The Artist wins Best Picture!
Congratulations to The Artist!
Click here to read the Anti-Film School review!
The Best and Worst Films of 2011… And a Few Honorable Mentions
by Steve Habrat
Another year has come to a close and I know I will fondly remember 2011 as the year nostalgia ran rampant through cinema. We couldn’t get enough of the retro throwbacks that Hollywood dumped onto us! It touched horror (Insidious), superheroes (Captain America: The First Avenger), dramas (The Artist), thrillers (Drive), and even more than that. Many proclaimed that the year was lacking strong, well-made films that will live on but I have to disagree with those statements. I found 2011 to be a very good year for film with a number of wonderful films flickering across the silver screen. I will admit that, yes, the awards season was a bit dry with the usual awards tailored releases but one could make the argument that they were spread throughout the year. Hell, Spetember, which is usually the dumping ground for crappy movies, saw several great releases. So, my loyal readers, here is my picks for the 10 Best Films of 2011. I will follow the best with the honorable mentions and the 5 Worst Films of 2011.
10.) Tinker Tailor Soldier Spy
This Cold War thriller about a group of spies at the upper levels of British Intelligence trying to locate a Soviet mole that has apparently been walking among them for years is tense, paranoid, dry, and quietly threatening. With a discreet but brilliant performance from Gary Oldman and a slew of supporting acts not far behind (Toby Jones, Colin Firth, and Tom Hardy all give it 110%), Tinker Tailor Soldier Spy becomes a film not about the mole but about the casualties of the Cold War. The casualties are the egos, careers, and lives of the men and women battling this war where accusations are fired instead of bullets. I remained on the fence about including this film in my Best of 2011 list but as the days pass, I find myself being squeezed tighter and tighter by its frosty grip.
9.) The Help
You know that chick flick that wasn’t Bridesmaids or Crazy Stupid Love (both awesome movies, by the way) that your girlfriend really wanted to see but you groused about going to? Yeah, The Help. It was really, really good and you missed out. The Help was a dazzling and patient film that was a cry for female camaraderie while never isolating the male viewer. It was a film about speaking your mind while opening up and listening to those around us. It was a film about unlikely friendships and cathartic confiding in one another. It was also a really great drama with moments of howling hilarity and stinging heartbreak. So yeah, that film you refused to see because it was just a “chick flick”? Yeah, you might want to see it because it happens to be a whole lot more than just for “chicks”. See it also for the show stopping performances from Octavia Spencer and Viola Davis.
Moneyball is to baseball what The Social Network was to Facebook. Featuring a crackling script by Steven Zaillian and Aaron Sorkin and top notch performances from Brad Pitt as Oakland A’s GM Billy Beane and Jonah Hill as the number crunching Peter Brand, Moneyball is consistently engrossing. If you can’t get enough of the babble about how to properly recruit a player, you’ll be thrilled to watch a film about a man on a search to make concise and solid decisions yet has failed to make the best ones in his own life. Pitt throws himself into Beane and for the first time in quite a while, disappears completely in the skin of his character. Hill breaks from his funnyman typecast and delivers a brainy performance that will open up more doors for him in the future. Even if you are the furthest thing from a baseball fan, you will find yourself hanging on every word and every frame of Moneyball.
7.) War Horse
Steven Spielberg’s majestic and epic interpretation of Michael Morpurgo’s children’s book is a touching and traditional opus. The film is pure Spielberg, a feel good blockbuster that leaps across Europe spying on the regal horse Joey and the several lives that he touches as he navigates through war torn landscapes. The film is complimented with an extraordinary score from John Williams that will become just as iconic as his scores for Star Wars, Indiana Jones, and Jaws. Whether you are jolted by the intense WWI battle sequences, marveling at the jaw-dropping cinematography, or still reeling from the barbed wire sequence, everyone can agree that War Horse is a cinematic triumph for, yes, all ages.
6.) The Girl with the Dragon Tattoo
Director David Fincher’s frigid crime thriller that follows a disgraced liberal journalist and a punk rock hacker is a mature thrill ride that will leave you the viewer scarred. Refusing to pull any punches, Fincher’s take on Stieg Larsson’s source material is fully realized, confident, and just as unpredictable as its heroine Lisbeth Salander. Mara transforms herself into the troubled and prickly hacker while also making her extremely charismatic. Daniel Craig has fun as a man trying to repair what is left of both his dignity and his career. Just as graphic as you’ve heard (there is not one, but two squirm-inducing rape sequences), intense, and featuring the coolest opening credit sequence of any movie in 2011, The Girl with the Dragon Tattoo leaves you pinned to your seat. You will also never listen to Enya’s “Sail Away” the same way ever again.
