FILMS NOT TO MISS

The Artist

Read Michael’s review here.

Carnage

Lynn Ramsey’s dark story abut a mother raising a disturbed son drew mixed results for the crowd at Trustee’s Theatre, but stood out as being one of the more interesting and better done films of the festival. Tilda Swinton was terrific as always as a the mother of the titular character, played with menacing evil by Ezra Miller. Flashing backwards and forwards through time before hitting the big reveal at the end, We Need to Talk About Kevin employed visuals better than any other film at the festival, providing a sense of dread the entire time. In a lot of ways, it’s a modern day horror film in the vein of Rosemary’s Baby, where the audience knows something bad will happen and spends the entire film waiting for it to happen. Though I don’t see any Oscar nods in its future, We Need to Talk About Kevin is definitely one of 2011’s must see films.

Jeff Who Lives at Home

The latest film from the Mark and Jay Duplass (Cyrus, The Puffy Chair) escaped a lot of attention as one of the last films to be screened, but was among the most enjoyable of the festival. Jeff Who Lives at Home follows the titular character (Jason Segal), a lazy pot-smoker who still lives with his mother (Susan Sarandon). Looking for signs in the world to give him his true purpose, Jeff ends up on a journey around Baton Rouge, where he ends up connecting with his jerky brother (Ed Helms) and sister-in-law (Judy Greer). The Duplass Brothers’ loose, improvisational style gives both Segal and Helms a chance to do their best work on the big screen, each showing depth and range previously unseen. Jeff  is also a significant step up for the directors from last year’s Cyrus, a film that failed to meet its potential. In contrast, Jeff features a tighter story and relies more on the emotional beats of characters than emotional beats in the story. Just as it did at the SFF, Jeff Who Lives at Home could fly under the radar for most moviegoers, but if you have the chance, check it out.

Boy

After a heavy night with Coriolanus (more on that in a bit) I was ready for some laughs. Thankfully, I decided to see Boy, a hysterical and charming film from New Zealander Taika Waititi. The film follows the titular character, a Michael Jackson-loving 11-year-old kid in a small New Zealand town who is left in charge of a house of even younger cousins and his brother Rocky when their grandmother goes out of town for a funeral. When his estranged criminal father (Waititi) returns, Boy finally has a male role model, albeit one that has him steal marijuana and dig holes to find the money he had stashed in a nearby field. Waititi is pitch perfect as the slightly insane Alamein, making him likable and detestable at the same time. The film started right away with laughs and never let up, even in its heavier moments. Boy may not be on the radar of a lot of film followers here in the U.S. yet, but it should be. Unfortunately, it’s not playing again at the festival, but be sure to keep an eye out for this charming and thoroughly enjoyable film.

The Bully Project

In recent years, issues such as climate change, America’s school system, and the financial crisis have been greatly impacted by some incredible documentaries. An Inconvenient Truth changed the way we think about the environment, Waiting for a Superman was watched and mentioned by President Obama, and Inside Job put a spotlight on who was actually responsible for the financial collapse. What made these documentaries so successful was not just that they were well done, but that in some way, they impacted every viewer. Appropriately screening after a panel on how films can change the world, Lee Hirsch’s The Bully Project aims to do the same with a problem that impacts many kids and their parents across the country, hitting all the right notes in the process. The film tackles bullying from nearly every facet, following a middle-schooler facing it in his school, a girl who brought a gun on a bus to stop bullies, a small-town lesbian, and the families of two kids who took their own life because of bullying. Each segment features crushing moments of cruelty that largely goes unpunished or recognized by school and town officials, including one in which an assistant principle tells a boy to just ignore the bully that had told him he would kill him. It’s an incredibly touching film that at times touched very close to home. It may seem bleak at points, but The Bully Project does an excellent job at leaving its audience with a feeling of hope and purpose. What was especially great about yesterday’s screening was walking out and seeing a large group of local students in their seats. All of them were quiet and evidentially shaken by film. As much as it’s a documentary for adults unaware of the issue, The Bully Project is an should be required watching in middle and high schools around the country. See it if you can.

THE GENERALLY GOOD

The Muppets

Kermit, Miss Piggy, and Fozzie got their world premier in Savannah as the secret Director’s Choice on Friday night, a move that simultaneously delighted and infuriated the festival crowd. As far as the film goes, it’s a classic Muppet movie, full of laughs, celebrity cameos, songs, and plenty of positive vibes. Jason Segal’s script does a great job of staying true to the Muppets while also bringing them into the 21st Century. Followed up by a predictably great Toy Story short, The Muppets is a great family movie that will entertain both kids and their parents. That being said, it was a particularly odd choice for a festival that featured many darker, adult films in the marquee 7:00 screening. A large number of people left when it was revealed as the film, many more (including myself) complaining outside afterwards. While an enjoyable film and one I’m glad I stuck around for, The Muppets is in no way a festival film, representing a gross misunderstanding of the audience on the part of the film festival.

Like Crazy

The closing night selection, Sundance winner Like Crazy, also lead to a split decision from the audience. An entirely improvised film shot on a prosumer camera (the Canon 5D), I found Like Crazy to be a film with terrific performances, a great visual style, and a lackluster story. The film follows Jaccob (Anton Yelchin) and Anna (Felicity Jones), two college students that fall in love and suffer through a long distance relationship after visa problems keep her stuck in her native England. Both Yelchin and Jones are terrific, and the small camera allows the filmmakers to capture some terrific, intimate, improvised moments, but the film’s biggest flaw is its glacial pace and some plot decisions that lack explanation or motivation. There’s a good story in Like Crazy that is largely lost, leading the film to rely on visuals to work. While it doesn’t stick the landing, it’s an impressive low-budget indie that deserves the attention its gotten.

