Rumor has it that Jennifer Aniston is in a new movie called Wanderlust in theatres this weekend.  While I hear it may not be picture perfect, I think I’ll just go with it.  My horrible bosses say it’s bad, but then again, I don’t take advice from guys who complain about not having enough office space.  So yeah, you won’t need Dog The Bounty Hunter to track me down this weekend.  I’ll be watching the good girl herself, a real rock star, Jen Aniston on the big screen.  I mean, she’s the one.  I’ve supported every movie of hers since the break up with Brad Pitt.  Still can’t believe that he’s just not that into you, Jen!  Love happens, but evidently, so does shit.  I mean out of NOWHERE along came Ang…how could Pitt make the switch to Angelina?  HOW?!  SHE DERAILED THAT MARRIAGE!  Slut.  Don’t worry Jen, me and all my friends with money are coming out to support your movie this weekend, and we’ll do it every time a new movie of yours opens, even if it’s a big pile of shit like Leprechaun.  So to wrap things up, Jen, you are the object of my affection, and the day you quit making movies, I’ll cry harder than I did at the end of Marley and Me.

-CB

P.S. While I seriously do own the tie shown above, everything else I just said was complete B.S.

Wanderlust involves Paul Rudd in a comedy…DONE!  It’s from the director of Role Models and the producer of Bridesmaids, Superbad, Knocked Up, Forgetting Sarah Marshall, etc. etc…DONE!  Add a great supporting cast and you’ve got a great movie…right?

If you’re looking for a little more description Wanderlust is about a couple who end up losing their jobs and their apartment due to how horrible the economy is, and end up going to live in a hippie commune and…COMEDY ENSUES!  Glad I got that out of the way!  

Ok, so really the setup seemed amusing enough to warrant a movie being made, but what got me excited was the fact that this movie was a combination of a number of terrific elements in front of and behind the camera, which lead me to believe it would take a lot to mess up this movie.

First off, you have the combination of Paul Rudd and Jennifer Aniston, which I thought was a great pairing, (ignoring the fact they were horrible together in some shitty 90s chick flick I’m pretty sure my aunt made me watch and I have blocked from my memory.)  I probably would’ve preferred the reteaming of Rudd and Elizabeth Banks, since they have great chemistry together, but I got it, Jennifer Aniston is much more of a household name than Banks, and the movie probably got thrown a few extra bucks given her “star power.”  On top of that, I was looking forward to seeing her in a well made comedy, because while I think she picks crappy movies to be in, I think she as an actor is inherently funny.

Another plus, is that you have the team from Role Models and team Apatow joining forces, which certainly seems like a winning combination.  Director David Wain worked on the script with his writing partner, (the two have written several project together including Role Models,) Ken Marino, and brought along many of the actors he has worked with on movies like Wet, Hot, American Summer, (and Apatow has worked with as well,) to round out the movie.  Given this direction, and given how Apatow is an excellent producer who has an excellent track record of guiding the comedies he produces along so that they are both funny AND have well developed character with actual character arcs, I sincerely felt this movie was going to play like a best of album, but this unfortunately, turned out to less than true.

Director David Wain.

Producer Judd Apatow.

Paul Rudd, David Wain, and “Stiffler” on the set of Role Models.

So, what problems does this movie have?  Well, like Role Models, Wanderlust has a plot where you see a duos lives before everything goes to Hell, and then the shit hits the fan, and then the movie really begins.  When I saw Role Models, I was equally interested in the story of Paul Rudd and Sean William Scott before Rudd’s character flips out and after.  There was almost a movie in the idea of those two being on the road promoting energy drinks.  In Wanderlust, we open up on a scenario that’s supposed to be topical, about a couple who are tryin to make it in the big city, Rudd by workin’ his butt off at something he hates, allowing his spouse to try and live her dreams, all the while living in a cramped New York apartment…bet you’ve never scene this scenario, huh?!  And then I guess everyone effected by the economy is supposed to relate and laugh at the part where Rudd loses his job in the economy, and Aniston’s dreams are crushed and they freak out?!  No, not funny.  

