We Need to Talk About Kevin

Possible Spoilers
  

This movie features a good performance from Tilda Swinton, as well as John C. Reilly; however, the film itself is all style and no substance. It does nothing to delve into the mother/son relationship that is at the its core, instead choosing to wallow in misery for misery's sake. The movie never presented any real reasons for the boy to turn out the way he did, instead it presented him as pure evil from the start. The actions of the boy and his parents just didn't jive with reality. This type of story belongs in campy horror flicks, not (what seamed to be an attempt at) a realistic look at the devastation suffered by the mother of the perpetrator of a high school massacre. In no way was this film entertaining (unless you appreciate the feeling of dread), nor was any aspect of it redeeming or meaningful upon reflection.

Best Movies of 2010

Better late than never, right? Normally I try to get this thing out by the Oscars, but this year has been crazy, and even when I've had free time, I've been too tired from work to write. So I apologize to the three of you who regularly read this blog.

It seems that every year people want to complain that "this was such a weak year for movies." As with every other time I hear this, I disagree. Maybe it's because I stay away from the moronic schlock that most critics are forced to slog through each year, but I've seen over 70 films this year and thoroughly enjoyed a majority of them.

There wasn't one or two stand out films in 2010 as there was in 2009 (Inglourious Basterds) or 2007 (No Country for Old Men and There Will Be Blood), but there were several films that made a lasting impression on me that I am sure I will number among my favorites of the decade in nine years. This year reminded me more of 2008, when there were several films that moved and enthralled me, almost equally (In Bruge, Let the Right One In, The Wrestler, Tell No One). As in 2008, I find it particularly hard to find an order for these films, but will try to present them in a way that reflects the impact each of these films had on me in the movie theater, whether bringing me to tears, leaving a huge smile on my face, or leaving me contemplating the film for days or even weeks later. These films encapsulate what it is I love about going to the movies, and what keeps we coming back week after week. These are the best films of 2010:

Honorable Mentions (in alphabetical order)

THE AMERICAN

THE FIGHTER

THE GHOST WRITER

THE GIRL WITH THE DRAGON TATTOO

KICK-ASS

TRUE GRIT

WINTER'S BONE

The Top Ten

(10) THE SOCIAL NETWORK

This film certainly doesn't need my help to promulgate its greatness. Declared by many as film that defines the current zeitgeist, it was even garnished with comparisons to Orson Welles' masterpiece. While these claims are gross overstatements, I will acknowledge that it is a brilliantly written film, which is only enhanced by the pin-point precise direction of David Fincher. Jesse Eisenberg delivers Aaron Sorkin's lightning quick, witty dialog with a mix of charm and cool, making his portrayal of Mark Zuckerberg quite a compelling anti-hero.

(9) ANIMAL KINGDOM

The young Aussie filmmaker David Michod wrote and directed this sprawling crime film that follows the demise of a family of bank robbers, mostly through the eyes of Josh, a newcomer to the group after his mother died. The dynamic between his uncles and his grandmother, the matriarch of this criminal family played very creepily by Jackie Weaver, is strange and even hints at incestuous. Guy Pearce also co-stars as a police detective who recognizes the innocence in Josh and tries to guide him to safety. Josh's journey is both treacherous and surprising, and as he struggles to survive in the midst of this war between his uncles and the violent crimes police squad, Animal Kingdom offers some of the most thrilling cinema of the year.

(8) 127 HOURS

Danny Boyle's thriller based on the true story of Aron Ralston's desperate fight for survival is a visual treat, as one would expect. What's amazing about 127 Hours is how he was able to fill this film about a guy with his arm stuck under a rock with such energy and lust for life that it made me want to be a better person. There's a scene when Aron, played charismatically and joyfully by James Franco, cries out "I need help!" For me it was such a poignant moment, a beautiful culmination to Danny's tribute to companionship and human connection.

(7) THE SQUARE

Part of my love for this film comes from seeing it at the Alamo Drafthouse in Austin, TX. The atmosphere and the food were great, and watching a film like this with a theater full of cinema lovers is something I highly recommend. The film is a exercise in suspense and tension, with Coen-esque themes of people getting what's coming to them. This film doesn't leave me pondering any grand themes, but it was an adrenalin rush, pure excitement fused dread and style. The Edgerton brothers are a film making duo to watch out for.

