20 Cinematic Moments That Will Define 2010 For Me


Every year, there’s a handful of film scenes that come to define the entire year for us.  At their best, these scenes can leave such an impression that they become a part of our shared history.  For some people (though not me), 2009 will always be the year of Avatar.  Meanwhile, for me (but not others), 2010 will always be the year I realized it was okay to admit how much I love to dance.  Listed below are 20 of the many film moments that I will remember whenever I look back on this current year.

20) Carey Mulligan and Andrew Garfield discover what really happened to all of their childhood artwork in Never Let Me Go.

Permeated with an atmosphere of nonstop melancholy, Never Let Me Go never quite found the audience is deserved but I think it’s one of the best films of 2010 and the scene mentioned above is one of the reasons why.

19) Scott Pilgrim says, “Oh cool, coins!” in Scott Pilgrim Vs. The World.

And Lisa Marie suddenly realizes that she has fallen in love with a movie.

18) Keifer Sutherland says, “Tap that ass” in Twelve.

Truth be told, I don’t even remember what was happening on-screen.  I just remember Keifer, as the film’s narrator, saying “Tap that ass” in that sexy, nicotine-fueld growl of his and thinking to myself, “Well, okay…”

17) Jake Gyllenhaal chases down a bus full of dying old people in Love and Other Drugs.

Yes, the old people desperately need to get up to Canada so they can get their prescriptions filled but unfortunately for them, Anne Hathaway happens to be on the bus as well and Jake — apparently realizing that he’ll never get to see her breasts again if they break up — chases the bus down in his Porsche so he can reconcile with her.  And, of course, the old people are just so adorably excited at the idea of a 15-minute delay while these two deeply damaged characters stand outside and talk about their relationship.  I mean, fuck it — who cares about getting these people their medicine when there’s a disposable pop tune playing in the background and Jake wants to talk to his ex-girlfriend?  In so many ways, this scene represents everything I hate about mainstream filmmaking.

16) Joseph Gordon-Levitt flies through the corridors of a dream hotel in Inception.

Inception was a film full of amazing images but my personal favorite was perhaps the simplest — Joseph Gordon-Levitt (looking rather adorable in his dark suit) floating down those Argentoesque hallways while trying to figure out how to wake everyone up.

15) Jacki Weaver delivers the line of the year in Animal Kingdom.

“And you’ve done some bad things, sweetie.”

14)  John Hawkes “talks” his way out of a traffic stop in Winter’s Bone.

While Winter’s Bone should rightfully make Jennifer Lawrence a star, John Hawkes also contributed some of the film’s best moments.

13) Patrick Fabian slips a recipe into his sermon in The Last Exorcism.

Cast as a modern-day Marjoe Gortner in this underappreciated film, Fabian gives one of the best performances of the year, if not the best.

12) Chloe Grace Moretz saves Kick-Ass from the mafia in Kick-Ass.

As far as women kicking ass was concerned, 2010 was a good year.  Sure, the majority of cinematic female portraits were — as always — sexist to the extreme but there were a few rays of hope.  Angelina Jolie in Salt, Noomi Rapace in The Girl With The Dragon Tattoo films, Mila Jovovich in Resident Evil — all were among the women who got to do something more than just look pretty while the boys saved the day.  Seeing as how I’m honoring Rapace further down the list, I’m going to allow Chloe Grace Moretz (in the role of Hit Girl) to serve as a stand-in here for every single woman who was allowed to kick a little ass in 2010.

11) Christian Bale and Mark Wahlberg walks down the streets of Lowell at the beginning of The Fighter.

Seriously, this entire sequence — set to Heavy’s How You Like Me Now? (or “The Sock Monkey Song” as I call it) — could be a short film in itself.  Call it: “Men and why we love them.”

10) Colin Firth fearfully waits to give a speech at the start of The King’s Speech.

One look at Firth’s terrified eyes and I was in tears.  From that minute on, this unexpected gem of a film had me.

9) Jennifer Lawrence fishes for her dad’s hand in Winter’s Bone.

Southern gothic at its best!

8) James Franco is rescued by a purifying storm in 127 Hours.

Helpless and hopeless, Franco is suddenly freed by a sudden storm.  Both Franco and director Danny Boyle handle this scene with such skill that the audience finds itself just as saddened as Franco when it all turns out to be a hallucination.

