“Zero Dark Thirty” – 4.5 STARS

January 12, 2013 by Keith Garlington

Kathryn Bigelow may be the boldest and gutsiest director in the business. One things for certain, she’s not scared to jump head first into a part of the film industry sandbox normally dominated by male directors. I think that’s the main reason I like her so much. Bigelow doesn’t allow others to define what type of director she is or what type of movies she’s going to make. She makes the movies she wants to make and lately they just happen to be gritty and realistic military pictures. But what’s really cool is that she does it better than almost anyone else. She doesn’t bow to gender trends, political positions, or industry traditions. She tells powerful and mesmerizing stories and does it her own way.

Bigelow’s latest film is “Zero Dark Thirty” and it didn’t take long for the cries of controversy to begin. This is also a movie that’s received a lot of praise even garnering several Oscar nominations including Best Picture. But Bigelow herself received what I think is the biggest snub of the Oscars when she was passed over for a best director nomination. This has brought speculations of gender bias from some while others believe it’s Academy backlash for what they perceive as bad politics from Bigelow. I don’t know about any of that but it’s an inexplicable snub. Bigelow has crafted a dense and thrilling film that surpasses her previous movie, the Oscar-winning “The Hurt Locker”.

“Zero Dark Thirty” is an edge-of-your-seat procedural that follows the decade-long manhunt for Osama bin Laden. This isn’t a paper-thin conventional Hollywood action picture. This movie follows the CIA’s taxing search through evidence, information, and leads in order to find the terrorist mastermind. It’s an arduous and toll-taking mission that weeds through enhanced interrogations, misdirections, and loss of life. Bigelow manages to condense this decade’s worth of investigation into a gripping and concise 2 1/2 hours. She stops at critical points during the manhunt, some where we made important progress and others that were disastrous.

Bigelow once again teams up with writer Mark Boal and, as with “The Hurt Locker”, they aren’t out to make political points or deliver a heavy-handed statement. Regardless of the “pro-torture” accusations from the left and the “inaccuracy” claims from the right, Bigelow and Boal throw out a lot of information and allow the audience to sort through it, process it, and come up with our own conclusions. I like that. Unlike so many Hollywood productions of this kind, I wasn’t beaten over the head with a political slant. Instead I was allowed to view the events through my eyes and interpret them accordingly. That’s one of the reasons there has been such a range of reactions and I think it’s a sign of brilliant filmmaking.

Before I move on let me address the “pro-torture” debate that surrounds this film. I think “pro-torture” is a self-serving term that doesn’t do the film justice. Yes the movie shows several scenes of enhanced interrogations and it does say bits of important information were gathered through them. But it also shows the heavy personal and emotional toll it takes and it asks the question ‘Was it worth it?’ Bigelow doesn’t gloss over the harsh and disturbing nature of the torture and it’s impossible to view those scenes in a “pro-torture” light. On the flipside, just when you’re questioning the at-all-cost approach to the search for Bin Laden, Bigelow injects a scene of savage terrorist violence that reminds you of the barbarism at the heart of the enemy. These scenes, along with the brief but sobering opening featuring 911 calls from the 9/11 attacks, really hit home with me and reminded me of the ruthless reality of terrorism. But I had to decide if the ends justified the means and the film makes that decision a challenge.

2012 has been the year of ensemble casts and “Zero Dark Thirty” may have the best of them. It’s a veritable ‘Who’s Who’ of actors that I love. It all starts with Jessica Chastain. She plays Maya, a brash and determined CIA operative whose entire career has been devoted to finding Osama bin Laden. Early on she is assigned to the U.S. Embassy in Pakistan where she grows tired of the political wrangling and red tape. She may at times look like a supermodel but she’s really a firebrand who will stir things up to get results. Maya is devoted to her mission and at times she seems like the only one interested in succeeding. But as the movie progresses we see the physical and emotional toll the manhunt is taking on her. Chastain is simply phenomenal. There’s not one disingenuous moment in her entire performance and while 2011 was a great year for her, this was superstar making work.

And speaking more of that ensemble cast, there are several other standout supporting performances. Jason Clarke is fantastic as a tough and slightly unhinged CIA interrogator. Kyle Chandler is wonderful as Maya’s CIA boss in Pakistan. Joel Edgerton and Chris Pratt are perfect as members of the Navy SEAL team tasked with pulling off the final mission. I loved Edgar Ramirez as a skilled CIA ground operative. The great Mark Strong plays a CIA head caught in the middle of Washington politics and the mission at hand. James Gandolfini is a lot of fun as a heftier Leon Panetta. I also enjoyed Jennifer Ehle as Maya’s co-worker who starts as a rival but ends up a good friend. This is just an enormously strong cast from top to bottom.

