did very little at the box office and the one copy at my local video rarely gets rented, because this is such a lovely film.


21. The Loved Ones

http://i.imgur.com/nkNin7M.jpg

Sean Byrne's The Loved Ones is a truly demented ride. This Australian oddity blends different genre elements into one extremely violent film that is complete with dark humor and an inventive script. Clearly aspiring to more than torture porn, this is a film that makes unexpected shifts that keep us on the edge of our seats or squeamishly recoiling in shock.

The film is carried in large part by Robin McLeavy's brilliant performance. She plays one of the most memorable screen villains in years with Lola, a psychotic young woman that you don't want to refuse to go with to the school prom. The Loved Ones is almost worth watching just for this character, but fortunately the film has a lot more to offer in terms of originality and fast paced thrills. There is no doubt that many will refer to this as a horror film, and while that is understandable given its subject matter, I found it to be more tense than frightening. That's not a bad thing, but those expecting a one note genre flick are actually in store for an emotional roller coaster. There was never a single moment where this film bored me.

Unadventurous viewers might want to pass on this one, but if you can handle something truly wild and deranged then you owe it to yourself to give The Loved Ones a watch.

[dreamdead]

Yeah, I am quite fond of The Day He Arrives. It feels like top five in his oeuvre for me (Tale of Cinema and Virgin... go back and forth in my mind as to which is his strongest). I think his films are especially suited to black and white, in that they formally and narrative play with such strict contrast.

I still want to see him center a film from a female perspective and get away from the insularity of artistic, ennui-ridden womanizers, but I'll also admit that I always look forward to seeing his work.

This list makes me want to see Arrietty, I Wish, and Tabu all the more.

[elixir]

I still want to see him center a film from a female perspective and get away from the insularity of artistic, ennui-ridden womanizers,
In Another Country. Though that latter aspect is still present to some degree.

[Derek]

In Another Country. Though that latter aspect is still present to some degree.

And it's a female perspective fragmented into 3 separate female protagonists. It's a made-to-order dreamdead film. :) I actually like it a tad more than The Day He Arrives, but it's hard to go wrong with Huppert.

[The Bad Guy]

20. The Queen Of Versailles

http://i.imgur.com/Z7C0nlg.jpg

Lauren Greenfield's documentary is a flabbergasting look at the super rich during the recession, but it could also double as a recruitment video for eastern religions.

For several years, Greenfield's camera crew follows the family of David and Jackie Siegel, whose obscene wealth came from creating the largest time share company in the world. The film begins with the family triumphantly constructing the biggest house in the U.S., a 90,000 square foot mansion that was inspired by their trip to Versailles. But when the real estate bubble bursts and the economic crisis begins, David's time share business starts to run into some serious problems. Construction of their palace is halted, workers are laid off, their tower in Las Vegas confronts foreclosure, and David Siegel painfully admits that he does not consider himself a billionaire anymore.

The film doesn't set out to vilify the Siegels, nor does it ask us to feel pity for what their reversal of fortune. The camera simply observes this family's excess in its natural habitat, and the resulting footage is simply surreal. These people live in an alternate reality, the likes of which it is difficult to imagine. I was constantly astounded by what I was seeing and on many I occasions I laughed out loud. I never felt hatred or pity for these people, nor did I feel any envy. I simply couldn't believe what I was watching most of the time. I'm shocked that this movie was even made and that the Siegel's would want to receive this much attention. But then again, considering how alien their family is to us perhaps they have no concept of how they appear to the outside world.

Tom Long had a great line in his review of this film: "Seriously, if this was the American dream, couldn't we have come up with something better?"


19. Skyfall

http://i.imgur.com/069gssw.jpg

Sam Mendes' Skyfall is the stellar sequel to Casino Royale that we've been waiting six years for (let's all just agree to forget the lackluster Quantum Of Solace). Its key strength is that it's an exceptional action film, but it also goes further than the previous Daniel Craig installments at re-imagining the character of James Bond. It's nice to see that the creators aren't afraid to take risks with the source material, and I think it benefits the franchise greatly here. Supermen are not as fun to work with, in my opinion. So while I can't claim to be a Bond connoisseur I can say that these creative liberties are a welcome change.

The cast is nearly perfect in their roles here. I personally love Daniel Craig's Bond and the surrounding cast of Dench, Fiennes, and Whishaw are great compliments. But the standout performance comes from Javier Bardem in the role of Silva. An eccentric but menacing hacker who has a personal vendetta against M, Bardem's Silva steals the movie and is arguably the best screen villain from last year. Between this and his role of Anton Chigurh in No Country For Old men, I'm starting to wonder if Bardem shouldn't play the bad guy in everything.

The film is bolstered by Roger Deakins amazing cinematography and the film's amazing visuals. Skyfall is a joy to watch and easily belongs in the discussion of most visually appealing films from last year. Some of the images, particularly in China, do not serve as anything other than gratuitous eye candy. But honestly, who can complain when Skyfall looks this good?

I don't mean to imply that Skyfall is wildly original. It does shake things up but at the end of the day it is, after all, a James Bond film. It's comes with most of the lowbrow elements and formula we've grown accustomed to from this type of franchise. But it's hard to imagine someone making a Bond film that's significantly better than this. Skyfall is so well made from top to bottom that I doubt many could walk away from it unimpressed.


