Stephen’s Top 20 of 2010

Posted by Stephen Jannise

2010 has been an exceptionally great year for movies, so great that I’m going to make this a top 20 list. There are plenty of outstanding movies that couldn’t crack this list, even though I’ve seen them many times and recommended them to others. Plus, I haven’t even had a chance to see several films that I think probably belong on this list (Somewhere, Another Year, Tiny Furniture, Mother and many others). It’s very rare to see two great movie years in a row; I think the last really great year before 2010 was 2007, the year of There Will Be Blood and No Country for Old Men. So, as we move forward with trepidation into 2011, let’s look back fondly on the year that was: 2010 at the movies.

20. ECCENTRICITIES OF A BLONDE-HAIRED GIRL

The latest from highly regarded Portuguese director Manoel de Oliveira, this remarkably succinct 64-minute film tells the story of a man falling in love with the young girl who stands in the window across the street. The film’s visuals are as luscious as actress Catarina Wallenstein, and de Oliveira blends some delightfully surreal situations with the loveliness of Lisbon to create a film of subdued passion. Consider me astounded that the director is now 102 years old (!). This film is now playing on Netflix streaming, so you have no excuse not to check it out.

19. THE FIGHTER

What’s left to say about this movie? David O. Russell, as expected, has gone above and beyond the call of duty to rejuvenate the washed-up boxer genre. This has to be one of the most smartly cast movies of the year; in many ways, the work was done before production even began. Building on Mark Wahlberg’s solid foundation, Christian Bale, Melissa Leo, and Amy Adams each portray formidable characters that ultimately contribute to my favorite kind of movie: one where there are no outright villains. At various points throughout the movie, it seems that no one has Wahlberg’s best interests in hearts. The realization that they all actually do, and always have, makes for a moving final act. Still in theaters.

18. LIFE DURING WARTIME

This was the first Todd Solondz movie I’ve ever seen, and it may not have been the obvious choice. As a quasi-sequel to his earlier film, Happiness, it brings back many of the characters from that movie. But I didn’t feel like my experience was hindered much by not having seen the previous film. On the contrary, trying to piece together old relationships might have served as a distraction from Solondz’s ultimate focus: conversations. The way these characters relate to one another, sometimes awkwardly, sometimes with refreshing honesty, is unlike anything I’ve seen from other directors. I’m looking forward to seeing his other films. On DVD soon.

17. THE GHOST WRITER

I’ve already said my piece about this unforgettable thriller from Roman Polanski. The director’s bigger-than-life characters, which made Rosemary’s Baby and Chinatown such stand-out films, are in full force here, elevating the film above Martin Scorsese’s own excellent Shutter Island. Now on DVD.

16. PLEASE GIVE

I share Daniel’s love for this criminally underseen film from Nicole Holofcener. In terms of films with strong female characters made by female directors, Lisa Cholodenko’s The Kids Are All Right has hogged all of the spotlight. While that film definitely has its merits (including what I think should be a surefire Best Actress-nominated performance from Annette Bening), Please Give, as Daniel has said, reminds me of Woody Allen at his best. With all those neurotic New Yorkers trying to figure out life and love, this movie is right up my alley. Ann Guilbert gives one of the great supporting performances of the year as the elderly Andra, ranging from obnoxious to hilarious to, finally, touching. Now on DVD, so watch it.

15. INCEPTION

All I can say is…

14. BLUEBEARD

Catherine Breillat has followed 2007’s pleasure-packed Asia Argento starrer The Last Mistress with this delightful gem of a fairy tale. Clocking in at 80 minutes, the film alternates between the story of the fearsome Bluebeard and the two young girls who are reading the story to one another. In either case, the subtle rivalries between sisters simmer under the surface. In the fairy tale, two young sisters respond differently to their father’s untimely death. One chooses to mope around while the other goes and gets herself married to the rich bachelor Bluebeard, who is known for killing his wives. The relationship between Bluebeard and his much younger bride is as loving in its early days as it is chilling in its last. The surprises in this simply told story are many, and I hope you’ll discover them for yourself. This film is easily accessible through Netflix streaming.

13. FISH TANK

I talked about this film earlier in the year when it played for a short time in Austin. Rumors suggest that star Katie Jarvis, based on the power of her performance in this film, nearly snagged the coveted role of Lisbeth Salander in David Fincher’s upcoming remake of The Girl with the Dragon Tattoo. That’s no surprise, and I have a feeling we will be hearing from this talented young actress very soon. Look for this film on Criterion Collection in the coming weeks.

