1) Best Movie of 2010
2010 has seen a good number of fine movies, but none shook me quite as much as Dogtooth. Yorgos Lanthimos’ second feature chronicles the strange goings-on in a home in which the parents have barricaded their children from the outside world for their entire lives. Increasing the isolation is the parents’ skewed educational (brainwashing?) techniques, which include misrepresenting the meanings of words referring to the world outside- “the sea” is used to refer to an armchair, for example. Dogtooth is hard to watch in spots, with both the children and some cats subjected to some brutal treatment. But it’s also wholly original, with equal parts absurdism and tragedy, and a skewed vision courtesy of its young filmmaker.
2) Second-favorite Roman Polanski Movie
Chilly, innocent-seeming blondes were long a hallmark of the thriller genre, not least in the films of Alfred Hitchcock. But while most of his predecessors turned their towheaded lovelies into victims, it took Polanski to explore the frightening possibilities of these characters in Repulsion. Part of the reason why it works is because Polanski took the time to define his protagonist in terms of her sexuality- after all, if we can’t see what Carol is protecting herself from, there’s really no story here. But just as important is Catherine Deneuve’s performance as Carol, the ice queen to end all ice queens. Fresh off her star-making role in The Umbrellas of Cherbourg, Deneuve took that role’s girlish sunniness and turned it on its proverbial ear, turning Carol into a blank slate that’s little more than pent-up sexual paranoia on the verge of exploding. As a star on the rise, it was risky for Deneuve to play a character this alienating, but she’s pretty perfect, and her performance announced that she was interested in more than simply being eye candy. Also, Polanski’s direction cooks, with even the most surreal moments generating real scares because they seem to spring from Carol’s troubled mind.
3) Jason Statham or Dwayne “The Rock” Johnson
The Rock’s charming as hell, but Statham is slightly more versatile, so in terms of star power it’s probably a draw. But I’m gonna have to go with Statham here, since The Rock has yet to make a movie as pleasurable as Statham’s Crank franchise. I love those crazy-ass movies.
4) Favorite movie that could be classified as a genre hybrid
It’s a slapstick comedy! It’s a Civil War movie! It’s Buster Keaton’s The General, and it’s awesome (as I’m sure you all knew already).
5) How important is foreknowledge of a film’s production history? Should it factor into one’s reaction to a film?
Ideally, a good movie should stand on its own, and it should be judged only by what happens between the opening logos and the end credits. However, this rarely happens in real life. Sometimes, it’s good to realize the hard work that went into the film. Consider older movies such as Metropolis or the works of Keaton and Chaplin, in which the directors achieved their effects not through computers but through some ingenious tricks. But in many other cases, there’s a fine line between having a knowledge of the story behind the making of a movie and letting that knowledge color one’s perception of the movie. For instance, it’s not useful for a viewer to let the real-life activities of an actor distort their appreciation of his performance or the character he plays- that’s gossip-rag garbage, and has no place in the movie-watching process. And this obsession some people have with movie’s budgets and box office performance is pretty annoying, I have to say. In the end, it comes back to the movie itself. Does it do what it sets out to do? If it does, that really ought to be enough.
6) William Powell & Myrna Loy or Cary Grant & Irene Dunne
Grant’s one of my favorites, and I love The Awful Truth. Still, it’s hard to argue with that famous Nick and Nora chemistry, so Powell and Loy win this.
7) Best Actor of 2010
Do I really need to choose between Jesse Eisenberg in The Social Network and Edgar Ramirez in Carlos? Eisenberg, whose performances are usually best described as agreeably nebbishy, revealed a new side to his talent by playing Mark Zuckerberg as a tunnel-visionary, training his laser focus on his conception of Facebook and leaving everything else in his life in the dust. He never makes Zuckerberg likable exactly, but one can’t help but admiring him, as his tireless work for Facebook gives him a strange sort of integrity. Ramirez is equally impressive, giving a performance that spans half a dozen languages (including Arabic, which he learned for the role), and inhabiting the skin of Carlos from his early days as a hungry young revolutionary to his Sudanese exile, a bloated leftover from the Cold War. Ramirez inhabits nearly every frame of Carlos, and the film is damn near unimaginable without him.
8) Most important lesson learned from the past decade of watching movies
If you’re not getting paid to see movies, you don’t need to see anything you don’t want to see. To feel obligated to see movies you could care less about leads to bitterness and disillusionment. Better to watch a dozen movies you’re legitimately interested in than a hundred that you think might be OK. In short, watch what you want to watch.
