Top Ten Films of 2010

31 December 2010

Top ten films with a theatrical release in Melbourne, Australia in 2010

Inception

Inception

1. Inception (Christopher Nolan, 2010)
This almost clinical and mechanical representation of the human subconscious facilitated an extraordinary exploration of cinematic space in order to deliver an intriguing heist story with wonderfully thrilling action sequences. This year’s masterpiece.

2. Enter The Void (Gaspar Noé, 2009)
This mesmerising assault on the senses by the director of Irréversible was a strange, brilliant and audacious first-person head-trip into drugs, death, sex and the neon lit metropolis of Tokyo.

3. Shutter Island (Martin Scorsese, 2010)
Martin Scorsese’s latest film was a typically brilliant example of subjective filmmaking, but where the point-of-view belongs to an unreliable protagonist. A sophisticated exercise in film style dressed up as a pulp thriller. So much more than a spot-the-twist film.

4. Animal Kingdom (David Michôd, 2010)
The Australian film to receive the most hype this year was also the most deserving. The low-key filmmaking resulted in a tense, gritty and at times horrifying crime drama.

Toy Story 3

Toy Story 3

5. Toy Story 3 (Lee Unkrich, 2010)
The combination of tight writing, powerful sentiment, humour and characters with so much heart delivered one of the greatest animated films ever made. Possibly the most perfect resolution to a trilogy too. Not a dry eye in the house.

6. Blue Valentine (Derek Cianfrance, 2010)
An extraordinarily empathetic film about the everyday and commonplace tragedy that love doesn’t always prevail. Contains the year’s strongest performances from Michelle Williams and Ryan Gosling.

7. The Secret in Their Eyes (El secreto de sus ojos, Juan José Campanella, 2009)
The surprise winner of the Best Foreign Language Film Oscar this year, this Argentinean murder mystery/romance contains hidden depth. A thrilling and intriguing genre film in its own right but also a moving representation of Argentina’s history of political turmoil.

8. The American (Anton Corbijn, 2010)
To reduce this to merely a generic hit man film ignores how immaculately crafted Corbijn’s second film is. The rich use of style and homage offers multiple rewards for a visually literate audience.

9. The Killer Inside Me (Michael Winterbottom, 2010)
Another great example of subjective filmmaking where the film gets increasingly deranged as its psychopathic protagonist increasingly loses his grip on reality. A superb adaptation of Jim Thompson’s hardboiled novel featuring some incredibly upsetting acts of violence.

10. Splice (Vincenzo Natali, 2009)
It wasn’t an old-school David Cronenberg film but the glorious blend of science-fiction, horror, melodrama and psycho-sexual thriller made it feel like one. Transgressive wicked fun.

Honourable mentions

11. The Road (John Hillcoat, 2009)
12. Boy (Taika Waititi, 2010)
13. The Social Network (David Fincher, 2010)
14. Kick-Ass (Matthew Vaughn, 2010)
15. Crazy Heart (Scott Cooper, 2009)
16. The Messenger (Oren Moverman, 2009)
17. Scott Pilgrim vs. The World (Edgar Wright, 2010)
18. The Kids Are All Right (Lisa Cholodenko, 2010)
19. A Prophet (Un prophète, Jacques Audiard, 2009)
20. Let Me In (Matt Reeves, 2010)

Top ten unreleased films

Son of Babylon

Son of Babylon

(Films with either very short seasons or only festival screenings, and to the best of my knowledge aren’t scheduled for a general release in 2011).

