28. The Life and Death of Colonel Blimp (1943, Powell & Pressburger): A-

29. The Big Combo (1955, Lewis): B/B-

30. Caught (1949, Ophuls): A-

31. The Woman in Black (2012, Watkins): B-/C+

32. The Last Command (1928, von Sternberg): B+

33. Les Dames du Bois du Bologne (1945, Bresson): A/A-

34. Gerhard Richter Painting (2012, Belz): B+

There is an ornate decaying delicacy that comes with the period haunted house film. The Woman in Black is a classic back-to-basics Gothic tale that boasts an impressively patient and confident execution of familiar tropes, successfully piling on spook after spook. This may be all the film has to offer, but it garners enough satisfaction to ward off disappointment.

Arthur Kipps (Daniel Radcliffe) is a young widowed lawyer with a son. He is given an assignment (which his job hinges on) in a secluded English village where he is to sort through the estate of a deceased woman named Alice Drablow. The villagers are troubled by Arthur’s arrival. He gradually learns that many of the villagers have children who have died, including two hospitable citizens’ played by Ciaran Hinds and Janet McTeer.  It is only when Arthur is alone, in the entirely isolated and haunted estate of Eel Marsh, that he is able to put the pieces together amidst a ghost who means harm.

The vast majority of ghost stories are all essentially the same. There is a ghost. This ghost has been somehow wronged in their former life. The ghost wants to invoke suffering to others because of what they were forced to endure in life. This suffering could be targeted at nobody in particular, at a specific type of person, or at the ghost’s perceived wrong-doers.

With this in mind, it is imminently clear what is going on in The Woman in Black after about thirty minutes. The trick is to have this not matter. It does matter here, and in that case, the story needs to be stronger. To be an effective ghost story, the basis may be obvious (because at this point they almost certainly will be), but the particulars should be more vague, and at least as intriguing as what can be easily ascertained. The Woman in Black lacks the mysteriousness in story that it puts forth as having.

The story’s shortcomings are largely made up for by the macabre atmosphere and revivified use of tropes that go far in filling the void.  The scares themselves are not unfamiliar, but they work because of the impressively sustained ambiance that figures in far beyond the ‘jump’ moments themselves. James Watkins makes the entire journey one long successfully sustained spook.

Gothic tropes are heartily embraced with an appreciation for creaky doors and hallways, madwomen, shadows and fog, and a grandiose and decaying house that reign supreme over any character or story element to be had. Watkins wrings out a lot with a little; without him and an impressive technical crew (the production design here is stellar), this would have been entirely forgettable as opposed to the somewhat satisfying film that it is. A special kudos to those responsible for the props, who conjure up what is easily the most unsettling collection of antique wind-up dolls one is likely to ever see.

Much has been made of the fact that this is Daniel Radcliffe’s first post-Potter role and I am one of those, being the Radcliffe fan myself. Sadly, there is nothing much asked of him, and it is hard not to ponder if an actor who can make something out of nothing (there are not many that can) might have been able to lend some much-needed gravitas. For one, Radcliffe is oddly callow here as a lawyer with a four-year old son. He spends his time mainly reacting to creepy goings-on within the broadly defined quietness of his character. It does not help that the characterization of Arthur Kipps hinges entirely on the continuous lamenting over the death of his wife, and the constant reminder that he loves his son and wishes he could spend more time with him. This is all he is given to do and he is serviceable.

The problematic end, which I will not explicitly spoil, is impossible to overlook for its painful mawkishness. This kind of ending has always been a personal pet peeve, for the pitiful strain it reveals in insuring that the audience is sent off with a modicum of the ‘happy ending’, no matter what the contradicting circumstances. It is corny, evasive and cowardly.

The Woman in Black is in some sense following the type of film that nobody watches for plot or characterization. There are plenty of horror films, indeed many, that offer nothing in story and are heralded for their aura alone (many Hammer Films included). I was tempted to stride towards the ‘but it wasn’t meant to’ line of reasoning. But The Woman in Black seems to want to simultaneously intrigue with its story. The film neither backs up its plot-oriented ambitions nor goes forward with a bold proclamation of plot scarcity. The result is a potentially involving tale lost as well as a residue of intention that leaves an unfulfilled mark. But its primary reason for being, the resurrection of Gothic atmosphere and tropes used effectively is something The Woman in Black has in spades, and this is almost enough.

Haywire is a moderately empty exercise in formalism that lights up only when the physical, rigorous skills of retired mixed-martial-arts fighter Gina Carano (receiving the Sasha Grey treatment) get the spotlight. Thankfully, Carano’s physicality is not only called into action plenty, but looms over the film’s entirety.

Steven Soderbergh’s strongest directorial contribution (along with his use of sound as throughout) takes place during the fight scenes, with his decision to cut out all non-diegetic sound, and shoot with a clean distance. Every single one is a livewire delight. He allows these scenes to be entirely Carano’s show, and with his use and non-use of filmic devices says ‘pay attention folks; this is why I spent and time, money and effort to make this’. They are worthy and exhaustively fierce set-pieces.

Mallory Kane (Gina Carano) is on the run; but why? Told largely in flashbacks, we learn that Kane works for a private contractor and is hired for covert secret operations but is soon quitting and taking with her a lot of clientele who rely specifically on her abilities. After a mission to rescue a Chinese journalist in Barcelona goes according to plan, Kane is double-crossed whilst on a last-minute assignment in Dublin. On-the-run, Kane needs to figure out who double-crossed her and why, as well as connect it all back to the Barcelona mission where the attempted frame-up against her began.

Soderbergh and returning screenwriter Lem Dobbs make sure not to give Carano more than she can handle acting-wise. To answer the question ‘can she act’, the answer is not really, but the camera sure does love her. Some have found her demeanor of seemingly one-note indifference distracting, but for me her smoky no-nonsense presence is actually far more engaging than any other actor here. The goal here was never to turn Carano into an actress; it was to give her a chance to showcase her physical prowess. And this she does with aplomb, with the added bonus of her alluring je ne sais quoi throughout.

Aside from Carano and her action sequences, there is not much good to say. Haywire is too clean, too barebones without intrigue or consistency to support it. Its transparency is progressively evident and it is this, and not Carano, that becomes distracting. It feels like Dobbs struggled to stretch this to a full-length running time. Since its existence is to showcase Carano, the many scenes meant to fill in the blanks come off as expositional chores and tiresome meaningless table-setting.

At a certain point it becomes clear that Carano is all Soderbergh has to offer, and so the viewing experience becomes a waiting process in the hopes of arriving at the next action scene. The supporting characters played by Michael Douglas, Ewan McGregor, Michael Fassbender, Channing Tatum and Antonio Banderas all fail to register in the slightest, and I say this having gone in with the very low expectations set for supporting character development in action-thrillers. Only Bill Paxton is able to make something with his screentime.

Nothing falls into place the way it should. For one thing, no stakes whatsoever can be felt. Even if said stakes never really feel up for grabs they should still be remotely palpable, or at the very least, there to begin with. Sure, the double cross is elaborate but in a spinning its wheels kind of way. The screenplay by Dobbs wins the award for efficiency, but the rickety framing device is beyond weak, aligning the audience with a teenage non-character (the sadly thankless Michael Anagrano) who is present to repeat names of important people and places for us.

Soderbergh uses his skills to show off here with his typical precision and flair for shooting sequences in fairly off-kilter ways as he attempts to evoke a 70’s B-movie sensibility (this includes the purposefully simplistic plot). With the half-baked and unengaging story backing the formalist presentation, the final product emits an air of false superior ‘cool’ that is unearned. Hanna pulled off this sort of schtick a hell of a lot better. Taken as a whole, Haywire is surprisingly dull, and Soderbergh’s various aesthetic decorative touches read as empty self-consciousness. In the end, there are two impossibly strong reasons to seek it out (and please do if only for these elements) despite its indifferent nature; the mesmeric presence of Gina Carano and the cleanly shot action scenes that come with her.

A lot of the films that did not make the cut I am very excited to see. For example, I think the comedic duo of Channing Tatum and Jonah Hill in 21 Jump Street looks inspired; yes I said it, inspired. Though Norwegian Wood was a book I felt would have been more meaningful to me if I read it as a teenager, I’m very interested in seeing its adaptation, and with Rinko Kikuchi no less. Just how much of a disaster will Ghost Rider: Spirit of Vengeance be? I don’t know, but I want to see the insane end result with the Crank directors at the helm. Whether is be a passing interest (‘yeah I guess I’ll see through Netflix someday) or an active one, there’s obviously a lot coming out that looks in some way intriguing. Here are the 30 that made the cut, in order, with very short bullet point reasons.

A side note: When I list the synopsis as a reason, I should be clear that this is an element of interest with all these choices (clearly), but that the films where I cite synopsis as a reason means it particularly stands out even more so than the films I did not put it in for.

30. In Darkness

Why? New Agnieszka Holland films are a rarity.

29. Chronicle

Why? For someone pretty sick of superhero films, this sounds like a nice change of pace that seems to embrace the inherent and realistic selfishness of people. The warm reception solidifies its spot.

28. Bernie

Why? Richard Linklater, synopsis and Jack Black doing something I am actually interested in that does not include voicing an animated panda.

27. The Hunter

Why? Willem Dafoe, synopsis. While not the biggest fan of Sleeping Beauty, I love Julia Leigh’s ideas and want to see a work of hers adapted for the screen by someone more capable of filming it than Leigh herself.

26. Friends with Kids

Why? The cast which includes Kristen Wiig, Adam Scott, Maya Rudolph and the delectable Jon Hamm. Only concern is Westfeldt as lead; not really a commanding presence but we shall see. Plus, it’s her project so she has every right to place herself front-and-center.

