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: Actresses

I’m a bit unexcited about the showing of actresses this year, which is weird because I’m willing to admit that collectively it’s been quite a good year. Communally there’s a wealth of performances in comparison to last year when my top 5 (Mulligan, Cornish, Pfeiffer, Ronan, Wright Penn) was easily decided. I don’t know if, perhaps, the ensemble nature of the films this year accounts for an effusive lack of enthusiasm, even though I’m fond of each member of the top 5. And even the Oscar nominees are collectively good, easily one of the better line-ups in recent memories. Ah well, let’s see what I chose.

     

THE NOMINEES

Annette Bening in The Kids Are All Right (as Nic)

& Annette Bening in Mother & Child (as Karen)

The term banner year seems so splotchy, implicitly suggesting that all previous years hold little worth – but it’s been a banner year for Bening for me. I sort of thought her one-two punch in 2006 (Running With Scissors, Mrs. Harris) was unbeatable but watching her play Karen and Nic almost like extensions of the same person – but then at times completely opposite makes me even more impressed by her talent. It seems like way too much of a disservice to Bening’s talent to lump Nic – or Karen – together with all the strong women she’s played (Julia, Deidre, Carolyn). Their strength doesn’t make them identical, and it’s strange – both women have trouble being emotive, but Annette decides to establish them by decidedly different character tics. Karen develops in uneven bursts goaded by her insecurities whereas Nic’s security becomes her crutch as she finds that it’s not as impenetrable as it seems. Even the manner in which they break is not identical, Karen for all her faux-coldness yearns for the ability to be completely emotive and when she cries it’s with complete surrender. Nic is uncomfortable with that loss of control, and even her tears exist as a sort of reluctant emotion. True, I do prefer her work as Nic (if only because the character is so much richer), but it’s a double helping of brilliance that I think is laudable. (Highlight: “So Blue” and Breakdown with Sofia)

Nicole Kidman in Rabbit Hole (as Becca)

I’ve always thought of Nicole in the same way that I think of Cate Blanchett – actors most discernable because of the emotion they put into their voice, but Becca is significant not because of the line readings but because of all the expressions that she has. She reacts to everything that happens on screen – her eye-rolls, her steely gazes, her silent scoffs – she’s never “off” and Nicole never loses sight of that always reacting, however subtly, to everything occurring around her. It’s difficult to play favourites and hold up someone as her best scene partner – she’s so go$od with them all. The understated tension opposite Aaron, the filial spats with Tammy, the brilliant chemistry with Wiest and her tentativeness opposite Teller is lovely to watch. She gives as much as she gets and though her career is so littered with goodies I can’t decide if it’s my favourite or not, its goodness is undeniable. (Highlight: Bowling Alley Birthday)

Julianne Moore in The Kids Are All Right (as Jules)

Every actor has precepts that work for them, and though Jules is nowhere near as morose as the prototypical Jules character her constant interest in pronounced facial expressions is the ultimate reason why I’m so impressed with her here. I hate judging her against Annette since the performances are ultimately so symbiotic and sometimes even in tandem with the other. They play well off each other, but more than Annette Julianne plays well off actual scenes. Because Nic is so controlled Annette isn’t always given the opportunity to respond immediately (facially) to situations – so Julianne must, and that sort of naked physicality is something she delivers with and because Jules and Nic are so affected by each other these expressions are most pronounced when Nic is at the forefront of the scene. Thus, when she’s actually presented with the opportunity to “lead” a scene – her twitchiness is manifested, it’s not necessarily a twitchiness borne of being discomfited but one of being disaccustomed. (Highlight: “Marriage is hard.”)

Rachel Weisz in Agora (as Hypatia)

The role of Hypatia seems to be the sort of exemplary woman that seems perfect for Rachel Weisz. Weisz plays Hypatia with a consistent disregard for her personal appearance, as beautiful as she is – and there’s that subtle hint that perhaps that plays a role in her power over everyone – she never plays Hypatia as a “beautiful” woman. Moreover, she brings that sort of resonance to the dialogue where you’re moved to think that her every word is something seismic. Amenabar is fortunate that she plays the role so effectively, because it’s her devotion to the character that allows (with the slightest of physical inclinations) us to believe that things like ellipses are capable of being as astonishing as Hypatia believes. (Highlight: sketchy...each time she speaks, perhaps?)

