Best Films of 2013 So Far: Mid-Year Review

The first half of 2013 has flown by and provided cinefiles with several incredible films, a few of which I fully expect to be on my end-of-year list.  We'll jump right in, but click here for a running, ranked list of every 2013 film I've seen to date.

10. War Witch

War Witch was nominated for Best Foreign Language Film at this year's Academy Awards.  Set somewhere in Sub-Saharan Africa, it centers on a 12 year-old girl who is kidnapped by a rebel army and forced to become a solider.  Due to her ability to discern enemy troops in the area like sixth sense, she is referred to as the "War Witch" by the leader of her captors.  However, after a particularly harrowing battle, she is convinced by a rebel commander that the best course of action is to leave with him and desert the rebel army.  Needless to say, she is never far from danger as she journeys to find members of her extended family, and even tries to start one of her own.  The film is very violent and far from lighthearted fare, but it still offers inspiration through this girl's desperate story of survival.

9. Side Effects

Side Effects is the most recent (last?) theatrically released film from prolific director extraordinaire, Steven Soderbergh.  With many of his recent films, Soderbergh has been exploring within different genres and elevating them to new heights due to the incredible casts he's able to attract and his technically superb direction.  The genre being elevated in Side Effects is the psycho-sexual thriller, with the backdrop of American drug companies and the culture that constantly needs/desires to medicate and be medicated.  Jude Law stars as a psychiatrist who prescribes his new patient, played by Rooney Mara, a new experimental drug, primarily because it earns him a significant amount of ancillary income by participating in the new drug study.  After things go horribly wrong, the blame game begins, with everyone's motives and responsibilities being called into question.  As a pure genre exercise, the film is enjoyable and a satisfying drama worth checking out.

8. Shadow Dancer 

James Marsh is certainly more well known for his documentary films, such as Man on Wire and Project Nim, but his latest is a return to fictional film making and worthy attention.  Set in the early-mid 1990's, Clive Owen stars as a MI-5 operative that begins managing a new informant deep within the IRA, played by the up-and-coming British actress, Andrea Riseborough.  She only cooperates in the hopes of protecting her young child, but back-handed governmental dealings and bureaucratic mismanagement lead to some difficult decisions for each of them. Exploring themes of family loyalty, political freedom and violent vs. nonviolent protests, this espionage thriller is chock full of genuinely tense, thrilling moments.

7. Stoker

Stoker is the first English language film from Chan-wook Park, the iconic Korean director whose previous film Oldboy might be the most popular Korean film ever made.  Equal parts crime mystery, coming-of-age drama, and psycho-sexual thriller, Stoker features Mia Wasikowska and Nicole Kidman as an atypical dysfunctional mother/daughter mourning the death of their beloved father/husband.  When the mysterious uncle, played creepily by Matthew Goode, comes for a lengthy visit, the dark truth about this family gradually comes to light. Although previous directors have tried with lesser success, this film proves the conversion from Korean cinema to America can be made without losing anything in translation.

6. Chicken with Plums

This French film, from the directors of animated film, Persepolis, is about an Iranian musician who loses his will to live after his wife breaks his beloved violin.  The ever talented Mathieu Amalric is fantastic in the lead role.  Whilst waiting for death to take him, he thinks back to happier times in his life, and events that ultimate kept him from being with the woman he truly loved.  Although often absurd and even silly, this odd, whimsical little film ultimately left me feeling an overwhelming sense of melancholy and longing. I was surprised by the strength of the feeling after not being entirely on board earlier in the film.  If this sounds at all appealing and you decide to check it out, I recommend giving it time to unfold and work its magic.  

5. Upstream Color

Shane Corruth's second directorial effort has perplexed audiences this year similarly to when his first film, Primer, confounded the film festival crowds nine years ago.  Corruth, who also writes and stars in his films, is known for his complicated plots that require at least a couple viewings for most to piece it together.  The thing that separates Upstream Color and makes it an ultimately better film is the emotional core that Primer lacked.  This core is personified by Amy Seimetz, who stars opposite Corruth.  Her character is put through the ringer of emotions, and she pulls each of with a rawness and truthfulness that most actresses only wish they could access.  As a whole, Upstream Color is a fascinating blend of sci-fi, mystery, drama, and romance, and shouldn't be missed by any self-respecting film lover.