(6) TOY STORY 3

I don't need to sell anyone on Pixar or the Toy Story franchise. It's probably the strongest trilogy since the original Star Wars trilogy, as far as quality throughout all three films. Toy Story 3 might be my favorite of the bunch. It's one of the best prison break movies you'll ever see, plus the humor is there as usual. More than that though, there were moments of pure emotion towards the end that were completely genuine, and thoroughly earned. It also proves that Pixar sequels being good was no fluke with Toy Story 2, and actually has me excited for Cars 2 and Monsters Inc. 2. If for some reason you haven't seen it, it's on Netflix Watch Instantly, so you officially have no more excuses, not that your other excuses were any good.

(5) SHUTTER ISLAND

I wrote a lot about this film earlier this year, comparing it to Inception because of the shared themes of remorse and mental angst. Needless to say, I loved this film, because it stayed with me for so long after seeing it. I've heard it's actually much better the second time around with the full realization of Leo's character in mind, and I can't wait to catch up with it again on blu-ray. Unfortunately, its February release hurt it during the awards season, because this film deserved so much more acclaim than it received.

(4) THE KING'S SPEECH

There is absolutely nothing more I can say about this film than has already been said by countless critics and bloggers. It earned over $100 million, won every award at the BAFTAs and most of the major Oscars. Because of its popularity, I've heard quite a bit of negativity towards it recently. Everyone acknowledges it is a good movie, but many have claimed that it shouldn't have won the Oscar, or that it was nowhere near as good as the The Social Network. While I preferred Black Swan to the other best picture nominees, of the front-runners, the Academy got it right with The King's Speech. When comparing the two films, the writing was just as good in the King's Speech, the acting was better, and overall the experience was more exhilarating. The King's Speech is probably the best feel-good movie of the past decade or more, and is worthy of all of the praise it received.

(3) MOTHER

As I mentioned last year, Bong Joon-ho is among my favorite directors now, having delivered yet another excellent genre-defying film with great characters and an unpredictable plot. His tone is unique and affecting in a way that is rare among American film makers. I've been enjoying quite a bit of South Korean cinema over the last few years, and Bong Joon-ho is at the forefront. If you are unfamiliar with his films, I recommend seeing all four of them, but Memories of Murder in particular is an outstanding film. Mother is my second favorite of his films, and is available to watch on Netflix Watch Instantly.

(2) THE SECRET IN THEIR EYES

I also wrote briefly about this film last year. It won the 2009 Oscar for best foreign language film, but sadly most people have still not seen it. The Secret in Their Eyes is a phenomenal film that deals with themes of love, revenge and justice in such a compelling manner as I have never seen before. If you are averse to subtitles, all I can say is you are missing out on so many great films. Watch a few really good foreign films, like this one, or Mother. You will get used to it, and you will thank me later.

(1) BLACK SWAN

Darren Aronofsky is one of the 3 or 4 most exciting directors working today. Black Swan, his follow-up to The Wrestler, features another artist who sacrifices their body for their art. This time, a ballerina named Nina, played "perfectly" by the wunderkind Natalie Portman. A prestigious ballet company is preparing to open the new season with a stripped down, visceral production of Swan Lake, whose plot the film cleverly mirrors throughout. Nina fully embodies the White Swan; pure, innocent, and childlike. Although technically second to none, the director, played by Vincent Cassel, pressures Nina to let herself go so that she can embody the sensual Black Swan. When Nina is awarded the role of Swan Queen, she begins a dark journey where she must face her oppressive mother, sexual repression, as well as her feelings of jealousy and inadequacy, as she strives for perfection. Clint Mansell's score is brilliantly interwoven with the music from Tchaikovsky to create a beautiful and haunting tapestry. The music not only compliments, but is completely integral to the film and its impact in the audience. Although the themes and methods in play are anything but subtle or original, the movie's balance of psychological horror and B-movie camp, mixed with Aronofsky's precise direction and vision, creates a singular and memorable theater going experience unlike any other this year.

The Sunset Limited

I just finished part two of our Samuel L. Jackson double feature, beginning with MOTHER AND CHILD, and ending with the premiere of THE SUNSET LIMITED on HBO. The first film was very good, and certainly worth your time, but the second film deserves a slightly longer mention. 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 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. If you have HBO, you should definitely check it out. Might be a while before I see a better film in 2011.

2011 Oscars

It's that time of year again, when I'm desperately trying to watch as many great films from a newly depleted year so I can have a respectable top 10 list. Even though I haven't had the opportunity to write many reviews this year, I have seen a ton of 2010 films (approximately 70, most of them good), and I look forward to writing about the best ones in more detail. As usual, my deadline is the Oscar ceremony, so I will have it done by then. I have yet to been able to place my favorite 2010 films in any kind of meaningful order. It's harder for me this year than its ever been for some reason, as there are 6 or 7 films I love almost equally.

