Encore Awards: Picture

I contemplated doing a top ten lists of 2010 films which would have sufficed as proof of my favourites, but I’m not if not set in my ways and that seems much to imitative of the Academy’s recent return to nominating ten films for the honour – so I opted not to (not that this is actually cause for concern, but allow me my pretentiousness) – I went for an even more atypical top 7 instead. By now you’re probably tired of me telling you that 2009 had better films to offer us than 2010 and if I were to line-up my two top ten lists of the two years three 2010 films would make it into the combined ten. That doesn’t lessen my appreciation for the films I like this year – they’re still good. I haven’t found anything to fawn over embarrassingly like Bright Star or pontificate on continuously (and superfluously) like An Education but I do have one film at the top and a trio immediately after that’s difficult to separate. And the also-rans are in no way substandard. (All Awards)

When I think of my first impressions of some of these films, the results are kind of interesting. But, movie loving is a strange thing. Some of these films improve significantly on multiple viewings (The King's Speech, Scott Pilgrim vs the World) and some of them lose a bit of their lustre (The Social Network). The film I've seen most this year is The Kids Are All Right - and each time I see it, something new appears for me to love. Ah, le cinema....

(unless otherwise indicated, click on the photos for reviews)

                  

THE NOMINEES

Agora

In its way Agora is just the sort of film that makes sense on my list of personal favourites. I’m as keenly aware of its issues as any of its detractors – well, except for Jose, even I can’t defend it from the tongue-lashing he gave it – but Amenabar’s pseudo-historical saga appeals to me not only on a social level but artistically. True, its technical achievements are impressive, and maybe there’s something in it being the first A (well, A-) that I gave this year. At its strongest moments, though, no other drama this year – not even The Social Network – is able to marry intelligence with entertainment so sumptuously. And, I’ll always credit it for making me appreciate the ellipse which I was never half as interested in when I was actually studying Technical Drawing.

Animal Kingdom

I’m anxiously waiting what Michôd’s next cinematic encounter entails. Perhaps, Animal Kingdom shouldn’t work as well as it does – and a throwaway description of it I heard (an Australian, small-scale GoodFellas) made me wonder if it’s all really as rote as that. Still, when it comes to being seamless in blending acting, direction and writing Michôd’s work here is astounding. It approaches the bleak issues with a freshness – that’s not delusion – and manages to suggest interesting things about potential archetypes with smart profundity.
                        

                            

The Kids Are All Right

Detractors seem taken with the notion that the work is not laudable because the story is a normal suburban one with lesbians – no kidding. The very point of The Kids Are All Right IS the rote ways of suburban life, Paul is a mere plot point (albeit a nice, juicy one) and Choledenko knows to create the tone that makes the film dependant on its familial issues and not its LGBT themes. It’s a bit insular to boil it down to holding merit for the way that that ends up being so progressive; its strongest asset is its non-judgemental attitude toward its entire cast. It’s the sort of film that’s a bit like an arbitrary voyeuristic glimpse into the lives of a group of flawed individuals.
                                                                 

                                             

The King’s Speech

When you get past the fact that The King’s Speech isn’t what you expect it to be, the tale that Hooper crafts is comforting in its stylish sedateness. The amalgamation of everything that makes it thoroughly British (even if in an ostensibly formulaic way) is stimulating to watch as Hooper and Seiberg use the conventionality to create something subtly imaginative. I don’t care if it’s technical aspects have (unfortunately) turned into something of a joke recently, but it’s the sort of subtle camerawork and editing that’s always impressive and what’s more it emerges as one of the most well paced cinematic experiences of the year.

                                                               

Rabbit Hole

One of the strangest things about Rabbit Hole is how much we manage to learn in a mere hour and a half. Neither Lindsay-Abaire nor Mitchell is willing to waste time on the extraneous and they make each minute contribute to a consistent movement forward that’s deliberate (though, never forced) and organic always in its progress. I’d never call it overwrought because despite its emotive potential there’s a sort of sheen preventing it from being too interested in the hypersensitivity of dealing with death and more involved in the detachment Becca and Howie feel from the world. Mitchell echoes it in his directing, and Lindsay-Abaire ensures that it wraps up concisely – but not with an obtrusive ribbon to tie it off.

                       

Scott Pilgrim vs the World

No movie this year puts a perpetual smile on my face as much as Scott Pilgrim vs the World (yes, I’m in lesbians with it). It’s continually daring without any arrogance about it, and in its somewhat single-minded desire to entertain us it never robs its characters of their integrity. A videogame geek, I am not, but I feel affronted on its behalf for being relegated to mere “dabbling” in technological innovations. Wright’s dedication to story and characters triumphs over a number of the more non-comic films of the year, and he approaches his subjects with a dearth of pretentiousness that even more of them could benefit from.