5.) The Artist
The nostalgia of 2011 hit its peak with the silent French film The Artist, a vivacious film about a silent film actor facing the death of the silent film. The Artist proved that we do not need loud action sequences, explosions, or words, for that matter, to be deeply affected by a motion picture. It also stands as a tribute to artists themselves, who stand by the medium that they contribute to. The Artist thrilled us with haunting images, on point slapstick, and gooey gobs of cuteness. Good luck getting the performances from Jean Dujardin and Bérénice Bejo out of your head. You’ll also eat up all the affection that director Michel Hazanavicius bestows on every single frame. You’ll find yourself longing for a musical sequel and to relive the chemistry between the two leads. Trust me.
4.) The Tree of Life
Terrence Malick’s cosmic symphony of creation and evolution is so resplendently beautiful, it will practically drive you crazy. You’ll never forget the vivid swirls of the creation of the universe sequence or the crystal clear wonder in 1950’s suburbia. While the film is truly a work of art to gaze at, the film is made even stronger by the performances at the heart of it. Brad Pitt as a stern and cynical father who possesses an explosive temper will strike child-like fear into the viewer and Jessica Chastain as a naive and awe-struck housewife is graceful and inviting. The real beauty of The Tree of Life is in what you take away from the film. To me, Malick seems to simply be reminding us that life will throw some emotional curves at us, but don’t ever forget to stop and take in the glory around us.
3.) The Descendants
Paradise is not all its cracked up to be in Alexander Payne’s The Descendants. George Clooney gives the best performance of his career as Matt King, a man whose wife is comatose from a boating accident and while she is in the hospital, he learns she was having an affair. Doleful and sporadically hilarious, The Descendants moved me beyond words and at times, is almost unwatchable due to the mental and emotional beatings that King takes. While Clooney steals the show, his troublemaker teenage daughter Alexandra, played by Shailene Woodley, is the life vest keeping King’s head above water. You’ll feel every blow that life dishes out to King but that is what makes The Descendants so emotionally raw, real, and just plain great.
Nicholas Winding Refn’s rough and tough thriller Drive has been wrongfully overlooked this awards season. It’s an unabashedly cool art house thrill ride that is one part homage to the 1980’s and one part existential tribute to Alejandro Jodorowsky. Featuring moments of angelic tranquility and fits of nerve frying rage and unflinching gore, Drive dared to be different and all the more power to it. Featuring the one-two punch of Ryan Gosling’s loner, nameless Driver and the erratic brutality of Albert Brooks’ gangster Bernie Rose, Drive isn’t simply all muscle with nothing under the hood. The film boasts the coolest soundtrack of the year, features moments that are instant classics (the head stomping scene, the opening car chase), and is the epitome of badass, all while taking you for a ride you’ll never soon forget.
There is a scene in Martin Scorsese’s Hugo where our child protagonists Hugo and Isabelle take a trip to the movies. Scorsese’s camera captures their wonderment, their gasping thrills, and their imaginations running wild all while they have smiles plastered across their faces. They are watching their dreams of adventure play out on a larger-than-life screen and they haven’t a care in the world. This is why I go to the movies. For two hours, I get to forget the outside world and I get to step into another, one where my dreams come alive and my imagination is at play. While Scorsese’s ultimate message is the call for film preservation, one I can stand behind, Hugo is alive with the love of cinema. If you are willing to immerse yourself in its glorious 3D universe that Scorsese meticulously creates, you will want to remain in the world along with Hugo and thrill as he darts around the 1930s train station that he calls home. A film that is tailored for film fans and film students a bit more than the casual moviegoer, Hugo is a love letter delicately written and magnificently composed by a living legend. Hugo is why I go to the movies.
– Crazy Stupid Love is a return to form for the romantic comedy genre.
– Midnight in Paris is a return to form for Woody Allen and is unapologetically charming.
– Thor, Captain American: The First Avenger, and X-Men: First Class were all stellar comic book offerings from Marvel Studios.