7) Katie Jarvis dances in an abandoned apartment and finds a momentary glimmer of hope in Fish Tank.

Between this movie and Black Swan, 2010 was the year that reminded me of just how much I love to dance and why.  2010 is the year that I realized it was okay for me to love to dance again.

6) Andy gives away his toys at the end of Toy Story 3.

And Lisa Marie cries and cries.

5) Lisbeth Salander (played by Noomi Rapace) gives her abusive guardian a tattoo in The Girl With The Dragon Tattoo.

For any and every girl who has ever been used, abused, hurt, spoken down to, insulted, manipulated, or betrayed by someone who claimed to only be looking after her best interests, this scene was truly cathartic.  When I say that Noomi Rapace’s Lisbeth will be iconic, it’s largely because of scenes like this.  In that one scene, Lisbeth is established as a woman who will never be victimized and it gives hope any for those of us who don’t have dragon tattoos. 

4) Footage from Theirry’s completed “documentary” is revealed in Exit Through The Gift Shop.

And the audience is  suddenly forced to question just how much of anything they’ve seen is the truth.

3) The spinning top wobbles at the end of Inception.

Or does it?

2) Kathryn Bigelow becomes the first woman to win the Oscar for best director while her ex-husband glowers in silence.

I wasn’t a huge fan of The Hurt Locker but I still squealed with delight as Kathryn Bigelow accepted the award that should have gone to Sofia Coppola back in 2004.  Not only did Bigelow make history but she did it by beating her soulless jerk of an ex-husband, James Cameron.  And then she gave one of the best acceptance speeches in Oscar history, all the while looking about 20 years younger than she actually is.  In short, Kathryn Bigelow showed every Oscar winner — past, present, and future — exactly how it’s done.

1) The final fifteen minutes of Black Swan

In 15 minutes, Darren Aronofsky reminded me of how much I love ballet and audiences of why we love movies in the first place.

A Quickie With Lisa Marie: The King’s Speech (directed by Tom Hooper)


So, I was talking to a friend of mine about the movie The King’s Speech and I told him that the movie was very good but that it managed to “raccoon eye me.”  He found this comment to be very humorous.  In fact, he could not stop laughing at me.  Finally, I got him to stop giggling long enough to explain to me what exactly was so funny about me crying for 2 hour and 13 minutes.  At that point, he explained to me what “raccoon eyes” means to him and apparently every other boy on the planet and all I can say is “ewwwwww!”  Seriously, I’m open to just about anything  but….uhmm, no.  Sorry, no.

Anyway, when I say that The King’s Speech left me all “raccoon-eyed,” I’m referring to the fact that I started crying about 3 minutes into the film — basically from the first minute that a frightened-looking Colin Firth tried to speak into a microphone — and I didn’t stop until the movie was over.

Why was I crying?  A lot of it is because (and I know I say this about almost every movie I see but so what?) I related to the film’s subject matter.  Colin Firth plays the future King George VI (father of the current Queen of England).  Like millions of others (myself included), George VI spoke with a stutter.  Ordinarily this wouldn’t have been a problem (as royalty wasn’t necessarily meant to be seen or heard) but George VI just happens to become king at a time when almost every household has a radio and everyone expects to hear the king’s voice.  In short, the people expect the king to not only speak for them but to speak with them as well and George VI finds himself unable to even speak for himself, much less his nation.  As a result, his wife (Helena Bonham Carter) secretly arranges for the king to receive help from an eccentric, self-trained speech therapist named Lionel Logue (Geoffrey Rush).  The film details the King and Logue’s often contentious friendship, following their relationship up until George VI finds himself, in the days after the start of World War II,  required to give the most important speech of his life.

To a certain extent, you’re going to have to take it on faith that The King’s Speech is a very intelligent, very funny, and very entertaining film because there’s no way to describe the film’s general plot without making it sound like one of those really tedious, boring films that always come out in December.  However, director Tom Hooper takes material that might otherwise have been dry and predictable and he films it with a surprising flair so that even the most predictable of scenes (i.e., the King and Logue get inebriated together and the King talks about the loneliness of being royal) feel fresh and surprising.  This a film that is both interesting to look at and listen to.  Hooper recreates an often foggy, pre-World War II London using a palette of grays and faded primaries.  As a result, the film somehow manages to be both melancholy and nostalgic at the same time.  You marvel at the recreation of the past even with the knowledge that everything’s going to be destroyed in another few years by the onslaught of world war.