18. Pitch Perfect

http://i.imgur.com/nhFyNac.jpg

This is my fourth time writing a top 50 list and this might be the biggest surprise I've ever encountered. To say that Pitch Perfect caught me off guard would be an understatement. I was seriously considering skipping the film altogether, because everything about it appeared to be really cheesy and uninteresting. Its one saving grace was the positive reviews, which begrudgingly got me into the theater for the sake of being thorough and giving everything a chance.

Pitch Perfect is the best comedy of 2012. An affectionate spoof of its genre that's filled with loveable characters, this movie easily pitch-slapped my inner cynic. Anna Kendrick is a breath of fresh air with her endearing personality and surprisingly good voice. Rebel Wilson is in many ways the comedic soul of the film, playing the part of Fat Amy and uttering more than a few classic lines. The funniest of all might be Hana Mae Lee, who plays the soft-spoken Lilly. The rest of the girls are too numerous to list here, but all of them exude a confidence and sense of humor that helps this film thrive. They know that they're playing cliche characters (that's part of the joke) but they really own their roles and go all in.

I was laughing throughout the vast majority of this film. It can stand on its own from pure laughs, but this one also manages to have some incredibly entertaining and oddly moving musical scenes in spite of its silliness. Some of the later musical numbers helped to solidify this film as more than just a comedic genre parody. When I left the theater I knew that I had just seen something special.

Do you guys wanna see a dead body?


17. The Perks Of Being A Wallflower

http://i.imgur.com/evEajTg.jpg

Based on the Stephen Chobsky novel, The Perks Of Being A Wallflower is a coming of age tale about an introverted and mentally unstable young man in his freshman year of high school.

The real strength of this film is that it captures the experience of adolescence in a way that is truly sincere. While few viewers will find their experiences identical to Charlie, Sam, or Patrick the film resonates with people as emotionally genuine. I experienced many of the same things these characters did, including some depression, which I imagine is fairly common among high school students. The film deals with the highs of going from a social outcast to finding oneself in music and close friends. But it's also a challenging film that addresses subjects like lost friendships, emotional chaos, and the pain of unrequited love.

Emma Watson will clearly receive most of the attention due to her celebrity status, and while she is good she is not in the same league as Logan Lerman and Ezra Miller. Both deliver fantastic performances here and help elevate the script to greatness. Ezra Miller is probably one of the best young actors working today, in my opinion. I would definitely have nominated him for a supporting actor award if I were casting award show ballots.

I would say that this is one of the best coming of age stories I've ever seen.

[The Bad Guy]

Yeah, I am quite fond of The Day He Arrives. It feels like top five in his oeuvre for me (Tale of Cinema and Virgin... go back and forth in my mind as to which is his strongest). I think his films are especially suited to black and white, in that they formally and narrative play with such strict contrast.

The use of black and white worked well in TDHA, I agree. I actually need to watch some more of his older films.


This list makes me want to see Arrietty, I Wish, and Tabu all the more.

Thanks - hopefully you get as much enjoyment out of them as I did.


In Another Country. Though that latter aspect is still present to some degree.

Yeah, what elixir said.


And it's a female perspective fragmented into 3 separate female protagonists. It's a made-to-order dreamdead film. :) I actually like it a tad more than The Day He Arrives, but it's hard to go wrong with Huppert.

That's interesting because I strongly preferred TDHA to In Another Country. Country is good, but I think feel that Arrives is great. It's a more enjoyable and philosophically rich concept film.

[transmogrifier]

I didn't like In Another Country at all. Very hollow.

[The Bad Guy]

16. Sleepless Night

http://i.imgur.com/PeDxPSw.jpg

If I were talented enough to create my own action/thriller it would probably look a lot like Sleepless Night.

It doesn't take long for Sleepless Night to arrive at its main location. Once it does, the film becomes a frantic, edge-of-your-seat thrill ride for the majority of its duration. The movie plays out like a delicious blend of Taken, Die Hard, Point Blank, and Infernal Affairs. Yet part of what makes this film so interesting is that our protagonist is no John McClane. Vincent is a mysterious character that we know little about going into the labyrinthine night club to rescue his son. It's clear that he is not a professional and that he is in over his head. He's simply a man caught in a desperate situation and he is struggling against overwhelming odds, often ineffectively.

The tempo and tone of the film are excellent. It's unfortunately quite rare these days for something to capture brisk mayhem in the way that Sleepless Night does. This is the type of breakneck action/thriller that I wish we'd get every year. It succeeds at creating tension nearly every step of the way, which is incredibly refreshing in a world of Jason Bournes and glossy big-budget productions. Without giving too much away, I'll also say that the ending might not be what you'd expect. I was glad to see this film take an uncompromising approach from the first frame to the last.


15. Starlet

http://i.imgur.com/kH2AAsU.jpg

Almost nobody went to see this film and I don't expect you'll find it on many year end lists, but Starlet is one of my personal favorites of the year. Sean Baker's film tells the extraordinary, moving tale of how two forgotten souls forge an unlikely connection in the San Fernando Valley, despite being separated by about sixty years of life experience. These individuals come together when Jane buys a thermos from Sadie, which contains a large amount of money inside. She is pretty sure that Sadie never knew the money was there, but she is unsure what to do about it. Curiously, she begins to approach Sadie and tries to get to know her better.

