Top 23 of 2011

23. Bridesmaids

Easily the funniest film of the year, and not a Rogen or a McBride in sight! Having said that, 'Bridemaids' continues the Apatow tradition, but for the first time with women at the forefront. It has proved to be a phenomenal vehicle for long-time Apatow favourite and SNL vet Kristen Wiig, but even more so for Melissa McCarthy (whose previous TV credits include 'Gilmore Girls' and more recently 'Mike and Molly') in her first major feature film. McCarthy is unforgettable as Megan, and as the critics associations of America start to announce their end of year awards thick and fast, it's looking increasingly likely that McCarthy will secure an Oscar nomination for her bold, hilarious turn that single-handedly launched this film to 'The Hangover' heights. Wiig's screenplay is sharp as you like, and she along with a brilliant Rose Byrne are both fantastic, but it's McCarthy's film from the moment she appears on screen.

22. Rise of the Planet of the Apes

The initial trailer for this film really didn't sell the overall quality of the picture. At first, I found myself thinking, 'Franco! What on earth are you doing?' After a stellar 2010, I was fearing a slight sell-out. I was to be entirely incorrect. 'Rise of the Planet of the Apes' is THE blockbuster of the year. It features arguably some of the strongest visual effects ever seen on screen and an award-worthy supporting performance from Andy Serkis as Caesar, the first ape to experience threatening levels of intelligence. Serkis has long been the king of mo-cap performance, but this really needs to be seen to be believed. He gives Caesar just the right amount of humanity that he needs to anchor the story, and contrary to how the trailers may sell the movie, it really is in the story that 'Rise' excels. Personally I can't remember the last time I had this much fun gawking at visual effects and extensive action set-pieces while being completely gripped story-wise and entirely invested in all of the characters, most of all a CGI one. Nice try, Cameron.

21. The Guard

'The Guard' definitely caught me off-guard. Literally. Though aware of it's existence and the positive reviews it was pulling in, it was only on a word-of-mouth recommendation that I felt the need to seek it out while it was still on a cinematic run.

Directed by John Michael McDonagh (brother of 'In Bruges' director Martin McDonagh), he more than follows in his brother's footsteps when constructing the ultimate buddy-cop comedy. The wild brashness of 'In Bruges' is played upon to great effect, with Brendan Gleeson's 'Gerry' being both perhaps the funniest and most politically incorrect character you will see on screen this year. He's borderline racist, full of contempt, a drinker, and a regular frequenter of escort girls. What more could you ask for in a police sergeant?!

Strong complimentary performances from Don Cheadle as the initially unwilling American partner, and Mark Strong as the baddie round off 'The Guard' as THE European comedy of the year, hands down.

20. Super 8

J.J. Abrams is pretty much the prince of advance viral marketing (Nolan is the king). People were talking about 'Super 8' for well over a year before it's release. The teaser trailer was excellent, and the plot was a tightly guarded secret. Abram's homage to Spielberg sci-fi was always going to be a huge deal.

And it is! But as special as it felt when I was watching it, it didn't quite live up to it's hype. I don't think that's Abrams fault though, or executive producer Spielberg's for that matter. These days, when a film is promoted with such fervour, everyone expects the best film ever made. Hell, even I was chatting Best Picture nominations before I'd even seen it.

'Super 8' has unlimited strengths. The 70's sheen is untouchable, the younger actors are pretty much perfect (and I'm not a fan of kid actors), and the story is wonderfully solid by Spielberg standards. My only two teeny-tiny gripes are that perhaps it is slightly too much (at times) of a Spielberg homage rather than a J.J. Abrams stand-alone piece, and that I felt that the alien was a teeny-tiny bit too Cloverfield/Star Trek-y. Neither of these criticisms are 100% negative, as I'm aware of the intent of the film and the creature style that Abrams has developed for himself. I guess I just felt like I'd seen this creature before, in some shape or form.

Nevertheless, a wonderful family film that I warmed to instantly, and carried with me long afterwards.

19. Source Code

To put it lightly, there was no way that I was ever not going to like 'Source Code'. 'Moon' had been such a revelation in terms of modern sci-fi, I was always eager to find how how he would follow it. The answer is 'Source Code'.

While Jones didn't self-pen his second feature, he certainly played a massive part in creating the world of the source code. As with 'Moon', it takes place in a perfectly feasible near future. And, as with 'Moon', it is the subtlety of fictional science that elevates Jones' film into his own stylistic realm. Rather than cloning and moon mining, 'Source Code' sees Jake Gyllenhaal unwilling solider replaying the last eight minutes of the life of a man who died in a terrorist train bombing. Through this admittedly far-fetched experimental process, he is able to use his skill set to try and identify the source of the attack in the hope of preventing a second, all through relentless, tailorable flashbacks. Think 'Vantage Point' meets 'Back to the Future' but in a far more appealing manner than you could ever imagine.

It's a mind-blow to try to explain, but well worth the time and consideration. It leaves you with questions that will never be answered, but for me that was part of the fun. Parallel universes aren't necessarily meant to be questioned. Overall, it is a total blast and further proof than Duncan Jones has a massive future ahead of him.

18. Harry Potter and the Deathly Hallows: Part 2

I had all but written off the Harry Potter franchise until late last year. My girlfriend pleaded with me to give them a go as I had previously turned my nose up at it, deeming it 'kids stuff'. I reluctantly agreed to give them a go, starting at the beginning, more because I wanted to join her for the 'event' that would eventually be the release of the final chapter; 'Harry Potter and the Deathly Hallows: Part 2'.

Here I am holding my hands up. I was completely off the mark with my views of this world-beating film series. It is astonishing not only in its storytelling, but in its technicality, its character development, humour, action set-pieces, the whole nine and then some. Once you get past the first couple of films, it all kicks off. 'Azkaban' descends in to a darkened maturity and never looks back.

While I personally prefer 'Part 1' as a piece of filmmaking, 'Part 2' is pretty much all you could ask for in a final chapter of a phenomenon that has dominated the box-office for the last ten years. Where it doesn't quite have the reflective delicacy of 'Part 1', that was never the point. The action comes thick and fast, giving you more than enough time with each of your favourite characters, discovering various fates in the process. When viewed as an 'action' film, it presses all the buttons. It is all out final war. Good and evil clash in a way never seen before on-screen, and a fine use of Imax 3D means that you are right in the thick of it.

And to think, I almost missed out on this entirely memorable spectacle.

17. Warrior

If awards were given out for the most overlooked films of the year, Gavin O'Connor's 'Warrior' would probably be at the top of most people's lists. While at first glance it may look like potential straight-to-dvd, testosterone fuelled nonsense, I'm hear to tell you that that's about as far from the truth as you could get. I was speculative of a MMA film too, don't get me wrong. What transpired though was an epic tale of disconnected families, financial hardship and redemption.

No one would have ever predicted such an emotional film. Fantastic performances from Tom Hardy and (possible Oscar contender, no shit) Nick Nolte provide the initial strength of the story of two brothers who end up fighting professionally for different reasons, but peel back the layers and this is not just "'The Fighter' goes UFC". It is a beautifully acted and beautifully executed film about the powerful effect that sport can have on a family. The characters are solidly anchored separately, and offered the chance to build and build to the eventual climactic clash.

If any film pleasantly took me by surprise this year, 'Warrior' was most definitely it. Stunning.

16. The Ides of March

You know a film is solid when it falls slightly below your expectations but is still easily one of the finer films of the year. My opinion of George Clooney is so high that I guess I just expect everything he touches to turn to gold. Unfortunately for 'The Ides of March', its not even George Clooney's best film of the year, nor Ryan Gosling's or Paul Giamatti's or Philip Seymour Hoffman's (though it was Hoffman's strongest performance and one that will be forever overlooked). Saying that, all of these individual dramatic strengths still contributed to one hell of a movie.

