20 Best Films of 2010

There is only one movie from 2010 that I can say automatically entered my top 50 of all-time immediately after I screened it, and that film was Christopher Nolan's Inception. I would be ignorant to say that it is Nolan's best, because that is simply not true, however it is the genius director's most expansive movie to date. His wide-ranging imagination is on full display for audiences around the world to see and to talk about. The question still stands--does Leo's totem topple at the end or not? It's ambiguous, however it is a debate worth having with a group of your friends that have seen the movie. For those of them who didn't like it, ask them why and please tell me there reasoning, because I would love to hear it. There are too many mind-blowing scenes for me to list here, but if you want further coverage of the film this previous post of mine should help. In addition, as I wrote back in August when I noted that Inception was the No. 1 movie of the year to date:

"Christopher Nolan’s masterpiece borrowed many elements from his previous films—mystery, redemption, heist (crime), thriller, and a killer ending. Add in excellent performances from the entire cast (honestly Leonardo DiCaprio, Marion Cotilliard, Ken Watanabe, Cillian Murphy, Ellen Page, Joseph Gordon Levitt, and Tom Hardy all turn in more than memorable performances) and an Oscar winning score from Hans Zimmer (how this guy was snubbed of even a nomination forBatman Begins is beyond me), and you have an instant classic. Nolan didn’t disappoint my ridiculously high expectations for this movie and in fact, even exceeded them. What really makes Nolan a hallmark director, or soon-to-be hallmark director, is that he almost always infuses multiple storylines, makes them overlap and then finally meshes everything together on an momentous emotional scale. This usually happens near the end of the film. I could over flood the page with examples however I am just going to give one from Memento, which is probably the least emotionally drawing film of all of Nolan’s, nonetheless still potent due to the final scenes where Teddy begins to mess with Leonard’s head at the warehouse. There is a quick snapshot you see Leonard Shelby as Sammy Jenkis. Big-time, emotionally charged moment to say the least especially if you believe Teddy (which I do). I’ve already spoken above about my favorite scene from the film and I am available 24-7 with whoever wants to discuss the ending scene (or should I say the opening scene, what parallels are there between the two and why did Nolan choose to start the movie off with Cobb looking for Saito in Limbo?) Gotta pay attention to every second of this one. A must watch, five-star stunner that never lets go and never sleeps, ironically enough. Remind me again, why doesn’t Christopher Nolan have an Oscar yet?"

Perfection is everything in the world of Black Swan, the new psychological thriller from director Darren Aronofsky. Like a ballerina twirling on one foot, the film is heavily reliant on a combination of concentration, dedication, balance, precision and elegance. The result—a perfect film by every measurement.The acting, especially from lead actress Natalie Portman, is what transcends the film and makes it one of the years best. Portman, who is at her all-time best, portrays Nina Sayers, an ambitious young dancer who is consumed in her craft and begins to deteriorate mentally and physically when cast as the lead role in the upcoming ballet entitled Swan Lake. I could continue to give you plot details, but you can find them anywhere on the internet. What I really want to say is simple, go see this movie. Aronofsky is a genius. Portman is perfect. And Clint Mansell's score bleeds into the audiences minds. There is so much to talk about here, from Nina's childhood room, which is symbolic for her life, to the film's final breathtaking scene where Aronofsky confuses the viewer with a blur of takes that he juxtaposes on top of one another. Whether it is in the brutish sphere of rickety old fighters (like seen in 2008's the Wrestler) or the upscale world of professional ballet, Aronofsky emphasizes the collisions each performing endures, yet despite the continuous failure, there is still a desire to reach perfection even if it means giving yourself to the art. In the end, Nina reaches all of her goals—everything she ever dreamed of as seen in the films opening sequence—and there is sadly nothing but a dark abyss waiting for her as she takes the stage in the films final act. This film could only be toppled by the film of year, which is....

It’s hard for me to put this movie as low as No. 3 on my list, because it was an absolute masterpiece. As Andy’s toys get ready to face a new part in their life, they must come to the conclusion that their glory days are behind them. I think a lot of different people can relate to this idea, whether they are young or old. However the message that comes from this seemingly sad plot line is an uplifting one—just because one period of our life is behind us doesn’t mean our lives are meaningless. The truth is that, human, toy, dog, etc., any object—animate or inanimate—has a purpose in this world and sometimes that purpose, or that role, changes. We are not always needed at the same place all the time, which is a sad truth, but at the same time an amazing fact of life. Change is good. Change is a healthy. And for Andy’s toys change is what allows them to be at peace with their previous owner as he darts off to college. This trilogy is complete, and I swear to God if Pixar wants to go Shrek on all of us and creates a Toy Story 4, I will go crazy. Think DeNiro in the Untouchables with the baseball bat. Sorry didn’t want to spatter some blood on this G-rated masterpiece. Forget I mentioned anything at all, I know Pixar won’t be that stupid.