FINALISTS: Halle Berry is tasked with a conventionally baity role of three persons in one in Frankie & Alice but at her best she’s always able to bring the right touch of compassion to her work that’s put to good use here; Patricia Clarkson is luminous in Cairo Time balancing Juliet's vague dissatisfaction with life against the wealth of experiences she experiences on holiday and always – ALWAYS – so entrancing even with the slightest of movements; Kerry Washington is all aglimmer (is that even a word?) in Night Catches Us. I’ve rarely seen her so mature, and it’s the sort of role that while fitting her perfectly isn’t too deliberate in its; Michelle Williams dives into the difficult persona she plays in Blue Valentine – ensuring that the tenets that comprise her character do not become murky as she develops, and moreover ascertaining that even when we don’t understand the “why” we understand the “how”.

     

SEMI-FINALISTS: the way that Kirsten Dunst lights up the screen whenever she appears in All Good Things make me even sadder about her absence from the screen. It’s more than her doing the best work in the film, her constant attention to detail with a character that’s quite vague is admirable; Dakota Fanning has always seemed much too mannered for me to take her seriously, but in The Runaways despite her occasional off-putting tics she’s so resolute in carving Cherry’s inclinations that she manages to give the best performance of her career – thus far; Greta Gerwig’s congenial way in Greenberg might be easy to ignore, which is unfortunate because she has a more difficult task than Stiller. She’s playing this affable woman who’s difficult to understand but not at all mysterious – even if her inclinations seem ridiculous and she does it all with aplomb and that cheery winsome nature to her that’s irresistible; Jennifer Lawrence must carry the entirety of Winter’s Bone, and Granik is lucky enough that she’s able to take that kind of weight on her shoulders , she's good at playing the tough as nails country girl, but she's just as capable of establishing the girlish innocence in Ree, too which is the real treat; there are some times when Carey Mulligan seems a little too literal in Never Let Me Go, though that’s as much the fault of the film itself. When the film is at its weakest in that final act, though, she provides the stability realising how important it is that the audience identifies with Cathy managing to produce a seemingly full character in the wake of what really is just nothingness; I’ll probably always prefer Natalie Portman in small doses, or better yet in specific modes. I’m still wowed by that phone call she makes to her mother Black Swan even if she impresses, but doesn’t wow me in other scenes. Most importantly, though, she’s thoroughly aware of how essential her inflections are to the plot and delivers on that even if I’m not completely sold on it at all times.

                   

Which leading lady ruled the year for you?

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: Auspicious Cinema

I’ll get around to listing my official list of favourite films some time soon, but I was thinking recently – and for some months now – how treacherous the act of grading films can be at times. No, this is not that long-awaited article explaining my sometimes strange grades, but it’s something that occurred to me most notably when Nicholas (one of my writing idols) made this note on his website. Sometimes when I review a film that I don’t like, I’ll include an aside saying it’s a laudable effort. It’s not evidence of me being apologetic – sometimes films have importance beyond how good a film it is; and Nick’s words strike a chord when I look over the films that are my favourite– and the ones that aren’t.  Value, originality and risk is what he looks at and this list of films below  are those I consider to be propitious contributions to cinema. Not the films I remember most fondly (although, some turn up there) but the films that are important – those films that are worth your time, even if you don’t love them. (Come on; just check the dictionary to see what auspicious means.) If you will, this is the list of ten films that you shouldn’t have missed last year.

    

(click on the photos for reviews)

THE NOMINEES 

Agora (A-) Director: Alejandro Amenábar; originally written by Alejandro Amenábar and Mateo Gil, inspired by true events

Amenbar was interested in the idea of Hypatia, a feminist before her time – before feminists even. It’s more than plot that makes this a notable one, though. Amenbar and company recreate the world of the era through few special effects, but mostly from built-from-scratch production design. Perhaps I’m alone on this, but the persistent presence of objectivity in it is something to take note of. It’s not a sword and sandal epic of yore that has a specific agenda – sure it contorts historical facts to its advantages, but Agora is a bit like its heroine in being interested in examining all aspects of everything. And perhaps, that makes the transition from the first to the second half a bit splotchy – but it’s still laudable.