Enough griping! Here's my take on the Oscar nominations, who I think will win, and who actually deserves to win. I will not comment on many of the "lesser" categories (Makeup, Visual Effects, Etc.), or a category for which I've seen less than half of the films (Documentary Feature, Short Film, etc.). Oh, and it might be helpful to have the list of nominations open in a different tab.

Music (Original Score)

I own three of the five soundtracks nominated, and will probably own all of them by Oscar night. While I loved the music in each of these films (How To Train Your Dragon, Inception, The King's Speech, 127 Hours, and The Social Network), John Powell's score for How to Train Your Dragon is a clear favorite for me. I sincerely think it's the best film score of its kind (that excludes Clint Mansell) in years. I listen to it all the time, and it never ceases to give me chills. This is my most pleasant surprise of the all of the Oscar nominations, and I'll be cheering for it hard come February 27th.

Actress in a Supporting Role

Of the nominees, I think the actress who should and will win is Hailey Steinfeld, although she certainly belongs in the leading actress category. She is in almost every scene of True Grit and carries the film, holding her own among some of the best actors working today. The ladies from The Fighter are both thoroughly entertaining in their roles, but Amy Adams' performance to me was much more believable in its subtly. I'm glad to see Jackie Weaver nominated for one of my favorite films of the year, Animal Kingdom, and while I did enjoy Helena Bonham Carter in The King's Speech, neither of these ladies stands a chance at the Oscar in my estimation.

Actor in a Supporting Role

This is a two race, but Christian Bale is ahead by a couple lengths. He completely steals the show in The Fighter. If you haven't seen this film yet, it's worth the $10 just for his performance alone. The second horse is Geoffrey Rush for his sensational turn in The King's Speech as King George VI's speech therapist. There will be plenty more mentioned of this film, as it leads the nominations with 12, and rightly so, as it is indeed one of the best films of the year. As for the rest, John Hawks (Winter's Bone), Jeremy Renner (The Town), and Mark Ruffalo (The Kids Are All Right) all deserve the nomination as much as anyone else this year, although I did love Nicholas Cage in Kick-Ass!

Actress in a Leading Role

I will start by saying I have not had the pleasure (misery?) of seeing Rabbit Hole or Blue Valentine, so I cannot comment on the performances of Nicole Kidman or Michelle Williams. My favorite performance of the group came from Natalie Portman, who I also think will win for her magnificent performance as a tormented ballerina in Black Swan. Jennifer Lawrence was pretty great in her break-out performance in Winter's Bone, a film that is tragically under-seen. Unfortunately the wrong actress was nominated from The Kids Are All Right. I found Julianne Moore's performance to be more multi-layered and believable than Annette Bening's one note, "tough guy" act. One performance I was not expecting to get nominated, but was hoping for, is Kim Hye-ja, the title character from Bong Joon-Ho's Mother. She is phenomenal, and carries the film like no other actress this year.

Actor in a Leading Role

Again, I'll lead with the caveat that I have not seen Javier Bardem's performance in Biutiful (nor have I seen any of the other Foreign Language Film nominations). Colin Firth is the front-runner here, and my favorite performance of the bunch. His role as "King George the Stammerer" in The King's Speech is such a treat to behold. James Franco is captivating in 127 Hours, but doesn't stand a chance here. The only men capable of pulling the upset on Oscar night are Jeff Bridges and Jesse Eisenberg for their roles in True Grit and The Social Network, respectively.

Writing (Adapted and Original)

It's getting late, so I'll keep it brief on this one. Aaron Sorkin's The Social Network is a lock for adapted, while I think David Seidler's The King's Speech should and will win original.

Animated Feature Film

Duh, it goes to the Pixar movie.

Directing

Let me start by addressing those who are tweeting things like, "Christopher Nolan could have done a decent job directing The King's Speech, but no one could have directed Inception but him!" This is truly an idiotic statement. It might be true that Nolan deserves a Directing nomination simply for making his script half-way intelligible on the screen, but to say that he could have directed The King's Speech... I'll just say that The King's Speech has more heart than all of Nolan's films put together. Was he snubbed? I'd say no, considering all of the directors that were nominated ended up with better films. In Nolan's defense, he deserved a nomination as much as James Cameron did last year for Avatar. As for the front runner in this category, I think it has to be Fincher, and I'd be happy with him, Aronofsky, or the Coens.

Best Picture

For your convenience, the nominated films are listed below:

Black Swan *

The Fighter *

Inception

The Kids Are All Right

The King's Speech *

127 Hours

The Social Network *

Toy Story 3

True Grit *

Winter's Bone

* These films would have been the nominees had there only been five (as there should be).

