20) Shame
- An intense portrayal of a sex addict, Michael Fassbender’s performance is both captivating and difficult to watch. Under the direction of Steve McQueen, Fassbender’s sexual addiction comes off as any other addiction would: something that must be done, with little to no enjoyment. For me, it’s very reminiscent of Darren Aronofsky’s Requiem For A Dream in that it is an incredible work of art that I hope never to see again.
19) A Dangerous Method
- Between X-Men: First Class and the aforementioned Shame, 2011 has been Michael Fassbender’s year. David Cronenberg’s A Dangerous Method is fascinating look at the beginnings of psychoanalysis and analytical psychology. While that sentence might not sound fascinating, Cronenberg’s vision is just great. Along with Fassbender, co-stars Viggo Mortensen and Keira Knightley do a terrific job portraying these historical figures. Anyone interested in either great films or the history of psychology’s two most influential figures should check this out.
18) Martha Marcy May Marlene
- Martha Marcy May Marlene is a haunting psychological thriller that is purposefully ambiguous. Elizabeth Olsen portrays a young girl, Martha, who has just run away from an abusive cult and into the life of her estranged sister. Olsen is easily the highlight of the film, as her powerful performance holds up what might otherwise be a hard to understand character in a confusing situation. Co-star John Hawkes delivers an equally impressive performance as the mysterious leader of a cult. Any confusion we could have about why Martha is drawn to this group is quickly defused when Hawkes is on screen. He holds a power over these people and the viewer as well.
17) 50/50
- Cancer and comedy together is more often than not a recipe for disaster (see: Funny People). 50/50 however walks the perfect line between genuinely heartfelt moments and clever humor. Joseph Gordon-Levitt continues to prove he has the potential to be a major Hollywood player, while Seth Rogen finally finds himself in a roll that lets him shine.
16) J. Edgar
- Clint Eastwood’s J. Edgar Hoover biopic is by no means a perfect film. With confusing time jumps and a messy script, J. Edgar is unlikely to find a lot of love in most circles. However, Eastwood is still a fantastic director and both the cinematography and editing is top notch. Obviously the highlight of the film is Leonardo DiCaprio’s mesmerizing performance, but it looks like Leo will miss out again this award season.
15) Another Earth
- Another Earth is a science-fiction film that explores the concept of second chances. Star Brit Marling and director Mike Cahill co-wrote the script that takes the concept of a mirror image Earth appearing (with mirror-twins of everyone) and shrinks it down into a riveting interpersonal drama. Another Earth evokes a mood few sci-fi films achieve.
14) Source Code
- In 2009 Duncan Jones made his directional debut with Moon, which is one of my favorite films of all time. This past year he returned with Source Code, a sci-fi thriller that manages to provide heart-pounding action sequences yet still find time to explore philosophical questions. Are our lives predetermined? Are there alternate realities? Moreover, what is reality? Duncan Jones continues to prove he is one of the best new directors.
13) Melancholia
- The opening of Melancholia is various shots in super slow motion depicting the end of the world set to Wagner’s Prelude to Tristan and Isolde. It is simultaneously beautiful and depressing. It also sums up what the film is about. Melancholia is split into two acts; the first focuses on a newly wed couple with the bride battling depression. The second (and far superior) act focuses on her sister and the coming apocalypse. Director Lars von Trier crafted this film wonderfully but it’s not without it’s shortcomings: act one moves at a snail’s pace and ultimately feels less needed than act two. Still, the end of the world has never looked this gorgeous.
12) Moneyball
- A sports drama that doesn’t require a love (or knowledge) of baseball is made all the better by being based on a true story. Moneyball finds Brad Pitt at the top of his game and introduces Jonah Hill as a serious actor. Cinematographer, Wally Pfister (see: Inception, The Dark Knight) always impresses and genuinely gives the film an incredible look. I personally don’t like baseball, yet this film is endlessly fascinating and follows a true underdog story.
11) War Horse
- Steven Spielberg’s WWI epic, War Horse, continues his fine tradition of making classic films. A smart script and a memorable score (by none other than John Williams) tell the tale of a horse separated from his owner in the midst of World War I. The true star of this film is the horse itself and, somehow, Spielberg makes us love that creature. The final scene of the movie contains the most beautiful cinematography of any film of the year.
10) Contagion
- Contagion is a tense, fast-paced medical thriller that follows an ensemble cast and a virus that threatens humanity. Steven Soderbergh has become a master of the multi-protagonist story (see: the Ocean’s trilogy, Traffic) and that is no different here. It’s a delight to see so many artists giving great performances. Cliff Martinez’ pulsating score keeps the film moving and keeps the viewer on the edge of their seat.