4. Lore

I had never heard of Lore until I noticed it on a list of new rental releases, and decided to check it out due to the high Tomatometer.  The story centers around a young teenage girl and her siblings as they try to travel across Germany to their grandmother's house at the end of World War II.  They are completely on their own because their parents are Nazi officers, and are arrested early on.  Along the way they find themselves in some harrowing circumstances and are pushed to their limits physically and emotionally; however, for me, their personal journey eventually takes a back seat to the overarching theme of denial displayed by the German people in relation to the atrocities performed against the Jews in the concentration camps.  These children will have to come to terms with the sins of their parents, and it will no doubt affect them the rest of their lives.  Lore is a good story well told that makes a lasting impression.

3. The Place Beyond the Pines

This second film by writer/director Derek Cianfrance, The Place Beyond the Pines is a sprawling dramatic crime epic, told in three distinct segments.  Each segment focuses on different characters within two different family units.  Like Lore, this film also explores the effect that the sins of fathers has on their children.  The film features notable performances from Ryan Gosling and Bradley Cooper, but the entire cast does a tremendous job with this material. Although almost 2 1/2 hours long, it never feels bloated, rather I thought it could have been even longer.  I've been particularly vague on the plot, as I don't want to spoil it for anyone.  Just do yourself a favor and see this film.    

2. Before Midnight

Before Midnight is the third film in the series from writer/director Richard Linklater for which he collaborated with Julie Delpy and Ethan Hawke, who star in the films and also write.  I did not call it a trilogy, because I sincerely hope they continue to make more films about these characters; but if it is just a trilogy, it's one of the best trilogies in film history.  Going into Before Midnight, I thought there was no way this movie could live up to the hype of the first two films. I mean those films, Before Sunrise and Before Sunset, are already revered classics even though they came out relatively recently (1995 and 2004, respectively).  Gladly, I was wrong.  Before Midnight might not be as enjoyable or delightful as the first two, but it is just as profound and truthful, maybe more truthful than is comfortable.
  

I realize I've simply been gushing about the films without telling you anything about them. Let me give a quick, spoiler-free synopsis.  In 1995, Celine and Jesse (played by Delpy and Hawke) meet on a train in Europe, and end up spending a day together in Vienna and basically fall in love.  They are soul mates and meant to be together, but unlike a fairy tale, real life is complicated.  In 2004, we see these same characters in Paris, and we learn what's happened to them over the past nine years.  In 2013, again nine years has passed and we catch up with them in Greece.  OK, so that was a terrible synopsis, I just don't want to potentially spoil anything for someone who hasn't seen them.  Start with the first film, and watch all three.  You'll be glad you did.

1. Mud 

Jeff Nichols is one of the best American writer/directors working today and can do no wrong.  "Preposterous," you say?  "What proof do you have," you ask?  Exhibit A:  His first film, Shotgun Stories, garnered much praise on the film festival circuit in 2007 and has a 91% on Rotten Tomatoes.  It's a fantastically tense family drama set in rural Arkansas, and features a tour de force performance from Michael Shannon.  Exhibit B:  His second film, Take Shelter, came out in 2011, again to much critical praise and adoration, earning a 92% on Rotten Tomatoes.  This film also features an amazing performance from Michael Shannon (my favorite performance of that year) as a man struggling with schizophrenia.  It's also set in a rural setting, this time Ohio, and contains one of the most memorable endings I've seen in quite some time.  

Exhibit C: The film of the hour, Mud.   Again set in rural Arkansas, this time Michael Shannon gets a supporting role while Matthew McConaughey get's the starting gig.  This film has been compared to a modern Huck Finn tale, and I personally think it will go down as one of the most effective southern gothics ever caught on film.  The film also features a couple strong child performances, including the main character played by Tye Sheridan who got his break in Tree of Life.  That kid has a bright future if he can stay off the smack.  To continue the theme of critical support, Mud sports a healthy 98% on Rotten Tomatoes.  So I'm not alone in saying that this is an impressive cinematic treat, and one I fully expect to still be pretty high on my list at year end.

Double Whammy - Best Films of 2012 and 2011

Since I was a slacker last year and didn't actually publish a list for 2011 (besides on mubi.com, which no one saw), I've decided to do a double list and cover the best films from the last two years.  After looking at my original 2011 list, I was glad I had a year of pondering and hindsight with which to view these films, and see more 2011 releases during 2012.  Perhaps all of my lists should be a year late?  Truthfully, there were only a few additions and some reordering, but mostly it was the same films I thought worthy a year ago.  Since I am covering so many films with this double list, I won't write anything about the honorable mentions; however, please know that if I mention a film on this blog post, I am giving it very high praise.  I've seen approximately 100 films from 2011 and 73 films from 2012.  Overall, I mention 21 films from each year.  These are the best of the best.