                            

The Social Network

Amidst the barrage of Oscar prognosticating and choosing sides that’s happening online, it’s difficult to remember where your allegiances lay in the first place. The staunchest of supporters for The Social Network supporters have turned into a mean crowd, but that won’t make me waver in my appreciation for it. Rabbit Hole wins in the succinct department, but The Social Network emits a smoothness to it that’s never smarmy – no matter. Fincher’s directing style is not exactly personal, but his intent on coalescing technical aspects with the insularity of his protagonist is impressive. Add that to the fact that for every pithy bit of dialogue that makes you start, there’s an equally intelligent scene that makes you think.

                        

FINALISTS: The Ghost Writer (review) tops my other list, and true there’s a delicate divide preventing me from surrendering completely to it. Despite the slightest of reservations, though, Polanski’s control over the story is excellent and a seamless screenplay merging with a talented cast makes for a rousing, intelligent but always entertaining thriller; Somewhere is a more dubious choice – ostensibly, I suppose – but I might even intimate that it’s my favourite piece from Coppola. It depends resolutely on her ability to retract the sometimes officious hand of the director and let the film just exist in its natural state culminating in an indolence that’s not overly stylised but still sophisticated and most important emotionally motivating.

                          

SEMI-FINALISTS: They’re all worth your time for various reasons like The Fighter (review) for its ultimate focus on familial relationships and issues of self all under the smokescreen of a boxing film; Greenberg (review) for being so continuously smart in examining the misanthropic tendencies of a man simultaneously hateful of the universe and desperate for appreciation; Nowhere Boy (review) for managing to have that many obvious clichés in its pockets but still – in the end – managing to be refreshing in its focus not on Lennon but a troubled teenager; Let Me In (review) for taking the horror genre and moving it from the obtrusive to the psychological all the while never exploiting its young leads.

#14: Cairo Time (review)

#15: Shutter Island  (review)
#16: The Runaways (review)

#17: How to Train Your Dragon (review)

#18: Blue Valentine (review)

#19: Black Swan (review)

#20: Get Low (review)

#21: Green Zone (review)

#22: Night Catches Us (review)

#23: Toy Story III (review)

#24: Nanny McPhee & the Big Bang (review)

#25: Winter’s Bone (review) 

  

Nomination Tally (24 Categories, some miscellaneous some not)
127 Hours  1 nomination
Agora 10 nominations (1 Gold, 3 Silvers)
Alice in Wonderland 1 nomination (1 Gold)
Animal Kingdom 9 nominations (3 Silvers)
Black Swan 6 nomination (1 Gold)
Blue Valentine 1 nomination (1 Silver)
Brooklyn’s Finest 1 nomination
Burlesque 2 nomination (1 Silver)
Country Strong 1 nomination (1 Gold)
The Fighter 3 nominations (1 Silver)
For Colored Girls 3 (1 Silver)
The Ghost Writer 7 nominations (2 Golds, 3 Silvers)
Greenberg 1 nomination
Green Zone 1 nomination
Harry Potter & the Deathly Hallows 2 nominations
Inception 4 nominations (1 Silver)
The Kids Are All Right 10 nominations (4 Golds, 1 Silvers)
The King’s Speech 9 nominations (1 Silver)
Let Me In 2 nominations
Mother & Child 2 nominations
Nanny McPhee & the Big Bang 1 nomination
Never Let Me Go 2 nominations
Nowhere Boy 2 nominations (1 Silver)
Rabbit Hole 11 nominations (5 Golds, 1 Silvers)
Robin Hood 1 nomination
The Runaways 1 nomination (1 Gold)
Scott Pilgrim vs the World 9 nominations (1 Gold, 2 Silvers)
Shutter Island 7 nominations (3 Golds, 3 Silvers)
The Social Network 13 nominations (4 Gold, 1 Silver)
Somewhere 2 nominations
Tangled 1 nomination
True Grit 1 nomination
           

There, free at last – I am – my 25 favourite films of 2010. What do you think of my ragtag collection of picks? Snap decisions: how was 2010 in film for you?

Encore Awards: Memorable Scenes (Part Two)

It’s so hard choosing “best” scenes, or even “favourite” scenes. There are some films that are great, but unfold so organically it’s difficult to cite a single scene as “best”. Last year, I noted that my favourite scene of the year came from An Education, which happened to be my favourite film of the year (COMPLETE LIST). Even though I’d say last year had more to offer in overall film quality, this year seemed to have the more obvious showings of good scenes. So, my top ten goes like this (the 15 finalists HERE)

 

(click on the photos for reviews)

     

THE NOMINEES

Agora (Destroying the Library)

There are those rare moments where Amenabar seems to lose sight of his general objectivity, but at the height of its success Agora really is an objective attempt at the historical epic. The destruction of the library emerges as the centrepiece for the film in more ways than one. On the technical aspect, the scope of it is peerless. The production design, visual effects and cinematography are all essential in establishing that pandemonium as Hypatia and her lot make their attempts to salvage the “important” works. Then, there are the smaller thematic arcs – like the parting of ways between Davus and Hypatia. It’s the solitary moment where Weisz’s Hypatia is not calm, elucidating just how much she feels for knowledge. It’s a perfect coalescing of technical and emotional aspects and easily Amenabar’s strongest portion of Agora.

