Every year, roundabout mid January I make a habit of writing about my favorite movies from the previous
year. This is basically an excuse to make a list and foist my opinions on the handful of friends who like
to argue about cinema. This year, most of my passion for argument has been channeled into debates around
the culture war, foreign policy, feminism and Wikileaks. Not surprisingly, even in making a list of my
favorite movies from 2010, I’m struck by how political my tastes have become. Or at least how much my
criteria for measuring a film’s subjective value has been shaped by my own political values.
I still watch a lot of movies, and I’ve had a small hand in festival programming over the last few years.
A small part of me wants to be in Park City right now. (Anyone wanna buy me a plane ticket?) So, I still
feel driven to make this damn list, even while I feel a certain drift in my passion for cinema.
This past month, I’ve been catching up with many of the titles on the Indiewire year-end poll. Luckily,
many of these can be found on Netflix or on your finer torrent sites. Here’s my list of my ten favorites
from last year and some other observations.
Ten Favorites from 2010
The Oath- Laura Poitras’s fascinating portrait of Abu Jindal, former bodyguard to Osama
bin Laden dares to explore the psychological and ideological complexities of a man most of us would
dismiss as a terrorist. In doing so, Poitras suggests a way out of our own simplistic “war on
terror” mentality. The Oath is also one of the most beautifully shot films in any genre. I
strongly suggest seeing this one before reading further about Jindal.
One of Mark Hogancamp's scenes from Marwencol.
Marwencol- Jeff Malmberg’s poignant documentary about Mark Hogancamp’s WW2-inspired
dioramas ranks with Crumb and The Devil & Daniel Johnston as one of the few sensitive
investigations of “outsider art” and its therapeutic value. Who knew that a film about a man
playing with dolls could reveal so much about the human condition and the artistic temperament?
Everyone Else- Maren Ade’s fly-on-the-wall drama about a doomed relationship is the kind
of movie that leaves audiences squirming with self-recognition. That said, Everyone Else is
subtler, more generous and more feminist than many of its war of the sexes/Theater of Cruelty precedents-
the schematic, misanthropic relationship dramas of Nichols & LaBute for instance. Still, it’s probably the
worst date movie of the year.
Four Lions- British national treasure Chris Morris brings an unexpectedly sweet touch to
his tale of bumbling would-be jihadists. What could have been a mean-spirited culture war caricature is
instead a perversely empathetic, though still savage dark comedy. Four Lions seems inspired by
the Ealing Studio classics- it’s like The Ladykillers meets Al Qaeda. And it’s pretty damned
funny too.
Scott Pilgrim vs. The World- Edgar Wright’s exuberant, over-the-top comic book
adaptation does a better job of capturing the excitement and ADD allure of video games than Tron
and Inception (video game movies, both) combined. If you can look past Cera’s too cool for school
character, and the juvenile sexism of the premise, there’s a lot of fun to be had.
Lebanon- Told entirely from the perspective of Israeli grunts in a tank lost in
Lebanon, this nerve-wracking drama earns its place with other war is hell ordeals. Comparisons to Das
Boot are warranted. It’s also one of the most blunt and effective movies to connect the cinematic
gaze to actual violence. In this case, the tank gunner’s site is quite literally the lens through which
the characters (and the audience) view the battlefield and the enemy. Talk about yr crosshairs.
A typical domestic scene in Dogtooth.
Dogtooth- Of all the movies I loved last year, this one made me an evangelist. It’s that
good. Yorgos Lanthimos’s bold and bizarre fascist allegory presents a Greek patriarch who raises his adult
children in total isolation from the outside world. Dogtooth‘s cinematic universe is so
strange that the film could pass as science fiction. Formally and thematically, it’s like a marriage
between Michael Haneke and Stanley Kubrick, but with more wit and eroticism than either of those
misanthropic masters. No comparison really makes sense. Dogtooth literally has its own language.
Carlos- There’s not a dull moment in all 5 1/2 hours of this miniseries about legendary
terrorist Carlos the Jackal. One critic has already noted that director Olivier Assayas must be a
fan of The Wire, because Carlos concerns itself with the political complexities of
terrorism, not action movie thrills or phony psychological insight. Assayas keeps a cool distance from
Carlos, revealing his character through his actions, rather than through speechifying. His evolution from
righteous radical to mercenary is set against an almost dizzying backdrop of international political
gamesmanship. Oh, and the soundtrack is awesome.
