It's come to that time of year when I take a moment to look back at all the wonderful cinematic goings-on that have taken place over the last 12 months or so.
TOP 10 FILMS OF 2011 (Once again, I have wimped out of ordering these ten films. It would simply be too difficult to compare - it was hard enough simply choosing ten films from the shortlist of 24 that I originally compiled! There's some obvious ones in there, some less obvious, but overall I think it's a list that successfully reflects my viewing tastes. It's also worth noting that there are three films released during December that may have made my list had I been able to see them before making this - The Girl With The Dragon Tattoo, The Artist, and Hugo. There are also four films I can currently think of that I plan to see but have so far passed me by - We Need To Talk About Kevin, The Ides of March, Warrior, and The Help - so there is currently no place for those films on the list. It should be noted that this list goes by UK release dates, not the films' original US release dates, hence why there are a few films in this list that were originally released across the Atlantic in 2010) ----->
DRIVEA Hollywood stunt performer (Ryan Gosling) who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong (IMDb). Drive tells its tale stylishly and through often beautiful shot selection, interspersed with director Nicholas Winding Refn's signature flashes of brutal violence. In what could prove a career-defining performance, Gosling creates an immediately iconic, ultra-cool character in Driver, someone we know next to nothing about and who gives next to nothing away, yet we root for from the very beginning. Support is provided by Carey Mulligan (very much against type), Albert Brooks (very much against type), and Bryan Cranston (oh yes, very much against type). Brooks in particular is terrific as the mob boss who crosses paths with Driver, sizzling with threat and purpose. Drive's soundtrack (see below) offers a perfect companion to the noir images of Refn's latest. The coolest thriller of the year, hands down.
THE TREE OF LIFE The story centers around a family with three boys in the 1950s. The eldest son witnesses the loss of innocence (IMDb). Really here, the IMDb plot description does the film such a disservice. The Tree of Life has so much to say about life and everything in it - it concerns itself with the big (the creation of the universe), and the small (this 1950's family), interspersing the two so that we can clearly see the journey from A to B, the big to the small. The Tree of Life says that it is all well and good telling the story of a family, as many films may do, but perhaps it would be wise for us to know how this family came to be here (of course, to a quite extreme degree!). Think of it, then, as the most extensive character background-building a film has ever explored. And thank god it did, for the creation sequences look absolutely gorgeous, thanks to the cinematography of Emmanuel Lubezki. Lots of people may not have 'got' it, may have found its pace too slow and its narrative too non-linear, but for those in search of a thought-provoking journey into the universe and all its wonder, Tree of Life proved so very rewarding.
TINKER, TAILOR, SOLDIER, SPYIn the bleak days of the Cold War, espionage veteran George Smiley (Gary Oldman) is forced from semi-retirement to uncover a Soviet agent within MI6's echelons (IMDb). Tinker Tailor is a fine example of just what British cinema can be capable of at its heights: in this instance a very grown-up, stylish, talky thriller about loyalty and deception. A truly superb ensemble cast, featuring John Hurt, Colin Firth, Tom Hardy, Benedict Cumberbatch and Toby Jones, as well as of course Oldman in one of his finest ever performances, contributes greatly to the quality of the film and to its unique 'Britishness'. Brain very much placed over brawn, some found the film too slow-paced and with too complex a plot upon its release, but if you were willing to immerse yourself in the story and stick with it through to the end, the pay-off was more than worth it. The reveal of the 'bad guy' at the end of the film is superbly realised, cinema at its most cool, its most visceral.
BLUE VALENTINEThe film centers on a contemporary married couple (Ryan Gosling and Michelle Williams), charting their evolution over a span of years by cross-cutting between time periods (IMDb). Derek Cianfrance's debut feature Blue Valentine is a tough, sometimes unbearably cold and 'real' look at the collapse of a relationship, such a stark contrast to the beauty and happiness of its inception. The film was in many ways poorly advertised, the hearts on the posters and taglines used suggesting something far happier and fluffy than the genuine article ever really offers. Gosling and Williams are almost scarily believable in their roles (Cianfrance made them live together in the same house for months - a genius move), and both produce their most assured acting performances thus far. Blue Valentine skillfully portrays the true emotional damage that one human is capable of (however unintentionally) inflicting on another. You'll leave feeling depressed, but knowing that you have witnessed art that is honest, and truthful, and real. It is at times like a sickening reality show, one that we cannot tear our eyes away from no matter how much we would like to. That scene in the hotel room - haunting. Grizzly Bear's soundtrack - wonderful. That end credits sequence - inspired.