You either love or hate political thrillers, but when they are presented so masterfully without being over-preachy, they sure are hard not to appreciate. More than a Clooney film (though he plays a central character, it is a supporting role), this is a massive Ryan Gosling vehicle. It almost, in a way, feels like a slight mantle passing from father to son. Gosling is the youth among all the ever impressive experience, and holds his own fantastically well, more so than he did in 'Drive' earlier in the year.

All in all, it will confirm your love for Gosling and solidify the idea you had that if Clooney ran for president, you would probably vote for him.

15. 50/50

As if 'cancer-comedy' is a sub-genre now? I mean, hell, Seth Rogen's done two of them now. This is far and away the better one.

If any movie ever found the balance between hilarity and sensitivity, '50/50' is that movie. Penned from the real-life experiences of Rogen's friend (and soon to be Golden Globe nominated screenwriter) Will Reiser, it tells the story of 27-year old Adam's (Joe Gordon-Levitt) struggle with 'type-4 back cancer'. With a spot-on supporting cast of Rogen, Anjelica Huston, Bryce Dallas Howard and the enchanting Anna Kendrick, it's as funny as it is heart wrenching. You honestly laugh as hard as you cry. In all my movie going experiences, I've never come across a film able to evoke contrasting emotions so admirably. Where Adam it hit with bad news, Rogen's Kyle is right there to share a joint and make a dick joke. It all just works so well that you can't help but fall in love with it.

Claiming original screenplay awards across the board already, prepare your box of Kleenex for real-life survivor Will Reiser accepting that Golden Globe in January.

14. Another Earth

'Another Earth' is a beautifully constructed piece of low-budget indie sci-fi, comprising the elements of many of its influences to create a modern beauty. I would write more about a film that I have come to love over the past year, but as it turns out, I already have!

Click here to read a more in-depth appreciation of Mike Cahill's Sundance darling, 'Another Earth'.

13. The Girl With The Dragon Tattoo

Whilst David Fincher's follow-up to 2010's 'The Social Network' (easily the best film of that year) has managed to crack my Top 15, let it be known that after one viewing, 'The Girl With The Dragon Tattoo' picks up the prize for biggest letdown of the year. It's not that the film was in any way 'bad', it just didn't tick all the boxes that I was expecting it to.

For example, much of the dialogue is just too sharp for my expectations of this story that I have come to know so well. While that worked perfectly in 'The Social Network', I had a lot of trouble buying into the quips of this script. It was wonderfully written, no argument there, but it was awfully light in places considering the dark content with which it deals. Not to mention the way it was marketed. I guess what I'm trying to say is that I was expecting a new level of bleakness that only David Fincher could have provided, and fanboy though I am, part of me feel like he compromised. Why appeal for bleakness you ask? Why not appreciate the lighter lifts that the script provides for relief when it all gets a bit much? Because for me, that's not what the story of Lisbeth Salander is. It is a painful, harrowing journey that is entirely uncompromising, and thats exactly what Niels Arden Oplev's adaptation had going for it. It literally pulled no punches.

Those gripes aside, this is a fantastic film. The cinematography is typically stunning, the acting ensemble is strong (even Daniel Craig), but this movie is all about Rooney Mara. She is incredible from start to finish disappearing into a role that could have just as easily destroyed her career before it ever really began. Thankfully though, Fincher was right. Mara was the right choice, even if she is a teeny tiny bit too cute to be 100% convincing as the modern legend that is Lisbeth.

12. Midnight In Paris

I'm new to Woody Allen. He is the product of a generation slightly removed of mine, unfortunately, but I am taking great delight in revisiting that era though his countless films. 'Annie Hall', 'Manhattan' and 'Hannah and Her Sisters' have all been thoroughly educational from a screenwriting point of view, but with his 2011 offering 'Midnight in Paris', I was able to truly enjoy Woody Allen at the cinema for the first time.

What I didn't realise when taking my seat in the auditorium was that I was going to be watching a film about fantastical time travel! And what a treat it was watching Owen Wilson charmingly travel night after night to Golden Age Paris for frolics with the likes of Picasso and Hemingway. Ridiculous you say? Well, sure, but when its all put forward in such a joyous fashion, why question it? I, for one, certainly didn't find myself asking any questions regarding how this all came to be. Why ruin it? The film looked great, was written great and acted great by a smorgasbord of talent that includes (*deep breath*), Rachel McAdams, Marion Cottilard, Michael Sheen, Alison Pill, Tom Hiddleston, Kathy Bates, Adrian Brody and everyone's second favourite character actor behind J.K. Simmons, Kurt 'Wayne's World' Fuller. Oh yeah, and Carla Bruni?

With just enough Allen to easily be able to regard it as Allen, and enough Owen Wilson to satisfy even the toughest of exteriors, 'Midnight in Paris' is Allen's best film in years, and certainly one of the best films of this year.

11. Margin Call

Taking place on the eve of the 2008 Wall Street crash, mega-indie 'Margin Call' was a pleasant surprise as 2011 drew to a climactic close. The debut feature from JC Chandor, it tells the story of one man's startling discovery and the controversial efforts of the many that strived to combat the impending financial doom.

For the record, I didn't really have any idea what anyone was talking about in 'Margin Call', but I certainly had no trouble feeling the impact of it. That impact specifically, the accessibility that it allows, is what makes this film impressive. The same way that no one really understood anything Mark Zuckerberg was banging on about in 'The Social Network', or Billy Beane in this year's 'Moneyball' (if you were clueless about baseball statistics which most of us are), 'Margin Call' enables the viewer to feel the power of the foreign land of Wall Street. While the jargon is indecipherable, the way in which the characters respond to it is almost Shakespearean in its valour. Zachary Quinto shines as the junior analyst who develops the underused Stanley Tucci's discovery, while big shots Kevin Spacey and Jeremy Irons turn this zeitgeist-fest into something that pans out more like a Broadway stage play than a Wall Street boardroom drama.

With terrific performances all round and one of the screenplays of the year, be sure to keep an eye out for 'Margin Call' when it makes an extremely limited cinema run in the UK next year.

10. Snowtown

'Snowtown' was probably the toughest film to watch all year. Basing my expectations on a beautifully crafted trailer, I expected the worst. A film that deals with the relationships between a mass murderer of suspected pedophiles and homosexuals and his unwitting accomplices was never going to be an easy watch. In fact, I don't think I've ever watched a film and been as personally upset by what was transpiring.

This is for many reasons, and all to do with the filmmaking. First of all, the two lead performances are nerve-janglingly real, to the point where I could barely stand the sight of John Bunting (Australia's most notorious serial killer), let alone try and process what it would have been like to share a room with him. There is an awkward threat that surrounds his character from the moment he appears on screen, a terrifying sensation that lingers into the afterglow of the film as a whole. You long for Jamie to find a way out of John's manipulative clutches as the situations grow darker and more violent. But this is not a film about justice and redemption.

What makes the scenes these two characters share all the more uneasy is the lack of scoring. Unsure silences fill your ear canals as Jamie slowly becomes sucked into John's twisted world. As a viewer, you could not feel more involved in this journey, right there beside Jamie as he goes from victim to potential accomplice in the space of two hours.

The cinematography is poetic and the writing sharp, creating all the more reason to fear the barren open spaces of Australian suburbia.

Not for the faint-hearted, 'Snowtown' is a film that I would encourage any budding filmmaker to watch once.

9. Moneyball

I got really excited for 'Moneyball' months before its release for a few reasons. The main one being that strong, memorable baseball movies are extremely rare. When I heard that Aaron Sorkin was co-writing a movie about baseball statistics and strategy, it became an instant must-see. And it didn't disappoint.

Brad Pitt is effortlessly brilliant as Oakland A's general manager Billy Beane who managed to turn one of the poorest (financially) teams in baseball into a genuine contender, using brains rather than bones. In a sport dominated by money, and making plenty of enemies in the process, Beane developed a scouting strategy that has now been adopted by most of America's major league teams. 'Moneyball' tells the powerful human story of that development with the help of an Oscar-worthy screenplay from last years across-the-board victor Aaron Sorkin and Steven Zaillian (Oscar winner for 'Schindler's List'). A powerhouse writing combo if ever there was one.