Rare Exports: A Christmas Tale- The Christmas movie was due for an
overhaul, but who knew it would look like this? On Christmas Eve, in a snowbound mountainous region of
Finland, an all-male community of reindeer hunters are besieged by a monstrous Santa Claus and his army of
naked murderous elves. If that doesn’t sound like the premise for a sentimental, Spielbergian kids movie,
you need to queue this one and witness it for yourself. Miraculously, Rare Exports is scary,
thrilling, perverse and touching. I’m hoping it replaces A Christmas Story as the holiday
counter-programming of choice for the next generation.
Jackass 3D- Sadomasochistic, homoerotic, scatalogical, 3D. (They had me at
sadomasochistic.)
Some More
Easy A- Though not without its flaws, this comedic adaptation of The Scarlet Letter
was still the most feminist Hollywood movie of 2010. (Well, maybe along with True Grit.) The
madonna/whore complex and slut shaming get properly skewered in this surprisingly smart high school movie.
Mother- Bong Joon-ho’s darkly funny Oedipal mystery has kinda faded from my memory. But
the central performance hasn’t. Hye-ja Kim is one mean mother.
With a name like "Trash Humpers," what did you expect?
Trash Humpers- Harmony Korine’s VHS faux “found film” is about a half hour
longer than I wanted it to be. Still, you’ve never seen anything like it, at least not in a movie theatre.
Beneath all the provocation, Korine seems to be confronting the tensions of living on the edge while
growing up and trying to raise a family. Or maybe I’m just projecting?
Exit Through the Gift Shop- Banksy is a genius, and Exit Through the Gift Shop
is as clever as they come. Back when I was convinced that this movie was an elaborate con (it’s not), I
liked it a bit more. Now, I feel a little bad for Thierry that his friend and idol has gone to such great
length to depict him as an artistic fraud. Especially when his art isn’t much worse, by this film’s
criteria (mass production, borrowed ideas, pop culture shallowness), than another famous street artist the
film venerates.
Toy Story 3- Well, I didn’t cry. But I don’t really mourn the passing of my childhood.
And it was always hard for me to grok the emotional aspects of this series. I simply don’t care about what
toys feel. It’s the feeling we put into them that moves me (see Marwencol.) Now that
I’ve revealed my cold, cold heart, I’ll say that I love the Toy Story movies for how damned
entertaining and inventive they are. The third and final chapter had the most action of the bunch.
Never Let Me Go- This was frustrating to watch, but it has grown on me, and I suppose
that frustration is part of what it’s going for. Mark Romanek’s adaptation of the Kazuo Ishiguro novel is
a sci-fi allegory that would play perfectly on a bummer double bill with Dogtooth. Like that
film, it’s about adult children, raised in social isolation, without the tools to survive in the outside
world, or really, to even believe in the concept of freedom. Never Let Me Go is a drag to watch,
because it’s told from the stunted perspective of doomed innocents. Our horror grows, as we recognize how
wrong the situation is, and discover that there’s no one onscreen acting as our proxy. But of course, the
point is also that the characters could be stand-ins for anyone who is doomed from birth to poverty,
slavery or low social status. So in this case, as in the best sci-fi, we simply have a creative way of
looking at a real problem. Bummer.
Best Rerelease
Hausu- Pack the bong and rent this immediately. Here’s a peek.
Most Overrated (Hollywood)
Inception- Watching Inception is like playing a game with a child. He spends a
long time explaining the rules, then he breaks them. You ask him why, and he complicates the rules
further. After a while, you just sorta surrender because you have no choice, and pretty soon he’ll need
graham crackers and a nap anyways.
My real beef with Inception isn’t its narrative complexity or its convoluted expository
dialogue, but its frustrating literal mindedness. Some filmmakers use the dreamworld or virtual reality
scenario as an opportunity to reveal the uncanny or to add emotional texture. Mulholland Drive
and Synecdoche, NY are two examples. These movies use their alternate reality premises to explode
the aesthetic and narrative possibilities of the medium. By contrast, Inception feels like a
video game, in which the director and character are fixated on the rules, and quite literally on
completing the levels. The various dreams within dreams of Nolan’s film don’t feel like layers of
consciousness, they feel like levels in Super Mario Brothers. The reason that
Inception‘s Oedipal ending feels so hollow is that the film is about solving problems, not
exploring mysteries.
Most Overrated (Arthouse)
Enter the Void- Enter the Void is like a hipster Avatar. Once you get
past the innovative technical achievement, you’re left with a very dumb story, and a visual design that’s
actually pretty cheap. The colorful digital sparks emitting from genitalia during an orgy scene and the
psychedelic designs during a DMT trip have the same generically trippy quality as many of the effects in
Avatar. Cameron called his film’s look “fantasy van art.” Gaspar Noe’s looks like
rave flyer art.