FILMS TO SKIP

The biggest disappointment of the week came with David Cronenberg’s latest, a period piece about the relationship between groundbreaking psychologists Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender). Dry dialogue, relatively conventional visuals, and poor performances doom the film, which felt like it dragged on forever. Kiera Knightley offers a terribly over-acted performance as a patient of Jung’s that begins an affair with him after he gets her craziness under control. Fassbender breaks his hot streak, playing Jung with virtually no emotion, providing no reason to connect to his character. The film’s saving graces are Mortensen, who is charming and funny as Freud and Vincent Cassel, who turns up for about 15 minutes as a doctor/patient that encourages Jung to pursue his affair with Knightley. Overall, the film is sterile and devoid of any sort of emotional connection with the audience. Though the temptation to see a Cronenberg film may be there, skip A Dangerous Method and to avoid crippling disappointment.

Coriolanus

Hands down the worst film of the festival, Coriolanus is clearly the vanity project of director/star Ralph Fiennes. Taking one of Shakespeare’s lesser known plays and setting it in “modern day Rome,” the film is an overindulgent mess that finds Fiennes in constant closeups while forgetting a terrific roster of supporting actors including Brian Cox, Vanessa Redgrave, Jessica Chastain, and Gerrard Butler. If Fiennes knows anything about film directing, it’s not apparent in Coriolanus. Do yourself a favor and spend two hours doing something other than seeing this movie.

15. Arcade Fire – The Suburbs
Over the course of three albums, Arcade Fire have become titans not just of the indie scene, but of music in general. Their third record finds the band exploring new territories musically, with solid results. Taking on the theme of urban sprawl, The Suburbs is a powerful album full that finds the band getting loud (“Empty Room”), getting quiet (“Wasted Hours”) and offering their trademark churning, building, rock songs (“Ready to Start”), creating a winning combination. (M)

14. Marnie Stern – Marnie Stern
Marnie Stern decided to choose a simpler name for her 2010 release than her second album (This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That) but that is just about the only thing that is simpler. On songs like “For Ash” and “Nothing Left,” Stern improbably bridges the gap between metal, jittery post-punk, and Animal Collective spazziness. And yet all of it is in service of a record that deftly depicts mental turmoil and depression in an engaging and exciting new way. (J)

13. The National – High Violet
After the triumph of Boxer, the National returned with another record that gets better and better with every listen. As the band has gotten older and wiser, so has their music, with lead singer Matt Berninger offering ruminations on married life and being a father as the Dessner Twins combine on the bubbling melodies below. If there was any question that the band would loose steam, High Violet more than dispelled that notion. (M)

12. Sufjan Stevens – The Age of Adz
When Sufjan released All Delighted People EP, it was a bit of misdirection, pointing at what seemed to be a continuation and slight expansion on his trademark sound, which only made The Age of Adz all the more surprising. Loaded with apocalyptic imagery and electronic instrumentation, Adz is a world away from the gentle orchestral music that Sufjan is known for. The record is dense and difficult, but immensely rewarding for the listener willing to invest some time. (J)

11. Robyn – Body Talk
It’s hard to believe that in the late 90’s, Robyn was being promoted in the States as a version of Brittney Spears and the other pop princesses of the time. It’s now clear however that Robyn was going to take that crown, just a little later. The three body talk mini albums are pop perfection, full of dancable, catchy, fun songs that become ingrained in you head, not just for days, but weeks at time. Hopefully Robyn won’t take another five years to give us a follow up, and we get more great songs like “Dancing on My Own” or “Hang With Me” soon. (M)

10. Best Coast – Crazy For You
There weren’t many records this year that were more straightforward than Crazy For You – a celebration of cats, beaches, weed, and boys. But its beauty is in its highly listenable simplicity, as Bethany Cosentino and company presented just enough variations on those themes to keep Crazy for You catchy and interesting. From “Boyfriend” to “When I’m With You,” Crazy for You was the obvious choice for soundtrack of the summer. (J)

9. Wolf Parade – Expo 86
On their first two records, Wolf Parade has had songs by Spencer Krug and songs by Dan Boeckner, but Expo 86 finds the two frontmen joining forces and crafting their most complete album yet. Expo 86 is the band’s best record to date, one that is relentless and incredibly fun to listen to. The band announced it was going on an indefinite hiatus to focus on their side projects, so until they return, but it’s a good thing we got an album this good first. (M)

8. Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty
After a troubled history and numerous delays, Big Boi finally unleashed Sir Lucious Left Foot on the world and it was glorious. From the bass-rattling of “Daddy Fat Sax” and “Shutterbugg” to conspicuous consumption of “Shine Blockas” to the melancholy “Be Still,” Sir Lucious Left Foot was worth the wait. (J)

7. Superchunk – Majesty Shredding
Majesty Shredding comes after a nine year studio hiatus from Superchunk, but it sounds like they’ve hardly missed a beat. The record is full of energy and insanely catchy songs, and ranks among the band’s best. Songs like “Digging for Something” showcase Superchunk at their rockiest, while other tracks like “Fractures in Plaster” and “Rosemarie” show a maturity they gained in their years off. Listening to Majesty Shredding makes us awfully happy to have Superchunk back. (M)

6. The Walkmen – Lisbon
The Walkmen are quickly getting into the musical Twilight Zone where every record they put out is so good that it is kind of boring to talk about how great The Walkmen are. Nonetheless, Lisbon may be among their best, from the light jangle of “Juveniles” to the forlorn funeral march of “Stranded” to the blister of “Angela Surf City.” The Walkmen are a more focused band right now who are currently going through their prime, churning out great release after great release, and Lisbon follows perfectly in that series. (J)