I can understand people's skepticism about this film's premise. Some might pigeonhole this as a December-May relationship film that we've seen done before, but that would be unfair. Sean Baker exploits these elements at times, but he cautiously reigns them in. Starlet finds fresh ways to tell its story. It poses some thoughtful questions about morality and what lies beyond external appearances. When it comes to examining human relationships this film is much different from something like The Intouchables, a vastly inferior film from last year.

The film is bolstered by strong performances from Dree Hemingway and her 85-year-old co-star Besedka Johnson. Although we don't get an intimate glimpse into their past histories, we feel that we come to know these characters intimately. Throughout the course of the film we come to understand why these two continue to share a relationship for as long as they do.

If you stick with this film and pay attention then you will be amply rewarded. The ending of this film may just be the best conclusion I saw all year. The final scene was deeply moving and it's something I'm not going to forget any time soon.


14. A Royal Affair

http://i.imgur.com/IYTzIkX.jpg

Despite an Academy Award nomination for Best Foreign Film, Nikolaj Arcel's A Royal Affair appears not to have received much attention this year. I can't say that I understand why, since I found it to be an exceptionally crafted film that packs an emotional punch.

It probably helped that I was historically ignorant of Denmark's political history during the 18th century. The story behind this film is rich and fascinating, as well as the historical characters on which they are based. The ideas of the Renaissance come careening into traditions of the ruling elite when Johann Friedrich Struensee becomes the mad King Christian VII's personal physician. He attempts to influence the mentally unstable ruler with these ideas of the enlightenment, which are viewed as dangerous by the political council. As you might imagine from the film's title, an intense attraction begins to develop between Struensee and the Queen, Caroline Mathilde. This dangerous attraction, coupled with the risky political maneuverings of Struensee, make for a plot that has considerably more tension than your average costume drama.

All three of these characters are portrayed sympathetically. The performances are compelling and the sets are elegantly photographed. There's really nothing about this film that isn't well made, in my opinion. I have heard some critics complain that the ending is disappointing, frustrating, or that it doesn't leave a lasting impact. I could not disagree more with that assessment, because I thought this film had one of the most powerful conclusions of the year.

[The Bad Guy]

13. Safety Not Guaranteed

http://i.imgur.com/UOFLPXe.jpg

Safety Not Guaranteed is a film about the emotional needs that time travel satisfies.

The premise of the film can be summarized by the classified ad which a magazine writer and two interns seek out for their new story:
*Wanted: Someone to go back in time with me. This is not a joke. You'll get paid after we get back. Must bring your own weapons. Safety not guaranteed. I have only done this once before.*

While the film has elements of romance and comedy, I think it would be an oversimplification to call this a rom-com. This is a film with a lot of subtle philosophy and sci-fi mystery thrown into the mix. Many things in the film are not what they first appear to be, including the characters themselves, who appear to be stereotypical on first glance. The best example of this may be Jeff, who is brilliantly realized by Jake Johnson. The film takes many of these traditional elements and breaks them down over the course of its run time, resulting in an experience that is richly layered and intensely personal. Each character in this film is troubled by past regrets or feelings of inadequacy. The notion of what might have been or what might be is ever present throughout the film, and this ties directly into the concept of a time machine.

In my experience people either walk away from this film head-over-heels in love with it, or they fail to see what the big deal is. I absolutely love this film, but I think much of that hinges on the emotional journey of the characters and the final scene. The ending of Safety Not Guaranteed was considered a disappointment by some, but it's one of my favorites of the year. This is a movie that reminds me why I love going to the movies.


12. The Master

http://i.imgur.com/9ECygmR.png

Paul Thomas Anderon's latest film is a mesmerizing portrayal of one man's encounter with a cult. The Master is apparently inspired by L Ron Hubbard and the Church Of Scientology, and it's one of the more intriguing films I've ever seen on the concept of belief and group mentality.

Set in post WWII America for no other reason than (as Paul Thomas Anderson claims) that era is filled with delicious costumes, sets, and environment. The film centers around a PTSD veteran named Freddie Quell, and while we don't know what he was like going into the war we can see that he is a deeply troubled and erratic man who is attempting to reintegrate into normal society. Freddie's life takes an interesting turn when he meets up with Lancaster Dodd, the charismatic cult leader of an organization known as The Cause. While Freddie is intriguing to Dodd, his personality presents unforeseen challenges that call into question the very nature of The Cause and its practices.

It's an absolutely fascinating film that boasts quite possibly the best cast of the year. You'd almost have to flip a coin to determine whether Phillip Seymour Hoffman or Joaquin Phoenix gave the better performance in this film, as both are absolutely brilliant and deserving of any awards they receive. Amy Adams gives one of the most impressive supporting actress performances of 2012 here as well. In fact, even if you don't care about anything else in this film it is worth seeing simply for the sheer quality of thespian craft on display.

Thankfully, this is a film that succeeds with its narrative and subtext as well. The Master may even require multiple viewings to fully appreciate these themes. It may inspire some of the most interesting post-viewing discussions of any film this year. I think this is an absolute must-see and I don't begrudge anyone that would rank this as their #1 of 2012.



11. Zero Dark Thirty

http://i.imgur.com/Xb4HZ06.jpg

Kathryn Bigelow's Zero Dark Thirty is arguably the closest you'll get to perfection this year. By that I mean there isn't one aspect of this film that I can criticize. Everything in this gritty, realistic spy thriller works. If you're looking for high octane entertainment or a sensational re-imagining of history then you're in the wrong place. However, if you want a flawless recreation of an amazing true story then this one delivers in spades.