The Kids Are All Right (familial dinner So Blue)

One of my sisters said, of this scene, that it’s so good because each of the five actors is doing some of their best acting – and it’s true. It’s Annette’s scene, yes, but it’s not hers alone. From the onset of Nic’s attempts to be chummy with Paul, you already get the feeling that he’s a bit uncertain of himself and Huthcerson and Wasikowska’s facial responses to the opening of “Blue” is perfectly played. And, then, there’s Julianne – so guilty, and so vulnerable. The thing, it’s not just the acting (and writing) though – editor Jeffrey Werner and Cholodenko know just when to cut the shots and it all leads into Nic’s discovery of the hair. Everything works just brilliantly.

Let Me In (Killing The Police)

From the moment that Elias Coteas’s policeman raps on the door in Let Me In, with Owen inside you know that things are going to go awry. Reeves is a master of atmosphere, which is his most significant calling card in making the tension so palpable in Let Me In and the entire ensuing scene works because of the richness of the atmosphere. That doesn’t lessen the profundity of Kodi-Smit McPhee’s work, though. It’s his strongest scenes, and although it’s mostly a reactionary one he’s excellent. He has the difficult task of portraying that sort of bathos you’d expect from a child in this situation, and his aghast response to the Police’s death is one of genuine fear and sadness, and it’s all aided by Giacchino’s fine score.

Scott Pilgrim vs the World (the battle)

Is it possible to resist the epic brilliance of that final battle in Scott Pilgrim vs the World? It’s the climax of the film, the one those videogame geeks (the film’s ostensible target audience) would have been waiting for, that scene that’s unashamedly indicative of its roots and you sort of get the feeling that Wright, too, can’t wait for this moment to toss out all his tricks. And, usually, you’d think that tricks don’t necessitate goodness, but it’s all part of the atypical way of Scott Pilgrim vs the World – the tricks are an essential part of it. Watching how Scott approaches the single situation (before and after) and seeing how his approaches lead to the domino effect of reactions from the characters is fine example of Wright ensuring that his moral themes hit home without being maudlin. Perfect.

Shutter Island (revelation)

I still maintain that Shutter Island would have been a much better film (albeit an unsatisfactory adaptation of the novel) if it ended here. Even if you’re not aware of what is going to happen, you know that the film is building up to a specific moment – this being it, and everything good about Scorsese and DiCaprio (as far as Shutter Island is concerned) occurs here. The atmosphere is potent, but not overwrought and Michelle Williams so just excellent opposite DiCaprio here. It’s a true credit to DiCaprio that he manages to make this moment play out without undermining the necessary emotional connection.

            

FINALISTS

The Kids Are All Right (Meeting Paul)

Then there’s our first meeting with that “awesome sperm donor”. Me and my mind can’t help going to dirty places when they start in on their tongue story (but they’re begging for it) and like everything in The Kids Are All Right we’re being prepared for every major plot point. Joni and her latent resentment of Nick, Paul and Jules potential bonding the vague discomfort of everyone – especially Paul. It’s one of the reasons I singled this out as the best ensemble, they’re always playing off each other – and so excellently, too.

The Social Network ("Lawyer up, asshole!")

Because The Social Network is so inextricably linked with the personality of its protagonist – ostensibly cold, vaguely mysterious, sometimes confusing – it’s essential that Garfield’s Eduardo is there to offer a semblance of balance. That’s why, despite the fact that Eisenberg is the film’s best actor, the film’s strongest scene (in my eyes) depends on Garfield just as much – more, perhaps. The way that The Social Network is written ensures that it’s all building up to that scene where Eduardo and Mark part ways, and you can’t fault Sorkin for pithy dialogue – it’s required here. There’s something great about that “lawyer up, asshole” line that’s all sorts of awesome.

SEMI-FINALISTS

Animal Kingdom (Craig's Death)

It’s not that Animal Kingdom is lacking in a wealth of strong scenes featuring the entire ensemble (both meetings in the café, for example) but when I think of the strongest moments in the film I can’t help but return to a moment that should play as just the slightest bit superfluous, but never fails to rouse my attention – Craig’s death. It’s possible that it’s because Stapleton gives my favourite performance of the film that makes me even more appreciative of this scene, but everything leading up to it – Craig’s argument with his friend, his growing paranoia and then the threatening advance of the police is proof not only of Stapleton’s performance but Michôd’s fine direction.

