Top 30 Films of 2010 (#15-1)

My final 2010 Film Post! Finally! My goal was to have these up by the end of January. I just barely made it. For my introduction to this list, you can go to the Top 30 Films of 2010 (#30-16) post. Again, keep in mind films such as Inside Job, The Illusionist, The Way Back, Made in Dagenham, Another Year, Tiny Furniture and plenty others were not taken into consideration because I have not seen them. Also, a list of the films seen this year will be at the end of the post so that anyone interested can see all the work that was taken into consideration.

15. The Kids Are All Right
The very definition of a Sundance hit, Lisa Cholodenko’s film is a delight that manages to address issues of family and marriage with sincerity without being overly heavy. Bening and Moore have pitch-perfect chemistry and their marriage never feels anything but authentic. Some have criticized the film for the way it treats the Ruffalo character at the end. Despite feeling terrible for Ruffalo’s Paul, having Jules and Nic resolve their issues does not represent a definitive lack of sympathy towards Paul on the part of the film. The film discards him because that’s how Jules and Nic decide to handle the situation. We may not agree with it, but it’s ultimately their story and not Paul’s. Seriously though; poor Paul.

14. Inception
An essential film going experience of 2010, Inception is fully engrossing from start to finish. It manages to entertain and engage like few other films do. This is a film I definitely had issues with, (characters that solely function as archetypes, lack of complex characterization, not as much depth as others think, etc) but these complaints are all balanced out and more than made up for through the triumph of structural storytelling that Nolan displays and the complexity of the world he creates. Inception redefines what the blockbuster can be. It is made for repeat viewings and more than holds up from them. Nolan is one of the best working storytellers in English language filmmaking.

13. Blue Valentine
Derek Cianfrance’s hard work paid off with Blue Valentine, the story of a relationship shown in two time periods; the blossoming romance and the hopelessness of their marriage years later. Not having the middle of the story filled in for the audience smartly engages us in assessing where Dean and Cindy are in their lives as opposed to where they were. Forgetting the why and concentrating on what it is we are being shown, makes for a devastating portrait of what time and circumstance can do to a relationship, and is championed by its two captivating lead performances by Ryan Gosling and Michelle Williams.

12. Never Let Me Go
This film about the inevitability of death largely split audiences, with some being profoundly moved, and others being left coldly unaffected. Count me in with the profoundly moved crowd. Based on Kazuo Ishiguro’s novel of the same name, Never Let Me Go takes a sci-fi concept and turns it into a somber and muted drama. Kathy, Tommy and Ruth almost blindly drift towards their fate just as we drift towards ours. Mark Romanek has created a beautiful and understated visual aesthetic and captures stunning performances from Mulligan, Garfield and Knightley. This is a film that I feel will slowly gain more appreciation as years go on.

11. Four Lions
An outrageously funny comedy from the UK, Four Lions is a satire on bumbling Jihadi Islamic terrorists from England. A film that could have miscalculated every step of the way ended up hitting all the right notes. Chris Morris keeps the film loose without ever having it lose its focus and even manages to be oddly touching. Filled with hilarious performances and offensive but never misguided moments, Four Lions is the best comedy of the year and more than worth seeking out.

10. Everyone Else
This exhaustive look at the slowly changing dynamic between a couple is insightful and fascinating. Led by two remarkable performances (Lars Eidinger and Birgit Minichmayr) that function as two halves of a whole, this is easily one of the best films to ever closely examine a relationship. It has complex and frustrating characters that slowly change and affect the behavior of the other. The result is a unique and layered film that has two of the most complex characters from a film this past year.

9. The Social Network
The result of all the right elements coming together perfectly, The Social Network is a stinging piece of filmmaking marked by Fincher’s clean and even cold precision, Sorkin’s biting wit and cynicism and Eisenberg’s insecure, arrogant interpretation of a genius. This is a film brimming with confidence and perfectly paced. What started as an overstatement of the film’s relevance has now backtracked to being an understatement. I do think the film has some of the relevance critics at first claimed. The film to define a generation? No. A film with a lot to say both about its characters and the broad societal implications of their actions? Absolutely.

