Well here we are, 2010 is drawing to a close and 2011 is nearly upon us. Not a clue what happened to 2010 to be honest, I don't remember a year ever going by so quickly! But it was a good year for movies, and as more and more magazines, websites and bloggers choose their films of the year I felt compelled to write my own review of the movie year. Actually looking back on it, I was surprised how much has happened in the film world in 2010. Some writers have questioned whether 2010 has been a good year for films or not, but I think, looking back on the output from Hollywood and around the world, that it's been strong, and certainly an improvement on 2009. The summer was poor, admittedly (only Inception, Toy Story 3 and Scott Pilgrim made a real impact), with us unfortunate audiences being subjected to the dismal likes of Clash of the Titans and Prince of Persia, but either side of it we saw a number of terrific movies ranging from the small to the big, as well as some genuine, and much needed, originality. In one of my next blog posts I'll list my predictions for film in 2011- I have high hopes!
TOP 10 FILMS OF 2010 (I must confess that I have wimped out and chosen not to order these films. It was too hard to compare films that were so wildly different in genre etc. Therefore these are just the ten films that I most loved this year. I am also taking into account only the films' UK release dates, which means that there can be no place for films already out across the Atlantic but not out here till Jan or Feb. Films such as Black Swan, The King's Speech, True Grit, Blue Valentine, Film Socialisme and Biutiful may all find themselves in contention for my 'Review of 2011' post next year! Meanwhile, I hadn't seen Sofia Coppola's brilliant and rather misunderstood Somewhere until after compiling this list, and it may well have found a place in my 10. I was also disappointed to look afterwards and discover that I had included no foreign language films, so I've created a new category to try and amend this! Finally, it should be noted that Toy Story 3, Up In The Air, Let Me In and The Town were all very close to receiving a place) ---->
THE SOCIAL NETWORK - One of the best directors around (David Fincher), one of the best writers around (Aaron Sorkin), a hugely talented musician scoring (Trent Reznor) and some of the best up and coming acting talent (Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Rooney Mara) combined to create, forgetting the geek-speak, forgetting the making of Facebook, what was at its bare bones an incredibly effective character study of a young man blinded by the promise of power and wealth. We see the things he gains, but most importantly the things he loses. Intelligent and haunting stuff.
INCEPTION - The film that finally gave the summer blockbuster some brains. We may have all left the cinema slightly baffled by what we had seen, but we were also aware that we'd seen one of the greatest cinema spectacles in some time. Christopher Nolan showed that sometimes a huge budget really can be worth it, as he spent his millions crafting the idea that he'd had in his head for several years into the stunning visuals we were exposed to.
Inception was more than just stunning visuals, however, and offered a dense and intriguing plot filled with cracking performances.
KICK-ASS - An original take on the comic-book movie with two of the most memorable characters in modern film history in Chloe Moretz's Hit-Girl and Nicolas Cage's Big Daddy. Managed to mix laughs and violent action well into this hugely contemporary, fast-paced geekgasm of a movie. Deserves to make stars of Aaron Johnson and Moretz, and Matthew Vaughn and Jane Goldman should have a very exciting few years ahead of them after this. Shows the level of film that can actually be created outside of the studio system.
WINTER'S BONE - Beautifully poetic indie flick set in the Ozark Mountains. Competently directed by Debra Granik, this gave us an insight into a culture near unseen on screen before- a culture dominated by crystal meth addiction and a mistrust of everyone around them. Following a young woman's efforts to track down her missing father, this featured one of the performances of the year from Jennifer Lawrence.
A SINGLE MAN - A delicately handled portrait of grief. Colin Firth's gay university professor begins a day expecting to be dead by the end of it, determined to end his own life with the gun he keeps in his house, stricken with grief at the death of his lover. During the course of this day, he runs into his neighbour (Julianne Moore) and a student (Nicholas Hoult) who force him to think about things. Incredibly stylish (as you'd expect from Tom Ford's debut feature film), this is a movie all about the small things in life and what a profound effect they can have upon us.
THE KIDS ARE ALL RIGHT - Brilliant dysection of family life, as two children (Mia Wasikowska and Josh Hutcherson) decide to get in touch with the sperm donor (Mark Ruffalo) who helped their parents (Annette Bening and Julianne Moore) to have them. Though this may be a pretty unusual situation, the surprise of
The Kids Are All Right is that, when it comes down to it, it actually looks in at a lot of the problems that any family might encounter, and is funny and sad in equal measure. The film features quite possibly the best ensemble cast of the year, with Wasikowska, Hutcherson, Ruffalo, and in particular Moore and Bening (both fantastic, both deserving of awards) all putting in truly noteworthy performances.
ANOTHER YEAR - Mike Leigh's latest is one of his very finest. Split into four sections, for the four seasons, this is a simple and yet beautiful glance into people in the autumn of their lives- the happy Tom and Gerri (Jim Broadbent and Ruth Sheen) and the very much not happy Mary (Lesley Manville- awardworthy without a doubt). Scenes vary from amusing to absolutely heartbreaking, and in the Leigh tradition we leave with a lot to think about. One of those where not a lot happens, and yet everything.
