I don’t sit in while you’re running it down; I don’t carry a gun… I rank movies.

The Bottom Ten (Worst to Less Worse)

KABOOM (This incensed me), THE MECHANIC (Simon West, please remind yourself that you directed Con Air), TRANSFORMERS: DARK OF THE MOON (Best of the series), MELANCHOLIA (I’m not on board with the love), MARTHA MARCY MAY MARLENE (Nice try, Sean Durkin, but you can’t craft a sense of paranoia worth a damn), MR. POPPER’S PENGUINS (Cute, but empty), LIKE CRAZY (I loved it as much as they loved each other), CARS 2 (I like Rango!), LIMITLESS (Shitty book, shitty movie), A DANGEROUS METHOD (Yawnnn)

The ‘Nothing to Write Home Abouts’

TROLLHUNTER - Interesting premise, not interesting execution

BEGINNERS - This film is incredibly boring; McGregor & Laurent are made of cardboard. Christopher Plummer is stuck in bad movie here… he’s great.

TINKER, TAILOR, SOLDIER, SPY - Also incredibly boring… I think I’m about 40 years away from the target demographic for Le Carre adaptations. Gary Oldman has put on much better performances.

MIDNIGHT IN PARIS - It’s cute, and it’s entertaining, but I couldn’t help thinking that the great cast was squandered; I found most of the acting to be quite wooden.

RED STATE - It held my attention, and I really enjoyed John Goodman’s role. Other than, nothing here to see.

IN A BETTER WORLD - One of the weaker films in Bier’s catalogue… a great exploration of the feud, big or small, but ultimately uninteresting.

I SAW THE DEVIL - A needlessly brutal revenge flick from the land of cinematic revenge, South Korea. Soon, Jee-woon Kim will be up there with Chan-wook & Joon-ho.

MONOGAMY - Saw this at one of Oscilloscope’s Circle of Trust screenings… a cool little program. It plods along and blows itself wide upon in the third act… lots of mediocre stuff going on wrapped up in a really hard to understand bundle. Good ideas that are not fleshed out to their full potential… great imagery, great improv, so-so direction and editing. I’m keeping an eye on directorial newcomer Dana Adam Shaprio, for sure.

THE TREE OF LIFE - The most pretentious and plot-less film of 2011, possibly of the decade. Gorgeous, alienating, seductive and ultimately disappointing on the whole.

THE MUPPETS - Cute & fun… I loved the tongue-and-cheek adaptation feature these classic characters.

RIO - Loved every minute of it… a fun distraction with lots of colors.

RUBBER - This one’s a ‘you gotta see it to believe it’ type of movie… it falls flat in the last twenty minutes, but it’s pretty funny and shot surprisingly well. I’m definitely on the lookout for Quintin Dipeux’s next film, Wrong, which debuts at Sundance this month.

OUR IDIOT BROTHER - Cute and funny, but it gets a little slight as it drags on. I honestly thought Parkey Posey was Elizabeth Banks the entire time, too.

SOURCE CODE - A perfect action movie for April… pretty much as average as Duncan Jones’ first feature Moon.

30 MINUTES OR LESS - Laughed my ass off! That was about it…

BRIDESMAIDS - It’s very unique, very funny, and it took risks script-wise, but in the end, it was just a romantic comedy where the woman has to be rescued from a shitty life by a man with power. Never ends.

HORRIBLE BOSSES  - This was my favorite movie of the year for a good couple of months… it’s really funny and really genuine. Sudekis, Bateman and Charlie Day are such a good crew.

CEDAR RAPIDS - Glad I caught this late in the year… it’s underdog doing-the-right thing story is a little tried and true, but this movie is FUNNY. I was a big fan of Artera’s Youth In Revolt last year when no one else was, and it seems to the case with Rapids again. John C. Reilly is damn hilarious; he’s had a banner year.

THE ARTIST - I feel bad putting this so far down on the list, because of the fact that it’s a 90 minute film that has no dialogue and it kept my attention. It’s this far down because, while being a silent black and white film, it has a very weak story. I don’t care that it’s an homage to the age of cinema where talkies took over… I don’t see where all of the love is coming from, but I understand why it’s coming in. It’s a love letter to the simpler times of cinema, and if it wins big on Oscar night, I won’t be upset.