If you didn't already consider Jessica Chastain one of the best actresses working today, Zero Dark Thirty should convince you that she is worthy of the hype. Her character of Maya is apparently based on the same intelligence agent that inspired Homeland's Carrie, and for those of you familiar with that show the comparison will come as no surprise. Chastain is not as unhinged as Claire Danes, but she is playing the part of an obsessive and often extreme agent who is willing to go to any lengths necessary to achieve her objective.

Unfortunately, too much has been made of the torture in this film. I'm hesitant to even address it in this synopsis, but it has been such a topic of debate that I can't help but say a few words about it here. In short, I think that this film has handled the matter in an appropriate way. I'm personally opposed to torture and as far as I know Bigelow is as well, but one cannot make a counter-terrorism film that spans the Bush and Obama presidencies without addressing the "enhanced interrogation" methods employed at Guantanamo and Black Sites around the world. It would be ridiculous to white wash these unpleasant realities from history, and the fact that Bigelow has the courage to stick to the real story is something that I applaud her for. This is a tasteful film that is able to balance realism with sensitivity (as evidenced by the opening black screen).

This is a beautifully crafted and compelling film. There are some shots in Pakistan that will linger in my mind for many years to come. Also, the raid on the compound during the last half hour of this film is absolutely remarkable. It's one of the most amazing sequences I've seen in a long time. If people are able to view that and claim that Kathryn Bigelow doesn't deserve a director nomination then I don't know what you need to do to get one. Seriously, what was the Academy thinking?

[The Bad Guy]

10. Cloud Atlas

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2012 was one of the more controversial years in memory. Depending on who you talked to many films were either masterpieces or garbage. But perhaps no film was more polarizing than Cloud Atlas, the nearly 3-hour epic based on David Mitchell's best-selling novel. Whether you loved it or hated it, you have to concede that Cloud Atlas is one of the most ambitious and courageous movies ever made.

The film was a blockbuster bomb, perhaps doomed in advance by its lofty premise and immense scale. Sadly, it was not uncommon to see Cloud Atlas play to empty theaters. Most patrons opted instead for the safety of re-makes, sequels, or proven formulas. This was truly unfortunate, because Cloud Atlas was a marvel that blew the lid off cinematic conventions. Most of this film's faults (and it is not without its share of flaws) come from an attempt to grandly succeed and break ground in places most films never go. By all rights the film should not even work, but it does.

It manages to be one of the best edited films of last year and it sports some impressive production values. There was never a moment in this epic where I felt bored or disengaged, because the film moves forward with such an uncompromising vision. Watching the film is like being transported to a a kaleidoscope reality with complex layering and stories that run parallel with each other across the centuries. Some might find it challenging to keep up with all these narratives, but even if you find it difficult to make the thematic connections you can still be swept away by the experience.

I have to admit that I do not buy into any notions of Karmic re-birth or destiny, but I don't mind them being used as a narrative device in order to tell a good story. Cloud Atlas uses these ideas to craft a truly unique viewing experience. I can honestly say that I've never seen anything quite like it. I may never see anything like it again.


9. The Imposter

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If this weren't a true story it would probably get ridiculed for its absurdity. This is one of the most unbelievable and bizarre tales you are ever likely to hear.

Rather than attempt to tell the story as a mystery, the film is narrated by imposter Frederic Bourdin and titled "The Imposter". This feature documentary tells the tale of Nicholas Barclay, a 13-year-old boy who goes missing in Austin Texas in 1994. Three and a half years later he is found alive in Spain, with horrific stories of kidnapping and torture. Before he can return to the United States he must be picked up by a family member and prove his identity. But the only problem is this is not Nicholas Barclay, only someone claiming to be him. Any doubt as to whether this is the real Nicholas Barclay is resolved in the first five minutes of the film, but that doesn't prevent this from being an edge-of-your-seat ride with twists and turns along the way.

This is a must-see film if you are interested in true crime or human psychology. There is scarcely a moment when this film is not intense or fascinating. It is certain to inspire some very interesting conversation and linger in the mind long after the credits roll. Without giving anything away, there is an interesting reveal towards the end of the film that makes this story even more bizarre and controversial.

Perhaps truth really is stranger than fiction.



8. Moonrise Kingdom

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Wes Anderson is a good example of the auteur theory. In Moonrise Kingdom, I believe he has made his most distinctive and personal film to date.

Anderson said in an NPR interview that Moonrise Kingdom was "a memory of a fantasy" he had as a child, which is an eloquent way of summarizing this film about two twelve-year-olds who make a secret pact to run away because they feel fated to be together. As you might imagine, their disappearance throws the peaceful island community into turmoil as concerned adults seek to locate Sam and Suzy. The two children have no feasible long-term plan (they pack things like a music player and batteries rather than stockpiling food and water) but they are determined to follow through with their plans for escape. What follows is a hilarious, heartfelt journey about youth and love.

There is a delightful air of nostalgia that permeates this film. You may find yourself reminiscing about your own childhood experiences, usually impractical in retrospect but often poignant and beautiful to look back on. The story evokes awe and the magic of escapism, and it also brings that humorous charm we've come to expect from Anderon's films. It is a quirky film, but it is also deeply human and disarmingly hopeful. In my opinion, this is Wes Anderson's best movie. It's hard to imagine anyone not liking this.

