“I Have My Reasons” (Year’s Top 25 Movies)

By: Dan Jones

The Best Movies of 2011

(For web-searching purposes, I could’ve called this “The Best Movies of 2011,” but are they the best?)

Every year, a fellow filmmaker and I go through the year’s movies and … become depressed.  We’re picky.  We’re not snobs.  We avoid the trailer trash (junk previews).  Those we avoid hardly ever become something missed.  On the other hand, one has to know his enemy; so we also force ourselves to see the grandest of the mainstream films.  Sometimes, the great movie is just that.  Grand – large in scale and everything else.  A triumph.  By the end of the year, however, we are often wasting our money on blockbusters.

But going to the theater is a gamble.  You never know if you’re about to see the brightest film of the year or have stumbled upon an outshined gem.

The filmmaker friend and I are also surprised by straight-to-video releases of our most anticipated films of the year.  At least we finally have a chance to see the movie.  And if it was fairly shelved, because it was dull and not a gem, we’re even more disappointed.  Expectations can ruin any good movie.

Now that the year’s over, I’d like to share.  I haven’t seen everything, but no one ever does.  Movies are finished every day.  So I ask you, what qualifies as “everything?”  A two-week release in L.A.?  Distribution?  The populars?  The Golden Globe and Oscar nominees?  The underdog indies in need of attention?

A glimpse into the past two-weeks involves a plethora of Christmas movies (first-time viewings of “Holiday Affair” and “Christmas in Connecticut”), third-time screening of the newest “Jane Eyre,” second viewing of “3 Backyards,” back-to-book roots version of “Winnie-the-Pooh” (after finishing the novel), sit-down-respectful family viewing of Walt Disney’s animated “Alice in Wonderland,” and Syfy channel’s New Year’s “Twilight Zone” marathon.  I also went to the movies and saw “The Girl with the Dragon Tattoo,” “War Horse,” “The Muppets,” “The Adventures of Tintin,” and a triple-feature which included “Shame,” “The Artist,” and “Young Adult.”

That’s what I managed to squeeze in in just ten days (along with this massive article).

This is how I’ve always done my lists.  Write down all contenders.  As I reach each one, I move them higher or lower, to their appropriate position.  No numbers.  Try to cut and paste (or scribble and immediately rewrite); otherwise, you may wonder why you’ve placed a nominee both at a number 12 and 40 spot.  On a long list, one can lose track and question momentary opinions.

This list, however, is not very long.  To be honest, these are ALL of my picks of 2011.  Those left out were no good (not the worst, but absolutely awful) or forgettable (could die without seeing).  There are also the “okays” (neither here nor there).

Note that family films and comedies are always out of place on a best-of list.  Did I glow?  Did I laugh?  Did they happen to create a classic film that surpassed the dark dramas?  It isn’t fair to exclude them, so they are placed by entertainment value.  And action/adventure movies, you can join us whenever you’re ready.

Below are brief descriptions – explanations as to what kept these films from rising higher or what caused them to drop so low.

‘Nough said.  Here are my picks of 2011.