8. Fish Tank
From here on out, these numbers are essentially arbitrary. This could easily be in my Top 3. A beautifully photographed, raw portrait of a teenage girl, rooted in the British social realism films from the early 60’s. Katie Jarvis is magnetic and a natural performer, supported by equally admirable work from Michael Fassbender and Kierston Wareing. Unpredictable and poignant, this coming of age drama proudly defies yet at times embraces cliche. An unforgettable sophomore effort by Andrea Arnold.

7. Toy Story 3
As I’ve said many times, it was surreal to get a third installment of this franchise which I grew up with. A particularly meaningful end to a story which continues to address the themes that Pixar explores so well. A film that manages to pay tribute to its characters and provide a satisfying and bittersweet end to its story. Most importantly, it does what Pixar does best; it satisfies both the children’s demographic as well as the adults. Pixar continues to set a nearly impossible standard for what the children’s film can be.

6. Animal Kingdom
The crime thriller of the year, this Australian achievement has surprises at every turn. Its characters are distinct and layered from the get go. The family dynamic is thrilling to observe. The performances make up the best ensemble of the year. It tells a familiar story with unprecedented depth and insight. It completely took me by surprise and captivates from the first frame to the last.

5. Greenberg
Noah Baumbach is a treasure who is so acutely aware of how he sees the world and is able to, whether you love it or hate it, place that vision onto the screen with exact precision. Ben Stiller in a career best performance inhabits Roger’s misanthropy with ease. If everyone had liked the film, it wouldn’t have been a success. My admittedly overlong 3,000 word review tended to ramble a lot but the point of it was that it’s the film I connected to the most this year on a personal level and I took a different approach to writing that review. The film fully inhabits Roger’s perspective and is not afraid to sink into the way he sees the world. Greta Gerwig and Rhys Ifans provide excellent support.

4. I Am Love
I Am Love wears its emotions on its sleeves and it has the depth and complexity to back up its dressed up visual aesthetic. The tone aligns itself with Emma’s (Swinton) emotional state. Emma starts out being nearly invisible in a film that feel cold and empty. As she allows herself to experience physical and emotional love for the first time in her life, the film itself opens up and becomes a dramatic and invigorating experience that throws itself into melodrama without drowning in it. Tilda Swinton, who developed and produced the project with writer/director Ludo Guadagnino, continues to prove that she is the pinnacle of film acting.

3. Dogtooth
At once hilarious and unsettling, Dogtooth examines the family unit at its most absurdly twisted and deformed. Yorgos Lathimos; remember that name. Revealing its plot at just the right moments, this Greek film is a work of true originality, likely to elicit all sorts of reactions and emotions from its viewers. It may be number 3 on this list of favorite films of 2010, but if I had to pick a film that I’d call the “best” of the year, it would be this one. The performances have gone unfairly unacknowledged; they are tricky characters to play and their success is essential to why the film itself works. Photographed in amusingly off kilter ways along with just the right unglamorous cinematography, Dogtooth is a complete vision and a masterpiece. It also is unmatched in its use of film reference. I now have new connotations to both Jaws and Rocky.

2. Last Train Home
A documentary that will stick with you long after it ends, Last Train Home uses the tale of one family to represent China’s push and pull between the rural roots it comes from and the industrial present it accommodates. This cinema verite follows one couple as they take part in the world’s largest annual migration; the Spring Festival when millions travel home to see their families only once a year. On the other side of this is Qin, their daughter drifting towards rebellion and against the very values her parents (who she barely knows) tried to hard to instill in her. The result is tragic and surprising, even difficult to watch. It captures the unimaginable chaos within the Spring Festival migration. Even more interesting is the way the climax of the film seems spawned by the very presence of the camera which clearly suffocates certain family members after a while. That the climactic exchange of the film theoretically might not have happened without the camera’s presence, makes for excellent fodder for meaningful discussion about the nature of the documentary. While one family certainly cannot and should not be representative of the complex economical situation of a country, Last Train Home is incomparably moving and affecting.