The Ghost Writer (B+) Director: Roman Polanski; adapted by Roman Polanski and Robert Harris from the novel The Ghost by Robert Harris

I feel a bit silly, because in my natural state of knowing nothing before I saw The Ghost Writer it wasn’t until the second attempt that I was able to glean the potential parallels between Tony Blair – and only after it was pointed out to me (I can be especially clueless about current affairs at times). Not that Polanski’s latest only has importance on that front only. What’s most noticeable about Polanski’s work here is how audacious his directing style still is. He’s still one of the most important cinematic entities alive, and he crafts a film about a man we have no idea about but keeps it finely tuned along with the excellent script. The Ghost Writer won’t top my list of favourite films, but the work put it into it marks it as the most prominent film of 2010 (including, but not relegated to its technical achievements).

             

Inception (B-/C+) Director: Chris Nolan; originally written by Christopher Nolan

I was not the biggest fan of Inception when it came out, and if anything my feelings have lessened but that doesn’t prevent me from admiring Nolan’s vision. No, my disliking Inception was not an example of me being deliberately subversive. Nolan is responsible for a significant portion of the actually story and he deserves credit for the scope of the film. I don’t think he succeeds as well as he might in the creation of completely lucid film, but Inception is the sort of achievement that’s important as a valid example of cinema moving forward – and getting more audacious. For that, I applaud him.

            

Scott Pilgrim vs the World (B+) Director: Edgar Wright; adapted by Edgar Wright and Mark Baccall from a graphic novel by Brian Lee O'Malley

There are a number of reasons that I’ve been miffed about the lukewarm reception Scott Pilgrim vs the World seems to have gotten this past year, and I’ll take solace in it becoming a potential cult classic. It’s not because I happen to like it, I might opine that this is probably the most significant comic to screen adaptation of the last decade. Strong words? Bear with me. Scott Pilgrim’s steadfast devotion to the things that define its generation (Nathan gives a thoughtful review on just that) AND its ability to satisfy the niche without making persons not in that niche audience balk is a significant asset that many films of the type don’t have. It seems as if it sets itself up for a box, but the overwhelming youthfulness of it all is not a crutch but one of its strong suits – one of many.

         

The Social Network (A) Director: David Fincher; adapted by Aaron Sorkin from the novel The Accidental Billionaires by Ben Mezrich and inspired by true events

To an extent I feel as if The Social Network is being celebrated for the wrong things. It doesn’t end up on my list because it reinvents the wheel, it’s here because Sorkin’s script wilily presents us with the most basic of human entities (friendship and jealousy) and Fincher, so astutely, takes up the mantle to helm the piece ensuring that it’s more than about Zuckerberg or facebook. I feel a bit lofty claiming that it’s some sort of social parable for civilisation today and to an extent it’s just a bit too serious for its own good. It’s possible that misrepresentation on this front has attracted claims of its misogynistic ways. In assessing The Social Network, though, it’s better to understand its importance through smaller lenses like human emotion than larger entities like internet addiction (not that human emotion is a “small” entity, but on a curve its less voluble – and more in tune with The Social Network’s inherently smaller – but  not necessarily lesser – standards).

             

FINALISTS: Fish Tank (C+) doesn’t thrill me half as much as it does most, but Arnold’s debut is still admirable. Narrative issues aside, she has a striking sense of interest in her protagonist that’s sorely lacking in many coming-of-age films. For Colored Girls (B-) is flawed, but it’s disingenuous not to note the superb attempts that Perry takes in adapting this VERY theatrical piece and trying to maintain that beating theatrical heart and reconciling it with the cinema. Howl (C+) is even more faulty than the former, and I sort of wish that Epstein would have had the guts to be a little less prosaic with how he paced the story – but, that aside, he does some original things with Ginsberg’s life and it makes me interested in seeing him tackling another biographical piece – he seems to have an unbridled enthusiasm for it. Night Catches Us (B/B-) is not a history lesson, and Hamilton is not interested in forwarding a cause shrouded in a pedestrian story. Sometimes she's too reticent for her own good, but the drama she creates is taut and gutsy and most importantly adeptly handled. And, Shutter Island (B) – this one is notable, in particular, for its technical achievements and Scorsese’s ability to utilise past genres while still managing to make the film his, despite that ending – which he can’t be blamed for.