One thing I hate that people say at the end of a year is, "this was a terrible year for movies."  I can't remember the last time I actually thought that.  People who say that simply don't watch enough films or don't make an effort to seek out the good films.  That said a quick juxtaposition of the films of 2011 and 2012 led me to believe that 2011 was more "top heavy" while 2012 was deeper with quality films.  For example, my top four films of 2011 would have been at least number two in 2012, but there were more films of note in the runners up to my 2012 list.  

One last note:  If you wonder why I didn't mention a certain film, perhaps I didn't see it.  In 2012, I started keeping a diary on Letterboxd, as well as a running, ranked list of films from 2012.  Click here to see the entire list.  Now without further ado, the best films of 2011 and 2012:

-10-

2011 - 50/50 

50/50 is based on a true story about a young man, played by Joseph Gordon-Levitt, who finds out he has cancer at the very young age of 27.  It's a poignant look at a young man's life who hasn't had time to reach his full potential, and how the relationships with those you love are all that matter when it comes down to the end.  The film at times takes a humorous approach to the story, but it always feels genuine.  Seth Rogen and Anna Kendrick also shine in their supporting roles.

2012 - The Raid: Redemption

The Raid: Redemption is the second film by Gareth Evans featuring Indonesian martial artist Iko Uwais, the first being the excellent Merantau.  The Raid plays almost like a video game, in which the main character, Iko, has to get to the top of this apartment building deep in the slums in order to arrest or kill the drug lord.  The plot offers some twists and turns along the way, but the thing that makes this films stand out is the fantastic action sequences.  They are very well choreographed and feature everything from hand-to-hand combat, sniper rifles, machine guns, etc.  If you love pure action movies or martial arts movies, this film is the best of both I've seen in a while.

-9-

2011 - The Tree of Life 

The Tree of Life is a beautiful film, and features honest, revealing sequences of a child growing up and becoming disillusioned with his father, his resulting anger, and his loss of innocence, if you will.  This film was number one on probably the majority of 2011 lists.  It's obviously a great film, but personally it didn't resonate with me as I think it did for many others.  Technically the film is a marvel, and you'd expect nothing less from Terrence Malick.  The acting is also amazing and so naturalistic, especially the children.  I think for me, most of Malick's films simply come across as too precious and this one in particular is almost too vague to the point of exclusion.  That said, I cannot argue that the film is not in many ways a masterpiece, as the music and imagery are at times breathtaking.    

2012 - Monsieur Lazhar

Monsieur Lazhar takes an old movie cliche (teacher with a heart of gold) and adds something fresh to the conversation.  As I mentioned in my Letterboxd review, centered around multiple tragedies, the film does not wallow in misery, but rather focuses on the healing process, with hope and dignity, all while also commentating on the state of the modern education system and the stifling limitations placed on teachers.  The title character, played by Mohamed Fellag, is fully fleshed out, and acted with grace and subtlety.  The story itself is moving and uplifting without manipulation, a rare feat in this day and time.  

-8-

2011 - The Artist

The Artist, an ode to silent films and Hollywood, won best picture for 2011; however, it was scorned by many critics for being too light and of little substance.  Here's what I think about that:  who cares if it's light, as long as it de-lights! Am I right?  That's what this film did for me.  My wife and I enjoyed this film in the theater as much as any other film in 2011, and you can't help but leave this movie with a smile on your face.

2012 - Seven Psychopaths

Seven Psychopaths is the second feature films from Irish playwright turned screenwriter/director Martin McDonagh.  His first film, In Bruges, is easily one of my favorite films of the past decade, so needless to say, I was looking forward to this one.  while it didn't live up to the overall impact that In Bruges had on me, Seven Psychopaths is still a special film.  It's certainly not covering any new territory with it's meta approach to story telling, but with McDonagh's patented use of violence and humor, it adds a unique twist to this incredibly niche genre.  Think Lock, Stock and Two Smoking Barrels meets Domino meets Adaptation. Lastly, McDonagh get's some pretty good performances from his cast, particularly Sam Rockwell and Christopher Walken.

-7-

2011 - I Saw the Devil 

I Saw the Devil is a film from director Kim Jee-woon, one of many extremely talented Korean directors causing South Korea to be among the film producing countries most respected by cinefiles all over the world. This film is pretty much the quintessential Korean film, as it takes the most prevalent theme from Korean movies, revenge, and turns it on its head.  There are so many scenes of tension and violence in this film, and they escalate over the 2 hour and 21 minutes run time to the ultimate climax.  I can see how this film could polarize certain audiences, but I think it's use of violence and torture, to achieve what I consider to be its end goal of completely flipping tables on the audience, is unique to this genre and its audacity should be applauded.  