The Top 25

25. THE HELP

Tate Taylor / 8.10.11 / Buena Vista

It’s a heart-breaking story… awesome performances throughout. Hopefully it gets some Oscar love!

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24. HANNA

Joe Wright / 4.8.11 / Focus Features

I did not think this would pop for me as much as it did… it’s incredibly simple, and light in story, but it makes up in the style department. It plays like a revenge fable. Extra kudos on the lensing and the awesome score by The Chemical Brothers.

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23. THE FUTURE

Miranda July / 7.29.11 / Roadside Attractions

A really sweet, sincere movie about post-adulthood… it’s not too hipstery/I wanna kill myself, but Miranda July is slowly becoming an indie favorite of mine. I liked where it was going, story-wise, but it kind of lost itself in the final act. Still loved it, though…

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22. THE BEAVER

Jodie Foster / 5.6.11 / Summit

I also did not expect for this to be awesome. When this was in development with Steve Carrell in the lead role, I figured it would be a gut-busting comedy… but, apparently it’s not, and it was a wonderful story with a heart-breaking, everything-doesn’t-always-work-out ending. I loved it, but it’s this far down because of an unnecessary romantic sub-plot with Anton Yelchin and Jennifer Lawrence as well as a slight lack of polish.

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21. INCENDIES

Denis Villenevue / 4.22.11 / Sony Pictures Classics

This definitely should have taken best foreign language film last year (Bier’s In A Better World won that). But damn it’s a doozy… most films with a twist ending like to rub your face in it, but in Incendies case, the whole film turns itself on end very secretly; it’s very well done. I like to think of this as a ‘foreign movie for people who don’t like foreign films.’ It has a very accessible story, and the characters are very relatable. 

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20. EXTREMELY LOUD & INCREDIBLY CLOSE

Stephen Daldry / 12.25.11 / Warner Bros.

Not that it’s a competition, but EL&IC made good and respectful use of it’s 9/11 subject matter, unlike a cheese-fest like World Trade Center. I liked this a lot more than I thought I would, and I’m glad I saw it. It’s a great tribute to 9/11, and it’s colossal tale of loss and recovery in the face of tragedy. Thomas Horn is awesome… he’s funny and his performance was really real; can’t wait to see him more in the future. Stephen Daldry has an uncanny ability to make good movies, but also make them seem really unlikable. I remember feeling the same way about The Reader in ‘08, but also ended up liking it more than I thought it would.  

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19. CONTAGION

Steven Soderbergh / 9.9.11 / Warner Bros.

It’s not as epic as it lets on (‘member when it was gonna be 3D?), but Soderbergh and master-stroke writer Scott Z. Burns craft a believable, relatively scary and thrilling ‘virus move.’ Some characters are wasted, as are their actors’ talents, but it’s a film in the field of films that Soderbergh does best…

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18. ANOTHER EARTH

Another Earth / 7.22.11 / Fox Searchlight

An entrancing tale of regret, love, desire and repentance set against that background of an enticing framing device: a duplicate Earth where our mistakes on this Earth might not be the same mistakes our duplicate selves have made… cool.

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17. RANGO

Gore Verbinski / 3.4.11 / Paramount

A really in-depth, violent, thinking man’s children’s movie. Really loved the existentialist themes and the countless references to countless westerns (and Fear and Loathing, obviously). An impressive piece of work by a relatively new team of animators, and Gore Verbinski. Congrats, you’re gonna beat Pixar this year! 