– Super 8 was a super cool retro action/science fiction film that fans of 1980s Spielberg gushed over. Myself included.
– The Adventures of Tintin was a rollicking nod to Raiders of the Lost Ark and stood as the best animated film of the year.
– Rango was quirky tribute to Chinatown, Fear and Loathing in Las Vegas, and Sergio Leone.
– Insidious was a flawed but fun haunted house freak out.
– Mission Impossible: Ghost Protocol was the best and most nerve-racking action film of the year.
– 50/50 was at once hilarious and heartfelt. Be prepared to wipe away a few tears.
2011 also had its fair share of cinematic duds and man, were they disappointing. For my Worst Films of 2011, I chose not to go for the easy choices (Bucky Larson, Jack & Jill) and go for the films that had potentially but fell short of their expectations. These were the ones that hurt bad and were an immense challenge to sit through. These are the films you should have stayed far away from in 2011.
5.) Cowboys & Aliens
Not a downright awful movie but given the talent surrounding this science fiction/western mash up, it should have been a hell of a lot better and much more fun. Flat and one note, this clunker threw one lifeless action sequence after another at us, never once getting an “Ooooooh” or an “Ahhhhh” from its viewer. The aliens were also pretty lame looking too. Daniel Craig tries his hardest but he can’t save this one. Heck, not even a naked Olivia Wilde had the magic!
4.) Green Lantern
The only superhero outing from DC Comics this summer turned out to be a candy colored nightmare of trippy special effects and a cluttered script. Ryan Reynolds as the cosmic cop was also a pretty horrible choice on the part of the filmmakers. It didn’t help that Warner Brothers tried to make this the successor to the mega successful Batman franchise and they ended up marketing the film to death. Weird and with more shifts in tone than you could shake a green ring at, Green Lantern was headache inducing and laughable, with enough plot holes to fuel a dozen terrible blockbusters. If you don’t believe me, just watch the massive climax of this thing. You won’t believe your eyes.
3.) Breaking Dawn Pt. 1
America, don’t you feel the slightest bit of shame that this passes for pop culture in our country? The Twilight Saga struck again in 2011 and left countless girls and grown women (You all should know better) swooning over Taylor Lautner and Robert Pattinson yet again. With nothing resembling a plot, Breaking Dawn Pt. 1 existed for simply one reason: To cheat young girls and grown women out of ten bucks. And sadly, they flocked right to Lautner’s abs like moths to a light bulb. If you are not a part of the hysterical hype, you will want to bash your head against the wall while you watch this.
2.) The Hangover Part II
Before all the girls were robbed blind while hyperventilating over the sight of Lautner’s abs, bros everywhere were robbed blind while howling over the painfully unfunny jokes by Zach Galifinakis and his brutish wolf-pack. An unnecessary sequel that did nothing to elaborate on the mostly unfunny first installment, The Hangover Part II was offensive in almost every possible way. If you missed this while it was in theaters, don’t fret and certainly don’t go seeking it out. It seemed like near the end of its theatrical run, the film lost steam as many people started realizing that this was a flat out horrendous movie. Maybe there is a God. Seriously, folks, this is an ugly, ugly movie that should have never seen the light of day.
1.) Battle: Los Angeles
Bad doesn’t even scratch the surface of the vociferous, stupid, and aggravating Battle: Los Angeles. You couldn’t tell if this abomination was supposed to be the most expensive commercial for the Marines ever made or the unholy brainchild of a kid who watched District 9 too many times and was obsessed with Call of Duty: Modern Warfare. Whether you’re cringing over the eye-rolling dialogue, trying to decipher just what the hell is going on in the non-stop gun fights, or trying not burst out laughing when the film goes for the dramatic territory, one thing is for sure, Battle: Los Angeles was the worst thing Hollywood dumped on audiences in 2011! Avoid it like a plague.
Anti-Film School’s Academy Awards Coverage: The Best Picture Race
by Charles Beall
Throughout the next month, I will be contributing articles about the Oscar race this year. To start things off, let’s talk about the big race, Best Picture.