It's depressing that this movie was released in February and therefore won't attract much Oscar attention. That being said, this film is one of the best psychological thrillers I've ever seen and considering that is my favorite genre, I have even more favoritism towards this excellent work from director Martin Scorsese. There may be a clear answer at the end of this movie, and there may not be. What is important however, is the journey that Scorsese takes the audience on. Seeing it for the first time, you will be awed by the lush scenery and haunted by the divine score. This movie was impeccably put together, every scene fits and watching it again recently, I've noticed there is an ordering to each scene that makes the film read like a suspenseful novel. Sure enough, the story was originally written by Dennis Lehane, and everybody involved with this film transcends his words and creates an epic film that surely will generate conversation for years to come.

Take a look at my review of the film for deeper analysis or feel free to start up a conversation with me about it. I would love any outsider's analysis' or opinions.

Groundbreaking work from director David Fincher who enters unusual territory for himself as he tackles the genre of non-fiction. After psychological marvels such as Seven, The Game and Fight Club, it was nice to see Fincher go after a different subject matter, especially a subject matter that is relevant to all of our lives. Before you judge The Social Network as "the Facebook" movie as so many people have, I suggest you view this film. It is one that defines our generation and will be looked upon in future years as a source for inspiration for many filmmakers. Aaron Sorkin's script is the best of the year and the witty exchange between Mark Zuckerberg (Jesse Eisenberg) and his former girlfriend Erica Albright (Rooney Mara) is quite possibly the best written scene to begin a movie, well, ever. Let me correct that, it's No. 2 behind the killer sequence between Vince and Jules that starts off Pulp Fiction, but even that scene follows the coffee shop scene, so technically it doesn't count. Anyways, let's stay with Fincher. His flawless career remains intact with this film and may end up coming home with his much deserved first-Oscar for Best Director. God knows, he deserves it, however it won't be easy going up against the likes of Aronofsky and Nolan, but we will get to them later. Overall, all-star performances from Eisenberg, Andrew Garfield and Justin Timberlake elevate this movie to new heights. The strength though, is in Sorkin's writing and Fincher's direction.

David O. Russell's boxing drama about the real life Mickey Ward of Lowell, Mass., is one of the best sports movie of the past decade (not the best though like Sports Illustrated was easy to anoint it). Mark Wahlberg stars as Ward and once again is convincing as an inspiring underdog athlete trying to overcome several obstacles. In this film, there is no bigger obstacle to Ward than his highly-dysfunctional family led by his step-brother and ex-boxer Dicky Eklund, who is played by Christian Bale. Before I continue, Bale is worth the price of the ticket you pay for. Trust me, he has never been better (at least not since American Psycho). To say that his turn as Eklund is believable is an understatement; Bale loses himself in the role and it is hard to tell that there is even an actor performing the part and not just Eklund himself. Bale wastes no time—he is magnetic from the opening scene all the way to his poignant, tear-filled sign off at the film’s conclusion. In addition, to Eklund, a crack addict whose addiction bogs down Ward's careers, there is Mickey's mother Alice, performed by the excellent Melissa Leo. Please, someone give Bale and Leo their awards now, because there won’t be any performances more deserving this year. They make us care for the characters, which is something great actors do with ease. Most importantly though, the acting in the Fighter makes the predictability of the story moot. As a member of the audience, I was so engrossed in seeing what Bale could do next, that I almost forgot that the movie would end with Ward in triumph, defeating the then-undefeated Shane Neary. Before he finishes Neary though, Dicky clenches a worn-down Mickey and delivers an inspirational speech for the ages. Moments later the elder fighter is catching the joyous victor and the New Pride of Lowell has emerged. This one is a most see and the fact that it is No. 6 on this list really speaks highly to the five films I have placed above it.

Better known as the lesbian family movie, however The Kids Are All Right is one of the best movies of the year for many more reasons other than its story/plot. First off, the film one of, if not, the most well acted movies of the year. From the strong leading performances from Julianne Moore and Annette Bening down to their kids Mia Wasikowska and Josh Hutcherson, the acting throughout the film is flawless. As I previously mentioned, Mark Ruffalo makes an appearance as the kids estranged-sperm donor father. Ruffalo's chemistry with Moore and Bening is phenomenal, but the real strength comes from when the adults are interacting with the kids, who clearly are victims of an abnormal upbringing. The reality though is that neither Wasikowska's Joni nor Hutcherson's Laser is worse off in life because of who their parents are. Rather, the siblings have gained an advantage with having two moms. The love is just the same as a normal father-mother marriage and although the kids have their own problems, they are able to handle them due to their strong support system at home. Props to director Lisa Cholodenko for creating an upbeat comedy-drama that teaches life lessons as well as parental ones. This one is a must watch for anybody into family movies (as well as anybody that is a fan of Mark Ruffalo and Annette Bening, who both shine).