The Fighter (Charlene's Fight)

I find it hilarious that my favourite fight scene in The Fighter has little to do – directly – with Micky’s boxing career: Charlene vs the Seven Sisters from hell. The scene really begins at Alice’s home as she and her daughters prepare to wreak havoc on Charlene for derailing their plans with Micky. From the moment they get into that beat-up car you know that what’s imminent will be marked by that deliberate dry humour looming over some of the strongest moments of the film. Amy, so very fearless here, is brilliant as her Charlene clashes with the sisters. Russell is so smart, though, and he knows that the scene holds more importance than just the hilarity to be gotten from the hillbilly antics.

Rabbit Hole (Bowling Alley Birthday)

Even though Nicole, easily, gets best-in-show citations in Rabbit Hole, I still like to think of its ensemble as the heart of the drama – which makes that bowling-alley birthday of Izzie such a perfect scene to encapsulate all that I love about the movie. Teller and Oh (both good) don’t show up here, it’s all about the actual family. Blanchard, forever on the sidelines with her subtleties, is so good when she reacts to the gifts and Becca watching Izzie respond is a good example of Nicole being completely in tune with her character’s inclinations. I love that blink-and-you’ll-miss-it bit of conversation that Howie and Nat have (I wonder what their relationship is like) and of course that final blow-up between mother and daughter. Wiest and Kidman are so wonderful opposite each other.

           

Do any of these scenes strike you as a perfect symbol of the goodness (or lack thereof) of cinema in 2010

Encore Awards: Visual Categories; Part Two (Visual Effects, Cinematography, Editing)

The final round of technical nominations (part one)....here's what impressed me in 2010.
(click on photos for reviews)
      

VISUAL EFFECTS

THE NOMINEES

Black Swan

In some ways Aronofksy’s latest reminds me of Avatar, although I was more fond of Cameron’s piece they both are analogous in the fact that they depend on the visual elements and not so much their stories (which aren’t necessarily subpar, just not as key as the optical). Visually, Black Swan is a perfect amalgamation of all things visual and the effects here coalesce beautifully with the cinematography and editing. Sometimes Aronofsky gets the urge to go a bit too pulpy (not always serving the story), but overall it’s a visual triumph. 

         

          

Harry Potter & the Deathly Hallows

 

As dissatisfied as I was with some major elements of the latest instalment of Harry Potter, I was impressed with the visual work. Like Black Swan, the work here underscores the reality that best visual effects is not synonymous with most visual effects and though there are a number of holes to poke in the story, visually this instalment is as thrilling as any.

   
 

           

Inception

Visually, it avoids the most blatant of tricks you’d expect and oftentimes the visuals end up aiding the film where the story fails (the flashbacks scenes with Mal, for example – understated, but jarring). Obviously, the more obvious moments are fine – but the ability to tone down is what makes me most impressed with the work here.

        

        

        

Scott Pilgrim vs the World

I’d cry anarchy at the Academy’s ignoring of Scott Pilgrim vs the World in this category – but no members of the Academy are listening so I’ll refrain from indulging in yet another tirade, for the umpteenth time. Visuals are so essential to this story sometimes it seems as if the story is the visual or the visuals are the story – it’s all the same, really. It’s all impeccably interwoven, not subtle (it can’t afford to be) but fitting.

         

Shutter Island

It’s evidence again of the technical work here being brilliant. The story can be impossibly obviously at times so the visuals don’t overdo. The atmosphere created is palpable and thick, it really is the sort of “visual” film that defines cinema at its most visceral and the way it so seamlessly coalesces with the photography makes me even more impressed.

    

FINALISTS: Agora is so intent on merging all its technical achievements (photography ties in with art direction which is established in the visuals) – the scope of the city created is almost peerless and though it doesn’t use CGI to much effect that doesn’t mean it’s any less visual; Let Me In; Nanny McPhee & the Big Bang come off as synthetic and very “magicky” – but in the realm of all that’s fantastical you sort of get that that’s necessary

         

SEMI-FINALIST: the visuals in Alice in Wonderland are loud and they’re obvious, but sometimes they’re not always serving the story. I don’t really grudge its Oscar nomination, though. Because, as officious as it is on occasion (oftentimes) there’s a meticulousness to its creation that’s laudable.

     

CINEMATOGRAPHY

THE NOMINEES

Agora (Xavi Giménez)

 

The scene that comes to mind immediately, is of course the storming of the temple. It’s absolute chaos and it’s photographed so intimately, just as Davus’ Christian epiphany is framed well. True, it’s a get a bit too obvious when the camera rises to view the world from a distance and there’s just that tinge of beautifully shots for the sake of beautiful shots – but I’ll forgive those occasional extraneous bits.

   

Black Swan (Matthew Libatique)

Regardless of the missteps Aronofsky may make I cannot deny the adeptness of the photography. Sometimes you get the feeling that he’s showing off on us, but the fact that he always manages to serve the story prevents me from holding any sort of grudge. In the same way that Agora and its orchestrated stampedes demand astute photography, the dance sequences require the same and we are not robbed of that tenet.