9 Best Picture nominees
When the Academy announced that there would be a new voting system to select a Best Picture nominee (a film has to have 5% of first place votes to gain a nomination), I aired on the side of skepticism. At first, when the Academy announced that there would be 10 nominees two years ago, I cried foul. This is the Academy Awards! Why would we sully it by letting in five other films? However, take a look at these ten films (the first five released in 2009 and the last five in 2010, respectively): District 9, The Blind Side, An Education, A Serious Man, Up, Inception, The Kids Are All Right, 127 Hours, Toy Story 3, and Winter’s Bone. Aside from The Blind Side (total turd), these ten films are exceptional “unconventional” films that never would’ve been nominated if there were only five nominees. Sure they can’t win, but they definitely were deserving of a nomination for Best Picture. I decided that I liked this 10 Best Picture nominee system.
However, per the new Academy rules, there could be anywhere between five and ten nominees for the films of 2011. The movies that were to be nominated had to, as I stated, receive 5% of number one votes. So, with this complicated system, I assumed there would be between five and seven nominees. Yet, there were nine.
Here are the tiers these films fall into:
(Note: films with an * are films I have not seen yet. I can only give the impression I get from them, whereas the films I have seen, I can attempt to attest to why they were nominated.)
The Five– these would’ve been the five nominated films if there were only five nominees:
This is a film that has Oscar written all over it. A nostalgic look at Hollywood, a silent film in black and white, and a feel-good, original idea, this movie is the kind of warm hug Academy members like.
The Descendants is the tailor-made, quirky Fox Searchlight Oscar bait we’ve all come to expect, yet don’t let that detract from how great of a film it is. Alexander Payne is a wonderful filmmaker and this film, his first since the incredible Sideways, goes along with his theme of middle aged men “coming of age.” Anchored by a wonderful performance by George Clooney (I think he deserves the Oscar), The Descendants is worthy of the respect heaped upon it, and even though it oozes of “Oscar prestige,” it truly is a great American film
The Help is the type of crowd-pleasing hit that the Academy loves to recognize to show that it isn’t a bunch of out-of-touch, pretentious white people. I enjoyed The Help, yet I have some reservations about it. First, it is entertaining without being overly confident in itself; it doesn’t wear its message on its sleeve. We know that segregation in the South is a disgusting stain on our nation’s history, yet The Help doesn’t delve into how blatantly horrible it was to make the actions of the white people in the movie seem more noble than that of the Help. With that said, it almost does go off the deep end. Yes, it portrays the bravery of certain white women and certain African American women, but it comes off that without the white women, the Help would’ve never had their story told. The film teeters on that cliff, but the filmmakers realize that that is too easy of a plot device, so I commend them for not taking the easy route.
While I would’ve liked a more “intense” portrayal of racism in the South, The Help suffices for reaching such a wide audience. The film is honest and takes its time to develop its great characters. In a year with only five nominees, I wouldn’t have selected The Help; however, when there are ten spots, I think it is deserving as one of the ten nominees.
Hugo is a marvel and the best film I’ve seen this year. This love letter to film, imagination, and life is completely engulfing. As Scorsese’s first 3D film, he utilizes the technology to add, well, another dimension to the story. There are no gimmicks and you are literally immersed into a world that could only come out of careful planning and love of source material. I cannot praise this film enough, and in any year, this would be in the top five, if not number one spot. Hugo deserves all of its 11 Academy Award nominations.
Midnight in Paris
The Academy loves Woody Allen, which is ironic because Woody never shows up to the ceremony. However, if there is any comeback film for Allen after some flubs in years past, it is Midnight in Paris. This is such a cute, original movie that offers an escape for not only the main character, but for the entire audience. This is one of the best movies of the year and worthy of its four nominations.
The “honor-to-be-nominated” Crew– if there were five nominees, these wouldn’t have been nominated, but with the current voting system (and the former 10 nominee system), they are:
The Tree of Life
Terrence Malick’s fifth feature film is a simply beautiful, undeniably maddening meditation on life. If there were only five nominees for Best Picture, this wouldn’t have been nominated (even though, I believe, he would’ve been nominated for Best Director-the Academy would oftentimes nominate a director whose film wasn’t nominated for Best Picture) but with the new system, it got in there. There is an almost cult-like following for this film and I was honestly surprised that it was nominated. It is a unique film, and this definitely “diversifies” the Academy’s canon of nominated films. It won’t take home the big prize, but it definitely has been honored with its 3 nominations.