5. Beach House – Teen Dream
Teen Dream is a record that finds Beach House growing as songwriters, adding a lush arrangements to their dreamy (no pun intended) sound. The songs on Teen Dream are far more expansive than on their last record, Devotion, with standout tracks “Walk in the Park,” “Norway,” and “Used to Be” offering a great amount of depth and variation in the band’s signature sound. Victoria Legrand’s voice floats above Alex Scally’s surprisingly bright guitar work on a record that is the sound of late, lonely nights. (M)

4. Titus Andronicus – The Monitor
It takes a mix of confidence and foolishness to attempt an hour-plus punk rock concept album about the Civil War, but it takes true genius to pull it off. With The Monitor, Titus Andronicus somehow made a record that feels both sprawling and tight, sweeping and intimate, by filtering the Civil War through modern college turmoil (or perhaps vice versa). From “A More Perfect Union” to “The Battle for Hampton Roads,” The Monitor is a record of soaring, triumphant, fist-pumping rock, concept be damned. (J)

3. Deerhunter – Halcyon Digest
On record number three, Bradford Cox and company seamlessly integrated the ambient rock of Cryptograms and the sprawling rock songs of Microcastle. The combination finds the band at their best, with a record that ebbs and flows, finding the right places to offer homage to the sounds that influenced them and the places to showcase their own. Both Cox and Lockett Pundt have crafted their best album to date with Halcyon Digest, a record that will undoubtedly prove to be influential for years to come. (M)

2. Kanye West – My Beautiful Dark Twisted Fantasy
Kanye West, the genius behind the famous Twitter account @kanyewest, decided to branch out into music this year too! All kidding aside, My Beautiful Dark Twisted Fantasy is an explosive pop record that manages to be sophistacted and complex but catchy and accessible. Certainly there are the singles – the straight-up nasty “Monster,” the soaring “Power,” and TUiW’s song of the year “Runaway” – but the album never slows down or stops to catch its breath. Many athletes famously use personal slights – real or imagined – to fuel their competitive fire. In 2010, it seems like Kanye worked the same way, molding all his turmoil and drama into one incredible record. (J)

1. LCD Soundsytem – This is Happening
With This is Happening, James Murphy and his band became the undisputed champions of their genre. As Kanye examined his self destructive tendencies, Murphy continued to examine his own status as an aging hipster, but not without giving up his goofy side, a struggle he characterizes in “Pow Pow” as having “advantages to both.” The album plays out as such, with tracks full of sincerity like “I Can Change” and “Home,” but also songs like “Drunk Girls,” where the title speaks for itself. Either way, This is Happening is a top notch record musically, with so many catchy hooks its practically impossible not to want to listen to over and over. (M)

15. Local Natives – “Sun Hands”
Local Natives have all the sophistication and worldliness of Grizzly Bear without the austerity. There’s no better example of that than “Sun Hands,” an energetic, wide-eyed indie anthem with all the pastoral trappings and Talking Heads influences that you need to Make It on a blog in 2010. And yet Local Natives is more than the sum of their parts, and “Sun Hands” is a catchy song that is hard to get out of your head once it takes up space there. (J)

14. Broken Social Scene – “Forced to Love”
When the record came out in May, I wrote that “Forced to Love” is “the type of song that demands loud speakers on a sunny day,” a description that holds true even in the cold days of winter. It’s the standout track on Forgiveness Rock Record, one that has the band at their best, not only playing to the rafters, but over them. (M)

13. Wavves – “Post Acid”
Wavves mostly ditched the lo-fi in favor of a different quintessentially 1990s sound: the power-punk of Lookout Records. Like someone else you’ll be seeing a little higher on the list, Nathan Williams distilled his self-loathing and public meltdowns into some of the most infectious and catchy music of the year. On “Post Acid,” Williams turns in a ranging, stomping piece of SoCal punk with energy and hookiness to spare. Its hard to think of a song that earned an intro from John Norris more than “Post Acid.” (J)

12. The Morning Benders – “Excuses”
A lush, beautiful song that recalls the Wall of Sound, “Excuses” kicks off Big Echo in grand fashion. The crashing drums and wobbly strings, combined with the “la-la-las” make the song incredibly catchy, and one that won’t leave your head for days. (M)

11. Wye Oak – “Emmylou”
My Neighbor/My Creator, like a lot of EPs, expanded Wye Oak’s slowcore-leaning musical aesthetic, nowhere more so than on the infectious rocker “Emmylou.” The song reshapes the Wye Oak aesthetic, adding a punkish energy and a slight power-pop edge, while not losing their confessional, sharply lyrical style. Like other Wye Oak songs, “Emmylou” is pretty, but it isn’t nearly as fragile.

10. Best Coast – “Boyfriend”
Best Coast had a breakout year in 2010, and the lead off single from Crazy For You is about as catchy as they come. Bethany Cosentino shares her yearning for a boy, while also adding that he has a better girlfriend already that’s “prettier and skinnier.” It’s a charming track that’s just as fun to listen to one the hundredth time as it is on the first. (M)

9. Arcade Fire – “Sprawl II (Mountains Beyond Mountains)”
Even given the expanded sonic palate of The Suburbs, the album concluding Blondie/disco of “Sprawl II (Mountains Beyond Mountains)” comes as a bit of a surprise. The only song that features Regine on lead vocals, “Sprawl II” makes great use of her voice, setting it against a rising synth line that betrays a kind of innocence. “Sprawl II” summarizes the entire album, finding a measure of beauty in the “Dead shopping malls” that “rise like mountains beyond mountains” while still showing how stifling living there can be (“quit these pretentious things and just punch the clock”). (J)

8. Robyn – “Dancing On My Own”
One of the most infectious dance songs of 2010, “Dancing On My Own” displays a vulnerability not often found in the genre. Frequently aggressive in her songs, here Robyn has a sad side to her tone, offering up a song that is both moving and catchy as hell. It’s hard to listen to “Dancing On My Own” without hoping that all pop songs could be this good. (M)

