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: Actors

It’s been an unusually good year for the leading men. I look at the Academy’s list of nominees, and even though one in particular sticks out oddly– it’s not a terrible performance. I could easily flip-flop between my actual list of nominees and the six finalists and still be satisfied with whatever top 5 I come up with. This was actually the category that gave me the most indecision in choosing nominees; never has a list of nominees felt so arbitrary, even the winner is debatable. Last year Ben Whishaw in Bright Star was an indisputable winner, but I’d be willing to give any of these five gentlemen a gold star. So, in the face of the generally bland showing of 2010 films it’s nice to see such good male performances.

        
(Click on the photos of the gents for full-reviews of featured film)
         

THE NOMINEES
Stephen Dorff in Somewhere (as Johnny Marco)

Coppola is so interested in getting that listless tedium of real life down Dorff is forced to play the part through expressions and not dialogue, and he succeeds impeccably. Coppola’s lucky that he has the sort of open face that’s able to convey the blandest of emotions without making them seem hackneyed, so all those somewhat injudicious close-ups work incredibly well. He doesn’t make Johnny into two irreconcilable characters – the father and the actor – they’re one and the same, both of them hopeless cases so when that emotional breakthrough (breakdown?) comes towards the end it’s not completely unexpected, and not at all forced but it’s still profound and moving. (Highlight: Breakdown)

Aaron Eckhart in Rabbit Hole (as Howie)*

As the narrative of unfolds, you realise that Howie seems bland around Becca, not because the character is substandard or because Eckhart is not trying hard enough; it’s because Eckhart’s Howie is aware of how tenuous a grip on life his wife has, he’s just making the decision to be silent about it, which is why those looks he steals her way in the first half hour become so important. He’s just as tightly wound, and has even more trouble opening up to those around him because no one expects it of him. That’s why that argument with Becca comes off as more soliloquy than conversation, he has a whole lot of pent up rage inside. That adage of still waters running deep couldn’t be more significant. (Highlight: Walking the Dog)

Jesse Eisenberg in The Social Network (as Mark Zuckerberg)

There are times where’s he’s just a bit excessive with the physical tics, but the moments where he succeeds most are the deposition scenes where he’s able to merge the potentially arcane reasons beneath Mark’s ostensibly reckless behaviour against the somewhat wiser and still very gauche sensibilities of his present day sense. He just might get off with playing up the eccentricities of the character in earnest, because since it’s a real person he has a smokescreen to hide behind but he ultimately wins because he decides to carve Mark’s most piercing moments around more than just those tics, while managing not to let the inevitable vulnerability within become too much of an absolution of his less attractive qualities. (Highlight: “Does that answer your condescending question?”)

Colin Firth in The King’s Speech (as King George VI)

Because of the manner in which Seidler opts to establish Bertie’s idiosyncrasies Colin is obliged to characterise Bertie by the relationship he has with those around him. The rapport between he and Rush emerges as most obvious, but three significant moments of his play out opposite other performers. It’s easy to play the psychological motives behind his stutter trite, and Hooper and Seidler are lucky that Colin doesn’t play them as such. You can trace the moment he shuts down opposite his father, or note the self-deprecating way he speaks to his brother or the ways he opens up – or conversely closes up opposite his Queen. He’s anomalous in the way he keeps his emotions close to his chest, but reveals them under pressure – and Firth ensures that the transition between the two is natural. (Highlight: Either A Story for his Girls or A Bedroom Conversation with his Wife)

Ryan Gosling in Blue Valentine (as Dean)

Gosling has a natural ambiguity to him that makes him all wrong for the palpable villainy of his role in All Good Things but perfect for the role of Dean here. Unlike Williams the narrative isn’t as interested in his back-story, so it’s up to him to create that impression of a real person with underlying issues – and not just in the more obvious scenes. Thus, the ambiguity ends up working – excellently – to his advantage as he manages to avoid any propensity for playing the character like a villain, instead finding the most sincere emotions in a man who’s sort of drifting through life, but who we don’t loathe. (Highlight: Pleading his case at the film’s end)