MELANCHOLIATwo sisters find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth (IMDb). The latest feature from controversial Danish filmmaker Lars Von Trier, Melancholia is an intriguing portrait of manic depression as told over the background of imminent apocalypse, anchored by a truly revelatory lead performance from Kirsten Dunst. I am a huge fan of Von Trier's (he has yet to truly disappoint), and this film only adds to my appreciation of his filmmaking talents. As Justine, a young woman so pessimistic in nature and permanently teetering on the edge of mental breakdown that it even threatens to overshadow her own wedding day, Dunst gives the performance of her career so far, not always likeable but always brave and willing. Von Trier has a knack of working his actresses hard (notoriously so) and getting quite extraordinary results, and this is no different. There is strong support from a terrific ensemble, including Charlotte Gainsbourg, Alexander Skarsgard, Charlotte Rampling, John Hurt, Stellan Skarsgard and Kiefer Sutherland. The end scene is a thing of beauty and humanity, and perhaps the closest Von Trier has ever come to 'warming the souls' of the audience, expressing as it does the strength of family bond and love in the toughest of climates. A truly intriguing watch.
TRUE GRITA tough U.S. Marshal (Jeff Bridges) helps a stubborn young woman (Hailee Steinfeld) track down her father's murderer (James Brolin) (IMDb). Based on the same book that the 1969 John Wayne-starring True Grit was, this film further confirms The Coen Brothers' ability to turn their hand to any genre, as well as their statuses as genuinely legendary filmmakers. The cinematography is as beautiful as you would expect from the ever dependable Roger Deakins. As Mattie, our young heroine, newcomer Hailee Steinfeld is a revelation, full of grit (fittingly) and an assuredness far beyond her years. Matt Damon and James Brolin are both great, but the real hero of the piece is of course Coen-favourite Jeff Bridges as Rooster Cogburn. Terrific as ever, Bridges manages to craft a character full of toughness and heroism but of great humour also, while outdoing John Wayne's interpretation of Rooster in the process. An honourable and intelligent take on the classic Western. They don't make 'em like they used to... oh wait, maybe they do.
BLACK SWANA ballet dancer (Natalie Portman) wins the lead in "Swan Lake" and is perfect for the role of the delicate White Swan - Princess Odette - but slowly loses her mind as she becomes more and more like Odile, the Black Swan (IMDb). The latest Darren Aronofsky film was always likely to make my top ten list of the year. Black Swan may not actually be his best (despite what some have said), but it is nevertheless a dazzling, beautifully shot journey into the decaying psychosis of a young woman, and her desperate struggle to cling to her sanity. Portman hit heights that she had never before reached as an actress, brilliantly capturing her character's descent into madness and deservedly walking away with this year's Best Actress Oscar. Mila Kunis, Vincent Cassell and Barbara Hershey all put in wonderful performances in supporting roles. My enjoyment and appreciation of this film was multiplied upon studying it for one of my university dissertations; Black Swan lends itself to dissection perhaps more than most films released this year, and many treasures are to be discovered amongst its psychosexual overtones and Faustian plot.
SUBMARINE15-year-old Oliver Tate (Craig Roberts) has two objectives: To lose his virginity before his next birthday, and to extinguish the flame between his mother and an ex-lover who has resurfaced in her life (IMDb). As debut features go, Richard Ayoade's Submarine is a pretty damn special one. If there's any justice, long careers should be waiting for Roberts and Yasmin Paige, as the object of Oliver's desires, after this. Oliver is such a finely crafted character - unique enough to stand out from the crowd of disillusioned teenage movie characters, while displaying a strong enough humanity to make him relatable for most. Alex Turner's soundtrack provides a lovely, melodic background to Oliver's mishaps. I have high hopes for Ayoade's future output.
TYRANNOSAURJoseph (Peter Mullan), a man plagued by violence and a rage that is driving him to self-destruction, earns a chance of redemption that appears in the form of Hannah (Olivia Colman), a Christian charity shop worker (IMDb). The two lead performances, those of Mullan and Colman, are nothing short of astounding, while Eddie Marsan provides impressive support as Hannah's abusive husband. Paddy Considine makes the step up from actor to director with assurance and skill. Raw, brutal, unflinching, Tyrannosaur is a terrific cinematic dissection of anger and violence and its effects upon those who use it and those on the receiving end of it. Also, if I was giving out an award for Best Title of 2011 (something I may consider for next year), this would get it, so greatly does it address the animalistic and ruthless nature of violence.
ANIMAL KINGDOMTells the story of seventeen year-old J (Josh) as he navigates his survival amongst an explosive criminal family and the detective who thinks he can save him (IMDb). A superior Australian thriller, Animal Kingdom . The film is dominated by a towering performance from Jacki Weaver as family matriach 'Smurf', a genuinely frightening, near-schizophrenic woman hellbent on protecting her family. Newcomer James Frecheville injected J with the satisfactory level of pathos for us as an audience to truly root for him through the often horrifying situations he encounters. Joel Edgerton and Ben Mendelsohn are great in support, as is Guy Pearce in a small but important role as the police officer hoping to put the family away behind bars. Aussie cinema has been making some real forward movements in recent years, often cropping up on the international festival circuit, and Animal Kingdom is a showcase of its most potent asset - the gripping, claustrophobic indie thriller.