All of these films are pretty great, and 7 of them will likely be in my top 10. If there are any films I would have loved to see here, it's Animal Kingdom and Mother (rent them both!!), however, their absences are understandable considering how under-seen those films are. As for the front-runners, the The Social Network is in first, with The King's Speech in second and True Grit in third. Either of these films could win and it wouldn't surprise me, plus I'd be equally happy. If it was my vote, I'd probably give it to The King's Speech. It moved me in the best possible way, the way I hope to be moved each time I go to the theater. It's the feel good film of the year, with tremendous performances, and a great script and score.

Overall, I was very happy with the nominations, and look forward to the show as I do every year. I plan on having another great Oscar watching party, so if you read this, and that kind of thing interests you, you are welcome to join us!

Best of 2010 So Far - Fall Update

Although not a popular opinion, I maintain that this has been a good year for cinema. Of the almost fifty 2010 U.S. releases I've seen this year, I'd venture to say that about half of them are very good films. What makes it even more positive for me is that my two most anticipated films of the year, Aronofsky's Black Swan and the Coens' True Grit, have yet to be released.

While I can't wait to see those films, there have already been ten films this year that I really love. Instead of keeping an ongoing list of ranked films throughout the year, I've gone with a list with five tiers and films listed alphabetically within each tier. Occasionally I'll move a film from on tier to another, but for the most part this allows me to keep a totally open mind about the films throughout the year, and will allow hopefully a more honest end-of-year ranking when I put that list together in February. I'm detailing my process just to explain that the only films I have in my top tier are films that I love, and had a visceral reaction to.

Of these ten films, I wrote about the following films back in May: The Ghost Writer, Kick-Ass, Shutter Island, and The Square.

One quick note: I find comparing a film to multiple similar films an effective method of relaying the mood, themes, and overall "feel" of a film without giving away too many specific plot details. It helps of course if the reader has seen the films to which I'm comparing, but if so, I believe a lot can be relayed in those comparisons, without writing five paragraphs on each film, and keeping it spoiler free. With that said, here are the remaining six films that I consider to be the best of the year so far, in alphabetical order:

The American

Clooney is pretty brilliant in this small, slow-paced thriller set almost entirely in a small Italian village, which is practically a character itself. His character is a hit-man who wants a fresh start and takes on one last job; very cliché, but Clooney brings a quiet, paranoid persona to this character that I found compelling throughout. The action scenes are almost entirely in the trailer, but they work very well paced throughout this otherwise contemplative film. I don't want to give away any major plot points, but I will say that The American is a perfect marriage between my favorite film of 2008, In Bruges, and Jim Jarmusch's over-earnest The Limits of Control. I don't think this movie will appeal to everyone, but as long as you aren't expecting a Jason Bourne film, The American can take you on a scenic, satisfying ride.

Animal Kingdom

Winner of the audience prize at Sundance, this Australian film from first time director David Michod is a crime drama about a teenage boy named Josh, played by first time actor James Frecheville, who is forced to live with his grandmother and uncles after his mother's death. We quickly learn that his entire family seams to be a part of a previously successful bank robbing gang that are now under constant surveillance, and obviously in the twilight of their criminal careers. He had avoided this lifestyle up to this point because his mother was not on speaking terms with his grandmother. Now, thrust in the midst of their turmoil, he is forced to find his place among or against them, lest he become just another casualty, collateral damage to their destructive way of life. Animal Kingdom is essentially Goodfellas, with a modern, less romantic view of criminal behavior, comparable to last year's terrific crime film Gommorah. An excellent entry into the genre, and worthy of the high praise and lofty comparisons. With The Square and Animal Kingdom already this year, they got something good cooking in the land down under.

Mother

Bong Joon-Ho is to Korean film what the Coen brothers are to American film. He brings dark humor and quirky characters to tense genre films with astounding effect. His Memories of Murder is one of my favorite films of the last decade, and he has yet to disappoint in the least. Mother is probably my second favorite of his films, behind Memories of Murder. It features an astounding performance from Kim Hye-ja as the title character who is desperate in her attempt to clear the name of her mentally handicapped son who has been accused of murder. Her undying , and at times unsettling devotion to her son leads her on a journey that I certainly was not expecting. The opening scene of the film sets the stage for the unpredictable nature of this film, and the end scene perfectly encapsulates it in a profound way. With Mother, Bong Joon-Ho has joined the ranks of directors whose films I await with much anticipation.