12. THE SECRET OF KELLS

This film is too gorgeous to describe in words. The story is standard enough: a young boy struggles to show his worth to his community but eventually becomes a hero. However, because the film is set in a ninth-century Ireland replete with some of history’s most beautiful illuminated manuscripts, we are treated to an animation style that mimics the rapturous detail of those ancient illustrations. More than once during this film, I was genuinely moved by nothing more than the amazing visions passing by on the screen. Figure out which of your friends has the highest quality TV and watch this movie on the best HD format you can. It’s the prettiest thing you’ll see for a long time. Now on Netflix streaming.

11. WILD GRASS

“Dreamy” is the only word to describe this latest film from Alain Resnais. His usual vibrant colors and soft focus are ever present, and lead actors André Dussollier and Sabine Azéma, so wonderful in Resnais’s last movie Private Fears in Public Places, lift this quirky romance with their assured performances. These two are like contemporary French versions of Cary Grant and Irene Dunne; I’d watch them fall in love in just about anything. Now on DVD.

10. TOY STORY 3

I’ve already professed my love for this movie. It seems like every year, Pixar has improved on their ability to tug on our heartstrings. This year, they proved that they could actually make us believe, for a few seconds at least, that our favorite toys might die. In a Disney movie. Impressive. Now on DVD.

9. ENTER THE VOID

As I’ve said, this is a film you absolutely have to see. It’s one of the riskiest films of the year, which results in the year’s best payoff. Still in theaters, on Netflix streaming in a couple weeks.

8. BLACK SWAN

I’ve long been a fan of Darren Aronofsky’s work. This year, it seems people are finally seeing things my way. Let this be a lesson to other filmmakers: if you can’t seem to get everyone to give you the praise you deserve, give ‘em a Natalie Portman masturbation scene. I know there has been a lot of talk about Portman’s performance, about all the training she went through and the emotional toil that her character undergoes. But make no mistake, this movie belongs to the director. Aronofsky has been drawing great performances from his actors for years, from Ellen Burstyn in Requiem for a Dream to Mickey Rourke in The Wrestler. Now, he has brought these fine performances together with some of the striking visuals he first attempted in his underrated The Fountain. This, it seems, has made for a perfect storm of filmmaking. The per-screen averages for this film on opening weekend were off the charts, and there were lines around the block here at the Alamo Ritz for weeks. I’m glad to see Aronofsky finally getting some attention. See you at the Oscars, Darren! Still in theaters.

7. DOGTOOTH

Easily my favorite concept of the year. Three siblings, now clearly in their twenties, have been kept in the house for their entire lives by their parents in what seems to be either a warped social experiment or the most extreme display of overprotectiveness ever. I lean toward the former, since even commonplace words are given absurdly incorrect definitions during the kids’ homeschooling sessions. The best part is that, rather than just letting this premise hang there on the screen, Greek director Giorgos Lanthimos really grapples with how this situation would affect the youths’ understanding of sexuality and human relationships. A great deal of credit goes to the actors playing these three grown children. Through a blend of tragi-comic awkwardness and an inspiring lust for life, these three win our pity and, ultimately, our praise. On DVD in two weeks.

6. BLUE VALENTINE

I’ll have more to say about this movie this weekend after it starts playing here in Austin. I can tell you that I went into the screening at the Austin Film Festival with middling expectations. Do we really need another indie romance gone bad? After seeing the film, I can say that, in fact, this is exactly what independent filmmaking needs more of. The assured direction of newcomer Derek Cianfrance has given us what I think should be the Best Actor and Actress winners of the year. Don’t make it harder on yourself than it needs to be, Academy. Just give Gosling and Williams the statues already. Still in theaters.

5. THE SOCIAL NETWORK

I’ve already seen this one three times, and I’d be happy to see it three more times before it hauls in all those Oscars in February. This is the essence of a well-made movie. Everyone involved has brought their best filmmaking to the table. David Fincher recovers admirably from what I thought was a noble misfire in The Curious Case of Benjamin Button, and Aaron Sorkin has given us a script for the ages, one worth buying in print and putting on the shelf next to the Epsteins’ Casablanca, Towne’s Chinatown, or Chayefsky’s Network. The cast, from top to bottom, is flawless. Eisenberg takes us on an amazing ride, thanks to the full-circle nature of Sorkin’s story. From the rapid-fire, girlfriend-repellant opening sequence to the crushing, “Baby You’re a Rich Man” finale, Eisenberg uses Mark Zuckerberg to teach us a lesson about how to navigate our increasingly impersonal lives. Kudos also to Timberlake, Garfield, Armie Hammer (those twins are the same guy!), Austin Cinephile favorite Rooney Mara, and Trent Reznor for one of the year’s top scores. Fincher has said he didn’t set out to make a movie that would define a generation. Well, we’re taking it anyway. I think this is our Graduate. Now on DVD.