[The Bad Guy]

7. Samsara

http://i.imgur.com/w7DzY6p.jpg

The most beautiful film of 2012, Samsara is an astonishing visual treat that demands to be seen on the big screen or in high definition. If you were looking for a Blu Ray to show off your home theater display, you may have found it here.

Samsara has no plot and no dialogue. Ron Fricke's movie was shot in twenty five countries on 70mm film, over the course of five years. If you've seen Baraka, this is essentially a sequel to that film shot 20 years later. There are themes in this film, but a lot of the time we're left to form our own impressions on the juxtaposition of sight and sound, or the transitions from one part of the world to the next. Each viewer brings their own personal experiences and worldview into the film, which in turn shapes the viewing experience and makes it personally unique.

No film can fully capture the world in the ways Samsara attempts, but it's marvelous to behold the scope of this film. When the film reached its conclusion I left the theater feeling much different than I had going in. You feel as though you have just returned from somewhere else, and you begin to look at everyday things from a different vantage point. At the risk of sounding cheesy, this is the type of film that can have leave a strong impression and might even have some impact on the way you view the world. It's a wondrous and thought provoking work of art.


6. The Raid: Redemption

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The Indonesian action film The Raid: Redemption never pretends to be something it isn't. The film takes a few minutes to establish its plot and characters, but after that we're in an armored police van headed towards a raid on a highrise building. Once we arrive at the dark and menacing tower the film rarely allows us to catch our breath. The film is incredibly raw and violent from start to finish, featuring a stunning martial arts and brilliant stunt work. There were 14 doctors on the set. After watching the fight sequences, you’ll understand why.

The strength of the film is its amazing fight choreography. Even the extras in this movie exhibit considerable talent and a willingness to sacrifice their bodies for the film. The most impressive by far is Yayan Ruhian, who plays the villainous fighter Mad Dog. Small in stature but absolutely lethal in action, Ruhian might be my favorite martial artist to grace the screen since Tony Jaa. He actually trains the Indonesian Special Forces in Silat, which doesn't surprise me given his skill. I really hope that we see him in some future projects, because he steals this movie. If we're not watching someone getting shot in the face then we're probably seeing some incredible fight scenes or epic confrontations. There are inventive uses of space and tactics, especially one sequence that involves multiple floors and a fridge that has been rigged to explode.

This is about as lowbrow as movies get, but its an amazing action film and one of the most impressive I've ever seen in the genre. If that sounds like your kind of movie then there's no excuse not to watch it. I have a feeling that this will go down in history as one of the best action films of all time. It certainly deserves to.


5. Amour

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Amour is an unflinching masterpiece that is well deserving of its title.

Michael Haneke's film is a courageous undertaking, both by himself and the two lead actors Jean-Louis Trintignant and Emmanuelle Riva. Both of these amazing actors deliver fantastic performances, fully committing themselves to the script. Riva is especially moving in her portrayal of Anne, which at times can be difficult to watch.

While the apartment that Georges and Anne inhabit can be suffocating and the subject matter can be frightening to some, I think that this is ultimately not a film that is about fear or tragedy. At its core this is a story about love and responsibility, a beautiful portrayal of a couple who have lived a full life together and must now confront what it means to commit to your partner "til death do us part". Whether it is a visiting pupil or their concerned daughter, Georges encounters opposing views on how best to care for Anne. The pupil wants to show sympathy for her condition, the daughter wants more proper medical care in a hospital environment, but Georges can see that these approaches are the wrong way to handle her condition. Everything that he does for Anne is done with her best interests at heart, as he tries to maintain as much normalcy and intimacy as possible before her time expires. His love for Anne is so sincere that it makes an otherwise bleak film heartwarming, even optimistic.

I'm not going to pretend that Amour isn't devastating at times, because it is. This film made me cry and it brought back some painful memories about what it was like watching my mother's condition deteriorate from cancer. Anyone that has ever watched a loved one succumb to a disease will find this film to be intensely emotional and the realism on display will cause them to recollect their own past experiences. This film isn't for the faint of heart, but mature moviegoers will find a beautiful love story at the center of this film.

[The Bad Guy]

4. Searching For Sugar Man

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It's difficult to talk about Searching For Sugar Man, because the less you know going into it the better it's likely to be. I only knew that it was supposed to be good and I entered the theater without any knowledge of the artist Rodriguez or anything else, so I'll try to spare you any details that might impact your enjoyment of the film. Even though I'm going to be very vague, you might want to skip this blurb if you haven't seen the film if you dislike mild spoilers.

First let me say that this is the best documentary of the year, not because it's the most important or even the most well crafted. It's my favorite documentary of 2012 because it tells an incredible story that leaves a lasting impression on you. The film is about a failed musical artist named Rodriguez from Detroit in the early 1970s, who many music producers considered to be extremely talented and a rising star in the industry. But Rodriguez' albums did absolutely nothing and he was soon let go by his label. With his music career in shambles, Rodriguez disappeared into obscurity. But somehow his record "Cold Fact" made it to South Africa and became a bootleg sensation. In time his reputation and popularity grew to the levels of super-stardom in South Africa, and he even managed to influence some of the anti-apartheid music culture there. To South Africans, his records were some of the most famous of all time, but in America nobody had ever heard of him.

