2. Drive
Director Nicolas Winding Refn immediately dictates the mood and style of his film Drive at the very start—rhythmic, synthesized beats set against splashy neon-pink credits. Recalling films of the 1980s, Refn has used that basis to create something else, clearing referencing the past but feeling inherently fresh and unique. The main character of the film, known only as The Driver (Ryan Gosling), exists only to serve his purpose, and that is to drive. He drives criminals to jobs and helps them escape, no questions asked. We do not learn anything about The Driver, and we don’t need to. His life is set as a sequence of events perfectly calibrated, until an unexpected friendship with a woman named Irene (Carey Mulligan) turns everything upside down. His relationship with her and her child, and the building tension he shares with the low-rent gangster Bernie Rose (Albert Brooks in a surprisingly menacing performance), culminates in a bloody and violent final act, unflinching and beautiful at the same time. Gorgeously shot and directed with preciseness, the film is a combination of vibrant colors, pitch-perfect acting, and sudden bursts of stylized violence. It’s a thriller that goes beyond the boundaries of what we would normally see in a thriller. I loved this movie, in its set-up and execution. It is the Le Samourai (1967) of this generation.
1. The Artist
It’s easy to say that the success of Michel Hazanavicius’s The Artist comes from its gimmick: the fact that it is in black and white and is a silent film. Do people automatically think that movies made in an older fashion will simply get a pass because of the style? I would have to disagree with this sentiment whole-heartedly, and say that this is the best film of the year because it is a well made movie, has a lovely and charming story, and presents that story incredible well—everything else is an added bonus. The wonderful thing here is that Hazanavicius has crafted a silent film that could not possibly exist in the silent era; this is an entirely modernized movie. Nostalgia is at the forefront, as this movie recalls great films of the past such as Citizen Kane (1941), Singin’ in the Rain (1952), Vertigo (1958), and the classic Fred and Ginger musicals, all rolled up into a complete package. French actor Jean Dujardin struts and gestures as if he came straight from the time, playing the character of George Valentin. Valentin is a classic silent film star, but as movies begin to transition to the sound era, he finds his career and life in a tailspin. This is juxtaposed with the rise of the young starlet Peppy Miller (Bérénice Bejo), an actress gaining quick fame, and is a representation of the cinema’s future.
I find it difficult to contain the sheer joy I experienced while watching this movie. It’s a film that was tailor-made for my sensibilities. From the music to the cinematography and the dancing, it contained all the great elements of movies that I love, pieced together exquisitely. Dujardin and Bejo are wonderful in their roles; they have a kind of sweet innocence about them and their chemistry together is undeniable. In an age where everything and everyone has a sense of cynicism, seeing the earnestness these two people have feels like a breath of fresh air. There are no bad guys in this movie; everyone has a likable aura about them—especially the dog that steals nearly every scene that it’s in. From the clever use of sound, to even the obvious display of the set design, there is not an aspect of this movie I found to hate against. This film represents everything that is great with the movies, and for that reason it has received my top spot.
Honorable Mentions:
- Steven Spielberg came back in a big way with The Adventures of Tintin and War Horse. Tintin was hands down my favorite animated film of the year (Kung Fu Panda 2 coming in at a distant second), and War Horse was a thoroughly emotional journey of an amazing animal during WWI. For those who criticized it for its sentimental manipulation—they clearly have not seen a Spielberg film before.
- Mission: Impossible – Ghost Protocol gets a mention for being my favorite straight action movie of the year.
- Steven Soderbergh’s Contagion is an expertly crafted thriller that realistically looks at a global virus outbreak.
- Rise of the Planet of the Apes was one of the few high points in an overall lackluster summer season.
- The sweetness of Le Havre is so subtle that if you blink you could miss it.
- While I feel that The Descendants too closely resembles Alexander Payne’s previous work, it’s worth watching for George Clooney and Shailene Woodley’s performances alone.
- Thunder Soul and Beats, Rhymes & Life: The Travels of a Tribe Called Quest are two musical documentaries that go much deeper than you would expect.
- The Tree of Life was a beautiful yet complex poem of a film.
- While I didn’t completely connect with it, and there are certainly many faults with the film, I’m hard pressed to find a better comedy this year than Bridesmaids.
- Warrior was a well-made sports film, despite feeling all too familiar.
- Certified Copy may have been hindered too much by its mystery, but its performances and direction still merit attention.
- How can a person see The Muppets and not have a completely enjoyable time?
Rest in peace 2011! Here’s to a fun and fulfilling 2012 at the movies!
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