2010 in Movies: Special Mention March 2, 2011Posted by Richard Bolisay in Yearender.
Well, you have to forgive me, but I love foreplay. So before we proceed to the main act, let’s take off some clothes. Here we go.
BEST TAGLINE: “The only way out is through.” (Rabbit Hole) This string of words tells us about the film succinctly, describing pain with the same power, distance, and harrowing exactness like the narrative it shares. And while we’re at it. . .
MOST UNDERRATED PERFORMANCE: Aaron Eckhart (Rabbit Hole) Yeah, Nicole’s suffering mother is brilliant, but Aaron’s patient and self-absorbed father rarely gets noticed. Just take a look at that scene when he accuses Nicole of deleting their son’s video on his phone. He’s fuming hot as a pistol, but his beautifully sculpted face gives away the despair he feels.
BEST ONSCREEN COUPLE: William Shimell and Juliette Binoche (Certified Copy) Just when you thought Juliette Binoche will be carrying the weight of the film on her shoulders alone, William Shimell dashes and gets himself talking in a series of delightful, not to mention agonizing, conversations.
BEST LINE: Andrew Garfield (The Social Network)
You can’t help but kiss those filthy lips.
MOST OUTRAGEOUS SHORT FILM: Gahani (Jenriel Pons Lagat)
To see is to believe. “Asghadhafhdhqtruytrjfdasgfawazvcnhgmwery!”
BEST CREDITS SEQUENCE: Enter the Void (Gaspar Noé)
It’s not as groundbreaking as Quentin puts it, but it’s not disappointing either. It alludes to Godard’s famous title sequences (Weekend, especially), but kids thought the French dude’s too old and raved instead when Hype Williams ripped it off—poorly—in a Kanye West video.
BEST VISUAL EFFECTS: Scott Pilgrim vs the World
Dork gamers of the world: unite and take over. Cool hasn’t been overused this much.
MOST SURPRISING WIN: Uncle Boonmee Who Can Recall His Past Lives (Palme d’Or, Festival de Cannes)
Ain’t we happy for this? So deserved, and yet so… unimaginable?
BEST OPENING/ENDING: The King’s Speech/The Social Network
Tha-tha-tha… tha-tha-that unsettling (non)spe-pee-peech of the Duke of York at the be-be-be-beginning of Da-da-da King’s Speech no-no-no-not only sets the tone of the film, bu-bu-bu-but also proves Co-co-co-colin Firth’s o-o-o-often overlooked bi-bi-brilliance as an actor.
AndwhataboutJesselookingathislaptopscreen? Whataboutit? IsittheBeatlessplayingBabyYou’reARichManinthebackground, thecreatorfacinghiscreation, orjustthepainofhittingtherefreshbuttonsomanytimesandnotgettinganyresponse? Perhapsall.
WHAT-THE-FUCKEST ENDING: The Housemaid
Who has seen it coming? Who has seen it coming? No, I haven’t seen the original yet.
EXCELLENCE IN CINEMATOGRAPHY: Roger Deakins (True Grit); Matthew Libatique (Black Swan)
I can’t imagine a Coen Brothers movie without Roger Deakins in it. Those two geeks really owe him a lot. And Libatique? His camera movements are even more graceful than the dancers themselves.
BEST ENSEMBLE: The Kids are All Right
Annette Bening, check. For effusively singing Joni Mitchell at the dining table and then finding her partner’s hair at someone else’s bathroom. So worthy of a stroke. Julianne Moore, check. For firing the helper because he calls her out while she’s having sex with a client. Mark Ruffalo, check check. How can you not fall in love with the softness of his voice? Mia Wasikowska, check. For getting drunk and kissing a friend at the party. Josh Hutcherson, check check. “Wait, did you guys think I was gay??” Your eyes don’t lie, dear.
BEST MUSIC: Trent Reznor and Atticus Ross (TSN); Grizzly Bear (Blue Valentine); Tindersticks (White Material)
Look what we have here: Trent and Atticus’ beaming architecture of elegant soundscapes; Grizzly Bear’s segue from Veckatimest to a potpourri of slow and solemn instrumental; and most interestingly, Tindersticks working again with Claire Denis, confident and fine-tuned, rimming the film with an understated polish.
Kathy’s narration at the end (Never Let Me Go) I come here and imagine that this is the spot where everything I’ve lost since my childhood is washed out. I tell myself, if that were true, and I waited long enough then a tiny figure would appear on the horizon across the field and gradually get larger until I’d see it was Tommy. He’d wave. And maybe call. I don’t know if the fantasy go beyond that, I can’t let it. I remind myself I was lucky to have had any time with him at all. What I’m not sure about, is if our lives have been so different from the lives of the people we save. Tears.
Stalking the chef (I Am Love) Just when I was warming up to see a gay movie starring two pretty actors, Tilda went out of her way to smash my whim to smithereens. But Tilda, Tilda, Tilda, you are such a blameless disaster.
Lea! Lea! Lea! (Till My Heartaches End) The sound of thunder every time Gerald said “Lea,” which sounded like “Bea” to our malicious ears, was priceless. Yes, at the premiere where every Kimerald fan united and cried.
Sex sex sex (Love and Other Drugs) Two beautiful people passionately having sex and enjoying it.
Sandamakmak na corny jokes (My Amnesia Girl) Like I always say, the first half of the movie is brilliant, particularly the waywardness of John Lloyd and Toni’s banters and the distinct Pinoy humor they were wont to abuse. The birthday sequence was lovely too.
Outside the restaurant (The Town) The heist sequence at the beginning is gripping, but that part when Ben Affleck meets with Rebecca Hall, and then Jeremy Renner walks in and joins the conversation, Ben trying to stay cool and Jeremy almost at the point of teasing, the camera focusing on Jeremy’s tattoo, steals the show for me.