FINALISTS: Leonardo DiCaprio brings that same sort of intensity that has defined his recent performances to his Teddy in Shutter Island, but it’s more than an exercise in something he’s already done. For one, he must carry the entire film on his shoulders and he succeeds even when the narrative gets too pulpy; James Franco in Howl; even if you ignore the fact that this is James Frecheville debut, his performance in Animal Kingdom is still something special. Unlike his supporting cast, he must establish his characters through the most tacit of inclinations – and he delivers from that opening scene; this time around with Fuqua Ethan Hawke examines a different side of his range in Brooklyn’s Finest; in the same way that Hamilton avoids the temptation to make Night Catches Us the stereotypical racial drama Anthony Mackie does not give in to the possibility of turning Marcus into a formulaic “angry young man” – he grounds his character in a firm sensitivity that becomes one of the film’s strongest suits; Ewan McGregor doesn’t come off as particularly mysterious but he manages to be something in The Ghost Writer. It’s his film, and though he carries it on his shoulders he does so unobtrusively knowing when to recede for the supporting players to shine but always ready to take control again.

SEMI-FINALISTS: Collin Farrell eschews his most obvious calling cards in Ondine deciding to establish Syracuse with a steady reticence that feels like under acting but isn’t really. He’s not the film’s main enigma, but he manages to be even more mysterious by playing his emotions so close to his chest and still never being disingenuous; I’d give James Franco an A for effort in 127 Hours, simply because you know that he’s doing the best possible job he can with what he’s effort – and you know that he’s relishing it. Sometime he falls victims to Boyle’s own intent to evade the harsher tones of his character but ultimately it’s his performance – and little else – that’s able to evince any semblance of emotion from the stony narrative; Aaron Johnson needs to establish that certainty of charisma in Nowhere Boy without “playing” John Lennon, and he does it with startling adeptness – at least from where I sit. He’s still rough around the edges as a performer, but he (and Taylor-Wood) use that newness to his advantages making Lennon a fine example of someone trapped by his surroundings, but not melodramatically so; Kodi Smith-McPhee is even better in Let Me In than he was in The Road. He’s not the one playing the “old” character, but he imbues Owen with all the emotional complexities that you’d expect from an older thespian and delivers on the facial expressions when Reeves roots the film in the visuals and no dialouge; sometimes you get the feeling that someone else could have done the title role in Baumbach’s Greenberg better, but that doesn’t mean that Ben Stiller isn’t doing good work. He’s slightly unsubtle as we first meet the character, but the rapport he strikes between Gerwig and (especially) Ifans reveal a warmer side to him as an actor (and the character) that’s surprising and impressive; Mark Walhberg in The Fighter

Who’s your best actor of 2010?

       

*I already want to rejudge and give Dorff the gold and perhaps allow Firth or Eisenberg to slide into silver. There ALL so good!

Encore Awards: Directing

It’s weird, I don’t think that 2010 has offered us a slew of that brilliant films (but more on that later) – but it’s only proof that good direction is not synonymous with great films. For me, seven directors ruled this year for me (the five nominees and the two finalists) – and it’s really something a head-scratcher narrowing the seven down to five. But, I must (wails) – here’s who I decided on.

           
(click on the photos for reviews)
       

THE NOMINEES

Lisa Cholodenko for The Kids Are All Right

Like all that wine Nic keeps ingesting, Cholodenko’s work in The Kids Are All Right gets better with time. Even though I’d admit that subtle would probably be the incorrect adjective to attribute to The Kids Are All Right Choledenko’s work is so good here because it’s not officious. Perhaps, because she co-writes it, she’s especially aware of the mood that the script calls for and she directs it in turn with sudden spurts that are not jarring as she establishes scene, character and setting with a style that’s current (though, not quite modernist) and always conscious of the viewer’s attention span, without being pandering.
                           