There was no information about Rodriguez after his second album. Nobody in Africa even knew which part of America he was from, what had happened to him, or which version of his suicide was true. So in this film a couple musicologist detectives seek to find the answers to these questions, so that they can put the pieces together and tell the story of what happened to this man who was simultaneously a colossal failure and a huge success.

This film is simply unforgettable. It features songs from Rodriguez' albums which are surprisingly good, a fascinating tale about the fickle nature of artistic success, and an amazingly uplifting vibe despite the tragic elements involved. If you haven't seen this beautiful film you owe it to yourself to watch it. It's the best documentary I've seen in years.


3. Holy Motors

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Leos Carax has made a truly unique and exhilarating cinematic experience in Holy Motors. This is one of the wildest and most original films you're likely to see from this or any year. Holy Motors has been described as everything from a lunatic odyssey to a cinematic Rorschach test.

Holy Motors touches on themes of changing technology in cinema and the absence of an audience. The film laments the passing of 35mm film and the rise of things like Netflix and BitTorrent. At one point in the film our protagonist, Oscar, speaks nostalgically about a time when the cameras on sets were bigger than the actors themselves. In Oscar's present day reality the cameras are invisible and the audience is nowhere to be seen, yet he soldiers on because he still respects the beauty of the act.

While these elements are very much present in Holy Motors, I do not think it would be fair to say they are what the film is solely about. These philosophical musings are important to understand the mentality of Oscar's character and they help to put the film in its proper context, but I believe that the film is mostly a celebration of make believe. In that sense this a movie for people that love movies, crafted by a director who wears his passion on his sleeve. It's a truly surreal journey that takes the audience down the rabbit hole, allowing us to invest ourselves in these absurd segments all the while knowing that we are layers removed from any concept of reality. Several scenes play with this layering, as though we're viewing them inside a dream.

It should also be mentioned that Denis Lavant is fantastic in the lead role, as he inhabits one character to the next with conviction and mastery. It's perplexing that he is often being overlooked when people mention the best actors of the year, because he unquestionably gave one of the best performances I saw in 2012.

Some people probably burn a lot of fuel thinking about how each segment fits in the context of the film or why certain things happen the way they do. Personally, I feel that this is a movie to have fun with. Go along for the ride and appreciate the absurd fantasy Carax has given us. Few things are this enjoyable or interesting, so I find myself savoring it as amazing entertainment that plays with my willing suspension of disbelief. Holy Motors is pure movie magic.


2. Django Unchained

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Tarantino has always been about pulp entertainment, and in Django Unchained demonstrates his mastery of this craft. I'm not going to get a lot of people to agree with me on this, but I think this is Quentin Tarantino's best film and the type of movie that suits him perfectly.

Django Unchained is pure entertainment from start to finish. Yes, it deals with heavy subject matter in the form of slavery, revenge fantasy, and horrific violence. But unlike many of his previous films, Django is full of charm and humor. It may not be a comedy film, but I'd be lying if I said that any other movie from 2012 was this funny or got so many big laughs. In many ways this makes Django his most unique film, because it has a distinct vibe which is all its own (despite the familiar plot mechanics). This might not work in other contexts, but it's perfect at creating a hilarious and enthralling film that doesn't take itself too seriously.

As we've come to expect from Tarantino, the cast and music in this film are excellent. Jamie Foxx might be the weakest link, but this is only because he is surrounded by the likes of Christoph Waltz, Leonardo DiCaprio, and Samuel L Jackson. Waltz is especially great in this film, playing a character that is similar to Hans Landa in some respects but by other standards couldn't be more different. Jackson inhabits one of the best roles we've seen from him in ages. The musical choices help make the scenes gel or get the audience to connect emotionally with each scene. I especially like John Legend's "Who Did That To You", but there are quite a few others to like here, including the old school Django theme which plays during the opening credits.

Some have complained that the loss of Sally Menke had a negative impact on this film's editing. While it's possible that Menke could have done a better job I had no problems at all with the pacing of this film. In fact, I'd love to see an extended version at some point. There wasn't a single moment where I found myself becoming impatient or disengaged. Even on repeat viewings I was enthralled from start to finish.

This film is so incredibly enjoyable that I couldn't help seeing it multiple times in theaters. It's extremely rare that I get to have that much fun at the movies, so when an opportunity comes along to see something like Django in a packed house with electric energy, I make sure to take advantage. I don't think there's anything I dislike about this film (not even the comedic Tarantino cameo) and I even thought about whether this movie should rank as my #1 of the year.

[Watashi]

Django is easily the least funniest of Tarantino movies.

I think I laughed maybe once.

[The Bad Guy]

That's interesting, because at every showing I attended the audience laughed loudly and often. I found it had more humor than any other Tarantino film by far.

[Ivan Drago]

This was truly unfortunate, because Cloud Atlas was a marvel that blew the lid off cinematic conventions.

I'll be coming off as the dumbest man in the universe for asking this, but. . .how? I watched it twice and while it held my attention and I enjoyed the experience, I failed to understand its themes and how it broke any conventions, apart from telling six stories at once.