The Secret in Their Eyes

Although I've tried to keep myself from prematurely assigning ranks to films this year, I really think this film moved me more than any other so far. It is a beautifully shot film, although as with Mother, I can't wait to see it on Blu-ray, as the theater I saw it at doesn't have the best projectors. Set in Argentina, The Secret in Their Eyes is a murder mystery told from the present day perspective of a retired police agent writing a novel, as well as through flashbacks to when he was on the case decades earlier. In addition to being a murder mystery, it's also a love story that touches on themes of friendship, revenge, and justice. This film won the Oscar earlier this year for best foreign language film over the highly touted A Prophet and The White Ribbon. Watching the ceremony, I was skeptical of the Academy's choice, but now having seen this masterful film, I can truly say they got it right.

The Social Network

The Social Network was the most hyped film of 2010 to this point, besides Inception, and it's said to be an early Oscar front-runner for many categories, including best picture. The critics are in love with this film, and it's not hard to see why. While I'm not ready to declare it a masterpiece or the film that defines our generation, I was thoroughly entertained and enthralled throughout. Basically, every aspect of this film is expertly, if not masterfully done, and I agree that the film deserves a nomination is pretty much every category. Aaron Sorkin delivered a pitch perfect script filled with witty, hilarious, scathing, rapid fire dialogue. David Fincher's direction is tight and the pacing is blazing fast, especially considering many of the scenes are deposition testimonies and furious typing. Jesse Eisenberg is spot on as a quick-witted, incredibly smart, but socially inept Mark Zuckerberg, the founder of Facebook. Even the score from Trent Reznor is top notch and ties everything together with it's pulsing rhythms and electronic melodies. Of these eleven films that are my favorite for 2010 so far, this is the film I connected with on a visceral and emotional level the least. However, it is so entertaining and well made that I'm pretty sure it will be among my favorites at the end of the year.

Toy Story 3

If it wasn't for other Pixar films, I could say that Toy Story 3 is the best animated film in over a decade. Instead, it's the best animated film since Up, which is the best animated film since Ratatouille... you get the idea. These guys are money in the bank, both literally and in terms of consistent quality of film making. Toy Story 3 takes the characters we love from this beloved series to some pretty dark places. It can be argued that the plot structure is a little too similar to Toy Story 2, but it improves on it in almost every way. If you're one of the few people who haven't seen it, I'll keep it vague, but there is a climactic scene towards the end of the film that had me on the edge of my seat, with my heart in my throat and a tear in my eye. It's that powerful. It was a magical end to a nearly perfect trilogy, and one of the best films of the year for sure.

Those are the films that I consider the best of 2010 so far. What films would you have on your own list? I'll go ahead and throw in a list of films that just missed the cut. As usual, I reserve the right to change my mind before the end of the year.

• Cyrus
• Fish Tank
• The Girl with the Dragon Tattoo
• How to Train Your Dragon
• Inception
• The Kids are Alright
• Scott Pilgrim vs. the World
• The Town
• A Prophet
• Winter's Bone

Shutter Island vs. Inception

SPOILER WARNING - This entire post contains plot details for both films.

Why am I comparing these two particular films? First, they are two of the best studio films to be released in 2010. Second, both films are from highly loved and respected directors, and both films were highly anticipated by film lovers. Third, both films feature Leonardo DiCaprio in the leading role. It doesn't stop there, however, and the more interesting similarities began to resonate with me while watching Inception and while thinking about it over the next few days.

In Shutter Island, Leo plays Teddy, a duly appointed Federal Marshall who is supposedly sent to an asylum on Shutter Island to investigate the disappearance of a patient. We learn during the course of the film that "Teddy" is actually a patient, Andrew, at the asylum and is really trapped in an alternate persona, which is his way of escaping the horrific memories and the guilt he feels for the death of his wife and children. Before the death of his family and his admittance to the asylum, he had actually been a Federal Marshall. He had seen obvious signs of his wife's derangement when she had nearly killed them both by burning down their apartment, but he had chosen to ignore them out of fear of what would happen to her and denial. He loved his wife, and he convinced himself that she only needed a change of scenery, and that she wouldn't really ever hurt herself or her family. Obviously he was wrong, and the result of his lack of action was his wife drowning their children, and he, in a fit of despair having found the children drowned, killing his wife.

Everything that takes place during the film is an elaborate facade put on by the head doctor, played by Ben Kingsley, the staff and the inmates in hopes that Andrew will snap out of it and be cured permanently. There are a few different views, but my interpretation of the ending (and I believe the film supports this, although it is different from the book's ending) is that the experiment worked. Andrew snaps out of it and then fakes a re-lapse, because at this point he wants a lobotomy. He knows that this is the only way to be released from his overwhelming guilt and painful memories.