25. The Kid with a Bike

Why? Dardenne Brothers, acclaim build-up since Cannes, Cecile de France and Jeremie Renier.

24. Post Mortem

Why? Synopsis. Although I haven’t seen Tony Manero, I know of its acclaim and that Pablo Larrain is one to watch judging by the formers praise.

23. Once Upon a Time in Anatolia

Why? It’s placement on countless 2011 film lists from those who had seen it, its universal acclaim

22. The Innkeepers

Why? Ti West’s follow-up to The House of the Devil, been making the rounds since SXSW premiere last March, divisive opinions have me further intrigued (although I don’t know the specifics; a new-years resolution is to read less about a film’s reception before seeing it. Nothing really beyond basic critical reaction is my goal)

21. The Woman in Black

Why? Daniel Radcliffe’s first onscreen post-Potter role, Hammer Films output, looks like an entirely old-fashioned ghost story relying on atmosphere which pulls me in, James Watkins (director of Eden Lake which I failed to get to this past October, but who I assume is a director with some kind of credibility)

20. Footnote

Why? Synopsis, critical reception

19. Haywire (seen)

Why? Building a film around a female MMA retiree for the sole purpose of exhibiting her physical skills, Steveb Soderbergh, ensemble cast

18. The Secret World of Arietty

Why? Studio Ghibli

17. The Forgiveness of Blood

Why? Synopsis, Joshua Marston’s nine-year after-the-fact follow-up to Maria Full of Grace

16. The Deep Blue Sea

Why? Terence Davies, months and months of festival buzz build-up, based on a Terence Rattigan play, Tom Hiddleston

15. Attenberg

Why? The endless comparisons (both favorable and unfavorable) to Dogtooth, hearing about this film for the year and a half since its first festival premiere and having wanted to see it way back then.

14. Miss Bala

Why? Synopsis, critical reception

13. Michael

Why? Festival acclaim, made by Haneke’s casting director, intrigued by use of controversial subject matter

12. Cabin in the Woods

Why? Joss Whedon’s involvement, finally getting released after years of sitting on the shelf, Amy Acker, synopsis, genre

11. Headhunters

Why? Festival buzz, while I don’t pay much heed to IMDB scores, when something has a 7.5 from 5,000 votes I take notice, based on a Jo Nesbo novel whose novels I haven’t read but is very well-renowned meaning this is assumedly based on solid source material, Nikolas Coster-Waldau is the Norwegian Josh Holloway (and also the luscious Jaime Lannister).

10. Bully (documentary)

Why? Extremely important and timely subject matter that needs exploration and at the very least addressing in all forms including the documentary medium.

9. Bullhead

Why? Synopsis, buzz, critical reception

8. Crazy Horse (documentary)

Why? Two words; Frederick. Wiseman.

7. This is Not a Film (documentary)

Why? I shouldn’t even have to give reasons here. If the fact that this is absolutely necessary to see does not slam you over the film once you’ve got the proper context for its existence, then I just don’t want to know you.

6. The Raid

Why? Been wanting to drown my eyeballs in this since its reaction at Toronto and subsequent trailer release, exactly the kind of genre flick I anticipate

5. Snowtown

Why? Yet another film I’ve been waiting to see for quite some time (tracking back at the very least to Toronto; see this is why this time of year is awesome, because all these festival films I’ve been waiting to see for months finally get released), synopsis, acclaim

4. Sound of My Voice

Why? Synopsis, the first of two collaborative efforts (each of slightly different sorts) between Brit Marling and Zal Batmanglij whose upcoming similarly cult-infiltration based The East is one of my very highly anticipated upcoming films, early buzz.

3. Damsels in Distress

Why? Whit Stillman’s first film in an incomprehensible 14 years. Enough said.

2. Kill List

Why? Since hearing about this from last years SXSW this has been at the top of my highly anticipated films, all-over-the-map critical reaction, hush-hush “Don’t read anything about it, just go see it” comments

1. The Hunger Games

Why? Not at all sorry to break it to you folks, but I’m a “Hunger Games” fan, which clearly means I am more excited about this than anything else coming out through April. With Gary Ross at the helm and Billy Ray being a screenplay contributor (not to mention the quality of the images and footage seen thus far), you can bet I’m counting down the days for this. And I feel bad for anybody willing to immediately write it off.

The rest (in alphabetical order):

21 Jump Street
4:44 Last Day on Earth
Albatross
ATM
Being Flynn
Black Butterflies
Butter
Casa de mi Padre
Chico and Rita
Chimpanzee
Darling Companion
Declaration of War
Detachment
Detention
Ghost Rider: Spirit of Vengeance
Gone
House at the End of the Street
Jeff, Who Lives at Home
Jiro Dreams of Sushi
John Carter
Lockout
Mirror Mirror
Movie 43
Natural Selection
Norwegian Wood
On the Ice
Payback
Perfect Sense
Pirates! Band of Misfits
Return
Seeking a Friend for the End of the World
Silent House
The Decoy Bride
The Five-Year Engagement
The Front Line
The Grey
The Moth Diaries
The Raven
The Salt of Life
The Turin Horse
Thin Ice
Wanderlust

14. A Separation (2011, Farhadi): A

15. Freddy Got Fingered (2011, Green): D+

16. Mademoiselle (1966, Richardson): B+

17. Sabrina (1954, Wilder): A-

18. The Circus (1928, Chaplin): B+

19. The Leopard (1963, Visconti): A-/B+

20. Atlantic City (1980, Malle): B+

21. Pepe le Moko (1937, Duvivier): A-

22. The Big Knife (1955, Aldrich): C+ (I really enjoyed this overall, but there was one major weakness that makes the entire over-the-top grandiose film difficult to become invested in)

23. 12 Monkeys (1995, Gilliam): B+ (The giant red herring that is this film is not something I can ultimately get past.)

24. The Reckless Moment (1949, Ophuls): B+/B

25. Haywire (2012, Soderbergh): B-/C+

26. Kiss of Death (1947, Hathaway): B-

27. Panic in the Streets (1950, Kazan): A-

THE GOOD: (and by Good, I mean pleasant semi-surprises/surprises. Moneyball getting in for Picture is obviously good, but entirely expected so it won’t appear here)
- The Tree of Life getting in for Picture and Malick for Director.
- Bichir and Oldman in for Actor. I love Demian Bichir and I love him particularly in this film.
- Rooney Mara for Actress
- Max von Sydow for Supporting Actor. Nobody expected it. I haven’t seen the film and I doubt I will in theaters, but the man is a legend. I don’t care what he’s being nominated for, but he’s being nominated is all that matters. Bergman/Von Sydow forever. That doesn’t mean I’m happy about no Albert Brooks (see below). I would have taken out Hill and particularly Branagh who in no way, shape or form should be getting awards attention this year. Although I would have taken Hill out, I’m still very happy for him. It’s a great performance and one of my favorite characters from last year in film.
- NO LEONARDO DICAPRIO. NO J. EDGAR ANYWHERE. WOOHOO!!
- Nick Nolte for Warrior. You’d have to be a moron to see that film and not put his name down.
- NO CARS 2. HUZZAH!!
- Kung Fu Panda 2!!!!
- Harry Potter for Art Direction
- No Girl with the Dragon Tattoo for Score, Director, or Pic. It’s a solid film, but entirely undeserving  in all of those categories. I’ve gotten used to films like The Help being sure bets. But when something that should not be there is hovering, I become more passionate about ‘Dragon’ not getting in than The Help despite enjoying the former more. If only Extremely Loud hadn’t been a replacement.
- Jane Eyre for Costumes
- A Separation getting in for Original Screenplay, the first Foreign Language nominee since the also fabulous Diving Bell and the Butterfly. I predicted it. A Separation has stuck with me in a big way, and the screenplay is uniformly intricate and complex.
- Tinker, Tailor, Soldier, Spy getting in for Adapted Screenplay and Original Score, two of my favorite nominees this year. If only it could have squeezed in for Pic.
- Moneyball for Editing. Expected, but it’s the only film on there from my Dream Ballot.
- “Man or Muppet” for Song

THE BAD:
- Extremely Loud taking a coveted Best Pic slot where there could have been something actually good to offset the mediocre (The Artist, The Help, War Horse).
- Which brings me to War Horse. War Horse? Really? That forgettable sentimental slop? The cast is great (outside of Joey who annoyed me more than I can say), and it’s certainly moving at times, but it’s so self-consciously by-the-book. It’s completely outdated, and while I cared about the horse (because it’s a horse, but because of the film’s skillful storytelling), I found myself restless during most of it. This wasn’t unexpected, but it was hovering, hence my aggravation. The things I get excited or upset about are ‘hoverers’ aka things that may or may not have a shot, allowing for hope for surprises or snubs to become more passionate for these particulars.
- No Fassbender for Actor. I would have taken out Clooney of those 5. He was good, but he’s too charming to play up the character’s flaws the way they needed to be. I’d say Michael Shannon for Take Shelter, but did he ever have a shot? Likely no.
- No Tilda Swinton. Leading performances by actresses have been beyond incredible this year. And yet I would completely dump 4 of those performances for other choices. Thrilled Mara got in, but I was hoping for a Glenn Close snub. The film sucks and she isn’t even very good in it.
- No Brooks for Supporting. I thought this would happen, but I didn’t predict it because I wasn’t sure who to put in.
- No Tinker, Tailor, Soldier, Spy for Art Direction or Costumes. These should have been no-brainers.
- Was hoping Young Adult could pull a Screenplay nod but nope, not even that.
- Last but not least. In fact, last but most offensive omission……
- NO NOMINATION FOR PROJECT NIM IN BEST DOCUMENTARY. It made the shortlist. Yet…..really? It’s amazing. Man on Wire is overrated and this is beyond incredible but…..wait Katie. Calm down. Who cares? OK. I’ll get over it.