7. Deerhunter – “Desire Lines”
On “Desire Lines” Bradford Cox digs deep into his library, merging everything from 1960s doo-wop to shoegaze to ambient noise to make an anthem to being bored and disappointed. With lyrics about outgrowing enthusiasm, “Desire Lines” feels like a great anthem for a time when a lot of us were struggling just to find jobs we didn’t want. And yet there’s a quality of serenity to the song, as if Cox is at peace with the notion of forever cycling through desire and disappointment. (J)

6. Superchunk – “Digging for Something”
After a nine year absence from the studio, Superchunk returned, with “Digging for Something” kicking off Majesty Shredding. It’s a swift and insanely catchy rocker, and it’s probably the year’s best rock song. With John Darnielle providing some back up vocals, “Digging for Something” is the type of song that you can listen to and start over right away.(M)

5. Big Boi – “Shutterbug”
Being the straight-man in a group is a difficult and unrewarding task. Ask Jason Bateman or Chico Marx. So it was easy to, if not overlook Big Boi, then at least expect a more straightforward album than you’d look for from Andre 3000. However Big Boi smashed that expectation, nowhere more so than the infectious bass-rattler “Shutterbugg.” Big Boi rattles off classic lyrics like machine gun bursts, climaxing in the catchy bridge and a command to “throw your deuce up in the sky for the shutterbugg.” (J)

4. Joanna Newsom – “Good Intentions Paving Co.”
With a nod from Joni Mitchell and Carly Simon, Joanna Newsom offered up one of her catchiest and most accessible songs. Always a fan of long, flowing narrative, Newsom her crafts a song full of pop sensibility without giving up her unique sound in the process. If you’ve been hung up on Newsom and her love it or hate it voice before, be sure to give this track a try before writing her off. You won’t regret it. (M)

3. Beach House – “Walk in the Park”
For such a melancholy song, “Walk in the Park” is oddly soaring. That contrast, one that permeates Teen Dream, somehow makes “Walk in the Park” all the more heartbreaking. Depicting a shattering relationship with Beach House’s usual ambiguity (“the face that you saw at the door, isn’t looking at you anymore”), before switching to its equally wrenching conclusion. “Walk in the Park” is a beautiful, fragile, sad song and one of the best of the year. (J)

2. LCD Soundsystem – “I Can Change”
James Murphy hasn’t been shy about getting introspective in the past, but on “I Can Change,” he starts to question the idea of we change one another to be in love. “Love is a murderer” he cries in the song, offering a serious rumination on love in complete contrast to the goofier “Drunk Girls,” found previously on the record. Murphy has said there might not be any more LCD Soundsystem records, but if he keeps putting out singles like this, we’ll have more than enough great songs to keep us satisfied.

1. Kanye West – “Runaway”
What better way to summarize 2010 – a year that gave us The Decision and Rand Paul and the continued success of Jersey Shore – than with an infectious toast to douchebags, assholes, and scumbags. On “Runaway,” Kanye confronted his public persona, his award show escapades, and his outspokenness and generally agreed with the haters, while at the same time showing how that side of his personality is inseparable from his genius. From 35 minute music videos to moving paintings to epic SNL performances, Kanye reminded us all of his outsized ambition, and nowhere did he cash in on that more than our Song of the Year. (J)

Be sure to come back tomorrow as our Best of 2010 coverage wraps up with the 15 best albums of the year.

10. The Kids Are All Right
It doesn’t take long for you to realize you’re going to like The Kids Are All Right. The film’s leads Anette Benning, Julianne Moore, and Mark Ruffalo ooze charm and charisma, and the writing is incredibly sharp and witty. The film has a lot of heart too, and that’s what keeps it grounded and so enjoyable to watch. As studios keep looking for more indie films to be surprise hits (The Little Miss Sunshine Theory), let’s hope they keep finding films like The Kids Are All Right. (M)

9. Dogtooth
Greek director Giorgos Lanthimos’ Dogtooth is simultaneously frightening and funny, mixing dark humor with moment of legitimate terror as he weaves a story of three young adults who have been brainwashed and held as prisoners by their parents for reasons the film never seems interested in going into. The movie is pitch-black and disturbing, puncuated with moments of brutal violence, but it never loses the humanity of its main characters, even as it presents riduclous images like the scene where the father has them bark like dogs to ward off the grave threat of a cat. (J)

8. Inception
Intelligence and sophistication are not traits generally associated with summer blockbusters, probably because of Hollywood’s general assumption that no one goes to see those movies. But not only did Inception manage to deliver a fun movie that didn’t condescend or oversimplify, but it was a huge success, proving that movies don’t have to be dumb to sell. For introducing totems and dream levels into our cultural lexicon and for having some of the most stunning effects and imagery that we’ve seen, Inception proved that even in this age of niche culture, it is possible to leave a mark. (J)

7. 127 Hours
For a movie that takes place mostly in one location and with one actor, Danny Boyle’s latest is an incredibly fun film. Rather than relying on expected, straight-up flashbacks, Boyle uses dreamlike memories and video confessions to add implied depth to James Franco’s Aaron Ralston. The graphic amputation scene got the most attention, but Franco is the film’s center, keeping it entertaining, and earning it a spot on this list, a feat not every actor could pull off. (M)

6. Toy Story 3
Pixar proved they really can do no wrong (so far) with the third and final installment of the Toy Story series. Toy Story 3 did everything the studio does best: it was gorgeously animated, clever, sweet, and a lot of fun to watch. As good as the first one is, it was a bit of a gimmick at the time, but Toy Story 3 is a well done piece of art. Who knew that an animated cowboy and space ranger could have such a strong emotional bond with their audience. (M)

