Movies: 2010 Review

Despite the fact that we are now 18 days into the new year, I wanted to wait until I had seen True Grit, a 2010 release, before doing my year in review for the movies of 2010. I will post my top 10, with short reasons why, and then conclude with random awards, which will probably change each year depending on what fits. Also, as a preview, I am planning on kicking off the 2011 movie season by seeing The Green Hornet, so a review for that one will most likely be coming shortly. On to the best of 2010:

10. Unstoppable (directed by Tony Scott; starring Denzel Washington and Chris Pine)

This movie was quite a fun one that resembled Speed crossed with a disaster film. The near-constant suspense is its greatest strength, but Denzel and Pine also contribute some nice acting. The rather bland ending was the weakest part. It's one of those movies that I'll probably forget about, but when reminded of it, will think "yeah, that was a pretty good one."

9. The Other Guys (directed by Adam McKay; starring Will Ferrell and Mark Wahlherg)

This was one of the only traditional comedies that I saw this year. I'd say it's one of Ferrell's better movies (and his performance is certainly one of his best), but it didn't get to the level of an Anchorman or Elf. Wahlberg is truly terrible in a comedic role, but the situation is made all the funnier seeing him opposite the sublimely deadpan Ferrell. The first third-to-half or so is really great here, but the humor disappointingly falters in the last stages.

8. Megamind (directed by Tom McGrath; starring Will Ferrell, Tina Fey, Jonah Hill, et. al.)

This may come as a surprise considering how much I raved about it earlier; but since then my opinion has leveled out some. That said, essentially movies #4-8 are all super close in my opinion, and could be interchangeable based on my mood. The particularly strong parts of Megamind are the perfect choices for voice acting all around, the superhero-turned-on-its-head theme (also done in Despicable Me, apparently, but I missed that one), and the humor.

7. Inception (directed by Christopher Nolan; starring Leonardo DiCaprio, Ken Watanabe, et. al.)

For some reason, I have always wanted to nitpick this one to death since I saw it (same way I felt about District 9). Perhaps my hopes for it were just too high. The biggest problem I had with it was the startling lack of any emotional connection; I also thought the winter fortress scene was too drawn out and very Bond-derivative. That said, the dream concept is extremely intriguing, most of the pacing is very good, and there are more than a few "whoa" scenes.

6. The Social Network (directed by David Fincher; starring Jesse Eisenberg, et. al.)

This might be the best film from a filmmaker's/Oscar's perspective on my list. The dialogue is great (written by The West Wing guy), it focuses on the people rather than Facebook itself, and Eisenberg's performance was one of the best I saw all year. That said, like Inception, there wasn't any emotional connection for me (though perhaps that's unfair based on the kind of film) and it's not one that will stick with me (I forgot to even put it on my list, initially!).

5. Shutter Island (directed by Martin Scorcese; starring Leonardo DiCaprio, Mark Ruffalo, etc.)

The immediate comparison here is to Inception. Both star DiCaprio, whose character is similar but superior in Island. Both have reality-bending premises; both are really neat, but Inception's is certainly more ambitious. Shutter has tremendous suspense; Inception has tremendous "whoa" factor. What puts Shutter Island ahead for me is its inclusion of genuine, powerful emotional connection to the point of tears.

4. Harry Potter and the Deathly Hallows, Part One (directed by David Yates, starring the usual)

I'll be honest, this would probably be several spots lower if I weren't such a big Harry Potter fan. It's hard for me to judge it against other movies, as I'm both more critical but also so fond of its various characters and elements. Still, if nothing else, this is definitely the best of the films yet, undoubtedly due to the extra time given it by splitting the last book in two. We finally got great action, trademark Potter magic, and character development all in one.

3. True Grit (directed by Joel and Ethan Coen; starring Hailee Steinfeld, Jeff Bridges, et. al.)

Now we get to the big three. And even though I just saw this one, I don't think I'm overrating it. There's nothing tricky about this one, it's just damn good. The story is a simple structure around which to hold fantastic performances, particularly young Steinfeld; a surprising amount, quality and appropriateness of humor; and, again, emotional impact. It seemed like the Coens wanted to try to make a straightforward yet brilliant film, and they succeeded.