[The Bad Guy]

1. Girl Walk // All Day

http://i.imgur.com/VMC5hZO.jpg

Watch The Film (http://www.girlwalkallday.com/watch-the-film)

"Buy" The DVD (http://shop.girlwalkallday.com/product/girl-walk-all-day-dvd)

Earlier this year, there was a piece in the Washington Post about a man playing the violin at a subway station. During the time the musician played, thousands of people passed by the on their way to work. Only six stopped to listen, while twenty gave money but continued walking. When the violinist finished his 45 minute set there was no applause or recognition, and he had received $32. Nobody knew it, but the performer was Joshua Bell, considered by many to be one of the world's greatest musicians. He had just played one of the most intricate pieces of music ever written on a violin worth $3.5 million. Two days prior to his subway performance, Bell had played to a sold out theater in Boston with an average ticket price of $100.

Girl Walk // All Day is not a film you're going to see on a lot of top ten lists. It isn't going to get nominated for anything at an awards show. It was not made available through cinemas, commercial DVD sales, or even torrents. In fact, the majority of pedestrians we see in the film do not seem to acknowledge that they are in a movie, much less pay attention to the dancers who are performing beside them. It can be difficult to recognize greatness if we're not conditioned to look for it.

I spent an enormous amount of time watching films from 2012 and I saw quite a few films I would consider great. However, I can't justify ranking any of them ahead of this movie. It is, quite possibly, the most fun I have ever had watching anything. Girl Walk // All Day bursts onto the screen with sheer joy and intoxicating energy that doesn't let go for its 77 minute run time. It has more than a few moments of transcendent brilliance where even the most cynical viewer would have to acknowledge that they're seeing something special.

The plot of the movie is almost non-existent, but it could best be described as a dance and music video of epic proportions. The music is from DJ Greg Gillis aka: Girl Talk, who takes mash ups of hit songs and strings them into albums he releases for free online. This means copyright is a legal grey area for GW//AD and commercial distribution of the film is nearly impossible through the usual channels. Because of this, the film is distributed freely through Vimeo and Youtube.

The film follows three dancers as they make their way through Manhattan. These characters are The Girl, The Gentleman, and The Creep. Each of these individuals has their own distinct style and personality. While The Creep is probably the most talented dancer of the bunch, the best performer in the film is easily Anne Marsen who plays the part of The Girl. In fact, I'd go so far as to say she gives one of the best female performances of the year. Her personality is the center of the film through which everything operates, and it is through her unbridled optimism that the film is able to maintain its concept without ever once feeling stale.

Girl Walk // All Day is an absolutely delightful film that I've watched many times already and will watch many times more. As Anne Marsen says "Life is short and dance is so much fun."

[The Bad Guy]

I'll be coming off as the dumbest man in the universe for asking this, but. . .how? I watched it twice and while it held my attention and I enjoyed the experience, I failed to understand its themes and how it broke any conventions, apart from telling six stories at once.

I mean that's basically it. The film is telling such a variety of stories over many different centuries, editing them together in way that's totally unique and visionary. I've never seen a film that did anything like that before. You could talk about something like Magnolia, but the scope and execution was very different.

[Russ]

1. Girl Walk // All Day


"Buy" The DVD (http://shop.girlwalkallday.com/product/girl-walk-all-day-dvd)

Just ordered. Thank you so much for bringing this to my attention.

[dreamdead]

I'm quite excited to see Samsara. Baraka was one of the most revelatory film experiences for me last year, but I kept missing screenings of Fricke's latest. The way he creates juxtaposition and echoes always seems at least comparable to Reggio, and there were numerous sequences in Baraka that felt more humane and balanced than Reggio ever allowed his project to go.

I don't harbor nearly the love for Tarantino's latest as you do. It felt the most perfunctory even though Django's quest is just as personal as the Inglorious Basterds quest. Still, something about the characters just felt rote.

The Girl Walk / All Day link is going to be wonderful to visit in the next day. I'm excited to see this...

[The Bad Guy]

Just ordered. Thank you so much for bringing this to my attention.

I just received my copy last week and its great. It has no case, just the disc and some stickers. But you can build your own case for it easily enough.

The important thing is that it's Girl Walk // All Day uninterrupted and on DVD. Plus it has special features!


I'm quite excited to see Samsara. Baraka was one of the most revelatory film experiences for me last year, but I kept missing screenings of Fricke's latest. The way he creates juxtaposition and echoes always seems at least comparable to Reggio, and there were numerous sequences in Baraka that felt more humane and balanced than Reggio ever allowed his project to go.

I don't harbor nearly the love for Tarantino's latest as you do. It felt the most perfunctory even though Django's quest is just as personal as the Inglorious Basterds quest. Still, something about the characters just felt rote.

The Girl Walk / All Day link is going to be wonderful to visit in the next day. I'm excited to see this...

If you liked Baraka then I imagine you'll feel the same way about Samsara. I actually prefer the latter, which I found to be the more visually satisfying and engrossing experience.

I'm excited to hear your thoughts on Girl Walk // All Day. Hopefully you enjoy it.

[Winston*]

That's interesting, because at every showing I attended the audience laughed loudly and often. I found it had more humor than any other Tarantino film by far.

More humour than Pulp Fiction?