4. DADDY LONGLEGS

This film is anchored by a truly eye-opening performance from director Ronald Bronstein. He plays the father of two young twin boys, who represent the writer/directors of the film, Josh and Benny Safdie. This autobiographical film about the Safdies’ childhood is by turns harrowing and hilarious. Bronstein is one of those classic post-divorce fathers, neither deadbeat nor disciplinarian. He seems intent on being the boys’ friend more than their parent. The Safdies’ camera moves so freely as it follows the man and his boys through the streets of New York that it makes this viewer miss the city. I look forward to revisiting the people and places in this film as fervently as I look forward to revisiting the city itself. There doesn’t seem to be any plans to release this film on DVD, which would be a real tragedy. If you get a chance to see this movie, take it.

3. GREENBERG

Watching this movie is a bit like watching a band made up of musicians from different genres that have decided to play together and see what happens. You have writer/director Noah Baumbach, responsible for such witty takedowns of East Coast intellectuals as The Squid and the Whale and Margot at the Wedding. You have Ben Stiller, known mainly for making low comedies that are just a notch above Adam Sandler’s work. You have Greta Gerwig, mumblecore sweetheart. These disparate elements have fit together perfectly. Baumbach has made an effortless transition to Los Angeles, Stiller has given us hope that there will be more depth and less Focker in his future, and Gerwig could be our generation’s Diane Keaton. This one’s going into the Austin Cinephile Hall of Fame. Now on DVD.

2. TRUE GRIT

Despite a long career filled with films that have pushed the envelope and brought filmmaking to new and exciting places, I don’t think the Coen brothers have ever impressed me as much as they have with this film. The old cliche says “they don’t make ‘em like they used to.” Now someone has. It’s hard to say how we’ll feel about Fargo, The Big Lebowski, or Raising Arizona fifty years from now. But True Grit has already inserted itself into a long line of classically-made Westerns like Stagecoach and Red River that have passed the test of time with flying colors. There is no message you have to take away from it, no preaching about some current event hidden in the subtext. Just some good guys trying to help a young girl get her revenge on some bad guys. Without those “important film” crutches to lean on, the Coen brothers had to nail the only challenge left to fulfill: telling a great story well. Boy, did they do it.

There may be no other filmmaker as capable of revitalizing my passion for the cinema as the Coens. I had the same feeling walking out of True Grit as I did when I left O Brother, Where Art Thou? and No Country for Old Men: I love the movies. I love Jeff Bridges’s gruff stalwart getting tossed into the fray with Matt Damon’s talkative braggart. I love seeing a star like Hailee Steinfeld being born in front of my eyes. I love watching great character actors like Barry Pepper steal scenes. I love the contraction-free dialogue. I love the constant return to an old hymn in the score. I love that the Coens were able to move me to tears in the final act without making tears their obvious intent. I love the movies.

1. SWEETGRASS

This was the first film on my list, way back in January when it trickled out to a few theaters. It has stayed strong throughout the year. I’ve returned to it time and again on Netflix streaming, where you should seek it out immediately. This staggeringly beautiful documentary follows a group of cowboys as they herd some 400 sheep across some mountains in Montana. The kicker is that this trek was the last of its kind, ending a centuries-old tradition. For anyone who loves Westerns like True Grit, this film holds limitless wonders. The open range is still there; the unpaved forests, unspoiled rivers, and unexplored mountains are all still there. These men sleep under the stars, smoking cigars and sharing jokes. They keep on the lookout for bears. They sit around fires. They use sheepdogs. In the 21st century, this still happens, and for some reason, it’s a reassuring thought.

Like the greatest documentarians (Frederick Wiseman, for one), directors Ilisa Barbash and Lucien Castaing-Taylor don’t corner the cowboys in an interview room for talking head segments or try to carve some kind of narrative out of their footage. They simply let the journey speak for itself. The film is blissfully free of talk, making the experience of watching it almost as relaxing as taking a trip into the mountains yourself. As a lasting document of a small piece of our national history, not to mention a master class on how to make a documentary, I will cherish this film for the rest of my life.

Your move, 2011.