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16. WE NEED TO TALK ABOUT KEVIN

Lynne Ramsay / 12.9.11 / Oscilloscope

Lionel Shirver’s 2003 novel of the same name serves as the source material for this mother’s horror story. For lovers of the book, myself included, it’s heart-wrenching to watch how much material was cut out of the story for the final film product. It’s also baffling to think how anyone who didn’t read the book would have an idea what’s happening in the entire film. I realize certain lines of dialogue and scenes are left out to make sure the film isn’t constant exposition, but even I was thinking to myself ‘what the hell part of the book was this?’ It’s a gorgeous movie with beautiful, muted cinematography, but Kevin and Eva, as characters, were criminally under-explored. After seeing what Swinton is capable of in films like Julia and Michael Clayton, I can say that her performance here is all but understated, considering the scope and sheer attitude of the Eva in the novel. Nevertheless, she is perfect for the role (and Ezra Miller, for that matter). Another knock is the music choices… totally not a right fit for the atmosphere that was crafted, and knowing what Jonny Greenwood is capable of from There Will Be Blood, his score was underwhelming. Taking all this into consideration, I can see myself watching this again and again for years to come… it just has that quality to it. I can totally see a Criterion release coming down the line.

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15. YOUNG ADULT

Jason Reitman / 12.9.11 / Paramount

I absolutely despised Diablo Cody’s Jason Reitman-helmed Juno back in 2007, but I had high hopes that this would not be as annoying, stupid, full of “hip” dialogue, etc. And that was the case… Cody and Reitman have crafted an honest, funny, real story about a woman scorned. Everybody knows that dumb bitch that they can relate to, but here, Mavis Gary has a reason to be scorned, and I believe her final act redemption definitely gets her character some sympathy from the audience (contrary to most critical opinion). Loved all the characters, loved the music, loved the resolution; my favorite Reitman movie since Thank You For Smoking.

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14. HESHER

Spencer Susser / 5.13.11 / Wrekin Hill

Also one of those cases where I cried more than I expected to… after being bounced around the schedule a bunch and after a distribution company had to be created in order for this to reach screens, I was skeptical of it being any good. But it was! I never thought JGL could be such a badass, and Rainn Wilson is still my number one favorite performance of a supporting actor in 2011. It’s really got something for everyone… a tear-jerking final act, grandma smokin’ pot, you name it.

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13. CRAZY, STUPID, LOVE.

Glenn Ficarra & John Requa / 7.29.11 / Warner Bros.

When critics and moviegoers were claiming this to be the best romantic comedy of, like, the last ten years… that’s a big claim; and it’s substantiated. It goes in so many different directions and still ends up converging on an amazingly funny scene that’s too good to even describe. Pretty much the best assortment of today’s bona-fide movie stars all in one movie, and a huge improvement on Ficarra & Requa’s I Love You Philip Morris.

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12. THE IDES OF MARCH

George Clooney / 10.7.11 / Sony

I’m surprised by how much I like movies about politics, because I hate politics in real life. Ides is arguably a scene by scene rehash of Mike Nichol’s 1998 film Primary Colors, a thinly-veiled take on Clinton’s road to the White House… it’s based on a play called Farragut North, which is supposedly some sort of take on Howard Dean’s presidential campaign (though I don’t remember Howard Dean doing a lot of the things George Clooney’s Mike Morris does in this film, do you)? Regardless, it’s a great film filled with 2011’s BEST ensemble of actors you could ever put together. And any film that features my favorite actress, Evan Rachel Wood, as a seductress who tempts The Gos is fine by me… 

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11. 3

Tom Tykwer / 9.16.11 / Strand Releasing

Some argue that this film only exists only so that the image on this image on the domestic poster could have a film to go with it… and that’s a pretty could argument. Just thinking about the logistics of a menage-a-trois relationship spins heads, and the logistics of trying to work it out in 3 make for good film fodder. It’s good to see Tykwer return to foreign language (The International was kind of disappointing)… he’s crafted quite a film here.

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10. 50/50

Jonathan Levine / 9.30.11 / Summit

Jonathan Levine’s body of work, thus far, is widely unknown, and I implore anyone to check out All The Boys Love Mandy Lane and especially, The Wackness. 50/50 is good too! I 100% guarantee anyone will like this movie. Twenty minutes in you’re thinking to yourself “this is a Seth Rogen movie and nobody’s smoking pot yet!?” But then, people smoke pot, and it’s funny. But all pot, aside, this film has a great message, and the 50/50 thing means you’ll be laughing half of the time and crying half of the time, seriously. And see The Wackness. 