Everyone knows how “Zero Dark Thirty” ends but that doesn’t keep it from being an intense edge-of-your-seat thriller. The story starts with the frustration of bad leads and dead ends but the intensity is ratcheted up to crazy levels once the first big break comes through. I was absorbed in what I was seeing. And then there is the finale, possibly the best 20 minutes of military action ever put on screen. Bigelow never Hollywoodizes the sequence. She makes it as grounded in reality as possible. But when it comes down to it Kathryn Bigelow likes to make movies about people. This is a movie about women and men who sacrificed their skills, their lives, and some may argue their humanity to accomplish a greater good. It’s a movie that’s not afraid of asking tough questions or of challenging popular sentiments. It’s also a movie made with impeccable filmmaking style and skill which all comes back to Bigelow. So Academy, you’ve got explaining to do!

“Les Miserables” – 4 STARS

January 11, 2013 by Keith Garlington

I’m not a fan of musicals. Never have been, never will be. Now there are one or two that I guess I could say I like, but as a whole it is one of my least favorite genres. So why would I think for a minute that I would like Tom Hooper’s “Les Miserables”? Well as suprising as it may sound, I liked “Les Miserables” a lot and if not for its mildly sluggish pacing leading up to the final act I would have gone as far as to call it a great film. Releasing a movie like this today would seem like a risk. Modern movie fans pour money into lame raunchy comedies and brainless rom-coms so it was refreshing to see “Les Miserables” reach a wide audience. The film has a lot to offer. Just as long as you prepare yourself and know what you’re going to get.

For the few that don’t know, “Les Miserables” is French writer Victor Hugo’s classic novel from 1862. In the 1980s a musical theater version of the novel opened and became a worldwide success and remains so to this day. Now Hooper, the Oscar winning director of “The King’s Speech”, tackles the ambitious task of bringing the stage version to the big screen. Now when I call this a musical I mean it in the fullest. There may be five or six short spoken lines in the entire film. The bulk of the story is told through song and the emotional performances from the cast. It concerned me going in but after a brief mental adjustment I was connected to the flow of the narrative.

The story begins in 1815 and follows Jean Valijean (Hugh Jackman) who we see released from prison after serving a 19 year sentence for stealing a loaf of bread. After being moved by the compassion of a priest, Valijean breaks parole and heads off to start an honest life serving God under a new identity. This infuriates Officer Javert (Russell Crowe) who becomes obsessed with tracking him down. The movie jumps ahead, making stops at different time periods in early 19th century France. Valijean becomes a mayor and businessman, Javert a promoted inspector, and we are introduced to several other people who cross their paths.

There’s no need in going further into the story. I’ll save that for the movie but I will say that its an interesting look at everything from poverty to patriotism, from redemption to devastation. It takes place during a tumultuous time in French history and it translates very well on screen. The story navigates through the many hardships, tragedies, and inequalities of that era with an amazing sense of authenticity. Much of that is thanks to the sharp collaborative screenplay but a lot is due to the incredible period detail that we see throughout the entire film. There’s a real sense of place throughout the movie which was essential to my experience.

But enough of that right? This is after all a musical so I’ve got to get into the singing. Hugh Jackman was quite good in my eyes. I know some have felt that the part overpowered him but I didn’t see it. I thought some songs were better than others but his physical performance complemented his voice perfectly and I loved what he was doing on screen. Russell Crowe has received the brunt of the criticism when it comes to the singing but I’m going to defend him…well, kinda. I don’t think he’s as bad as many are saying. In fact, some of the songs nicely fit both him and his character. But I have to say there are moments where his voice clashes with the scene. For example, a few of the one-on-one singing conversations between him and Jackman just sound odd. A lot has to do with the songs themselves but some of it is that Crowe simply sounds off. But Crowe does have some good moments and his physical performance is fantastic.