Now call me a sucker for hippie humor, but in the next section, the movie starts to get funny when Rudd and Aniston end up spending the night in a hippie commune.  In the same way I related to the everyman Rudd in Role Models, who has to put up with all the ridiculousness in his life, I totally relate to Rudd as the normal dude caught up in the mix with a bunch of hippies.  He thinks it’s odd at first, then he gets into it, but then again quickly realizes that sharing all of your possessions, not having a door on the bathroom, and running around naked in front of everyone is insane!

It’s in this section we meet the plethora of very talented comedians/actors in zanny supporting roles, headed up by Alan Alda, who plays the hippie who founded the commune.

Alan Alda in M.A.S.H.

Along with Alda we have Justin Theroux, (American Psycho,) as the hansome hippie hitting on Aniston, Malin Akerman, (The Heartbreak Kid,) as the hot chick hitting on Rudd, (that story line hardly goes anywhere,) Joe Lo Truglio, (I Love You, Man,) as the nudist wine maker, and a bunch of other people who have had small roles in a million different comedies that we’ve all seen.  But despite the zanniness of these character, they for the most part, serve no purpose, and most of the jokes, (especially Alda’s,) fall flat.

This is the heart of the problem with Wanderlust.  To make a stupid pun, the plot…WANDERS a bit too much.  Many characters serve no purpose, the main characters don’t really have any sort of character arc, or get fleshed out, and in the end, they really don’t change or learn anything about themselves, and their journey really served no purpose.  Rudd and Aniston’s characters aren’t even that well developed; they rely mainly on typical, cliche character types, and I didn’t find Aniston’s character to have many redeeming qualities.  The jokes and characters all get stretched out, and after a while, it just seems pointless as to why we as an audience are watching most of these scenes unfold.  Wet, Hot, American Summer similarly meanders around, with a bunch of random, zany characters included in the story for no reason, but the difference there was: the characters were funny enough to warrant extra screen time.

Paul Rudd and Elizabeth Banks in David Wain’s Wet, Hot, American Summer.

Ok, so despite its many problems, Wanderlust does have its share of fun moments.  When Rudd and Aniston first get to the commune=great.  When Theroux first starts hitting on Aniston, everyone joining Rudd in the bathroom, all great.  In addition to all this, one of the things I think the filmmakers really nailed was the scenes where Rudd and Aniston visit Rudd’s brother and wife in Atlanta.  Maybe it’s because I’ve spent a great deal of time in Atlanta, but I think they truely captured a certain type of Atlantan…ite…resident.  Obnoxious asshole husband who shows off all his stuff and makes fun of hist guests, wife who drinks to ignore how miserable she is, spoiled brat of a kid you barely see, and when you do insults you, and a GIANT, OBXIOUS HOUSE, THAT IS ABOUT A WEEK OLD, WITH CEILINGS THAT ARE UNNECESARILY HIGH!  NAILED IT!  Added bonus is the brother is played by the screenwriter, Ken Marino, who has carved himself a nice little niche playing obnoxious husbands.  Also speaking of bonus, there’s a nice little Atlanta news segment that features cameos from Dir. David Wayne, and other members of the Wet, Hot, American Summer cast, (won’t spoil it,) which fans will certainly eat up, and is also funny in its own right.  The funniest bit of the movie however, is Mr. Paul Rudd looking himself in the mirror, trying to psyche himself up before jumping into bed with a woman that is not his wife.  Almost worth checking out this movie for this scene alone if you’re a big Rudd fan.

So, all in all, C+/B-.  If there weren’t so many pros involved in this project that turned in sub-par work, I probably wouldn’t be so harsh on a semi-fun comedy.  Rudd, keep doin’ what you’re doin’, buddy.  You’ve got another Apatow comedy to fall back on later in the year.  And Jen, sorry, I’ve been rootin’ for ya, but I’m affraid you’re never gonna reach your full potential as a leading lady in movies.