The ones I had to leave out? Amongst others - 127 Hours, The King's Speech, Midnight in Paris, Route Irish, Super 8, Never Let Me Go, Sleeping Beauty, Source Code, Super, Crazy Stupid Love, The Inbetweeners Movie... phewwww, I guess 2011 hasn't been a bad old year for film at all.
ACTOR OF 2011 -- RYAN GOSLING
What a year for Mr Ryan Gosling. Not 1, not 2, not 3, but 4 brilliant performances in hugely popular, critically acclaimed films this year. That's a consistency that most actors and actresses can only dream of. There was no way I could possibly award Actor of 2011 to any other person after Gosling's work in... (deep breath)... Blue Valentine, Drive, Crazy Stupid Love, and The Ides of March (OK, I haven't seen that one yet, but I've heard terrific things about Gosling's performance in it). Four films that have proved a huge hit with audiences, critics, festivals and awards panels alike, and Gosling has arguably been the best thing about all of them. Capable of great versatility, great charisma and a real intelligence in his project choice, Gosling came into his own this year and proved his worth to the moviegoing world. If he keeps this up, there is nothing stopping Ryan Gosling being recognised as one of the finest actors of his generation. The next director he's working for? Terrence Malick.
ACTRESS OF 2011 -- MICHELLE WILLIAMS
Michelle Williams is, in my most humble of opinions, the best actress around at the moment. Not many even come close. She is capable of the most naturalistic performances, of folding herself so perfectly into a character that we can no longer even remotely recognise her as Michelle Williams, but rather only the character she has inhabited. 2011 saw her provide two more wonderful performances; firstly, alongside Ryan Gosling in Derek Cianfrance's labour of love Blue Valentine, and then as the most iconic screen actress of all time, Marilyn Monroe, in the recent release My Week With Marilyn. I'd probably have given her this award based on Blue Valentine alone, but to play someone so overwhelmingly loved and respected as Monroe and still emerge with not only dignity intact but huge acclaim and awards buzz emphasises Michelle Williams' wonderful command of the art of acting. Long may it continue!
Honourable mentions must go to Natalie Portman for Black Swan, and Kirsten Dunst for Melancholia.
DIRECTOR OF 2011 -- RICHARD AYOADE
In my head, just a few days ago, this was a shoe-in. It was Terrence Malick all the way, returning with the beautiful and thought-provoking Tree of Life. But then I thought, you know what, Malick has had his fair share of plaudits over the years. Let's give it to someone new. And Ayoade is completely deserving of this award for crafting his sublime debut feature, Submarine. Displaying an assuredness commonplace in an old pro, the IT Crowd star set the path for what could be a very promising directorial career indeed. A film full of wonderfully cooky characters, Submarine had the stamp of a potential auteur. Richard Ayoade, we'll be watching you.
Honourable mentions must go to Terrence Malick (making a return) and Lars von Trier (for never, ever being boring).
FOREIGN LANGUAGE FILM OF 2011 -- THE SKIN I LIVE IN
I love Pedro Almodovar, so any new film from him was always likely to brush aside the other foreign language gems this year. But The Skin I Live In is an especially good feature even for Almodovar, a dark and taut thriller that represents slightly new territory for the Spanish master. Reuniting with Antonio Banderas for the first time in 21 years, Almodovar spun a beautifully creepy tale of a plastic surgeon testing out his new, quite brilliant, quite mad, ideas on a woman (Elena Anaya) who carries with her more than an air of mystery. Banderas has never been better, and, arguably, neither has Almodovar.
Honourable mention must go to Susanne Bier's In A Better World.
BREAKOUT STAR OF 2011 -- EMILY BROWNING
Previously just 'The girl from A Series of Unfortunate Events', 2011 was a huge year for Australian actress Emily Browning. All grown up now, Browning took on two wildly different roles that could each play a great part in what will hopefully be a long, successful and varied career. She was strong in the otherwise fairly disappointing Sucker Punch, Zach Snyder's fairytale of the mind, in which five young women seek to break free of the mental facility that restrains them physically, but not, interestingly, mentally. Browning proved that she could handle the main role of a film, as well as high-octane action scenes and a good deal of empathy-inducing. But where her year really took off was as Lucy in the truly underrated Australian indie Sleeping Beauty. Replacing Mia Wasikowska in the lead role, Browning took everyone by surprise with a truly unnerving performance as a character who shows astounding indifference to the most shocking of circumstances. In a genuinely challenging role that called for her to be naked for great parts of the film (as well as other things), she showed bravery and professionalism, as well as an eye for a feature to really challenge the mind. Showing her ability to handle big-budget blockbusters and low-key, thought-provoking indies all in the same year, the future could be really bright for Emily Browning.