2012 - Django Unchained

Django Unchained is the latest film from auteur Quentin Tarantino, and if you know me at all, you know this guy is my favorite director of all time.  So I'm sure it surprises you that this film is so "low" on my list.  I don't want this to be about "why this movie isn't higher on my list," but I will say that the overall story didn't work well for me compared to his other works, and the overall intensity was lacking compared to Inglourious Basterds, which is of a similar ilk.  What did work, however, is Quentin's ever masterful use of dialog to develop characters and captivate an audience. Set in the Antebellum South, Jamie Foxx plays the title character Django, a freed slave who hopes to rescue his wife from an evil plantation owner, Calvin Candy (Leonardo DiCaprio) with the help of bounty hunter Dr. King Schultz (Christoph Waltz).  Waltz and DiCaprio are both fantastic, as is Samuel L. Jackson as the Candy's head slave.  In his oeuvre, Django Unchained is probably my least favorite film besides Death Proof, but I think that speaks volumes for the overall quality of his work.  

-6-

2011 - The Sunset Limited

As I mentioned when I wrote about this films two years ago, "based on a play by Cormac McCarthy, The Sunset Limited ponders the existence of God, the state of humanity, and other weighty topics, as discussed between Jackson and Tommy Lee Jones. Cormac's dialogue doesn't just crackle, it detonates as it's delivered by these infinitely talented and experienced actors, each delivering tour de force performances. Jones plays a tired old professor, who attempts to commit suicide, and Jackson an ex-con who intercepts him at the last second. However, we see nothing of this event, only them talking about it in Jackson's dingy New York City apartment, right after the incident. Jackson, a jail-house convert, diligently shares his Christian faith with Jones, but Jones, who is much to intelligent for his own good, argues vehemently for his own pessimistic world view. The film itself doesn't seem to take sides, letting each man win and lose an argument or two. I certainly felt the pain and desperate persistence in Jackson as he battled for this man's life and soul, but at the same time I empathized with Jones' negative views on the nature of man and his dismal outlook on the future. Much like other McCarthy works The Road and No Country for Old Men, this film left me thinking after the credits rolled, and to me, that's a sign of a good film, or at least a well written one."

2012 - Beasts of the Southern Wild

Beasts of the Southern Wild is the first feature film from director Benh Zeitlin, and was 2012's official "indie darling."  He also co-write the screenplay and co-composed the score, which was my favorite score of the year.  I find it odd that of all the Oscars it was nominated for, Best Score wasn't one of them, but I digress.  The story centers on a little girl called Hushpuppy, living with her dad in a region south of the New Orleans levy that they call the "Bathtub."  This charming yet heartbreaking film creates its own fantastic reality with a mix of harsh circumstances and imagined mythological creatures.  The performances by the mostly non-actors, especially in the leading roles, are impressive and lend to the films sometimes realistic feel.  Zeitlin must also be a magician to have achieved what he did with a minuscule budget and inexperienced child actors, and overall, I'd say that the best word to describe this little film is in fact, "magical." 

-5-

2011 - 13 Assassins 

At first glance, 13 Assassins is a traditional samurai movie, but in the hands of Japanese auteur Takashi Miike, it is much more.  True to his sadistic side Miike sets up the films by showing us how despicable the bad guy is with gruesome, despicable acts.  It turns out this guys is literally on his way to becoming an untouchable member of their governments highest council, which would been almost certain doom and unending war for Japan.  The focus then turns to a few noble men who put together a task force to eliminate this threat to their country's peace.  The film does a good job introducing us to each character and establishing the relationships and comradery between these 13 killing machines.  The last 40 minutes or so of the film is an epic showdown between these warriors and the hundreds of men protecting the evil  lord.  The technique and execution of this battle is masterful.  The camera captures all of the action clearly, and the stakes are always clear.  Far from being a gimmick, this is one of the most memorable endings sequences in a film in recent years. 

2012 - The Kid with a Bike

The Kid with a Bike is such a simple title for this multilayered film about a young boy who seemingly is wanted by no one.  At first, I feared this film would be another entry into the ever growing "tragedy porn" genre, but it transcends the typical tragic story by basing a lot of its characters and their decisions in reality.  The effect is a moving, poignant, ultimately uplifting experience.  The Dardenne brothers need no introduction to foreign film enthusiasts, but this was only the second of their films I'd seen, the first being The Child.  I now certainly want to seek out their other work, as they offer a realism and complexity to their stories and characters that is rare and should be valued.