Hooper gets uniformly excellent performances from his entire cast.  Rush is eccentric without being overly flamboyant and a result, his performance never descends into the cutesy tricks that have marred so many of his recent onscreen turns.  Bonham Carter, as well, gives one of her most sympathetic performances, suggesting the class of royalty with just enough hint of the off-center persona that made her the perfect Marla Singer. 

However, the film ultimately belongs to Colin Firth.  After years of playing upper class idiots and tragically repressed company men, Firth finally gets to play a human being.  It’s a tribute to his talent that he manages to be believable as both “Bertie,” the insecure Duke of York and as the man Bertie will eventually become, King George VI.  The reason I cried through this film is not just because I used to (and occasionally still do) stutter.  The reason was because Firth captured the essence of having so much to say but not feeling as if you’ll ever be allowed to say it.  Everything Firth does in this film — whether he’s losing his temper over Lionel’s attempts to get him to open up or sadly trying to tell his daughters a joke or joyfully shouting out every piece of profanity he can think of because he doesn’t stutter while being profane — is perfection.  I hate to say that any one was born to play a role (because I think it tends to devalue just how much effort goes into good acting) but it’s hard to escape the feeling that everything Firth has ever done on-screen was simply preparing both him and us for his triumphant performance here.

At the same time, I should add that The King’s Speech is probably the most English (as opposed to British) that I have ever seen.  Lionel may question why George VI’s royal duties lead him to suffer but he never once questions whether or not those royal duties are actually necessary.  Furthermore, the film also tells the tale of Edward VIII (a wonderfully narcissistic turn from Guy Pearce) and his famous abdication from the British throne so that he could be with “the woman I love,” American Wallis Simpson (played by Nurse Jackie’s Eve Best with a permanent scowl).  The film presents Edward and Simpson with absolutely zero sympathy and leaves little doubt that the last thing a member of the British Royal Family should ever do is fall in love with a divorced American. 

(That said, the film is probably correct when it suggests that Simpson and Edward were sympathetic to the Nazi cause.)

It says something about the three lead performances and the strength of Hooper’s direction that even I — proud as I am of my roots in Catholic Northern Ireland — still loved this film despite its obvious pro-English bias.

After the movie ended and I had finally managed to stop crying and clean my face, I found myself reflecting on the fact that I feel as if I know so much about the British Royal Family and yet everything I know about them comes from going to the movies.  As far as the cinematic family history is concerned, The King’s Speech is the best chapter yet.

Hey SAG! Where’s Jacki?


Is there any organization out there right now that isn’t handing out either awards or nominations?  Earlier today, The members of the Screen Actors Guild became the latest organization to join in the fun when they announced their nominations for the best film performances of 2010.

Here’s the nominees.  I apologize, in advance, for the lack of sarcastic commentary but I have a headache and, as a result, my wit is sleeping on the couch for now.

Ensemble:
Black Swan
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network

Actress, Lead:
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Hilary Swank, Conviction

Actor, Motion Picture
Jeff Bridges, True Grit
Robert Duvall, Get Low
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours

Supporting Actor
Christian Bale, The Fighter
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King’s Speech

Actress, Supporting
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit

Well, okay, maybe I’ll make a few comments along the lines of “Yay for the love shown to Natalie Portman, John Hawkes, James Franco, Jennifer Lawrence, and Mila Kunis!”

But seriously, SAG, where’s Animal Kingdom’s Jacki Weaver?  I mean, I can understand why Noomi Rapace was snubbed.  The Mainstream doesn’t want to remind people that there was a perfect Lisbeth Salander before Rooney Mara.  That’s how the game is played.  That’s why the people over at awardsdaily.com are already trying to claim David Fincher’s remake of The Girl With The Dragon Tattoo as the film to beat for best picture next year.

But nobody’s remaking Animal Kingdom.  There’s nothing wrong with admitting that, in a year of excellent female performances, few were as a note perfect and unexpected as Jacki Weaver’s.

Who the Hell Are These People?


With the Golden Globe nominations set to be announced on Tuesday, I figured now would be a good time to recap which films and performances have already been honored by the various critics groups. 

One thing that I discovered as I researched this is that there are a lot of critics groups out there!   I don’t know who half these people are and most of them probably won’t have any bearing at all on who is actually nominated come Oscar time.  But since I’m a lover of trivia and lists, there you go.

