My top 5 films of 2011.
Honourable mentions:
True Grit (Coen Brothers)
I tend to not include films released post-Oscar season like this is my list because I’m a pedantic loser but I have to include the Coen Brothers’ latest film in my list. Based on the wonderful Charles Portiss novel, the brothers have managed to make a pitch-perfect adaptation of tough, witty and wry source material whilst retaining an unmistakably Coens-esque vibe. Even if Westerns bore you to tears, I strongly recommend this movie because it transcends that genre and becomes something all the more rewarding. Filled with archaic but endlessly fascinating and often extremely entertaining language that flows from the mouths of the perfectly cast ensemble (newcomer Hailee Steinfeld is nothing short of a revelation as the heroine and yes, she is the lead no matter what the Oscars say) set to harsh yet undeniably beautiful landscapes, gloriously captured by my favourite cinematographer Roger Deakins. Filled with black humour, tension and built in a completely gripping world, I can’t recommend True Grit enough.
Harry Potter and the Deathly Hallows Part Two (David Yates)
I must admit up front that I have always had severe difficulty separating my love for the books and what they gave to me as a young, impressionable book-worm from the movie adaptations in order to judge them objectively. This film also has the added disadvantage of being half a movie, and its inclusion here has as much to do with the experience I had watching it in the midnight screening on opening night as it does with the quality of the film itself. Nothing will ever beat that movie experience for me; sitting in a crowded theatre with two good friends in costume, laughing and crying and cheering and applauding as we saw the climax of something that’s been a constant companion throughout our childhoods and adolescences. However, I can say that DH2 was a worthy climax that had me gripped throughout. We saw some of the shunted supporting characters truly shine, some brilliant special effects, well shot action sequences and even Emma Watson was bearable! This placing may be sentimental but the heart wants what it wants.
5. Wuthering Heights (Andrea Arnold)
It’s a period piece without the doily frills and restrained passions. Arnold’s adaptation of the Emily Bronte classic (which I haven’t read so cannot lay testament to how faithful it is) is as raw, gritting and brutally honest as her contemporary set work. It’s much more of a mood piece than anything else, following Heathcliff and Cathy’s lives on the infamous moors as their wordless relationship of fascinating evolves into something much darker and uglier. Cast almost entirely with unknowns and stripped to the bare bones (there is no music until the very end, and the inclusion of the Mumford and Sons song is just awkward), Arnold doesn’t shy away from the ugliness of the characters, especially the bigotry directed towards Heathcliff, with this film also being the first time an actor of colour has taken on the role. To his credit, James Howson is a strong Heathcliff, and the actors playing the younger pair manage to build a realistic relationship in few words. Kaya Scodelario is the one damp squib of the project, which is unfortunate since Arnold usually has such a good eye for casting. I could easily have seen Fish Tank’s Katie Jarvis in the role. Best of all, this is a Wuthering Heights where the Heathcliff-Cathy relationship is not romanticised one iota. It’s dark, it’s unhealthy, it’s dangerous and it’s supposed to be! Praise be! The film does have a few moments that feel out of place, as if Arnold is working too hard to make the project ‘edgy’, but overall it’s a fantastic mood piece that proves you don’t need to overdress your period piece to make an impact.
4. Take Shelter (Jeff Nichols)
It’s a rarity these days that a movie truly surprises me but Take Shelter did just that. It was also another rare instance in which I had absolutely no idea what was going to happen. The sheer sense of dread Nichols fills the screen with becomes practically unbearable at times as we watch Curtis’s life and mind slowly unravel. Michael Shannon has sort of made a career out of these types of characters lately but his performance here is terrific. It’s painful to watch him suffer with visions he cannot understand or comprehend whether they are real or not, and the tension building until he finally lets it all out is an unforgettable climax. Despite some of the most eye-catching and unforgettable visuals of the year, it’s a subtle movie that values tone and character over big spectacles, and it’s all the more successful a suspense drama for it. Michael Shannon for a Best Actor nomination please!
3. Tinker Tailor Soldier Spy (Tomas Alfredson)
Shannon has some competition in the best actor field this year thanks to the career best powerhouse performance of Gary Oldman, heading up the strongest ensemble of the year, including John Hurt, Colin Firth, Kathy Bates, Benedict Cumberbatch and Tom Hardy. To call Oldman’s working in this film mere acting feels like a disservice. He is Smiley. Every twitch of his face, every shrug of his shoulder, every mumble that comes from his mouth works together to create a character as complex, intricate and labyrinthine as the film itself. Alfredson has made a film full of drab colours, an exploration of loneliness and the pain of treachery so beautiful. It’s the anti-Bond spy movie.