9) Last movie seen (DVD/Blu-ray/theater)
Last movie on DVD: Jean-Pierre Jeunet’s Micmacs, or as I’ve taken to calling it, Death by Whimsy. Jeunet’s flair for visually interesting set pieces is as strong as ever, but the story isn’t compelling and the characters are fairly dull, if quirky. After about half an hour, I was pretty much worn out, which I’m guessing wasn’t Jeunet’s goal.
Last movie in theatre: James L. Brooks’ How Do You Know. Why isn’t this getting more love? Sure, it’s “messy,” but where the film’s detractors see narrative digressions, I see a unique comic voice peeking through. Brooks is in love with the possibilities of long scenes, and although these don’t exactly move the story along, they work so well unto themselves that I hardly noticed. The hospital scene may be the best scene I’ve seen this past year.
10) Most appropriate punishment for director Tom Six
To be forced to direct- but not write- a big-budget Hollywood star vehicle. The guy knows how to direct a movie, but the attention-grabbing stunts have got to go. Let’s see what he can do with a particularly hands-on star who won’t let him get away with being provocative simply to drum up hype. I’m thinking a cookie-cutter romcom starring Sandra Bullock could do the trick. Failing that, what he deserves most is to be ignored until he gets this “Human Centipede” crap out of his system.
11) Best under-the-radar movie almost no one else has had the chance to see
Jacques Rivette’s Out 1. With all the crap that’s out there on DVD, it’s shameful that this magnum opus by one of the masters of filmmaking hasn’t even gotten a VHS release. Come on, Criterion- get on this!
12) Sheree North or Angie Dickinson
Nothing against Sheree, but there’s only one Feathers, and Sheree ain’t it. Angie Dickinson in a walk.
13) Favorite nakedly autobiographical movie
Do I think that every scene of Buffalo ‘66 was taken from Vincent Gallo’s life? Of course not. I’m pretty sure Gallo never went to jail as punishment for a gambling debt. Yet the scenes involving his parents seethe with the pain of real-life experience. Gallo’s dad was a singer, and Ben Gazzara lip-synchs along with one of his old songs. And Gallo’s character’s strained-at-best relationship with his folks feels like it’s born of real wounds dating back to childhood. I don’t know if that’s the kind of answer you’re looking for, Professor, but it’s the answer you’re getting.
(added 30 December) Oh, OK... if you insist. The obvious answer here is 8 1/2, but I'd like to put in a good word for Passing Strange. Yeah, it's more of a performance film than a straight-up movie, but Spike Lee made the right choice not to adapt it for the screen, since the intimate theatre-in-the-round format works to the material's benefit. And the material is, in a word, awesome. Composer-narrator Stew mines a pivotal time in his life- his artistic awakening and extended sojourn in Amsterdam and Berlin- for genuine feeling as well as great theatre. Most surprisingly, he's able to take that most careworn crutch of the roman-a-clef, his relationship with his mother, and make it feel fresh and complex, by virtue of the complex and unresolved feelings it summons in him. Plus it's just entertaining as hell, from his spoofing of every terrible punk band that never made it out of the garage, to his hilarious toe-tapping American-in-Berlin ditty "The Black One." One of my favorite movies of 2009.
14) Movie which best evokes a specific real-life place
Paris after May ’68 is often depicted as an intellectual wonderland, and to be sure, all evidence points to the idea that it was a hotbed for thought and creativity. But where one finds genius one also finds those who aspire to it, even as they fall hopelessly short. So when I think of Parisian counterculture in the sixties and seventies, I think not of The Dreamers but rather of Jean Eustache’s The Mother and the Whore, which pulls back the curtain on the idealism of the time and reveals a world chock full of layabouts and bullshit artists. Of course, the heyday of the world couldn’t last forever, and it was curdling by the time Eustache made the film in 1973. But that he could be so clear-eyed about the shortcomings of the team even as it was still going on makes The Mother and the Whore both a great film and an invaluable warts-and-all portrait of a key period in modern French history, the last gasp of idealism before malaise set in once more.
15) Best Director of 2010
Yorgos Lanthimos, for Dogtooth. Too often, a young filmmaker seems beholden to his influences. But while Dogtooth feels superficially indebted to directors like Buñuel, Von Trier, and Haneke, Lanthimos has a vision all his own. Just as importantly, he takes some tricky material and handles it magnificently, achieving a perfect balance between absurdism, tragedy, and brutality. It’s a real achievement, and I can’t wait to see what he does next.