The following films and performances were honored by either The National Board of Review, the D.C. Film Critics, the Boston Society of Film Critics, The New York Film Critics Online,The Los Angeles Film Critics, The Indiana Film Journalists, The Southeastern Film Critics, The New York Film Critics Circle, or the San Francisco Film Critics.

Best Picture:

The Social Network (All.  That’s right, it’s a clean sweep for an above average film.)

Best Director:

Darren Aronofsky for Black Swan (S.F)

Olivier Assayas for Carlos (LAFC)

David Fincher for The Social Network (BSFC, DC, NBR, NYFCC, NYFCO, SEFC, S.F.)

Christopher Nolan for Inception (IFJ)

Best Actor:

Jesse Eisenberg (BSFC, NBR)

Colin Firth for The King’s Speech (DC, LAFC, NYFCC, SEFC, S.F.)

James Franco for 127 Hours (IFJ, NYFCO)

Best Actress:

Annette Bening for The Kids Are All Right (NYFCC)

Kim Hye-ja for Mother (LAFC)

Jennifer Lawrence for Winter’s Bone (DC)

Lesley Manville for Another Year (NBR)

Natalie Portman for Black Swan (BSFC, IFJ, NYFCO, SEFC)

Michelle Williams for Blue Valentine (S.F.)

Best Supporting Actor:

Niels Arestrup for A Prophet (LAFC)

Christian Bale for The Fighter (BSFC, DC, IFJ, NBR, NYFCO)

John Hawkes for Winter’s Bone (S.F.)

Mark Ruffalo for The Kids Are All Right (NYFCC)

Geoffrey Rush for The King’s Speech (SEFC)

Best Supporting Actress:

Melissa Leo for The Fighter (DC, NYFCC, NYFCO)

Juliette Lewis for Conviction (BSFC)

Hailee Steinfeld for True Grit (IFJ, SEFC)

Jacki Weaver for Animal Kingdom (LAFC, NBR, S.F.)

Best Documentary:

Exit Through The Gift Shop (DC, IFJ, NYFCO)

The Inside Job (NYFCC, SEFC)

Last Train Home (LAFC)

Marwencol (BSFC)

The Tillman Story (S.F.)

Waiting For Superman (NBR)

Best Animated Feature:

How To Train Your Dragon (IFJ)

The Illusionist (NYFCC)

Toy Story 3 (BSFC, DC, LAFC, NBR, NYFCO, SEFC, S.F.)

Best Adapted Screenplay:

The Social Network (BSFC, DC, IFJ, LAFC, NYFCO, SEFC, S.F.)

Best Original Screenplay:

Inception (DC)

The Kids Are All Right (NYFCC)

The Kings Speech (SEFC, S.F.)

  

The New York Toadsuckers Have Spoken


As I mentioned in my last post, the New York Film Critics Circle voted on and announced their picks for the best films of the year today.  Looking over the winners, all I can say is — YAWN!

Best Film:
The Social Network

Best Director:
David Fincher, The Social Network

Best Screenplay:
The Kids Are All Right

Best Actress:
Annette Bening, The Kids Are All Right

Best Actor:
Colin Firth, The King’s Speech

Best Supporting Actress:
Melissa Leo, The Fighter

Best Supporting Actor:
Mark Ruffalo, The Kids Are All Right

Best Cinematography:
Black Swan

Best Animated Film:
The Illusionist

Best Non-fiction Film:
Inside Job

Best Foreign Language Film:
Carlos

Best First Feature:
Animal Kingdom

Over on Awardsdaily.com, the response to the New York Critics was: “NO ONE  wrote a better screenplay than Aaron Sorkin this year.” 

(And yes, they specifically put that statement in bold print with NO ONE capitalized, just to make sure that the point came through.)

Really?  NO ONE?  It’s time to admit the truth — The Social Network has gone from being a movie to being a cult.  Apparently, even suggesting that any other movie might deserve an honor or two this year is an act of heresy.  Sorry, New York Film Critics.  Prepare yourself to be eaten by lions while the Sorkinites watch and cheer.