2. The Skin I Live In (Pedro Almodovar)
I love it when films divide opinion; it makes the conversation so much more interesting. No film did that more for me than Almodovar’s horror film without the scares or gore, a strange film that gleefully jumps between horrifying psychological thriller and trashy camp soap opera in the way that only this director could manage. It’s a wholly bizarre film that dares to be crazy and is all too happy to make you squeamish or giggle uncomfortably (having seen the film twice in the cinema, certain key scenes elicited both reactions). Filled with some of Almodovar’s favourite tropes - voyeurism, relationships between women, splashes of lurid colours - the real strength lies in the cold, clinical way in which Almodovar tackles the protagonist, played by Antonio Banderas in the best performance he’s done in years. There’s a sense of detachment from the action unfolding that leaves us with an emotional intensity to match the undeniable camp. I can’t really say much about the movie without spoiling its key plot point. If this looks like something you’d enjoy then definitely check it out, but be prepared to see opinions divided.
1. Hugo (Martin Scorsese)
When one thinks of Scorsese, one doesn’t usually think of big budget children’s movies (adapted from the wonderful illustrated novel by Brian Selznick) filmed in 3D and featuring dog reaction shots. However, after seeing Hugo, I felt as if this was the most personal and heart-felt movie Scorsese’s made in years (although not even living legend Marty can film a good dog reaction shot. It’s just impossible). Scorsese is wholeheartedly dedicated to this story, a love-letter to a bygone era as well as the pioneers of film. He fills every scene with such life and such vibrancy that I find it impossible to talk about without gushing. Anyone who grew up loving film as much as I do will be able to relate to Chloe Moretz’s reactions of glee and terror as she sees her very first film, becoming so invested in the drama she sees unfolding that she forgets it’s not real. It’s real to her, just like the magic of Georges Melies is real to Scorsese. The 3D is utilised better here than in any other movie I’ve seen, enhancing the experience rather than distracting us from it. I’d been reading a lot of reviews for this film and was so dismayed by those who said it was too good for children. What a horrible attitude to have, and I bet these are the same critics who complain about the terrible state of children’s movies these days. The truth is that this is a wonderful family movie that doesn’t treat its audience like fools. Scorsese has a story to tell and you’re all invited along.
True Grit (Coen Brothers)
I tend to not include films released post-Oscar season like this is my list because I’m a pedantic loser but I have to include the Coen Brothers’ latest film in my list. Based on the wonderful Charles Portiss novel, the brothers have managed to make a pitch-perfect adaptation of tough, witty and wry source material whilst retaining an unmistakably Coens-esque vibe. Even if Westerns bore you to tears, I strongly recommend this movie because it transcends that genre and becomes something all the more rewarding. Filled with archaic but endlessly fascinating and often extremely entertaining language that flows from the mouths of the perfectly cast ensemble (newcomer Hailee Steinfeld is nothing short of a revelation as the heroine and yes, she is the lead no matter what the Oscars say) set to harsh yet undeniably beautiful landscapes, gloriously captured by my favourite cinematographer Roger Deakins. Filled with black humour, tension and built in a completely gripping world, I can’t recommend True Grit enough.
Harry Potter and the Deathly Hallows Part Two (David Yates)
I must admit up front that I have always had severe difficulty separating my love for the books and what they gave to me as a young, impressionable book-worm from the movie adaptations in order to judge them objectively. This film also has the added disadvantage of being half a movie, and its inclusion here has as much to do with the experience I had watching it in the midnight screening on opening night as it does with the quality of the film itself. Nothing will ever beat that movie experience for me; sitting in a crowded theatre with two good friends in costume, laughing and crying and cheering and applauding as we saw the climax of something that’s been a constant companion throughout our childhoods and adolescences. However, I can say that DH2 was a worthy climax that had me gripped throughout. We saw some of the shunted supporting characters truly shine, some brilliant special effects, well shot action sequences and even Emma Watson was bearable! This placing may be sentimental but the heart wants what it wants.