5. Exit Through the Gift Shop
Banksy’s documentary starts off as a straightforward look into the street art movement before taking a series of increasingly entertaining left turns. To say more would be to give away too much about the year’s most unpredictable and engaging documentary (which is saying something in a year that produced a number of intriguing documentaries like Catfish). What’s real and what isn’t becomes harder and harder to nail down, but the questions about the nature of art and commerce ring in our ears long after the movie is over. (J)

4. The Social Network
Like any good invention, Facebook left a trail of bruised egos and broken friendships in its wake and The Social Network drudges them all up, thanks to a zippy screenplay from Aaron Sorkin and typically terrific direction from David Fincher. Fincher’s direction adds a layer of menace, helped along by Trent Reznor and Atticus Ross’ eerie score, that shows just how potent and explosive it can be when the pressures of business blend with the uncertainties and angst of youth. The result is a movie that raised questions about our own lives and the men who commodified and sold them back to us. (J)

3. Blue Valentine
It’s a shame the controversy over the film’s original NC-17 rating has largely overshadowed the brilliance of its actual content. Blue Valentine is a bleak, yet moving film that is equal parts sweet and devastating. Ryan Gosling and Michelle Williams drive the movie, and help keep it grounded in an all too real reality. Blue Valentine doesn’t aim to teach us something about ourselves or even to affirm the power of love, instead opting to give you a bittersweet, yet beautiful look into the lives of a husband and wife. (M)

2. Winter’s Bone
Secrets can be deadly, especially in an atmosphere as violent and paranoid as the one in Winter’s Bone. The best film to come out of a loaded Sundance, Winter’s Bone depicts a young girl who must face her violent extended family when her father’s disappearance threatens her very livelihood. Incredible performance by Jennifer Lawrence and John Hawkes show the way the film never condescends or mocks its characters, but instead presents an honest depiction of a world rarely shown on film. (J)

1. Black Swan
If you haven’t seen Black Swan, you probably have heard someone go on and on about it. Darren Aronofsky has perfected the art of unsettling dramas over the past several years, and with Black Swan, he continues to explore the darker realms of the human psyche. Natalie Portman is pitch perfect, and supporting turns from Vincent Cassel and Barbara Hershey drive a film that stays with you not just for hours after you’ve seen it, but days. (M)

Ryan Gosling – Blue Valentine
As one half of the doomed couple from the emotionally apocalyptic Blue Valentine, Ryan Gosling brings an unblinking, fearless performance to a movie that is so intimate that anything less could have brought down the whole thing. His character is a dreamer without much of a direction, someone likable but aimless. In the end, the movie simply doesn’t work without strong performances from the leads and Gosling more than holds up his end of the bargain. (J)

Michelle Williams – Blue Valentine
Like her co-star mentioned above, Michelle Williams delivers a career defining performance in Blue Valentine. Williams manages to look more than comfortable playing both facets of her character, the earlier version bright, naieve, and welcoming of love, and the later version worn down, depressed, and weary of what love can do to people. Far more quiet than her co-star Gosling, Williams offers a fantastic performance that relies just as heavily on the looks from her character as it does from her words. (M)

Natalie Portman – Black Swan
There may not have been a more challenging role for an actor to play in 2010 than the one Natalie Portman got in Black Swan. As the emotional center of a movie that spirals out of control, Portman brings a level of truth to the increasingly unreal proceedings. It is a performance that balances the character’s icy, porcelain control with he increasingly outwardly directed mental turmoil, showing the toll her obsession has taken on her mind. (J)

Nicole Kidman – Rabbit Hole
After a few flops and some forgettable films, it’s hard to remember Nicole Kidman was once at the top of her profession. With Rabbit Hole, she returns to that peak, delivering her best performance in years as Becca, a woman struggling to cope with the loss of her son. Kidman finds every angle of the character, switching her from sympathetic to cold and unlikable with an ease most actors lack. Here’s hoping she keeps that top spot a little while longer. (M)

James Franco – 127 Hours
There’s no denying that James Franco is what makes 127 Hours so good. With the wrong actor in the lead over emoting, the movie could have been incredibly boring. Franco saves the film with his charisma and ability to convey so much without speaking. Franco is rightly being heralded as the leader of a generation of great young actors, and if he can pull off a one man show like 127 Hours, just think of what he can do with a good ensemble cast. (M)

Annette Bening – The Kids Are All Right
In a film full of free spirits, Bening is stuck with the more sensible character. It would have been easy for a lesser actor to disappear into the background, but Bening stands even with co-stars Julianne Moore and Mark Ruffalo. Bening is tightly wound, but never unbelievably so, and her scenes where she figures out Moore’s secret pack a strong emotional punch. (J)

Julianne Moore – The Kids Are All Right
Julianne Moore has always been able to play whatever character she’s given with a surprising amount of ease, and her turn in The Kids Are All Right continues that streak, giving us a character that is an expert at pretending everything is okay, when it is far from it. Despite all the twists and turns of her character in the film, Moore keeps her likable the entire time, making her sympathetic and charming even when we want to be mad at her, a feat rarely pulled off by many actors. (M)

Jennifer Lawrance – Winter’s Bone
While most seventeen year olds are worried about classes and graduation, Jennifer Lawrence’s character is worried about tracking down her deadbeat dad so her family doesn’t lose their house. Lawrence puts up a tough front as a young girl forced to confront the dark, violent, and highly secretive people of her town, but she never loses her character’s vulnerability or the young girl underneath. (J)

Jesse Eisenberg – The Social Network
As the founder of Facebook, Jesse Eisenberg is a Rorschach test, allowing viewers to project their own ideas about the Person of the Year onto the screen. Is Zuckerberg a scorned nerd who got ahead by leaping onto the shoulders of others? A bold iconoclast genius who smashed the conventional wisdom? Or a too-smart misfit struggling to find some measure of real acceptance? Eisenberg’s answer is all three in a mesmerizing, brainy performance that cuts at the core of who this person is without ever spelling it out for the audience. (J)

Lesley Manville – Another Year
Mike Leigh’s newest film may not make a lot of Top 10 lists, but Lesley Manville’s performance should be on everyone. While the film may focus on Jim Broadbent and Ruth Sheen’s characters, Manville’s Mary is truly at its center, the one character you always wanted on screen. At all times, Mary is desperate, lonely, and frequently hilarious to watch, a feat which isn’t easy to do. (M)

Presented in no particular order, our 15 favorite episodes of TV from 2010.