THE ROAD - Shamefully underlooked, this film was well received by the critics but failed to ignite the box office and many of the critics that raved about it seemed to have forgotten about it by the end of the year in their 2010 reviews. It's hugely deserving of a place, though, with one of the most disturbing visions of an apocalyptic future ever set on film. Based on Cormac McCarthy's award-winning novel, this is one of the tonally bleak films I have seen in a long time, full of unrelenting darkness but very much necessary darkness. Viggo Mortensen's performance as The Father was 100% one of the very best of the year, his bearded, grizzled look unable to hide the haunting grief of his character. Kodi Smit-McPhee, meanwhile, is a revelation as The Son and should have a great future. Disturbing and depressing, but brilliant.
EASY A - Very funny and very quotable,
Easy A might well be the best teen flick since 2004's
Mean Girls, and the best chick flick that guys can like too as well. Should (and does appear to have, if her casting in the new Spider-Man film is any indication) make an absolute star of Emma Stone, so incredibly likeable in this as main character Olive who uses the school rumour mill to advance her social status. Stanley Tucci (a world away from his creepy appearance as the killer in
The Lovely Bones this year) and Patricia Clarkson are brilliant as Olive's open and accepting hippy parents. Well worth a watch.
SCOTT PILGRIM VS THE WORLD - Included mainly for originality. Edgar Wright's big move to Hollywood paid off as he pulled together elements of video games, contemporary youth culture, laughs, frantic action and romance into a satisyingly fresh and very much of-its-time whole. A glorious mish-mash of a film which should, if justice is served, see Edgar Wright catapulted to the forefront of the Hollywood directorial crop.
ACTOR OF 2010 -- LEONARDO DICAPRIO, COLIN FIRTH (shared)
The first of a number of categories in which I was simply unable to choose between two very deserving contenders. Best Actor is shared between Leonardo DiCaprio (for his roles in Martin Scorsese's Shutter Island and the summer smash Inception) and our own Colin Firth (for A Single Man and the upcoming The King's Speech). DiCaprio confirmed his true capablilities as a leading man this year and his place as one of the finest actors of our generation. His turns in Shutter Island and Inception (admittedly two very different movies) were both fine examples of characters haunted by their pasts, and DiCaprio manages to bring an intensity to his roles that many of his peers fail to reach. Firth, meanwhile, had perhaps been seen prior to 2010 as predominantly a bumbling English gent in such romatic comedy films as Love Actually, Bridget Jones's Diary and Mamma Mia. In 2010 we saw Firth gain real Oscar buzz at either side of the year, for the portrayal of a man struck down by grief at the loss of his lover in Tom Ford's directorial debut A Single Man, and for his much-lauded role as King George VI in The King's Speech (released in January in the UK).
ACTRESS OF 2010 -- JENNIFER LAWRENCE
A tough one to call, this, (Lesley Manville and Noomi Rapace were close) but the female performance that stuck with me most this year was Jennifer Lawrence's in
Winter's Bone, one that showed maturity far beyond her years and should rightfully cement a solid acting career ahead of her. She brought light to her character Ree who is trying so hard at such a young age to look after her siblings and her mother, all the while trying to track down her missing father. The plight of her character is so great that it was vital that Lawrence really made us feel sympathy for her, and she manages it with great aplomb.
DIRECTOR OF 2010 -- CHRISTOPHER NOLAN
2010 was a big year for Chris Nolan, as his grand-scale summer blockbuster
Inception became one of the highest-grossing films of the year but also one of the greatest critical successes of the year too. It confirmed his status as one of the very finest British directors working today, and reminded people that he is capable of great work outside of the Caped Crusader. Some have been quick to call Inception his best film thus far, which seems perhaps slightly hasty considering this is the man behind
Memento and
The Dark Knight. But Nolan did manage to craft a blockbuster actioner that was genuinely original- a rarity these days. Hopes are absolutely sky high for his third Batman film, due out in 2012. Honourable mentions for this award should go to David Fincher and to Edgar Wright, both narrowly missing out.
FOREIGN LANGUAGE FILM OF 2010 -- A PROPHET
The Beat That My Heart Skipped director Jacques Audiard's next film, four years on, was this epic crime drama about a young man who is sent to a French prison and gradually works his way up the ranks to become a mafia kingpin. Dark and gritty,
A Prophet does prison-as-hell perhaps better than any other film that I can remember. The violence, the drugs, the sex, the corruption, and we see just what an effect prison life can have on a man. Beautiful direction, beautiful cinematography and a terrific lead performance from the unknown Tahar Rahim. Honourable mentions for this award should go to
Girl With The Dragon Tattoo and
Uncle Boonmee Who Can Recall His Past Lives.
BREAKOUT STAR OF 2010 -- CHLOE MORETZ
What a 2010 it has been for Chloe Moretz. Firstly, hers was the standout turn in the terrific
Kick-Ass, a ballsy performance as possibly the most memorable character of 2010- the potty-mouthed, bad guy ass-kicking Hit-Girl. Moretz followed this up with another brilliant performance in Hollywood remake
Let Me In as the vampire Abby. Once again, the best performer in another film full of great actors and actresses. She spent the latter part of the year working with one of the all-time great directors, Martin Scorsese, on his latest flick
Hugo Cabret, due out in December. The future seems very bright indeed for Chloe Moretz. Honourable mentions for this award should go to Andrew Garfield, Noomi Rapace, Tom Hardy and Emma Stone.