5. Wuthering Heights (Andrea Arnold)
It’s a period piece without the doily frills and restrained passions. Arnold’s adaptation of the Emily Bronte classic (which I haven’t read so cannot lay testament to how faithful it is) is as raw, gritting and brutally honest as her contemporary set work. It’s much more of a mood piece than anything else, following Heathcliff and Cathy’s lives on the infamous moors as their wordless relationship of fascinating evolves into something much darker and uglier. Cast almost entirely with unknowns and stripped to the bare bones (there is no music until the very end, and the inclusion of the Mumford and Sons song is just awkward), Arnold doesn’t shy away from the ugliness of the characters, especially the bigotry directed towards Heathcliff, with this film also being the first time an actor of colour has taken on the role. To his credit, James Howson is a strong Heathcliff, and the actors playing the younger pair manage to build a realistic relationship in few words. Kaya Scodelario is the one damp squib of the project, which is unfortunate since Arnold usually has such a good eye for casting. I could easily have seen Fish Tank’s Katie Jarvis in the role. Best of all, this is a Wuthering Heights where the Heathcliff-Cathy relationship is not romanticised one iota. It’s dark, it’s unhealthy, it’s dangerous and it’s supposed to be! Praise be! The film does have a few moments that feel out of place, as if Arnold is working too hard to make the project ‘edgy’, but overall it’s a fantastic mood piece that proves you don’t need to overdress your period piece to make an impact.
4. Take Shelter (Jeff Nichols)
It’s a rarity these days that a movie truly surprises me but Take Shelter did just that. It was also another rare instance in which I had absolutely no idea what was going to happen. The sheer sense of dread Nichols fills the screen with becomes practically unbearable at times as we watch Curtis’s life and mind slowly unravel. Michael Shannon has sort of made a career out of these types of characters lately but his performance here is terrific. It’s painful to watch him suffer with visions he cannot understand or comprehend whether they are real or not, and the tension building until he finally lets it all out is an unforgettable climax. Despite some of the most eye-catching and unforgettable visuals of the year, it’s a subtle movie that values tone and character over big spectacles, and it’s all the more successful a suspense drama for it. Michael Shannon for a Best Actor nomination please!
3. Tinker Tailor Soldier Spy (Tomas Alfredson)
Shannon has some competition in the best actor field this year thanks to the career best powerhouse performance of Gary Oldman, heading up the strongest ensemble of the year, including John Hurt, Colin Firth, Kathy Bates, Benedict Cumberbatch and Tom Hardy. To call Oldman’s working in this film mere acting feels like a disservice. He is Smiley. Every twitch of his face, every shrug of his shoulder, every mumble that comes from his mouth works together to create a character as complex, intricate and labyrinthine as the film itself. Alfredson has made a film full of drab colours, an exploration of loneliness and the pain of treachery so beautiful. It’s the anti-Bond spy movie.
2. The Skin I Live In (Pedro Almodovar)
I love it when films divide opinion; it makes the conversation so much more interesting. No film did that more for me than Almodovar’s horror film without the scares or gore, a strange film that gleefully jumps between horrifying psychological thriller and trashy camp soap opera in the way that only this director could manage. It’s a wholly bizarre film that dares to be crazy and is all too happy to make you squeamish or giggle uncomfortably (having seen the film twice in the cinema, certain key scenes elicited both reactions). Filled with some of Almodovar’s favourite tropes - voyeurism, relationships between women, splashes of lurid colours - the real strength lies in the cold, clinical way in which Almodovar tackles the protagonist, played by Antonio Banderas in the best performance he’s done in years. There’s a sense of detachment from the action unfolding that leaves us with an emotional intensity to match the undeniable camp. I can’t really say much about the movie without spoiling its key plot point. If this looks like something you’d enjoy then definitely check it out, but be prepared to see opinions divided.
1. Hugo (Martin Scorsese)
When one thinks of Scorsese, one doesn’t usually think of big budget children’s movies (adapted from the wonderful illustrated novel by Brian Selznick) filmed in 3D and featuring dog reaction shots. However, after seeing Hugo, I felt as if this was the most personal and heart-felt movie Scorsese’s made in years (although not even living legend Marty can film a good dog reaction shot. It’s just impossible). Scorsese is wholeheartedly dedicated to this story, a love-letter to a bygone era as well as the pioneers of film. He fills every scene with such life and such vibrancy that I find it impossible to talk about without gushing. Anyone who grew up loving film as much as I do will be able to relate to Chloe Moretz’s reactions of glee and terror as she sees her very first film, becoming so invested in the drama she sees unfolding that she forgets it’s not real. It’s real to her, just like the magic of Georges Melies is real to Scorsese. The 3D is utilised better here than in any other movie I’ve seen, enhancing the experience rather than distracting us from it. I’d been reading a lot of reviews for this film and was so dismayed by those who said it was too good for children. What a horrible attitude to have, and I bet these are the same critics who complain about the terrible state of children’s movies these days. The truth is that this is a wonderful family movie that doesn’t treat its audience like fools. Scorsese has a story to tell and you’re all invited along.