I could nitpick a lot of these but I won’t. Those are the major ‘absences that had a shot’ that sadden me. Look at my Dream Ballot to see my own Personal Oscar slate.

Best Picture:
The Artist
The Descendants
The Help
Hugo
Moneyball

6. Midnight in Paris
7. Girl with the Dragon Tattoo
8. Bridesmaids
9. The Tree of Life
10. Tinker, Tailor, Soldier, Spy

Those last five are in order. So for example, if eight nominees are announced tomorrow, I think it will be the top five and then my numbers six, seven and eight. Those first five are incredibly safe bets and all of them will appear tomorrow. I am not as sold on Dragon Tattoo’s supposed presence tomorrow, but there is nothing else that is particularly sticking out to me. I do have ‘Tattoo’ getting in a number of places because people are putting it for a number of different categories. I really just do not buy War Horse showing up here. It boggles my mind how people would feel passionate enough for Spielberg’s output this year to actually put that on their ballots. I think The Tree of Life stands a chance because it the people who are advocates for the film will likely be placing it in their top slot, allowing it a much larger shot.

Best Director:
Woody Allen – Midnight in Paris
Terrence Malick – The Tree of Life
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants
Martin Scorsese – Hugo
Alternate: David Fincher – Girl with the Dragon Tattoo

Taylor and Miller getting in for The Help and Moneyball seem like outside shots, although Miller could very well come into play. I have Fincher as my alternate because everyone else seems to think he stands a shot, so I feel I should put him. But for as well directed as Dragon Tattoo is, it feels somewhat ridiculous for him to pop up. And if he does, it won’t be a pity vote for last year’s Hooper preference. I can guarantee that zero individuals of this organization have this mindset. That line of thinking is entirely thanks to awards pundits who put infinitely more time into this than anyone who actually votes.

Best Actor:
George Clooney – The Descendants
Leonardo DiCaprio – J. Edgar
Jean Dujardin – The Artist
Michael Fassbender – Shame
Brad Pitt – Moneyball
Alternate: Michael Shannon – Take Shelter

Apparently the AMPAS don’t like Shame. Again, I do not buy into this collective groupthink. I’m sure the word around town is that the members who have seen it, at least the ones who have been vocal about it, have done so negatively. However, while I doubt Shame will show up tomorrow in almost all categories, I still think Michael Fassbender has the power to impress voters enough for them to recognize the performance without it being an endorsement for the film. The man has risen to the A-list in one year and, if the nomination happens, it will feel like a rite of passage for him into the Hollywood elite. Because the man is a star now. I see Oldman continuing his lifelong streak of being ignored for these awards. I could see DiCaprio being snubbed, but I don’t think it’ll happen. He is playing a historical figure across decades and the technicality of the performance I see being undeservedly recognized.

Best Actress:
Glenn Close – Albert Nobbs
Viola Davis – The Help
Rooney Mara – Girl with the Dragon Tattoo
Meryl Streep – The Iron Lady
Michelle Williams – My Week with Marilyn
Alternate: Tilda Swinton – We Need to Talk About Kevin

Four of these nominations are all locks as far as I am concerned. Close will get in more for the decades in the making passion project aspect of Albert Nobbs. The reason I choose Mara over Swinton is because is feels logical. ‘Kevin’ will not show up anywhere else tomorrow. ‘Dragon Tattoo’ will. And it would make no sense if Girl with the Dragon Tattoo shows up in several other categories when the one thing that should be recognized, Mara, is absent.

Best Supporting Actor:
Kenneth Branagh – My Week with Marilyn
Albert Brooks – Drive
Nick Nolte – Warrior
Viggo Mortensen – A Dangerous Method
Christopher Plummer – Beginners
Alternate: Jonah Hill – Moneyball

Of all the acting categories, this one is the flimsiest. I’m unsure about everything here outside of Plummer. People are prepared for a Brooks snub and it very well could happen. Young Adult being largely ignored by all precursors everyone took Oswalt out of the running. I have doubts enough voters will have seen Warrior to put Nolte, but the idea of seeing the film and not putting Nolte on the ballot is unthinkable. Mortensen is someone I am taking a chance on and it is mostly wishful thinking. If I picked the nominations and winners, he would take the award home.

Best Supporting Actress:
Berenice Bejo – The Artist
Jessica Chastain – The Help
Melissa McCarthy – Bridesmaids
Janet McTeer – Albert Nobbs
Octavia Spencer – The Help
Alternate: Shailene Woodley – The Descendants

Considering that Janet McTeer is the only reason to see Albert Nobbs, I chose to put her in. The Help will make two showings here, unless Chastain splits votes over her different eligible performances. I think McCarthy has more than enough momentum to get in here.

Best Original Screenplay:
The Artist
Beginners
Bridesmaids
Midnight in Paris
A Separation
Alternate: Young Adult

There is a lot of love and affection for Beginners out there, and that likely transfers to the AMPAS voters who have seen it (and if they put Plummer, they probably have) making it feel right to me. A Separation has a ton of momentum, making it likely to break out of the Foreign Language category.

Best Adapted Screenplay:
The Descendants
The Girl with the Dragon Tattoo
The Help
Hugo
Moneyball
Alternate: The Ides of March

These feel fairly set to me. I don’t have anything to add. They are all major contenders for the Oscars this year and they succinctly fill out the five slots. But I desperately want Tinker, Tailor in here.

Best Editing:
The Artist
The Descendants
Girl with the Dragon Tattoo
Hugo
The Tree of Life
Alternate: Moneyball

Not really much to say here either, except that I really hope Moneyball makes it in tomorrow. It’s the only possible nominee that made my Dream Ballot. It has a wonderfully lively and entirely seamless pace that keeps up with the back-and-forth energy the dialogue generates.

Best Cinematography:
The Artist
The Girl with the Dragon Tattoo
Hugo
The Tree of Life
Tinker, Tailor, Soldier, Spy
Alternate: War Horse

War Horse could really get in here for it’s very vocal use of old-school celluloid. I feel if Tinker, Tailor shows up in technical categories, it will show up in several or none. I don’t see it randomly popping up in two categories (hypocrite that I am, I only have it in for 3). This could be a category where something shows up that only shows up in one other place. For the sake of safety, I’m sticking with these choices.

Best Art Direction:
Hugo
Midnight in Paris
Tinker, Tailor, Soldier, Spy
War Horse
Harry Potter and the Deathly Hallows Part 2
Alt. The Artist

The Harry Potter series always boasts top-notch art direction. Tinker, Tailor and Hugo are best in show from the possibles this year. War Horse and Midnight in Paris seem likely.

Sound Mixing:
The Artist
Hugo
Harry Potter and the Deathly Hallows Part 2
Super 8
Mission Impossible
Alternate: Hanna

Sound Editing:
The Artist
Harry Potter
Super 8
Mission Impossible
War Horse
Alternate: Hugo

One of these years I will gain enough of a basic understanding of these categories to make predictions that feel somewhat knowledge-based.

Costume Design:
Anonymous
The Artist
Harry Potter and the Deathly Hallows Part 2
Jane Eyre
Tinker, Tailor, Soldier, Spy
Alternate: Hugo

Impeccably dressed men in 1970′s period costume must go rewarded. I demand it! Anonymous is seemingly sure to pop up in a couple of categories for its period lavishness.

Score:
The Artist
Hugo
Girl with the Dragon Tattoo
Jane Eyre
War Horse
Alternate: Tinker, Tailor, Soldier, Spy

Anything John Williams is a sure bet, even if it is for the obnoxiously distracting score that was War Horse. Trent Reznor and Atticus Ross are building a good track record, even if I don’t get the big deal over their contribution this year. Hugo hits all the notes it needed to with the quality we expect from Howard Shore. The Artist is a total lock. Jane Eyre feels fairly certain, but I really hope that Alberto Iglesias is recognized for his stellar work in Tinker, Tailor.

Foreign Language
A Separation
Footnote
In Darkness
Monsieur Lazhar
Pina
Altnerate: Bullhead

No idea what to do here outside of A Separation, so I went with the films I know about, even though the AMPAS never ‘works’ that way.

Documentary:
Bill Cunningham, New York
Paradise Lost 3
Project Nim
We Were Here
Undefeated
Alternate: Pina

There is no rhyme or reason here. I chose to have Pina get in for Foreign Language as opposed to Documentary, but it could split votes and get in for neither or both. If Project Nim does not get in….I shouldn’t be surprised but I really will be. And if Buck does get in…how sad. I think it’s got a real shot, but I spitefully snubbed it here.

Animated Feature:
Adventures of Tintin
Cars 2
Rango

4. Chico and Rita
5. Puss in Boots

Tintin has Spielberg, Cars 2 has Pixar and Rango is just too damn good to ignore in an otherwise completely lackluster year for animation.

Visual Effects:
Harry Potter and the Deathly Hallows Part 2
Hugo
Captain America
Rise of the Planet of the Apes
The Tree of Life
Alternate: Transformers: Dark of the Moon

Hugo has 3D, Rise of the Planet of the Apes has motion-capture, The Tree of Life has the cosmos, Captain America has a digitally wimpy Chris Evans and Harry Potter has quantity.

Makeup:
Anonymous
Gainsbourg
The Iron Lady
Alt. Harry Potter and the Deathly Hallows: Part 2

People seem to be putting Gainsbourg, and if one thing for Makeup is certain, it’s that the most random films possible show up here. We are working with a small finalist list, greatly narrowing the field. Gainsbourg being the most obscure and otherwise absent film on the list means it will probably make it. The Iron Lady is a sure thing. Anonymous feels right.

