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The Descendants (2011)

As a significant Alexander Payne fan I'd be lying if I didn't say I was disappointed with The Descendants, his forth feature film and his first since 2006. At least compared to his three previous efforts and especially his last and my favorite, Sideways. I don't really think as a director he is overrated like some do, but maybe his latest film is. Perhaps it is somewhat unfair to do so, but his movies tend to warrant comparison given their similar cues and nuances; all low key stories composed merely with different players and settings. I couldn't really review this one without making them unfortunately, though I tried not to let that overtake the experience too much.

Top Ten Films of 2011

10. SENNA

[Full Review]

9. I LOVE YOU PHILLIP MORRIS

Delayed, undervalued and sadly overlooked, Phillip Morris was the best kind of quirky. Short, but smartly paced with great performances from Carrey and McGregor; it is a shame more rom coms are not as funny or as easy to digest as this. With a script that leaves cringe and cliché behind and employs a successful narration device, Morris is just too colourful and positive to hate – unless you’re a homophobe of course.

Snowtown (2011)

This is not a film that should or could be easily recommended. It has moments of brilliance in it's articulation that all film fans should experience, but it is ultimately about a brutal serial killer and I could not say it is a "must-see" like some other films that are labelled as such; the lauded movies that cross over genre, boundaries and have universal appeal, as well as being superbly crafted. Snowtown will simply repel certain people too much. Blaming weak or uncultured stomachs would be a tad unfair too as the film’s major strength is its realism and some will just find it too much to bear. However, this should not take away from director Justin Kurzel's exceptional debut about the exploits of one John Bunting.

The Ides of March (2011)

Not is all as it seems in The Ides of March. What begins as a slick, enjoyable film about Governor Mike Morris’s (George Clooney) campaign to a hopeful, eventual presidency develops into a scandal laden political thriller heavy on thought provoking notions of dignity, loyalty and the ethical conflicts within man. The beauty is, that this forth film for Clooney as director, has successfully brought all those elements together in an extremely mature, stylish and non-convoluted way. Ides is an accomplished film, which harks back to the golden age of 70’s American cinema that Clooney has confessed has always being a major influence.

Mastodon - The Hunter (2011)

Of the newer breed of hard rock/metal bands to emerge in the last decade, Mastodon it seems have an aura around them which grants a unique anticipation whenever a new album is announced. The four enigmatic figures that make up the Atlanta quartet are unique unto themselves as well; extremely charismatic, funny, intelligent and minus chips on their shoulders; they carry an enthusiasm for playing and producing music that rubs off on all that call themselves followers of the band. Their discography (of which 2011’s The Hunter is their fifth official long player, but sixth proper release overall) reflects their attitude and musicianship better than most of their peers. All this combined breeds a group that is massively respected by their contemporaries, fans and critics alike. So after over two years since their proggy behemoth, Crack the Skye was released, and much discussion regarding the band’s musical direction, Hunter is out in the world and ultimately, it is possibly the best indicator of where Brann, Brent, Troy and Bill are with their skills and vision as well as serving as an almost justification for their refusal to repeat themselves. Sprawling concept album ideas are on hold this time; tight, self-contained tracks with plenty of chest hair are the order of the day.

Senna (2011)

A good documentary should engage the audience regardless of whether they have a knowledge or passion for its subject matter. Senna is a classic example of this, as your interest in Formula One racing or Senna himself is not a prerequisite to find this excellently crafted film absorbing, compelling and moving. With the blessing of the Senna family, director Asif Kapadia gives us an entertaining insight into the man, the drama and politics of the sport exclusively through on and off track archival footage (some extremely rare) supported by various voice over with out a talking head in sight. The structure of the film is not an overly conventional and traditional one, but in hindsight, was the best possible presentation to allow us to be transfixed at the saga that was Ayrton Senna’s F1 career up until his death in 1994.