Trippy.
Noe’s thematic obviousness also mirrors James Cameron’s. In this case, a character literally explains the
premise of the Tibetan Book of the Dead so that we don’t have to do any work of interpreting the
following two hours. The camera swoops and soars over Tokyo rooftops, into ashtrays and orifices, but the
movie doesn’t actually take us anywhere we haven’t been before. At one point, using the first person POV,
Noe puts the audience inside a vagina during sex and then fucks us in our vagina eyes with a big penis.
Subtle. In interviews, Noe has expressed surprise that people laugh at this. That should tell you
something about how badly he misjudges the value of his visual ideas. (Also, it suggests he really oughta
see Jackass 3D.)
Best Opening Credits
Enter the Void- OK, speaking of Noe’s visual ideas. The opening credits for the film
were amazing.
Revenge of the Nerds
As you probably know, the year’s most critically acclaimed film was about an egomaniacal, tyrannical
computer geek who betrayed his partner, and built a virtual utopia, which he quickly populated with
millions of digital serfs. Of course, I’m talking about The Social Network, but it’s funny how
easily this synopsis could suffice for Tron Legacy, with Flynn/Clu standing in for Zuck.
This year, the nerds got their revenge and took over the popular narrative, both in cinema and
in the real world. If there’s one thread that
loosely ties some popular films together this year, it’s that they were all set in virtual worlds designed
by tech-savvy, but emotionally stunted male imaginations. That describes the setting of Facebook in
The Social Network, The Grid in Tron:Legacy and Dom Cobb’s dreamworld in Inception.
These films are set in a boys world, devoted to corporate logic and values. The struggles are for
intellectual property and the battles are literally bloodless. In The Social Network, Zuckerberg
wages legal warfare to keep the bragging rights and corporate profits of Facebook. In Tron, the
struggle for the future of Encom is waged both inside and outside of the corporate matrix, with the CEO
hero Wikileaking his own company’s software to the world. Inception‘s dream thieves are
hired for corporate espionage, to steal (literal) intellectual property from one tycoon to benefit a
rival. The emotional stakes in all of these films are very low. They are more like video games, where a
problem must be solved, a task completed, to advance to the next level. There are no physical stakes
either. In Tron, the only casualties are virtual. In Inception, you literally cannot
die. In all three films, women have little agency. Their primary role is to validate or facilitate the
men’s struggles.
Terrorists!
Terrorists have also seized the popular imagination, but they’re mostly stereotypical villains in
Hollywood cinema. Three of my favorite films this year explored the character of the terrorist, but these
movies came from the documentary genre and foreign cinema.
Abu Jindal, the subject of The Oath.
The Oath is an enigmatic documentary portrait of Abu Jindal, a former bodyguard of Osama bin
Laden, who now drives a cab in Yemen. Director Poitras withholds critical information, choosing instead to
slowly peel the layers of Jindal’s personality. The film doesn’t ask us to sympathize with its prickly
subject, but it does confront us with his complexity and his humanity. This is no small achievement in the
age of the War on Terror.
Carlos takes the opposite approach. It resists any attempt to probe the psychology of the
storied terrorist at its center. Instead it portrays the terrorist as tactician. Sure he has some human
traits. Carlos is a narcissist prone to self-mythologizing, and a womanizer, but otherwise we don’t learn
much about his personal motives. When Carlos makes the character-defining decision to choose money and
self-preservation over principle, he becomes predictable- just another player on a crowded chess board. At
the dawn of the New World Order, he’s like so many other players, with dwindling political capital, scarce
resources and no flag to march under. Neither hero nor villain, Carlos is simply useful, until he isn’t.
It would be hard to imagine an American film, especially a comedy, portraying Arab Muslim terrorists,
without resorting to racism or Islamophobia. Four Lions threads the needle. The film uses farce
and slapstick to leaven the darkness of its subject matter. It also dares us to care about its dimwitted
characters, without ignoring the fact that they are moral monsters. The most subversive moments in the
movie are the domestic scenes depicting the cell’s mastermind as a loving father and husband, even while
he plans a massive suicide bombing. The film is tragic, savagely funny and unexpectedly sweet. It shows
its cockeyed characters on their own terms. The tragedy of the film is not that the mastermind proceeds
with the bombing, but that he violates his own moral code in doing so. Murderers, bumblers and jihadists,
but still recognizably human.