My Top 10 Films of 2011

I’ve seen a lot of pretty terrible things this year both in and outside of theaters. A LOT. In fact, to say that 2011 in general was a pretty lackluster year for cinema wouldn’t be too far from the truth much to the chagrin of my closest cinephile cohorts. Aside from not seeing a good chunk of my top ten in theaters due to their very limited theatrical releases, this unfortunate defining attribute was most likely brought about thanks to a record-breaking number of adaptations, remakes and sequels, almost all of which were either unnecessary or a complete waste of time.

Agree or disagree, you can’t help but wonder just why the lesser-known, infinitely more worthwhile labors of the industry aren’t as appreciated as the next Transformers sequel always is. An oft discussed, moreover redundant topic as of late, however it’s always good to keep stuff like this at the forefront of your mind in an attempt to appreciate what actually deserves appreciation come awards season. It goes without saying that I didn’t quite get the chance to see everything I hoped to see throughout 2011, but the above average efforts I had the pleasure of seeing have rightfully earned their spots on this list for a multitude of reasons, even if I was partially let down by a handful of hopefuls.

Honorable mentions (in alphabetical order): 50/50, Crazy, Stupid, Love., Hanna, Harry Potter and the Deathly Hallows: Part 2, I Saw the Devil, Mission: Impossible -  Ghost Protocol, Road to Nowhere, Source Code, Win Win

10. Bellflower (dir. Evan Glodell)

Having built from scratch every contraption featured in his debut effort, writer/director/star Evan Glodell was undoubtedly devoted to and infinitely invested in completing this visually compelling passion project. Likening a startlingly unceremonious breakup to the apocalypse on account of two best friends’ lifelong obsession with Mad Max, Glodell divides his sprawling, frequently distressing narrative into chapters, blurring the lines between gross over-exaggeration and reality with surprising finesse. Despite a noticeably amateurish cast that may or may not appeal to those who’ve had the pleasure of viewing this festival darling, the aforementioned visual panache contributed by Glodell’s handcrafted camera rig couples well with Bellflower‘s violent tonal shifts and intended feel. Negligible as some of the more emotionally-driven squabbles are in the wake of the more testosterone-fueled side of things, Bellflower does manage to have a heart as we follow Glodell’s Woodrow through an admittedly tough time.

9. The Girl with the Dragon Tattoo (dir. David Fincher)

Hard-hitting in its subject matter and masterful in its presentation, David Fincher’s adaptation of the best-selling source material is a true testament to the auteur’s abilities as a filmmaker. While the central story arc itself, in all honesty, is nothing more than a run-of-the-mill murder mystery, the proceedings are heightened substantially by Fincher’s raw, visceral visual flair, a pitch-perfect score and, of course, Rooney Mara in an unforgettable turn as the titular computer hacker. Although it sometimes inadvertently serves merely to outline the faults and obvious shortcomings of the novel itself, the film remains appropriately tense and engaging where it counts and never once feels like the nearly three-hour slog its run time suggests. Full review here.

8. Beginners (dir. Mike Mills)

“Cutesy” as it certainly and very often is, Mike Mills’ Beginners ability to deftly (if very subtly) address the existential crises we can find ourselves grappling with as constantly changing individuals ensure that the film remains touching as can be. While its self-indulgent, almost hip sense of style can prove to be alienating at times, an extraordinarily endearing cast of characters and the overbearing sweetness of it all pair wonderfully with Beginners‘ easily discernible underlying themes, even as some aspects of the narrative feel clumsily implemented or undercooked.

7. We Need to Talk About Kevin (dir. Lynne Ramsay)

A harrowing, purely visceral genre-bending effort from writer/director Lynne Ramsay, this adaptation of Lionel Shriver’s novel of the same title is as distressing as it is masterful in its artistic sensibilities. With simply stellar performances across the board, We Need to Talk About Kevin doesn’t once opt for easy answers as it examines the complexities of childhood and a mother’s inevitable feelings of self-loathing and questionable guilt on account of an unspeakable tragedy committed by her only son. Remaining steadfast in its intentions as the film bleakly chugs along to its undeniably gripping latter act, We Need to Talk About Kevin is as hard-hitting as it is a prime example of cinematic excellence.