1. Black Swan
Steeped in high drama and dipping into absurdity, Black Swan still manages to justify how seriously it takes itself. It is an experience, carefully executed and filled with particular repetition and gradual all-consuming menace. Darren Aronofsky knows exactly what he is doing and is unashamed in pouring blatant metaphor down our throats. Stunning in every regard with a powerhouse central performance by Portman, Black Swan is as dramatic as the ballet, and is a sight to behold. Like Inception, it is a bona fide experience at the movies and one that will leave you breathless.

Complete List of 2010 Films Seen:
127 Hours
A Prophet (2010) (2010)
Alice in Wonderland (2010)
All Good Things (2010)
The American (2010)
American Grindhouse (2010)
Animal Kingdom (2010)
Art of the Steal (2010)
Babies (2010)
Best Worst Movie (2010)
Black Swan (2010)
Bluebeard (2010)
Blue Valentine (2010)
Buried (2010)
Carlos (2010)
Catfish (2010)
Centurion (2010)
Chloe (2010)
Clash of the Titans (2010)
Coco Chanel and Igor Stravinsky (2010)
The Crazies (2010)
Cyrus (2010)
Devil (2010)
The Disappearance of Alice Creed (2010)
Dogtooth (2010)
Easy A (2010)
Enter the Void (2010)
Everyone Else (2010)
Exit Through the Gift Shop (2010)
The Fighter (2010)
Fish Tank (2010)
Four Lions (2010)
Frozen (2010)
Get Him to the Greek (2010)
Get Low (2010)
The Ghost Writer (2010)
The Girl with the Dragon Tattoo (2010)
The Girl who Played with Fire (2010)
The Girl on the Train (2010)
The Good, the Bad, the Weird (2010)
Greenberg (2010)
Harry Potter and the Deathly Hallows Part 1 (2010)
Holly Rollers (2010)
Hot Tub Time Machine (2010)
Howl (2010)
How to Train Your Dragon (2010)
I Am Love (2010)
I Love You Philip Morris (2010)
Inception (2010)
Iron Man 2 (2010)
Jean-Michel Baquiat: The Radiant Child (2010)
Joan Rivers: A Piece of Work (2010)
Jonah Hex (2010)
Kick-Ass (2010)
The Kids Are All Right (2010)
The Killer Inside Me (2010)
Legion (2010)
Life During Wartime (2010)
The King’s Speech (2010)
The Last Exorcism (2010)
Last Train Home (2010)
Let Me In (2010)
The Lottery (2010)
Machete (2010)
Mademoiselle Chambon (2010)
Mesrine: Killer Instinct (2010)
Mesrine: Public Enemy Number 1 (2010)
Micmacs (2010)
Monsters (2010)
Mother (2010)
Mother and Child (2010)
Never Let Me Go (2010)
A Nightmare on Elm Street (2010)
Ondine (2010)
Peacock (2010)
Piranha 3D (2010)
Please Give (2010)
Rabbit Hole (2010)
Rare Exports: A Christmas Tale (2010)
REC 2 (2010)
RED (2010)
Red Riding Trilogy (2010)
Restrepo (2010)
The Runaways (2010)
Scott Pilgrim vs. the World (2010)
The Secret in Their Eyes (2010)
The Secret of Kells (2010)
Secret Sunshine (2010)
Shrek Forever After (2010)
Shutter Island (2010)
Smash His Camera (2010)
The Social Network (2010)
Solitary Man (2010)
Somewhere (2010)
Soul Kitchen (2010)
The Special Relationship (2010)
Splice (2010)
The Square (2010)
Tales from the Script (2010)
Temple Grandin (2010)
The Town (2010)
Toy Story 3 (2010)
True Grit (2010)
Unstoppable (2010)
Valhalla Rising (2010)
Vincere (2010)
Waking Sleeping Beauty (2010)
Wall Street: Money Never Sleeps (2010)
When You’re Strange (2010)
White Material (2010)
The White Stripes: Under the Great Northern Lights (2010)
Who is Harry Nilsson and Why is Everybody Talkin About Him? (2010)
Winnebago Man (2010)
Winter’s Bone (2010)
The Wolfman (2010)