Best Original Song:
Albert Nobbs
The Help
Muppets – Life’s a Happy Song
Muppets – Man or Muppet
Muppets – Pictures in My Head
Alternate: Star-Spangled Man – Captain America: The First Avenger

I decided to go with 3 Muppets songs, because I feel confident that the AMPAS will overall be more receptive to The Muppets than the Hollywood Foreign Press Association was. If there is one place to reward the film it would be here and only here. Will 3 songs be nominated? Hell no. But I want them there and there they shall stay.

No Guts, No Glory:

Supporting Actress: Jessica Chastain – Take Shelter
Actress: Charlize Theron – Young Adult
Score: The Chemical Brothers – Hanna

Tallies:
The Artist – 11 nominations
Hugo – 10 nominations
The Help – 6 nominations
The Girl with the Dragon Tattoo – 6 nominations
The Descendants – 5 nominations
Harry Potter and the Deathly Hallows: Part 2 – 5 nominations
Midnight in Paris – 4 nominations
The Tree of Life – 4 nominations
Moneyball – 4 nominations

Best Picture:
Certified Copy
Drive
Hugo
Melancholia
A Separation
Take Shelter
Tinker, Tailor, Soldier, Spy
The Tree of Life
We Need to Talk About Kevin
Young Adult

Best Director:
Tomas Alfredson – Tinker, Tailor, Soldier, Spy
Abbas Kiarostami – Certified Copy
Lee Chang-dong – Poetry
Terrence Malick – The Tree of Life
Nicolas Winding Refn – Drive

Best Actor:
Carlos Areces – The Last Circus
Demian Bichir – A Better Life
Michael Fassbender – Shame
Ryan Gosling – Drive
Michael Shannon – Take Shelter

Best Actress:
Juliette Binoche – Certified Copy
Olivia Colman – Tyrannosaur
Rooney Mara – Girl with the Dragon Tattoo
Tilda Swinton – We Need to Talk About Kevin
Charlize Theron – Young Adult

Best Supporting Actor:
Albert Brooks – Drive
Tom Hollander – Hanna
Viggo Mortensen – A Dangerous Method
Nick Nolte – Warrior
John C. Reilly – Terri

Best Supporting Actress:
Sareh Bayet – A Separation
Jessica Chastain – The Help
Sarina Farhadi – A Separation
Charlotte Gainsbourg – Melancholia
Carey Mulligan – Shame

Best Original Screenplay:
Diablo Cody – Young Adult
Abbas Kiarostami – Certified Copy
Asghar Farhadi – A Separation
Jeff Nichols – Take Shelter
Lars von Trier – Melancholia

Best Adapted Screenplay
Hossein Amini, Drive
Moira Buffini – Jane Eyre
Bridget O’Connor and Peter Straughan – Tinker, Tailor, Soldier, Spy
Lynne Ramsay and Rory Kinnear – We Need to Talk About Kevin
Steve Zaillan and Aaron Sorkin – Moneyball

Best Editing:
Zachary Stuart-Pontier, Martha Marcy May Marlene
Molly Malene Stensgaard – Melancholia
Christopher Tellefson – Moneyball
Chris King and Gregers Sall – Senna
Joe Bini – We Need to Talk About Kevin

Best Cinematography:
Jody Lee Lipes – Martha Marcy May Marlene
Emmanuel Lubezki – The Tree of Life
Christopher Blauvelt – Meek’s Cutoff
Hoyt van Hoytema – Tinker Tailor Soldier Spy
Manuel Albert Caro – Melancholia

Best Art Direction:
Antxón Gómez – The Skin I Live In
Dante Ferretti – Hugo
Maria Djurkovic – Tinker, Tailor, Soldier, Spy
Chi Pang Terrance Chung – Detective Dee and the Mystery of the Phantom Flame
Bo Welch – Thor

Best Costume Design:
Alison Byrne – Cracks
Paco Delgado – The Last Circus
Jacqueline Durran – Tinker, Tailor, Soldier, Spy
Michael O’ Connor – Jane Eyre
Bruce Yu – Detective Dee and the Mystery of the Phantom Flame

Best Original Score:
Dario Marianelli – Jane Eyre
Alberto Iglesias – The Skin I Live In
Alberto Iglesias – Tinker, Tailor, Soldier, Spy
The Chemical Brothers – Hanna
Antonio Pinto – Senna

Best Foreign Language Film:
A Separation
I Saw the Devil
The Last Circus
Le Quattro Volte
Poetry

Best Documentary:
Project Nim
Senna
The Arbor
Tabloid
Bobby Fischer Against the World

Best Animated Feature:
Rango
Kung Fu Panda 2
Winnie the Pooh

Best Makeup:
The Artist
Jane Eyre
The Last Circus

Best Visual Effects:
The Adventures of Tintin
Rise of the Planet of the Apes
Harry Potter and the Deathly Hallows Part 2
The Tree of Life
Hugo

7 Nominations – Tinker, Tailor, Soldier, Spy
5 Nominations – A Separation
5 Nominations – Drive
5 Nominations – Melancholia
4 Nominations – We Need to Talk About Kevin
4 Nominations – Certified Copy
4 Nominations – Jane Eyre
4 Nominations – The Last Circus
4 Nominations – The Tree of Life
3 Nominations – Young Adult
3 Nominations – Senna
3 Nominations – Hugo
3 Nominations – Take Shelter
2 Nominations – Hanna
2 Nominations – Moneyball
2 Nominations – The Skin I Live In
2 Nominations – Poetry
2 Nominations – Detective Dee and the Mystery of the Phantom Flame
2 Nominations – Shame
2 Nominations – Martha Marcy Marlene

15.  A Separation  (Farhadi)

Disputes become complicated very quickly, especially when the self-deception of individuals comes into play. Asghar Farhadi, who wrote and directed this masterful work, looks at the complex inner workings of individual desperation and pride. These motivations are presented through characters that are not malicious but are just trying to get by. Furthermore, Farhadi casts no judgment onto the various imperfect players involved, seeming to understand that situations get complicated fast. The truth becomes muddled beyond the comprehension of the law officers, immediate family members and even the two characters directly involved with the incident.

Farhadi presents this as a fact-of-life, combining universality and the specificity of Iranian culture. Every character is complex as the central incident and its aftermath unfolds at the same time as the breakdown of a marriage. There are no easy answers, no saints and no malevolence for malevolence sake. A Separation is heated from start-to-finish and it is impossible not to get caught up in all its sprawling glory as our sympathies shift and hover, grow and lessen. Reveals are slowly doled out with the skill of a deft thriller without getting caught up in any genre trappings. A Separation captures life in all its messiness.

14. Certified Copy (Kiarostami)

A film of halves; entirely based in conversation, simultaneously light and heavy. Certified Copy is about the burgeoning passion of a new love and companion, but also about the disintegration of a romance weighted down by history. It is a mysterious and ambiguous experience and the definition of transfixing. It is less about spending your time trying to decipher the exact nature of the central relationship and more about soaking in its essence, the conversation and the performances. It is about appreciating the ever-shifting but always simultaneous presence of the multiple phases of a dense relationship.

However one chooses to interpret or not interpret Abbas Kiarostami’s Certified Copy, it ensures that it can be experienced in a multitude of contexts, forming its own unique relationship with the viewer that is all their own. While this is something that always occurs with film and is something we often take for granted, Certified Copy seems to exist for this purpose, and what a gift it is.

13. Harry Potter and the Deathly Hallows: Part 2 (Yates)

It is at this point where the numbers become even more arbitrary than they already are. Honestly, I love this film as much as my number 1. So think of these next 13 films as essentially being equal with each other in my mind.

Deathly Hallows: Part 2 represented the end of an era for me and the countless others that grew up a Harry Potter fan. I grew with this series; the first film came out when I was fourteen. I may not have been a child as the franchise started (it was through the films that I became a fan of the books, not the other way around) but I threw myself whole-heartedly into the books and films, and my adolescence was positively littered with Potter-dom. I still believe it is somewhat taken for granted that we were able to experience a franchise that ran this long and that stayed this arguably consistent in quality. The Potter series means more than words to me, so to find that the final film met my expectations to the utmost was in certain regards more rewarding than anything else I saw this year.

Nothing impressed me more than Snape’s swan song; an appropriate tribute to the character, heartbreakingly played by Alan Rickman. The battles and buildup are as successfully epic as the seven films of buildup have sustained. The entire picture is wall-to-wall dazzling, enhancing Part 1 and striving boldly and confidently forth to its capstone conclusion. While nothing can quite match my first experience of it, it ranks in the top three of the franchise for me. This series will be a part of me the rest of my life and I cherish my ability to revisit it at any time I please.

12. Hugo (Scorsese)

I thought it wise to pair my two favorite ‘children’s’ films together. Even more than Harry Potter (where adults represent a large portion of its legions of fans), Hugo feels made more for adult appreciation than for kids. This is not to say that children will not enjoy it as it does contain more than enough of the magic and intrigue that comes with children’s fantasy. Indeed, it has the unmatchable splendor of its own contained world; a train station in 1920’s Paris. It has a central mystery, a mysterious key, automatons, a colorful cast of inhabitants and the rediscovery of a forgotten legend.

Martin Scorsese makes Hugo a singular film experience for several reasons, entirely making up for any uneven pacing or eventual anti-mystery. The first is the 3D; it will be interesting to see how the film fares without it. It functions almost as a physical argument for the form. It does not have to be a gimmick; when someone with legitimate drive to make use of the form, to mold it to support and enhance the world within, it can be unforgettable.