Featuring superbly solid supporting performances from Jonah Hill and Philip Seymour Hoffman (and a cameo from Spike Jonze), 'Moneyball' is proof that Bennett Miller is worth his salt as a filmmaker.

Don't like baseball? Doesn't matter. If you like storytelling, you'll like this.

8. Melancholia

I'm absolutely over the moon that I liked 'Melancholia' as much as I did. As a previous blog will evidence, I saw 'Antichrist' at the cinema and hated it. I found it's pretension and unflattering use of infantile shock tactics to be offensive and tasteless. 'Melancholia' though, is an entirely different monster whilst still employing many of the pretensions that put me off Lars Von Trier in the first place. Almost as if watching and hating/not quite understanding 'Antichrist' was a necessary preface to prepare me for my appreciation for 'Melancholia'.

Simply put, it is a masterpiece. Through a gorgeous use of apocalyptic personification and music, Von Trier has gone from offensive nut job to artful genius in one fell swoop creating a lasting piece of work that will affectionately reside long in my memory.

Kirsten Dunst gives the performance of her career as the depressive Justine, capturing the harsh realities of an affliction that prevents her from feeling anything given that the world is coming to an end. She is stunning in every scene from start to finish, outshining equally solid turns from Kiefer Sutherland, John Hurt, Charlotte Rampling, the Skarsgards and Von Trier regular, Charlotte Gainsbourg.

Beautifully blending art, music, character study and sci-fi, 'Melancholia' is one film that I would recommend seeking out at all costs if you've passed it over up to this point.

7. Take Shelter

Back in September, I saw a trailer that gave me all kinds of funny feelings. 'Take Shelter' immediately rose to the top of my 'must-see' list, so imagine my disappointing rage when November 25th came and went without the slightest suggestion of a screening at any of Norwich's cinemas. I moaned and I cried and scoured the internet for hi-def screeners (desperate times, desperate measures), but none were to be found. Then, in mid-December, our lovely friends at Picturehouse cinemas decided to give it a six-day run. Thank the Lord.

In 'Take Shelter', Jeff Nichols has managed to reintroduce Americana to the cinema going public. He could not have recruited finer talent in Michael Shannon and Jessica Chastain, and they are put to fantastic use. The film tells the story of Curtis, a man who is either an unwilling prophet or a paranoid schizophrenic. Or maybe both? Maybe that's the point? Either way, Nichols has struck every available nerve with a modern classic that addresses the zeitgeist of the nation. The subtle use of an 'impending storm' as a metaphor for social decline never wavers and never seems in any way obvious or over political as we watch Shannon's Curtis slowly destroy himself and his family in the blind hope that his decisions will eventually save them all from what he deems to be certain doom.

It all sounds a bit heavy, and believe me, it is. As far as though provoking, independent American cinema, this is where the bar now lies. In a fair world, Michael Shannon will squeak in with an Oscar nomination having already fared better than expected with the critics associations, while Jessica Chastain can assuredly add her performance to an already stellar 18-months in which she could easily garner multiple Supporting Actress nominations. While she won't win for 'Take Shelter' (more likely, 'The Help'), her performance in this powerhouse of a psycho-thriller is simply further testament to the fact that Chastain is an acting legend in the making.

6. We Need To Talk About Kevin

'We Need To Talk About Kevin' is the most overlooked film of 2011. Hands down. No arguments. In a stunning adaptation of Lionel Shriver's 2004 novel, Lynne Ramsay has gloriously crafted what I think was the most impacting film of the year.

The subject is simple. Imagine how awful it would be to find it hard to love your first born child? From birth, Kevin is difficult and cold. Cue puberty, and he becomes a demonic domestic force, a shadow of traditional parental expectation as he manipulates his family and attempts to sabotage his mother's mindset at every available opportunity. This journey through childhood and into adolescence all climaxes in a mesmerising way, and it is through one element of this film that 'Kevin' is able to peak with such untouchable intensity. Tilda Swinton.

I know a lot of people have mixed feelings for Swinton, more often than not because she's 'a little strange looking', but no one can deny that her lead performance in this film is incredibly powerful. The bravery of her character is echoed in the bold and relentless charge that is her performance, not for one second allowing anyone to doubt her perseverence. Behind closed doors, he character is tortured and destructive, but in public she is untouchable.

There is a lot to be answered for in terms of how women are portrayed in modern cinema (I'm pointing my finger at Michael Bay), but this year has seen the likes of Rooney Mara and Meryl Streep in assertive female roles, laying waste to male rivals in the process. This year though, with all the female revival, no one came close to Tilda Swinton who gives the performance of her career in a film she can call her own. Perfect acting. More or less perfect film.

5. Tinker, Tailor, Solider, Spy

Are actors working for less money these days? Is that it? It certainly seems like a lot of movies in the last few years have had a lot of talent in them. Just look at 'Valentine's Day' and 'New Year's Eve' for example. Or don't. Please, don't.

'Tinker, Tailor, Soldier, Spy' involves the most male talent since 'Glengarry Glen Ross'. Headed up by the masterful Gary Oldman, the movie also features Colin Firth, John Hurt, Mark Strong, Toby Jones, Benedict Cumberbatch and everyone's favourite big shot and in this instance, scene stealer, Tom Hardy. They all come together to create a uniquely underplayed thriller that aches for repeat viewings. At the same time, it is an exhausting watch. A quiet, thoughtful piece of work, 'Tinker' thrills the mind rather than the senses, leaving you feel like you have been challenged by what you've seen. With a thriller, that's all you can ever ask for. Whilst hard to follow in places if you don't already know the story, it is a beautifully shot, beautifully written and impeccably acted le Carre adaptation that commands the attention of any serious film lover.

4. Hugo

Anyone who has read an interview with Martin Scorsese over the last few years knows the passion he has for the preservation of our cinematic roots. Year after year, precious celluloid prints are left to be lost or destroyed while films like 'Clash of the Titans' and 'Transformers 3' pollute our screens.

'Hugo' returns us to the birthing point of the golden age and tells the story of a delightful young orphan (Asa Butterfield) with a love of the movies who forms an accidental but crucial relationship with real-life filmmaking pioneer George Melies (an effortless Ben Kingsley). The film as as visually stunning as anything released in the past few years, and the single most affecting use of 3D technology that (personally) I have ever seen. This use of 3D, I think, is what makes the film that little bit more impressive.

Martin Scorsese is a known champion of traditional cinematic technique, so to opt for what is largely a recently fashionable technology to tell the story of modern cinemas humble beginnings was a bold and out-of-character choice indeed. It turned out to be a magnificent decision and made for perhaps the most immersive experience I had at the cinema all year.

With hugely impressive support from Sasha Baron Cohen and Chloe Moretz, 'Hugo' is something unmissable that if you didn't catch at the cinema, you must be sure to experience at home with the family.

3. The Tree of Life

Cue controversy! I thought that 'The Tree of Life' was one of the single best pieces of filmmaking that I have ever seen. My experience of this film at the theatre is certainly something I will never forget, namely because I have never been exposed to anything like it in the mainstream before.

This film is hit-or-miss with everyone who's seen it, sure. Half of it's viewers marvel at it's intelligence, personality and overwhelming cinematography as it addresses the issues of family and religion head on. It asks huge questions about 'what it all means', and challenges viewers to perceive the 'why' on a whole new plain. Doesn't it?

The other half hated it, describing it with such words as 'vacuous', 'pretentious' and (the hands-down favourite) 'boring'. So let's just be straight for a second here. Terrence Malick is pretentious. He is an artist! 'The Tree of Life' is not a film made for your entertainment, it is a film made to satisfy his own personal longings to visualise life; adolescence, innocence, questioning your very existence. A huge undertaking for anyone, Malick presented his views on this issues through beautiful cinematic form and (for want of a better phrase) visual poetry.

Brad Pitt and Jessica Chastain excel in their supporting roles, Pitt representing 'nature' and Chastain, 'grace', alongside a fine, young group of actors who adapt to their director with maturity beyond their limited years, offering effortlessness in their realism.