         

The King’s Speech (Danny Cohen)

I’m still nonplussed as to why its Oscar citation here has caused such a ruckus since it’s still the first technical achievement that jumped out at me (score, costume and art direction included). It’s all part of the entire film’s manner of being paradoxically modern and traditional – simultaneously. The photography is an essential part of its entire philosophy and though sometimes it emerges as just a little too purposeful I’m wary of calling it a fault.

              

                       

              

Rabbit Hole (Frank G. DeMarco)

Like many contemporary films, the camerawork is largely ignored but framing is of exceptional importance here. The revelation of the accident, Howie’s seduction bolstered by Barry White, that beautiful ending – all those pay heavy dues to the cinematography which is always subtle, always understated and lets the screenplay do its job. Proof that obvious garishness is not always the key to good photography. 

                  

                        

            

          

Shutter Island (Dante Feretti)

A bit like an obvious choice, no? Lord knows why it’s been virtually ignored. Even if DiCaprio has been playing in this register for a while, and even if the story is a bit pulpy that opening shot defines it all and it gets better from there. Sure, it’s not as subtle as the sets but – well – that’s the point. And extra points for every scene with Michelle Williams, just beautiful to watch

         

            

            

           

FINALISTS: I don’t know how many times I have (or how many more times I will) call The Ghost Writer sleek, but goddamn the photography is brilliant; Never Let Me Go is photographed so lushly – it’s even more purposeful than The King’s Speech (sometimes annoyingly so) but it’s essential for Romanek’s attempts in condensing the storyline into such a short running time; in all my appreciation for it I won’t be disingenuous enough to call Somewhere a technical marvel but photography is essential in developing that beautiful listlessness of the rich and famous; The Social Network

         

SEMI-FINALISTS: Animal Kingdom; Harry Potter & the Deathly Hallows; True Grit; Ondine

  

FILM EDITING

THE NOMINEES

Animal Kingdom (Luke Doolan)

 

One of the things I noted in my review was just how seamless everything in Animal Kingdom. There’s a gentle irony about the camerawork here, it’s so flawless that you can’t help but applaud it but in its flawlessness there’s a fluidity that might be easy to ignore – which is a shame.

        

        
        

            

The Ghost Writer (Tariq Anwar)

The editing does seem a little lustrous – but everything about The Ghost Writer seems to evoke that feeling of a sophisticated sheen. Polanski loves depending on the technical aspects and it’s the editing that is his biggest calling card in keeping the tone in The Ghost Writer that makes it such a top-notch exercise in thrills.

          

          

               

The Kids Are All Right (Jeffrey Werner)

 

I can’t say I’m surprised this one has gone unnoticed, but even more than Cholodenko’s direction and screenplay the editing in this film is a fabulous example of camerawork enhancing a film. I don’t know if it’s alacrity in trade, or just pure luck but Werner knows just when to cut to what and how to do it. He manages to capture those precise expressions just before they sour – that scene where Nic at the final dinner at Paul’s? The sort of editing that’ll never be recognised by the awards, but screw them. 

                      

Rabbit Hole (Joe Klotz)

Because Rabbit Hole depends so much on the transference of emotion and because there are only ninety minutes to play with the editing is especially important. Its montages don’t unfold as obvious cinematic tricks, and like the film there’s an easiness to it all that is – unfortunately – easy to ignore. When you think of guiding the pace of the story, and of giving emphasis, though – Klotz’s work is palpably good. 

            

             

      

The Social Network (Angus Wall, Kirk Baxter)

It seems a bit ADD, just like its protagonist and that’s probably the point. The deposition scenes are such an obvious example of him getting a brilliant playing ground and he milks it for all it’s worth getting those precise shots, cuts that supplement Sorkin’s rapid screenplay. Sometimes his choices seem weird, but that’s because there’s SO much going on in this one, watch it multiple and you begin to realise just how seamless the scenes flow into each other.

           

       

FINALISTS: Agora; The King’s Speech; Let Me In; Scott Pilgrim vs the World

SEMI-FINALISTS: The Fighter; Somewhere

         

Photography, visuals, editing....what were your champions in 2010?

Encore Awards: Writing

And on to the writing accolades...

ORIGINAL SCREENPLAY

NOMINEES

Animal Kingdom (David Michôd)

This is sort of like an ideal movie in that it really does begin with the screenplay, even though the writing never becomes an overpowering crutch. In fact, like so many of the achievements of Animal Kingdom it might be easy to miss just how great the screenplay is – or essential. The memorable characters are not as much about the brilliant performances as they are about the cohesiveness of plot and development coming from Michôd.
          
                       

Greenberg (Noah Baumbach)

Each authorial decision Baumbach makes, here, serve as palpable evidence of his interest in ensuring that his story moves forward. This is a difficult story to work with without making it too terse or stark and his interest in character (not just the main ones, or even the ones we see) is a significant reason as to why Greenberg ends up being a success – and such a good opportunity for the actors.