In Inception, Leo plays Cobb, a criminal "extractor" who earns a living by infiltrating peoples' dreams and stealing their secrets. His ultimate goal is to find a way to return to his kids in America without having to go to prison for the alleged murder of his wife, Mal. He was supposedly framed for her murder, by Mal herself, before she committed suicide. Cobb is now haunted by his wife in his own dreams and subconscious because of the guilt he feels for her death.

According to the film there are multiple levels of dreams (dreams within dreams) and eventually you can enter what they refer to as "limbo." While in limbo, the person feels as if enormous amounts of time have gone by, while only a few moments have elapsed in the real world. While exploring how far they could go in their dreams together, Cobb and Mal entered limbo and spent what felt like fifty years together. The only way to get out of limbo is to realize that you are not in "reality," and then essentially kill yourself. This is where "inception" comes in. What this essentially means is that an idea is placed in the subconscious of a person, through the infiltration of their dreams. The trick is making them think it was their own idea. Leo found a way to make Mal doubt that limbo was reality (by messing with her "totem," more on that later), and together they killed themselves by letting a train run over their heads. The problem is, that even when back in reality Mal doubted that it was, in fact, reality. The inception performed by Cobb had infected her mind so that she could no longer distinguish what was real or not, thus her suicide, and Cobb's guilt. This is another glaring similarity with Shutter Island: The character having to overcome the guilt causing (directly or indirectly) the death of his wife and being separated (permanently or impermanently) from his kids.

So, the owner of a large energy corporation hires him to perform inception on the leader of a larger competitor. The purpose of this particular inception is to get this guy to dissolve his corporate empire, and their way of achieving this is by changing his perception of his recently deceased father. OK, but who cares about competing energy corporations? I know I don't. Well the crux of the matter is that the man who hires Cobb for this "one last job" has promised that he can make a phone call and clear Cobb's name completely, so that Cobb can be with his children again in America.

Another important plot point is that Cobb has a top, which he refers to as a "totem," the purpose of which is to let him know if he is in someone else's dream or not, because only he knows the weight and feel of it, and evidently the top spins forever while in a dream. At the end of the film, Cobb is seemingly rejoined with his kids according to plan, but Nolan teases the audience by having Cobb spin the top on the table, then walk out to see his kids (whose faces he can finally see) without looking back at the spinning top. Nolan then shows the top spin and barely start to wobble before cutting to the end title screen. Was Cobb in "reality?" Was he still in limbo? There are more theories on this film than I care to discuss, but a popular consent is that it doesn't matter if he was in a dream, limbo, or reality. The fact that he obviously experienced catharsis and was able to let go of his crazy, guilt-ridden, sub-conscious "projection" of his wife and focus on being with his kids; this is supposedly the point.

My problem with Inception is that through all the rules and mazes and back stories and trickery, I never felt emotionally invested in Cobb, his mission, his relationship with his wife, or his connection to his kids. It's not for Leo's lack of acting prowess, but I just don't think it was ever there on the page. Nolan is a master of giving the audience moments of awe and by developing intricate narratives that are like mazes. He also creates some incredible visuals by using mostly practical effects and blending them seamlessly with limited amounts of CGI. There is one scene in particular, in which he creates the illusion of zero gravity, without CGI, and it is, in my onion, brilliantly filmed. In his craft I do not doubt him, but in developing characters with real, human emotions that are open to empathy from the audience, I simply haven't experienced it in any of his films, save possibly Memento. The fact that he himself wrote the script undeniably contributed to it being even more noticeable in this film.

Shutter Island on the other hand is not nearly as intricate as Inception, but I felt Andrew's struggle and I felt his pain, and I felt his catharsis at the end. It is certainly a result of the quality of the source material (a novel written by Dennis Lehane), but let's not sell Scorsese short. He gives us some incredibly dark hallucination/dream/flashback sequences that I found much more effective in their simplicity than the elaborate dream worlds of Inception. Scorsese and his brilliant director of photography, Robert Richardson, give us some of the most haunting and well shot scenes I've seen in a while, such as the flash-back to the firing squad in which the American soldiers execute a long line of German soldiers. The most haunting scene in the film is towards the end, when we see what happened the day that Andrew came home and found his kids' dead bodies in the pond and his wife acting as if everything is fine. It's shot is such a clear and steady manner, contrasting the earlier hallucinations and flashbacks, letting the audience realize the awful truth of what happened as Andrew confronts it again for the final time.