The second is the sense of wonder it contains which is infectious and addictive. Scorsese makes you want to stay in that station. Amidst the darker plot appendages, there is an exuberance, the uniqueness of fantastical discovery that brings one back to childhood. The third is the heart of Hugo, as it reveals itself to be a tribute to the magic of film through its love for central character George Melies.

There is an understanding of what we all see in film that makes us love it so, that brings about an instantly deep connection with Hugo. This aspect of it is what comes straight from the director’s heart, whose passionate work for film preservation is constant and incredibly important. Hugo left me in a drunken haze of film appreciation and an unparalleled respect for the origins of an art form.

11. The Tree of Life (Malick)

I suppose many think this should be much higher on this list. Love it though I do, there is a connection with certain films that I make that results in thinking of said film as ‘one of mine’. It is a relatable feeling to see something and to form a connection with it that allows it to be hoarded amongst a collection of personal favorites. I have this connection with The Thin Red Line and with Badlands and with large chunks of The Tree of Life. Most of the film, starting with the formation of the universe and leading almost through to the end is a transcendent voyage unlike any other. For some reason though, the Sean Penn bookends and the somewhat problematic portrayal of Jessica Chastain (the character, not the performance; she is wonderful) as an all-too angelic saintly mother struck a wrong chord for me. I also question the film’s depth, mainly because The Tree of Life seems more like a record of the memory and singular experience of childhood and a pondering drift through life’s big questions and origins as opposed to something that is particularly complicated in essence. It’s technical achievement, construction and execution is more complicated and ingenious than words can describe, but the finished product, to me at least, does not feel like it is meant to anything but a gloriously complex (in form) but ultimately abstract expression.

More than anything, I do not want this interpretation of abstraction to be taken as a knock; this is what I love about it. I feel lucky to have experienced something this beautiful, poetic, enchanting and moving. I felt brought back to childhood despite watching an individual depiction of it, and the strange and elemental feelings I experienced while watching is something I will never forget. And its drifting ponderous nature; this is also what I love about The Tree of Life. It considers the big and the small and asks us to glide along with it as it moves in and out of its many facets. Terrence Malick has so much skill that he is able to take us through his thoughts and Jack’s memories with the kind of ambition that results in something new and special. Parts of it feel like a continuation on what Walt Disney was getting at with his ‘Rite of Spring’ segment of Fantasia. Other parts feel like a journey of growing up, of the realization that parents expect things of you and that innocence can no longer be maintained. No film this year or in the past several years has been discussed and delved into more than The Tree of Life. While I feel that the film is more of an experience, something that to a degree defies analyzing, it is justifiably worshipped by many in the kind of passionate way that only Malick can incite.

10. I Saw the Devil (Kim)
Full Review Link: http://cinenthusiast.wordpress.com/2011/03/20/review-i-saw-the-devil-2011-kim/ 

I Saw the Devil is an example of a film I hoard as ‘one of mine’. I perk up when I hear its name, I want to shove it into people’s eyes and praise it to the high heavens. Because I Saw the Devil does something extremely clever with the revenge genre; it sets out to be the end-all be-all, to distill its cliches into an essence of basic emotions, using repetition and pure brutality to really get at what this genre is all about.

What others may see as one-note is actually a very purposeful execution complete with uncomplicated character types and uncomplicated motivations. It uses what may be considered weaknesses in other films and turns them around, using it to an advantage. I Saw the Devil takes revenge as far as it can go, thereby making it automatically relevant. The film excels, because noted South Korean director Kim Ji-woon knows how to tell a story with effectiveness and panache, unlike many others who venture down extremist territory.

The idea that one must become a monster to destroy a monster is familiar. The really wonderful study that takes place in the film are Soo-hyun’s craving to prolong the satisfying feeling revenge gives him, and the idea of revenge as a functioning stopgap between the actual mourning process.

Kim Ji-Woon is a filmmaker who knows how and when to use style. He chooses his moments carefully and infuses them with a trendy sensibility without allowing style to overwhelm his film. His always impeccably choreographed fight scenes are on display, riveting as ever. A confrontation in a greenhouse as well as a rather incredible scene that takes place in a taxi cab are two examples where Kim’s penchant for building up tension and delivering action heavy scenes are on display.

The pacing here is among the most accomplished of 2011. Clocking in at almost two and a half hours, the film flies by, yet it never feels rushed. Kim takes his time letting the story unfold and allowing atmosphere and mood to sink in, without the running time ever imposing itself. It is fully engrossing throughout which is not an easy feat.

I have seen this film twice and it strengthened for me the second time; it is and exhausting roller-coaster that is well worth the ride.

9. Hanna (Wright)
Full Review Link: http://cinenthusiast.wordpress.com/2011/04/09/review-hanna-2011-wright/ 

I will be the first to admit that Hanna is not entirely strong. The father-daughter relationship falters, and Wright’s attempts to create a layered fairy tale do not pan out with quite the success he clearly wants it to. But for a multitude of reasons, Hanna is a stylized dream come true for me.

Joe Wright takes himself completely out of his comfort zone with an entirely new type of project. The resulting visual experimentation from Wright’s involvement is invigorating to the extreme; a feast on the eyes and ears that overcomes the script’s shortcomings. His use of tracking shots, extreme close-ups, extreme long shots, handheld camera work and much more all contribute to Hanna’s singularly high-powered style. He also keeps a lot of the action in camera, making the choreography stand out. Whether creating an engaging hyper-stylistic action set piece or subjectively aligning the audience with Hanna’s experiences, Wright always has motivations for his choices and it is a delight to work through them while watching the film.

Along with Wright and Ronan, the third irreplaceable element of Hanna is the score provided by The Chemical Brothers. As opposed to using music to manipulate the audience into certain emotions, Wright creates several different effects with the sound of hypnotic bass-heavy electronica. The score is first introduced at a very precisely chosen moment. Throughout, the music forms a cohesive relationship with the diegetic sound, with both influencing and informing each other. It is also used to crucially represent and accompany each of the action set-pieces. The music The Chemical Brothers have created here is addictive and is as important anything in Hanna.

When all is said and done, Hanna had me entirely at “I just missed your heart”.

8. Melancholia (von Trier)
Full Review Link: http://cinenthusiast.wordpress.com/2011/11/11/review-melancholia-2011-von-trier/

It may seem contradictory to say that Lars von Trier’s end-of-the world opus is the director as his most peaceful and life-affirming; but it is. This isn’t to say that Melancholia is sunshine and rainbows; just look at the title and basic plot synopsis. But this is the Danish auteur reaching out and making a human connection with his audience as much as he likely ever will. It is a meditative exploration of the unexpectedly dichotomous nature (and the ways the two converge) between depression that renders one immobile in life, and having to face that which we will all eventually come to meet; death.

Dunst and von Trier, both having first-hand experience with depression, make painstaking connections with Justine that culminate in an uncompromising understanding and loyalty to her. They are unwilling to cater to standard cause-and-effect rules of characterization or to apologize for the frustration and lack of sympathy she can elicit.  For those of us who know what bouts of depression are like, this reveals it in all of its extreme truths and ugliness. Von Trier’s previous film Antichrist was made as he went through a severe depression, and no matter what one thinks of that work, looking at Melancholia in the context of a follow-up to his previous film will make for worthwhile discourse someday. In fact, it seems like an entirely essential context to have going into the film.

Melancholia is one of those films that successfully fulfill their ambitions in dealing with profound and fundamental subject matter on a grand level of intellectually-based intuition. You come away with, yes lots to talk about, but just as importantly, a feeling that a filmmaker has come upon something almost indescribable that gets at how we experience life, death and what it all means (or ultimately doesn’t mean). Synecdoche, New York is one of these films (an example that goes about it in an infinitely complex fashion, whereas Melancholia and The Tree of Life is based in abstraction and how the writers’directors have experienced life.) The Tree of Life is another. Some might call these films pretentious but this is reductive and dismissive. Lars von Trier’s latest film is his most accessible, but is no less thought-provoking. In fact, if there is one film that will temporarily win over his detractors, it would be this one. It takes us through the cathartic process of grieving mankind with a scrutinizing look at depression, death, acceptance and world annihilation with an uncharacteristically humanistic eye.

7. The Arbor (Bernard)

Speaking of Synecdoche, New York, here is a film that gets at truth through conceptual reenactment and fiction. What could have been a disastrous execution (the film consists of interviews lip-synched by actors who address the camera) is just the opposite. The past comes to life, going beyond narrative and documentary films, achieving something that exists in between.

The actors become a vessel for the voices and the people behind them. The actors are literal messengers, and having them address the camera, and in turn the audience, creates an intimate connection between the documentaries subject and those who knew her, and us. We also get to know subject Andrea Dunbar through watching segments of her plays performed by actors in the actual slums of Bradford, West Yorkshire where she grew up and lived.

The Arbor is about as deeply depressing as it gets, and director Clio Bernard keeps the frames uncluttered, letting the format and interview material speak for itself by presenting it in a progressive but simple way.

6. We Need To Talk About Kevin (Ramsay)

Here we go with the word abstract again; I tend to love films presented in such a way. The visual representation of an emotional state and a literal materialization of the fearful apathy of motherhood are what We Need to Talk About Kevin is getting at. I may love this film partly because Lionel Shriver’s novel is one of my absolute favorites, and I was able to see Eva and immediately heap upon her 450 pages of the author’s anything but abstract contextualization. The symbolism may be is in-your-face with splattered reds everywhere (for a start), but it represents a state of being and a constant reminder of the guilt and loss Eva feels that cannot be expunged. Kevin exists as the embodiment of a worst-case scenario, a being whose chief understanding of the world is borne out of his instinctual knowledge of Eva’s motherly indifference.