A movie about math and baseball, written by Aaron Sorkin, and starring Brad Pitt. I haven’t seen it, but heard it is great. This is the Academy trying to be cool, I suppose.
Steven Spielberg. World War I. Epic. Is the Academy still sorry for snubbing Saving Private Ryan?
Extremely Loud and Incredibly Close*
This smells Weinsteinesque (more on that later).
Harry Potter WAS NOT snubbed
Fans are crying foul on the “snub” of Harry Potter and the Deathly Hallows, Part 2 in the Best Picture race. Folks, there was no snub. This film did not deserve a nomination for Best Picture; it was the worst film in the franchise. Now, before you call me a death eater or a Slytherin, I urge you to do some soul searching and ask yourself if this really was the movie you thought it was.
Now, in defense of the Academy, they have opened their minds somewhat when it comes to films of different caliber. The Lord of the Rings trilogy, for instance, was nominated for 30 Academy Awards, winning 17 (including a clean sweep for The Return of the King). Yes, the Academy has been stingy on which films they nominate (fantasy/science fiction-wise), but The Lord of the Rings films were exceptional, bridging fanboy/girl devotion with a mass audience appeal. That isn’t to say the Harry Potter franchise didn’t do such a thing; it did, but not to the extent of respecting the source material in such a way that the LOTR filmmakers did.
Now, as I stated earlier, ask yourself if the final film really was that incredible. Take a look at both the entire final book and the penultimate film in the series. Both of these took their time developing both the story and the characters; the final film did not. There was a checklist of obligatory plot points to be filmed and they were done in such a rapid succession that one did not have time to emotionally process what was happening to the characters we have grown to love. The final LOTR film was 200 minutes. The final Harry Potter film was barely over two hours. With so much story left in the second half of the book, the filmmakers didn’t develop it into drama; they shot it and sent it off to 3D rendering.
Is the Harry Potter film series terrible? Absolutely not. I believe that for such a massive, original world that J.K. Rowling created, the filmmakers did a reasonably excellent job in adapting it for the big screen. However, after seven well-made films, the eighth just floundered, portraying itself as something that it was not and seducing loyal fans into thinking it was the best in the series.
Don’t hate on the Academy for this “snub.” There have been sequels that were nominated for Best Picture (and some that won) that were far more deserving than Part 2. True, The Return of the King won Best Picture for two reasons: it was a great film, but also the conclusion to a flawless motion picture trilogy. That is what gets rewarded by the Academy, not an “easy” sequel to an otherwise great film series.
“But The Blind Side was nominated for Best Picture,” one might say. I know…I never said the Academy was perfect. However, there is a huge difference in an unworthy film getting nominated for Best Picture and an unworthy film not getting nominated for Best Picture. Harry Potter and the Deathly Hallows, Part 2 falls into the latter category.
In conclusion, it must be said that the Harry Potter film series, as a whole, stands as a landmark in motion picture history, and for that, both as a lover of the series and as a cinephile, I sing its praise.
What should’ve been the “ninth” and tenth films?
I put “ninth” in quotes because, while the 8 films that were expected or had a reasonable chance of being nominated for Best Picture were, the ninth film, Extremely Loud and Incredibly Close, was a shocker. There is a hardcore group of fans of this film, and while I have not yet seen it, I can tell you that it is one of the worst reviewed films of the past ten years (according to Rotten Tomatoes) to be nominated for Best Picture. So what happened?
As I stated earlier, the way the Academy has changed their voting rules over the last three award cycles allows films like Loud (and The Blind Side) to sneak in and nab a spot. What happened with Loud is that there were 5% of people who loved this movie so much that they put it as the number one spot on their ballot among the list of 300 plus eligible films from 2011. There is a great article from Entertainment Weekly that explains this whole system, and the link to that is right here: http://insidemovies.ew.com/2012/01/24/oscars-best-picture-why-nine-nominees/
So, now that you have your head wrapped around that, let us look at which films were “bumped off.” I believe that The Girl with the Dragon Tattoo and Bridesmaids were bumped off by Loud. Some may argue that The Tree of Life also was a surprise, but with its devoted fanbase, I think it was always a shoo-in for a nod. As explained in that Entertainment Weekly Article, Tattoo and Bridesmaids were probably voters third or fourth pick for their favorites of the year, which would’ve helped in other years, but not this one. So, Academy members, if you find yourself passionate about a particular movie next year, make sure it gets your number one spot. If The Dark Knight Rises is as incredible as its predecessor, you know what to do.
