The Tardiest and Positively Last List of TOP 10 MOVIES OF 2010
The movie year increasingly reminds me of the old video game “Space Invaders.” In the beginning, the invaders drop down intermittently and at a snail's pace—easy pickings—but as the game progresses they come fast and furious until you can't keep up, and then ... Blam! Game over.
That's my movie year. It starts out slowly, luxuriously, with huge gaps between one good film (“The Ghost Writer”) and another (“Un Prophete”). The dashed hopes of spring (“Kick Ass”) eventually give way to the heat of summer blockbusters (“Toy Story 3”; “Inception”). In fall, there's September pretenders (“The American”), October surprises (“The Social Network”), but before you know it you're inundated (“Black Fair Rabbit Fighter Job Speech Grit”) until ... Blam! Game over.
Long way of sayng I should've posted this sooner but kept trying to pick up all those I missed. Then I looked around and it was February and I knew I had to go with what I've got.
This is what I've got.
10. “Inside Job” is the first of three documentaries in my Top 10. It's the least powerful but probably the most necessary since it goes into the whys and hows of the global financial meltdown, which most of us, including especially me, don't quite understand yet. The talking heads we want (Henry Paulson; Larry Summers) aren't talking, of course, but enough middle-management types, flattered to be asked, are. My favorite? Little Freddy Mishkin, tanned and suited up, who hems and haws through a series of questions, including one on a 2006 independent study he co-authored, for $125,000, for the Icelandic Chamber of Commerce. He called it “Financial Stability in Iceland.” This was just before the Icelandic economy collapsed disastrously. So now in his CV it's called “Financial Instability in Iceland.” When questioned on the switch, he responds with his usual grace: “Well, I don't know, if, whatever it is, is, the, uh, the thing—if it's a typo, there's a typo.” Review excerpt:
Most of us struggle to find something we’re good at, and for which we can get paid, and, if we’re lucky, we do this thing for 40 to 50 years until we can hopefully retire with a bit of comfort. And while we’re doing this thing, we’re putting our money, bit by bit, into a room, which is where other people, bit by bit, are putting their money, too. So there’s a huge pile of money in this room. Now there’s another group of people who are attracted to this room for the pile of money. They believe they can take that pile of money, our money, and turn it into a bigger pile of money, a lot of which will be their money. But while they’re doing this magic act, they don’t want anyone to watch. Because we can trust them. Because they are self-regulating. Because what could possibly go wrong?
9. I had problems with “The Ghostwriter,” particularly the ending, in which the Ghost (Ewan McGregor) figures it all out then gives it all up to his enemies, the faux-Bush administration, and dies two seconds later. It's as if U.S. government agencies are quick, coordinated and supersmart rather than the slow, clumsy battleships we know them to be. So I never thought this movie would make my top 10. It's the weight of it that finally won me over. It's the images that stayed in my head: the lone SUV, alarm blaring, on the ferry; McGregor next to the full-paned window revealing the dunes outside—making it appear he's half in the room and half out; the unsexy sex scenes; the investigation through GPS; the cold and the gray and the paranoia of it all. For all the problems with story, the feel of it was created by a true artist. Review excerpt:
In the 1970s, and in political thrillers such as “Three Days of the Condor,” the CIA was viewed as the automatic villain of the left for immorally, conspiratorially involving itself in everything. In the 2000s, the CIA was viewed as the automatic villain of the right for immorally, conspiratorially involving itself in nothing. Bushies outed CIA agents. That’s how crazy things got. In “The Ghostwriter,” the CIA, FBI and the faux-Bush administration all work together in super-smart, super-efficient fashion. As soon as perceived enemies appear they are struck down. One ponders the sad history of this past decade, particularly before and after 9/11, and thinks: Right.
8. There are two big reasons why “Black Swan” is on my list. Half an hour after watching it, I still had to remind myself to “breathe” because I'd barely breathed at all during the last half hour of the film. And I'd barely breathed during the last half hour of the film because director Darren Aronofsky, and star Natalie Portman, get you into the head of the main character, Nina, as well as Dostoevsky gets you into the head of Raskolnikov in “Crime and Punishment.” That's the realm of novels not movies. But Aronofsky is making it the realm of movies. Review excerpt:
No, Nina is hardly innocent. She’s covetous. Early in the film, after Beth Macintyre (Winona Ryder) trashes her dressing room when she learns she’s been summarily dismissed as prima ballerina of their New York ballet company, Nina sneaks in and sits at the vanity mirror and looks at herself and tries out Beth’s lipstick; then she pockets Beth’s lipstick. It seems a minor thing. Until later in the film when Beth is in the hospital and Nina brings out all the things, including diamond earrings, that Nina stole from her over the years. She’s been coveting the role of prima ballerina for years, and now it’s hers, but she can only see versions of herself ready to take it away again. She assumes the world is like her—we all do—and that’s why she’s paranoid. She knows how awful the desire to take.