There was no scene like this in Inception, nothing to let the audience in on what is real or a dream. This leads many to believe that the entire film is a dream, that nothing is "reality," as we know it, but rather an analogy for film making and each member of the team represents a a collaborator on a film crew. While I find this interesting on a certain level, I still do not relate to the story in the way it is presented on a visceral level. Great art is not just spectacle and illusion, but comments on the human experience and affects us on an deeper level than mere thrills and trickery. For my money, Shutter Island is a better film and more affective work of art. However, both of these films deserve to be seen and together would make a fantastic double feature once Inception comes out on Blu-ray.

I'll leave you with my own interpretation of Inception: Cobb is merely another alternate persona inside Andrew's head (yes, the same Andrew from Shutter Island), although instead of acting out his elaborate plots in reality, he is forced to entertain his illusions in his subconscious, having been subject to a violent lobotomy. Even in his damaged mind, he still battles with the guilt of his murdered wife and seeks any way possible to be reunited with his children. At the end of the film, he truly does achieve catharsis and closure, the peaceful release of which allows him to let go and ultimately die. Walking through that door to his children is his entranceway into the afterlife, where time does not pass, and where he will no longer feel the pain of guilt, loss, or disease.

2010 So Far

As of today I've only seen fifteen 2010 films so far, but I have enjoyed every one of them to some extent. Here is a sentence or two on each film, starting with the film I enjoyed the least and ending with my favorite of the year thus far. That said, I do reserve the right to change my mind before the end of the year!

Hot Tub Time Machine

While mildly enjoyable and funny, I was pretty surprised to see the largely positive critical reception this movie received. It is exactly what it looks like: a raunchy 'R' rated comedy with an 1980's theme. The characters are razor thin and the plot doesn't go anywhere meaningful or rewarding in any way. The best part of the film is a running gag involving a character who has one arm in the present day and two arms in the 1980's. Watching Rob Corddry's character anticipate the severing of the limb is quite funny. It was good for a night out with the guys, but that's about as far as I'd try to sell Hot Tub Time Machine.

Greenberg

I was really looking forward to this latest effort from Noah Baumbach as I am a huge fan of his 2005 film The Squid and the Whale. Greenberg features some incredible, honest performances from Ben Stiller and Greta Gerwig, but not much else. The story centers on a lonely, bitter, 40-year-old man who comes to LA to house-sit for his brother and "just do nothing for a while" after having a nervous breakdown. This could have been a more interesting character study if there had been any redeeming qualities in this character to latch onto. As there were not, this film keeps the audience at a distance and removes any chance of us connecting with the movie, just as Roger Greenberg can't connect with people.

Oceans

This is what it is. A nature doc featuring the ocean and the life within. Extraordinary footage of the most famous monsters of the deep and some you've never seen. I prefer Earth because I seem to remember there being more of a narrative through-line, however, both films are great for what they are.

The Book of Eli

This latest movie from Denzel Washington is an interesting take on the post-apocalyptic genre featuring more of a western theme. Denzel is the main reason to see this, as he elevates whatever movie he's in, and the action scenes. The story isn't bad either, and while the twist is a bit far fetched, it's still pretty cool and I'm really glad that it went where it did as opposed to the alternative. Sorry for the vagueness, but it's worth not spoiling.

The Edge of Darkness

The return of the Mel. I love Mel Gibson, so I was cautiously hoping this film would be good. While this is based on a complex political thriller mini-series from Great Britain, the film seems to get bogged down a little in the plot details, probably because it doesn't have the time to treat the story with the care and detail of the series. Where this movie works is when Mel stops being a careful detective and starts being a pissed off dad taking revenge for his daughter's murder. He is true to form and I look forward to his next project, whether acting or directing.

Iron Man 2

This film barely missed my top ten most anticipated films of 2010 list, mostly because I didn't think it could live up to the fantastic romp that was Iron Man. Well, it didn't live up to it, but it was a lot of fun. Robert Downey, Jr. is hilarious and Sam Rockwell is awkward and simply terrific as Tony Stark's arms dealing competitor. While it could have been better, the lack of Batman's self-seriousness serves this franchise well.

Sita Sings the Blues

I found this film thanks to Rotten Tomatoes, as it's one of two 2010 films currently at 100% (with at least 20 reviews). This film is a strange breed of animated musical featuring songs recorded in the 1920s by Annette Hanshaw. The animation is simplistic and charming and the story switches between a modern day couple and a classic Indian tale of Ramayana, along with some hilarious narrators. It's available on Netflix Watch Instantly, so no excuse not to check this one out.