2. Kick-Ass (directed by Matthew Vaughn; starring Aaron Johnson, Nicolas Cage, et. al.)

This is probably my most controversial pick. And perhaps I'm just in the right demographic for this one. But this film is well named, because it did kick my ass. There are so many things to say about it, and the first is a warning: yes, it is quite violent, and some of that violence is inflicted both by and upon a young girl. But that young girl is not, nor is the rest of the film, used in any kind of voyeuristic fashion. Beyond that, I'm not sure how to describe this film in an accurate yet brief way. So, if you can stomach the violence (and I think most people reading this can), give it a shot (to further intrigue you, I actually almost always hate movies this violent; the film overall overrides this for me). At the very least, I doubt you'll be yawning by the end.

1. Toy Story (directed by Lee Unkrich; starring Tom Hanks, Tim Allen, et. al.)

Surprisingly, but perhaps appropriately, I don't remember the specifics of this film very well. I was 9 years old when the first Toy Story came out and I saw it, and I do remember that this third installment was made to sort of feel like that time span had elapsed. Here are two descriptions by others that I thought were good: A) it's about the fundamental truth that we start to lose things as we age; and B) it was like seeing old friends again, but realizing you all had changed. And yet it's not a sad movie; it still has Buzz and Woody and the gang's cheer. Some movies almost seem destined to be classics before you even see them, and this is one of them.


Now, for random awards for other films:

Worst Movie of the Year: Get Him To The Greek (you know, I don't mind jokes about sex and drugs. But when a film relies on them exclusively and without any subtlety? Goodbye.)

Most Overrated Movie of the Year: How To Train Your Dragon (I remember not being interested in this, then seeing it get over 90% on RottenTomatoes. Since Up! and Wall-E followed the same pattern for me, and they are two of my favorite movies recently, I thought I'd give it a try. Dragon isn't bad... but 98%? Really? There is absolutely nothing special about this movie and the formula has been done to death.)

Most Disappointing Movie of the Year: The A-Team (I was expecting really crazy, really fun. I got a little crazy, a little fun.)

Honorable Mention (fun movies not in the top 10): Knight And Day, Iron Man 2



Overall, a very good year at the movies I think, although I didn't see quite as many as I usually do. Have fun Netflixing the top ten!

Movies: True Grit

Score: ****1/2 out of *****

Long Story Short: True Grit is one of those rare films that is getting both Oscar buzz and box office success, and it's certainly worthy of both. Seemingly a straightforward Western/Coen brothers concoction, this film pulls you in with its fantastic performances, particularly from the leading young girl Hailee Steinfeld. Then it keeps you emotionally invested and entertained, with great humor and suspense.

Here we have the last film released in 2010 that I will see in theaters. With the great reviews that Coen brother films always seem to get, I was eagerly looking forward to True Grit, which came out on December 22. This western is based on the novel by Charlie Portis, and was previously made into a film in 1969, starring John Wayne. It turned out to be pretty much what I expected, to my pleasure.

The first thing to say about the plot of this film is that it is not very complicated, but it didn't need to be. The film starts with some exposition describing the murder of a man named Ross by another guy called Chaney (Brolin), and then we are immediately introduced to a 14-year-old girl named Mattie Ross (Steinfeld), the daughter of the murdered man. She is in the town where her dad was killed, to see to his body and other business. It is quickly apparent that Mattie is a very determined, confident, and intelligent young girl, and after finishing various necessities, she turns her laser-like focus to finding a bounty hunter to get her father's killer. The one she seeks is U.S. Marshal "Rooster" Cogburn (Bridges), a fat old man with brutal but effective methods. She also meets Texas Ranger La Bouef (Damon), who is also searching for Chaney because of his murder of a state senator.

Rooster eventually agrees to the mission, but understandably wants to go alone; however, in a rather moving scene, Mattie chases after him and La Bouef by fording a large river on her new horse. The adult men begrudgingly allow Mattie to come along, but there is constant tension among the three, especially the arrogant, rather dim-witted La Bouef and cynical, savvy Rooster. As usual, I don't want to give too much more away, but the trio eventually catches up to Chaney and brings him to justice, although not without paying a significant price.