16) Second-favorite Farrelly Brothers Movie
Well, my favorite is easily Stuck on You- a strong contender for the most under-loved movie of the past decade, not that you asked. As for my second-favorite, I’d probably have to go with Kingpin, which is the apex of the Farrellys’ scatological period. It helps that they chose a milieu that lends itself particularly well to sleaze- the world of professional bowling, which is gaudy and low-rent enough when it’s on the level, but attains a particularly downmarket flavor whenever hustling is involved. And the actors are nothing if not committed- you can almost smell the stale smoke on Woody Harrelson’s Roy Munson, and it’s nice to see Randy Quaid in his pre-wackjob phase. Then there’s the priceless Bill Murray as “Big Ern” McCracken. This wasn’t Murray’s last straight-up comedic performance, but it feels like the last time he really tried to sell the silly stuff before he shifted into deadpan territory. Good stuff, this one.
17) Favorite holiday movie
All-singing! All-dancing! All-vamping! All-killing! I’m probably alone on this, but I think 8 Women is pretty rockin’. That it takes place at Christmas is reason enough for me to choose it here.
18) Best Actress of 2010
Disabled roles have long been awards-season catnip, but no one would call Sylvie Testud’s performance in Lourdes Oscar-bait. For one thing, it was barely released in this country, so it wouldn’t stand a chance even if it was in the Academy’s wheelhouse. But more importantly, Testud’s performance is so subtle that it’s easy to overlook what a masterful acting job she does. Testud gives a very lived-in portrayal of a quadriplegic woman who decides to tag along with a tour group visiting the titular shrine, and so completely does she inhabit the character that the disability is merely one of the things that makes her so compelling. And so convincingly does she convey the predicament of a woman who is essentially in deep free from the neck down that it’s all the more astonishing when, following a miracle, she almost without thinking reaches out and touches something she never could have before. Testud is one of the most fascinating actresses currently working, and Lourdes offers ample evidence of her acting gifts.
19) Joe Don Baker or Bo Svenson
Haven’t we already had this question? Oh well. Don’t really have a strong opinion about this one, I have to say.
20) Of those notable figures in the world of the movies who died in 2010, name the one you’ll miss the most
A world in which we have no more new Eric Rohmer films to look forward to seems almost unbearably sad.
21) Think of a movie with a notable musical score and describe what it might feel like without that accompaniment.
Alfred Hitchcock shot Psycho with his TV crew, with the goal of making it look like it took place in the workaday world instead of the world of movies. For most of the movie, the only thing giving it an uneasy atmosphere is Bernard Herrmann’s score. Try to imagine Marion running away from Phoenix with no music behind her- much of the urgency would be gone, I dare say. And I’d guess that the famous shower scene wouldn’t be such an effective scare moment without the screeching strings- the visceral effect would be all but gone. But what would suffer most would probably be the post-killing scenes in which the seemingly innocent Norman is repeatedly questioned about the murder. In these scenes, Hitchcock cannily employed the same musical motifs in the earlier scenes involving Marion so that Norman feels like a victim. It’s a clever bit of misdirection that would be lost without the music behind it.
22) Best Screenplay of 2010
As I said above in question (5), I prefer to base my judgments of a movie on what happens between the opening logos and the closing credits. Because of this, I make it a point not to read the screenplays for the films, and consequently I don’t know how to best answer this question. Even something as basic as dialogue is a tough call. How much of what comes out of the characters’ mouth was on the page, and how much came out of shooting? Does the mood set by the film come from the screenplay or direction? How much of the story was constructed in the editing room? And what makes a “good” screenplay anyway? A good story? Good form and structure? Loads of research? Jesus, now my head hurts.
23) Movie You Feel Most Evangelistic About Right Now
24) Worst/funniest movie accent ever
What in the hell was John Malkovich going for in Rounders? I mean, I get that Teddy KGB was supposed to be Russian. But while bizarre accents have been a tradition of comedies ever since the days of Peter Sellers, Rounders was intended to be a drama. Did it not occur to John Dahl that Malkovich’s sub-Boris Badenov routine would take everyone right out of the story?
As for deliberately funny accents, I’m a fan of Lambert Wilson’s “real” American and “fake” French accents in Alain Resnais’ Not on the Lips. The British/French Wilson is perfectly bilingual, which makes it all the funnier that his characters’ stumbling attempts at French sound like he’s reading of phonetically-translated cue cards. But just as funny is his chewed-on take on Middle American, which makes him sound like James Coburn with a lip full of Novocaine.