That said, the screenplay for The Kids Are All Right had all the depth of a sitcom.  And Mark Ruffalo’s supporting performance was good but nothing that couldn’t have been done by just about any other scruffy actor in Hollywood.  And while Annette Bening did a good job with her role, this is the year of Natalie Portman in Black Swan, Noomi Rapace in The Girl With The Dragon Tattoo, Katie Jarvis in Fish Tank, and Jennifer Lawrence in Winter’s Bone.  This was a year in which so many actresses gave unique, unexpected performances in roles that redefined the stereotypical cinematic female lead.  Annette Bening was good but so many were great.

It’s also interesting to note that The Illusionist (which I haven’t seen and know very little about) was named best animated feature as opposed to the presumed favorite, Toy Story 3.  Just a few months ago, the general assumption seemed to be that Toy Story 3 would easily pick up a best picture nod but it seems like that storyline’s been forgotten in all the hype surrounding The Social Network.

The L.A. Film Critics Have Spoken


A whole lot of critics’ groups announced their picks for the best films and performances of the year today and the New York Film Critics are voting as I type.  I’m on lunch from work right now so a full list will have to wait until later tonight.  For now, I’m just going to share the choices made by the Los Angeles Film Critics.  The L.A. Critics are one of the big three as far as critics groups are concerned. 

As I’ve said before, I think professional film critics are overrated but I just love awards.  And, of course, all of these December awards tend to serve as a precursor for who and what will receive Oscar nominations next year.  At their best, these groups can remind Academy voters of films and performances that they might otherwise overlook.  Certainly, if Jacki Weaver receives a deserved nomination for Animal Kingdom, it’ll be largely due to organizations like the National Board of Review and the L.A. Film Critics.

Anyway, since my time is limited, I’m going to simply post the winners and then add a few comments on my own.

PICTURE:

  • “The Social Network”
  • Runner-up: “Carlos”

DIRECTOR:

  • Olivier Assayas, “Carlos,” and David Fincher, “The Social Network” (tie)

ACTOR:

  • Colin Firth, “The King’s Speech”
  • Runner-up: Edgar Ramirez, “Carlos”

ACTRESS:

  • Kim Hye-ja, “Mother”
  • Runner-up:  Jennifer Lawrence, “Winter’s Bone”

SUPPORTING ACTOR:

  • Niels Arestrup, “A Prophet”
  • Runner-up: Geoffrey Rush, “The King’s Speech”

SUPPORTING ACTRESS:

  • Jacki Weaver, “Animal Kingdom”
  • Runner-up: Olivia Williams, “The Ghost Writer”

SCREENPLAY:

  • Aaron Sorkin, “The Social Network”
  • Runner-up: David Seidler, “The King’s Speech”

 

FOREIGN LANGUAGE FILM:

  • “Carlos”
  • Runner-up: “Mother”

ANIMATION:

  • “Toy Story 3″
  • Runner-up: “The Illusionist”

DOCUMENTARY / NON-FICTION FILM:

  • “Last Train Home”
  • Runner-up: “Exit Through the Gift Shop”

CINEMATOGRAPHY:

  • Matthew Libatique, “Black Swan”
  • Runner-up: Roger Deakins, “True Grit”

MUSIC/SCORE:

  • Alexandre Desplat, “The Ghost Writer,” and  Trent Reznor and Atticus Ross, “The Social Network” (tie)

PRODUCTION DESIGN:

  • Guy Hendrix Dyas, “Inception”
  • Runner-up: Eve Stewart, “The King’s Speech”

NEW GENERATION:

  • Lena Dunham, “Tiny Furniture”

DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO:

  • “Film Socialism”

LEGACY OF CINEMA AWARDS:

  • Serge Bromberg, “Henri-Georges Clouzot’s Inferno,” and the F.W. Murnau Foundation and Fernando Pena for the restoration of “Metropolis”

CAREER ACHIEVEMENT:

  • Paul Mazursky

The main news here, I guess, is just how well foreign language films did in the voting.  I haven’t seen Carlos and seeing as how I’m basically in fly-over country, I doubt I’ll get a chance to see it before the Oscar nominations are announced.  I do have Mother on DVD and I’m going to watch it sometime before the start of the new year.  It’s also nice to see some attention being given to A Prophet.

Obviously, I’m disappointed not to see more love for Black Swan but I guess it’s to be expected as Black Swan is one of those films that people either love madly or hate with a passion.  I think that’s why The Social Network will win big at the Oscars this year.  It’s well-made and offensive only if you’re 1) female or 2) Mark Zuckerberg.