RocknRolla (2008)

Guy Ritchie’s first two films can arguably be called instant classics with his unique flair and (some what) originality earning him titles such as “the British Tarantino”. Though both Lock, Stock & Smoking Barrels and Snatch remain an acquired taste (and strictly “boys club” filmmaking), it’s hard to deny they gave a shot in the arm to mainstream cinema and made gangsters cool again. Unfortunately, Ritchie lost his way slightly after the success of these films; becoming a family man possibly changed his perspective slightly, but a woeful decision to make a film with his then-wife, the acting deprived Madonna, had him labelled as quickly as the “king of cool” to having lost it. Coming to his senses, Ritchie went back to the well and gave us (the hardly seen and critically paned) Revolver. However bad it may have been, that film seem to provide the director with renewed passion and he followed with RocknRolla before helming the entertaining blockbuster, Sherlock Holmes.

Machete Maidens Unleashed! (2011)

Mark Hartley, director of Not Quite Hollywood, presents us with a companion piece written, edited and presented almost the exact same way as his outstanding Aussie doco. As with NQH, he delves into B-grade exploitation, this time focusing on the Pilipino industry during the late 60’s, 70’s and 80’s. The country's pioneers of the extremely low budget drive-in efforts are showcased respectfully, but ultimately it focuses from when legendary shlock-king Roger Corman’s New World Pictures got involved early on.

Black Swan (2010)

Director Darren Aronofsky is a unique beast in Hollywood. A filmmaking auteur, his five films have been wildly different but always exceptionally challenging and distinctive. With Black Swan, a remarkable experience in psychological horror, his work continues to evolve in this way. In short, a young New York ballet dancer, Nina Sayers (Natalie Portman), is given the chance to live her dream portraying the “Swan Queen” in a performance of Swan Lake under the demanding, watchful eye of revered director Thomas Leroy (Vincent Cassel). Overwhelming pressure from the ever growingly closer performance, her obsessive mother and guilt of stepping into the place of Beth Macintyre (Winona Ryder), a once beloved performer now shunned by Leroy, takes its toll and Nina slowly descends into hallucination and extreme behaviour. What becomes clear early on is that the film’s narrative is Swan Lake, making Black Swan, the movie, an achievement perhaps to overwhelming to comprehend after just one viewing.

Retrospective #2: Dirty Harry (1971)

Dir. Don Siegel

"When a naked man is chasing a woman through an alley with a butcher's knife and a hard on, I figure he isn't out collecting for the Red Cross"

Blue Valentine (2010)

Set in an unknown, unimportant time and place, Blue Valentine is the story of a couple, Dean (Ryan Gosling) and Cindy (Michelle Williams). As well as their young daughter, Frankie (Faith Wladyka). The story, in the direct sense is about their first meeting, their falling in love, marriage and eventual divorce. However, the film never plays it that straight. And it doesn’t always limit itself to questioning only their relationship. It goes beyond one couple's existence, inevitably analysing the notion of what love can mean between any two people.

Green Zone (2010)

Set almost directly after the US invaded Iraq in the search of WMDs in 2003, Green Zone follows Military Chief Roy Miller (Matt Damon) as he leads his squad through an anarchic Middle East environment heroically looking for said weapons. Constantly coming up with “a donut” at the end of his missions, he becomes increasingly suspicious of how the intelligence he is receiving is leading him to dead ends. With the help of a paranoid Iraq citizen, a CIA agent (Brendan Gleeson) and a strong desire to make a difference in the face of war, he takes on a risky path to the truth.

American: The Bill Hicks Story (2010)

After want seems like years of build up, a documentary about legendary comic, Bill Hicks, has been finished and out into the world. Often insightful and obviously funny, it should be said that American is in no way a fence sitting approach to Bill Hicks the man, or his legacy. This is a doco made by people who loved him for people who loved him.