           

The Kids Are All Right (Stuart Blumberg and Lisa Choledenko)

There’s an almost self-effacing easiness with which The Kids Are All Right unfolds, and the screenplay is an important part of that. Blumberg and Choledenko are both intent on keeping the narrative as uncluttered as possible, sometimes complex but never complicated and though it unfolds in simple spurts it’s never simplistic. When it comes to the scope of it all the screenplay is at the head.

         

The King’s Speech (David Seidler)

I praised Seidler’s decisions in my original review, and after a second viewing I’m still impressed. Like The Kids Are All Right there’s a simple nature to the way the story unfolds which is never simplistic. This is the type of film where the characters often talk too much – and for too long, but even though The King’s Speech depends on its screenplay it’s not dialogue driven. True, dialogue driven writing works for some but Seidler  realises that it won’t here and instead goes for a naturalness that’s impressive.

Somewhere (Sofia Coppola)

Coppola seems much more aware and comfortable with the characters she carving than I’ve ever seen her. It’s not exactly minimalist (although it is low-key) and there’s nary a false moment as she gives us an almost voyeuristic look into this man’s life. The chance that the editing and photography team get to work with those smooth transitions depends on the organic development of plot here – courtesy of Coppola’s screenplay.

  

FINALIST: I sort of hate leaving Agora off the list, and it is a historical drama – not history, and sure there’s something vaguely humorous about crediting Hypatia with so much – but ignoring historical inaccuracies (which are neither here nor there, to be honest) Amenabar’s ability to turn even the most abstract of scientific principles into potentially riveting plotpoints is damned impressive; though I cannot wholeheartedly surrender my love to Blue Valentine it’s screenplay is a treasure worthy of effusive praise, not only for its obvious gutsiness but for the consistency of development which could have been easily waylaid for theatrics; Hamilton’s writing in Night Catches Us in beautifully devoid of agenda or pretentiousness – she’s more interested in her characters than any of those which is why the film manages to be as consistent despite a few issues.

      

SEMI-FINALISTS: Easy A is not as fresh as some of its biggest champions might say, but it’s aware of that and finds comfort in its comedy ancestors; in its final instalment Toy Story III manages to retain its charm and comedy all the while ensuring it delivers on the emotional poignancy necessary for the departure; The Fighter owes its accolades more to the direction than the writing, but at its strongest moments the focus on family ties and relationships is stunning if exasperating in the fact that there’s an even more excellent movie hidden underneath the very good one we get.

ADAPTED SCREENPLAY

THE NOMINEES

The Ghost Writer (Roman Polanski and Robert Harris)

There’s sort of an irony as to Polanski’s writing and his direction – but he knows what he’s doing. He opts for a literal thriller-ish nature to his direction which means that the screenplay must be the opposite, and it is. It’s constantly subtly, and almost always unassuming despite its intelligence. That ends up being the quality that serves it best when it comes to that final dénouement where everything unravels so beautifully.

Let Me In (Matt Reeves)

On the most obvious it is not the screenplay that’s responsible for all the cool things going on in Let Me In, and yet what Reeves creates on the page is necessary. It’s probably one of the barer screenplays of the year as it is – ideally – a bit of paradigm for the film itself and in that light the meticulousness of the entire exercise is commendable. I wouldn’t necessarily agree that less is more, but it’s an asset here.

Rabbit Hole (David Lindsay-Abaire)

It’s seamlessly adapted from the play it emerges as, perhaps, the most significant facet of this already well made film. Nicholas mentions in his review how we’re eased into every important situation, and that’s something important which can’t be overstressed. He’s careful to maintain a realness to the situation while managing to ensure that everything that happens has some reaction that maintains the realism and takes the story forward.

Scott Pilgrim vs the World (Edgar Wright and Michael Bacall)

 
Scott Pilgrim vs the World has such a strident way to it so that it’s a bit difficult to single out a specific entity as its champion and in that light I’m unsure that I would champion its screenplay – and yet Wright’s adaptation is a significant as to why Scott Pilgrim manages to survive the journey from comic book to cinematic entity. It manages to be socially conscious without overemphasis on pop-culture fanaticism and it’s youthful without being pretentious. And, of course, it’s consistently hilarious – even when it succeeds with those singular moments of poignancy.

      

The Social Network (Aaron Sorkin)

His droll dialogue, incidentally, ends up becoming a detriment to the praise he deserves since he’s doing more here than just providing witty lines. He fools you into thinking that he’s doing something especially newfangled on his own, when he’s just using old paradigms to create something classic and fresh at the same time. He deserves credit for never making the deposition scenes come off as retrospective as they could have been and ensuring that they are the foundation of the screenplay without making becoming pretentious.

FINALIST: How to Train Your Dragon is a whole lot of fun, but more than its hilarity it deserves credit for constantly ignoring the easier tricks and hooks that come with the territory and deciding to keep the best interest of its story – and characters – at the heart of it.

SEMI-FINALISTS: Winter's Bone, True Grit

         
Which screenplays impressed you most this past year?