Mad Men – The Suitcase
If there was one episode of television that may have won its stars an Emmy, it was “The Suitcase,” a beautifully performed, perfectly written hour of television. Jon Hamm and Elizabeth Moss were extraordinary, their chemistry never better, as Peggy and Don spend a night battling and bonding in the SCDP offices. Mad Men has had several top notch episodes, but few can rival “The Suitcase.” (M)

Community – Modern Warfare
Community had several solid episodes leading up to “Modern Warfare,” but it was there that the show reached the creative peak of its first season. “Modern Warfare” is part parody, but there is also a lot of reverence to the source material thrown in. There are so many hilarious little details and references throughout the episode, which gets better and better with each viewing. (M)
Read Michael’s original review here.

Lone Star – Pilot
The big comment most critics had regarding the pilot for Lone Star was that it was a great idea for a movie, but maybe not a TV show. Given the show’s swift demise, we’ll never know, but the first episode was about as entertaining as any TV show or film you’ll find. Great performances from Jon Voight and newcomer James Wolk drove a compelling, self contained episode that unfortunately will have to stand on its own as a great piece of TV. (M)
Read Michael’s original review here.

Boardwalk Empire – Boardwalk Empire
When you hire Martin Scorsese to direct the first episode of your TV series, this is what you get. The extra-long series premiere of Boardwalk Empire was jam-packed with gangland violence, political intrigue, and fascinating historical tidbits, all administered at such a quick pace that viewers understandably got whiplash once the show settled into a slightly more sedate weekly pace. From the apocalyptic ringing-in of Prohibition to the staccato, rim-shot scored stick-up sequence, “Boardwalk Empire” was a tense, exciting glimpse into a world that I couldn’t wait to spend more time inside. (J)
Read Jonah’s original review here.

The Walking Dead – Days Gone By
One of the most anticipated new shows of the fall, The Walking Dead delivered a chilling, highly entertaining first episode that instantly won it a legion of fans. Functioning just as well as a standalone story as it did a pilot, “Days Gone By” is about as cinematic as you can get on television. If nothing else, “Days Gone By” did a fantastic job of quickly luring in a loyal fanbase that made the show one of basic cable’s biggest. (M)

Party Down – Party Down Company Picnic
“Party Down Company Picnic” takes the show’s cast out of their bowties only to find that there is no escape from the tedious cycle of boredom that is their lives. Henry breaks up with Uda and steps down as Team Leader, Ron’s attempts at climbing the ladder put him right back where he started – occupying the now vacant Team Leader job – and Party Down gets their asses kicked by Valhalla. In an inspired second (and tragically, final) season, few episodes wrung as much laughter out of as much pain as this one did. (J)
Read Michael’s original review here.

30 Rock – Brooklyn Without Limits
People (like myself) who were ready to give up on 30 Rock after a substandard season were jumping the gun, as the show has come roaring back in 2010. Nowhere was the resurgence clearer than “Brooklyn Without Limits,” a piece of vintage 30 Rock mayhem, complete with a guest star (John Slattery) who feels put to use well without dominating the episode. Add to that Lemon’s new jeans and Jenna’s insecurities and “Brooklyn Without Limits” was another worthwhile addition to the series. (J)

Better Off Ted – Lust in Translation
We decided that there weren’t really enough Better Off Ted episodes in 2010 for us to put it on the series list, so this will have to stand as our tribute to one of our favorite fallen shows. “Lust in Translation” featured a premise that was classic Better Off Ted, complete with an angry-voiced multi-translator, a talking frying pan, and a panoply of Three Stooges references. From Phil and Lem’s realization that they are evil scientists to the triumph and heartbreak of Lindabagel, “Lust in Translation” is a reminded of how sharp and funny Better Off Ted could be and how sad it is that its gone. (J)
Read Jonah’s original review here.

Lost – Happily Ever After
The joy of Lost is the joy of discovery and adventure, the feeling that the boundries of the show’s world are limitless and ever-expanding. Every time a new piece of mythology was introduced or a new question asked, viewers’ minds started racing, imagining all the possibilities that existed. It is not shocking that the best episodes of the show, then, are the ones that asked questions, not the ones that answered them. So “Happily Ever After” gets our vote over the still-terrific-no-matter-what-anybody-says finale because it was vintage Lost: Desmond and the audience stranded in a strange world whose very existence was a mystery to us. And by grounding that mystery in the show’s sweetest love story, Lost made “Happily Ever After” as moving as it was intriguing. (J)
Read Jonah’s original review here.

Parks and Recreation – Telethon
“Telethon” worked in everything from a harrowing look into Jerry’s sex life (shudder) to ex Indiana Pacer small forward Detlef Schrempf while maintaining its focus on classic P&R elements like Leslie’s boundless enthusiasm and Ann and Mark’s relationship. The series of callbacks (Pawnee Today, Sweetums, Mouse Rat) and the endless parade of one-liners (“there are two kinds of diabetes but only one kind of caring: type one caring”) make “Telethon” feel like a summation of everything that made season two so special. (J)
Read Michael’s original review here.