With stars like Jeff Bridges, Matt Damon, and Josh Brolin, it isn't surprising that the acting in True Grit is fantastic. However, it's actually newcomer Hailee Steinfeld who steals the show as young Mattie Ross. The fact that a child of her age does a good job acting is in itself rather rare, but she goes above and beyond. She completely fleshes out her character, displaying genuine courage, sense of humor and warmth, in addition to moments of fear and anxiety as she realizes the situation she is in. And she expresses this through a great western twang accent and a remarkably expressive face. She isn't the only bright spot though, of course. Bridges does a great job as a grizzled old Marshal, letting Hailee shine while still maintaining a strong presence. And Damon is fun, too, conveying La Bouef's stupidity without making it a parody.

I'm not a western aficianado, nor have I seen every Coen brothers film, but True Grit seems to contain all the best elements of both. Most notably, it's quite a funny film, although it's certainly not a "comedy" by any means. Whether it's Rooster's odd antics, his bantering with La Bouef (which is pronounced by all as "la beef"), or meeting the oddest strangers along the journey, there are more than enough laughs to keep your spirits up through the film (a soundtrack of modified 19th century hymns also helps). There are several shoot-outs, but again it's not an "action" film; there's far more verbal sparring. It contains at least one scene of violence that makes you sit up and start, another Coen brother trademark. A final note is the very nice sets made of the town at the beginning, and the rather bleak, winter setting in the wild country hunt.

***

True Grit is an excellent film I think, and the critics seem to agree with me. While I love a great story, this film rightly, in my opinion, focuses on the characters and excitement and humor and atmosphere in general. The story does serve its purpose just fine, but what's really great is rooting for the indomitable will of Mattie, chuckling at Rooster's bluntness (and outright laughing at La Boeuf), and gripping your chair anxiously when the gun barrels start getting hot. Saddle up for a great time at the movies (even if it's via Netflix), as this one delivers all the elements you want from a movie, like several others I've been fortunate to see lately.

Music: Rubber Soul (The Beatles)

Beatles Album #6: Rubber Soul

The Beatles released this album in a shockingly low span of time after Help!: four months. It adds to the impact of Rubber Soul overall, which I feel is where The Beatles finally achieved the level of not just being a great band, but a special one; and, in my opinion, would go even further to become the best pop music act of the 20th century. Thus, such a short turnaround from Help! (a very good album anyway, of course) to this is amazing to me. Essentially, this album is a collection of finely-honed, if still somewhat standard, pop-rock songs all falling under 3 minutes except one; song creativity would come later, but this album shows that they could craft each aspect of a song to its fullest potential.

1. "Drive My Car" (Lennon/McCartney)
As usual, The Beatles get off to a great start on the album. It's immediately apparent that the music has evolved, yet again, from the previous album (although previewed in tracks like "Ticket To Ride"). But there's more to this evolution than previously; I guess the best way I can put it is that they really just put it all together. For example, this track pulls in all the elements of the song into the "car" theme nicely, from the opening guitar riff, to the lyrics (obvious; but they are also clearly several notches above similar earlier tracks), to the "beep beep" vocal effects. On a more general note, the Paul's bass part is fantastic, as are Ringo's drums (even the basic cowbell adds some nice drive). John and Paul harmonize brilliantly, a feature that is not so new but a welcome one nonetheless (Paul's vocal is primary, and he uses his awesome hard-rock style). Fantastic opener.

2. "Norwegian Wood" (Lennon/McCartney)
And now The Beatles change it up completely; this is one of the most recognizable non-single Beatles songs out there. George, having been exposed to Indian instruments during the filming of Help!, gives the sitar a try here, and it's one of the signature touches of the song, along with the hook that it shares with the guitar. This is one of John's best songs, in my opinion, and I really like the 6/8 rhythm. If the music alone weren't enough to clue you in, the lyrics are also far different from previous Beatles songs. Paul adds nice harmony at the refrain, and the backing instrumentals let the vocals dominate but are still very impressive. I think this is a little like "Yesterday," in that it's a sign of things to come, but there's nothing else like it on this particular album. A classic, obviously.