9) The Tree Of Life
- If Melancholia detailed the end of the world, Terrence Malick’s The Tree Of Life explores the birth of the universe and the meanings of life. While something of this scope was bound to fail, Malick’s effort is still a wonderfully enchanting piece, well worth repeated viewings. Brad Pitt’s portrayal of a loving yet stern father and Jessica Chastain as the ever-gentle mother in the 1950’s provides the anchor in a narrative that freely jumps around. Sean Penn’s performance, however, leaves a bit more to be desired. For the free-form “creation” sections, we are treated to non-CGI special effects that are very reminiscent of 2006’s The Fountain. Ultimately, The Tree Of Life can be summed up in one word: breathtaking.
8) The Girl With The Dragon Tattoo
- David Fincher has yet to make a bad film. Is this his best work? No, maybe not but it is still a Fincher film and you can tell that within the first 5 minutes. The Girl With The Dragon Tattoo oozes with brutal darkness. Like much of Fincher’s work, there is a determined hunt to catch a killer. But unlike Se7en and Zodiac, Dragon Tattoo has Rooney Mara in an unstoppable performance. As fascinating as the story is and as good as Daniel Craig may be, Mara owns every scene she’s in with a quiet rage.
7) The Ides Of March
- George Clooney is unstoppable. The Ides Of March, a political thriller, sees Clooney as director, producer, screenwriter, and actor and he excels in all departments. Clearly years of being a great actor has given him insight into directing actors, as Ryan Gosling is in top form. Aside from 2010’s Blue Valentine, I had never really expected much from Gosling, but this year he has cemented himself as a true artist and someone that I will gladly watch in the future.
6) The Artist
- Who would have guessed that one of the best films of 2011 would be a silent, black and white picture about late 1920’s/early 1930’s Hollywood? I’ve always loved the look of black and white films and The Artist does not disappoint. Acting, to me, is completely different in the world of silent cinema, yet Jean Dujardin and Bérénice Bejo’s performances wouldn’t seem out of place in the heyday of silent films. Dujardin and Bejo exude a charm that makes them impossible not to like. The Artist is an absolute joy to watch.
5) Warrior
- In 2010 we were given The Fighter, an emotionally charged boxing film that was very good. Previews for Warrior seemed to make it look like The Fighter only with MMA instead of boxing. On some levels, that’s probably true: both films deal with family and insurmountable odds and an excellent supporting cast. What makes Warrior stand out so much more (aside from Tom Hardy, Joel Edgerton, and Nick Nolte's powerhouse performances) is an incredibly entertaining and well-written story with masterful pacing by director Gavin O’Conner. The three leading men feel like fully realized characters with their own distinct flaws and strengths. The film is constantly building up tension, so when the film reaches it’s climax, it’s impossible not to be caught up in it all.
4) Midnight In Paris
- Woody Allen has been making films for six decades and Midnight In Paris stands as absolutely one of his best. A charming romantic comedy, Midnight In Paris follows Gil (Owen Wilson in the best performance of his career) as he is whisked from modern day Paris, to Paris of the 1920’s. The film never attempts to explain how he is able to travel back in time and the film is stronger for not attempting to do so. Co-star Marion Cotillard is stunning as usual and the scenes between her and Wilson are delightful. The supporting cast embodies 1920’s Paris and the whimsical score complements the scenery perfectly.
3) The Descendants
- The Descendants somehow manages to be both hilarious and deeply moving. “Dramedies” tend not to work or skew one way or the other, but Alexander Payne’s film walks the line perfectly. George Clooney is phenomenal here. Its nice seeing Clooney at his best and the rest of the cast (Shailene Woodley, especially, is incredible) give some amazing performances. The dialog is tightly written, the music is perfectly suited to the on-screen drama, and the shot composition makes everywhere seem new and fresh.
2) Hugo
- Martin Scorsese’s Hugo is a love letter to early cinema masquerading as a kid’s adventure flick. As a fan of both Scorsese and cinema in general, I can’t help but love this film. Wonderful performances from Asa Butterfield and Chloë Grace Moretz prove that being a child actor doesn’t mean you can’t enthrall the viewer. Sir Ben Kingsley is stunning in his portrayal of famed film pioneer Georges Méliès. If you have not seen any of Méliès’ work, fear not Scorsese perfectly recreates some of his most iconic scenes for a new generation of filmgoer to enjoy. Also of note is the ideal use of 3D filmmaking technology. The 3D in Hugo seems purposeful and magical, not some cheap gimmick. There’s a certain appeal of seeing a modern filmmaking innovation tell the story of early cinematic innovation. Martin Scorsese has made a career of iconic films and from the looks of Hugo, he just keeps getting better at his craft.
1) Drive
- What can I possibly say? Drive is a perfect film. No question about it. From Nicolas Winding Refn’s masterful direction, to the astounding performances by all involved (particularly Ryan Gosling and Albert Brooks), to a pace-building electropop soundtrack by Cliff Martinez, to perfectly timed edits, to the very definition of perfect cinematography (from Newton Thomas Sigel), Drive is a masterpiece in every sense of the word. There are numerous scenes filled with stylish aesthetics and subtext, but one in particular stands out: the elevator scene. Without spoiling anything, it is the most powerful section in the film and ultimately, I believe it ranks as one of the most iconic scenes in all of cinema.