1. Moneyball I left the theater and said, “Who the hell is Bennett Miller?”  My fellow filmmaker didn’t see this until it hit the dollar shows and immediately asked me, “Who the hell is Bennett Miller?”  We’d forgotten his six-year-old film “Capote.”  That was nicely directed, but Moneyball is a homerun.  Hope it steals an Oscar or two.  (And who the hell is Jonah Hill?  Wait.  That was Jonah Hill?)
2. The Girl with the Dragon Tattoo Seen the original.  Know of the book.  Watched the trailer – The Feel Bad Movie of Christmas.  Or did that turn out to be “Shame”?  (See review below.)  Only director David Fincher can make you forget you’ve seen the original.  I guess he had some advantages with the dominating on-screen presence of Daniel Craig and Rooney Mara.  The complex story is readjusted, NOT Americanized.  (I don’t care for that term.)  Fincherized! Much better.
3. Take Shelter The steady pace and arrival of a storm, of the rumbling plot, of a character’s descent into gloom.  For weeks since, I’ve been watching the skies like Chicken Little.  Where does the courage lie?  Build the shelter because you’re afraid?  Or are you not afraid to embrace your fears?  I’m sure losing your mind is less complicated than what I’ve just asked.
4. Limitless There’s a lot going on here.  Editing and cameras doing some cool stuff, and then there’s the whole drugs-can-be-good theory.  I was taken for a ride.  Second viewing still transfixing.  Perhaps not as timeless as “Fight Club” or “Metropolis” in decorations, but I could become addicted to my DVD copy.  (Still can’t bring myself to watch those alternate endings.)
5. Martha Marcy May Marlene Every five years or so, there’s that “Deliverance” type of delivery.  A type of folk that would raise curiosity before suspicion … and then you’re stuck with them.  Mentally, you still can’t leave them behind.  You trampled through the forest, through “the sticks,” and now you have to find “home” all over again.  Or will you ever stop exploring?
6. Cars 2 Was it time to rise against Pixar?  Because they challenged us?  Could we not deal with a genre change?  Go from a racing comedy (the first “Cars”) to an action spy-thriller?  We were frightened, and we didn’t know what to do.  We rose.  We destroyed.  We concurred.  Pixar, the ultimate winners, will now be overshadowed for this year’s Oscar.  We left Pixar on the island and jumped aboard another Johnny Depp ship – this time “Rango.”  (Actually, I didn’t.  Review below.)
7. The Tree of Life Like anyone’s first viewing of “2001: A Space Odyssey,” I wasn’t sure how interested I was about the planet and outer space.  The actual story involving Brad Pitt’s role as the demon-battling father with children – mid-movie – may be the strongest of any this year.  Those windy camera motions are as gentle as can be, and I felt bad and sad for the whole lot of them.  Let’s not pull this one by the roots for any reason until we explore and satisfy our own life-needs (starting with a second viewing).  Solid and thick as a tree trunk.  Climb, reach for the stars, be alive.
8. Jane Eyre This is the “if BLANK were nominated, it’d be up for …” example.  It goes: “If JANE EYRE were nominated, it’d be up for costume, art direction, editing, best actor, best actress, best supporting actress (Judi Dench, so of course).  But it’s not talked about.  We’re learning that Michael Fassbender (“Shame”) is strikingly good, but Mia Wasikowska is far more than an Alice in Tinseltown. (Mia was Alice in “Alice in Wonderland,” if you didn’t know.  And Tinseltown is another name for L.A.  Although, Jane Eyre was filmed in the UK.  And Fassbender’s from Germany.  Is that why we’re not going mad for this one?  A conflict of interest?)