I also have to mention Ann Hathaway as a poor unemployed mother who has to resort to prostitution in order to send money back to care for her sick young daughter. Hathaway is brilliant and no doubt she was the star of the show for me. While she doesn’t have a big role, every scene she’s in is emotionally charged and heartbreaking. And her voice is simply beautiful. The best scene in the entire movie is her singing of “I Dreamed a Dream”. I usually get tired of Hooper’s insistence on putting the camera right in the face of his actors. But in this scene he knows he’s capturing something special. Hathaway’s brokenness, her tears, her anguish are all vividly captured as she sings this heart-wrenching song. This is an Oscar worthy performance.

There are also fun performances from Sacha Baron Cohen and Helena Bonham Carter as a crooked, pick pocketing husband and wife. And I was surprised at the singing chops of Eddie Redmayne. He has a pretty meaty role and never flinches. I was also very impressed with Samantha Barks and Amanda Seyfried. Both young ladies have lovely voices and I appreciated the way they poured everything into their characters. There were several other small but great cast members particularly some really strong child performances. It’s hard not to like this ensemble Hooper was able to put together.

“Les Miserables” does bog down during the buildup to its finale. For most of the film I was completely involved and for the movie to do that to a non-musical kind of guy like me is quite an accomplishment. But as Redmayne and company prepare their rebellion I felt myself drifting. Things start to feel repetitious and monotonous. But then in a snap of a finger the movie picks back up and rolls right through to its powerful and completely satisfying finale. In fact, I think “powerful” and “completely satisfying” are good descriptions of this movie as a whole. Sure it’s Oscar bait and I know it has disappointed some people, but I was surprised at how much I enjoyed this picture. This isn’t normally my cup of tea, but when a film is well made, well acted, and tells a good story I’m all in whether they’re singing the lines or not.

2013 OSCAR NOMINATIONS – First Impressions

January 10, 2013 by Keith Garlington

I don’t know about you folks but I love awards season. After a year of movie watching it’s fun to see where your favorites measure up with those of critics and movie fans around the world. And of course then there are the Oscars. This morning the 2013 Academy Award nominees were announced and let me just say it’s a healthy field. But as with every batch of Oscar nominees, there are surprises and snubs. Here are my quick first impressions from this year’s nominees.

SURPRISES

*Did anyone see “Silver Linings Playbook” getting a nomination in every single major category? I doubt it. Now it’s unfair for me to comment on this film because I skipped it. But considering the host of great movies and performances from 2012, it’s a surprise to see this one getting this much Academy love.

*I was THRILLED to see “Beasts of the Southern Wild” get so much recognition. I’ll be stunned if it wins much of anything come Oscar night but the fact that this little movie garnered so much attention from the Academy is fantastic. This will also ensure that more people will get to see this overlooked gem. And how can I not be happy for Quvenzhane Wallis, the youngest Oscar nominee ever! She was incredible and deserves to be there come Oscar night.

*I’m going to categorize this one as a surprise mainly because it wasn’t a film that I loved. But I was surprised to see “The Master” not nominated for Best Picture. Paul Thomas Anderson’s complex film is something that I thought the Academy would be drooling over but apparently not. It received nominations in several categories but not the big one.

SNUBS

*This will sound weird considering I haven’t seen “Zero Dark Thirty”, but even I can recognize a snub when I see one. The film gathered several nominations but none for director Kathryn Bigelow. That’s not good news for Bigelow especially considering everyone expected her name to be there, but it’s even worse news for the movie. Historically a movie doesn’t win Best Picture without winning Best Director.

*How did Tom Hooper not get nominated for Best Director for his work on “Les Miserables”? The highly ambitious musical just missed my Top 10 of the Year list but it’s still a very good film and was nominated for several Oscars, just none for Hooper. What makes this more of a head-scratcher is that he won the Best Director Oscar for “The King’s Speech”, a movie I really liked but a considerably less challenging film. I just don’t get this one.

*Wes Anderson’s “Moonrise Kingdom” was shut out of almost everything. He did get a nomination for Best Original Screenplay (a no-brainer) but this movie deserved much more attention. This is a snub that really makes me wonder how the minds of the Academy work. I can’t figure it out.

GOOFY CLOSING THOUGHTS…

*The Academy did something hilarious this year that I’ve seen in the past. “Amour” did very well, racking up several nominations including a Best Picture nod. It was also nominated for Best Foreign Film. Ok, since none of the other Best Foreign Film nominees were nominated for Best Picture, isn’t it safe to say that “Amour” has that Oscar wrapped up? Those folks can save their money and watch the Oscars from home.