Review: Greenberg (2010, Baumbach)

Greenberg (2010, Baumbach)

Many people who watch Noah Baumbach’s latest film Greenberg feel that the title character is so unlikable, that the film fails due to its protagonist’s personality. In fact, Baumbach presents us with a challenge, much like he did with 2007’s Margot at the Wedding. Greenberg is not likable. He is narcissistic, misanthropic, brutally honest, and cynical and unaware of anyone’s feelings outside of his own, which are more important than yours by the way. He also hates on L.A culture to the point where I think he is drawn to it for the verbal ammunition it gives him.However, Baumbach manages to balance these traits with a humanization that is painfully acute and accurate, by showing us what it is like to be Greenberg. Many people are not going to want to know what it’s like to be Greenberg. That’s fine; because Baumbach did not make this film for everyone.

Something very interesting and smart that the director does is starting the film from Florence’s (Greta Gerwig) perspective. Florence is Roger Greenberg’s (Ben Stiller) brother’s assistant. His brother and family are going away on vacation to Vietnam and Greenberg comes to his brother’s house in L.A to stay after living in New York City and coming off of a recent stint in a mental hospital. While Greenberg is the main character, the film starts with Florence and we are shown in a brief period of time what her life is like. She has a best friend named Gina, she is a good and hard working assistant and she goes to a bar where she eventually has a one night stand which is clearly irregular and dissatisfying for her. She is awkward; certainly not someone who asserts herself around others. She is not meek though; she is just not quite sure of herself as an individual yet. By aligning us with Florence, an easily relatable character right from the beginning, Baumbach is able to balance her with Greenberg’s own inadequacies and allows Florence to be more than just the “girl”. She becomes a character in her own right, just as important to the story through Baumbach’s use of her in the film’s first scenes.

Once we are introduced to Greenberg, Florence only recieves a few more scenes to herself because after all, this is a story about Roger Greenberg first and foremost. However, the focus on her perspective is never lost, keeping the examination of her character in check throughout the film. Greenberg is a carpenter now, not what he planned for his life but he does the job. While in L.A though, he has decided to experimentally do nothing. He attempts to reconnect with his best friend Ivan (Rhys Ifans) who is going through a trial separation. Ivan’s character parallels Greenberg in the many ways in which they differ. We learn that he and Ivan used to have a band called The Magic Marker with a couple of others, that they were offered a record deal and that Roger turned down without consulting the rest of the group drastically altering the lives of the other group members involuntarily. He did not want to sign with a major label because he felt they would become corporate slaves. The problem is that this was the only offer the band received leading to the band’s brake up prompting Greenberg’s move to New York shortly after. He and Ivan have never discussed any of this and while Ivan genuinely enjoys seeing Greenberg again, he also has a difficult time with it which we see through his increasing reluctance towards Greenberg every time they see each other. These scenes between the two of them are show so much about the passage of time (a major theme in the film) and display Greenberg’s inability to look outside of his own world. Ivan wants a friend to talk to but all Roger can say is that he is happy that Ivan is splitting from his wife as he never liked them together in the first place. He cannot understand why Ivan is so upset about the speration even though Ivan is clearly distraught over the effect this will have on his son Victor.

One of the more fascinating things about Greenberg is the grudge he has about his own generation for not being the current generation and the absolute disdain he has for the current generation for simply existing. All he sees are kids that rely too much on technology and have lost a grip on the world. He sees kids who are lost and are incapable of asserting themselves as a culturally relevant and thoughtful crowd. Not to mention that his references go over their heads. One review of the film remarks on the climactic party scene in which he takes coke and rants about his disgust for the present youth. The review notes that the scene does not give the kids a chance, making them voiceless and stupid citing unfairness and offense that the youth of today are portrayed as such a hopeless bunch. This reviewer misses the point entirely. This film is not about presenting us with fair portrayals of youth culture. It is about getting into Greenberg’s head and seeing people as he sees them. These kids are not meant to represent youth culture; they are meant to represent how Greenberg sees youth culture. The scene is a brilliant one, rife with tension in a situation that would not normally carry it.