1. Son of Babylon (Mohamed Al Daradji, 2009)
2. I Love You Phillip Morris (Glenn Ficarra and John Reque, 2009)
3. Lourdes (Jessica Hausner, 2010)
4. The Illusionist (L’illusionniste, Sylvain Chomet, 2010)
5. Poetry (Shi, Lee Chang-dong, 2010)
6. Nobody’s Perfect (Niko von Glasow, 2008)
7. William Kunstler: Disturbing the Universe (Emily Kunstler and Sarah Kunstler, 2009)
8. When You’re Strange (Tom DiCillo, 2009)
9. World’s Greatest Dad (Bobcat Goldthwait, 2009)
10. The Army of Crime (L’armée du crime, Robert Guédiguian, 2009)

Other

Tim Burton: The Exhibition

Tim Burton: The Exhibition

1. The Red Shoes (Michael Powell and Emeric Pressburger, 1948) at the Astor Theatre.
2. Psycho (Alfred Hitchcock, 1960) with a live orchestra at the Melbourne International Film Festival.
3. Tim Burton: The Exhibition at the Australian Centre for the Moving Image.
4. The Federico Fellini, Akira Kurosawa and Jacques Demy seasons plus the Max Ophuls and Tod Browning nights at the Melbourne Cinémathèque.
5. The experience of seeing The Room (Tommy Wiseau, 2003) as part of the on-going Cult Cravings program at Cinema Nova.

Also appears here on Senses of Cinema.

An earlier (and since revised) version of the top ten film list originally appeared in the December 2010 edition of the Triple R magazine The Trip (online here).

© Thomas Caldwell, 2010

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MIFF 2010 Wrap Up

9 August 2010
Enter the Void

Enter the Void

As another Melbourne International Film Festival closes I’m left with mixed feelings. It is admittedly somewhat of a relief to no longer be dashing from session to session every day, not getting enough sleep, not eating properly and drinking way too much caffeine. On the other hand, I do feel sad that it’s all over as it is wonderful to indulge in 2 and a half weeks of doing what I love the most – seeing films, writing about films and talking about films to other passionate cinephiles. It was also a thrill to be one the jury members for the short films awards this year. Being just a very small part of the festival in that way was a real privilege.

I was overall extremely impressed with the way the festival was run and I don’t believe that there were any mishaps (or miffhaps?) that were not understandable considering the immense logistics behind putting on a festival like this. Sure, there will sometimes be delays and projection problems  but this year everything seemed to be rectified and managed quickly and competently. Having proper breaks between sessions was also wonderful. My only wish is that you could exchange tickets online or at least over the phone without paying an addition charge on top of the exchange fee. It would also be great (but perhaps unrealistic I admit) to create a system where you don’t get charged for cancelling a session but instead only get charged for replacing a session. That way tickets would be freed up when people decide to skip a screening completely.

Son of Babylon

Son of Babylon

My goodness – bless the MIFF volunteers who do such an incredible job with a love of the festival being their main motivation. Having worked professionally on another cultural festival, I am fully aware of how hard volunteers work and that they can sometimes be under-appreciated. Fortunately the general public seemed to be pretty well behaved this year and I only witnessed one temper tantrum, which was so absurd it was actually quite funny (looking at you man who declared that the whole country was apparently incompetent because you had to wait an extra 20 minutes to see a film).

So, onto the films themselves, first with a list of my top 10 favourite films that screening during the festival:

Enter the Void (Gaspar Noé, 2009)
Son of Babylon (Mohamed Al Daradji, 2009)
The Killer Inside Me (Michael Winterbottom, 2010)
I Love You Phillip Morris (Glenn Ficarra and John Reque, 2009)
Splice (Vincenzo Natali, 2009)
Lourdes (Jessica Hausner, 2010)
Boy (Taika Waititi, 2010)
The Messenger (Oren Moverman, 2010)
The Illusionist (L’illusionniste, Sylvain Chomet, 2010)
Poetry (Shi, Lee Chang-dong, 2010)

World on a Wire

World on a Wire

I would also like to mention that the final film I saw at the festival, Scott Pilgrim vs. the World, was a tremendous amount of fun and I’m glad I finished the festival with such an exhilarating film. I also thoroughly enjoyed the three retrospective screenings I went to, which were Psycho with the live orchestra, Joe Dante’s Homecoming and Rainer Werner Fassbinder’s World on a Wire.

