MOVIE REVIEW
Girl Model (2012)
Dogwoof
The dichotomous nature of the modeling industry is brutally exposed by documentarian duo David Redmon and Ashley Sabin in this stark exposé of the realities of the business. It’s a bleak and damning indictment of a trade that shatters any glamorous or aspirational illusions that may have still surrounded it, instead revealing it to be as sordid as many might have suspected.
MOVIE REVIEW
Norwegian Wood (2010)
Soda Pictures/Red Flag Releasing
How do you make a movie that feels like 1967? Is it a special type of film stock? A perfectly chosen soundtrack? A kaleidoscope of peace signs and bell-bottoms? In the case of “Norwegian Wood” — the film adaptation of the Haruki Murakami novel — director Tran Anh Hung tapped into something much more nuanced and ethereal in his treatment of the story of two lost college students in love (or lust) in 1960s’ Tokyo.
Central Pictures Corporation
If you were one of the 9 million people who illegally downloaded “Fast Five,” it might not occur to you that 2011 was a magnificent year at the movies. And you wouldn’t be interested in any of the myriad 10-best lists, let alone one you’re about to read from some obscure critic. This is not about fancy art films with subtitles being more legitimate than Hollywood blockbusters. If you pride yourself on being a movie buff, you would insist on seeing “Mission: Impossible — Ghost Protocol” in Imax. Then you would agree that 2011 was indeed awesome. But since you already know movies like “Hugo,” “A Dangerous Method,” “The Tree of Life,” “Melancholia” and “The Descendants” to be great, this list champions films that need a little cosmic extra push.
Verve Pictures
The year 2011 was probably not one that will be best remembered for its cinema. As the world swirled with upheaval, the movies we saw didn't quite manage to capture the frenetic pace of change around us. Since movies usually take about three years to make, this is not completely surprising; but it does seem a shame that so few of our artists are ahead of the times. This is also the year in which Steven Spielberg — executive producer of "Transformers: Dark of the Moon" — proclaimed his disappointment that so few truly great movies were being made these days. Darkness was one theme very visible in the year's films, usually darkness without real reason other than the director wanted to see what he could get away with. So among other things we had — spoiler alert — a father selling his child for cash ("Real Steel"), a man sleeping with his girlfriend's mother in a fit of pique ("Beautiful Lies") and — possibly worst of all — Buzz Aldrin lending credibility to Michael Bay's hard-on for space-program conspiracies (the aforementioned "Transformers"). This is very depressing. No wonder we’re not as interested any more. To top it off, when all the comedies that actually like their characters have moved to television, is it any wonder that people stay in?
2011 Los Angeles Film Festival
I’m going to caveat my choices with this: These are probably not the 10-best films of 2011. I suspect that the list lacks much-admired critical darlings — "Drive," "Melancholia," "Margaret" and "The Artist" — but for whatever reason, these and others have passed me by; and so while risking critical castigation for neglecting them, I simply cannot pass judgment on what I have not seen. What this list is, though, is the best of what I have.
Kino International
A newborn in the family reduced my cinema visits to the lowest number in many years, although I did finally manage to catch up with most significant releases by the end of the year. There are a few notable exceptions, such as "Tinker, Tailor, Soldier, Spy" and "Drive," and I’m yet to catch the recently released "The Artist" and "Las acasias." Looking back, I’d say it’s been a reasonably good year. Certainly it’s been a very good one for British cinema. I’m a bit disappointed not to have any out-and-out comedies on my list, but some fell just outside my top 10.
Jody Lee Lipes/Fox Searchlight Pictures
A year full of darkness in and out of the theater — I’m not talking about full-fledged apocalypses, but rather broken worlds that our heroes and villains must navigate for survival. Escape was probably the most popular theme among the movies in my top 10: escape from death, marriage, heartbreak and even economic collapse. By going to see these films, I was able to escape writing papers and completing problems sets in the Tufts University computer labs. Without further ado, I gladly share these with you:
Music Box Films
I have written rude things about Kenneth Branagh, but I never wished him a term in the Marvel salt mines. His name attached to "Thor" wasn't the year's biggest directorial surprise — that was Michel Gondry's credit on "The Green Hornet," which really did seem like crossed wires — but it proved that hiring a left-field director for the current wave of fantasy films is a bit pointless, since the chances of getting a left-field film out of it are about zero. The differences between the year's comic-book movies were well worth arguing about, as long as you didn't miss that it was their similarities which were actually the point, and that the same diminishing returns as any other drug hit was part of the equation. Since 2012 brings to the screen a comic for which my 12-year-old self would have mugged my own grandmother, the next whimper you hear may be mine.
MOVIE REVIEW
Dreams of a Life (2011)
Dogwoof
The story of Joyce Vincent (played by Zawe Ashton in re-enactments) — a woman who died alone in her North London bedsit just before Christmas 2003 and lay undiscovered until January 2006 — forms the devastatingly moving basis of Carol Morley’s superb documentary.
Fascinated by the story, Ms. Morley’s investigative determination to unravel the mystery and get to the bottom of how Vincent could seemingly slip so readily through the cracks of society actually ends up being so much more than a quest for answers.
MOVIE REVIEW
Sherlock Holmes: A Game of Shadows (2011)
Daniel Smith/Warner Brothers Pictures
The easiest way to digest “Sherlock Holmes: A Game of Shadows” is to pretend that the film does not concern the exploits of fiction’s finest detective at all. If one can convince oneself that Robert Downey Jr. is playing not Sherlock, but some rough-and-tumble Victorian adventurer — Indiana Holmes perhaps — then the film can be enjoyed, much like its predecessor, as a rambunctious but somewhat shallow romp. Naturally, one might notice the odd similarity between Conan Doyle’s creation and the hero of Guy Ritchie’s film; but that is surely mere coincidence.
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