*Some of the most fun I’ve had during the past year was trying to defend my 4 Star review of “Snow White and the Huntsman”. Well guess what? Now I can call it the “Oscar Nominated Snow White and the Huntsman”. It received two Oscar nominations (Best Visual Effects, Best Costume Design). True vindication, right?

REVIEW: “The Impossible”

January 10, 2013 by Keith Garlington

Most of us remember the horrific 2004 Indian Ocean tsunami and the catastrophic devastation left in its wake. It was a tragedy on an epic scale and lives around the world were altered forever. “The Impossible” tells the incredible true story of a family who survived this terrible event against truly impossible odds. Going in I was expecting a potentially good disaster flick. But to categorize “The Impossible” as just a disaster movie would be to criminally throw aside the qualities that make this one of the best movies of 2012. You can dismiss it if you like, but I found it to be a devastating yet moving experience unlike anything I’ve ever had with a simple “disaster movie”.

“The Impossible” isn’t a film you enjoy. You endure it while at the same time realizing that you’re seeing something special – an example of skilled filmmaking from a confident and savvy director. You endure it while at the same time soaking up its powerful and committed performances. You endure it while at the same time realizing you’re not being insulted by dumbed down, clichéd material. This is an emotionally heavy movie and I did leave the theater drained. But I was also deeply moved and reminded of that great human spirit found both in the will to live and in the willingness to help others. I love it when a movie does that to me.

But perhaps where this movie resonated with me the most was in its depiction of a parent’s self-sacrificial love for their children. We see motherly and fatherly instincts to protect their children in the face of danger, instincts that many of us can relate to. But hey, we’ve seen this before in the movies, right? Yes we have but rarely is it depicted with such realistic emotion. Everything coming out of Ewan McGregor and Naomi Watts is authentic and completely believable. There isn’t an ounce of artificiality to these characters or how they react to their situations. It’s that genuineness that grabs us and latches us on to both of them.

For those that don’t know, McGregor and Watts play Henry and Maria Belon. They’ve brought their three sons Lucas, Thomas, and Simon along for a Christmas vacation at an beachfront resort in Thailand. Everything is great until, on a warm sunny day as the family plays by the pool, the tsunami hits. The family is splintered by the force of the waves and the rest of the movie documents their quest for survival and to be reunited. I talked about how good McGregor and Watts are but let me also share a little love for the children. The three child actors are fantastic especially newcomer Tom Holland as the oldest son Lucas. He gets the majority of the work between the three and he’s very good. He brings out a toughness and tenacity from his character while also having plenty of those moments that remind us that he’s just a child. It’s an attention-getting performance.

But again. a lot of credit has to go to director J.A. Bayona. It’s amazing that he has only a handful of credits under his belt. The way he lays out the story both narratively and visually shows a skill and technique usually reserved for more seasoned directors. I’ve talked enough about the story but I have to speak about the presentation. I loved the way Bayona uses sound in the first half of the movie. He has a very specific and strategic way of engaging your sense of hearing. He preps your ears in the pre-tsunami scenes by accentuating the sounds of the beautiful environment. Those sounds dramatically change in the post-tsunami scenes where we hear things like raging waters and far away screams. There is also the tension of every distant sound that may resemble the roar of another wave.

The special effects are also intricate in drawing us into this disaster along with this family. The tsunami and the furious waters are shown just enough to shake us and then ground us in the situation. It’s never overused in an attempt to get more reaction from the audience. It steers clear of that which is one reason why I feel the scrutiny it’s received is misguided. Some have taken issue with the movie for depicting the catastrophe. But I think this is one of the most thoughtful and respectful treatments of a sensitive subject like this that I’ve seen. There have been movies that have exploited traumatic events but this isn’t one of them.

I loved “The Impossible” for a variety of reasons. It avoids soaking us in conventional sentimentality. Instead it tells an intensely affecting story and allows our senses to take it all in and react in our own way. And trust me, I reacted. I teared up more in this movie than in any other I’ve watched and I never once felt manipulated. This is a movie that will wear you out but then pick you back up. It shows us the resolve that lies in the heart of people and reflects how the best comes out of us during the worst of circumstances. This movie will stick with you and even though its a tough watch its a rewarding one and shouldn’t be missed.