-CB

P.S. One final note, and I know being a dude taints this, but Jennifer Aniston was supposed to be nude in this film.  She filmed scenes in the nude, the movie was edited together with these shots of her in it, but less than a month ago she pleeded with the filmmakers to not include this out of respect for her boyfriend…JUSTIN THEROUX, (see below,)…WHO’S IN THE MOVIE!    

Theroux in Your Highness.

I’m callin’ BS.  She’s evidently pulled this shit before, (quite possibly on Horrible Bosses.)

Jennifer Aniston in the very funny Horrible Bosses.

I sincerely hope she doesn’t pull a Diane Keaton and put off getting naked until she’s in her 60s and it just becomes awkward for everyone.  Do or don’t, quit hedging your bets, and don’t make up B.S. excuses like this one.  This is not about me wanting to see Rachel from Friends naked, (…well…no, no it doesn’t,) and everything to do with how annoyed I get when I hear b.s. stories like this!

Pretty sure if Christian Bale ran into Theroux right now, the roles would be reversed.

Czechoslovakian Casablanca movie poster

1.  Sunset Blvd.

How can you resist a film noir narrated by a body floating in a pool?!

2.  Double Indemnity

Sexually charged and witty dialogue, beautifully lit, plot twists, a bromance…you name it, this movie’s got it all!

3.  Sabrina

A movie almost literally made to prove it wasn’t just a fluke how charming, attractive, and talented Audrey Hepburn.  Throw in Bogie, William Holden, and Hitchcock’s favorite actor, John Williams, and you’ve got yourself a movie!

4.  The Apartment

Great blend of comedy and drama.  Great cast as well.  Some Academies might have said this was the Best Picture of 1960…

5.  Some Like It Hot

“Nobody’s perfect”…except Jack Lemmon.  Funny, sexy, well-paced.

6.  The Lost Weekend

If you can get past how hard this movie is to get through, given how depressing this portrait of an alcoholic is, you’ll be blown away.  Powerhouse performance from Ray Milland, who won an Oscar for his performance, along with Billy for Best Director, Best Screenplay, and they also got Paramount an Oscar for Best Picture.

-CB

To say you are a fan of Director Steven Soderbergh and his movies, means many things to many people.  For many, they mean they are fans of the Ocean’s 11 series, which is for the most part, mainstream Hollywood, blockbuster movies with big names, which is understandable, they’re fun yet well directed films.  But to others, they could mean they are fans of Traffic and Erin Brockovich, which are different sorts of films from the Ocean’s films, or they mean indie films like Sex, Lies, and Videotape, an indie film that experimented with many different filmic elements and helped start a movement in indie filmmaking, that changed indie films forever.  

Michael Douglas in Best Picture winner: Traffic.

The point is that Steven Soderbergh doesn’t make films for the masses, (unless he has to,) he makes films to experiment with an art form, and has a place of success in his career where he can essentially do whatever he wants.

For a long time, there used to be two types of Steven Soderbergh films: the big budget, star-studded, Hollywood films, and the low budget, experimental indie films.  He’d make The Limey, starring the villain from Superman II, (more on that below,) and the dude from Easy Rider, then he’d make Erin Brockovich with Julia Roberts and Albert Finney, and he continue to go back and forth, until he reached a certain level of success, and he could blend the experimental and the mainstream, big budgeted stuff.  

Zod

Zod in The Limey

He experimented with it and failed with The Good German, then his experimenting was buried under the star power of Ocean’s 13, (watch 11 and 13 side-by-side, they are quite different.)  The first prominent of Soderbergh making an experimental film with mainstream of people was The Informant!  

He wanted to shoot a non-traditional “spy” movie, based upon a story no one had heard of, with a new digital camera, and shoot with very little studio lighting, but by then he had made enough friends that he was able to get Matt Damon to get chunky and star in it, which equaled a moderate success.  Makes two never heard of films after that, then comes Contagion.  

Classic, 70s-esq paranoia/epidemic/disaster film with small roles from big stars, which is a success, but before he even knew if that went over, he was already declaring his retirement from filmmaking, but with six films left to make…enter Haywire.