-4-

2011 - Take Shelter 

Take Shelter is a masterpiece of suspense and tension.  I've only seen this film once, but I've probably thought about it more than any other film from the past two years.  Jeff Nichols' first film, Shotgun Stories, was among my honorable mentions in my first blog post, The Best Films of 2008.  Both films feature stunning leading performances from Michael Shannon, who has become on of the most fascinating actors working today (a particularly love his work on HBO's Boardwalk Empire).  The story is about a man with who begins having cataclysmic premonitions and sees them as a warning of events to come.  The ending sequence is the most polarizing since No Country for Old Men, and your interpretation of it will probably weigh very heavily in your ultimate determination of this film's value.  I loved ever second of this film, and would love to dissuade you if you felt otherwise.

2012 - Skyfall

Skyfall is a James Bond film, which is already more than I can say for it's predecessor, Quantum of Solace.  Sam Mendes does a bang-up job bringing us what we Bond lovers really wanted.  Babes, guns, and memorable bad guys.  This movie is the ultimate in escapism entertainment.  Between Skyfall and No Country for Old Men, Javier Bardem will probably be type cast as a creepy bad guy from now on, because he is so good at it.  From the voice to the hair and the face... The guy is fantastic.  Overall, I was so happy to see a return to form for James Bond that ultimately might be my favorite Bond film of all time.  I'm not throwing the Bond franchise a bone by putting it on this list.  It deserves to be here.

-3-

2011 - Certified Copy 

Certified Copy was written and directed by Abbas Kiarostami, an Iranian artist turned filmmaker, although the film is set in Italy and is in Italian, French and English.  This was my first experience with Kiarostami's work, and to say I was impressed would be a gross understatement.  The film stars Juliette Binoche as a woman who meets an author who just wrote a book on the value of a copy versus an original work of art.  This is the subject, which the title hints at, of much of their discussion, especially early in the film, as they travel through and tour scenic Italian villages.  The film is romantic to its core and draws obvious comparisons to Before Sunrise and Before Sunset; however, there is an air of mystery that extends its intrigue beyond the Linklater films (don't get me wrong, I love those films as well).  The nature of the relationship between the woman and the author is never truly revealed, although there are many clues along the way to support multiple readings.  Ultimately, Certified Copy is superbly satisfying in its absolute, but deft avoidance of a clear answer.  It enthralls and holds its allure without the cheap pleasure of exposure.  It's wonderful. 

2012 - The Master

The Master might be most cryptic film on either of these lists.  Paul Thomas Anderson, perhaps the most revered American auteur, has crafted a film that is far less accessible than his previous film, There Will Be Blood.  Is it a simple historical look at the beginnings of Scientology through the eyes of one of the early "believers?"  No, probably not.  Is it humanistic diatribe against all things spiritual or a character study of two men, the primal man versus the enlightened?  I don't know.  Whatever it is, it's a fascinating work of art featuring two of the best actors working today (Joaquin Phoenix and Phillip Seymour Hoffman) putting on a master class for the audience (pun intended).  Amy Adams is also fantastic in her role as the wife of the leader of the cult.  And leave it to PTA to shoot the film on an archaic format (70mm), which looks warmer, clearer and more vibrant than any of the digital films released last year.  As perplexing as this film is, it's worthy of much praise just for the technical aspects.  It's also I film I'm eagerly waiting to see again.

-2-

2011 - Win Win 

Thomas McCarthy knows how to write and direct interesting dramas with complex characters and meaningful stories like no one else working today.  His stories are simple but effective, never cliche, and with the backdrop of very real, American issues.  His latest, Win Win, stars Paul Giamatti as a full time lawyer and part time wrestling coach just trying to make ends meet for his family.  Along the way he makes some mistakes and has to deal with the consequences.  Like all of McCarthy's films, there's plenty of humor throughout and as with The Visitor, the ending caught me off guard with its quiet, subtle, profundity.  It's not a flashy pick, but for a while it was my favorite film of 2011.

2012 - Holy Motors

Holy cow, where do I start with Holy Motors? I'll just borrow from my Letterboxd review that I wrote the night I saw this film with my wife at a little art house cinema in Coral Gables. "I think I just saw a surreal masterpiece, but I'm still processing this beautiful, wacky film. I'm sure there are as many interpretations of this film as there are people who saw it. It came across to me as a love letter to acting. Sure, the director (Leos Carax) is obviously saturated in film, mind, body and soul; but his leading man (played by Denis Lavant) is the focus here, going through the motions, bearing his soul in every imaginable, or unimaginable, scenario. We rarely, if ever, see this man's true self, but instead he is the empty vessel which is constantly filled and subsequently emptied of the full range of human emotions and physical configurations. There are so many hilariously, awkwardly weird scenes in this film. They don't fit together in a neat package, but do form a strange, ambiguously profound tapestry. Heck, it's just a blast to experience, and obviously hard to describe without sounding like an uppity douche. Check it out for yourself!"