VERDICT – 4 STARS

THE TOP 10 FILMS OF 2012

January 9, 2013 by Keith Garlington

Folks, its time for the big one! The 2012 movie year is over and done so that means its Top 10 time. This is my favorite part of the movie season – a chance to reflect back on the past year in movies and heap praise on the films that I think are the 10 best. 2012 started off a little slow but ended up being a pretty strong year for both the big blockbusters and for small independent cinema. But enough with the buildup. (Imagine a small but steady drumroll) May I introduce The Keith & the Movies Top 10 Movies of 2012…

Before I get to the 10 best, I do want to mention three films that I desperately wanted to see before making this list. Unfortunately it’s not going to happen for another week or so. They are “Zero Dark Thirty”, “Rust and Bone”, and “Amour”. I would also like to throw out a few honorable mentions. These were fantastic movies that I loved and that just missed the cut (click their names for full reviews)…. “Damsels in Distress’, “The Hobbit“, “The Kid with a Bike“, “Bernie“, “Looper“, “Delicacy“, “Les Miserables”

#10 – “FRANKENWEENIE” – I’m as shocked as you. The idea that a Tim Burton picture would be on my Top 10 list amazes me. I’m not a Burton fan but “Frankenweenie” is an animated delight. It’s one part tender tale about a boy and his dog and another part the Frankenstein story and it works beautifully as a collective whole. It’s also an old school horror movie homage with tons of fun references to everything from the monster pictures of the 1950s to the classic Universal horror films. But the key reason it works is that Burton wisely focuses more on telling a good story than promoting his unique style. The result is a fabulous animated treat that I adored.

#9 – “PROMETHEUS” – I know this will be a controversial pick just judging by the variety of differing opinions about this film. But I gotta say that I loved “Prometheus”. I loved the universe. I loved the special effects. I loved most of the cast. I loved its open-endedness. Are there holes in the logic here and there? Sure. But for me Ridley Scott supplied me with another exciting sci-fi experience that may not answer all the questions as it advertises, but it still reminds me of what an intelligent and visionary filmmaker he is. I stand firmly beside “Prometheus” and sincerely hope that the $400 million box office was enough to ensure us a follow-up.

#8 – “LINCOLN” – Steven Spielberg’s “Lincoln” is a movie that may surprise a lot of people. While there are a few Speilberg overindulgences, as a whole he really dials it back and it works beautifully. This isn’t a film steeped in huge set pieces and heavy melodrama. This is a performance driven drama with possibly the best ensemble casts of the year. Daniel Day-Lewis reaffirms his status as the greatest working actor with a fine performance. Critic Leonard Maltin called the performance miraculous and I have to agree. He loses himself in this towering historical character and I was hooked on every line and every mannerism. That’s the biggest reason the film worked so incredibly well.

#7 – “THE IMPOSSIBLE” – There have been many disaster movies that have made their way onto the big screen. But none has ever gripped me and affected me the way “The Impossible” did. This is one of the most poignant and powerful pictures I watched all year. It’s also a draining and at times difficult movie to endure. But the reward is overwhelming as we watch the best of people come out in a truly devastating circumstance. This is an intelligent and respectful film about the Indian Ocean tsunami and it’s aftermath. Naomi Watts and Ewan McGregor give stunning performances and newcomer Tom Holland should garner a lot of attention. Don’t brush this movie aside as just another disaster film. It’s so much more.

#6 – “SKYFALL” – It wasn’t until Daniel Craig took the reigns of 007 that I became a huge James Bond fan. Now I’m hooked. “Skyfall” is a wonderful action thrill ride from director Sam Mendes and is arguably the best Daniel Craig Bond picture yet. It’s loaded with the expected blow-your-socks-off action shoot-outs and car chases. But it also fleshes out Bond more as a person, something I really responded to. Javier Bardem, while underused, is a blast and it was great to see Judi Dench’s role expanded. “Skyfall” has raked in over $1 billion dollars worldwide but it’s well deserved. This is just more proof that big budget films can and should knock it out of the park.

#5 – “ARGO” – For my money Ben Affleck has proven himself to be an incredibly capable director. “Argo” is a shining example of his abilities behind the camera. This sizzling picture set during the Iran hostage crisis of 1979 is an edge-of-your-seat thriller anchored by a fantastic cast, sharp direction, and Chris Terrio’s slick and intelligent screenplay. It dramatizes the absurdity of the real life hostage rescue in a way that had me glued to the screen. And the perfectly realized sense of time and location just seal the deal. It also features what may be the best opening 20 minutes I have seen in several years. I love “Argo”. It’s storytelling at its finest.