The Office – Niagra
Jim and Pam have always been at the emotional center of The Office, so it’s not a huge surprise that their wedding would be the best episode in a season of the show that was less than stellar. It was a sweet, funny episode that was reminiscent of the show’s peak, and helped remind us why we fell in love with The Office in the first place. (M)

Breaking Bad – One Minute
Breaking Bad does tension like no other show currently on TV. So when the twin assassins who seemed to be the season’s main concern turned their attention to DEA agent Hank, all while Hank’s life is collapsing around him. From his violent confrontation with Jesse to his heartbreaking confession to his wife, Hank finds himself coming to the sad realization that he can no longer be a cop anymore, which only makes it that much more tense that two reapers are coming for him. Then a mysterious phone call and a Breaking Bad-style chain of causation turn the tables on the cousins. The fact that, while all this is going on, the show still manages to find time to take Jesse and Walt’s relationship to a new place and work in some vintage Saul Goodman smarm is icing on the cake of what may be the most tense episode of television ever. (J)

How I Met Your Mother – Rabbit or Duck
With a plethora of call backs and references and classic HIMYM troupes throughout, “Rabbit or Duck” was a classic episode of the show that helped salvage a lackluster season. The main story of Robin falling in love with co-worker Don bringing the emotional thread and the b-story of Barney and his always ringing cell phone bringing the laughs, “Rabbit or Duck” is a complete episode, one that can be enjoyed from all angles. (M)
Read Michael’s original review here.

Modern Family – Truth Be Told
Modern Family deserved all the praise it got for its first season, as highlighted by “Truth Be Told,” an episode in which all of the show’s strengths are put on display. There aren’t many weak links, and the physical comedy of Phil evading his ex-girlfriend while Claire remains oblivious was one of the funniest bits the show did. Coming in the second half of the season, “Truth Be Told” solidified Modern Family as the best new comedy of they year. (M)
Read Michael’s original review here.

Justified – Pilot
More pilots should be like Justified’s zippy and thrilling introduction. Of course, most pilots don’t have the benefit of being adapted from Elmore Leonard short stories. Portraying US Marshall Raylan Givens gives Timothy Olyphant a character right in his wheelhouse, an easy-going man of righteousness and violence with a seething anger burning underneath the surface. Raylan returns home and quickly butts heads with Boyd Crowder, an old coal-mining buddy of his played perfectly by Walton Goggins. The pair’s cat-and-mouse game unfolds over the course of the hour and comes to an exciting conclusion that wisely keeps both men around to antagonize each other for the remainder of the season. As an introduction to Justified’s world or just as an hour of TV, “Pilot” works on just about every level. (J)

10. Lost
It would have been impossible for Lost to answer every lingering question and appease everyone in its final season, but for those hoping for closure for the characters they had grown to know and love, it was an extremely satisfying season. Yes, it’s easy to go after things like the “Heart of the Island,” but there were so many moments, especially in the FlashSideways, that tugged at the heartstrings. Ultimately, the last season of Lost reminded us that the reason the show succeeded while the knockoffs failed because it had characters we wanted to be happy, and in that regard, the ending was a complete success. (M)

9. Treme
If there’s one thing Treme was not, it’s The Wire 2. Viewers looking for Omar and Hamsterdam and “Where’s Wallace” type scenes were bound for disappointment. Those who stuck around, however, were rewarded with a series of rich, warm character portraits. Featuring one of the best casts on TV (including standouts Melissa Leo, Khandi Alexander, Clarke Peters among others), the show felt more alive and more human than anything else currently airing. Even if some of the plot points didn’t quite gel the way we might have hoped (Sonny), the show itself made for a promising start from one of TV’s brightest visionaries. (J)

8. Louie
It’s hard for comics to successfully move their act to a sitcom setting, but Louis C.K. did it successfully in his brilliant new show. Louie is truly unlike any show on TV, a brutally honest, downright hilarious exploration of everything, whether its politics, homophophia, God, terrorism, and the challenging experience of flying, all with signature point of view of its creator. Serving as writer, director, and editor, Louis C.K. has created a comedy that plays more like a series of short films than it does a typical tv show. (M)

7. Community
Community makes it easy to focus on the gadget episodes and pop culture awareness by being so good at it. Episodes like “Modern Warfare” and “Abed’s Uncontrollable Christmas,” Community has made a name for itself with some of the smartest parody episodes ever on TV. But what makes Community a truly outstanding show is the measure of heart and empathy it displays for each one of it’s off-beat characters. From a smarmy lawyer to a high-strung overachiever, the characters on Community have transcended their simply types and become a rich collection of people. (J)

6. Boardwalk Empire
HBO has always been successful at creating full realized worlds within their shows, but Boardwalk Empire takes that to a whole new level. With stunning sets and visuals and top notch acting, the Prohibition Era drama is the successor to The Sopranos the network has been searching for. Steve Buschemi shines as Nuckie Thompson, owning the role completely, and the supporting cast is absolutely phenomenal all around. The first season of Boardwalk Empire ushered in a new era for cable dramas, one in which no idea is too big to put on the small screen. (M)

5. Terriers
The people who solve crimes on TV don’t look and act like Donal Logue and Michael Raymond-James. They don’t worry about how to make rent or take cases for a bank manager just to try to secure a loan. And their cases don’t involve women who pretend to have affairs at their husband’s insistence or helping wealthy landowners rob themselves. But Terriers wasn’t like other shows. It had a shaggy, easy-going energy that blended perfectly with its noir elements and some of the best performances on TV. Terriers could regularly punch you in the gut in a way no other TV show did and TV is a flatter place without it. (J)