So, that concludes my analysis of the Best Picture race for 2011. There will be more to come before and after the Academy Awards, so keep checking Anti-Film School for more updates.
Favorite Film of 2011… GO!
It is almost time to close the book on 2011 and it has been an interesting year at the movies. It has been a year heavy with nostalgia, superheroes, and lots of Steven Spielberg. With the lack of new reviews we have currently (We are working on it, guys! Trust me! The holidays have kept us very busy.), we want to know what film YOU guys loved in 2011. This isn’t our best of 2011 list, as there are still some films that we still need to see (Ahem! The Artist and Tinker, Tailor, Soldier, Spy! How about a wide release already!), but I tried to include the ones that recieved the most attention throughout the year. So get to voting and if you don’t see your favorite film in the poll, shoot us a comment! We love hearing from you.
by Steve Habrat
I wonder what the film snobs who snarled at J.J. Abrams and Steve Spielberg’s wide-eyed tribute to the escapist cinema Super 8 are now thinking about Martin Scorsese’s turn at bat. Truth be told, Scorsese’s Hugo is quite possibly the best movie I have seen all year. With 3D that rivals Avatar’s, some of the finest acting from child stars I have seen since Super 8, an extraordinary performance from Sacha Baron Cohen, and a reserved respect for classic cinema, Hugo is a sumptuous revelation that will live on for years to come. In fact, I’d be so bold to say that if Scorsese retired and never made another picture, there is no finer way for him to go out than with this film. Hugo places Scorsese’s heart on his sleeve, which is quite rare when we go back over his resume (Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Cape Fear, The Departed, Shutter Island). It’s rare you find a film of this caliber, one that manages to capture the director’s spirit and boy if Scorsese’s spirit isn’t incandescent with childlike wonder. And from a guy who has made so many films about tough guys, who’d have thought he was a gigantic softie?
Hugo breathes new life into this cookie cutter Oscar season, loaded with the usual fare (The Descendents, J. Edgar, My Week with Marilyn, Shame), and it is utterly refreshing. Set in Paris during the 1930s, orphaned Hugo Cabret (Played by the breathtaking Asa Butterfield) tends to the clocks behind the walls of a bustling train station. He steals food from the cafés that line the station, people watches from behind the towering clock faces, dodges the ever-watchful Station Inspector (Played by Sacha Baron Cohen, who has never been better) and flits about the winding steam rooms and hidden grinding gears. In his spare time, Hugo sneaks around the station stealing trinkets that will help him fix a mysterious automaton, which he was building with his father (Played by Jude Law) before his father was killed in a fire. He steals parts from a toyshop owned by the bitter George Méliès (Played by Ben Kingsley). One day he gets caught by Méliès and as punishment has his notebook containing the instructions on how to fix the automaton taken away. Méliès tells Hugo that he must work for him and earn the notebook back. While working for Méliès, Hugo meets Isabelle (Played by the always great Chloe Grace Moretz), a young girl who hangs around the toyshop. They strike up a friendship and she begins to help Hugo on his quest to finish the automaton and Hugo aids her in her quest for adventure.
While there isn’t a kink to be found in the storytelling, the performances are all wonderful, and the film hits every emotional mark it needs to, the film soars because of it’s jaw-dropping 3D. It’s on the level of Avatar and even surpassing it in some respects. What I believe good 3D should accomplish is making me feel like I inhabit the world that the characters do. This is what saved Avatar and coaxed back audiences to see it again. You felt like you were on Pandora with the characters, not like you were just peering through a large opening. We are invited in to the world that Hugo Cabret explores on a daily basis. The opening moments of the film pulled the rug out from under me and I felt like I was dashing along that twisting labyrinth of metal and steam. While watching Hugo, I felt like I had jumped into a time machine and sped off into history.