2. The Artist



Where to start with 'The Artist'? It is, without a shadow of doubt, a truly fantastic film. The inevitable backlash has begun though, with a majority of blogger and online critics coming down hard on it's silent film 'gimmick' and asking the question; had this film actually been released during the silent film era, would it be receiving even half of the praise that it has been receiving for the simple fact that it was released in 2011? The answer is, of course not.

Sure, the fact that it is a majoritively silent film is somewhat of a gimmick, but isn't it a refreshing and joyous one? As far as filmmaking goes, 'The Artist' doesn't touch some of the other fine releases of 2011, but as far as a cinematic experience and pure, innocent enjoyment goes, it is untouchable. Should it win Best Picture at the Oscars? Probably not. But it will, for the simple reason that is has reminded the public of the charm and importance of silent films as part of our film heritage while telling a warm, funny and impeccably presented story of two people falling in love; one representing a dying age and one representing the future. As far as any silent film goes, the score in unrivaled in its brilliance, while the acting for this time as place is delicately wonderful.

1. Drive

Oh, 'Drive'. You really do get more unbelievably freaking awesome with every watch. What began as cult anticipation turned into cult appreciation. That transmorphed into unrelenting critical acclaim, and with it's blu-ray and DVD release this week it is already a cult classic.

There are so, so many reasons why 'Drive' is the best film I saw last year. The main one being the commanding performance from Ryan Gosling as the central character. As far as acting opposite extremes goes, you'd be hard pressed to find a performance this year that offered as much range as Gosling's. At times he is fragile, soft-spoken and caring, selfless in his dismeanor. In the flick of a switch though, he quivers with a buried rage that leaves bodies mutilated in his defensive wake. With a range of death-tools from curtain rails to bootheels, 'Drive' employs the most effecting use of mainstream sporadic extreme violence outside of Tarantino.

As a film student, I am already hearing whispers of projects being influenced by the films cinematographical style. Newton Thomas Sigel's unforgettable visual construction is something already being cited as reference through a fashionably stylistic use of angle and colour filtering. I bet that none of us expected to be using the term 'modern-day 80's noir' this year, but alas, there you have it.

What Nicolas Winding Refn has done is pretty much reinvent the genre film in the way that, 'Drive' isn't a genre film (?). It spans everything from the romantic to the ultraviolent, and most things inbetween. It's a mob film and it's a love story. Win win?

With Refn employing Gosling for his follow-up, Bangkok-based mob/MMA film 'Only God Forgives' which will be hitting our screens later this year, I think it's safe to say that this particular partnership will continue in it's solidity and provide the necessary cure to mainstream cinema's current ills through it's coupled strength and vision. Who knows? Maybe we'll find the same director and leading man at the top of this list this time next year?



That's all from me, folks. Ignore all of those that penned 2011 as a duff year for films. If I had to make my Top 10 a Top 23, someone was doing something right. Apologies again for this belated annual review. Hopefully, it has in the least invited you to check out a film that you may have missed this past year.

New York City: Woody Allen vs Martin Scorsese

How do Woody Allen and Martin Scorsese use the city of New York City not only as an object of affection, but as the means for an ideological stance in their work?

New York has long been ‘base camp’ for East Coast filmmaking in the USA. In many ways, it possesses clout that Hollywood has only ever dreamed of. In a filmmaking sense, the spirit of New York has forever been evident in the art that is exported from America’s largest city. One might even argue that New York is the true home of modern cinema rather than Hollywood as the world’s first film featuring synchronized dialogue sequences showcased the Jewish ghettos of Manhattan’s Lower East Side, an area that over time became synonymous with present day storytelling (When Harry Met Sally and Once Upon A Time In America etc). If asked to name New York’s first quintessential film, modern auteurs would more than likely place Alan Crosland’s The Jazz Singer at the top of that list. Through that film, filmmakers like Woody Allen and Martin Scorsese were able to feel what it is like to not only see, but hear their city on the big screen for the first time. It is a memory that I am sure they both share, as their work has gone on to provide the more lasting examples of how New York has looked and sounded through the ages of cinema.

While there are noticeable similarities regarding their New York-based work, the pictures painted by the two directors are greatly contrasted. A parallel fondness is evident in their films, but only in the way that their relationship with the city is like a relationship with a lover. Allen’s New York is the quirky, easy-going life-partner, while Scorsese’s is the short-tempered, domestically violent prone bitch that you can’t divorce because you’re Catholic.

In Allen’s ‘comedy of manners’ aptly titled Manhattan, his admiration for his hometown is evident within the opening sequence through a variety of attractive establishing shots of the city coupled with a male voice-over (his own) that lists numerous reasons as to why he ‘adored New York’. This is presented through the device of a writer trying to write the first line in the first chapter of a book. Literal scene setting as it may be, it never feels like a gimmick. Through this voice-over, Allen covers temperaments ranging from soppy (‘this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin’) to aggressive (‘to him it was a metaphor for the decay of contemporary culture’) while never losing sight of his key point; love, beginning every passage with the line, ‘he adored New York City.’ The entire opening sequence (not coincidentally) is shot in black and white with a Gershwin soundtrack. Somehow, through these opening frames of Manhattan’s bustling streets and regular Joes, none of the magic is lost through the lack of visual colour. Even though the bright lights and neon signs of the city are dulled visually, Allen more than makes up for this by allowing New York to shine through his light; an appreciative opening voice-over that poetically dances with Gershwin, proving that sometimes through words, there can be colour. Or even, that colour is irrelevant when you’re saying the right things, a viewpoint that Allen commonly credits to the work of Ingmar Bergman, who trademarked the use of colourful, realistic, and often improvised dialogue between his characters.

Scorsese’s ‘Mean Streets’ in which ‘he drew on his youth in New York’s Little Italy’, though entirely different tonally, still draws parallels with ‘Manhattan’ during it’s own opening sequence. Its features shots of the city at its most alive (during 9-5 work hours and evening street parties) and features a voice over from the director (as Harvey Kietel’s character, Charlie). Scorsese though, paints a slightly different picture of the city he calls home.

‘You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it.’

Between this voice-over and the Motown-laden title sequence, Scorsese is able to establish the tone for his entire film in a short scene featuring the film’s protagonist. Charlie disturbedly wakes up in his apartment; visually panicked and alone. It’s daytime outside, but the blinds are drawn. He gets up and inspects his face in the mirror only to lie back down as police sirens sound. Using only this short sequence, Scorsese managed to completely convey a character living in constant fear of his surroundings. So afraid, and so stressed that even the sleep he eventually manages during daylight hours is disturbed. Questions are instantly asked. Why is he afraid? Why can’t he sleep at night? What is it that happens at night that has affected his sleep pattern so?

The sequence portrays New York as a dark, shadowed city of sin. With the subtle addition of siren-sound and a lack of natural light, Scorsese creates feelings of threat and isolation; both themes conveyed in under 90 seconds. All of these questions begging answers that will reveal themselves during the film. To be able to establish location, character and atmosphere and ask this many questions in such a short space of time is classic cinematic storytelling at it’s strongest.

Allen’s leftist emphasis on the collective and communal offers up the city as the home of ‘beautiful women and street smart guys who seemed to know all the angles’. It is defined in his opening monologue as a city that is ‘tough and romantic’; a place that is both edgy and beautiful, with something for everyone. A New York that is varied in character, but ultimately equal in its appeal.

‘Mean Streets’ very much takes up a rightist, hierarchical stance through a use of the instillation of fear as a leadership tactic over the course of the picture. The idea of a fearful respect for chains of command is a theme that plays out from beginning to end, immediately instilling that fear in its opening scene. If rightists insist that that ‘the brightest and best are entitled to a larger share of power and wealth’, then the characters of Michael (the head strong loan shark) and Johnny Boy (the reckless gambler and borderline psychotic) are literal support of this particular ideology within the film as a whole. The idea that authority should be respected and that privately owned institution (Tony and Michael’s bar) should be driven by profit are two further examples of the rightist stance that is evident throughout Scorsese’s film.