9. Drive Ryan Gosling’s smirk and swagger are his signatures and applied more seriously.  Director Nicolas Winding Refn (“Wingding” for short) also sticks to his routine – lengthy reaction shots of unflinching expressions and sudden gore.  My fellow filmmaker friend had problems with pizza parlor parties and Ron Perlman’s acting, but I feel both “Wingding” (that is, Winding) and Perlman are doing their usual parts as well.  Filmmaker friend and I both agree Albert Brooks’ miles of training have paid off.  The few unlikely moments in question, for me, were answered in the book on which it is loosely based.  (The ramming-power of a vehicle and bloody-jacket advertising were rightfully decided irrelevant to the story by “Wingding” [you know, Winding]).
10. The Muppets Do I reveal that I was in an awful mood when I saw this and that I exited the theater inspired and smiling?  I truly feel it would be even higher on the list, had I been fully present for the Muppets’ return.  Timeless message received: find your inner-self (or inner-Muppet) and you can do anything you wish.  Jason Segal and Amy Adams are not the stars.  That’s right, they shouldn’t be.  A couple-dozen-second cameos by celebrities (including Sarah Silverman and Mickey Rooney) also fit the original Muppet formula.  I’ll even allow the covers (song remakes), because Jim Henson had his hippie ways way back when.  (How do you rework the cussing of today’s kiddie-bop culture?  Have chickens cluck Cee Lo Green’s lyrics to ‘Forget’ You.  And tweak Nirvana’s Smells Like Teen Spirit tune of desperation into a barbershop quartet.)  Also, when comparing this film to the originals, one should remember they were good movies but not perfect.  So in this way, this version also succeeds in not being perfect (the unnecessary CG effects) but a perfect Muppet Movie. (Kids or no kids, grow up and buy the soundtrack before they’re gone.  Bret McKenzie of “Flight of the Conchords” contributes his talents.)
11. Melancholia It’s the name of a giant planet that’s going to crush us.  Or maybe pass us by.  I’d hate to be getting married, or have a honeymoon, with that on my mind.  But seriously … No.  That’s serious enough.
12. The Descendants It’s about time director Alexander Payne returned to make me feel uncomfortable.  I haven’t been laughing between spells of nausea since I’d seen “Citizen Ruth.”  Thanks.
13. Hugo Impressive, but I read the book.  Perfect adaptation, but I read the book.  An original, informative young adult book at that!  Remember when this happened to me before?  “Shutter Island”?  I’d read the book.  I didn’t like Asa Butterfield’s weeping or slightly kid-movie acting at times.  I did like the reinvention of the gliding camera through crowds of what appeared to be cutouts of film reels.  Martin Scorsese is the first to make use of 3-D in order to get us out of our homes and into a theater.  (Video-game-like “Avatar” does not count.)  (“Hugo” is one of fellow filmmaker’s year’s favorites.)
14. Midnight in Paris A Woody Allen film is a difficult one to place.  When familiarized, one loves or hates Woody.  Though, if you love him, you may not care for all of his styles.  Styles: free-spirited, goofy romps (pre-”Annie Hall”); vivid depictions of disheartening situations (films of the 80′s); light love-strikes and hardcore love-battles (spread throughout career); and fantasy fun (first accomplished in “Purple Rose of Cairo”).  Depending on the week, light and lovely tales of fun can be less appealing.  Always unique, smart, and entertaining; but I’m a conflict guy.  Give me “Interiors,” where I feel the need to dissect my own reasons for living.  “Midnight in Paris” – absolutely light and lovely.  (Another of fellow filmmaker’s favs.)
15. Kung Fu Panda 2 I was knocked out by the first one.  Quality action, directing, acting, and ending.  Side-kick take on the hidden warrior story, and it’s funny.  This sequel is more of the same, but a bitty more kiddy.  (And for some reason, every time I think of Angelina Jolie doing the voice, just for those few lines, I want to Kung Fu her in the face.  Jackie Chan I’ll let slide.)
16. The Thing Surprising and startling, the approach this film took.  It’s not a “reboot” (or whatever kind of fancy label they stick onto blatant, uninspired remakes).  It’s not even a remake.  Forget about John Carpenter and his “The Thing” (1982) and willfully be frozen with paranoia.