          

SEMI-FINALISTS: The American; Blue Valentine; Greenberg; The Kids Are All Right

         

Do you get where I’m going here, or am I confusing? (Again, I say, read Nick’s post) Have you been in the same boat, a film worthy of your respect that you may not love? What’s the most IMPORTANT film of 2010 for you?

Encore Awards: Visual Categories; Part One (Makeup, Costume, Art Direction)

So, I'm on to what is so lovingly referred to as the the artistic side of the technical branch. I say lovingly because I love this branch. I'm like a child in that way, look pretty things, bright colours and I'm distracted. Shame on me.

(click on the photos for reviews) 

HAIR & MAKEUP

The BAFTA gives out their awards for achievement in hair & makeup, and I’m not sure if the AMPAS has the same rules because in theory, you’d think hair is an important aspect of film but from the nominees that AMPAS gives out you wouldn’t think so. Anyhow, my citations are for both.

THE NOMINEES

Black Swan (Marjorie Durand, Geordie Sheffer)

 

I could say that like the costumes – but to a lesser degree – I resent the artistic work in Black Swan for being so obvious with its dark versus light theme. Yes, I get it – that’s the overarching theme and all, but still. Nonetheless, I have much love for the hair and makeup here because it’s sort of fun in its histrionic way. I’d give them recognition just for what they do with Barbra Hershey, and as the film reaches its (tentative) resolution the work here becomes more and more important.

The Fighter (Johnny Villanueva, Donald Mowat)   

The amount of times my sister and I would make a comment about the voluble hair of the sisters made me know that I’d remember The Fighter here. Sure, the work on Leo and Bale is good and sure, the boxing injuries use makeup but it’s the hair and not the makeup that I remember most – from Leo’s blonde coiffeur to every single one of those sisters who you can identify by their hair. 

Nanny McPhee & the Big Bang (Peter King)

The citation here, in theory, would be for uglifying the luminous Emma Thompson (which is borderline crazy – because she’s so gorgeous and all), but it’s Ralph Fiennes I keep thinking of. He doesn’t quite look vile, but the work is astounding and then Rhys Ifans in his villainous madness (and Maggie’s hair – which makes me laugh, for reasons beyond my knowledge.) 

The Runaways (Robin Matthews, Terrie Velasquez)

This is probably the only film this year that pays as much attention to hair as the makeup, and with brilliant results. It’s a bit lucky, because it’s show business so they NEED the makeup and the hair and all that pizzazz and it’s used for all it’s worth (but never too much). As good as Kristin Stewart is, I want to give half of the accolades she gets to the makeup team. 

True Grit (Thomas Nellen, Kay Georgiou)

Is it me or do all Westerns look the same? And True Grit looks like a typical Western, and then it doesn’t. The goodness of the makeup takes some time to sink in because it’s not especially striking but the work on Damon and Brolin comes to mind as especially developed – even if you’d immediately think of Bridges as a candidate here. True, they don’t have that much hair to work with – but it’s all well done.

FINALISTS: I’m at once impressed and confused with the hair and makeup choices in Never Let Me Go. The wigs especially come across as immediately ridiculous (and not in the hillbilly way of The Fighter) and yet they sort of work. I’m still surprised at how technical aspects – makeup included – are not as obvious and jarring as you’d have expected them to be even if they’re weird; the patients seem like the most obvious candidates for makeup work in Shutter Island, but I’m most impressed by their ability to turn Michelle Williams into a femme fatale before she even has lines and making Patricia Clarkson just the right amount of creepy, it’s the sort of work that is not usually recognised – shame.

          

SEMI-FINALISTS: Burlesque; The King’s Speech; Let Me In; Night Catches Us

            

COSTUME DESIGN

THE NOMINEES

Agora (Gabriella Pescucci)          

The biggest compliment is that the costumes do seem to be designed with especial care for the characters and for my (untrained eye) it’s not anything boring like recent – failed – epics of the period. They don’t overestimate the importance of colour – although it is taken into account, and though we don’t have that many women to judge Hypatia against I love how her costumes are feminine but never ornate.

Alice in Wonderland (Colleen Atwood)

There’s a moment where Alice begins to grow – literally – and her very basic dress turns into another not so basic one. It’s the sort of indication of dress indicating character growth, at times the costumes provide indication of Alice’s mindset more than Wasikowska’s general boredom.

