The Oscars award ceremony will occur this evening, and though I concur with virtually every possible criticism one could make of it, I love it. It’s my Super Bowl (well, that may be a bad analogy because I actually enjoy the Super Bowl quite a bit as well, but you get the idea). I still have not yet seen many notable films from 2010, so this list is incomplete and may require revision at a later date. I hope there is no statute of limitations on end-of-year best-of lists.
- 15. Shutter Island. A slight disappointment, this film overcame obstacles that would normally bring a picture down. It telegraphs its key plot twist from the opening credits (I successfully predicted said twist roughly fifteen minutes into the film) and suffers a rather hammy climax. Meanwhile, it still comes correctly enough to justify a viewing, thanks mostly to sharp and compelling performances by director Martin Scorsese and editor Thelma Schoonmaker. Contrary to popular belief, this was the best film Leonardo DiCaprio made last year.
- 14. Stone. The enigmatic story of a parole officer on the verge of self-destruction and the potential parolee that might push him over the edge. Stone forces thoughtful spectatorship.
- 13. Winter’s Bone. This is why AMPAS’ decision to double its Best Picture nominees was a good one. This work of hillbilly noir could never have made the five-film cut, and would thus see its audience reduced substantially. Tonally, this reminded me of last year’s excellent Frozen River. Screen with Deliverance if trying to scare a friend away from the American South.
- 12. 127 Hours. A truly terrible idea for a film, director Danny Boyle actually pulls off a miracle and makes the story of a trapped hiker captivating. James Franco excels in one of the most demanding acting roles in recent memory, and the conclusion is one of the most deservedly triumphant moments of melodramatic stylization I have ever seen.
- 11. The Fighter. When the ads started appearing for The Fighter, I thought it looked like a big, smelly turd. I was mistaken. There is nothing new here and its obvious conventionality is what turned me off initially. Ultimately, while it’s doing things we have seen in a hundred different sports films, it does those things very well. Christian Bale’s lovable crackhead seems to be a unanimous strong point for audiences.
- 10. The Kids Are All Right. For some reason, I have very little to say about this so I’m just gonna move on. Lesbians and shit. It’s good.
- 9. The King’s Speech. There is a very good chance this will win Best Picture at the Oscars, which would be bad, even though this is a very good film. The reason I think its victory would be bad is that this is very much the type of film that always contends for awards. Seriously, it’s absurd how over-represented the historical drama genre is in Oscar history. That said, this film enjoys a solid screenplay, terrific performances and even a fetching visual style that no one seems to be mentioning.
- 8. True Grit. If you are a viewer that typically finds the Coen brothers objectionably enigmatic in their storytelling, this is probably the Coen brothers’ film for you. The unsung hero of True Grit is its keen sense of humour, and one scene involving a man wearing a bear skin had me laughing so hard that I had to review it to hear the dialogue.
- 7. Scott Pilgrim vs. the World. Quite possibly the best comic book adaptation ever. Yup, I said that. This is certainly a comic book films’ comic book film, and works hard to preserve its original form. Funny, exciting and original, I suggest this is the most balls-out fun film of the year.
- 6. That Girl In Yellow Boots. Never heard of it? Didn’t think so, bitch. It’s an Indian film that features a striking colour palette and a disturbingly tragic, unpredictable narrative. Not a lot of laughing in this one.
- 5. Toy Story 3. I’m getting really sick of Pixar. You know why? Because every film it puts out is wonderful and everyone always agrees. It’s getting tired. The thrilling climax unexpectedly gives birth to the most touching moment of the year. Assuming the franchise is complete, it goes out on its highest note.
- 4. Beginners. Ewan McGregor is a cartoonist whose father (Christopher Plummer) has just died, and the film is largely a flashback to the last year of his life that started when he came out as a homosexual following decades of secrecy. Laughs and tears are in all the right places.
- 3. Rabbit Hole. Did someone just say “laughs and tears are in all the right places?” Originally a Pulitzer Prize-winning play, Rabbit Hole exercises masterful emotional manipulation, knowing exactly how far to go without becoming over-sentimental and hackneyed. Nicole Kidman and Aaron Eckhart have never been better, and the grieving process (they play a couple struggling to overcome the death of a young child) has never felt more authentic.
- 2. Black Swan. Darren Aronofsky is one of the most talented directors in the world, but would it kill the guy to make a film that’s a pleasure to experience? Requiem For a Dream is one of cinema’s greatest buzzkills, and this formally magnificent piece is no picnic either. Props to the mirror imagery.
- 1. The Social Network. “Hey Mike, why not just pick the most obvious film as your number one?” Yeah, I know. Nothing exciting about finishing the list like this. It’s not my fault. David Fincher made a movie so good I just can’t deny it. Fincher’s directing is ambitious and novel; he actually employs editing and sound (yay for Trent Reznor!) techniques best suited for action films while telling an inherently boring story to create one of the more riveting pictures of the year. Aaron Sorkin, whose work I normally despise, does magnificent work as screenwriter, probably because he finally met a director that can make his dreadful style work. I mean, seriously, Aaron Sorkin is one of the most overrated people in the history of all things. Anyway… this is the story of the disputed intellectual ownership of one of the pillars of the modern world - Facebook - made by one of Hollywood’s most stylistically progressive artists. It’s the best film of 2010 because as far as I can tell, it is 2010.
EDIT: You might be wondering, “Hey Mike, where the fuck is Gaspar Noé’s masterpiece Enter the Void?” You have a keen sense for cinema if you asked this. I actually saw that film last year at the Toronto Film Festival, and it was #1 on my 2009 list, so I didn’t think it was fair to include it for 2010 as well, even though that was its year of release for many markets.