5. Tinker, Tailor, Soldier, Spy (Alfredson)

When Tinker, Tailor, Soldier, Spy ended, I immediately wanted to revisit it, getting the sense that my love and appreciation for it would only grow over time. Above all other films from this past year, I became the most attached to Tinker’s feel and atmosphere above any other. Tomas Alfredson’s second feature (his first being Let the Right One In), is another adaptation. Everything from the cinematography to Alberto Iglesias’ fabulously wistful jazz score is in a lurking state of mourning.

The film mourns for an era fading before the characters eyes with its air of grey repression amidst the period world of Britain’s M-16 intelligence. It boils down the plot density of the novel into its essentials, without ever having narrative clarity as its priority. Reading the novel before seeing the film did allow me a basic understanding of what happens (which was a task in itself as I find myself easily lost within these types of stories), but the film is not about that. With the ensemble cast of the year, Tinker, Tailor, Soldier, Spy is a treasure trove of intrigue.

4. Drive (Refn)
Full Review Link: http://cinenthusiast.wordpress.com/2011/09/21/review-drive-2011-refn/

It is an all too uncommon feeling when a film ends and you realize you are not yet ready to leave its world. This is the feeling I had when Drive ended. It is a slick retro ride, filled with homage and influence, operating as a nostalgic demonstration of American genre filmmaking and oozing European sensibilities, complete with existentialist sleaze and minimalist touches. It is a hybrid creature that dabbles in a number of genres that are all in harmony through Nicolas Winding Refn’s infectious appreciation for using cinema to create mood and atmosphere.

It is clear that Refn has been influenced at every turn. But it is not a hollow experience; far from it. Perhaps what impressed me the most about Drive is the smoothness with which Refn blends what is a clear unabashed love for both high and low art. He lets them bleed together in what can be succinctly described as effortless cool. There is a stable assuredness in every shot, every movement and every creative choice made here. One cannot help but want to revisit Drive and explore those choices, the motivations behind them and why they work as well as they do. This is confident filmmaking on display. The mere construction of it is something to behold.

The thankless female characters may be a slight misstep, but it is a minor quibble. With Drive, Refn represents cinema at its most assured, plowing directly into the heart of genre filmmaking.

3. Take Shelter (Nichols)
Full Review Link: http://cinenthusiast.wordpress.com/2011/10/26/review-take-shelter-2011-nichols/

Jeff Nichols does not play the ‘is he or isn’t he’ game with his audience; Curtis (Michael Shannon) is succumbing to paranoid schizophrenia. We are invited to simultaneously experience events as the protagonist does, and to see the reality of the situation at the same time. Take Shelter is an astonishing second feature by director Nichols whose first feature Shotgun Stories, plays out as pre-destined Greek tragedy. The interplay between conscious choice and being pulled further and further into something that was, on some level, always going to happen is present in both films. In Take Shelter, poor conscious decisions are made by Curtis, but he is also being helplessly dragged down by family legacies and a general feeling of doom.

Take Shelter affected me quite heavily, mainly because it preyed on my fears and depicted them in ways that service the sad reality of the situation as opposed to the heightened subjective journey. After death, going insane might be my biggest fear. It is the suddenness of certain disorders existence that strikes me. Some of the heavier psychological disorders don’t creep their way into you; they make sudden and grandiose entrances.

Curtis’ psychological descent clearly represents the current state of America, and the film never tries to hide this. Nichols wants you to know what he is really getting at. There are a couple of reasons it works. One is that the film does not feel preachy even in its openness; in fact, its message feels necessary. No matter what your political inclinations are, it is difficult not to feel the growing sense of dread all around us. Nichols takes that familiarized feeling and translates it into a different filmic context. In that sense, Take Shelter is frightening in its resonance. It may manifest itself openly, but Take Shelter works hauntingly well because of Nichols’ precision and ability to have his film make its mark in more ways than one.

2. Project Nim (Marsh)
Full Review Link: http://cinenthusiast.wordpress.com/2011/05/08/review-project-nim-2011-marsh-iffboston-2011/

When discussing Project Nim, it becomes tempting to immediately spring into all-out praise mode. James Marsh approaches stories from different angles. 2008’s Man on Wire functions as a heist narrative. Project Nim is a chimpanzee biopic. Herb Terrace’s experiment was amateurish and botched from the start. By default, this allows Marsh to focus all his energies on telling Nim’s heartbreaking story, using archival footage and some very honest and candid interviews by the many people who came in and out of Nim’s life.

Project Nim is structured as a biopic that allows us to be acquainted with Nim as well as understand our incapacity to truly know a wild animal. All of the action is focused around the chimp, but the film says so much more through the story it tells. It is about humanity and our need to control and manipulate everything to be more like us. It is about the incompetence of man. It is about the well-meaning individuals like Joyce Butler, who care so deeply but are powerless in the bigger picture, and those like Bob Ingersol and Dr. James Mahoney, who never give up on making a difference.

Those who see Project Nim will be heartbroken. It works on many different levels, but people will remember first and foremost the story of Nim’s unstable life. James Marsh has told an unforgettable story and Project Nim is a true accomplishment.

1. Young Adult (Reitman)

Young Adult sadly did not connect with audiences based on box-office numbers and divided the people who did take the time to go see it. My number one was not clear this year; over the last few weeks, I have had about five different films in the top slot. So many character types have had countless films of their own, but to tread new ground and focus with someone like Mavis Gary offers something fresh and new; it took me in entirely. The film would not have succeeded if some did not walk away annoyed and frustrated; this only enhances how uncompromising and ugly its honesty can be.

Jason Reitman and Diablo Cody have created something that feels completely organic; effortless and seemingly simple when it is actually incredibly layered and intricate. Cody knows Mavis Gary in-and-out and pulls no punches when presenting her to us. She is delusional and ruthless; a total basket case who lives either in one extreme lazy sweats and reality TV consumption or another extreme of all-day primping as she presents herself to her old town with unrelenting purpose.

Theron fully inhabits Mavis as someone who cannot see past her own perspective or selfishness. She seems genuinely confused by the existence of certain emotions, and seeing her try to fake her way through them when she needs to is truly something else. This is also the first film I have seen to depict Trichotillomania and I have a special appreciation of the film for this reason. It is a compulsive disorder I have lived with since a young age, only with me the eyelashes are victimized and not the hair as with Mavis.

Young Adult turns expectations on its head with its kitchen scene that denies the audience the expected character turnaround, except that Cody dangles the possibility in front of our face first, making it all the more fascinating. Mavis’ relationship with Patton Oswalt’s Matt is one of the more distinctive interactions between two characters I have seen as he brings a self-aware sadness and longing to the proceedings. He is filled with the same emotions as Mavis but one is delusional while the other is not.

Young Adult is a film I felt an instant connection with; I laughed a lot, I cringed a lot, but mostly I admired the delicate craftsmanship at work from the spot-on writing and directing to the perfect acting. It is a blistering piece that is on the one hand an awkward comedy about emotionally stunted growth. On the other, it is a frighteningly candid character study about how sad it is to be so constricted by a superiority complex and perception of the world including where one places oneself within it.

Complete List of Films Seen in 2011: 13 Assassins, 50/50, A Better Life, A Dangerous Method, Albert Nobbs, American Grindhouse, Another Earth, Attack the Block, Beastly, Beginners, Being Elmo, Bellflower, Bill Cunningham, New York, Biutiful, Black Death, Bobby Fischer Against the World, Bridesmaids, Buck, Cameraman: the Life and Work of Jack Cardiff, Captain America: The First Avenger, Carnage, Cars 2, Caterpillar, Cave of Forgotten Dreams, Cedar Rapids, Certified Copy, Cold Fish, Cold Weather, Conan O’Brien Can’t Stop, Contagion,, Cracks, Crazy, Stupid, Love, Detective Dee and the Mystery of the Phantom Flame, Dream Home, Drive, Edge of Dreaming, Hanna, Harry Potter and the Deathly Hallows Part 2, Hesher, Hobo with a Shotgun, Horrible Bosses, Hugo, I Saw the Devil, If a Tree Falls: A Story of the Earth Liberation Front, In a Better World, In Time, Incendies, Insidious, J. Edgar, Jane Eyre, Kung Fu Panda 2, Last Night, Le Quattro Volte, Love Crime, Margin Call, Martha Marcy May Marlene, Meek’s Cutoff, Melancholia, Midnight in Paris, Mildred Pierce, Mission: Impossible – Ghost Protocol, Moneyball, My Week with Marilyn, Of Gods and Men, Outrage, Page One: Inside the New York Times, Passion Play, Pirates of the Caribbean: On Stranger Tides, Poetry, Project Nim, Rampart, Rango, Red Riding Hood, Red State, Redline, Retreat, Rise of the Planet of the Apes, Rubber, Scream 4, Senna, Shame, Sleeping Beauty, Source Code, Submarine, Sucker Punch, Super, Super 8, Tabloid, Take Shelter, Terri, The Adventures of Tintin, The Arbor, The Artist, The Debt,The Descendants, The Devil’s Double, The Double Hour, The Future, The Girl with the Dragon Tattoo, The Green Hornet, The Help, The Housemaid, The Ides of March, The Last Circus, The Lincoln Lawyer, The Mill and the Cross, The Muppets, The Rite, The Roommate, A Separation, The Skin I Live In, The Sleeping Beauty, The Thing, The Tree of Life, The Trip, The Ward, The Woman, Thor, Tinker Tailor Soldier Spy, TrollHunter, Tucker and Dale vs. Evil, Tyrannosaur, Uncle Boonmee Who Can Recall His Past Lives, Unknown, War Horse, Warrior, We Need to Talk About Kevin, Weekend, Win Win, Winnie the Pooh, X-Men: First Class, Young Adult, Your Highness, Yves Saint-Laurent: L’Amour Fou

30. Bridesmaids (Feig)

It looks like Bridesmaids actually has a semblance of chance for a slot in the Best Picture race this year. Whether it happens or not is almost irrelevant; it is the mere chance that surprises. This notion brings with it much backlash. Between that and the constant references to the shitting in the sink scene (which at this point feels like it is the only scene in the film based on how often it gets brought up), it is easy to forget just how funny and surprisingly layered the film really is.