Speaking of history, Hugo gives a concise overview of the history of cinema, even if it is succinct. These are told in minor flashbacks that tickle the viewers eyes by flashing clips of old silent classics, stock footage of WWI, and techniques applied by Scorsese himself. The film contains numerous scenes in which the actors have little to no dialogue and let their performances evoke the spirits of Buster Keaton, Charlie Chaplin, Harold Lloyd, and more. At times I almost found myself wishing that Scorsese had filmed Hugo in black and white, just to give the audience the full effect. I guess the producers may have feared it would overshadow the recent release The Artist, which is also a testament to early cinematic works. As someone who has studied the history of the medium, I was enthralled with Scorsese animated trip through history all while constantly nudging my friends and gasping over the nods to old films. Scorsese appears to never feel obliged to tip his hat and it felt like this was coming from the deepest depths of his magic loving heart.
Magic is the core of Hugo, as Scorsese professes his undying love for it every step of the way. He couples magic with imagination and our willingness to dream. He firmly declares that film is our way of capturing our dreams and showing them to the world. This goes against what is taught at stuffy film schools where they say film should not be a form of escapism but rather make political, moral, and social proclamations. For those of us who grew up marveling at the medium, this shatters what we have built film up to be and I ask why they must defile what is sacred to us fans? It must be quite a blow to their egos, as film schools like the one I attended gushed over Scorsese and his gritty works. It turns out they were wrong about that little guy. He dares to dream with the rest of us.
Hugo boats some truly exquisite performances from its young child stars. Kingsley conveys anger, resentment, and redemption with grace. Sacha Baron Cohen is Oscar worthy as the strict Station Inspector who has confidence issues and a hopeless crush on a pretty and fair Lisette (Played by Emily Mortimer). Asa Butterfield’s Hugo shines the brightest of all and he nabs our empathy just as nonchalantly as he takes a pastry from a café. Chloe Grace Moretz is flawless as always, but then again she has been a talent to keep an eye on since she broke out with last years stellar Kick-Ass. Christopher Lee pops up as an observant and baritoned bookshop owner who finds himself puzzled over the independent Hugo. All of these performances compliment each other and the true marvel is the performances achieved without copious amounts of dialogue. It’s like they are from a different era.
Hugo gathers it’s momentum in the first few seconds of flashing across the screen and it never slows down. Everything just clicks in this picture. You’ll find yourself grinning over it if you’re a film fan and enamored with it even if you are just a casual viewer. Scorsese pleads with us not to contain our imagination and our passion for the things that we love. They should guide us through this twisting and complicated world and allow us to discover what our purpose is in this life. Thanks for reminding me to dream, Marty, and assuring me that it’s more than okay to do so. Oh, and thanks for Hugo, the best film of 2011.
The Muppets (2011)
by Steve Habrat
I’m going to remember 2011 as the year that retro dominated at the movies. We have seen multiple releases throughout the year that have embraced a throwback aesthetic, ones that were evocative and nostalgic. They were all quite good too. We’ve had the candy-colored madcap The Green Hornet, 80’s horror nod Insidious, the Goonies/E.T. mash up Super 8, the dreamy pulp and Raider’s of the Lost Ark tribute Captain America, the ultra violent 80’s crime/actioner Drive, the arty silent film wonder The Artist, and we will soon see another Raider’s valentine when The Adventures of Tintin hits theaters. Many have been direct nods to the heyday of special effects and when escapism really dominated. In the late 70’s, Jim Henson’s Muppets took over television and went on to rally a group of loyal fans that have supported them through the years. After a long hiatus and being largely forgotten by pop culture, gargantuan funny guy Jason Segel, who is also said to be a huge fan of the felt critters, penned a fresh new screenplay along with Nicholas Stoller, wrangled director James Bobin and together they have delivered a winning piece of family entertainment that attempts to rally a new generation of fans while also making the adults who so enthusiastically watched their sketch-comedy mischief way back when inebriated with nostalgia of their youth. The Muppets is retro without being retro. It’s hilariously self-aware and willing to crack jokes on their absence. This world isn’t meant for the optimistic band of creatures ranging from the ringleader Kermit the Frog all the way to Sam the Eagle. And trust me, every Muppet you can think of pops up at least once. The movie almost isn’t big enough to contain them all. The best part of all of this is that The Muppets keeps things unadorned, making it even easier to love them.
