Month: February 2012

Yes, I’m woefully late. In fact, if everything goes as plan, this will be posted mere hours before the Academy Awards. Oh well! That just means you won’t have to wait long to see how utterly crap my predictions are. Last year I did this as a two-parter, but since I’m already running late, we’re going to shove it into a single post. First up, the list of my favorite movies of 2011. Following that, my Oscar predictions. Without further ado, and in no particular order….

The Artist – Smart money’s on The Artist to win ALL OF THE THINGS! so let’s go ahead and start there. It’s great. It’s unique — a mostly-silent film about a silent film actor, the effortlessly charming George Valentin, who’s suddenly not as effortless when those new-fangled talkies start making waves in the film industry.

Jean Dujardin, a French actor who I’ve never seen in anything else, is friggin’ fantastic as Valentin. I don’t want to spoil anything for the prediction section … so I won’t. But Dujardin makes the film. The cinematography is similarly excellent — some really beautiful shots. The editing, directing — all top notch.

If I have one qualm, it’s that the story is somewhat simple. Not that there’s anything wrong with a simple story, but the film hints that it could have been somewhat more layered. Near the beginning of the film, Valentin has a dream that’s suddenly audible to us, the audience — and, to his terror, to him as well. I feel like director Michel Hazanavicius missed a chance to carry that metaphor through the rest of the film. But even so, The Artist is thoroughly enjoyable.

Midnight in Paris – I think I liked this movie more than I should — more than nonwriters would. Seeing Ernest Hemingway chatting with Gertrude Stein is almost as fantastically satisfying as seeing Thor smash a Frost Giant in the face with Mjollnir.

On the surface level, there’s not a huge amount of story here. Guy’s writing a book. Gets inspiration by imagining (or perhaps not?) writers of old giving him advice. Guy finishes book and learns a bit about life. But the sheer brilliance Woody Allen employs in the relationships between the various artists, and the intriguing (if not-too-subtle) grass-is-always-greener theme, make this a joy to watch, and Allen’s best film in years.

The Help – The Help got a lot of criticism for whitewashing (pun-intended) history, and that’s a fair point. But on some level, a good story is more important than getting every detail right. And The Help is a great story.

Yes, we get a little bit too close to “White angel” syndrome here, but I think the key difference between this and, say, The Blind Side, is that Emma Stone’s character in The Help is simply a mouthpiece — she just helps to make these women’s voices heard. And that’s generally the main thing privileged allies for underpriviliged people are expected to do.

The acting is the most important part, here. Viola Davis is fantastic, of course, but Octavia Spencer makes the movie for me. I think I laughed harder at her performance than at most of the comedies this year.

Super 8 – WHAT? Yes, like Tangled last year, Super 8 is my “dark horse.” While the wife wasn’t impressed, I found J.J. Abrams’s love song to Steven Spielberg entertaining as hell (and, ironically, infinitely more entertaining than Spielberg’s own War Horse, but then, what isn’t).

Super 8 has everything you could want — aliens, explosions, adorable children (who can actually act!). It’s E.T. on steroids — in fact, I have a suspicion that Elle Fanning is actually Drew Barrymore’s bastard child.

While Abrams still doesn’t seem to know how to handle giant monsters (Cloverfield wasn’t shown/explained enough, while Super 8’s creature is explained too much), it doesn’t hurt the movie enough for me to dislike it.

I’d like to again mention that War Horse was terrible.

I WISH

Moneyball – Rounding up my favorites is something rare for me — a sports movie. But it’s a sports movie where the sport is somewhat tangential. This isn’t about the kid with a heart of gold fighting adversity, though it is sort of an underdog story. Instead, it’s about statistics, and any story that can entertain while simultaneously showing that, guess what, math is real and has real power — well, that’s a good movie in my book.

Brad Pitt is fantastic as always, imbuing Billy Beane with a subtle humanity that’s interesting, but not overdone. Jonah Hill (excuse me, Academy Award nominee Jonah Hill) is great as the nerdy number cruncher, and I think he’s proved to everyone that he can do more than make dick jokes. Philip Seymour Hoffman did a great job as well, and I’m surprised he didn’t get more attention for this (in fact, he probably deserved the Supporting Actor role over Hill).