6. Shame (dir. Steve McQueen)

Artfully constructed without being too heavy-handed in addressing the seriousness behind its central character’s perpetual struggle with sex addiction, Steve McQueen’s sophomore effort isn’t intended for the conservative or squeamish yet it almost perfectly illustrates this individual’s heartbreaking journey to the very bottom of an ocean of anguish. While Fassbender’s Brandon’s sexual escapades may often prove to be gratuitous in nature, the introduction of his sister Sissy, aptly portrayed by Carey Mulligan, insists that the film aims to address how difficult it is for these two severely damaged beings to coexist as much as it intends to hit home as a startlingly authentic, gut-wrenching portrait of a helpless sex addict. Full review here.

5. Moneyball (dir. Bennett Miller)

While on the surface appearing to be nothing more than your run-of-the-mill fact-based sports biopic, Moneyball admirably defies convention by effectively humanizing an otherwise straightforward snoozefest, allowing us to amply sympathize with Brad Pitt’s Billy Beane as his implementation of Sabermetrics into his ailing ball club’s allotted budget reaches far beyond a base level of understanding. Sure, baseball-centric shop talk predictably spews from the characters’ mouths at frequent intervals, yet it’s all presented in a way that can be easily understood and appreciated by fans of the sport and non-fans alike, remaining similar to last year’s The Social Network in its sheer level of engagement. As human emotions reign supreme over its equally more compelling sequences chronicling Beane’s mounting stress both on and off the field, the relationships that exist between central characters feel real, coupling wonderfully with everything else Moneyball has to offer including an absolutely fantastic pair of performances from Brad Pitt and Jonah Hill. Full review here.

4. Young Adult (dir. Jason Reitman)

Shining the spotlight on particularly detestable characters is admittedly a tough sell in Hollywood, which is precisely why using them as a film’s focal point is a lesser explored niche of filmmaking. With Young Adult, Diablo Cody and Jason Reitman unite once again to bring us a scathingly funny yet increasingly dark and morose character study examining the perils of prolonged adolescence. It isn’t necessarily the happiest of affairs, but Cody’s noticeable departure from her quirkier roots and Reitman’s steady hand behind the camera help us sympathize with this infinitely flawed individual despite her inability to simply grow up, making Young Adult a darkly unique affair that’s sure to polarize audiences, yet I found very little to dislike about Mavis and her alcohol-infused debauchery.

3. Like Crazy (dir. Drake Doremus)

Standing tall as an all-too-hard-hitting commentary on both the difficulty of maintaining (exceptionally) long distance relationships and the questionable permanence and understanding of true love, the film starts off shaky but quickly finds its proverbial sea legs. You really get a feel for how desperately these individuals long to be with one another; something that becomes particularly distressing as you come to realize just how difficult it is for them to avoid personal and professional growth at such a young age, both of which will undeniably have a detrimental effect on their already floundering relationship. All things considered, Drake Doremus’ semi-autobiographical anti-love story is agreeably traumatic, however to deny its general appeal from an emotionally resonant standpoint is damn near impossible given the charm and authenticity of the situations presented, mostly thanks to the fledgling auteur’s fully improvisational approach and a pair of knockout leads. Full review here.

2. Midnight in Paris (dir. Woody Allen)

Simultaneously establishing itself as both a love letter for its Parisian setting and a wonderfully insightful, fantastical examination of the human condition, Midnight in Paris is, simply put, pure bliss. While not as thematically dense as Allen’s past ruminations on similar topics, the notoriously neurotic auteur forgoes substance in favor of embracing a more whimsical and artfully constructed mash-up of several different eras of art and literary history. Remaining engaging in several respects as Allen’s trademark wit permeates this near perfect,  aesthetically flawless and plain fun examination of what it’s like struggling to find a sense of personal and professional self-worth during a time it begins to matter most. Full review here.

1. Drive (dir. Nicolas Winding Refn)

As both a self-satisfying passion project for all involved and a prime example of cinematic mastery in a time when we needed it most, Nicolas Winding Refn’s raw, breathtakingly and tastefully stylish Drive sits atop this list for all the right reasons. Standing tall as a captivating, ultraviolent neo-noir, Refn and the gang set out to make a film lover’s film that’s accessible and benefits endlessly from its appealing minimalistic subject matter, stunning locales and wonderfully implemented action sequences, all of which are complimented by a stellar soundtrack and pitch-perfect 80s-infused score from Cliff Martinez. Gosling reigns supreme as the super-imposing Driver, and stellar efforts from the supporting cast further benchmark this welcome rarity in the realm of contemporary cinema.

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