Honourable mentions must go to Elle Fanning, Ezra Miller and Hailee Steinfeld.
SCENE OF 2011 -- THE GARDEN SCENE IN CRAZY, STUPID, LOVE
The most chaotic, joyously manic scene of the year. Slapstick at its most powerful, its most fun. The crescendo that this brilliant film builds to, bringing all its beautifully drawn characters together for this almighty confrontation. This had to be seen in the cinema I think, with a packed audience. Just when you think it can't get any more crazy, it does. That's why this is my slightly out of leftfield choice for Best Scene of 2011.
Honourable mention must go to the Wolverine cameo in X-Men: First Class.
SCENE-STEALER OF 2011 -- MATTHEW LEWIS IN HARRY POTTER AND THE DEATHLY HALLOWS PART 2
Oh, Neville. Neville Neville Neville. How we love you, how we will miss you. Of all the child actors in the Harry Potter series, Matthew Lewis was always one of the finest, infusing his Neville Longbottom with such a strong pathos that we as an audience rooted for him from the very start. The moment when he stands up to Ralph Fiennes' Voldemort in this final part, Harry Potter and the Deathly Hallows part 2, is one of the most fabulous moments of the entire series. The culmination of Harry, Ron and Hermione's epic journey was undoubtedly superb cinema, but come on, we all know the truth. We just wanted to see more Neville.
SOUNDTRACK OF 2011 -- DRIVE
Cliff Martinez's soundtrack to Drive beautifully compliments the noir imagery and the journey of our 'hero' Driver. Electronic tones and an almost quite 80's feel contribute to a perfect musical study of 'the night' and this mysterious character who inhabits it. Not only that, but the soundtrack also features College's fantastic, sparse tune A Real Hero (featuring Electric Youth) that plays over the film's end credits.
Honourable mention must go to The Chemical Brothers for their terrific Hanna score.
POSTER OF 2011 -- THE TREE OF LIFE AND BLUE VALENTINE
Last year I found I had a number of categories where I could simply not choose between two options. This year, there is only one category, that of Best Poster. It appears that, when I came to look back on it, there had been a few very good, very clever posters this year that were difficult to compare. Indeed, any of the honourable mentions listed below could've made the cut. They are all largely on a par with each other, but I did have a slightly greater fondness for the posters for The Tree of Life and Blue Valentine. The poster for The Tree of Life says so eloquently in one image the message that the entire film seems to try to submit. Meanwhile, the Blue Valentine poster manages to incorporate the two sides of the tale that the film tells - the warmth, the closeness of love, but also the darkness, the barbed edges of any relationship.
Honourable mentions must go to Sleeping Beauty, The Girl With The Dragon Tattoo, Melancholia and The Ides of March.
TRAILER OF 2011 -- THE GIRL WITH THE DRAGON TATTOO TEASER
Pure Fincher. The second time in a row that a Fincher film's trailer has ranked as the finest of the year for me. Nothing quite managed to come close to this short but brilliant slice of pulp cinema. Exciting for fans of the original, but with plenty to offer newcomers to the story, this trailer offers little in the way of story and yet much in the way of tantalising spectacle (as all good teasers should). That wonderful music - Karen O and Trent Reznor's inspired take on Led Zeppelin's classic Immigrant Song. That tracking shot down the snowy road to Vanger mansion. The none-more-pulp lettering. That magnificent tagline - 'The feel bad movie of Christmas'. Can't wait to see it.
View it here - http://www.youtube.com/watch?v=WVLvMg62RPA
RANDOM HIGHLIGHTS OF 2011 -- Woody Allen finally returning to form with the lovely Midnight In Paris. A new film from the master Terrence Malick - and my, what a film. The British reigning supreme at this year's Academy Awards - well done to Colin Firth and all involved with The King's Speech. The culmination of the Harry Potter series, something that has (through books or films) been with me since the age of about 8 years old - emotional to say the least. And in slightly less film-related news, seeing my favourite ever screen actor, Mr Kevin Spacey, on stage in the wonderful Sam Mendes-directed Richard III, would be a highlight of this or any year. Sir Ian McKellen wasn't too bad either!
THE DARK KNIGHT RISES - 
THE AVENGERS - 
THE HOBBIT: AN UNEXPECTED JOURNEY - 
AMERICAN REUNION - 
SHAME - 
NOW IS GOOD - 
DJANGO UNCHAINED - 
GANGSTER SQUAD - 
DARK SHADOWS - 
YOUNG ADULT - 