4 – “THE AVENGERS” – It has become the norm for Hollywood to release several big budget superhero movies each year. But very few are as good as “The Avengers”. This was one of the most ambitious projects and it had potential to be a disaster. It was far from that. “The Avengers” was one of the most well-conceived and well-executed movies of the year thanks to the clever and often times hilarious screenplay from Joss Whedon. Loud laughs and thunderous applause filled the theater during both of my big screen viewings and I was right there with them. In terms of sheer fun at the movies, “The Avengers” was tops and that makes up for any tiny flaw it may have otherwise.

#3 – “MOONRISE KINGDOM” – It’s safe to say that I have evolved into a full-blown Wes Anderson fan. “Moonrise Kingdom” solidified that for me. This is a film that perfectly encapsulates Anderson’s special brand of humor and style. There’s a beautiful and sensitive story of eccentric children’s puppy love and their feelings of not belonging. But there’s also the story about the adults within a small New England community and all their imperfections. And then there’s Anderson’s razor-sharp script – some of the best writing of the year. Great performances, hilarious moments, perfectly quirky music, and an artful 1960’s aesthetic are all spread across Anderson’s gorgeous canvas.

#2 – “BEASTS OF THE SOUTHERN WILD” – This is a movie that I didn’t catch up with until later in the year. Suffice to say it really blew my mind. This was clearly the biggest surprise of the year for me as well as the most moving and emotional film of 2012. A first time director and two first time performances create an experience that pulls you into the isolated and poverty-stricken world of a 6-year old girl named Hushpuppy. It’s sometimes heartwarming and sometimes deeply unsettling, but it’s riveting cinema throughout. This is small and little known film that is finally getting an audience and stands above most every film of 2012.

#1 – “THE DARK KNIGHT RISES” – No other movie of 2012 combined the thrill of adrenaline-fueled action with the art of pure cinematic storytelling. Christopher Nolan wrapped up his phenomenal Dark Knight trilogy with yet another sharp and layered movie. Tom Hardy is a brute presence and Ann Hathaway makes Selina Kyle (a.k.a. Catwoman) a much more grounded character. The entire film is laced with a tinge of realism but it’s still a rousing superhero experience. Some have had issues with this film but I found it to be brilliant and the perfect ending to one of my personal favorite trilogies. This is also Nolan’s third straight film to end up as my year-end #1. Bravo!

So there they are, my 10 Best Films from the 2012 year. What are your thoughts? Where did I go wrong? What’s your favorite film of 2012?

*After writing this I was able to catch up with “Zero Dark Thirty” and “Amour”. Let me say that both would make my Top 10 without a doubt!

2012 K & M RANDOM MOVIE AWARDS

January 8, 2013 by Keith Garlington

So many fellow movie bloggers love doing a Top 10 list of their favorite movies at the end of the year. I’m no different. I love looking back at the all of the movies I saw and putting together my favorites. But before I put out my Top 10 of the year I thought it would be fun to throw out some random accolades for achievements and in some cases underachievements for the 2012 movie year.

BIGGEST SURPRISE OF 2012 – “Beasts of the Southern Wild“

No movie caught me by surprise like “Beasts of the Southern Wild”. This amazing and powerful little film featured a first time director and two memorable first time performances. I had several opportunities to see this film but kept putting it off due to lack of interest. What a mistake. This was a tremendous movie that completely caught me by surprise.

BIGGEST LETDOWN OF 2012 – “Total Recall“

“Total Recall” should have been a can’t miss movie. The original film had a fun sci-fi story and a modern remake with a nice new shiny coat of CGI paint could have been really good. Well that certainly wasn’t the case. This clunky remake looks fantastic and it even starts promising. But it becomes a tedious and repetitive mess of a movie. Truly dissappointing.

BEST ANIMATED FILM OF 2012 – “Frankenweenie“

This could have also qualified as biggest surprise of the year. What a wonderful film. Tim Burton gets back to form with this heartfelt homage to the classic horror movies. I loved this movie and I had a blast picking out all the little tips of the hat to the horror genre. This is a fun variation of the Frankenstein story and one of the real treats of 2012.

BEST FIGHT OF 2012 – Thor vs. Hulk (“The Avengers“)

There are several great fights in “The Avengers” but none are better than the showdown between the god of thunder Thor and the incredible Hulk. Before joining forces the two lock horns onboard the S.H.E.I.L.D. helicarrier. They slam through decks, toss jet airplane wings, and pound each other senseless. Talk about one cool throwdown!