Greenberg’s relationship with Florence could be the most frustrating aspect of the film for some but also the most rewarding. Mainly because of the way he treats her. While his mind bounces back and forth as to whether or not he wants to be with this person even casually, he drags Florence through every single back and forth moment he has, instead of keeping it to himself. He then proceeds to blame Florence for his feelings, telling her that everything he is conflicted about is her fault. His mood changes drastically within individual scenes with her. Florence, in the meantime, likes him a lot but is conflicted about him both because of his behavior and also having just come out of a long relationship. She also excuses a lot fo his behaviour because she knows about his stay in the hospital. Her best friend Gina, does not want her with him because of the way he treats her. Having also read complaints that Florence ends up simply catering to Greenberg’s needs and is a weak character, there is a scene to counter that claim between Florence and Gina as we hear why Florence refuses to lose interest in him. She explains her choices and Greenberg is humanized enough for us to see why Florence makes the decisions she does. In addition to this, Florence has a breaking point proving she is not a character that can be constantlyy trampled on. This displays in part why Florence is not a weak character but an individual making a personal choice for better or worse.

The scene where Florence tells a story could be the most awkward, tense and hateful moment of Greenberg’s behavior. Without going too much into it, as those who have seen it will know exactly what this refers to, it really shows Roger’s impatience with others and how short a string his dissatisfaction with a conversation has. It is probably the moment people will hate Greenberg that most; at least it was for me. As for my reaction, it was the one moment that I said out loud in the theater “Oh my God”. An overreaction? Probably, but it was a really surprising turn to a scene that started out on such good terms.

Greenberg’s rare but genuine attempts at reconnection contribute to his humanization. His most desperate attempt to reconnect comes from his efforts at striking up a friendship and possible relationship with Beth (Jennifer Jason Leigh), an ex-girlfriend who he is clearly still thinks about. She has been through so much, a husband, kids and an impending divorce, that for her the relationship does not even feel like it happened. Her indifference towards him perfectly captures his mourning and hatred towards time and the things it can blur, distance and effect in so many ways as if nothing ever even happened. He really does try with her but it does not work and the scene with the two of them in the restaurant is painful to watch (there are a lot of painful scenes in this) as he talks to her about moments and days between the two of them which she cannot recall and does not seem to care to attempt to.

This is without a doubt Ben Stiller’s best performance; a role that he was born to play (picturing anyone else playing Roger is impossible). He is stripped of extravagance and is not afraid to make Greenberg as unlikable as the script portrays him and succeeds beautifully in all the moments that Baumbach gives him to deepen the character, get in his head and show us through his face the pain, awkwardness and trouble he has functioning in society. Greta Gerwig is a real find. This is her first foray into the mainstream after being a hugely relevant contributor to the mumblecore movement. Last year she memorably played best friend Megan in Ti West’s The House of the Devil and she has a rich career ahead of her. She is just as interesting to watch as Stiller and both actors make us understand why their characters do the things they do largely contributing to the film’s success We may not approve but we understand. The two also have a great deal of what many on screen pairs fail to these days; chemistry. On a final note concerning the performances, Rhys Ifans is so good in this that by the end I wanted an entire film dedicated to Ivan as it becomes so evident that his story is merely touched upon.