That the film is only ever put into the context of ‘see, women can be funny too’ proves just how sad the state of female-driven comedies is. Wiig and Annie Mumolo did not set out to prove anything here, but everyone acts as if they did. We should be past the point where an ensemble female comedy is a revelation, but based on the constant contextual discussions of Bridesmaids, it is clear we are not. It does not help that it was advertised using the idea of females doing comedy essentially as a gimmick.

After all is said and done though, it is about the flawed Annie (Kristen Wiig) who has reached a point in her life where nothing has worked out the way she planned. Her only stable focal point is her friendship with Lillian (Maya Rudolph). When Lillian’s wedding plans are taken over by Rose Byrne’s wealthy stylish woman who threatens to replace her as best friend (in Annie’s insecure eyes), she fights fire with fire by being petty and selfish, much to the amusement of the audience. But the film is about her realizing how she handles those situations, seeing her come to terms with that and being ready to rebuild her life. Annie’s character struck a chord with me;  this along with Wiig’s performance is why I was so impressed with Bridesmaids as a whole. Is it too long? Yes. Does every joke hit its mark? No. Yet this is one of my favorite comedies to come along in a good long while. Really truly good comedies are infrequent these days (case in point; only three comedies are on this list). This is one of the good ones.

29. Moneyball (Miller)

There are going to be several films on this list that really took me by surprise and the first is Moneyball. I had really no interest in seeing this; in fact it took about 3 months and a rerelease for me to drag myself to the theater to see it. Sports films are generally not a genre I gravitate towards. What is so striking about 2011 is that four sports films made my list of favorites this year; an unprecedented number. Moneyball is mostly a behind-the-scenes look at baseball and how one person tries to change the deeply embedded system using unheard of strategies. It is the classic underdog tale, told with soul, drive, and a spirit of infectious perseverance headlined by Brad Pitt’s performance, which highlights Beane’s hasty insistence and inner detachment when he seals himself off from others. We know how the story ends, but the film earns the audience’s reservations as to how triumph could possibly reign supreme. Moneyball lifted me up and left me feeling roused and inspired.

28. The Trip (Winterbottom)
Full Review Link: http://cinenthusiast.wordpress.com/2011/05/03/review-the-trip-winterbottom-2011-iffboston2011/

The Trip boasts an unusual combination of dialogue-heavy comedy, of scenic travelogue complete with a focus on high-end food and finally a somber self-reflexive experiment. While these are occasionally at odds with each other, The Trip is hilarious from start-to-finish and ultimately insightful because of the persistent and atypical way it goes about making its point.

Their conversations are thoroughly escapist, with a strong air of competition. They throw themselves into moments, songs, melodies and impressions. They are constantly trying to one-up each other, whether by seeing who does the better Michael Caine impression or by testing how many octaves each can sing in.  Steve may say to others on the phone that Rob is a ‘pain in the ass’, but he clearly gets something out of his hesitant friendship with Rob; the irreverence between the two and their conversations. Each knows what to expect from the other. Steve knows he can vent his frustrations by taking jabs at Rob’s career. He knows their friendship is based on nonsensical conversations. This allows a safety net of irreverence to form for Steve.

Underneath all of the improvised hilarity, The Trip is about understanding Steve and Rob’s friendship, where it comes from, how the film is using their repeatedly competitive conversations and what it all means. Some will see it as a film that goes nowhere. This is precisely the point; it is a story about fame and emptiness, which has been addressed in many recent films, but told in an uproarious, refreshing and unconventional way.

27. Win Win (McCarthy)

As I began watching Win Win on a plane destined for Korea (the TV’s reset themselves several times, forcing me to watch this over the course of four hours), at first I was not enjoying it. It felt like the kind of middle-of-the-road indie that tries really hard to garner some chuckles with some predictable music that evokes that delightfully amused small-town sound that so many films have. Once Alex Shaffer’s Kyle entered and got the story rolling, I found myself increasingly involved. By the last half hour I was glued to the screen, only several inches away from the small TV on the backseat. All of the characters feel dimensional by the end, and it sets up a complicated dilemma that has no easy answers. It is sweet and endearing without ever feeling slight. Tom McCarthy’s writing underlines the place that wrestling has in the characters’ lives, so that when it falls to the wayside for a domestically dramatic scenario to settle in, the sport always feels thematically front and center. Not to mention that Alex Shaffer’s real-life wrestling skills which make his sport-centered scenes a treat.

26. Warrior (O’Connor)
Short Review Link: http://cinenthusiast.wordpress.com/2011/12/04/short-review-warrior-2011-oconnor/

Sometimes it is the films that surprise us that become the most rewarding film experiences. They make us realize that so many films come with high expectations impossible to meet. What a breath of fresh air it is to go into a film with very low expectations, with no sign of the dreaded hype machine in tow, and to be completely won over to the point where my emotions were running as high as they could.

Steeped in the throes of Greek tragedy, Warrior takes chamber-piece family drama to the arena of MMA. Knowingly playing with clichés and being able to deliver on familiar grounds can be just as difficult to execute properly. It is no small task, but the film is able to deliver. The first hour is a lot of set-up. It is transparent where almost all of these scenes are going, but it conveys them with an unexpectedly quiet meditation. This gives the actors and the circumstances they have to play a refreshing amount of room to breathe. By the end, proportions of such raw physical intensity are reached that you can actually feel the decades of family dynamics being brought into the arena. The result is a well-earned cathartic finale as powerful as anything I have seen this year.

P.S – Make this a double bill with South Korea’s equally impressive 2005 boxing drama Crying Fist; you will not be sorry.

25. Jane Eyre (Fukunaga)
Full Review Link: http://cinenthusiast.wordpress.com/2011/03/24/review-jane-eyre-2011-fukunaga/

Jane Eyre succeeds because what it does take on is executed with memorable specificity as well as containing some of the best chemistry between two romantic leads in years. For those who are sick of the kinds of romance films that come put today, whether comedy, drama or fantasy, Jane Eyre provides an opportunity to revisit a classic.

Many period films, especially those depicting the Victorian era, unsurprisingly and understandably tend to have the same look and feel. Fukunaga and cinematographer Adriano Goldman create a very precise atmosphere, making full use of the many conventions of the Gothic romance. The film feels naturally lit throughout, creating an often dark and gloomy look with muted grey and brown tones. The barren landscapes, wind and rain and foreboding manors are just a few conventions employed here with stunning effect. Dario Marianelli’s score fills the soundtrack with emotive violins that express the suppressed passion that Jane and Rochester keep below the surface.

Mia Wasikowska, destined for an exciting lifetime of impressive performances, captures the essence of Jane Eyre. Her dignity, guardedness and centered unwavering morals are all perfectly portrayed. She is understated and powerful, conveying subtle transitions in her face at every turn. It might just be the perfect incarnation of the heroine.

It is a rare thing when the two romantic leads have the chemistry the story demands them to have; these two do. The film is most engaging when the two are onscreen together, not just from of the power their scenes have, but because of the way they portray the evolution of their relationship. Buffini makes sure that different circumstances surround each scene they have together, making every single interaction between the two unique.

The film may heavily dilute several themes from the book in a disappointing way, but Wasikowska infuses her performance with what is missing. Was yet another adaptation necessary? Probably not, but it is hard to imagine anyone complaining about it after seeing Fukunaga and Buffini’s splendid interpretation.

24. The Last Circus (Iglesia)

The most utterly berserk and unbridled film from this year, The Last Circus is a nutzoid accomplishment plagued with political undertones (and in-your-face purpose; hello opening credits) from the Franco regime of the 1970’s. A love triangle between two clowns and an acrobat (who is the definition of the self-destructive male fantasy woman), the film inhabits a heightened predicament where love, suffering, violence and insanity all inhabit the same space and become interchangeable. Most films have a set trajectory, where you have some sense of where it will go, even if you do not know how it will get there. The Last Circus reaches what I assumed would be its climactic scene before the halfway point and I realized I had absolutely no idea where it was headed next. It was an unfamiliar and exhilarating realization and I watched as the film darted off into entirely wacky and surreal territory. The last scene which gives off a feeling of finality, hopelessness and defeat is a singular moment in the film. The Last Circus is unforgettable.

23. Midnight in Paris (Allen)

Had it not been for Rachel McAdams’ increasingly shrill caricature, this would be even higher on my list. Considering how much love I have for this film, and seeing it in the 23 slot, it becomes clear just how necessary I feel it is to move beyond the idea of a Top 10. Indeed, this is one of my favorites from Allen, carrying that same magical air as The Purple Rose of Cairo (my absolute favorite from him). Leaving the theater with a giant gleaming smile on my face, Midnight in Paris wins people over for its literalized and fantastical look at the idea of nostalgia and yearning for a time past. And using 1920’s Paris for that is probably the most idealized time and place there is.  Owen Wilson proves to be the perfect Allen avatar, neurosis and rationalizing take precedence with him. To see him this enthralled with all the artistic figures of the past is contagious. The romantic and rational sides of Allen interact here and come to several different conclusions. It’s a vicarious dream come true.

