My Top 25 Favorite Movies of 2011, Part 2

-Hobo with a Shotgun-

This is, by far, the most tasteless movie on the list.  It's also the movie you put on when all your twisted friends come over for a party - it'll knock 'em flat.  Designed as an homage to trash cinema of the '80s and late '70s, this grimy gold nugget is about a world-weary Hobo who decides to take out the garbage (a.k.a. drug dealers, crime lords, pedophiles, reality show producers, etc) one pump-action blast at a time.  Don't let all of the overacting, cheap gore and nonstop profanity fool you - this flick has a heart of gold.  The central relationship in this movie, between the Hobo (the legendary Rutger Hauer) and a pretty young hooker named Abby, who becomes his savior/apprentice (awesome newcomer Molly Dunsworth), grounds the plot and provides some honest-to-goodness emotional heft, enhancing the whole affair.  Or you can just enjoy the 'splosions.  And the colorful cinematography.  It's not for everyone, but if you grew up watching Troma films on late night cable TV, this might be right up your alley.  And always remember: "If life gives you razor blades, you make a baseball bat covered in razor blades."  Sploosh.

-The Tree of Life-

Do you enjoy poetry?  If not, then stay away from the work of director Terrence Malick because it's all prose.  Visual prose.  He's always been interested in conveying thoughts and emotions through imagery, and this is no more evident than here in his latest film (his fifth movie in forty years).  To me it's a movie about the relationship between creator and child, the imperfect nature of that relationship, and the constant tug of war between the emotions and practicalities that affect it all.  And there are lots of pretty pictures to enjoy, as well - every Malick film contains images that you haven't seen before and likely will never see anywhere else.  Beyond the photography, there are great performances by Brad Pitt and Jessica Chastain to behold and there are also dinosaurs.  And the creation of the Earth.  And kids puttering around in their front yards in the '50s.  And dream sequences with tricycles and tall guys in rooms with low ceilings.  Did I mention prose?  It's a wide-ranging, meditative movie, a one-of-a-kind experience that, like "Hobo with a Shotgun", is worth the ride for those with the mindset for something different.  I don't consider this my all-time favorite of Malick's films (that would be "The Thin Red Line" - or maybe "Badlands"), but it's one of my faves of 2011.

-Mission: Impossible - Ghost Protocol-

2011 was filled with great pulp thrillers - here's another.  While I never saw much of the original series, I am a fan of these Tom Cruise-starring adaptations (yes, even the second one), with "Ghost Protocol" being my favorite of them all.  This was shepherded by J.J. Abrams, who no doubt had a hand in bringing Brad Bird in to direct - a brilliant choice, since Bird's previous movies ("The Iron Giant", "The Incredibles", and "Ratatouille") are some of my favorite animated movies ever.  He can make a quality live-action movie as well, proving he's a deft hand at coordinating action, character and story to maximum, lean effect.  It was also a wise choice to surround Cruise's Ethan Hunt with well-drawn characters portrayed by excellent actors - each of these thespians can (and do) easily carry a movie all on their own.  And whatever you think of Cruise's wacky personal life, he is still a great leading man.  I recommend you check this one out.  It's not life-changing or deeply meaningful or anything, but you may be surprised how much you dig it by the time the end credits roll.  It's a great Hollywood spy romp.  And it also features the most ridiculously over elaborate way of sneaking down a hallway that I've ever seen in my life (it's cool from a technical standpoint, though)!

-Troll Hunter-

Every time that I think I'm starting to get sick of found-footage thrillers another one comes along and makes me believe again.  Like "Troll Hunter", from director Andre Ovredal.  Deep in the mountains of Norway, a trio of college film students are investigating someone who they think could be an illegal bear poacher only to discover that he's actually a government employee who's saddled with the thankless task of rounding up wayward trolls who've escaped from Norway's super-secret troll preserve in the northern wastes.  His disgruntlement with his employers leads him to invite the students along for a little "dirty jobs'-style inside scoop.  While the movie indulges in (while playing off of) the usual found-footage cliches and is often quite tense and scary, the ridiculousness of the subject matter and slight twinge of political satire give it a welcome undercurrent of humor that I find irresistible.  Add to that some killer CGI, straight-faced performances by all of the lead actors, gorgeous scenery and loads of rich troll mythology (as well as a cool variety of beasties) and you have a one of my favorite foreign flicks of 2011.

-Drive-

Yet another blast of grimy cool from director Nicholas Winding Refn, "Drive" is a low budget crime potboiler with an '80s tech-noir vibe.  Ryan Gosling is the Driver, Hollywood stuntman by day, getaway driver by night.  When the object of his affections (Carey Mulligan) runs afoul of some local crime lords (Albert Brooks and Ron Perlman), the Driver must sacrifice everything to save her and her son's life.  There's a bit of "Taxi Driver" here, but while Robert DeNiro's performance in that movie screams "unbalanced", Gosling's Driver is more like a coiled spring.  He's stock still, he barely talks, but when he acts, things (and people) get damaged.  Badly.  In fact, by the end of the movie, he's practically a horror movie villain like Jason Voorhees or Michael Myers, complete with a very creepy mask.  It's mucho gritty and disturbing but has an old-school bad ass sexy love story vibe that I dig deeply - the music is modern but with an '80s-like feel, the opening credits are in hot pink cursive and the nighttime streets are bathed in a golden yellow glow.  If you like slow-burn movies, this one smolders.