How to Train Your Dragon

This has been referred to by many as the film that does 3D flying sequences better than Avatar. I loved it for the amazing score (which I listen to constantly) and the great story about a boy and his dragon. There are several emotional moments that get me every time. Truly one of the better animated films made in the past few years.

Fish Tank

This is a gritty slice-of-life film about a teen-age girl living in a rough neighborhood in England. The performances from the lead actress, Katie Jarvis, and the great Michael Fassbender are incredibly substantive, mournful, and believable. There are certainly moments towards the end that delve into some unfortunate stereotypical story elements, but overall this film is fantastic and well worth seeing. I was able to catch it on IFC In Theaters On Demand.

Un Prophete

Essentially A Prophet is a prison film in which we follow a young man through his 6 year prison sentence. Early on he is chosen by the Corsican mafia for a job, involving the murder of a fellow prisoner. The scenes leading up to this assassination and the murder itself are some of the most gut-wrenching, tense moments in any film I've seen in a while. The overall film is long and expansive with a lot going on; I'd really like to see it again. Having drawn comparisons to The Godfather, my expectations might have been unattainably high; however, this film was certainly worthy of the Oscar nomination last year for Best Foreign Film.

The Ghost Writer

Roman Polanski's latest film is a case of art imitating life, as it centers around a man who is living on foreign soil to avoid inevitable arrest upon return to his home country. In the film, the man is a former Prime Minister of Great Britain, played brilliantly by Pierce Brosnan, who is wanted for war crimes. Ewen McGregor plays the ghost writer hired to help write his memoirs. The murder mystery and political thriller that ensues is tight, efficient, and masterfully told.

The Girl with the Dragon Tattoo

Based on a popular series of Swedish novels, this film delivers a very graphic cold-case murder mystery with two very different protagonists that compliment each other, but in completely non-traditional fashion. The man is a journalist hired to investigate the disappearance of a young woman 40 years prior, while he awaits his prison sentence after being found guilty of libel against a very powerful businessman. The girl with the tattoo in question is an expert hacker with a troubled past to say the least. She also has some pretty sever problems in the present, which lead to some cringe inducing scenes of sexual violence. I found the mystery of it all to be quite enthralling, but most compelling was the character of the girl, which I simply can't wait to see in the final two films. Of course this films are already schedule for an American remake... As much as I love David Fincher, this trend of unnecessary American remakes of recently released foreign films has me extremely disheartened and perturbed at Hollywood.

Shutter Island

From the master Martin Scorsese comes this film noir horror film set on an island based insane asylum. With an incredible performance from Leo DiCaprio, this film will likely keep you guessing until the end, but even if you guess the ending correctly, the experience is still rewarding. It's a joy to watch Scorsese at play with these creepy set pieces and genre conventions, all while exploring heavy themes of guilt and atonement. While some of the sequences seem to meander, there are a few scenes that are so stark and harrowing I found it hard to breathe for their duration. It's not the best work we've seen from living legend, but it certainly is a notable achievement.

Kick-Ass

This film was pure, crazy, fun. Was it tonally all over the place? Yes. Did it turn into the movie it was initially parodying? Absolutely. Did that affect my enjoyment of the film at all? Nope. Not one, little, bit. As one of my most anticipated films of the year, my expectations were high, but director Matthew Vaughn was up to the challenge. There were so many crazy moments in this film, including some insane acting from Nic Cage and the most violent, vulgar 11 year-old girl you've ever seen on film. The over-the-top moments are balanced to some extent by great character writing and some heavy scenes with some emotional heft. The critical response has been very mixed and seems that this is a true "love it or hate it" movie. Now you know where I stand.

The Square

I am a firm believer in the theory that the circumstances under which you see a film greatly influences your perception and overall enjoyment of the film. I saw this little Australian flick, from Nash and Joel Edgerton, under the best of circumstances. My wife and I finally got a chance to visit the Alamo Drafthouse (S. Lamar) in Austin, TX. Everything about this theater is awesome, from the food to the leg room to the pre-trailers entertainment. Once the film started we were treated with a short film from the same director, Nash Edgerton, titled Spider. This 9 minute film has one of the most insane pay-off moments I've ever seen, and it totally set the tone for the feature film, The Square. The basic premise is that a man is having an affair with a woman who finds an opportunity for them to run away and be together. Once she convinces the man to do it, everything starts to go wrong. This film has been compared to the early work of the Coen brothers, which is high praise, yet deserved praise. This movie does not give you a chance to breathe, and just when you think it couldn't possibly get any worse... you guessed it. Brilliant acting, directing, and film making all around.