While both films share strengths in their initial narrative footholds, glorifying New York as the perfect place to tell a story, it is in their ideologies that they differ considerably. When considering the two films from a ‘Democratic vs Hierarchical’ point of view, they could not be more different.

Allen, Woody (1979) Manhattan, USA: United Artists

Bordwell, D and Thompson, K. (2010). Ch. 12 - Film Art and Film History: The New Hollywood and Independent Filmmaking. In: Film Art - An Introduction. 9th ed. New York: McGraw-Hill. p478-479.

Linzer, D.A. (2011). The Left-Right Ideological Spectrum in Global Mass Opinion. Available: http://userwww.service.emory.edu/~dlinzer/Linzer-leftright.pdf. Last accessed Nov 2011.

Löthwall, L. (1968). AN INTERVIEW WITH INGMAR BERGMAN Originally published in Take One 2, no. 1 (September-October 1968): 16-18. Available: http://bergmanorama.webs.com/takeone_68.htm. Last accessed Nov 2011.

Scorsese, Martin (1973) Mean Streets, USA: Warner Bros.

Old School Movie Ratings

I've been meaning to watch 'Raiders of the Lost Ark' for absolutely ages. It's been years, and this cold November evening seemed like the perfect opportunity to revisit THE action adventure film of my youth. But wait, kids are allowed to watch this movie? Check out this list of stuff that happens and then tell me how this film is rated P-freaking-G.

1. A rotting dead guy on some spikes

2. Alfred Molina dead on some spikes

3. South American guy dead with loads of peashooter arrows in his back

4. Indy shoots guy on fire IN THE FOREHEAD (blood everywhere)

5. Indy shoots Arab swordsman in broad daylight

6. Nazi Colonel's face shrivels like a raisin with blood pouring for every orifice.

7. Indy runs over blonde Nazi in big truck.

8. Belloq's head EXPLODES during the opening of the ark.

9. Toht's Nazi face melts and all his skin comes off and there's blood everywhere.

10. Big Nazi guy gets churned up by airplane propellor blades and blood goes everywhere.

I feel like I could go on! In this day and age, I would expect 'Raiders' to warrant at least a 12A. If someone can explain how 'The Matrix' is a 15, and 'Raiders' a PG, I've love to hear it.

This is not to say that I didn't enjoy 'Raiders'. Of course I did. Faces melted and heads exploded. It just left me wondering just how film classification has evolved in the last 30 years. What other films were incorrectly classified simply because of the era in which they were made? I've managed to rustle up a few examples, but I'd welcome any more suggestions anyone might have. So...

1. 'Hostel 2' and 'Once'. One involved slashing penises and blood showers. The other was about two Irish musicians falling in love. Yet, in America, both received an R-rating meaning that if you were under 17, a parent or guardian was required to accompany you. Go figure.

2. 'The King's Speech' receiving an R-rating in the States. Are you seriously telling me that kids under the age of 17 shouldn't be watching this charming, period drama just because it has a teeny tiny amount of swearing in a purely therapeutic context? Come off it.

3. 'Watership Down'. That whole movie should have been at least a 15. Apparently the BBFC still receive complaints about it's U-rating to this day.

4. Whilst researching questionable movie ratings, I just discovered that 'Jaws' is a PG. SAY WHAT?

5. 'The Witches'. Anyone who remembers the film adaptation of this Roald Dahl classic knows exactly what I'm talking about. When the witches all take their wigs off? Remember? Absolutely bloody terrifying. Nevertheless, rated U!

6. 'Chitty Chitty Bang Bang'. Say what you want about this Disney classic. The child catcher was a massive paedo and that film would get slapped with an 18-rating if it were released today. And to think people are calling for films with smoking to be reclassified. Pfft.

7. 'Poltergeist'. Strangely enough, this was a 15 in the UK and a PG in the states. That's right. A PG. Not only is it scary as balls but a man RIPS HIS OWN FACE OFF.

It's hardly surprising then that Steven Spielberg is in fact partly responsible for the existence of the PG-13 rating in the States. So many of his films pushed the boundaries of what was acceptable in a PG that a good few of them (including 'Temple of Doom') were reclassified once the PG-13 rating was introduced as the median between PG and R. This was as a direct result of Spielberg lobbying Jack Valenti and the Motion Picture Association of America to push the rating through so that the Temple of Dooms of this world could exist without parental scrutiny. As far as I know though, 'Raiders of the Lost Ark' remains but a PG. Shocking.

- Posted using BlogPress from my iPad

Dissertation banter

So, my girlfriend is writing her dissertation this year. Luckily for me (we live together), she's writing about one of my favourite films, 2001: A Space Odyssey. When I say she's writing about it, of course I mean that she's become completely besotted by everything 2001. Every book, every documentary; she's seen it and she's read it. She's even spoken on the phone with the writers of the books (well, the ones that live in Norwich anyway). Witnessing this kind of passionate (but not quite obsessive), 'dive right in' attitude has got me thinking. What film or filmmaker is going to win my heart in two years time? At the moment it's a toss up...

1. Christopher Nolan/Inception - As much as I admire Nolan and all of his work (even Insomnia!), I can't imagine I'd be alone in my wonderment. In my first week on the course I met a girl who was writing her dissertation on 'Batman Begins'. Point proven.

The philosophy of 'Inception' is fascinating to me. It has been since the first time I saw it. In the year or so since release, at least two books have been published about exactly this. It's definitely something I would consider, but as I say, I would fully expect the work of Nolan (especially 'Inception') to be a hot topic among the minds in my year group and would probably opt for something a little bit more personal to me.

2. Terrence Malik/Cinematography - Another director who is fascinating to me; not only because of the quality of his work, but because of the way he makes movies. A man shrouded in privacy, Malik one of the most respected but most reclusive figures in the history of cinema. These reasons alone make him of particular interest to me.

Should I choose to focus on a particular element of Malik's work, it would (without hesitation) be the cinematography on display. 'The Tree of Life' and 'The Thin Red Line' are modern classics by all accounts, beautifully shot and beautifully told from start to finish. I, of course, would want to go back further still to his earlier films, 'Badlands' and 'Days of Heaven'. The latter of which, Christopher Nolan himself cites as one of the main reasons he felt compelled to dedicate his life to filmmaking. Big talk, no?

There are certain cinematograhical traits Malik possesses that I would certainly like to explore further at some point over the next three years. Whether or not I end up deciding to undertake something (and someone) so grandiose, God only knows.

3. Saving Private Ryan and it's importance in modern culture - Had there been no 'Saving Private Ryan', there would be no Call of Duty, no Band of Brothers, no The Pacific, and almost no renewed interest in World War 2. The success of 'Saving Private Ryan' offshot into a million directions and is still regarded just as highly almost 15 years on. Spielberg was able to capture the glory and the humanity of war, and as a result spawned a new generation of WW2 films, and eventually video games.

4. The symmetry of Wes Anderson - Anyone who's ever watched more than one Wes Anderson film has more than likely recognised that one of his most interesting traits is the fact that almost every shot of every scene is almost entirely symmetrical. This is no accident. Wes Anderson is a master of set design and shot framing. It makes his films easy to watch and easy to feel, when everything is so concisely placed.

Not only would I like to explore why he does this, and how effective it is when it comes to storytelling, but I would want to explore a possible link between Anderson's film and obsessive/compulsive disorder. I have a friend who suffers from this disorder and he absolutely adores everything Wes. I would want to know if a link has already been documented, if there is evidence that particular films and they way they are shot appeal to certain types of people who see and feel the world around them in a specific way.

Four is enough to be marinating on, wouldn't you say? Teatime on this cold Autumnal evening.

It's easy to be alone, even if it turns out that we're not.