[Russ]

Tthe best performer in the film is easily Anne Marsen who plays the part of The Girl. In fact, I'd go so far as to say she gives one of the best female performances of the year. Her personality is the center of the film through which everything operates, and it is through her unbridled optimism that the film is able to maintain its concept without ever once feeling stale.
I couldn't agree more. And I hope folks aren't turned off by words like "musical" or "music video", because they don't do the description of this film justice. I had a big grin on my face, I think, for the entirety of the run-time, because of the connection that the film so successfully seeks and makes. The mashups are excellent too. But, it's those moments of transcendental brilliance to which you refer (and there are several) that will make this film stand up to the test of time. Even if elements of the music are grounded in the here and now, I just can't envision a sell-by date for this product. It is truly sublime. I'm still trying to figure out how it is that I've only just today heard of it. And yes, I've enjoyed it more than once already. At the risk of becoming the king of hyperbole, I'll add that this film, even with less technically-accomplished dancing, embodies a spirit that is as timeless as anything we've seen from legends such as Astaire, Rogers and Kelly.

And I've seen the reviews online -- they are almost unanimously glowing in their praise. Such a shame that this will almost certainly NEVER be coming to a theater near you (at least by the traditional distribution model); I hope my local art theater arranges a showing, as I would kill to see this with a large group.

People, this is available online for free. What are you waiting for?

[dreamdead]

I'm excited to hear your thoughts on Girl Walk // All Day. Hopefully you enjoy it.

Yeah, this was incredible. The way this creates where we expect (and appreciate) creativity and spontaneity was interesting, but more than that, the girl's energy and innocence are just amazing. This was such a great viewing experience, despite the cumbersome nature of the clips, and we're looking forward to revisiting it again simply because it's so immediate and visceral.

Great number one.

[Watashi]

The scene where Anne Marsen comes out dressed all snazzy..... So hot.

[baby doll]

I mean that's basically it. The film is telling such a variety of stories over many different centuries, editing them together in way that's totally unique and visionary. I've never seen a film that did anything like that before. You could talk about something like Magnolia, but the scope and execution was very different.I haven't seen Cloud Atlas, so maybe I'm just talking out of my ass, but what you're describing sounds a lot like Intolerance: cross-cutting between multiple story lines set in different centuries. In fact, every review I've read of Cloud Atlas winds up explicitly comparing it with Griffith's film.

[The Bad Guy]

More humour than Pulp Fiction?

Yes

Granted, I've seen Pulp Fiction at least ten times and I've only seen Django several times. But I think it's easily the most comedic of any Tarantino film. I'm actually surprised to see that this is a matter of some debate. The theater audiences at my viewings were laughing as much as any movie I can remember attending. I think it's hilarious, but even if the humor doesn't click for you I'd argue that it's Tarantino's most deliberate effort at humor.


I haven't seen Cloud Atlas, so maybe I'm just talking out of my ass, but what you're describing sounds a lot like Intolerance: cross-cutting between multiple story lines set in different centuries. In fact, every review I've read of Cloud Atlas winds up explicitly comparing it with Griffith's film.

Well this is difficult because you haven't seen Cloud Atlas and I haven't seen Intolerance. I can't really comment on how Griffith's film is edited. Does anyone know if the editing and styles are similar in the two films? Speaking from personal experience, I've never seen a film that was crafted like CA.

[The Bad Guy]

I couldn't agree more. And I hope folks aren't turned off by words like "musical" or "music video", because they don't do the description of this film justice. I had a big grin on my face, I think, for the entirety of the run-time, because of the connection that the film so successfully seeks and makes. The mashups are excellent too. But, it's those moments of transcendental brilliance to which you refer (and there are several) that will make this film stand up to the test of time. Even if elements of the music are grounded in the here and now, I just can't envision a sell-by date for this product. It is truly sublime. I'm still trying to figure out how it is that I've only just today heard of it. And yes, I've enjoyed it more than once already. At the risk of becoming the king of hyperbole, I'll add that this film, even with less technically-accomplished dancing, embodies a spirit that is as timeless as anything we've seen from legends such as Astaire, Rogers and Kelly.

And I've seen the reviews online -- they are almost unanimously glowing in their praise. Such a shame that this will almost certainly NEVER be coming to a theater near you (at least by the traditional distribution model); I hope my local art theater arranges a showing, as I would kill to see this with a large group.

People, this is available online for free. What are you waiting for?



Yeah, this was incredible. The way this creates where we expect (and appreciate) creativity and spontaneity was interesting, but more than that, the girl's energy and innocence are just amazing. This was such a great viewing experience, despite the cumbersome nature of the clips, and we're looking forward to revisiting it again simply because it's so immediate and visceral.

Great number one.

I'm so happy to see people digging Girl Walk // All Day. I don't rank my films in order to give people recommendations, but I'm really enthusiastic about GWAD and I think it's awesome that people are discovering it. It's probably the best film I've seen in several years.

[baby doll]

Well this is difficult because you haven't seen Cloud Atlas and I haven't seen Intolerance. I can't really comment on how Griffith's film is edited. Does anyone know if the editing and styles are similar in the two films? Speaking from personal experience, I've never seen a film that was crafted like CA.In any case, whether or not Cloud Atlas is doing something radically innovative, the real issue is why the film tells the story in this way. In Griffith's film (and Keaton's Three Ages--which, like Cloud Atlas, features the same actors all three stories), the cross-cutting of separate stories served to emphasize the parallels between them. In I'm Not There., on the other hand, all the cutting between the different stories serves to underscore the irreconcilability of different aspects of Bob Dylan's persona.

[Russ]

http://i1.ifrm.com/html/emoticons/cool.gif

The DVD of Girl Walk // All Day came in the mail today. Can't wait to watch the whole thing uninterruped on a big flat-screen with surround sound. And to turn all my friends on to it.

Great way to start the weekend...