For those of you who don't know, Pat Tillman was a professional football player, who chose to leave a multimillion-dollar contract on the table so he could join the military with his brother Kevin. His story ended in great tragedy as Pat died on April 22, 2004 on a hill in Afghanistan. He was 27. The Tillman Story is a documentary that encapsulates Pat's terrific athletic career as well as his premature death at the hand of friendly fire. As the documentary progresses, the military's cover up of the truth is exposed. Director Amir Bar-Lev tracks the Tillman family as they try to expose not only the military but the U.S. government as high up as then-president George Bush. The cover-up is appalling and dissatisfying to any American who feels even an inch of patriotism, but the most jaw-dropping moment is when the family puts Secretary of Defense Donald Rumsfeld on the stand. Rummy testifies to not knowing anything about the coverup, when in fact the documentary has proven that he did. Even worse, he (along with several other government figures) don't show any sympathy toward a family that was used as propaganda in 2004 right after Pat's death. The story is harrowing account of governmental coverup. I have never felt more disdain for the Bush administration then after walking out of this film. If you like the movie, I highly suggest reading Where Men Win Glory by Jon Krakauer.

This movie should have been extremely boring and painful to watch. However, it is not thanks in large part to director Danny Boyle, whose vibrant and unique style of directing breathes life into the story of Between a Rock and a Hard Place--the autobiography from Aron Ralston about his five-day stint in Moab, Utah where he had to cut off his arm after being trapped under an unmovable boulder. The rock serves as a brilliant metaphor to Ralston's own problems, which include self-absorbtion and poor communicator. I could talk endlessly about all the plot points, metaphors and Boyle's excellent techniques, but the real strength of the movie is James Franco who portrays Ralston flawlessly. I know it is early and I haven't seen all that is out there, but if I had a vote for best actor, it would have to be toward Franco. He does what Tom Hanks did to Cast Away, but only a million times more powerful. Yes, I just said that James Franco out-acted Tom Hanks. If you don't believe me, you will have to see the movie for yourself. Even if you have no connection to the story and you despise people like Ralston, who left home without telling anybody about where he was going, Franco pulls you into the movie and forces you to stay in your seat. If you don't end up with goose bumps on your skin as Ralston envisions his future son, then you most likely don't have a soul. Had this movie as my No. 4 film to see in the second part of 2010. I would say it met those standards.

Give a ton of credit to Ben Affleck here. As a director, he shot nearly a perfect film about criminals (bank robbers to be exact) in Boston's most notorious sections called Charlestown. You can tell the film is authentic--the script, the surroundings, etc.--and it helps vault the film into a territory it may not have reached if it weren't for Affleck's dutiful and careful preparation. A scene-stealing performance from the electric Jeremy Renner doesn't hurt either. Renner's James "Jem" Coughlin dominates every scene he is in and serves as a perfect compliment to Affleck's calm, cool and collected Doug MacRay. Over course, there is a love story inserted for Affleck, but it isn't cheesy and it certainly doesn't suffocate the film. Rather, it is the love MacRay finds in Claire Keesey (Rebecca Hall) that motivates him to change his ways and ultimately escape the looming hand of the law represented by the strong Jon Hamm.

It's not the Departed, but I would be willing to say it is the year's best movie about crooks. However, I would be lying...

See previous blog post pretty much summarizes my opinions of this film and the poor marketing of it, which cost a lot of viewers to eschew watching this epic comic-book movie. It's a bit funny, a bit sad and a bit of everything in between. A movie lovers delight to say the least.

Talk about a gritty film. Winter's Bone provided the summer with an intense drama drenched in mystery and dangerous. Newcomer Jennifer Lawrence shines as Ree Dolly (one of the best characters of this past year in film) who must go looking for her drug-dealing father in order to keep her family intact. The rare, yet beautiful, setting of the Ozark Mountains make this film unique and mystical. Director Debra Granik's steady hand forges a film to remember. Lawrence and John Hawkes should garnish nominations come Oscar season.

I'm happy I waited to view this film at home, because without the rewind button I would have been lost. That being said, Roman Polanski creates a bad-ass, high-edge thriller here where things don't seem as they appear. Polanski won't be credited for his masterful directing, but I took note of it. Ewan McGregor plays the self-titled "Ghost" who is hired to follow and write about former Prime Minister Adam Lang. As secrets begin to exploited, the more danger everybody involved seems to be in. Things clear up at the end and then they don't, and like always, Polanski pulls the rug from under us as we fall flat on our face and remain there as the credits roll.

This one may end up as one of Matt Damon's least talked about movies, as his year included three films and numerous charity-led expeditions. Looking forward to what he can do in 2011 with the Adjustment Bureau. Anyways, Damon teamed up with my favorite person in Hollywood Clint Eastwood this past year to take a daring journey with the film "Hereafter." It wasn't perfect, like I write in my review of the film, however Eastwood provides some insightful thoughts on the controversial subject of life after death. Damon leads a well-rounded cast. I recommend watching it.

If the film from director Andrew Jarecki doesn't haunt you, the real story of David and Katherine Marks will. The script is very edgy and should be recognized, because it drives the movie throughout and keeps the audience on their feet. Credit to Jarecki, he forges a strong film despite inexperience and gets daring performances from his two leads-Ryan Gosling and Kirstin Dunst, who are at their all-time best here. Gosling's David is one of the grotesque and most despicable characters in recent memory.