3. "You Won't See Me" (Lennon/McCartney)
Back to a more upbeat song here, although not as driving as the opener. On the surface, it seems there's little remarkable about this song, but I really like it. The composition is pretty simple, but I think it's a perfect example of Paul's incredible strides as a writer - it's a great tune, and it gives the feeling of a master's effortless ease. Once again, Ringo's drum part is just great; they may not stand out, but they're perfect in so many cases. The piano, also present in "Drive My Car," is another welcome addition. Of course, there's more harmonization too, which builds from a pretty low-key backing at the start to a much more intense one by the end. It doesn't dazzle, but it's just a great song.

4. "Nowhere Man" (Lennon/McCartney)
This one is a favorite Beatles song for a lot of people, but I'm not a terribly big fan of it. I think it's a good song, but don't see all the fuss about it. This one is simple, too, but I prefer the kind of simple on "You Won't See Me" to this - but I admit, I can't explain it. It certainly feels like it captures the sound of the era in which it was written. The harmony is of course even more dense here, although you can still hear that it's Lennon in the lead (he also was the primary writer). The lyrics again point to an evolution for John, one that continued to peel back the image of him as purely a cocky, overconfident rock star. It's a very good song, and a worthy addition to the album, but nothing in the composition, vocal or instrumental performance really stands out to me in particular.

5. "Think For Yourself" (Harrison)
Here's another jolt: George's songwriting talent took a big jump, too! I like this song quite a bit, although perhaps some of it is because I'm a sucker for songs that switch up the style (ie: "Paint It Black"). The improvement for George is two-fold: he is beginning to acquire his lyrical voice, rather than uisng generic pop stuff; and even more importantly, the musical structure is a lot better, too - and despite learning from John and Paul, it is distinct from theirs. It's getting old, but I have to repeat that the drums are again superb, and I like George's muffled-sounding guitar. John and Paul add some terrific harmony, while letting George's vocal carry most of the song. This one is great on its own, and even better as a sign of the improvement of Harrison.

6. "The Word" (Lennon/McCartney)
This is one of the few semi-blotches on the album. Part of the problem is that its placement on the album is horrific, which is unusual since I think The Beatles typically ordered the tracks quite well. The sound is just too similar to "Think For Yourself", yet this one is significantly weaker, in my opinion. The composition feels to me like it was knocked off pretty quickly - The Beatles did write and record the album remarkably fast, remember. The nice thing is that where the band may have mailed in the performance on earlier albums, this one is done well. The repetitive quality of the song can unfortunately cause headaches if you listen to it at the wrong time. It's not a bad song, but it's certainly an outlier on this album.

7. "Michelle" (Lennon/McCartney)
This McCartney ballad is pretty much the follow-up to "Yesterday". I like some things about it better, others worse. I think the composition is inferior, although that's not saying much when compared to the perfect simplicity of "Yesterday". It does, however, give a nice atmosphere of old-fashioned, foreign romance, particularly with the backing vocals. George adds a very nice, subdued guitar solo, too. There's not a lot more to say: it's just a nice, pleasant diversion. The composition doesn't impress me much, but the relaxed yet precise performance is very nice.

8. "What Goes On" (Lennon/McCartney/Starkey)
Ringo's song of the album, and it's yet another country-flavored tune. Unfortunately, I'd say this about equals "The Word" as a low on the album. Interestingly, it's the harmonies this time that kind of drag it down; they should have either been drastically changed or eliminated altogether. Again, I don't think they spent too much time writing this one. There were better Ringo songs on earlier albums, I must say. Another potential inducer of headaches if listened to at the wrong time. I don't blame you if you move on quickly to the next track.

9. "Girl" (Lennon/McCartney)
Here's a nice little ballad from John, with some interesting things going on (unlike the previous song, despite its title). The sound is quite reminiscent of "Michelle," making for a neat little pair of John-Paul songs. Speaking of sounds, The Beatles hint none too subtly at their drug use (they had met Dylan the year before and were steadily increasing their use) with the intake effects. The instrumental accompaniment is quite simple, but the guitar part is very good, again, with similarities to "Michelle". Not one of my favorites, but a very nice song, and it fits quite well on the album.