17. Warrior If it were a true story, I wouldn’t have been constantly questioning the authenticity of the entire plot.  That doesn’t mean the film wasn’t convincing.  If it had been a true story, I would have questioned which parts were embellished.  Truly, I wouldn’t care to research the truth anyway; just don’t tempt your audience to question reality in the first place.  (I’m sure following the true-story “Moneyball” in a sport-themed double-feature didn’t help its chances of winning me over.)
18. Bridesmaids Very funny comedy, indeed; but I’m always going back to the unnecessary gross-out scenes and the inflated (as in, overacting) roommate characters Gil and Brynn.  I remember laughing, but I seem to have forgotten why.  Do I need to remember?  I guess not.
19. The Adjustment Bureau Reminded me of a good date movie I’d see with my sweetheart in the 1990′s like “City of Angels” or “A Life Less Ordinary.”  Attractive, self-motivated characters.  Believable reactions to fantastic situations.  Easily applicable to your own love-life complications.  The story also reminds me of “The Matrix” and “Inception.”  It’s not brilliant, or mind-boggling; but neither is “Inception.”  (Ooooo.  I snuck a low-blow in there.)
20. Contagion “Outbreak.”  Remember?  Dustin Hoffman and Rene Rosso?  This isn’t a remake; just the same fear set to today’s political and economical positions.  Steven Soderbergh has always been good at balancing the overpowering government and the little guy.  The little guy doesn’t always have to be big.  The government isn’t always out to get us.  In “Outbreak,” we’re attached to certain characters like a deadly disease.  For this particular contagious outbreak, we’re playing catch-up to the disease by backwards research.  Probable.  Creepy.  But don’t cover your mouth or eyes if you can’t handle the facts.  (Keep your hands off your face all together, please.)
21. The Ides of March Better than director George Clooney’s “Good Night, and Good Luck.”  I still have to see “Confessions of a Dangerous Mind” a second time.  “Leatherheads” I’ve already tried watching again.  This movie?  It’s just … better than those other ones.  I never have much to say about his films.  (Clooney directed these, by the way.)  Did I mention it made the list at number 21?
22. 3 Backyards The sun, the leaves, the clarinet, the self-conscious words you can’t take back, the moments you’ll always remember.  The camera work and music is the world here.  These people (including Edie Falco and Elias Koteas) have left their backyards for a day of analyzing but are essentially visiting the land of director Eric Mendelsohn.  (Over ten years ago, Edie Falco visited Mendelsohn’s dark suburban streets in “Judy Berlin.”)  In the end, our final three stories are moderately fulfilling.  I suppose we were hopping fences, continuing on our way; but I’d still like to feel at home with these three and not like an intruder.  (Wait.  Maybe he was onto something after all.)
23. Trust Perhaps minor problems with the final project when it comes to editing or character analysis; but, honestly, I can’t remember the problems I had with this film.  The issues were touchy-feely (disgusting pun intended), but I certainly received a message.  Important work by director David Schwimmer.  (Partially shot in hometown of Michigan.  Watch for Inga [R.] Wilson of “Griffey’s Theory.”)
24. The Company Men Were the main characters not poor enough?  Does everyone still hate Ben Affleck?  Maybe the struggling viewers couldn’t relate as they had anticipated from the trailer, but a flawed man is a real man.  Troubled times are for everyone right now.  Don’t discriminate against those who want a nice car.  (Or do.  That’s kind of my point.)
25. The Trip A mockumentary of sorts, but the cameras weren’t necessarily there with them.  Like a documentary, the characters have an arch.  A curvy one, but it’s there.  We come to the end of the trip, to the end of the movie, and we’ve witnessed a journey (real or not).  Moments of hilarity, but not hilarious throughout.  Didn’t need to be.