BEST VILLAIN OF 2012- Charlie Rakes (Guy Pearce from “Lawless“)

Talk about a detestible villain. Guy Pearce, fully armed with a wide hair part, shaved eye brows, and a tendency towards violence is truly menacing from his first moment on screen. He intimidates through terror and you can tell early on that he’s a little unhinged. You can’t help but hate Rakes and you truly want him to get his comeupins.

MOST UNFAIRLY MALIGNED FILM OF 2012 – “John Carter“

Those who follow my page know that I’ve defended “John Carter” quite a bit. Even though it’s not one of my favorite films of the year I really liked it and I can’t understand why it has received such harsh criticism from so many folks. “John Carter” is a cool science fiction adventure whose few flaws are easily overshadowed by it’s sheer fun factor. You could do a lot worse.

MOST UNDULY EXALTED FILM OF 2012 – “The Master“

I’ve already seen “The Master” top the ‘Best of’ lists of several critics. I liked “The Master” and think the performances are simply incredible. But it’s far from a perfect movie and it isn’t nearly as smart and layered as some credit it to be. It’s performance driven and it features amazing cinematography, but for me it’s receiving more high praise than it deserves.

BEST SPECIAL EFFECTS OF 2012 – “Prometheus“

Ridley Scott’s much anticipated “Prometheus” was the subject of much debate from moviegoers. But whether you liked the story or not, no one can deny that it is a visual feast . The special effects are spectacular from the futuristic technologies to the large scale action shots. Personally I loved “Prometheus” and the great visuals were one reason why.

BEST CAR CHASE OF 2012 – “Jack Reacher“

“Jack Reacher” has a car chase that’s not only the best of 2012 but it’s one of the best I’ve seen in years. It’s beautifully staged and beautifully shot. But what really makes it stand out is the perspective. The camera trickery stays focused on the actors faces placing them in these speeding, sliding, and crashing cars. It’s fantastic!

WACKIEST CHARACTER OF 2012 – Bernie Tiede (Jack Black from “Bernie“)

I’m no fan of Jack Black. In fact he’s one of my least favorite actors. But I loved him as the wacky small town funeral director Bernie Tiede. Everything about Bernie is just plain wacky and even though he was based on a real life character who did some pretty bad things, he is laugh out loud hilarious. You just can’t get much wackier that Bernie.

BEST IMAX FILM of 2012 – “The Dark Knight Rises“

Christopher Nolan’s “The Dark Knight Rises” is a great movie but it was even greater in IMAX. Nolan knows how to shoot action sequences and he knows how to utilize the strengths of the technology. There are several ultra cool moments in the movie that are simply jawdropping in IMAX and if you missed it you really missed out.

BEST OPENING OF 2012 – “Argo“

I didn’t see any opening sequence all year that matched the nail-biting intensity of Ben Affleck’s “Argo”. The movie begins by setting up the incredibly tense situation surrounding the 1979 Iran hostage crisis. Everything from the storming of the U.S. embassy to the scrambling of the U.S. intelligence had me on the edge of my seat. Brilliant start to a great movie.

BEST ROMANTIC COMEDY OF 2012 – “Delicacy“

It’s not like there’s a lot of competition. The romantic comedy genre is in shambles. But the delightful French film “Delicacy” is not only a really good romantic comedy, but it’s one of the year’s best movies. It features a clever script and fine performances but it also steers clear of the usual shallowness that plaques these films today. “Delicacy” is such a treat.

DUMBEST NON-COMEDY MOVIE MOMENT OF 2012 – “Taken 2“

“Taken 2” was one of the bigger disappointments of the 2012 movie year. It also featured several of the dumbest moments of the year. None were dumber that Liam Neeson ordering Maggie Grace to throw live grenades into the busy Istanbul streets just so he can pinpoint her location via the explosions from blocks away. Not sure what’s dumber, the scene or the filmmakers for expecting us to buy it.

WORST MOVIE OF 2012 – “The Vow“

If it weren’t for a trans-atlantic flight I would have never been victimized by this crapfest. “The Vow” is an uninteresting and cliched waste of time featuring boring cardboard characters and a love story that’s all sap and no substance. This thing lacks any originality and I found myself laughing at many of it’s unintentionally funny scenes. Poor from start to finish.

What a way to end it right? But no worries! The 2012 wrap up continues and my Top 10 Movies of 2012 is right around the corner.