7. I still think about it sometimes. What if the creators of “Toy Story 3” had not given us their deus ex machina at the junkyard and allowed the toys, our favorite cinemantic toys, to be pulled into the furnace? What if we had all watched the beloved face of Woody (Tom Hanks) melt away as if he were the Gestapo officer in “Raiders of the Lost Ark”? How much stronger the lesson would've been about our wasteful, throwaway culture. Of course: the howls of protest that would've emerged; the billions of dollars that wouldn't have been made. Instead we got our happy ending. Andy's life goes on but the toys are eternal. They will never die. It's a bit of a lie, but an argument can still be made that the “Toy Story” series is still the greatest trilogy Hollywood has ever produced. Each film builds on, and deepens, the previous one. Review excerpt:
Can we watch these movies and not think about ourselves? What the toys go through is essentially what we will all go through. First we’re useful; then we’re not; then we’re taken to a home where we may be abused. We live in a throwaway culture where we’re the last thing thrown away. “Toy Story 3” doesn’t want us to think about this too much, of course, so it gives us its bittersweet ending, where Andy finally, reluctantly, takes his childish things and gives them to Bonnie, shy Bonnie forever hiding behind her mother’s legs, where they will be both safe and useful. In Andy’s reluctance to let go, one sees the reluctance of Pixar itself, which began its empire with Woody and Buzz, and finally has to put away its childish things.
6. There's always a hint of unreality when one leaves a movie theater—it's as if you are waking from a dream—but I felt this tenfold leaving Chris Nolan's “Inception,” a movie which knows all about the connection between movies and dreams. And video games? Our inception team goes several levels into the unconscious of its victim and has to fight its way out of each level before surfacing in our own. Or is it our own? That's not just a question for Leonardo DiCaprio's Cobb at the end of the movie, or for us in the audience watching “Inception”; it's the question in our heads as we walk the streets afterwards. Why is this level the real one? I guess because we're stuck here. Until we aren't. Review excerpt:
There are parallels, certainly, between “Inception” and “Shutter Island,” Leonardo DiCaprio’s previous movie that included a crazy wife who kills herself and the protagonist’s subsequent retreat from reality. But I felt “Inception” more. With “Shutter,” the craziness is isolated in one character. With “Inception,” it spreads. Like an idea. The sanest person in the movie, in fact, may be Mal, just before she kills herself. Once you navigate to the lower dream levels, who is to say that our level, the non-dream level, is the final level? Aren’t we told, all of our lives, that there is another, higher level? Or levels? Who’s to say that reality isn’t the dream from which we need to wake up? The greatest philosophers have said just that. Most of us have felt just that. Nolan is actually tapping into the sense of unreality that reality has. Not bad for a summer blockbuster.
5. “A Film Unfinished” ran from August to November in the States, played in 16 theaters at one point, and grossed $320,000. What a shame. Everyone should see this documentary. It's not just about the Nazis, or the Warsaw Ghetto, or the Holocaust; it's about what propaganda truly means. It's about what evil truly is. The Nazis filmed Jews in the Warsaw Ghetto in the months before its liquidation in 1943. Why? Forty years later, historians realized they actually staged some of those scenes—creating scenes of comfortable and/or rich Jews. Again: Why? To hide what they were doing before they finished doing it? But hide ... from whom? And why film scenes of poor and starving Jews as well? The answer, when it hit me, hit me with a blow that both clarifies and sickens. Review excerpt (and spoilers):
The juxtaposition between rich Jews and poor Jews was justification. The Nazis were documenting a race of people so indifferent to the suffering of others that they didn’t deserve to live. They were documenting an excuse for extermination. In that moment of horror, of revelation, one understands the true meaning of propaganda. It is the powerful blaming the powerless for the crimes of the powerful. The Nazis herded 600,000 Jews into a single zone of Warsaw. They gave them no way to live. They let them starve. They let them die by the hundreds of thousands. Then they staged scenes of Jewish indifference to the suffering of others.
4. “The Social Network” sizzles with intelligence, doesn't it? That's how I still think of it three months later. It begins with a tabletop conversation that Quentin Tarantino would slit his wrists to have written, goes into an all-night, intellectual, misogynistic bender, and doesn't stop. The first half is about the creation of a global phenomenon. What fun! The second half is a love triangle between three boys with Sean Parker playing homme fatal. That's less fun. If the first half is about getting ahead in the Internet age, the second half is about who gets left behind. Sorkin's Zuckberg may not be the true Zuckerberg, but Eduardo is us. Review excerpt:
The final scene, where Zuckerberg finds Erica on Facebook and sends her a friend request, then refreshers her page again and again, is a scene for our time. This thing has been sent out into the ether and we need something to come back. We need to be filled, constantly filled, by the online world, because we're social animals, and socializing online is like the thirsty drinking salt water. We keep doing it and it’s only making us thirstier.
