So here are my opinions of the last twelve months in film, prepare to agree/curse as appropriate.
Top Ten films of the year
10) The Hunt (Jagten, directed by Thomas Vinterberg)
Not an easy watch but nevertheless an important thought provoking drama, Thomas Vinterberg’s The Hunt dissects the repercussions that one little white lie can do to an ordinary man. Arriving at cinemas in the wake of recent high profile child abuse cases in the media, the subject of paedophilia, is a mind field but we rarely see what happens when someone we know for sure is falsely accused of the crime but is unable to stop the spiral of destruction that comes from the allegation. Dutch star Mads Mikkelsen is quietly and delicately affecting as nursery worker Lucas who is accused of indecency towards his best friend’s daughter, his restraint whilst his life is turned upside down is hard to understand but beautifully played. The Hunt is one of the saddest films of the year, and perhaps one of the most frightening, as the audience we are passive and can only witness the tragic circumstances that befall Lucas. It is a film and a performance from Mikkelsen, which will stay in the conscious for a long time after.
9) Seven Psychopaths (directed by Martin McDonagh)
Chaotic? Yes. Confused? Yes. Slight of plot? Yes. But incredibly entertaining? Hell yes. Martin McDonagh’s follow up to cult hit In Bruges, is a meta narrative film within a film mash up that Tarantino would be proud of. Colin Farrell, who is much more at home and effective in Independent dramas, plays screenwriter Marty who is struggling to write a follow up to his previous hit script. He becomes embroiled in the Los Angeles crime world after his dim witted friends Billy (Sam Rockwell) and Hans (Christopher Walken) dognap Mafia Boss Charlie’s (Woody Harrelson) most loved possession-a Shih Tzu named Bonny. The script Marty is writing becomes part of the action unfolding and the lines between realities are blurred in a haze of crazy action, zinger one liners and screwball comedy. Every actor brings their zany A game particularly Sam Rockwell, who is the comedic chief nutball and the film demands repeat viewings, if only to take in its quotability factor. Not the smartest or deepest film of the year but certainly the most deliriously entertaining.
8) The Imposter ( directed by Bart Layton)
Whoever coined the term ‘the truth is stranger than fiction’ had obviously just watched The Imposter, the documentary of the disappearance of 13 year old Texan Nicholas Barclay and the unbelievable story of his seemingly ‘reappearance’ three years later. To say anymore would ruin the real life twists and turns for those who have encountered this incredible tale, so for those reading this that have not seen The Imposter, I would urge you to watch the best documentary of the year and an astounding story that leaves you on the edge of your seat. Cleverly told through the use of interviews and re-enactments, it builds to an atmospheric tension akin to a Hollywood thriller. In fact this could be on Ben Affleck’s to do list.
7) Argo (directed by Ben Affleck)
Comeback king Ben Affleck continues his assent as one of Hollywood’s best directors with his most promising work to date. Argo is based on the declassified true story about the 1980 joint CIA-Canadian secret operation to extract six fugitive American diplomatic personnel out of revolutionary Iran. With few options and running out of time, exfiltration expert Tony Mendez (Affleck) devises a daring plan: to pose as a film crew making Sci fi movie ‘Argo’ who plan to shoot scenes in Iran, and thus smuggle the Americans out as part of the production crew. Cue tense action, Hollywood in jokes and more beardy peril than you could possibly want. Affleck has assembled the best supporting cast of the year, creating a classy but thoroughly absorbing drama and the film builds up a last act that is so nail biting, I left the cinema with less talons than I went in with. And for those who saw this brilliant piece of filmmaking will know that Argo also produced the best sign off of the year….
6) The Master (directed by Paul Thomas Anderson)
P T Anderson’s latest mind game preoccupations take in the (alleged) founding of Scientology (though the ‘cause’ in the film is never fully identified) and the disillusionment of post WWII America. Phillip Seymour Hoffman chews the scenery as Lancaster Dodd, the Master of the title, who describes himself so charismatically as ‘a writer, a doctor, a nuclear physicist, a theoretical philosopher, but above all, I am a man’. Joaquin Phoenix, literally sinking to new depths of character inhabitancy, is Freddie Quell, a returning naval veteran in search of meaning who is seduced by Dodd, drawn to him but also sceptical of his methods and unable to contain his own erratic behaviour. Gloriously shot on 65/70mm film, The Master is a sublime piece of filmmaking on every level, from the direction to the Jonny Greenwood’s foreboding score. I sometimes wonder if I entirely ‘get’ a film like this but perhaps that’s not the point, by leaving me slightly cold, it also left me entirely under its hypnotic spell.