My full list of films seen at the festival is as follows:

Air Doll (Kûki ningyô, Hirokazu Koreeda, 2009) ✭✭✭✩
Alamar (Pedro González-Rubio, 2009) ✭✭✭✩
Beetle Queen Conquers Tokyo (Jessica Oreck, 2009) ✭✭✩
Bibliothèque Pascal (Szabolcs Hajdu, 2010) ✭✭✭✭
Boy (Taika Waititi, 2010) ✭✭✭✭
Brotherhood (Broderskab, Nicholo Donato, 2009) ✭✭✭
Caterpillar (Kyatapirâ, Kôji Wakamatsu, 2010) ✭✭
Despicable Me (Pierre Coffin and Chris Renaud, 2010) ✭✭✭
Dreamland (Ivan Sen, 2009) ✭✭✭
Enter the Void (Gaspar Noé, 2009) ✭✭✭✭✩
Exodus – Burnt by the Sun 2 (Utomlyonnye solntsem 2, Nikita Mikhalkov, 2010) ✭✩
Four Lions (Christopher Morris, 2009) ✭✭✭
The Ghost Writer (Roman Polanski, 2010) ✭✭✭✩
Homecoming (Joe Dante, 2005) ✭✭✭✭
The Housemaid (Hanyo, Im Sang-soo, 2010) ✭✭✭
The Hunter (Rafi Pitts, 2010) ✭✭✩
I Killed My Mother (J’ai tué ma mère, Xavier Dolan, 2009) ✭✭✭✩
I Love You Phillip Morris (Glenn Ficarra and John Reque, 2009) ✭✭✭✭✩
The Illusionist (L’illusionniste, Sylvain Chomet, 2010) ✭✭✭✭
The Killer Inside Me (Michael Winterbottom, 2010) ✭✭✭✭✩
Le Donk & Scor-zay-zee (Shane Meadows, 2009) ✭✭
Leap Year (Año bisiesto, Michael Rowe, 2010) ✭✭
Lebanon (Samuel Maoz, 2009) ✭✭✭
Lourdes (Jessica Hausner, 2010) ✭✭✭✭
The Messenger (Oren Moverman, 2010) ✭✭✭✭
The Myth of the American Sleepover (David Robert Mitchell, 2009) ✭✭✩
Poetry (Shi, Lee Chang-dong, 2010) ✭✭✭✭
Psycho (Alfred Hitchock, 1960) ✭✭✭✭✭
Red Hill (Patrick Hughes, 2010) ✭✭✭
The Robber (Der Räuber, Benjamin Heisenberg, 2010) ✭✭✭
Scott Pilgrim vs. the World (Edgar Wright) ✭✭✭✭
Sex & Drugs & Rock & Roll (Mat Whitecross, 2010) ✭✭✭
Son of Babylon (Mohamed Al Daradji, 2009) ✭✭✭✭✩
The Special Relationship (Richard Loncraine, 2010) ✭✭✭✩
Splice (Vincenzo Natali, 2009) ✭✭✭✭✩
Taqwacore: The Birth of Punk Islam (Omar Majeed, 2009) ✭✭✭✩
Tetro (Francis Ford Coppola, 2009) ✭✭✭
The Tree (Julie Bertucelli, 2010) ✭✭✭✩
The Trotsky (Jacob Tierney, 2009) ✭✭✭✩
The Wedding Party (Amanda Jane, 2010) ✭✭
Welcome to the Rileys (Jake Scott, 2010) ✭✭✭✩
Wild Target (Jonathan Lynn, 2010) ✭✭✩
Winter’s Bone (Debra Granik, 2010) ✭✭✭✩
World on a Wire (Rainer Werner Fassbinder, 1973) ✭✭✭✭
World’s Greatest Dad (Bobcat Goldthwait, 2009) ✭✭✭✭