-1-

2011 - Drive

Drive was a movie custom made specifically for me.  I love every fiber of this movie; from the captivating opening sequence, to the pulpy noir feel, to the '80s-esque synth driven soundtrack, to the forbidden romance, to the awesome driving sequences, to the mysterious hero (Ryan Gosling), to the damsel in distress (Cary Mulligan), to the romantic rival that's in over his head (Oscar Isaac) to the loyal friend who is equally in over his head (Bryan Cranston), to the fabulously realized bad guys (Albert Brooks and Ron Perlman), to the guns that go BOOM, to the gritty violence, to the director (Nicolas Winding Refn) that is 100% completely in control of every second of this perfect film.  I've heard some say it's all style, no substance.  No.  The style is the substance, and the simplicity of the story is its perfection.  This was by far the most cinematic movie of the year and it was fully realized, nothing to be added or cut.   Nothing came close to dethroning Drive from the #1 spot after I saw it on September 16, 2011. Nothing.

2012 - Moonrise Kingdom

News flash: Wes Anderson makes quirky, stylized films with moody, childlike adults and sophisticated, responsible children.  His films are filled with a nostalgia for childhood, unorthodox family units, and forbidden romances.  Most people either love his films or they hate them.  I love them, and Moonrise Kingdom combines all of his themes into his most charming, perfectly framed, perfectly cast film yet.  I saw it twice in theaters and was equally delighted during and after both screenings.  I'll admit I had a hard time figuring out the rest of the top ten, but #1 was easy.

Honorable Mentions:
A few other noteworthy films from each year, in alphabetical order:

2011
A Separation
Girl Walk // All Day

The Guard

Hanna

The Ides of March

Jane Eyre

Margaret

Midnight in Paris

Of Gods and Men

Rango

The Trip

2012
Bernie
The Cabin in the Woods
Hara-Kiri: Death of a Samurai
Headhunters
Intouchables
Kill List
Killing Them Softly
Once Upon a Time in Anatolia
Oslo, August 31
The Sessions
Sleepless Night     

Shame

After Steve McQueen's debut film Hunger, which also starred Michael Fassbender, I would have seen his next film if the subject was paint drying. Instead he basically made Requiem for a Dream for sex addicts. Fassbender's performance is as good as he's ever been. The guy is so consistently good, it's hard not to take him for granted. The film is beautifully shot. McQueen's camera is unflinching, and his long takes mesmerizing. I only wish the story offered more insight into the Fassbender's psyche, but over all Shame is a powerful film.

Select Films from Early 2011

I started writing about all of the films I had seen in the first half of 2011, but never finished.  For some reason, I started with the worst films and almost made it to some good ones.  All of these are currently available to rent/buy, so I figured these little snippet reviews could still be of some use. 

Sucker Punch

Wow. This is probably the most disappointed I've been at the movies in a while. Zach Snyder has made good (300), even great (Watchmen) films, each with an incredible visual style that enhances the story and overall film watching experience. Sucker Punch, however, is akin to watching someone play a repetitive video game or a series of overlong music videos while repeatedly getting hit in the head with a hammer. Maybe that last part was from seeing it in IMAX, but either way, somehow amid its beautiful, if not redundant, CGI presentation they forgot to put a coherent story. The main problem is obviously the script, which was written by Zach Snyder. Stick to directing, buddy. Hopefully they won't let him anywhere near the Superman script. That said, the only reason to maybe see this is to hear the voice-over at the end of the film. It so far surpasses other instances of pretentiousness and absurdity in film, it even makes Werner Herzog's ridiculous documentary voice-overs sound succinct.

Cave of Forgotten Dreams

This latest documentary from German auteur Werner Herzog was shot in 3D, however, when I saw it at the United Artists Tara Cinema in Atlanta it was projected in 2D. This is one film in which I think 3D would have made an improvement, considering the incredible lengths of time we spend looking at the same cave paintings over and over and over again. The film focuses primarily on a cave in France that was only recently opened to anyone outside of a small team of scientists, and has since been closed, or sealed rather, to protest the integrity of the paintings and fossils. I was relatively intrigued for the first 20 - 30 minutes, but before long I was fighting to keep my eyes open. If I'm going to be truly honest about my personal enjoyment of a film (as I try my best to do), this is one of the worst films I've seen this year, as evident by its placement on this list.