4. Parks and Recreation
After a tepid first season, Parks and Recreation emerged in its second season as one of the best shows on network television. The show finally emerged from the shadow of its older brother, The Office, consistently being the funniest show in NBC’s strong Thrusday night lineup. Parks and Rec learned to play up the strengths of its phenomenal cast, with Amy Pohler leading the way, but with Aziz Ansari, Nic Offerman, Aubrey Plaza, and Chris Pratt adding just as many fantastic moments. With the late additions of Rob Lowe and Adam Scott, Parks and Rec looks like it will continue its greatness when it returns in early 2011. (M)

3. Mad Men
At the end of its third season, Mad Men liberated Don and Betty Draper from their suffocating, destructive marriage, and then spent the fourth season teaching them to beware what they wished for. This season structured itself like a series of interlocking short stories, giving the audience an even more intimate look at the show’s characters than in years’ past. And, in the end, it made all too much sense to see Don fall back into his same pattern, proposing out of nowhere to his pretty secretary while casting aside his intellectual and professional equal Faye. In the end, this season of Mad Men was about what every season of Mad Men is about: the more things change the more they stay the same. (J)

2. Party Down
It’s a shame that the best comedy of 2010 was one of the least watched or heard of shows of the same year, yet it seems fitting for a show about characters seemingly doomed for failure. The show didn’t miss a beat all season, and actually added more depth to their characters by taking them out of the parties they catered in episodes like “Steve Gutenberg’s Birthday” or “Party Down Company Picnic.” Ken Marino was once again the show’s MVP as perpetual loser Ron Donald, but I could go on and on how good the rest of the cast was. If you missed out on Party Down, you’re not the only one, but do yourself a favor and correct that. You won’t be sorry. (M)

1. Breaking Bad
I meant to recap this season of Breaking Bad, but I just couldn’t do it, at least not without watching each episode three or four times. One week, Breaking Bad could deliver episodes loaded with tension to the point of explosion and then follow them with softer hours that put a close-up focus on the people at the show’s core. Breaking Bad doesn’t let its characters out of making difficult decisions, it doesn’t go gentle on the audience, and it doesn’t play by the rules. From the compelling men at its center – Walter White and Jesse Pinkman – the fascinating characters in their orbit and even people at the periphery, Breaking Bad has created and depicted a world that is fully realized and detailed. (J)

Micmacs

It’s that time of year folks! Jonah and Michael have spent the last couple weeks debating the best of 2010, and this week, we’ll unveil our picks! We start today with our personal Honorable Mentions, the ones that didn’t make our master lists, but our personal ones. Stay tuned the rest of the week for our official picks!

Jonah’s Picks:

Film: Micmacs

Jeunet’s latest film is inspired by everything from Buster Keaton to Pixar, blending it with an Ocean’s 11 style heist into a movie that is whimsical and fun and just a little sad. If you found Amelie too precious, Micmacs won’t change your mind, but if you’re already on board with Jeunet, you should hunt down Micmacs immediately.

Film Performances: Jeff Bridges, True Grit

Unfortunately, we had to make these lists without seeing all the 2010 releases that are still making their way around the country. So consider this a placeholder a nod towards a film that we’re both eagerly anticipating.

TV Show: Justified

Few new TV characters crackled to life in 2010 the way Raylan Givens and Boyd Crowder did. The fish-out-of-water premise and early case of the week structure were a little frustrating, but by the time the show moved to its season ending masterplot, the elements blended together to make the most compelling cop show on TV right now.

Album: The Books, The Way Out

On their first album in five years, The Books pushed their aesthetic in bold new directions, layering electronic, funk, and even hip-hop to make the catchiest sound collage record of all time. Stand-out tracks like “A Cold Freezin’ Night” and “I Am Who Am I” make for an aggressive counterweight to gentler stuff like “Thirty Incoming.”

Song: Caribou, “Odessa”

“Odessa,” the most accessible song off of Swim, is also a perfect tone-setter for the record that follows. “Odessa” establishes a mournful atmosphere, layered in disco and pop, as it depicts a breakup in oblique terms.

Michael’s Picks:

Film: Rabbit Hole

The more I thought about John Cameron Mitchell’s latest film, the more I found that I liked it. It’s a brooding film, one in which its characters are always on the verge of meltdown, but for a film about a couple dealing with the loss of their child, it doesn’t drop into melodrama like so many other similar films. It’s a gorgeously filmed and phenomenally acted film that may not get the attention it deserves, but is well worth your time.

Film Performance: Mia Wasikowska, The Kids Are All Right

While her higher profile co-stars stole the show, Wasikowska delivered a great performance as a girl just trying to figure out who she is at a time of great change in her life. There’s a naturalism in her performance, a sense that for a young actress, she’s incredibly comfortable in front of the camera, announcing her as a next great talent.

TV Show: Friday Night Lights

Long critically adored, Friday Night Lights goes into its final season riding high. There are few shows on TV that are as good at moving characters in and out of its plot as effectively as FNL, and even less that draw out such terrific performances from such young actors. I’ll be said to see Coach and Tammy go, but at least they’re going out with another strong season.

Album: Broken Social Scene, Forgiveness Rock Record

Call them a sentimental pick, but I thought BSS delivered a fantastic fourth record. It may not be as high up there as some of their previous albums, but Forgiveness Rock Record shows a significant amount of growth for a band that has been so fractured and constantly moving as BSS. If nothing else, it has some damn catchy songs.

Song: Titus Andronicus, “A More Perfect Union”

If there was one song this year that didn’t make our list that I kept listening to over and over again, it was this epic track that kicked off The Monitor. It’s songs like this that make it easy to argue that Titus Andronicus, like Ted Leo before them, are the indie punk descendents of Bruce Springsteen.