25) Best Cinematography of 2010
Most films that employ digital cinematography use the new medium as a replacement for old-school film. However, there are a handful of filmmakers that have figured out the unique possibilities for digital, and David Fincher is one of them. With The Social Network, Fincher and d.p. Jeff Cronenweth transformed a potentially dry subject- the founding of Facebook- and turned it into a visually startling work by employing technology as current as that upon which its protagonist created his online empire. Most impressive is how Fincher and Cronenweth take advantage of the sharpness of the Red camera to heighten the unique visual textures of the film’s various settings- the burnished halls of Harvard’s “final clubs,” the institutional light of the Facebook offices, the neon paradise of the nightclub where Zuckerberg conspires with Sean Parker, the bong smoke that weighs down the air in Facebook’s California house. Much of the time, it’s historical epics that hog the cinematography accolades, but The Social Network beats them all this year.
26) Olivia Wilde or Gemma Arterton
I don’t have a strong opinion about either one, honestly. Wilde’s face is more interesting, so she’s got the edge there. On the other hand, if I was still single I’d do my damnedest to snag the one-sheet for Tamara Drewe, featuring the memorable image of Arterton in tiny shorts. Then again, I haven’t seen the movie yet, so it’s not like I’m a huge fan. Of course, Wilde was on House, and my lady likes House, so I guess she has the edge.
27) Name the three best movies you saw for the first time in 2010 (Thanks, Larry!)
I don’t get a chance to watch as many older movies as I’d like to, so my list won’t be quite as impressive as some. But instead of answering Dogtooth yet again, here are three oldies-but-goodies submitted for your approval: (1) Sam Fuller’s incendiary White Dog, which I wrote about in detail for the Killer Animal Blogathon, (2) Hou Hsiao-hsien’s epic City of Sadness, a lovely drama about sweeping historical changes in Taiwan, and (3) John Woo’s Hard Boiled, with its awesomely unhinged extended battle in a hospital.
28) Best romantic movie couple of 2010
Most poignant: Kathy and Tommy, Never Let Me Go. Most promising: Lisa and George, How Do You Know. Most toxic: Gitti and Chris, Everyone Else. Hottest: Nina and Nina’s version of Lily, Black Swan. Most tragic: Dom and Mal, Inception.
29) Favorite shock/surprise ending
”You maniacs! You blew it up! Damn you! Damn you all to hell!”
30) Best cinematic reason to have stayed home and read a book in 2010
It’s been almost eleven months since I saw this, but I still shudder a bit to think of the Jackie Chan kiddie vehicle The Spy Next Door. Late-period Chan has been fairly disheartening as a whole, I’d say- age has diminished his once-formidable athleticism to the point where he seems to be angling for the youth audience because he believes they’re the only ones who will still be impressed by his skills. But what makes the movie really egregious is that no one making it seemed to care. It’s as if the studio, producers, director, writers, actors, and everyone else down to the catering department figured that they only had to put in the least possible amount of effort in order to finish the movie and post a decent opening weekend on the road to a DVD release.
Don’t get me wrong- there are plenty of movies out there that feel like quick cash-grabs. But ever since I became a father, I’ve become especially annoyed by lousy movies aimed at kids. After all, children are full of imagination and creativity, two things that should always be encouraged. However, children are also highly susceptible to outside influences- to advertising and promotional tie-ins, to say nothing of peer pressure. So whenever Hollywood hard-sells shoddy goods like The Spy Next Door to children, it’s doing nothing less than grinding down a child’s creative impulses and destroying his ability to distinguish something really special from a run-of-the-mill time-waster (sadly, this is an ability many people find almost impossible to get back, if the ratings for Jersey Shore are any indication).
In short, not only should I have stayed home and read a book instead of seeing The Spy Next Door, but I should have stayed home with the offspring and read with him. At least then an extra precious little sliver of imagination in his brain might have survived a little longer.
31) Movies in 2011 could make me much happier if they’d only _______________
… ”release Tree of Life already.” Which it looks like they’re planning to do, so I’m at a loss for a better answer. Let’s see… “movies in 2011 could make me much happier if they’d only make it easier for me to watch the best new releases with my lady without having to plan ahead, pay for a sitter, etc.” Yeah, I guess that works.
Check out Dennis’ original post and more responses right here.