Mars Needs Moms

I took my son to see this is IMAX 3D. The motion capture isn't bad, but overall its not a very good children's movie. The overarching message of "be grateful for your mom" was thoroughly hammered home and seemed too clumsy and obvious even for very young viewers. The best part of the movie was the closing credits. Not just because it was over, but they showed footage of the actors shooting with all the mo-cap 3D gear on. That was sort of interesting.

The Beaver

The Beaver is a film starring Mel Gibson as a toy company executive struggling with depression who eventually goes completely nuts. The entire premise is based on Mel's character finding a beaver puppet in a dumpster, and start using that puppet to communicate with everyone through a weird Cockney accent. Yes, it is a ludicrous as it sounds. I think most of the critical praise is due to those critics reading into this too much, comparing the real life struggles and mistakes of Mel Gibson to that of his character, and for them, this comparison adds some level of transcendence to his performance and to the film. Screw that. This movie is incredibly self serious even in the midst of its absurdity, which resulted in laughter from my friend and I throughout the film, often at the most serious times. The script is a joke, and the entire side plot involving the eldest son and his crush on the artistic cheerleader are also laughably cliché and trite. All of that said, its almost worth seeing just to witness the amount of absurdity on display.

The Mechanic

Jason Statham's latest beat-em-up is about what you'd expect from a hit-man film starring Jason Statham. I can't comment of how it compares to the original, because like most of the people who saw this movie, I had never even hear of it until this thing came out. Statham is always entertaining as one of the best action stars working today, but the material here is too self-serious, even maudlin, while simultaneously being utterly ridiculous. I won't elaborate on the plot, but Stathum's character is essentially training Ben Foster's character for a while, and the best scenes are the excessively violent, messy sequences of Ben making his first few kills. Some might find this morally reprehensible, others good clean cinematic fun. I found it sometimes entertaining, but nothing I can recommend.

The Adjustment Bureau

This latest movie based on a Phillip K. Dick story stars Matt Damon and Emily Blunt in what appeared from the trailer to be a Matrix-esque sci-fi action romp. What it turned out to be was an angst ridden love story that wrestles with the idea of human free will. If I accidentally made that sound interesting, just take my word that it's really not. There is essentially nothing of value discovered by these characters and the "love conquers all" theme is delivered with all the subtlety of kick to the face. If you skipped it in theaters, but were contemplating a rental, you'd probably be better off looking elsewhere.

Thor

Oh, how the might have fallen. That could be used to describe the title character after his dad, Anthony Hopkins' Oden, kicked him out of Asgard, or Natalie Portman who just won an Oscar for Black Swan and is now slumming it to pay for her unborn child's future Harvard education. While Natalie is completely wasted in this movie, there is a charm and charisma to Chris Hemsworth that makes you want to watch him on screen despite the lackluster script and slightly uninteresting story. He's also got ridiculous pecs. This is admittedly not my cup of tea, but I do want to see all the Marvel films leading up to The Avengers next year, so I can at least appreciate it as much as the next non-comic book reading film lover. If you are 12 years old, this movie will probably rock your world.

Meek's Cutoff

This is the latest from neo-neo realism auteur Kelly Riegnhert, whose previous films Old Joy and Wendy and Lucy were critical successes, and severely overrated in my opinion. This film is beautifully shot and well acted, but it is so excruciatingly slow paced that I had trouble keeping my eyes open. I think Kelly's main problem is that she edits her own films and refuses to make a cut. The film does do a good job of making you feel the hopelessness and isolation of the characters as they search for water, but I started to wish for the end of the film more than the well being of the characters. I was really hoping to like this more than her previous films, but I guess I'm just not a fan of this style of filmmaking, and probably won't waste my time with her films in the future.

X-Men: First Class

I was expecting great things from this X-Men prequel. Not only does it have a 87% on Rotten Tomatoes, but it was directed by Matthew Vaughn, whose other three films (Layer Cake, Stardust, Kick-Ass) I thoroughly and increasingly enjoyed. Unfortunately, this was a huge step backwards for Mr. Vaughn. Although there are moments of delight (every time Michael Fassbender is on screen), for the most part I never felt any real suspense, because there were no stakes. Thus is the problem with any prequel, but a huge contributor was the ridiculous amount of CGI employed, as is inevitable with this type of movie. Although not as copious as Thor, it still was enough, particularly in the final battle scenes, to completely remove me from the movie. Although I rarely seem to agree with Roger Ebert any more, I think he was right when pointing out how funny it was seeing those missiles change direction 5 or 6 times while they fought on the beach. If you normally like these types of movies, I'm sure this will sufficiently satisfy you, but if your tastes are more in line my mine, don't let the vast amount critical praise fool you like it did me.