22. Shame (McQueen)
Full Review Link: http://cinenthusiast.wordpress.com/2011/12/11/review-shame-2011-mcqueen/

McQueen has the confidence of a veteran; his vision is clear and he presents it with poise. Between this and Hunger, it is obvious that long takes are his strong suit. One more film from him and they will be a fully-fledged trademark. He risks distracting the audience but he does not; his lengthy observations make us more attentive, more aware of the physical space and of body language. They allow us to get a fuller sense of the performances and they enhance the notion of the audience observing Brandon through the glass-plate walls; he is a test subject. McQueen distances us with the sterile environment and cagey glass. He puts us up close when it counts, and when it becomes important to unsettle the audience. Fassbender and Mulligan are astounding.

McQueen uses Brandon as cornerstone representative for addiction with a sibling dynamic ripe for rich exploration. Brandon’s surprisingly conventional, but no less powerful, arc towards disintegration is tinted with more hope than one would expect. Shame is arresting cinema that loyally follows its self-loathing protagonist wherever he may go.

21. Senna (Kapadia)
Full Review Link: http://cinenthusiast.wordpress.com/2011/09/07/review-senna-2011-kapadia/

Senna plays more like a narrative feature than any documentary in recent memory. Gripping from the start and refusing to let go, this immersive story will enthrall the viewer regardless of their ignorance of Formula One racing and/or three time Grand Prix world champion, Brazilian driver Ayrton Senna. Entirely comprised of archival footage, Senna offers a rare privilege of access for a documentary, resulting in a wholly distinct experience. It does not feel like you are watching something that has already happened; instead it largely unfolds as if for the first time.

I was the only one in my theater when I saw Senna, and I was allowed to have an emotional reaction with a freedom rarely afforded within the theater-going experience. By the end, I felt an overwhelming sense of sadness and loss. Interestingly enough, the two documentaries on this list spurred a stronger emotive response than anything else I saw this year.

20. Poetry (Lee)

Lee Chang-dong has a knack for staying a couple of steps away from melodrama with his unadorned camera and plots that never feel like plots. In some ways, he is the opposite of melodrama, but he somehow always gives off a sense of it without it defining or even distracting from his pictures. On the one hand, the film is a gentle tale of an elderly woman creeping up on Alzheimer’s who strives to understand how poetry works, looking everywhere for inspiration in order to write a poem. If this sounds nauseating, do not make the mistake of judging Poetry; it has none of the sentiment or predictability the story suggests.On the other hand, there is the tale of a horrific family crime committed, how Mi-ja copes with it as she deals with the aftermath of forced interaction for all parties involved and their differing motivations.

Lee mixes plot elements in ways that are unfamiliar and new, without ever having it feel like something is conventionally unfolding. His two films made after his time as Korea’s Minister of Culture and Tourism heavily deal with coping, the unforeseen circumstances surrounding tragedy and the various ways people try to coexist with their personal tragedies. It is simultaneously heartbreaking and uplifting.

19. Tyrannosaur (Considine)

Actor Paddy Considine’s directorial debut sticks us with some pretty miserable folk. That Peter Mullan’s train-wreck of a protagonist, unable to keep himself contained for a moment, is the one that comes to be Hannah’s (Olivia Colman) only support system says it all. Tyrannosaur works because of the central relationship where mutually affectionate moments are able to burst through the defense mechanisms, secrets and stubbornness of the characters and the relentlessly bleak and violent nature of the film.

This is one of those ‘what do I do with myself now’ films that send one off into the world with a fuzzy haze of hopelessness. Some may not think it is worth it or that it does not justify being this depressing. But I appreciate Considine’s insistence on showing us two complicated people with no easy explanations to their predicaments or personalities. It is the matter-of-factness of it that I admire. Mullan has more rage than all the ‘angry young men’ characters of British cinema combined. He’s like the middle-aged present day result of those guys. Colman is in the most horrifically abusive marriage imaginable and has reached the point where excuses and suffering have seemingly buried escape.

18. Martha Marcy May Marlene (Durkin)

That Martha Marcy May Marlene held my spot at number 1 for a time after I saw it indicates that we have approached an even more intense level of appreciation for the films left on this list. Martha Marcy May Marlene disturbingly displays the susceptible nature of the mind and what mankind is capable of subverting through mutual groupthink. It is a complicated character study about a young woman unable to assimilate herself in any environment, and is left with heaps of traumas, sadly stubborn lingering ideologies and zero sense of self. She is a nearly broken being. Sean Durkin wrote and executed this story with staggering maturity. Some broad supporting characterization and some overstated dialogue only mildly hinder the experience. The complex characterization headlined by Olsen and the tension that instills the audience makes for a fearless film from a debut filmmaker.

17. Incendies (Villeneuve)

It has been many many months since I watched Incendies; almost a year. If I saw it again, it may even garner a higher spot on this list.  After Biutiful and In a Better World left me underwhelmed (and with the former, downright annoyed), this is the other foreign language film nominee from last year’s Oscars that left an impact on me (the other is Dogtooth, which was my third favorite film of 2010, only to become my favorite after a rewatch taking over from Black Swan). It seems redundant to say that Incendies is involving, especially since I have been describing a number of films on this list as such. However, where some films involve me so much because I did not expect them to, for its thematic content or for filmmaking aspects more than anything else visceral or otherwise, Incendies involved me on a level of pure storytelling. There is no other film that involved me more this year (although several match it) on a storytelling level.

Remarkably devastating, the film balances political strife with the intensely personal and wraps it up in a disturbing familial central mystery. Several sequences are riveting, led by the wonderful Lubna Azabal. The film never feels small, with all of its war-torn setting, the unstoppable presence of politics and war and the linking of past and present using a flashback structure. Incendies leaves an indelible and powerful mark.

16. Mission: Impossible – Ghost Protocol (Bird)

This is the most fun I had at the movies this year; by far the most satisfying action film I have seen since 2006’s Casino Royale. Brad Bird’s live-action debut proves that he has a knack for creating increasingly complicated set-pieces, never losing the high levels of energy, fun and genuine excitement he sets up for himself. There is literally no depth to this film at all and we are all the better for it.

This is what escapist cinema is all about. Seeing Tom Cruise reliably bringing his irreplaceable screen presence to the non-character that is Ethan Hunt is all we need. His penchant for doing as much of his own stunts as he can culminates in the stunning sequence atop the tallest skyscraper in the world; Dubai’s Burj Khalifa. There are no green-screen effects here; the cameras are filming onsite and Cruise really is leaping around and climbing on the outside. It is indescribably thrilling and revitalizing to see an action film pull out all the stops and give us onsite set-pieces that are a much-needed antidote to the typical green-screen action scene. Filmed in IMAX, it feels like we are up there with him; and this is only one scene. Each sequence would be a memorable standout of any other film; Ghost Protocol just gives us one after the other, constantly matching itself. The entire film keeps up this level of entertainment. To put it simply; I did not want this film to end.

Complete List of Films Seen in 2011: 13 Assassins, 50/50, A Better Life, A Dangerous Method, Albert Nobbs, American Grindhouse, Another Earth, Attack the Block, Beastly, Beginners, Being Elmo, Bellflower, Bill Cunningham, New York, Biutiful, Black Death, Bobby Fischer Against the World, Bridesmaids, Buck, Cameraman: the Life and Work of Jack Cardiff, Captain America: The First Avenger, Carnage, Cars 2, Caterpillar, Cave of Forgotten Dreams, Cedar Rapids, Certified Copy, Cold Fish, Cold Weather, Conan O’Brien Can’t Stop, Contagion,, Cracks, Crazy, Stupid, Love, Detective Dee and the Mystery of the Phantom Flame, Dream Home, Drive, Edge of Dreaming, Hanna, Harry Potter and the Deathly Hallows Part 2, Hesher, Hobo with a Shotgun, Horrible Bosses, Hugo, I Saw the Devil, If a Tree Falls: A Story of the Earth Liberation Front, In a Better World, In Time, Incendies, Insidious, J. Edgar, Jane Eyre, Kung Fu Panda 2, Last Night, Le Quattro Volte, Love Crime, Margin Call, Martha Marcy May Marlene, Meek’s Cutoff, Melancholia, Midnight in Paris, Mildred Pierce, Mission: Impossible – Ghost Protocol, Moneyball, My Week with Marilyn, Of Gods and Men, Outrage, Page One: Inside the New York Times, Passion Play, Pirates of the Caribbean: On Stranger Tides, Poetry, Project Nim, Rampart, Rango, Red Riding Hood, Red State, Redline, Retreat, Rise of the Planet of the Apes, Rubber, Scream 4, Senna, Shame, Sleeping Beauty, Source Code, Submarine, Sucker Punch, Super, Super 8, Tabloid, Take Shelter, Terri, The Adventures of Tintin, The Arbor, The Artist, The Debt,The Descendants, The Devil’s Double, The Double Hour, The Future, The Girl with the Dragon Tattoo, The Green Hornet, The Help, The Housemaid, The Ides of March, The Last Circus, The Lincoln Lawyer, The Mill and the Cross, The Muppets, The Rite, The Roommate, A Separation, The Skin I Live In, The Sleeping Beauty, The Thing, The Tree of Life, The Trip, The Ward, The Woman, Thor, Tinker Tailor Soldier Spy, TrollHunter, Tucker and Dale vs. Evil, Tyrannosaur, Uncle Boonmee Who Can Recall His Past Lives, Unknown, War Horse, Warrior, We Need to Talk About Kevin, Weekend, Win Win, Winnie the Pooh, X-Men: First Class, Young Adult, Your Highness, Yves Saint-Laurent: L’Amour Fou