I Love You Phillip Morris

I Love You Phillip Morris

Finally, MIFF this year was extremely sociable and I had a great time drinking and chatting with friends between sessions and making new friends while waiting for the curtains to part. I should really have done this much sooner but below is a shout-out to some of the other places online where MIFF has been discussed and digested. This list is be no means exhaustive and I apologise if I’ve left you off but I wanted to focus on people whom I actually spent time with in person in various queues, cinemas and the festival lounge. So, thanks to the following people for enriching my MIFF experience both online and in person:

Tara Judah at Liminal Vision
Cerise Howard at A Little Lie Down
Richard Watts at A Man About Town
Lee Zachariah (a.k.a. Latauro) at Ain’t It Cool News
Luke Buckmaster at Cinetology
David O’Connell at Screen Fanatic

That’s it for another year! Please feel free to list your blog/website in the comments if you’ve also covered MIFF and escaped my radar. Also, please feel free to share your MIFF highlights and maybe on this occasion it would be good to maintain the MIFF afterglow by just focusing on the films that you can share the love for.

Cheers
Thomas

PS It’s pronounced “FASS-bin-der” not “Fass-BIND-er”!

© Thomas Caldwell, 2010

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MIFF 2010 Diary: Part 5

29 July 2010

I went against my own advice yesterday by seeing four films at MIFF and three of them back-to-back (although the excellent scheduling this year means that you still get decent breaks between most sessions).  I saw two very mediative films (one in a good way and one not so much) but also two of the best films I have seen this year making yesterday my best day at MIFF so far.

Lourdes

Lourdes

Lourdes depicts the various rivalries, resentments and jealousies that are bubbling under the surface of an organised pilgrimage group who have gone to Lourdes in the French Pyrenees  Mountains. At the centre of the film is Christine, a woman whose Multiple Sclerosis makes her one of the most disadvantaged members of the group. She is played by Sylvie Testud who gives a lovely, understated performance. Lourdes is a slow burning film that rewards patience as it builds up to its very powerful conclusion. I was certainly completely taken aback by how emotional I was feeling during the film’s final five minutes making Lourdes one of my favourites within the festival so far.

The first of yesterday’s two meditative films was Dreamland, the latest by Australian filmmaker Ivan Sen. The screening was introduced by producer David Jowsey who made it clear that the film was not a conventional narrative but more a “no budget”, experimental soundscape to be experienced on a sensory level. This was a very good description as little happens in this film about a man searching, presumably for alien life, in the Nevada desert surrounding the infamous Area 51. Dreamland would have benefited from a shorter running time but within the film are some wonderful sequences using timelapse photography and eerie stock footage. The sound design is magnificent and the one dialogue scene is surprisingly moving. Think the final section of 2001: A Space Odyssey with a touch of Paris, Texas.

While by no means essential viewing at least Dreamland maintained my interest, which is more than I can say for Beetle Queen Conquers Tokyo, a documentary about the fascination that the Japanese apparently have with insects. The broader cultural, social and historical contexts of this fascination are presented but as Beetle Queen becomes increasingly philosophical it becomes far too laboured and repetitive. There is only so long you can endure listening to haiku and watching Japanese people mucking around with bugs.

Son of Babylon

Son of Babylon

The other film I saw yesterday was one I almost skipped so that I could go to a media screening of The Loved Ones (which screened at MIFF last year and is reportedly fantastic). I’m so glad I stayed in the city to instead see Son of Babylon as it is one of the best films I’ve seen this year. Set in Iraq in 2003 just after the fall of Saddam Hussein’s regime, a boy and his grandmother search for the boy’s father. The war torn countryside and burning cities they travel through have the same look and feel to them as you’d expect from a post-Apocalypse film. While Son of Babylon contains some very confronting content it doesn’t have the same social-realist, miserablism feel that often characterise so many of the films made in the Middle East. The more devastating aspects of the story are slowly revealed so that their impact is one of deep sadness rather than horror or depression. The characters are also wonderful people and the kindness and shared sorrow that the boy and his grandmother experience from the various people they meet is beautiful. Son of Babylon resonates with a deep and powerful sense of humanity and is a must-see film.

© Thomas Caldwell, 2010

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