The Town (2010)

The Town deserves to be called very good, being extremely well constructed and consistent in almost every aspect. It’s far from being the perfect genre flick, and perhaps with a bit more experience under his belt, director Ben Affleck in future will be able to iron out the kind of things that prevent it from truly being brilliant. Or rather, expand on others, because while it is severely entertaining, it spreads itself from action piece to heavy drama without truly capitalizing on either. His striking potential (as director) is completely cemented with The Town however, which followed his acclaimed debut, Gone Baby Gone.

The Magician (2005)

To paraphrase leading Australian critic, David Stratton, “Not everyone is going to like the idea of spending an evening at the cinema with Ray”. Ray being of course being the protagonist , the hitman, that grinning guy on the posters and basically the fellow we are locked shoulder to shoulder with ‘home video’ style for almost the entire length of The Magician. To count disliking Ray to the point of not being able to enjoy or even watch the film is not wrong, but rather maybe missing out on what an accomplishment this film is for it’s young writer/director/star, Scott Ryan. Fresh out of film school and made with merely three thousand dollars of his own money, Ryan’s Magician is an excellent example of what can be achieved when you have passion and ability.

The Host (2006)

The Host is without a doubt expertly directed, and the star of the film is probably the most interesting creature creation since Stan Winston’s Kothoga (from The Relic), but it never really impressed as much as the films it’s being compared to. These being such iconic fare as Jaws and The Thing. Maybe the hype machine had too much influence, but I think because it is in essence more a drama than a creature-feature, means that it doesn’t quite reach such similar or stellar company. It is it’s own victim in that sense, because while it is a good film, it holds little to offer on repeat viewings like those films do. It won’t let you settle into a specific mood for example. Describing the film is an issue in itself. Director Bong Joon-Ho probably summed it up best himself when he said that it is less a monster movie and more a film about a kidnapping, where the kidnapper just happens to be a mutant amphibian.

Global Metal (2008)

I don’t really want to compare Global Metal with Metal: A Headbanger’s Journey, but when in the introduction, our familiar world weary anthropologist metal-head from that film, Sam Dunn, reminds us that he did indeed make a film about metal culture before this one, it’s hard not too. And in that sense, this is the inferior documentary, but by no means a bad or uninteresting one. I’m not sure if it was ever supposed to be viewed as a “sequel”, but specifically, Global Metal does just feel more of an afterthought and lacks the weight, enthusiasm and resources of it’s predecessor to carry it through completely. Perhaps the passion of our buoyant young filmmakers has dwindled after the successful first film, or maybe it would have faired better as a TV special or series, because trying to be another cinematic looking feature doco, that AHJ was so successful at being, is probably it’s biggest downfall - at least in the beginning.

Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008)

Opening with Hunter S. Thompson’s written reactions to seeing 9/11 unfold on TV, Alex Gibney’s Gonzo thrusts us into the idea of Hunter first as a journalist, a rebel, a successful writer, a political campaigner and finally a man, the product of all his excesses, who was loved and admired by many. In-between detailing the author’s rebellion, out of control gun enthusiasm and drug use, we focus on only three major writings of his - his breakthrough novel; ‘Hell’s Angels‘, his most popular work, ‘Fear & Loathing in Las Vegas’ and arguably his best work; ‘Fear & Loathing on the Campaign Trail ‘72‘.

Inception (2010)

Inception will be a film that will be considered like no other by many. At its core, it deals with the notion of entering someone’s dreams. Sharing their dream. Implanting an idea into someone’s mind by literally going into it. It’s a heist movie where the prize exists in someone’s subconscious, populated by - occasionally aggressive - “projections”. Sounds like something Phillip K. Dick would conjure up, and certainly not something that is found in a blockbuster too often without seeming overly corny. The fact that Inception doesn’t feel that way can be attributed to director Christopher Nolan’s extremely solid and original script, and the unique aura that carries it. Complex is one word to describe the film, but then so is action and emotion. Though it doesn’t quite reach its desired effect with the latter. Either way, it is a movie that deserves you to enter it with as little expectations or knowledge as possible. Suffice to say, there will be no synopsis from me and definitely no spoilers, but perhaps wait until you see it before you read this.