                                                                                        

David Fincher for The Social Network

There’s something dangerously close to posturing in the almost funereal which Fincher (and company) decide to ground The Social Network, but in all honesty I don’t mind it. It works – brilliantly too, I might add – because Fincher has always been adept at reconciling themes with directorial choices. Just like he was able to discern the appropriateness of the mock-epic style for Benjamin Button he manages a taut, hypersensitivity here that makes more and more sense as this gloomy (but not repulsive) tale unfolds. It’s all part of the wonderful irony (similarly evinced in the script) that this “social” network seems so insular.

                   

David Michôd for Animal Kingdom

Sometimes I wonder if what could be perceived as Michôd’s occasional apathy to the situations affecting his character is a detriment to the overall narrative, but like his protagonist J – an ostensible indifference is not proof of disinterest. It’s difficult to single out key moments and say, “X scene was well directed”, but that’s the way Michôd knows it should be. I’m not a fan of the word, but there's some organic in the way that it unfolds (ironic, considering the very unnatural bloodshed ensuing). More than even Choledenko, I’d say that Michôd is the director this year that seems to hold the best interest of his characters at heart – for better, for worse.

John Cameron Mitchell for Rabbit Hole 

Together with Lindsay-Abaire Mitchell succeeds in turning this story of stagnant grief into a thoroughly cinematic piece. He doesn’t smother us with the eccentricities to convey the cinematic nature but simply lets if flow as naturally as possible. One trap that directors working on stage to screen adaptations often fall into is the tendency is to over-cinematise their films, but Mitchell is shrewder. He doesn’t avoid the narrowness of the theatre but uses that same closeness to create a cinematic perspective of characters bound by their emotions.
                                            

               
                                        

Roman Polanski for The Ghost Writer

Well, turns out Polanski hasn’t lost it. I wasn’t an unabated fan of The Pianist, and I’m not even an unabated fan of The Ghost Writer but Polanski’s direction – though, not exactly vociferous – is impossible to ignore. He’s a master at thrill, that doesn’t sacrifice cleverness in its quest and The Ghost’s journey unfurls with that same interest in being thrilling, occasionally mocking but always conscious of the story and what’s to come. It’s a prime example of the sort of subtle direction, that’s still noticeable but stands up to more scrutiny on the second and third viewings.
                      

       

FINALISTS: I feel like a right heathen for leaving Alejandro Amenabar (Agora) Edgar Wright (Scott Pilgrim vs the World) off my top 5. They work on different genres, but there’s a singularity in what they achieve. Both find their fortes in managing to keep productions that are quite sprawling in check, and managing to make them strangely personal. Amenabar retracts the sprawling Alexandrian tale to something simple, but not slight and Wright ensures that Scott Pilgrim vs the World is consistently bombastic and larger than life but never out of control. Both men are credits to their trade.

SEMI-FINALISTS: it sort of comes off like I hate Darren Aronofsky and his work in Black Swan, I don’t. When I consider the issues I have with its script, though, Aronofsky’s direction becomes even more impressive. All the heights of the story, and the successes of Nina’s insular journey succeed because he’s so in touch with his characters; it’s the same way that Noah Baumbach (Greenberg) and Sofia Coppola (Somewhere) are in touch with their introspective, and vaguely misanthropic male characters. Baumbach must be more palpably prickly, and Coppola must be more reticent in establishing that languor – they’re both excellent in controlling their stories, though; I’m still a bit partial to his Elizabeth I but it’s clear (to me, at least) that Tom Hooper’s work in The King’s Speech is proof that he’s improved. Though the writing is an important part of the equation, the subtly surprising direcotiral choices from Hooper is one of the reasons The King’s Speech seems neither tedious or rote; Matt Reeves must be more deliberate in directing Let Me In, and he succeeds in creating the appropriate atmosphere for the drama that evokes a sad redolence that’s unexpected given the genre and the subject.

HONOURABLE MENTIONS: Martin Scorsese for Shutter Island; David Russell for The Fighter; Floria Sigismondi for The Runaways. They each have one thing in common, they each prevent occasionally humdrum screenplays from subverting their attempts to create good cinema, and ultimately that’s one of the strongest suits of a good director.
       
So, director of the year...? Who'd you choose?

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?