WRITER OF 2010 -- JANE GOLDMAN
Prior to 2010, Jane Goldman was still, for many, 'Jonathan Ross's wife'. This year saw her gain huge kudos in Hollywood after scripting one of the coolest and most-quotable films of these 12 months in
Kick-Ass. The working relationship Goldman began with director Matthew Vaughn on 2007's
Stardust and of course on
Kick-Ass has continued with
X-Men: First Class (Goldman's biggest gig so far) which is due out in 2011 and Kick-Ass 2: Balls To The Wall, due in 2012. 2011 should be the biggest year for her yet, as along with the new X-Men film we will see her efforts on the Daniel Radcliffe-starring spooker
The Woman In Black and a 60's set thriller
The Debt, with Sam Worthington and Helen Mirren. Honourable mention for this award should go to Aaron Sorkin (
The Social Network).
SCENE OF 2010 -- HIT GIRL'S FIRST APPEARANCE IN KICK-ASS & THE BREAKOUT SCENE IN TOY STORY 3 (shared)
Another tie. Both brilliant scenes, both worthy of an award. The standout scene of
Kick-Ass (though there were many terrific scenes), Hit-Girl's arrival at an apartment in which our lead character Kick-Ass is about to get, fittingly, his ass kicked by five 'baddies', is a triumph of sharp editing, inspired musical choice, slick violence and the introduction of possibly the best character of 2010. The Dickies' song Banana Splits (or just La La La La La, if that helps jog the memory) plays out as Hit-Girl dispatches the bad guys in more and more ludicrous and violent ways. See it here- http://www.youtube.com/watch?v=QberrwlFUNg.
The Prison Break scene in
Toy Story 3, meanwhile, is a prime example of everything that has made this wonderful trilogy of films, as well as Pixar itself, so popular- brilliant animation, moments of genuine thrills and spills, horror and comedy rolled all into one genius scene as our favourite toys attempt a 'prison break' from Sunnydale. Spanish Buzz Lightyear, the cymbal-playing monkey, the monster that is Big Baby, and Mr Potato Head as Mr Tortilla Head- it's all inspired, superb cinema.
SCENE-STEALER OF 2010 -- KIERAN CULKIN IN SCOTT PILGRIM VS THE WORLD & TOM HARDY IN INCEPTION
Shared between two actors who managed to steal scenes from each film's leads- Culkin as the title character in
Scott Pilgrim's gay roommate, and Hardy as the sharp-tongued associate of Leonardo DiCaprio's Dom Cobb. Culkin provided some superb comedy in
Scott Pilgrim and some of the more memorable quotes (impressive in a film littered with memorable quotes), while Hardy, an actor with a very bright future indeed having been cast in, amongst others, the upcoming 3rd Nolan-Batman film, offers a much-needed comic edge to Inception and sparks off well with the other actors. Both used small-ish roles as effectively as they possibly could in order to standout in overall well-acted films- no mean feat.
SOUNDTRACK OF 2010 -- SCOTT PILGRIM VS THE WORLD
The
Scott Pilgrim soundtrack, a terrific compilation of popular music, both new and old, from various artists, layers itself wonderfully over a movie where music is so important. A number of the songs (the ones actually performed in the film by the onscreen bands Sex Bob-Omb and Crash and the Boys) were written especially for the movie by Beck, who also performs himself the rather beautiful Ramona. Inbetween the rather amusing songs written for the film like Sex Bob-Omb's I'm So Sad, So Very, Very Sad, we have some inspired choices of popular music, with songs from Black Lips, T-Rex, Blood Red Shoes, The Rolling Stones and Broken Social Scene (Anthems for a Seventeen Year-Old Girl, one of my very favourite songs) brilliant in the film and brilliant on record. Honourable mentions for this award should go to Hans Zimmer's
Inception score and Trent Reznor's work on
The Social Network.
POSTER OF 2010 -- BLACK SWAN
There were a lot of good-looking film posters released this year, but this one is simple and yet very effective, creating a beautifully haunting atmosphere- something I very much expect from the film itself when it is released next month. Honourable mentions should go to
Inception, The Social Network, Blue Valentine and
True Grit.
TRAILER OF 2010 -- THE SOCIAL NETWORK
No competition in my mind, this was hands-down the trailer of the year. No other trailer made such a fantastic choice of music- the orchestral version of Radiohead's Creep was good enough that it probably should've made it into the film as well as the trailer, summing up through its vocals and its lyrics the poetic and unsettling mood of the film. The trailer manages to do what all good trailers should- explain what's going on in the film, without spoiling anything and while leaving us desperate to see more. It sets up the character of Mark Zuckerberg well, the themes and tone and geek-speak of the film and gets the ball rolling on a terrific promotional campaign for a terrific film.