Baumbach’s direction is at turns observational and subjective. There are times when he takes a step back to let us see what Greenberg’s interactions are really like, objectively letting us observe the negative effect and impact he has on other people. This allows us to view his current place in the world and to fully see why his cold and hateful behavior is not accepted in most social circles. Baumbach performs a balancing act with this and scenes where we are subjectively let inside of Greenberg’s mind and shown exactly what he goes through in a social situation and how he sees everyone else. The scene that perfectly captures this is the first party scene in which Ivan and Roger attend a birthday party for one of their friends’ children. Baumbach inserts a montage with James Murphy of LCD Soundsystem’s score pervading in the background, competing in the audio track with the dialogue taking place combined with quick non-linear cuts and portions of various conversations Greenberg has at the party. All of it equals an entirely overwhelming montage in the constant awkwardness of Greenberg’s complete misfire in every encounter he has and the techniques that Baumbach employs through his use of editing and audio overload. He perfectly conveys Greenberg’s subjective experience in social situations and through the effect this scene has on the viewer, we feel the way he feels involuntarily aligning us with the protagonist. The scene culminates in a stunning moment with an extended overhead shot of Greenberg alone but surrounded by children running around and adults stationed in stable conversation. He is lost, confused and unsuccessful in his attempt to function at this party through a combination of his own coldness towards others and his genuine discomfort with them.

We have come to the personal part of this review. Noah Baumbach is, for me, in the top tier of working directors and screenwriters not only in his own scripts but in his contribution to two Wes Anderson films. I adore every work of his because of his courage in the characters he writes and the way he challenges his audience to really dig deep into his examinations of upper middle class angst as he relentlessly enforces the validity of his characters’ feelings. He knows that not everyone is going to relate to them and furthermore he knows that many are going to actively invalidate their plights through personal assertion. There is nothing wrong with this. Just because his characters can be difficult to relate to does not mean that they do not deserve to have their stories told. Films that are challenging in this regard are refreshing to me and much more interesting than the majority of work out there. He makes his characters ugly but valid and fully realized.

That is why I love Margot at the Wedding so much. Margot was refreshing for me personally because of how brutally unlikable she is. There is a difference between brutally unlikable and brutally uninteresting. In many writer’s but more often studios’ attempts to create easily marketable and relatable characters the result is many times a dull and redundant story. I am surprised by how many found Greenberg to be so completely intolerable considering that not only does the character grow by the end of the film but also because this film is so much more accessible in my opinion than Margot. Also, while Florence’s actions might be questionable in her unwillingness to give up on Roger at times when you may want her to, she is very easily likable not to mention Ivan who is extremely easy to attach to.

I guess I am so deeply fond of it because Greenberg felt disturbingly relatable. Reviewers have referred to his character as a monster which is completely pushing the line. I find it interesting that people are much more inclined to accept the actions of characters that kill people in films before they can accept a character like Roger Greenberg. Greenberg is unlikable. He is stuck in a largely middle-aged conundrum; as Ivan (Rhys Ifans) talks about late in the film, he is incapable of embracing the fact that his life has not turned out as he planned, a problem which taken on its own should be relatable to many. His misanthropy and his disconnect from society and all of the things that make him so hateful to many others felt familiar to me in my own feelings, especially in his disconnect with the current generation which would be my own. Obviously my feelings are not nearly as generalized or unwavering as it is for him but I felt a connection with him to the point where by the end of the film I truly loved this character and outside of much of his treatment of Florence and Ivan, I cannot say his actions upset me all that much. I never approved of them but I was more fascinated by his actions than pissed off.

Greenberg’s ability to openly show his disdain for everything, which is what turns so many people off from him, is an aspect I cannot relate to. However, in relation to my own thoughts at times, yes I do relate to some of the things he says. His experience in social situations feels eerily familiar. His concerns about middle aged life and the way he so fully feels the passage of time is something that I relate to in my youth which is just a little terrifying. Throughout the film all I kept thinking was that this film was not made for people my age; so why do I understand everything he is going through even if I do not relate to the way he goes about dealing with his issues. The film, which is alternately and much of the time simultaneously very funny and also very depressing felt relatable and true to me. While I am not at the age to fully understand that passage of time, opportunity and examination of self growth I felt a very strong connection making me one of the many that truly loved this film.

If everyone liked Greenberg the film would not be successful because that would mean that Baumbach had not stayed true to his title character. Greenberg will alienate some and unite others but through portraying a character fully and deeply on both the director’s and the character’s own terms whether or not people relate to it or sympathize with his plight enough to care about the film makes this a unique, brave and acutely observational character study that will be hated by many and cherished by many for years to come.