Tonight I was lucky enough to watch one of the finer indie flicks of this year. I've always been partial to sci-fi that concentrates more on the human element; '2001', 'Solaris', 'Primer', anything by Duncan Jones, that sort of thing. For me, the best sci-fi shines through when the science fiction is a subtle backdrop to what is essentially a well-presented drama. What Mike Cahill's debut feature, 'Another Earth', does so well is that it takes a very normal and possible story, adds scientifically fictional possibilities and creates something that is beautifully impossible. The emotional attachment to the characters is all the more affecting to the viewer because of the implausibility of the story. You find it hard to figure out why you are moved. How can you empathise with something that is impossible? I think that the fact that human stories can be granted infinite possibility when lightly blended with sci-fi is one of the more exciting aspects of modern storytelling. 'Melancholia' is another very good and recent example of this, but as a rookie filmmaker, to see a film like 'Another Earth' is extremely rewarding as far as learning the craft is concerned.

The film, by the looks of things, was filmed entirely on location on a handheld. It even looks documentarian at times. That realism coupled with a gorgeous script and consistently solid performances from the leads lead to an end product that is nothing short of buzz-worthy. I don't really want to go into the plot too far as it is a film that I would highly recommend you see for yourself, but it roughly follows a young woman who forges a friendship with a man of whom she took everything. It takes place four years after she recklessly took the lives of his wife and son in a car accident. Interestingly enough, it wasn't purely her inebriation that caused the crash. Her focus on the road was distracted as she gazed into the night sky to catch her first glimpse of the newly discovered parallel planet, 'Earth 2'.

In that opening sequence, there is already a fine example of that beautifully subtle use of science fiction to tell a story. It could have involved just another drunk teen driver, but the fact that the crash was arguably caused by something entirely impossible opens up the story onto a different plain that it wouldn't have otherwise. This use of science-fiction is something that is hard to get right, but when done well leaves a lingering impression. 'Another Earth' achieves this by the constance of it all. There are no sections of the film that are more impossible than others. The science-fiction is just there, being non-offensive but thought provoking and affecting the characters at every turn.

As impossible as it all is, one's fascination with science-fiction is in fact all about the thought of possibility. The more realistic the story is presented, the more questions about that ultimate question it can ultimately get away with asking. That question of course being, are we alone in the universe? The more realistically this question is answered as 'no', the more humanity is able to be found in something that is impossible. Thus we are able to be moved by it. I found myself almost moved to tears during a scene where the family of the female lead is gathered in the living room watching a live telecast whereby the head of SETI makes first radio contact with what turns out to be her parallel self on Earth 2. It is absolutely astonishing to watch and presented through such a poetic use of dialogue that the mere possibility that we aren't alone managed to somehow tugs on your heartstrings. I've bore witness to the discovery of alien life on more than one occasion, but until 'first contact' was with (this is awesome) YOURSELF, I never felt moved by it. But then your head starts to hurt. It is alien just because it's not of our earth? It is alien just because it's not you? The answer is that is is you. Not being of this earth, it seems, is not the same as being from another Earth.

In short: As beautiful as it is challenging. Asks an endless amount of questions without fully answering, but that is in no way a bad thing. The last scene will leave you floored. 8.5/10*

'Another Earth' is released in the UK on December 9th, and is released on Region 1 Blu-Ray and DVD on November 29th.

*I've tried to put off rating films this way but seeing as what I end up writing seems to be more of an analysis than a review, I thought this was an easy way to sum up how good I actually thought the film was. So yeah. Goodnight, world.

Full Speed Ahead! Part One

Admittedly, it's been a long while since I posted anything on this blog. Why? Well, there's lots of reasons. I would be lying if I didn't put general laziness at the top of that list, but honestly, it wasn't the only reason. Between work, preparing for film school (yay), moving house and raising five kittens, I genuinely could not fit in regular blogging. Oh, and my 5-year old laptop finally called it a day. And I wasn't about to handwrite this thing. As for using the city library to do some writing in, well, you try and tell a 'Jeremy Kyle' to piss off Bejewelled.

So, I'm back. This time on a Mac. And there's no room for slack, at least that's what my course leader tells me. My quest through the realms of film school has officially begun. And you know what? I'm not even the oldest person on my degree. Jurassic Park.

The year has brought many a cinematic treat thus far. And with awards season quickly approaching, 2011 as a whole is only going to get stronger with the cream of the crop still yet to be released. So far, Terrence Malik has asked the big questions in 'Tree of Life', Bradley Cooper squared off against Bobby D in 'Limitless', Jake Gyllenhaal entered the Duncan Jones-iverse in 'Source Code', Ladies owned some gentlemen comics in 'Bridesmaids' and JJ Abrams continued to impress with his latest sci-fi offering, 'Super 8'. With 'Super 8' though, came an unwelcome barrage of star vehicle blockbuster fodder. 'Transformers 3' was pleasant enough to look at, but was inherently flat. 'The Green Hornet' and 'The Green Lantern' have ruined that colour for the time being, at least until it's saviour returns to our screens next year alongside Jason Segal and Amy Adams. Sequels and prequels littered our screens in the form of the uncomfortably rushed 'The Hangover: Part II', the kiddy-friendly 'X-Men: First Class', and the horrific 'Pirates 4'. Even Pixar failed to impress this year in the form of 'Cars 2'. It's not all doom and gloom though (although 'Apollo 18' nearly made me give up watching movies all together), as the small studios capitalised on this lacklustre summer and provided some of the finest films of recent years with 'Tree of Life' and 'The Guard' (to name a few) showcasing just how strong Fox Searchlight and Sony Pictures Classics have come to be by subsidiary standards.

There were some big screen joys though, let's not be too negative about the classic popcorn movie. I thoroughly enjoyed 'Rise of the Planet of the Apes', and would rank it in my Top 10 of the year (probably). And although it reflects poorly on me, 'Final Destination 5' was the most fun I've had at the cinema all year. I shit you not.

All of these films though, have been and gone. There's nothing we can do about it now. We all paid our eight pounds and were either blown away or grossly disappointed. But that's films for you! I will of course cover awards season with rigorous vigour, so allow me to return to 2011 as a whole at a later date. Today on this particular November evening, I want to look forward to the Christmas Season and the first six months of 2012, and share with you just some of my thoughts about what I think will be the ten (or fifteen) strongest films of the next eight months or so. So sit back, enjoy some trailers, and allow me to offer you substantial entertainment to tide you over until 'The Dark Knight Rises' becomes the best film that anyone has ever made.

Starting us off with a bang is a film that looks truly incredible, and I don't use that word lightly. Michael Shannon has long been an under appreciated favourite of mine, and when I heard of a middle-American psycho-drama that coupled him with the more recently impressive Jessica Chastain, I figured I was in for a strong feature. Then, I watched the trailer. Now, I can say with absolute certainty that Jeff Nichols' 'Take Shelter' is going to be one of those American indies that will stay with you for a long, long time. Shannon worked with Nichols previously on 2007's 'Shotgun Stories', and is currently filming Nichols' follow up to this film. That in mind, let's just assume for the sake of argument that Nichols' gets the best out of the now Oscar-nominated Shannon with each role he casts him in. Early reviews rave Shannon's performance, exclaiming that it is his finest yet.

For emotional support and strain, we have Jessica Chastain who is easily independent cinema's lady of the moment. Something about this coupling and it's mergence with the mid-Western setting and religious/apocalyptic themes just rustles something inside of me. It's a feeling though, that I don't think I will be able to fully understand until I see the full film. For now, the spectacularly uncomfortable trailer speaks for itself.

Before we venture into anything remotely lighthearted, one film I feel entirely compelled to push upon you is Justin Kurzel's debut feature 'Snowtown'. Personally, I have a massive soft spot for independent Australian drama, with last year's 'Animal Kingdom' being the most recent evidence of just what a bold nation of filmmakers Australia is. 'Snowtown' in no way takes it's foot off the gas either. What transpires is the story of an uneasy friendship between a 16-year old and an extremely charismatic father figure. The father figure though, turns out to be Australia's most notorious serial killer, John Bunting.