Trollhunter

This is a little Norwegian found footage monster movie with a style, budget and pace that falls somewhere between The Blair Witch Project and Cloverfield. We follow a small college news crew as they try to get the story of a mysterious man who is passing through their small town. The adventures that follow are exciting, suspenseful, and often hilarious. Even though there is a thick layer of B-movie camp on top, Trollhunter does a good job of avoiding pure silliness. That said, this is certainly one that would be best consumed in the company of friends.

Rio

This was a surprisingly enjoyable viewing experience from the short film featuring the rodent from Ice Age to the end credits. Part of that could have been lowered expectations or that I was in a great mood since I was seeing it with my wife and son. The main reason I enjoyed it more than a lot of critics is almost certainly that I saw it in 2D, which is almost always better than its 3D counterpart. As for the actual film, Anne Hathaway and Jesse Eisenberg were great as the voices of the main two birds, and Jamie Foxx and Will i Am are both hilarious as the "Greek chorus" musical duo. Simply put, this is a very nice option if you are looking for a film to take your kids to.

Hobo with a Shotgun

The title tells you pretty much all you need to know about this low budget exploitation film. It came into existence due to its director winning Robert Rodriguez's SXSW grindhouse trailer competition. The kills are shocking and brutal, and the dialog is sufficiently cheesy. My favorite part of the film was the synthesizer heavy score that sounded straight from the 1980's, as well as the performance of Rutger Hauer as the hobo with said shotgun. He never waivers in his righteous indignation, and most importantly plays it completely straight throughout. I can't recommend this film to most people, but if you enjoyed Grindhouse and generally enjoy cheesy ultra-violent movies, this is probably worth a watch. I liked the fact that I got to see it before its limited theatrical release through Amazon Instant Video on my Roku.

Everything Must Go

This is one of those typical "funny guy does an indie drama" movies, but it's pretty good. Will Ferrell plays a guy who loses his job on the same day his wife kicks him out of the house. Both of these plot points are crucial to the movie's primes, as he spends the entire film living on his front law with all of his personal possessions. As things continue to just get worse and worse for him, his character starts to do some real soul searching. What we end up with is a quaint, but enjoyable slice of melancholy indie film making, made even more worthwhile by Will Farrell's performance. Check it out if you get the chance.

The Company Men

The Company Men centers around three men who work for the same large manufacturing corporation until the economy forces executives to layoff thousands of people in an effort to meet shareholder expectations. Ben Affleck and Tommy Lee Jones star, while Chris Cooper also plays a pivotal role. While Affleck's career as a director is really taking off (that said, please don't direct the re-make of Tell No One), I've never been too fond of his acting. However, Tommy Lee Jones is fantastic as always, as is Chris Cooper. While it deals primarily with men who make way more than the average American, the film begged me to question, "if I found myself in their position, how I would react?" It's a good question, and the film does a pretty good job of showing the stakes without too much melodrama. If you appreciate stories of real(ish) characters dealing with real life obstacles, you should give this one a watch.

Source Code

I was very much anticipating this second feature from Duncan Jones, the director of 2009's fantastic low budget one-man-show, Moon. Source Code's similarities with Moon are its contemplative sci-fi roots, as well as its themes of identity and need for human connection. If differs greatly in execution, as Moon's success has afforded Jones with a much larger budget to use on name actors and CGI special effects. The result is a terrific sci-fi thriller with an outright Hitchcockian feel. Jake Gyllenhaal stars as a disoriented soldier that finds himself being used in a government program that is recreating the last eight minutes of a terrorist bomb victim's memory in order to find out who the terrorist is, and stop further attacks. The Groundhog Day-like elements of repeating the same period of time over and over again are used well to comedic effect. I won't spoil any plot twists, but let's just say the focus of the film shifts gradually from the basic plot of finding the terrorist to Gyllenhaal's character himself. We end up with a terrificly satisfying ending of the film that made my heart swell similarly to the end of 127 Hours. Only the film didn't want to stop there, instead deciding to add a coda that completely undermines the goodwill created by what should have been the ending. Obviously this is hard to talk about without spoiling it, but Source Code would have been much higher on my list had Duncan Jones not insisted on adding the stupid coda, and that's a shame.