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Moments Out Of Time 2015

‘It Follows’

It Follows: A classroom reading of “Prufrock”—”and in short I was afraid”; old woman seen slowly approaching across schoolyard…
• In Bridge of Spies, Jim Donovan (Tom Hanks) instructing CIA man Hoffman (Scott Shepherd) on what makes them Americans: “the rule book”…
• The head-scratching guys, Spotlight: Marty (Michael Keaton) post-golf and Mike (Mark Ruffalo) post-run, beginning to have a sense of how big the story might get…
• Indian stepping straight out of dark screen into firelight, The Revenant
Timbuktu: walking through haze glare of sun while getting away from the suddenly dead Amadou…
Carol: steam off the road caught in headlights at night…
• A fetal form curled up in bright green grass, the little boy (Jacob Tremblay) who has just fallen out of his Room into a great ocean of world…
• An exquisitely manufactured Eve (Alicia Vikander) contemplates iterations of her own visage, displayed on her creator’s wall in Ex Machina….
• Tour-de-force directing and acting in Clouds of Sils Maria: Maria (Juliet Binoche) running lines with Valentine (Kristen Stewart), the two slipping back and forth between the dynamics of the script and their relationship, between roleplaying in and for Oliver Assayas’s movie and acting out as themselves…
• Glorious, deadly moment in Phoenix when the caged bird (Nina Voss) sings, and voice becomes definitive signature of self

‘Phoenix’

• The way Elly (Taraneh Alidoosti) lets herself get carried away by kite-flying on the beach, carried right out of frame while the camera holds on an ocean where tragedy is about to change everything … in About Elly
Brooklyn: Tony (Emory Cohen) holding a blanket up as Eilis (Saoirse Ronan) gets undressed at the beach, and his unabashed delight with the way his Irish girl looks in a bathing suit…
• Lysistrata (Teyonah Parris) and her sisters, holed up in the Armory, assaulted by sexy slow-jams in Chi-Raq
Mad Max: Fury Road: After the storm, a sand ridge that moves and is Max (Tom Hardy)…
• For no rational reason, one of the good guys (Patrick Wilson) starts bloody surgery on a fallen cannibal’s throat in Bone Tomahawk. It’s a while before we discover he’s “eaten” a monster’s voice….
• A bare-chested brute masturbates in a barrel bathtub, making ripples. Behind him, two distant figures, father and daughter (Viggo Mortensen and Viibjork Maling Agger), sit utterly still in the engulfing landscape of Jauja….
• Kevin Corrigan photographing his food—Results
• Sam Elliott—eleven minutes of greatness in Grandma: “Sage? Nice name. Pungent. Want some zucchini?”
• Topping a steep incline at dusk, Glass (Leonardo DiCaprio) takes in a screen-spanning vision of stampeding buffalo, attacking wolves, a Pawnee hunter—just another food chain in The Revenant
• In Creed, Donny (Michael B. Jordan) tells Rocky (Sylvester Stallone) it’s OK if his smartphone gets broken, because he’s already stored his program “in the cloud.” Replies Rock, “What cloud?,” looking up to see whether he can spot it….
• Fingers plucking at a weed after backseat sex in car—It Follows
• The wind in brittle leaves outside cottage window—45 Years
• Candleflame bleeds into itself, and us, in The Assassin
• In Spotlight, church towers seeming to rise up out of Boston homes…
• Torches, night fog, riders among trees—The Revenant
• Daisy Domergue (Jennifer Jason Leigh) catching snowflakes on her tongue, The Hateful Eight
• Soap bubbles bursting on milady’s undies, The Duke of Burgundy…
• A woman’s bandaged face as tabula rasa, focus of annihilating male gazes: Phoenix and Goodnight, Mommy…
• Tribute paid in Kingsman: The Secret Service, Samuel L. Jackson to Colin Firth: “You know your thyit.”…
• Samuel L. Jackson’s flash glee as Chi-Raq‘s chorus…

‘Chi-Raq’

• Ronnie Hall in Stray Dog as he prepares to exit his mobile home, leaving a couchful of canines: “Put some dog TV on”…
• A kid edges deeper and deeper into the dark crawlspace under his grandparents’ farmhouse where something waits, in The Visit….
• In Goodnight, Mommy, a boy winks in and out behind crowded tree trunks … until he doesn’t…
• Ma (Brie Larson) outside police car window, Room
• Molly Shannon’s drunk, heartbroken, somehow flirtatious welcome when Greg reluctantly turns up to visit her terminally ill daughter, in Me and Earl and the Dying Girl…
• Blythe Danner getting sloshed over a long afternoon shooting the breeze with her pool cleaner in I’ll See You in My Dreams
• Monroe’s (Alexander Skarsgard’s) queasily swift slippage from precarious adulthood into adolescent horniness over beers with young Minnie (Bel Powley)—Diary of a Teenage Girl
• Sam Elliott’s Dr. Jekyll/Mr. Hyde switcheroo in Grandma, a jilted lover’s vengeance that’s been a long time coming…
• Ryan Gosling in The Big Short: “That’s a nice shirt, do they make it for men?”…
It Follows: lobby door at moviehouse, where a girl in a yellow dress is or isn’t standing…
Bridge of Spies: “Don’t say my guy. He’s not my guy”—Jim Donovan’s first words prophetic several times over, though he can’t know it at the time…
Creed: Taking out her ears, Bianca (Tessa Thompson) doesn’t hear Donny say “I need you right now.”…
• Boldwood (Michael Sheen) confessing to Gabriel (Matthias Schoenaerts) that he feels “the most terrible grief”—Far from the Madding Crowd
• Slide show in attic, 45 Years: Kate Mercer’s/Charlotte Rampling’s face and, seen simultaneously from behind the sheet, the face of the woman her husband loved half a century before…
Spotlight: Getting deeper into his interview with Sacha (Rachel McAdams), Joe Crowley (Michael Cyril Creighton) registers the arrival of fresh cups of coffee and says, “We should probably get these to go.”…
Carol: “Just when you think it can’t get any worse, you run out of cigarettes.”…
• Coffee steam curling under Marquis Warren’s (Samuel L. Jackson’s) hatbrim, The Hateful Eight
• Attorney Donovan sizing up his client (Mark Rylance) in Bridge of Spies: “You don’t seem alarmed.” “Would it help?”…
• In Youth, Fred Ballinger (Michael Caine) sitting and staring silently at the offscreen suicide of his oldest friend…
• Roger Deakins channeling Gabriel Figueroa: skies in Sicario