For Colored Girls (Johnetta Boone)

We know by now that contemporary costuming is the Oscars’ blindside unless it’s begging for recognition (see The Devil Wears Prada), but in such a piece that depends on EVERY aspect of poetic conceits the costuming is as striking as the dialogue at times. And though that final scenes costuming makes me smile for its whimsical way it’s still serving the story excellently.

The King’s Speech (Jenny Bevan)

 

Sensibility thrives over whimsy here, and true – I’m a fan of whimsy, but it is impressive how Beavan is more interested in serving her story than going over-the-top. I’ll admit, I’m not especially in love with her decision to go more monochromatic than necessary, but when she does bring out the softer tones (for the Queen) it is beautifully done.

Never Let Me Go (Rachel Fleming, Steven Noble)

Aspects of the film fall short for me oftentimes when it comes to the right amount of subtlety, but the technical aspect (score aside) constantly impress in their delicacy. It’s proof that pretty and artistic doesn’t necessarily mean loud and obvious.

FINALISTS: Sometimes Burlesque gets a bit wild with the clothes, but is it wrong that I love it for that? I think not; I like the work done in Robin Hood for the opposite reason. Janty Yates avoids the chance go overboard with overly flamboyant period pieces; and Sandy Powell is doing a whole lot Shutter Island is doing a whole lot with her costumes – just like every other technical aspect that eluded praise this season. Shame.

SEMI-FINALISTS: Night Catches Us; Nowhere Boy; The Runaways; Scott Pilgrim vs the World

           

ART DIRECTION / PRODUCTION DESIGN

THE NOMINEES

Agora (Guy Hendrix Dyas, Frank Walsh)

 

Maybe, just maybe, my unknowledgeable self may not be the best expert – but then, even though it’s not all made from scratch there’s no doubt that even the rooms in Hypatia’s house are so meticulously created and developed. I’m not certain where the line ends between its production design and the photography team (who, by the way, are brilliant) – but what the hell? It’s thrilling either way

Inception (Guy Hendrix Dyas, Brad Ricker)          

Where do the visual effects end and where does the production design begin? Ah, questions – questions. I feel a bit annoyed that because of the (admittedly good) visuals a modern day piece like this gets the praise for art direction than most contemporary flicks to get but I can’t stay mad because the production work is especially good – and it should be, the story demands it and even though there’s a bit of a symbiotic and on that count Nolan and his team deliver admirably.

The King’s Speech (Eve Stewart, Netty Chapman)

Sue me, but I have a penchant for pretty things so I find the entire production design here a bit difficult to resist. Everything is just so lovely to watch, but what’s really surprising is it never turns into one of those annoying ornamental period pieces where the film is just begging you to pay attention to it. Everything in Logue’s office works so well, and it’s serving the story, being regal but not officious – functional but still appealing; a bit like the monarch himself.

Nowhere Boy (Alice Normington, Kimberley Fahey)

I’d intimate that it does what Black Swan does a little better – on the art direction front at least. Notice how Mimi and Julia almost have the production design of their houses defining themselves (and it’s not unsubtle like the costumes.) Taylor-Wood is already interested in creating a world that’s a bit more fanciful than realistic and the production design doesn’t exploit this – but does it in an unexpectedly subtle manner.

Shutter Island (Dante Ferretti, Robert Guerra)

Like Inception the tie-in with visuals is potentially dense, and like Inception it’s the sort of film where creation of atmosphere is imperative to the success. It’s not as overtly dazzling, but it’s not really supposed to be. It underscores, but never overpowers the story so that when those very literal plot revelations come the production design is there to back it up – but not ham it up.

FINALIST: Get Low More than Felix’s appearance it’s the production design of his abode that makes the impact on the audiences. Geoffrey Kirkland resists the urge to make it too embellished and in a film that depends a whole lot on atmosphere the production design becomes a key asset in achieving this;

  

SEMI-FINALISTS: Black Swan; Never Let Me Go; Robin Hood; True Grit

What would top your list? Did the hair and makeup in The Runaways do it for you? Did Atwood’s costumes impress? Was the production design in Shutter Island snubbed? What would top your list?