ALSO …

(Overall “good” films, but I could have caught them on TV.)

The Artist – I know, I heard!  (Get it?)  The witty, charming, gutsy, heart-wrenching masterpiece; and all done with a black and white silent picture.  But, see, I already watch silent pictures, black and white movies; and this was an imitation for those who are unfamiliar.  Maybe you’ll get a kick out of it.  I’m happy an artistic, different film was able to keep the audience’s attention, but I’m used to “different” … and I was mostly bored.  The room they had to play with, the score they could have brought, the title cards they could have skipped (or written more poetically).  No.  “The Artist” does not take me back or bring something forward.  I just saw a well-made gimmicky film within the confines of proper filmmaking.  Good acting lost inside a dated love story.  (Fellow filmmaker jokes this is one of the best movies of the year just from the trailer.  He still hasn’t seen it and stands by his prediction.)

Beginners – Preachy moments.  Subtitled dog scenes pushed the oddities.  Thin plot.  But I’ve always liked Chistopher Plummer.  Ewan McGregor, too.  (Does anyone else think the “Star Wars” movies have quieted down his intensity some?)

The Help – Would I have seen this bright and colorful movie had the acting not been raved?  I don’t think so.  The trailer and poster were too … bright and colorful.  Had I known Bryce Dallas Howard also starred – whom I’ve pointed out three to four times asking, “Who is this horrible actress?” before realizing it’s always her – I would have passed.  But Howard’s easy to hate in this one.  Pulled it off, even.  You like “Driving Miss Daisy”? (We’ll call it #26.)

Insidious – The third act, filled with ghosts, reminds me of the behind-the-scenes documentary to Michael Jackson’s “Thriller” music video.  “Here is everyone in some spooky makeup!  Look!  Scaaaaary.  And you guys watching, be scared!”  I was spooked most of the movie (before the ghostly doors were opened).  The idea of a stalking demon that looks like Darth Maul and acts like Phantom of the Opera is quite villainous of director James Wan (“Saw”).  Most horror films scare my mind to a charade of dismissal – no longer in the moment.  Jolts are always a cheap thrill, but the suspense of “Insidious” haunted beyond the theater and into my home.  Mistakes include misplaced (or miscast, or misdirected – I can’t tell anymore) Ghostbusters’ humor, casting Farrelly brothers’ Lin Shaye as a credible ghost … investigator (showing no credentials as a licensed medium, mind you), and a weak third act.  (You heard it’s like “Poltergeist,” right?)

Like Crazy – The independent time-lapse/cover-up/fix-it-in-the-editing-suite polishing is not one of my favorite methods.  You’ve no longer made a feature but extended a very long short.  Apart from that, I was involved.  Classic ending.  (I won’t tell.)

Rango – Some adult caring, I’ll call it.  Because that’s what went into this movie.  An adult – be it screenwriter John Logan (“Gladiator,” “Hugo”), director Gore Verbinski (“Pirates of the Caribbean” movies), or Gore’s pirate storyboard artist James Ward Byrkit – wanted to make a cartoon for the adults.  It’s drawn (with computers), so children’s eyes lock on.  For Johnny Depp fans, this is not a new satisfaction.  Half of his movies fall under the kid-movie-for-adults category.  When the story ended, when I had time to understand the adult input, the adult writing, the adult caring, “Rango” still seemed child-like.  Good enough movie, I suppose … for not being Pixar.  (See #6.)  (Fellow filmmaker liked it more than I.)

Rubber – A tire that goes around and kills people when it shakes. (Or is that trembling?)  I loved the off-humor introduction.  Slowly bored by the close shots of the rotating tire.  Amazing effects when we widened out, but it became a violent gore picture.  And on it rolled to make us laugh?  Strange to say this about a tire with an attitude, but I expected more.  Not that I wanted “Rubber” to be a slasher picture or a dark comedy, but a tire with emotions was fine by me.  Interesting, I guess.  (Fellow filmmaker never dozes off … and he did.)

Shame – Raunchy and disturbing and moody and full-frontal (male and female).  What else was there?  Possibly, mismatching scenes near the end.  (Have to see it again to be sure.)  In a way, I’ve seen this “this is me” type of thing before.  So am I shocked?  Am I to sympathize?  Am I to be thinking of what I’ve witnessed?  I’m not thinking much.  (My wife sure is.)

Win Win – I did root for that alternative kid with the pride and morals, but did this lower-end budget sport movie have to pretend it was a depraved “Karate Kid”?  Fast-forward through the try-too-hard moments, and you’ve got a winner.  Or at least a runner-up.

NOW WHAT?  

When the year has ended, and you haven’t seen them all, are they still the movies of that year?  Terri (indie film comparing and contrasting the maturity level of all ages and proving John C. Reilly’s dramatic roles are funnier than any of Will Farrell’s jesting) and Submarine (“Rushmore” meets “The Squid and the Whale” meets “Brick” meets “Harold and Maude” [without the age gap]) would fall somewhere between #23 and #25 (that doesn’t mean they’re both #24); and I’ve just seen these (night before article’s posted).  I haven’t seen “Carnage,” “The Iron Lady,” “J. Edgar,” “My Week with Marilyn,” or “TrollHunter.”  What about when I do?

Oh well.  I still haven’t seen every film made in 2010 either.

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