So Haywire, is a mainstream, Hollywood, action flick, right?  Yeah…well, if that’s the case, why was it released in January….no, it is!  Its got Michael Douglas, Ewan McGregor, Michael Fassbender, Antonio Banderas, Bill Paxon, and Channing Tatum in it!  Then again, the lead is some chick I’ve never heard of, who is a fighter, not an actor…exactly.  Haywire is a hybrid.  When, I saw Haywire, I made sure to see it with the right friends: one is a huge fan of Soderbergh and his quirky nature, the other while not a huge fan, knows what to expect from a Soderbergh film and can appreciate what he’s doing stylistically.  The worst thing you can do when seeing a Soderbergh film in theatres is either have expectations of the film based upon the genre it’s in, or have friends who expect a Soderbergh film to be a straight up action/drama/comedic film.  It’s not going to be what you would expect.  Soderbergh does not make movies to meet audiences expectations…he doesn’t have to anymore.  

Steven Soderbergh has reached a level of success where he does not have to meet an audiences expectations, nor does he necessarily make films to appeal to the masses.  He makes film after film to experiment with an artform.  To experiment with the cinematography, sound design, editing, or what have you.  Haywire was made to experiment with all of these things and more, and if you as an audience member thought it was slow or unevenly paced for an action/revenge film, he doesn’t care.  Sorry.  Worst case scenario is that people don’t dig Haywire and he has to either make another film and try a new experiment, or, (as he as hinted at doing,) walk away from filmmaking.  If he did that, he would walk away having made a ground breaking indie film, more than one blockbuster, a Best Picture winner, and having won an Oscar for Best Director.  He has nothing to lose at this point.

http://www.youtube.com/watch?v=JK5slvV7Lbw

So, for the two people who read this review expecting an actual review of the film Haywire, possibly the same people who want to know if this is a “badass action flick,” sorry I haven’t given it to you…but I’m not quite at Soderbergh level, so, I’ll try and give a basic rundown of the film.  This is an action/revenge film where an agent is betrayed, and her people made a mistake betraying her, because she is tougher than any man, and there is some badass action sequences that ensue.  That being said, if you are someone who needs a ton of back story and character motivation, or overly stylized, Michael Bay-type action sequences, this film is not for you.  If you need classic Hollywood lighting, or classic James Bond movie script format, this is not for you either.

The script, written by Lem Dobbs, Bogie from Treasure of The Sierra Madre?  No, pseudonym for a writer who also wrote the experimental Soderbergh film The Limey, is very 70s-influenced, which I gather, is when the writer first tried making it as a Hollywood screenwriter.  So what does that entail?  A straight up revenge tail that is minimalist in plot.  Common back in the day, with movies like Get Carter and Death Wish, but nowadays, not so much, (maybe Haywire and Drive will start a minimalist revival?)  Some might say the script is unevenly paced, or that the climax comes to early or what have you, but if you are a fan of 70s cinema, you won’t mind it, as I didn’t.

The lighting, beautifully done by good ol’ Pete Andrews, (AKA Steven Soderbergh,) is in no way classic, three point, Hollywood lighting.  Shot on the newest Red digital camera, Soderbergh continues lighting scenes with as little studio lighting equipment as possible, never naturalistic, with windows often blown out, (glowing white,) and colors being extremely orange, or red, or yellow, or blue, or whatever.  He also enjoys using the zoom lens a lot, a stylistic choice that was more popular in the 60s and 70s, but is utilized wonderfully in this film, which along with some interesting editing, makes for a stylized film, which some people may not appreciate.  Some people may think it is poorly lit, not well thought out, or what have you, but let me promise you: this film was well thought out, shot, edited, cast, sound design…ed, and cast exactly the way Soderbergh wanted it.  He has made a conscious decision to make films that don’t fit into a certain mold or genre, and you’ll either love him or hate him for it, either way, he’s cool with it.