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9. WIN WIN

Thomas McCarthy / 3.18.11 / Fox Searchlight

Fox Searchlight was full of wonderful surprises this year (as well as wonderful disappointments, Tree & Martha). Win Win definitely factors in as a surprise… not that I wouldn’t expect a good movie from Thomas McCarthy (The Station Agent, The Visitor), but I didn’t necessarily expect a movie about a wrestling coach in debt to be any good… but it’s so good. Probably McCarthy’s best. We see Giamatti in a role that was pretty much built for him (why haven’t these guys worked together before), newcomer Alex Shaffer is awesome, and Bobby Cannavale is still in my top five of supporting performances of the year… the guy’s hilarious. Another one of those movies that anyone can get into and relate to.

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8. SHAME

Steve McQueen / 12.2.11 / Fox Searchlight

In a year where Michael Fassbender really made a name for himself, Shame is his crowning achievement, and hopefully a harbinger for greatness ahead. After you get past Carey Mulligan’s 25-minute rendition of New York, New York, Shame delves into the deepest depths of the horror of sex addiction; it’s not as fun as it sounds. Shame is probably, and I hate using the term, the most visceral film of the year, in terms of how real things get and how the in your face the story and cinematography develop the soul of Brandon. Not for the faint of heart of butt.

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7. SUPER 8

J.J. Abrams / 6.8.11 / Paramount

I saw this at a bargain theater for $1.50 in August because I figured it would be a great way to fuck the afternoon away. Little did I know it would make me laugh (a lot), and cry (a lot). Two 14-or-so-year-old boys and I were the only ones in the theater, and I was probably mumbled to myself  ’great, 14-year-old boys.’ Walking out, I was wiping my tears away, and they shot me a look like ‘yeah man, I know, right?’ It was great moment. Needless to say, J.J. Abrams has made his own little E.T. here (it’s definitely not a carbon-copy) featuring some of the best performances from children I’ve seen in years, as well as an amazing performance by Kyle Chandler. It’s a film for all ages, and especially a film for those who love film. 

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6. THE DESCENDANTS

Alexander Payne / 11.16.11 / Fox Searchlight

After The Descendants took the Golden Globe for best drama recently, I was kind of a weird moment… it’s definitely not the best drama 2011 had to offer, but it was nice to see it get the only big recognition it’s going to get as the season closes out. He’ll never top his role as Danny Ocean, but this role was built for Clooney, and he really knocks it out of the park. I don’t understand all of the awards love for Woodley, but she is great in this, as are a wealth of supporting characters that come out of nowhere. It’s nice to see a film that has a not so happy ending play out in a happy way, as well as have its characters be built out in the most detailed way in under two hours. Congratulations, Alexander Payne, your body of work continues to be outstanding. 

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5. MONEYBALL

Bennett Miller / 9.23.11 / Sony

I don’t really like watching baseball, that I will admit too. What I admit to less is my dislike for baseball culture, and sports culture in general, like people getting upset when their team loses, fans having animosity for another team’s fans, and the like. Onto Moneyball, a film seemingly crafted for baseball people. Originally set up with Steven Soderbergh at the helm, I’ve been pretty amped for Moneyball over the years, even when Capote’s Bennett Miller took over (Capote’s good!). I just never thought I’d actually like it as much as I did. It’s not just a film about having faith in your team (because it proves faith ain’t worth shit without the right players), but about having faith in yourself and others… it’s just perfectly framed over Billy Beane’s struggles with the A’s. And to boot, it’s not a classic underdog movie… idiot spoiler alert, but the A’s lose, a lot, and Billy Beane gets upset. It’s my favorite movie of the year featuring an Ocean’s Eleven cast member playing a single father, too (others include Matt Damon, Contagion AND We Bought A Zoo & George Clooney, The Descendants).