The Muppets kicks off with the knee-slapping introduction of their newest member, Walter, a happy-go-lucky little puppet that is best buddies with his human brother Gary. The young Gary and Walter live in the perfect community of Smalltown, USA, and they both sit in their matching stripped pajamas and grin over The Muppet Show. Walter becomes a massive fan of Kermit and company, and as life gets tougher for the little Walter, he finds comfort in The Muppet Show. The film speeds forward to present day where the adult Gary (Played by Jason Segel) and Walter still live in Smalltown and are now shacking up together. They are still best buds and still do everything together, even hilarious musical numbers. We also learn that Gary is dating Mary (Played by Amy Adams) and they have been together for ten years. Gary plans a trip to Los Angles in celebration of their anniversary and he invites Walter to tag along to see the Muppet Theater. Mary is less than enthused but she understands how important Walter is to Gary and Gary to Walter. Once they arrive to Los Angles, Walter discovers that the world has left the Muppets behind and moved on. Their theater and studio lie in ruin and there is a plot by an evil oilman named Tex Richman (Played by Chris Cooper) to destroy what is left of their studios in an attempt to drill for oil. Horrified, Walter pleas with Gary and Mary to help him reunite the Muppet gang and help save the Muppet Theater.
It’s easy for us to wave off The Muppets and call it square. It features quirky puppets rather than fancy CGI creatures and, yes, it does seem a bit dated. It’s also heavy with musical numbers, which is also the furthest thing from hip. Yet that is what makes this film so irresistible. It’s simple and old fashioned, with a whole slew of cameos from big Hollywood names. Get ready to double over when Modern Family’s Rico Rodriguez shows up and inquisitively asks Kermit if he’s one of the Ninja Turtles. Wait until you see Kermit’s reaction. Oh, and Neil Patrick Harris turns up too to deliver a real zinger. Truth be told, I’ve always been intrigued by the Muppets and how they convey so much emotion. When Kermit is sad, we can see it in his plastic peepers. It does fill you with a sense of wonder. It helps that the puppet work is punctilious and detailed. And yet this film is content with being square and a bit dated. In fact it is delighted by the very implication of it. It gives it fuel to crack joke after joke and believe me, the jokes come fast and furious. It’s a nice balance to Pixar’s films and the bizarre offerings like Alvin and the Chipmunks, where real actors interact with annoying CGI animals (Hollywood is forcing the annoying Chipmunks on audiences AGAIN! They showed the trailer before this film. I guess with every good thing, there has to be a bad.). With The Muppets, at least there is something palpable for the actors to work with.
The actors here all do a fine job playing old fashioned. Segel brings a gee-whiz energy with him and he really seems to be genuinely in awe at what is going on around him. It helps that he has a heart for this sort of thing. Adams steals the shows as Mary, as she just radiates girl-next-door charm. She looks like she stepped out of the 1950’s. Parks and Recreation’s Rashida Jones turns up as a straight-shooting television executive named Veronica who, in the words of Fozzie Bear, could shoot “a little more curvy”. Cooper’s oilman Tex Richman also provides some big laughs, especially his love of maniacal laughter. He also steals the show with a musical number so bold, I didn’t laugh until after it ended and I could register what had just happened.
The Muppets does have a handful of flaws that knocks it down a letter grade. The director handles some of that cameos carelessly, some are so brief; blink and you may miss them. There are some that shine (Emily Blunt turns up in a nod to The Devil Wears Prada) and some that should have been developed better (Sarah Silverman’s wasted potential as a diner hostess). Some of the Muppets themselves could have used a bit more screen time, but the film desperately tries to fit every single one of them into the film that it is almost overload. I was left wishing for more of daredevil Gonzo and Sam the Eagle. Walter ends up getting lost in the shuffle for about a half hour and it’s a shame because you really do fall in love with him. Every once and a while, it feels slightly unfocused, like a bunch of kids in a candy store.
Despite some minor hiccups, this is one of the best family films of the year. One that is not like Chinese water torture for adults and delivers slapstick laughs for children. I applaud Segel for making retro old-fashioned feel new again and I would gladly go back to the theater to experience all of this again. The film succeeds as a musical, with several numbers that really pop, the best one being shared by Mary and Miss Piggy. The Muppets finds itself on the retro list of 2011, one of the films where everything just clicks and it takes you back. Two of the people I saw it with were fans of the show when it was on and it left them beaming. My generation missed Kermit and Miss Piggy, but it still had me in a good mood after we left the theater. This film isn’t rocket science, but then again, it doesn’t need to be. It left me feeling all warm and felty inside. Who can argue with that?!