-CB

P.S.  A lot of big name actors in small roles, all of them were fun, slightly more than cameos, though some might find people under utilized.  Also, all things considered, I thought the lead, Gina Carano, did a pretty good job, in addition to being one Hell of a fighter, but I expected nothing less from the guy who got performances out of porn star Sasha Grey and…well…J Lo.  Seriously, how many films can you say J Lo was out of sight in?!

P.P.S.  Please don’t retire anytime soon, Steve!

Can’t take this much longer.

Stoic. 

Yeah, I definitely can’t take this anymore.

Apathy.

Cynical asshole.

Ok, I don’t have to put up with this shit.

Cocky asshole.

Fun Dude.

Razzle Dazzle!

Do Wah Diddy Diddy.

About to lose it, so don’t make me put up with anymore shit.

Yeah, I’ve completely lost it.

I’m losing it in the best possible way.

I’ve lost it, but that doesn’t mean I can’t enjoy myself.

Well…I’m depressed.

I’m just warming up!

Aggressive Passive, AKA: “It just doesn’t matter!”

Baby steps.

Ok, we’re just about done here.

Ah, the many mood swings of Bill Murray, and how we can relate to all of them!  Hope he gets back into “Fun Dude” mode, or at least cocky asshole mode, so we have another Ghostbusters.

-CB

Best Picture:

What should win:  Midnight in Paris

What will win:  The Artist or The Descendants, one of which will sweep the boards…unfortunately.

Best Director:

Give it to Marty or Woody.  Come on guys!

Best Actor:

Clooney and Oldman both did damn fine jobs, and while I think Oldman deserves it the most, I think Clooney will win, and if he does, he deserves it.

Best Actress:

Who should win:  Anyone but Meryl Streep, one of the young girls, Rooney or Michelle porbably.

Who will win:  Meryl Fucking Streep.

Best Supporting Actor:

Christopher Plummer.  Sympathy vote.  Though he deserves the sympathy.

Best Supporting Actress:

Who should win: Melissa McCarthy for being hilarious.

Who will win:  Since comedic performances aren’t rewarded, Octavia Spencer for The Help.

Best Original Screenplay:

Woody Allen for Midnight in Paris!  It won’t get Best Picture, but it should be rewarded in one of the categories for being so damn charming!

Best Adapted Screenplay:

Tough one.  Moneyball probably deserves it, but Sorkin won last year, so I’m gonna give it to The Descendants guys.  At the very least, I’ll love to see the dean from Community win an Oscar.

Best Animated Film:

Wish Tintin was in the running, but since its not, I’ll give it to Rango, since after all, it is from the director of Mouse Hunt.

Best Foreign Language Film:

I’m not gonna pretend I know what I’m talking about in this category.

Best Cinematography:

Tough one.  I’d like to see The Girl with The Dragon Tattoo win, but Tree of Life deserves it for making Waco, Tx. look pretty.

Waco, Tx.

Art Direction:

The Artist, unless there are enough Harry Potter fans in the Academy.

Costume Design:

The Artist

Doc Feature/Short:

Wouldn’t know what I was talking about.

Film Editing:

Thelma is a pro, (Hugo,) but while I did think Dragon Tattoo was choppy, I don’t blame the editors, so I’m gonna give it to them.

Makeup:

Albert Nobbs

Music (Original Score):

I’d like to see John Williams back up there, so…Tintin.  Why not?!

Music (Original Song):

The Muppets.  SCREW.  RIO!

Short Films:

Wild card.

Sound Editing:

I’m probably gonna flip the 2 sound categories, but…The Girl with The Dragon Tattoo.

Sound Mixing:

Transformers 17

Visual Effects:

This is actually a tough category, but I’m gonna give it to Rise of The Planet of The Apes, just because I think it’d be hilarious to say that film won an Oscar.

Please note that these predictions are me saying “what the Hell!  Why not give it to that one?” in many instances.