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4. HUGO

Martin Scorsese / 11.23.11 / Paramount

I saw this on a Saturday afternoon in a theater FULL of children… and they were silent and enthralled by this piece of cinema about cinema. Not to spoil anything, but the movie’s about a lot more than a boy in a train station looking for a key… it’s almost not about that at all. Which is the best part… not that it tricks you, but how the story goes to great lengths to be interesting. Hugo (Butterfield) says near the end of the film, I see that world as a big machine, and everyone here is a part that has a purpose, or something like that; it’s sweet. Asa Butterfield gives a performance that some grown men in the business wouldn’t be able to put on, he’s amazing. And Ben Kingsley is ready to be taken seriously again, in a big way. Throughout the film’s development, no one was on board with Scorsese directing a children’s film… though it’s not a GoodFellas or a Departed, it’s also not a children’s film. It’s really a film for anyone. 

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3. THE GIRL WITH THE DRAGON TATTOO

David Fincher / 12.21.11 / Sony

Fincher’s The Social Network was my favorite film of the year, just last year, so expectations for this were pretty high, also considering the he’s my favorite director. I knew this wouldn’t be as good as that, and it’s not. My obligatory response to ‘is it better than the Swedish one?’ is yes, it is better. Oplev’s adaption of the Larsson novel is a pulpy revenge/detective flick that has middle of the range production values. In the hands of Fincher, it’s still a pulpy flick, but it’s got additional layers that make you feel for the characters a hell of a lot more. In the end, it becomes a tale of a young girl scorned, which is way different than the ‘That’s Lisbeth!’ ending in the other one. Big big praise for the slick title sequence, set to the thumping re-do of Zepplin’s ‘Immigrant Song’ by Karen O (from the Yeah Yeah Yeahs). One word I’d like to assign to this film: it THROBS. From the incredible Reznor/Ross score (probably better than their previous Fincher score), to the fast cut-aways, to Jeff Cronenweth’s dark, dingy shots, it throbs. Also, props to the creative team for not ‘Americanizing’ another foreign property (like Matt Reeves’ moving Let The Right One In from Sweden to New Mexico (in Let Me In)). If you’re gonna adapt Swedish literature, you film it in Sweden, dammit.

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2. DRIVE

Nicolas Winding Refn / 9.16.11 / FilmDistrict

I hated Bronson, Refn’s 2009 feature starring Tom Hardy. It offered no implication that Refn (yes, pronounced “ref-in”) was a talented director; boring, spineless, and exploitative. Then comes Drive… a project where Ryan Gosling hand-picked Refn for the job of bringing The Driver to life on the big screen. And the rest is history, written in pink, gothic script. The film is a vehicle for Gosling’s star power, a film in which he, for the first time, is a movie star… but it’s more than that. It’s got a lot of style to spare, and features the best film representation of ‘seedy L.A. crime underbelly’ since Heat; seriously. I’m not crazy about Albert Brooks’ crime boss character (though he’s probably going to win an Oscar for it), or Carey Mulligan (better in Shame), but the feeling I got when the credits played just felt right. It’s more of a crime fairy tale, an amazing story of a hero who throws caution to wind to protect what he loves. Best soundtrack of ‘11, too, by far. Definitely the most quoteable movie of 2011, too.

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1. TAKE SHELTER

Jeff Nichols / 9.30.11 / Sony Pictures Classics

It’s tough to sum up how I feel about this film, and how perfectly it blew away my expectations. I liked Nichols’ first feature, Shotgun Stories, and expected to like this just as much, if not a little more. But what Nichols has created this time around captures paranoia, dread and the paternal instinct better than any film I’ve seen in years. Michael Shannon gives an incredible performance, my favorite of the year by far, and Jessica Chastain, my favorite for supporting performance, plays through all kinds of emotions, but ultimately channels the benefit of the doubt like no other. One of the final scenes got me the most for its effortless ability to hold the tension through almost ten minutes of high-wire paranoia. Then as soon as you think it ends, it pulls out an epilogue that turns everything on its head. One thing that pulls it all together is David Wingo’s plinky, haunting score. ‘Haunting’ is a word thrown around a lot when talking music, but his music is, and it gives me chills on it’s own. Props also to Nichols’ own brother, Jeff Nichols, for crafting the original song ‘Shelter’ that plays over the credits. I won’t get too excited for Nichols’ next feature, Mud, with Matthew McConaughey in the lead role, but the guy is definitely one to watch… 

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Films I’ve yet to see (that I care to eventually):

Carnage, Albert Nobbs, Warrior