3. “True Grit” is a movie without adjectives or adverbs. It just tells its tale. It's not pushing us in any particular direction, it's just allowing us to ride along. The spectacle, if there is spectacle, is there in the main character, Rooster Cogburn, and in the language, most of it culled from Charles Portis' novel. But within its simple structure, its straightforward storytelling, the Coens make you feel things. You feel the violence of fingers chopped off and the heavy weight of hanged men. You feel the bark of trees and the biting cold of winter. You feel the power of a single gunshot. You feel the damp sweat of horses. Mostly, you feel the Old Testament logic to the world. As Mattie says: “You must pay for everything in this world, one way and another. There is nothing free except the grace of God.” Review excerpt:
Each character surprises. Each has his own code. Cogburn, a U.S. Marshall, robbed banks in his youth, then dismisses it with a shrug and an excuse about never robbing a citizen. Lucky Ned, wearing the nastiest set of teeth in movies, and trading spittle-filled invective with Cogburn while pushing a boot into Mattie’s face, later acts the man of honor. Bargains are made—you do this and I’ll do this—but both Cogburn and Chaney go back on their word. Only Ned Pepper keeps his. This is a rough and absurd world, an Old Testament world, where a laugh is followed by the horror of fingers being chopped off; where an anticipated showdown with a killer becomes the absurdist image of a bear toddling through the woods on a horse. (Should the Coens adapt John Irving? Or is he too New Testament for them?)
2. You know how you hear, say, a political speech that moves you, and then the talking heads on cable news get our their knives and forks and cut it all up? That's how I felt during the Q&A for “Restrepo” after a Friday night showing at the Harvard Exit last May. Both directors were there, Timothy Hetherington and Sebastian Junger, and I was in the back row, still mesmerized by the power of this documentary; then the crowd, Seattle International Film Festival folks, got out their knives and forks. They wanted the doc to say what they wanted it to say. Why didn't it critique our Afghanistan policy? Why didn't it attack the Bush administration? They wanted it narrowed and defined. In the Stephen Daedalus sense, they wanted an improper art that is kinetic and didactic, and Hetherington and Junger merely gave them a painful ode to the fragility of the human condition. They gave us a tragic tale that arrests the mind above desire and loathing. They gave us art. Excerpt:
Finally, there’s Cortez, who’s smiling, always smiling in the post-deployment interviews. One wonders: “Why is this dude smiling?” Then you realize there’s a disconnect between the look on his face and what he’s saying. Near the end, he talks about how he can’t sleep.
I’ve been on four or five different types of sleeping pills and none of them help. That’s how bad the nightmares are. I prefer not to sleep, and not dream about it, than sleep and see the pictures in my head. It’s...pretty bad.
The smile never leaves his face.
1. Am I too much a Francophile for reasons beyond Marion Cotillard? The French are now 2-for-2 on this site. Olivier Assayas's “L'heure d'ete” topped my list last year (posted Dec. 31st!), while, this year, it's Jacque Audiard's “Un Prophete,” the story of Malik, a young, illiterate Muslim who survives prison, first, as assassin, and then as lacky and go-between for the powerful Corsican mob. It's a kind of Malcolm X story: deliverance, and ultimately redemption, through incarceration. Malik is a Muhammadian figure the way Cool Hand Luke is a Christ figure. He enters as the most marginal of figures and leaves a powerful one. But it's the moments of quiet beauty that ultimately recommend the film. Review excerpt:
The arc of its story is brilliant but it’s the details that stay with me, such as Malik’s first plane trip, sandwiched between two bored commuters, but trying to get a glimpse of the sky out the window. He’s heading to Marseilles for a meeting, at Cesar’s behest, with Brahim Lattrache (Slimane Dazi—one of the many amazing faces in this movie), where, again, he’s the distrusted Arab courier, but where his vision of a deer saves his life. Afterwards the deer meat is washed in the Mediterranean, and Lattrache, eyeing him with new respect, is intrigued by this quiet, honest man who straddles cultures. “Let’s get sucked before you go,” he says, but Malik turns him down. “I’d like to stay on the beach,” he says. He wades out into the water. One senses he’s never seen the sea before. Back in the dark of his prison cell, he takes off his shoe, looks inside, upends it. Sand courses through his fingers.