Fans of Shane Meadows will lap this up for sure. For me however, it looks seven shades darker than anything British cinema would be able to conceive. Maybe it's something to do with all of that wide open, unknown space that Australia possesses that simply unsettles me a little deeper. I can't be sure. As far as the way unnerving suspense, uncompromising evil, and gritty authenticity goes, what I am sure of is that this is about as gut-wrenching as you can possibly get. Look forward to brutally honest performances and the inability to look away, but be prepared to write off any chance of a possible repeat viewing.

Brutal.

Moving swiftly on to a film that looks delightfully charming and relentless fully due in no small part to it's source material, legendary director and powerful quartet of acting talent. Based on Yasmina Reza's stage play, Roman Polanski directs this 'comedy of manners' as two couples meet in an upmarket New York townhouse to discuss a schoolyard brawl that occurred between their respective sons. The hosting couple played by Jodie Foster and John C. Reilly gleefully square up against Kate Winslet and (Uncle) Christoph Waltz in 'Carnage', a film that is sure to garner acting and screenplay recognition across the board.

It would be easy indeed for me to assume that this will be Waltz' film. Fanboy though I am, I'm going to hold back on making that assumption based on the fact that every cast member looks be absolutely and absurdly hilarious throughout. From the looks of things, the casting is bang on and we can look forward to strong, grown-up comedic showings from all four Award-winning actors. Like a single-set, high budget, less crass, full length Curb Your Enthusiasm-eque powerhouse, 'Carnage' is right at the top of my list of films I 'must see as soon as tickets are available for me to buy'. I would say I hope you all enjoy the trailer, but it's an inevitability.

Onto something completely different, and we find Ralph Fiennes making a strong British case in the wake of the UK Film Council with his long overdue directorial debut. A modern take on Shakespeare's 'Coriolanus', the film of the same name promises to be a dramatic offering that will appeal to the Shakespearians and COD-heads alike with it's appearingly seamless blend of effortless thespian dialogue and modern warfare. Fiennes looks to shine in the lead role, but a striking supporting cast consisting of Gerard Butler (being Scottish good-and-proper for once), Brian Cox, Vanessa Redgrave, James Nesbitt and (of course) Jessica Chastain mean that this will be anything but a one man show. Toss in what one assumes will be a powerful adapted screenplay courtesy of John Logan (The Aviator, Gladiator, The Last Samurai; not to mention Scorcese's 'Hugo' and even further down the line Spielberg's 'Lincoln') and I feel pretty safe in shelling out my eight pounds one what may well be one of the strongest British films of the year.

An interesting choice, next. Interesting because I feel like this is not a movie I should trust for a few reasons. Firstly, it is the third feature from a director who up until this point has predominantly directed music videos and concert docs. Instantly, one thinks of Michael Bay and we all know how that ends. Saying that, Mark Pellington did direct 'Arlington Road' which to be fair wasn't all bad, forgettable though it was. 'I Melt With You' looks like a completely different monster, like if 'The Hangover' had been written by Hunter S. Thompson which, to me, doesn't sound like a bad thing at all. Our fearless foursome consists of Christian 'Orson Welles' McKay who needs to seriously be in more movies; Rob Lowe, who it is refreshing to see in something other than television; Jeremy Piven (oh yes) and finally the only potentially weak link in the form of Thomas Jane. Using the trailer for evidence however, Jane looks like he could fit into this quartet of talent quite nicely.

The film centres around four grown men who meet up once a year to catch up and get wasted. Some seem to be more grown up than others it seems, and the relationships seemed to have strained with time. To me, it looks like a movie that could be an interesting insight into male camaraderie and the desire to cling to youth. Maybe that's just me. In the back of my mind I feel like it may be total trash, but on the other hand I want to give it a big ol' chance.

Next is a biggie. An indie blockbuster by all accounts. I mean, you don't get much bigger than Hanks and Bullock. See? I don't even have to tell you their first names. Unless of course you instantly thought of Colin Hanks. In which case, go you!

'Extremely Loud and Incredibly Close' looks to be a touching and memorable piece of work from Stephen Daldry, whose last film finally brought an Oscar Kate Winslet's way (no easy feat according to the Academy). This fact alone makes me hopeful for a powerfully acted film. Not that I was worried about Hanks and Bullock, obviously. What worried me ever so slightly was the casting of first-timer Thomas Horn in the lead role as Oskar. I'm always a bit reluctant when it comes to child actors anyway, but then Daldry did introduce the world to Jamie Bell all those years ago so I suppose we should all trust him in that respect.

The film looks set to tug on similar heartstrings to Spike Jonze's 'Where The Wild Things Are' whereby the innocence of the child lead simplifies the emotionality (thanks, RDJ) of the story, and in turn makes it more emotionally accessible to a wider audience spectrum. If this is indeed the case, then this film could be even better than I already anticipate it to be. The only thing that could hold it back, as I've mentioned already, is the unknown child lead. Should Horn prove to be on a Max Records talent level though, I've no doubt that praise will once again be heaped on Stephen Daldry and Oscar-winning screenwriter Eric Roth (Forrest Gump, The Insider, Munich, Benjamin Button). Finally, here's hoping flashbacks provide ample screen time for Hanks who has been sorely missed on the big screen, playing to his strengths.

And oh yeah, it also stars Viola Davis, Max von Sydow, Jeffrey Wright, James Gandolfini and John damn Goodman.

So, it can be a pretty ugly world we live in. The newspapers, the television, all spewing stories of lies, money and death. We all search for something uplifting in every day that we wake up to. Amongst the sordid politicians and Z-list gutter trash though, there lies the true unsung heroes of modern media. People that positively affect people's lives every day they go to work, and don't ask for anything in return. No money for a transcribed tale of dieting woe or destructive relationships or stories of a 8-month coke binge. Some people in the entertainment industry, believe it or not, are purely in it for the joyous thrill of putting a genuine smile on a persons face. Instilling joy, can you imagine being blessed with such a respectable talent?

'Being Elmo' tells the fascinating story of Kevin Clash, the man who has single-handedly (literally!) 'been' Elmo for the last few decades. As Elmo's popularity skyrocketed, Clash's schedule greatened. When offered assistance from other puppeteers, he politely declined. Why? Because his personality encompasses Elmo. Not convinced? Watch the trailer, and then look forward to a film that will almost certainly challenge for Documentary Feature awards all through the upcoming season.

On that much lighter note, Part One of my lengthy look ahead concludes. Part Two will surface sooner rather than later, but for now I must dedicate my concentrations elsewhere within our wonderful world of film. Do bear with me, but believe I am back for you to read.

Mx

The Fighter: The Best Damn Sports Film Of The Year

One of the more interesting angles you can take when putting together a film that is intended for a wider appeal is that of a hard-hitting family drama. 'The Blind Side', anyone? That's right. We all remember the 2010 Best Picture nominee that took white people and black people, football and family, threw them all into a Sandra Bullock powered mixer and ended up raking in over a quarter of a million dollars at the US box office. That staggering figure was based purely on a wide appeal. Susie Homemaker-mothers saw the trailer and instantly bundled their tough-guy, Coach Carter of a husband and four strapping quarterback sons into the Town & Country, and it was off to the multiplex. 'This will be nice,' she thought. I can only imagine the increasing moisture in the corner of her eye as Leigh Anne 'intimidates' some ghetto hoods by threatening that if they were to be threatening her son they would in turn be threatening her also. Realistically, following her emotionally charged street outburst we would have witnessed a nine pressed firmly against her forehead as she began to cry and beg pitifully for her life. Now THAT'S hard-hitting family drama.

This type of gritty realism is more along the lines of David O. Russell's 'The Fighter'. A film which literally (sorry in advance) pulls no punches in its inspirational but often upsetting telling of life in Lowell, Massachussetts for the family and friends of a real-life pair of semi-pro, boxer brothers. Minutes in, wide appeal goes straight out the window. If you thought 'The Blind Side' was just a glossy Hallmark movie-of-the-week before, 'The Fighter' makes it look like GCSE Drama homework scrawled on the back of a wet tea towel.