5) Life of Pi (directed by Ang Lee)
Ang Lee takes on the unfilmable bestselling Yann Martel novel and wins, creating a visual masterpiece and finally a good use for 3D. The story of the young shipwrecked boy Pi, afloat on his own in the vast ocean with only a Bengal Tiger as his first mate, is so simplistic yet draws on all the big themes of life- love, death and religion. It is also entirely enthralling using its basic structure to dazzling effect, as Pi and the brilliantly named tiger, Richard Parker learn to survive and survive each other. Life of Pi is visually stunning, many scenes look like composed paintings and the effects are truly astonishing, notably Richard Parker who is truly believable as a real tiger who will provoke every emotion from the viewer. Ang Lee has crafted a sumptuous striking adaptation and a tear jerker with real bite.
4) The Artist (directed by Michel Hazanavicius)
This may be technically a 2011 release however as UK viewings arrived in January, I am including this in my list. Though what is (ironically) left to say about this silent gem that stole the show at this years Oscars, claimed the hearts of many film fans and just may have converted some to the delights of B&W cinema. Michel Hazanavicius’ love letter to the 1920s silent era is a film of endearing delight and is something to cherish and celebrate that a film of this nature for one was made and two became so acclaimed and loved. One of the best films of the year and of the decade.
3) Martha Marcy May Marlene (directed by Sean Durkin)
Sean Durkin’s intoxicating debut marked the arrival of a new directing talent but also a major new acting talent in the form of Elizabeth Olsen, who is mesmerising in the central role of Martha, a young girl who escapes an incestuous cult but is haunted by the aftermath of her experience and is unable to adjust to normality. The film is shot between contrasting states of primitive starkness and insular dreaminess and creates a mood of dubious morals and nightmarish beauty. MMMM makes the viewer work hard but this adds to the heightened emotion of the film, one that does not necessarily reward the viewer, but punish them in the best way only this type of cinema can.
2) Rust and Bone (directed by Jacques Audiard)
Jacques Audiard’s follow up to A Prophet (2009) delivers lyrical beauty and heartbreaking performances as a boorish drifter Ali (Matthias Schoenaerts) strikes up a relationship with a headstrong Whale trainer Stephanie (Marion Cotillard) who is severely injured in a devastating accident at her work. Audiard has crafted an absorbing drama, exquisitely filmed and utterly haunting. Schoenaert manages to make his character Ali brash yet intriguing, indifferent yet magnetic. Cotillard however steals the show with a multi faceted, beguiling performance. Stephanie is the heart and soul of the film and Cotillard inhibits the role with every fibre of her being. Rust and Bone is raw, captivating and a cinematic testament to redemption and resurrection.
1) Moonrise Kingdom (directed by Wes Anderson)
Look away now if you are a Wes hater but rejoice if you are a convert because Mr Anderson is back on full form, producing the most joyous, giddy trip to the cinema for me this year. Moonrise Kingdom walks the delicate line between malaise and majesty as pint sized pen pals Suzy and Sam run away together, hiding on their home island, pursued by boy scouts, concerned parents and the local police Captain. The usual Anderson posse are here, with the welcome addition of ‘new to the gang’ Bruce Willis and an endearing Edward Norton. Combining the playfulness of youth, the exuberance of first love and the hindsight belief that at 12 years old you are indestructible, Moonrise Kingdom manages to make you simultaneously mourn the loss of childhood and bathe in pre adult nostalgia and that’s just how it should be.
Surprise of the year
21 Jump Street (directed by Phil Lord and Chris Miller)
This film shouldn’t have been as funny as it was- based on an old Johnny Depp programme that not many people this side of the shore had seen, it appeared to be just another lazy loose adaptation from a long forgotten concept (the film wittily addressed this itself). The result was a chaotic cocktail of gags and kinetic scenes, 21 Jump Street literally threw everything at the screen to see what stuck. What did was a stream of quotable lines and laugh out loud moments, making it the best comedy of the year.
The 'should have been seen by more people' of the year
Damsels in Distress (directed by Whit Stillman)
Whit Stillman’s pastiche/homage to Liberal Arts College creates a whole unique world of its own, one that would alienate a lot of viewers but deserved to be seen by more people who like their films oddball but with intelligent scripts. Greta Gerwig (on sterling form and impeccable fashion mode) leads the group of Damsels who try to better the world with their own brand of campus camaraderie, from a suicide prevention centre that specialises in aroma therapy to creating a new International dance craze. The film glides along at its own pace and beat of the drum and creates a stylish alternative to the mainstream college set movies. Lets start the campaign for the Sambola on Strictly next year!
Women of the Year
Lena DunhamTechnically not on the list as a film actress, Lena Dunham came into the consciousness this year with her HBO series Girls, a smarter, grittier anecdote to the Sex and the City generation. Through the success of Girls, perhaps Dunham’s previous directorial debut film Tiny Furniture (2010) will gain more viewers, it being the precursor to the drama series. Hailed as the voice of her generation, Dunham certainly does make a refreshing persona, not just for her much publicised ‘normal’ figure but also for her sharp writing and acute observations of modern city women.