10. "I'm Looking Through You" (Lennon/McCartney)
Here's another up-tempo rocker (in fact, I think it's the fastest song to this point on the album) from Paul, and I like it quite a bit. The composition style is very similar to "You Won't See Me" in the effortless quality, but it is still quite a distinct little number. Paul brings back some of his rocker vocal style from "Drive My Car," and employs a lyric that is a little jarringly critical, if not angry. Paul does a great job of somehow reflecting the bouncy, brighter feel of the instrumental tempo with the edginess of the lyrics in his voice. Speaking of instruments, the guitar has a nice jagged edge to it as well (to be heard from again later). This is a vastly underrated song, and one of my favorites on the album.

11. "In My Life" (Lennon/McCartney)
Here is the gem of the album, of course. Sadly, it's used a little too much in montages of all kinds, but there's a good reason: it's a very beautiful song, without being at all sappy. As with so many of The Beatles' classic songs, and as I've noted before, it all just comes together here. To start, Lennon's composition features his own effortless simplicity. His lead vocal is strong but tender, while Paul and the others add varied and powerful harmonies. The backing instruments are the same, from the drums (actually, a pretty prominent part here) to the bass and guitars (very subdued but equally as influential). The lyrics are classic Lennon, bare bones and speaking from the heart. And finally, there's the hook and George Martin's baroque piano part that was played back twice as fast for the effect you hear. Another classic.

12. "Wait" (Lennon/McCartney)
This song is actually a leftover from the Help! recording sessions, but I like it. A medium-tempo rocker, this song is another that features two distinct sections, as well as some of John and Paul's better harmonies. Once again, Ringo's percussion works well here, although I'm not a big fan of what sounds like a synthesizer in a few places (something that does give it the feel of earlier albums). Otherwise, I think it's a pretty good composition with a good blend of The Beatles' instrumental and vocal strengths. A nice addition.

13. "If I Needed Someone" (Harrison)
Here is George's second song on the album, a feature that is new in itself, even if it is relegated to the end of the record. This one has a similar structure to George's other song, "Think For Yourself", but it has a distinct sound and is good as well if perhaps not quite as good. The song has starts with pretty straightforward verses, and George is soon joined by a harmony similar to that on "Think For Yourself". The middle eight drives forward a little more thanks to Ringo's percussion, and George gets this part to himself. The bright guitar part is perfect for the song, and I think has quite a big effect on the overall feel of the song in a positive way. Very solid track here, despite its position on the album.

14. "Run For Your Life" (Lennon/McCartney)
This is about as standard a rock tune as there is on the album, and so musically there's not a lot that stands out. Lennon sings the lead, as I believe he was the primary writer, and he's joined by a harmony at the chorus. The percussion provides a basic beat, and the guitars get a laid back solo in the middle. What really stands out, though, are the lyrics. Not that I believe The Beatles were any kind of saints, but I was rather shocked by the words here the first time I heard them. Perhaps it's made worse because it seems they treat it like any other song, but the anger and violence beneath it is surprising. I could simply be taking it too seriously, but this is another of The Beatles' unexpected album closers, that's for sure.

Essentials: "In My Life", "Norwegian Wood", "Drive My Car", "You Won't See Me", "Think For Yourself"
Weak(er) Songs: "The Word", "What Goes On"

My Rank of The Beatles' Albums So Far:
1. Rubber Soul
2. Help!
3. A Hard Day's Night
4. Please Please Me
5. Beatles For Sale
6. With The Beatles

Now my top ten songs of the "middle-late" period for The Beatles (albums and singles released between Beatles For Sale and Rubber Soul):

1. We Can Work It Out (again, my favorite song of the era wasn't on any of the albums; which is too bad, because this is an excellent song and it was recorded during the Rubber Soul sessions)
2. In My Life
3. Yesterday
4. Kansas City/Hey-Hey-Hey (yeah, it's a cover, but they absolutely nailed it)
5. Norwegian Wood
6. Help!
7. You Won't See Me
8. You've Got To Hide Your Love Away
9. Ticket To Ride
10. Eight Days A Week

Honorable Mentions: Drive My Car, Day Tripper, Think For Yourself, Baby's In Black, I'm Looking Through You