What the Hell's a "Django"? Part 2

It's a pretty good movie, that's what!

I felt that I should say a quick word or two about the new Quentin Tarantino movie "Django Unchained".  In a previous blog entry, I covered the original 1966 "Django" and the weird semi-prequel from Takashi Miike, 2007's "Sukiyaki Western Django".

Tarantino's movie is a remake in name only.  There are only three major similarities to the original - the song that plays over the opening credits is the same, the movie is a Western (obviously), and original Django actor Franco Nero makes a special guest appearance.  Otherwise, Tarantino makes it his own, as he did with his previous effort "Inglorious Basterds", also a remake.

Its cast is as eclectic as its soundtrack - from Jamie Foxx to Christophe Waltz to Leonardo DiCaprio's bad teeth to Don Freakin' Johnson as a Col. Sanders lookalike, to the surprise appearances by big stars and recognizable faces, it's a grab back of "look, there's so-and-so!"  Likewise, the soundtrack features everything from modern hip-hop to '70's easy listening tunes to classic Ennio Morricone Western themes.  It's a cornucopia of Tarantino's likes and interests, as per usual for one of his films.  Although, I don't remember seeing any fetishized closeups of women's feet this time.  Maybe I just missed it.  Sick bastard. . .

The only major complaint I have about "Django Unchained" is that the iconic image of the lone, grizzled gunslinger dragging a coffin through the desert was not used or referenced.  It's a supremely cool, memorable sequence from the original that I was hoping Tarantino would reprise.  Alas, it was not to be. . .

Tarantino is a movie lover who makes movies for movie lovers -

movie movie movie.

- which means that "Django Unchained" is filled to the brim with loving cinema references and tributes, mixed together by a master cook, baked for two hours at 350 degrees, and presented with a side of juicy ham and red sauce.  With beer. 

The movie features many influences from both American and Italian Westerns, but by making the character of Django a freed slave out to save his wife from an insidious plantation owner, Tarantino is able to incorporate nods to blaxploitation movies of the 1970's like "Mandingo", a particular favorite of his.  This allows him to portray the issue of slavery as the utterly silly and stupid thing it was, while acknowledging the horror of it and indulging in a little angry revenge-fantasy retribution at the same time.  It's a heady mix of serious themes and escapist cinema that shouldn't, but does, manage to blend well under his over-the-top , stylistic direction.

Like all of his other movies.

In other words, if you take movies seriously while not taking them seriously, yet love them with all your heart, then you should be a Tarantino fan.  So here's "Django Unchained", same style, different genre.  I love it!

My Top 25 Favorite Movies of 2011, Part 1

From the deepest bowels of the blackest pits of Hades I rise, and ALL MOVIES SHALL TREMBLE BEFORE MY SHIFTY MIGHT!!!

Ahem. . .

Okay, now that I've gotten that out of my system it's time to get back to business with the annual 5-part list of my top 25 favorite movies of the previous year (2011).  Why not do a favorite movie list of the most recent year, you ask?  Because movies need time to breathe.  Immediate reviews of new movies are always far too reactionary, and with their marketing campaigns constantly pummeling our minds and the circumstances of the day coloring our moods, basing our entire opinions of a movie on a one-time, uniquely affecting viewing always seemed a bit dishonest to me.  Watching a movie for a second time, without all of the advertisements and hype (or un-hype), at a time long after the movie's initial release has always felt like the best way to form a truthful opinion.

Also, keep in mind that this is not "The Top 25 BEST Movies of 2011".  These are my FAVORITE movies of 2011, not necessarily the "best".  These are the movies that I've watched most often over the past year, movies I've shared with others and love, despite their flaws (or because of them).  I am not enough of a D-bag to declare what is "best" for others.  I only know what I like.

So strap in and hold on to your butts.  It's gonna be a bumpy ride. . .


-The Adjustment Bureau-

And the award for Most Boring Movie Title of the Year goes to. . . a pretty good film!  I merely "liked" this movie when I saw it in theaters, but the year has been kind and my fondness for this movie has grown quite a bit.  It's a simple love story wrapped in a science-fiction concept.  Based on "Adjustment Team" by Philip K. Dick (heh, heh), the movie, directed by George Nolfi (hee, hee), follows two people (politician Matt Damon and dancer Emily Blunt) as their burgeoning love affair conflicts with the plans of "The Chairman", a mysterious being who's been controlling mankind over the ages, guiding them along his own personal plan via his fedora-wearing agents in the Adjustment Bureau.  It sounds like a potentially dark concept but, while the movie treats it's fantasy aspects seriously, it's actually a good, old-fashioned Hollywood thriller.  And that's what I love about it.  Turn off your color and watch this movie in black and white (as I have) and you'll see what I mean.  That endearing earnestness that makes the classics so watchable is here in spades.  With two great, chemistry-laden performances by the lead actors, slick, technical direction and its sweet Hollywood ending, this movie feels like a breath of fresh air compared to all of the dark, gritty sci-fi we usually get.