-CB

…but who knew one of my favorite directors, Brian De Palma, (The Untouchables, Mission: Impossible, Dressed to Kill,) was responsible for Courtney Cox’s career?! He’s the one who cast her in the concert video he did for Bruce Springsteen, “Dancing in The Dark”!

http://www.youtube.com/watch?v=129kuDCQtHs

It should also be added that her career would not have gone the distance without another one of my guys, Michael J. Fox.  Having beat out thousands of girls to play his girlfriend on Family Ties, Cox says she knew nothing going into that show, and that Michael J. taught her everything she knows about comedic timing.

-CB

So, while I didn’t feel this was as great a year for movies as say 2010, with no real front runner for my favorite films of the year, there were however, a lot of fun films, with interesting casts.  The movies below showcased a lot of talent from every department from directing, to acting, to the screenwriting, even though many of the films I have selected will not be overall, popular choices.  And now, without further ado and run-on sentences…the list!

1.  Sherlock Holmes: A Game of Shadows

I was surprised when I realized this is my favorite film of the year, but it makes sense.  Action-packed yet clever, well written, well directed, and Robert Downey, Jr. is the most charismatic leading man in Hollywood working today. (See full review below.)

2.  Take Me Home Tonight

Probably the most controversial movie on my list; controversial in that probably no one will agree that this movie should make my list.  Its release was delayed two years, it lost money at the box office, but whatever.  This movie was made for me.  If you know me, you’ll know I love 80s movies, and the 80s in general.  I’m at the same age and going through much of the same shit Topher Grace’s character goes through in the movie, like trying to find what I want to do in life, so I related to him on many levels.  Interesting cast, well made, and while I laughed harder in Horrible Bosses, thought Bridesmaids was better made, this movie had all the elements I look for in a movie, and they all came together in a fun and quirky way.  Within the first three minutes, you are completely immersed in the world of the 80s, and feel like you’re partying, finding your way in life, and going after the girl of your dreams too…which is ok by me!

3.  Scream 4

Another controversial choice, but yeah.  Clever script, funny and scary.  Wes Craven directed all the suspenseful moments perfectly, and picked a fun cast, including of course my favorite, Alison Brie. Can’t wait for a sequel.  I love this franchise. 

4.  Source Code

A Hitchcockian thriller with the added humor and character quirks Dir. Duncan Jones, (Moon,) brings to a project.  Enjoyed the suspense, enjoyed the fun of the movie, felt for and liked the characters, and the fact that I have a thing for Michelle Monaghan didn’t hurt things.  Very tight and well constructed film.  Very well shot as well.

5.  Thor

I had less than zero expectations for this film, and then I was more than pleasantly surprised.  Wins the award for the most interesting directing choice with Kenneth Branagh, who I think did a fantastic job.  Chris Hemsworth was more than just some big dude in a cape, he could handle his own against some very experienced actors.  Anthony Hopkins really sold all the scenes up in Thorville, while the quirky cast of characters, Natalie Portman, Stellan Skarsgard, and Kat Dennings kept me more than entertained.  The fun and games with those guys was actually my favorite part of the movie.  Tom Hiddleston made for an excellent villain as well.  Oh, and Natalie Portman, as always, couldn’t have been more beautiful or more charming.  Damn fine actress too.

6…ITS A TIE!  Horrible Bosses and Bridesmaids

Laughed my ass off in Horrible Bosses, more so than in Bridesmaids even, but Bridesmaids was a more well rounded, “complete” film.  Higher quality, well shot, better developed characters, etc.  Both had great ensemble casts.

7.  The Girl with The Dragon Tattoo

Really thought this was going to be number one, but it was just a bit too choppy to earn the #1 spot.  Great movie, but Fincher can do greater.  (See full review below.)

8….ANOTHER TIE!  X-Men: First Class and Mission Impossible: Ghost Protocol

X-Men: Loved Matthew Vaughn’s stylized direction, (which he toned down a bit thank God, from Kick-Ass,) and the whole 60s spy movie vibe.  Great cast.  Fassbender FTW….well, after the best cameo in any movie since Zombieland.