Jennifer Lawrence Already being a fan of Jennifer Lawrence after her affecting, bruised performance as Ree Dolly in 2010’s Winters Bone, she hit the big time this year in the blockbuster adaptation of The Hunger Games. Though she had arrived in the mainstream, Lawrence retained her integrity as Katniss Everdeen and gave young teens a heroine with balls who would not become limp at the sight of a pale moody vampire. She also gave another complex performance in David O Russell’s rom-drom Silver Linings Playbook which was a boy meets girl story with added meds and anger issues. Lawrence also became a favourite with interviewers with her no nonsense, frank attitude. The girl has got it, try not to be jealous.
Marion Cotillard Proving she can do more than just act bat shit crazy in the films of Christopher Nolan, Marion Cotillard gave an astonishing performance in Jacques Audiard’s Rust and Bone. At this point she has been nominated for a Golden Globe however her name has not emerged as a front runner leading up the Oscars, though for me, she is my best actress of the year, giving a raw, beautiful, heart rendering turn as Whale trainer coming to terms with a horrific accident. Mesmerising is often a word banded around too lightly but in this case, for me, it was actually what she did to me.
Special mention award
Channing Tatum
For stepping out of his niche of fluffy chick flicks such as Dear John and The Vow, Channing should be awarded for his services to men and women this year with his double header of 21 Jump Street and Magic Mike.
In Jump Street, Tatum proved his comedic chops and managed to make a proton hoodie look cool. He surprised a lot of people with his astute comedy timing and his ability to poke fun at his own persona.
In Magic Mike, he drew on his past experiences as a male stripper to produce a film of immense guilty pleasure for many women, readdressing the hoards of films that usually cast the female as the object. It was just a shame that the drama side of the film was lost on many, too giddy on Tatum’s double whammy of body and moves.
Next year sees him stretching himself further with Bennett Millers Oscar baiting drama about the life of schizophrenic John du Pont, let’s hope he can keep up the good work. Guest Blogger and Musician Graham Collins on why Peter Strickland's Berberian Sound Studio is his favourite film of the year
Peter Strickland’s horror was an enjoyment of so many levels that it was as wonderful as it was rare to see. The film within a film, set in a 1970s Italian sound studio had layers of enjoyment from the visual element to the sound and music and the historical accuracy of subject matter and surroundings. Being someone that produces music and can be very nerdy about the equipment used to make it, the sound, music and authenticity of this film were what made it such a personal joy. The studio they inhabit is decked out in historically accurate equipment, tape machines, analogue mixing gear etc. and the technical language, comes from someone that knows.
We see Toby Jones character using a WEM Copycat, a 1970s English made tape echo to layer up vocal sounds to brilliant effect, changing the tempo and pitch of the sounds at once making ethereal if eerie drones that cascade in to a cacophony of screams, a technique started at the time and still used in modern horror. The creation of sound is an innate part of the film, destroying various fruits and vegetables in all manner of ways is the soundtracking of both films, whilst the decomposition of their remains within the studio highlights the bizarre world of Foley artistry created to achieve believable sound effects.
The sounds themselves blend seamlessly into the score by the ever brilliant Broadcast. Vocal snippets and ideas found on the sadly departed Trish Keenan’s laptop to weave a harrowing and darkly beautiful soundtrack that could be as violent as it was majestic. Conventional strings or synthetic sounds are given the heave ho to allow wordless whispers and mutant electronics to entangle and draw you into Berberian’s strange world.
Entering this little known audio production coven meant opening up the opportunity for people like myself to rip the film to pieces due to its inaccuracy. The fact that it has so many elements that are true to that world, show a love and understanding that can be felt by us sound geeks. That it does this whilst creating a unique and beguiling soundtrack made this a true highlight of the year for me.Usually I write a piece about the flops (in my eyes) of the year but I tend to avoid films that I know I will not enjoy though I am partial to watching really bad horrors and there has been plenty of them in 2012. The only two films that I can think that did not live up to my expectations were Walter Salles On the Road, which was a faithful and admirable adaptation but was missing something that is unfortunately hard to pinpoint. I also (don’t hate me for saying this) found The Dark Knight Rises a bit of a letdown, it was too long, come on it really was, too po-faced and I did not feel that Catwoman fit into Nolan’s world so well. However I did love Joseph Gordon Levitt in the film bringing a much needed bit of soul and Tom Hardy’s Bane was unintentionally hilarious on vocal duties. But minor quibbles aside, let us instead rejoice in a pretty stellar year of movies, from record breaking Bonds to Tom’s Hardigan to CGI tigers. Yes there will always be a pile of crap films getting made and continuing to get made but it is the films that remind why we love cinema that shine through like a visual beacon to excite and entertain our palette. Here’s to 2013 film friends.