Encore Awards: Memorable Scenes (Part One)

I’ll soon get around to giving my nominees for best scene of the year – but it’s such a capricious task choosing the best in this category, so I had to make a list of also-rans that impressed me this past decade. Choosing favourite is a difficult thing, sometimes they don’t occur in your favourite movies and sometimes the weirdest moments in a film might impress me. It’s all really quite subjective, but before I get to the top ten finalists – here are fifteen great scenes that didn’t make it to the top of the list.

            

(I already compiled a list of best endings and best beginnings of 2010, so none of the scenes that appear here are from the bookends of their films. click on the links for reviews, where available)

THE SEMI-FINALISTS

Alice in Wonderland

Now that I think of it, it probably suggests inanity on my part to have Alice in Wonderland a list talking about best scenes and not have other much fêted films here. Nonetheless, my favourite scene in Burton’s latest is one that I’ve spoken of before. It’s notable for Helena Bonham Carter’s delicious macabre ways as she introduces Slade to her new protégé – Um. It’s a classic case of meaning being lost in translation, and for all its silliness it has a light funniness to it which other portions of the film could do with – and because Helena Bonham Carter is so brilliant, that makes this scene just a little bit more special.

Black Swan

My favourite moment for Natalie in Black Swan is that emotional phone call she makes to her mother early in the film, but it’s not the part of the film that stands out for me. As much as I was troubled by the potential nomination for Mila Kunis, Portman responds well to her in the film – even if incidentally. That moment where Nina begins to transform, as she returns home in fervour and her mother is so discomfited asking – “Where’s my sweet girl?”, and Nina responds, “She’s gone.” It seems to be a moment of Aronofsky doing too much, but it works. Hershey is Portman’s best scene partner, and for all of its obviousness that scenes work brilliantly.

Blue Valentine

 

The way that Blue Valentine is created it thrives on an undulating plot that’s not the typical rise and fall as we see one harrowing moment after another. In that way it’s difficult to single out actual scenes, but it’s hard not to be impressed by the confrontation that occurs when Dean visits Cindy at the hospital. It’s uncomfortable to watch these two people who’ve grown so far apart – both of them frustrated with their situations. And, Cianfrance never adjudges blame to either party so as they argue in that glass room we’re left watching the train wreck occur with empathy for both parties.

Easy A

There are a number of moments in Easy A that hit just the right note, and I’m immediately moved to consider any scene where Stanley Tucci, Patricia Clarkson or Lisa Kudrow appear on screen. However, at the end of the day Easy A is about a star being born (i.e. Emma Stone) and it makes sense that the most lucid moment of comedy occurs because of her. That fateful party where she and her gay best friend get it on emerges as one of the funniest scenes of the year. Stone works wonderfully with Dan Byrd (so good in Cougar Town) and though the moment in itself is not refreshingly innovative it’s a perfect encapsulation of Easy A building itself on old comedic paradigms and achieving something good.

The Fighter

I think of The Fighter as the ensemble film that wasn’t. The ensemble work well together, but not as good as they could if they had more time to actually work together. So, that moment in the living room where we get all the important players – Alice, George, Micky, Dicky, the sisters – to discuss Micky’s future succeeds on so many levels. For me, Melissa Leo doesn’t exactly thrive in this register (though her “MTV Girl” line is funny). The scene is all Amy for me, but even more than anyone taking credit for being the best it’s brilliant watching them all play off each other – these are the scenes where Russell’s direction is most impressive.

For Colored Girls

 For Colored Girls tends to be so episodic at times I balk at the idea of choosing individual scenes to fête since everyone is trying hard. When it comes to delivery of the monologues, Loretta Devine with the striking musicality in her voice wins but the most arresting for me (including that harrowing death scene) occurs as the last act begins. Whoopi suffers a bit from a very stilted character, but I do think that her scenes with Thandie Newton (best in show) are brilliant and that moment where the two women meet to deliver their pieces – almost in counterpoint – is excellently done. Potently, theatrical and it’s the moment that best elucidates my belief that For Colored Girls is a musical film with lyrics and no melodies. The contrast between the two women is beautiful to watch, as is the scene itself.

Inception

I will continue to applaud Nolan’s vision in Inception even if I don’t really care for it, and on a technical level there a number of scenes to pick from. The thing is, even though Cotillard is playing Mal as memories of Cobb she’s still the one serving up the most significant emotional quotient, and that scene of hers as she loses control of the life she’s living – and ends it – remains as the strongest moment of the narrative. Emotional context is still not his strongpoint, but everything combines in that moment to make some beautiful and terrible to watch – and Marion Cotillard is remarkable, no?

The Ghost Writer

I tend to be indecisive when considering if I perform Olivia Williams or Kim Cattrall in The Ghost Writer (the former is the only one being seriously, fêted). Still, even if I’m uncertain as to whom I prefer it’s difficult to deny the ability Williams has to hold ones attention. Every moment where she and McGregor take up the screen seem to be the film at its highest, but that specific conversation the two have by the fireplace. It seems so incidental, though Williams is carving her character long before we even know it’s necessary. And Polanski (beautifully lacking in any sort of pretentiousness directs it so subtly). It all adds to the greatness of The Ghost Writer.