-Rango-

Remember when a Johnny Depp movie was something to eagerly look forward to?  Well, after a long string of crap ("Alice in Wonderland", "The Rum Diaries", "The Tourist", "Pirates of the Caribbean 4", "Dark Shadows", etc.) that's no longer the case - with the occasional exception.  "Rango" is one of these exceptions.  From Gore Verbinski (director of "The Ring", "Pirates of the Caribbean 1-3") comes I.L.M.'s very first animated movie, featuring Depp as the voice of the lead gecko who, after getting separated from his owners and stranded in the desert southwest, pretends to be a dastardly outlaw, becomes sheriff of an old western town full of colorful animal characters and gets embroiled in a plot to control the town's water, all while fighting bandits, a desert hawk and his own lying nature.  It's a fantastic tribute to Old West cinema ("Rango" - ""Django"?), filled with amazingly designed characters (by Mark "Crash" McCreery), great action scenes, and lots and lots of hilarious sight gags and lines ("I found a human spinal column in my fecal matter, once!").  And it's definitely PG-rated.  Very hardcore stuff (for young'uns).  It's my favorite animated movie from 2011.

-Tucker and Dale vs. Evil-

The cult movie phenomenon of 2011 and the latest addition to my annual Halloween favorites is this little gem of a horror/comedy from director Eli Craig.  Taking the cliched horror movie situation of vacationing teens getting tormented by backwoods hillbillies and flipping it on its head, the film stars Alan Tudyk and Tyler Labine (a perfect comedy pairing) as redneck hillbilly buddies Tucker and Dale who head into the woods to fix up their new vacation home.  When the duo rescue a lovely young lass from drowning, her group of friends (vacationing teens, all of 'em) think she's been kidnapped and will do anything to save her from her "evil" captors.  The misunderstandings mount, as does the gory body count.  While some structural flourished don't work and the film occasionally shows its low budget, but still works phenomenally, full of some of the funniest movie moments of 2011 coupled with some great gore effects.  And while the comedy far outweighs the horror, the performances of the two leads equals comedy gold, with a nice dose of touching (and effective) sentimentality thrown in to make you root for these characters even more.  Watch this movie and pass it on to your friends!

-Fast Five-

This is how you do it.  Pay off a decade-long storyline, that is.  "The Avengers" would do it also, but for all of the fans who've followed the "Fast and the Furious" series since 2001, this movie is the culmination that dreams are made of.  What is basically a soap opera/crime drama/car porn/hip hop action series for the "Grand Theft Auto" generation grows up a little bit and takes more responsibility this time around as Dom (Vin Diesel) and his crew of law-breaking street racers get caught between the vicious drug lord who rules Rio de Janeiro (Joachim de Almeida) and a crew of CIA enforcement agents run by a living pit bull named Hobbs (The Rock).  In order to break free and ensure the safety of the next generation of law breaking hooligans they need to pull of one last, unbelievable heist.  It's anarchic, anti-authoritarian fun at its best.  The love that the fans have for these characters is clearly shared by the filmmakers, specifically director Justin Lin, as he brings together all of the fan-favorite characters together at once, bringing the series' overarching theme of family hard into the fore.   It's the third film in the series that he's directed, and it's his most refined and assured, perfectly paced with equal amounts of fun and pathos.  The Rock is a particularly energizing addition to the series - his bare knuckle brawl with Diesel is this generation's version of a Schwarzenegger/Stallone fight.  In fact, it's The Rock's best movie to date!  Add to that one of the best climactic action sequences ever (you will rewind and watch it multiple times) and a kicker of a final, post-credits scene (leading to the final two movies in the series) and you have one helluva good time.

-Another Earth-

Intimate indie drama meets high concept science fiction in this low budget winner from director Mike Cahill.  Rhoda (Brit Marling, also co-screenwriter) has a bright future ahead of her.  She's intelligent, college bound and eager for life, but one night of partying and an astronomical distraction (a new, just-discovered Earthlike planet in the night sky) culminate in a horrible car crash.  Responsible for the deaths of a pregnant woman and her young son, and for sending the father into a coma, Rhoda is sent to prison.  Years later, after her release, she attempts to piece together a new life, but a chance meeting with the now-awake (and broken) man she put into a coma (William Mapother) opens up a new opportunity to put things right - if only she can overcome her own broken psyche.  Oh yeah, did I forget to mention that the Earth-like planet turns out to actually be a parallel Earth, populated with doppelganger versions of all of us?  Whoops, I forgot.  What seems like two very incompatible plot lines actually mesh quite nicely, with some neat sci-fi ideas feeding naturally into the dramatic storyline, and vice versa.  Marling and Mapother give fine performances as the two damaged main characters, anchoring the far-out concepts of the fantastical plot elements through their believability.  There's some sketchy acting here and there, the film occasionally shows its low budget, and the opening scenes are a little to "student-filmy" for my tastes, but I found myself undeniably sucked into the narrative and loving every minute of this intelligent fable of redemption and rejuvenation, from beginning to breath-catching end.