MI4: So, the order goes: MI1>MI3>MI4>MI2.  Not as stylized as one, not as fun as three, but then again, not as shitty and over-the-top as two.  Beautifully shot by The Man, Robert Elswit, (Michael Clayton, There Will Be Blood, Tomorrow Never Dies,) and the combination of Brad Birds, (The Incredibles,) careful planning of shots and how to plan out whole sequences before you shoot them which he learned in his animation days, and the expert editing of Paul Hirsch, (MI1, Source Code, The Empire Strikes Back,) made this one of the tightest movies of the year…in that there isn’t a second of extra footage in this film.  Thought it lost a little momentum after the sandstorm chase, which is why this isn’t closer to the #1 spot, but other than that, a fine film.  Includes my second favorite cameo of the year too. 

9.  Midnight in Paris

THE.  MOST.  CHARMING.  MOVIE.  EVER!  So damn charming.  Great cast.  Really related to Owen Wilson’s character, the witty writer, torn between two worlds, who feels he belongs in a different era.  He’s like the liberal version of me, (if such a thing is possible!)  The Wedding Crashers fan in me was glad to see Owen Wilson and Rachel McAdams reunited; McAdams nailed her role as the girlfriend we’ve all met that we know our friends are with because she’s hot and let the fact that she’s a bitch be overshadowed by that fact.  Too many great supporting actors to mention here, so lets just say they were all amazing.  Also’d like to add how grateful I am that I have a loved of the arts, and took art history and A.P. English back in high school, and film courses in college so I got more jokes than the average bear.   And…did I mention how charming this movie was?

10.  Tinker, Tailor, Soldier, Spy

They don’t make ‘em like this anymore!  A good old fashioned cold war/spy thriller.  Well shot, great cast, and took its time, letting performances play all the way out and not be cut down for pacing.  Gary Oldman deserves an Oscar for saying so much by hardly saying anything at all.

Honorable Mentions:

Martha, Marcy May, Marlene: As Yoda once said, “…there is another.”  Elizabeth Olsen is the real Olsen sister.  Great performance from the leading lady and a creepy tone, just like…

Melancholia: See above.

Super 8: Great throwback to Spielberg films of the 70s/80s.  Great cinematography, love the humor of J.J. Abrams’ movies.  Everything a big budget summer movie should be: action packed, drama, comedy, a sense of adventure…fun for the whole family.

P.S. LENSSS FLAAAIR!

Drive: Stylish, but a bit too minimalist.

The Ides of March: Gosling was great again, Clooney did a great job making a political thriller in the vein of all those 70s movies he and I both love.

Attack the Block: Czech this British flick out.  Aliens vs. tough-ass British kids.  It’s like John Carpenter’s The Thing meets Snatch, with a little bit of Edgar Wright, (who was an executive producer and no doubt had something to do with Nick Frost being in the film and offering some great comic relief,) thrown in as well.

Random Stats:

Best Animated Film: The Adventures of Tintin.

A lot of fun, and if you grew up reading the books like I did, you’ll love it.  It also felt more like a Spielberg film than any of his live action films have in several years.

Best Cinematography: The Girl with the Dragon Tattoo.  Hasn’t been a poorly shot Fincher film yet.

Best Edit: MI4.  Paul Hirsch is a pro, which his Oscar for editing Star Wars: A New Hope will tell you if you ask it.

Best Score: Contagion.  Great fusion of two different kinds of music.  A nice surprise.

MVP Underdog Actor of the Year: Rose Byrne.  

She gave great performances as three very different characters in three very different movies: Bridesmaids, X-Men: First Class, and the most profitable, yes, the most PROFITABLE movie of the year: Insidious, which was creepy as Hell and worth a look.

Runner Ups for MVP actor:  Stellan Skarsgard.  

Also did some damn fine work in three movies, all very different, all very different roles: The Girl with The Dragon Tattoo, Thor, and Melancholia.

Tom Hiddleston.  If you look carefully, you’ll realize Loki from Thor was F. Scott Fitzgerald in Midnight in Paris.

That’s it for now!

-CB

P.S. Good for you Fassbender.  This year, you officially became a star.