The Kids Are All Right

Choledenko and Blumberg are never afraid to approach the obvious in their attempts to make The Kids Are All Right comedic and though the moment might seem banal I can’t resist that conversation where Jules and Nic confront Laser about his sexuality. There are a number of things I find significant about this scene – the most obvious of which is the fact that Moms are on completely different wavelengths to their children and of course Jules’ explanation of internal and external realisations of sexuality is a perfect setup for her liaison with Paul. And of course, everyone is acting so well. Julianne, so authentic in her laidback persona without ever being clichéd, Annette so ready to underscore her resentment for Clay and Hutcherson (this is probably his best scene) – confused and then affronted. I love his line reading of, “You thought I was gay?” And then the responses – “No! Of course not.” Hilarious.

The King’s Speech

It’s the oddest thing, The King’s Speech doesn’t seem like the type of film that’d improve on repeat viewings – but it is. There’s that specific scene when Lionel and Bertie end up having their inevitable spat and he turns up with the Queen in tow at Bertie’s house for an important lesson. There’s so much going on there that I appreciate. On the obvious of levels, it’s the perfect encapsulation of the relationship between the two men being the mainstay of the film and then there’s Bonham Carter’s perfectly played Queen who I end up gleaning so much from on repeat viewings. She’s no Constance Trentham when it comes to snobbery, but she’s never quite at ease in the colonial house and her meeting with Mrs. Logue is a perfect example of such, regardless of her inhibitions, though. She’s always the diplomat. It’s the sort of delicate humouring decorating (but not necessarily shrouding) more sensitive issues.

The King’s Speech

I’ll always bear just the slightest grudge against The King’s Speech for not having enough of Helena Bonham Carter in it, I still prefer the idea of his marriage to his friendship with Logue – but I digress. The mystery of that marriage, though, is never really addressed in the film. Seiberg, however, does a fine job of slipping a nice bit when Firth’s Bertie is at his lowest point. Helena has always struck me as the type of actor who works best when playing against someone else and her chemistry with Firth is palpable. The King’s Speech is so diverting in its lightness that the profundity of the title of King sort of sneaks up on you a bit so that when Bertie himself is faced with all the pressure it’s difficult not to be moved by him – and by the Queen’s coy way of deflecting it.

Mother & Child

In its way Mother & Child is made up of very good moments, and very bad ones. Choosing one is a difficult, and Naomi’s elevator scene and Annette’s breakdown come to mind – but they all seem too slight for inclusion which makes me return to that first scene where Lucy and her husband meet the mother of their child to be. Epps seems unnecessarily harsh sometimes in her characterisation – but it’s a nice moment watching Washington’s Lucy deal with the dilemma of being interviewed for a child she wants so terribly. It’s one of the strongest points of her performance, and one of the film’s most eloquent.

Rabbit Hole

 

Dividing Rabbit Hole into scenes is difficult because Lindsay-Abaire is going for an effortless transition from scene to scene. There are two Dianne Wiest scenes that emerge as brilliant – and the chemistry between her and Kidman is well done. The moment where she tells Becca about dealing with grief is beautifully done, but it’s the lighter moment where she tells her about her friend Mrs. Bailey that I always return to. Remember: Wiest is a notable comedienne – all her three Oscar nominations infer as much. It’s a monologue of sorts, and it’s her moment and it’s one of the ways that Rabbit Hole balances drama with humour so adeptly. The writing, Mitchell’s understated direction, Kidman’s reaction and Wiest’s perfect comedic timing all coalesce for a great moment.

Scott Pilgrim vs the World

I’ll admit, that for the first half of Scott Pilgrim vs the World my favourite parts are those with the ensemble – where Cera just blends in, but that first big party where we first meet Ramona succeeds because Cera is doing such good work here. Webber, Plaza, Pill all surround him but it’s Wright’s direction and that oafish charm of Cera that sells it – and that first meeting with Winstead – “Am I dreaming?” is a perfect example of the glorious ridiculousness of Scott Pilgrim vs the World.

The Social Network

With its root being the friendship ties between Eduardo and Mark that entire sequence where Zuckerberg’s lawyers uncover Eduardo’s “animal cruelty” is brilliantly played. It’s my favourite moment for Garfield, and it begins perfectly in the board room. Everyone is playing well – Rashida Jones is being her usual winsome self, and the actors playing the lawyers are on point and Fincher is shifting between periods so astutely all backed by Sorkin’s dialogue. And of course there’s that cinch where Eduardo reveals Mark cheating for his final exam, “Oops” – perfect.

            

I’ll return with my top ten favourite scenes some later in the week, but for now – which of these fifteen impress you most?