The first thing anyone should know before watching 'The Fighter' is that story of the film is as true and as interesting as the film's story. After four rewrites between 2003 and 2007 and being rejected by Martin Scorcese, Darren Aronofsky was brought on board to direct in 2007. Following his departure from the project in 2008 in favour of 'Black Swan' (a great move on his part considering the film's eventual similarities to 'The Wrestler'), Mark Wahlberg called upon his previous two-time collaborator David O. Russell. By this point you're thinking, why is Mark Wahlberg in charge of hiring directors? And it's quite simple, this is Wahlberg's movie. While his lead performance may not be the strongest in the film, his dedication to the project and the true story behind it (as a producer) is entirely unrivaled by anyone in the industry as far as I'm concerned. With Relativity Media on board to finance, and distribution sold to The Weinstein Company, 'The Fighter' was finally set to start shooting. Principle photography began in July 2009 (four years after Wahlberg began to train for the role of Micky Ward) on a budget of $11 million.

While Wahlberg's determination to bring Ward's story to life is already evident, it should be noted that Christian Bale's trademark dedication was equally as impressive. Not unlike his turn in 'The Machinist', the role of Dicky Eklund required (in Bale's professional opinion) drastic weight loss in order to accurately portray the crack-addicted ex-title fighter. Furthermore, he even went missing for hours at a time to mentally prepare himself for the challenge that lay ahead (an act of preparation that becomes obviously evident once you've seen the film).

Mindset in place, Bale proceeded to entirely own the 33-day shoot. As a Bale fan, I have been long waiting for the role that may come to define him. Sure, he's a cult hero. You only have to watch 'American Psycho' or 'The Machinist' to remind yourself of that. And sure, he's a box office superstar. Hell, he's Batman AND John Connor. However, until last week I was always feeling like maybe he was going to end up heading down the Jeff Bridges route. I don't know about you, but for me it's hard watching brilliant actors being consistently under-appreciated critically. And by under-appreciated, I think you know what I mean (*cough* AMPAS *cough*). Needless to say, Bale's performance in 'The Fighter' will most certainly earn him his first Academy Award nomination. And if I were a betting man, I'd probably go as far as saying he's the odds on favourite. Don’t get me wrong, I'm sure that Geoffrey Rush is typically superb in 'The King's Speech', but from what I've seen firsthand, the bang-on embodiment of Dicky Eklund is the stand out supporting performance of 2010 by a country mile.

What instantly demands your attention from the opening scene is the way Dicky 'ticks'. David O. Russell has been quoted as saying, 'Dicky has a whole rhythm to him, a music. Christian had to understand how his mind works.' The way that Christian Bale approaches any role he undertakes involves doing exactly this. He will take on the behaviours and mannerisms of his real-life or literary counterparts and literally (if it's possible) become that character for the duration of the shoot. He uses this practice not only on set, but even in interviews and promotional material attached to the film. Lest we forget that Bale is in fact English, or had you forgotten?

Maybe it's the wide eyes of denial, and later the tired, sunken gaze of a man self-realised that give Bale's performance such lasting impact, power and purpose. You are forced to watch a man helplessly addicted to drugs behave with such blasé intent that at times it is deeply upsetting. So genuinely upsetting in fact, that it becomes an important catalyst in making the eventual redemption all the more uplifting. In a roundabout way, it's precisely this angle that makes the film itself such a powerhouse. You are given enough time with the characters to form not only opinions, but bonds with them as they are one-by-one exposed to their emotional cores. In the end, what really resonates is the knowledge that through all of their imperfections, mistakes and abusive tendencies towards one another, that the love is always there. It remains.

As outstanding as Bale is, it would be as criminal as his character to let him overshadow the other two award-worthy supporting performances in ‘The Fighter’. Both come in the form of strong-willed female characters, but on opposite ends of the spectrum. In opposing corners, shall we say. More obviously, you have Melissa Leo as Micky and Dicky’s mother Alice who as well as being an overbearing parent has also acted as manager for both boxers at some point in both of their careers. What Leo does so well is that she encapsulates so many different aspects of Alice’s personality over the course of the film, and in this practice ends up completely disappearing within her character. There is the in-front-of-the-camera Alice who dolls up and exudes almost embarrassing amounts of confidence not only in her boys (namely Dicky) but in herself, as well as the Alice who through all her ‘tryharding’ is unable to succeed in ambitions regarding her sons. It is the latter Alice that interested me particularly as within this half of the character’s psyche there were a further two sides to her. One side tends to overdramatise things and uses guilt trips either to get one of the boys back on her team (usually Micky as Dicky relishes any and all attention that comes his way) or to get her own way, where as the other side is the genuinely broken and bared Alice. The Alice that accepts her eldest son is a destructive crack addict and that her only other son is verging on hating her. The Alice that is battling the system every single day to support her seven grown daughters (and one grandson) who day after day populate her house contributing next to nothing. The Alice who can’t bear to lose the opportunity to profit monitarily off of her son’s exploits, who accepts his physical punishment fight after fight in the knowledge that win or lose, you get paid. The love though? It is always there. It remains.

More subtly but no less brilliant, Amy Adams is Micky’s girlfriend Charlene, a college dropout barmaid whose own toughness rounds off Micky’s. Where as he is able to handle himself in the ring, she is able to handle his family without a glint of fear or intimidation. One scene in particular that demonstrates the impact she has on Micky’s confidence is the scene in which she meets Alice for the first time. Up until this point in the story, Micky always felt the need to shy away from potentially disappointing his mother and brother, even if that meant compromising his own feelings about situations that involved him and that realistically, he should have been taking charge of. It is evident in this scene that in the three weeks Micky has been seeing Charlene, he has clearly opened up to her no end, so that when Alice typically tries to win Micky back from her, his words do not hesitate to come from Charlene’s mouth like they would from his. Everything he has wanted to say concerning Dicky holding him back and turning down the opportunity to get paid to train year-round in Las Vegas, she feels empowered to say. She feels it more than necessary to have Micky’s feelings considered by his own family, and rightly so.

What’s probably most important to consider about the character of Charlene is the fact that she is the first person Micky has ever become close to outside of his family since he started to box professionally. Her no-bullshit attitude coupled with intense concern for Micky’s wellbeing is what spurs him on to victories not only in the ring, but in life. She completes his circle of strength and in this strength he finds his confidence.

With Charlene by his side, Dicky in prison, and Alice at home rather than ringside; he has a new manager backing him and a new trainer in police sergeant O’Keefe (played charmingly by Mickey O’Keefe himself! Ward’s real life trainer!). The pieces are firmly in place for the fighter to mount a title challenge.

Whether or not ‘The Fighter’ itself will end up mounting a title challenge of it’s own is yet to be decided. The competition in 2010 was as tough as it’s ever been with films like ‘The King’s Speech’, ‘The Social Network’, ‘Black Swan’, ‘Inception’ and ‘True Grit’ all serious contenders for the year’s top prizes. If there was ever a film that had momentum in it’s favour though, ‘The Fighter’ is it (followed ever so closely by ‘True Grit’). It initially stunned us all with it’s six Golden Globe nominations, and then proceeded to be short listed for the all important and all telling Director’s Guild of America award last week. For those of you who don’t recognise the importance of the DGA award, allow me to break it down for you. Only 6 times since the award’s inception in 1947 has the recipient failed to win the Oscar for Best Director.

With David O. Russell stepping up and denying nominations for the likes of previous winners Danny Boyle and Joel and Ethan Coen (for ‘127 Hours’ and ’True Grit’ respectively), I think it’s safe to say that he is a legitimate threat. His use of Beta camera fight footage and punch-for-punch bout reenactment is what really sets the film apart from any other sports movie I've ever seen. The question is, can he overcome the likes of Christopher Nolan, Darren Aronofsky and David Fincher and provide ’The Fighter’ with that final push it would need to be a serious Best Picture contender? Probably not, but one thing is for damn sure.

He’s not a stepping stone anymore.

The Fighter is released on February 4th.