‘Sicario’

• Night stage disappearing up a funnel of road, The Salvation
• GPS the cow’s dying, Timbuktu
• “I’m comin’.” Assurance spoken to dying horse in Bone Tomahawk
• Over the cliff and into snowy pine, The Revenant
It Follows: Impossibly tall man enters Jay’s room right behind Yara…
• Nathan (Oscar Isaac) and one of his Ex Machina playthings  breaking out in mirrored dance moves, madly mechanical exuberance…
• Hamish Linklater in The Big Short: “Please don’t be chipper in the face of me being miserable. It makes me hate you.”…
• Han Solo (Harrison Ford) ever exasperated: “So? It’s big!” Star Wars IV: The Force Awakens
• Polecats and hog-riding old ladies in Mad Max: Fury Road
• On a sunny Swiss hillside, Michael Caine conducts the music of the natural world: Youth
Kingsman: Michael Caine, aristocratic for the occasion, reverting to full Alfie mode in his final moment…
• Brando’s disintegrating digital head, quoting Shakespeare, in Listen to Me Marlon

‘Listen to Me Marlon’

Creed: Rock says he’s “back there, in the past, with all those guys on that wall.”…
• “Ha.” Mary Sinclair’s (Annette Bening’s) response when Danny Collins (Al Pacino) asks what college she goes to…
Carol: lighted windows on Frankenberg’s electric train set…
• Kite passing empty doorway, About Elly
The Hateful Eight: After delivering an aria of race baiting, Chris Mannix (Walton Goggins) cheerfully protests, “I was talking politics!”…
Spotlight: Sacha Pfeiffer’s look as the former Father Paquin (Richard O’Rourke) patiently explains he did it for the children: “I fooled around, but I never felt gratified myself.”…
• In the dead of night, grandma scrabbling around the hall on all fours—The Visit…
Chi-Raq: Sam Jackson’s Dolmedes striding up into view in front of huge, Patton-like American flag…
• Ian McKellen in/as Mr. Holmes: “It isn’t a bee, it’s a wasp. Different thing entirely.”…
• Roar of moths, The Duke of Burgundy
• Traffic light going red over longshot post-accident, The Final Girls
• A long-limbed dandy’s (Matthew Fox’s) brutally sudden ending, hurt and left to die by the side of a dusty scrubland track, in Bone Tomahawk
• In Creed, the young lovers’ first kiss, upside down…
• Kevin Corrigan and Cobie Smulders, Results: watching her watch TV from a medicine ball…
• Nailed it!: Dean O’Gorman as Kirk Douglas, Trumbo; Emory Cohen as nice Italian boy in the Fifties, Brooklyn; Ben Vereen as canny but distinctly cuckoo street creature, Time out of Mind; Alfre Woodard in Mississippi Grind as a nice lady who turns out to be … whatever…

Emory Cohen

The Hateful Eight: trying to get a clear look at Demián Bichir between his hatbrim and his beard…
• ISIS guy stymied by woman washing her hair, Timbuktu
• Francis Gary Powers and U2 falling together, Bridge of Spies
• The ridiculous giant green-felt frog that has no rhyme or reason to show up for the climactic mayhem of Yakuza Apocalypse
He Never Died: Deadpan Jack (Henry Rollins) plucks bullets out of his forehead with needlenose pliers—”otherwise you get migraines.”…
Bone Tomahawk: In the aftermath of the troglodytes’ horrific reduction of man to meat, Chicory (Richard Jenkins) retreats into memory, that time when he went to a flea circus and wondered whether the stars were electrified corpses or live actors….
• The bear, The Revenant
• The ultrafocused busyness of Stanley Tucci’s Mitch Garabedian, Spotlight (“You’re shitting me.” “No, I am not shitting you.”)…
• Colonel Abel, finding “visitors” in his dim apartment at the beginning of Bridge of Spies, begs indulgence to clean his paintbrushes lest they be ruined … and quietly blots out the spywork he was just doing. (Mark Rylance is God.)…
Creed: Michael B. Jordan’s gobsmacked expression after going one bloody round with the British champion, as if he didn’t get how good this guy was until this very moment…
• Throughout Son of Saul, despite the tight focus on a man’s face (Géza Röhrig), the frame can’t wall out images from Dante’s Inferno….

‘Son of Saul’

• In the derelict high school, under ripple-shadow and thunder—It Follows
• Donkey walks through football match, Timbuktu; they wait….
Stray Dog: Ronnie Hall assuring the bees he means them no harm and appreciates what they do…
Mad Max: Fury Road: Almost subliminal thumb-up to first victim-wife just before she is lost…
• Every moment Saoirse Ronan’s face fills the screen in Brooklyn, the almost unbearable clarity of her gaze recalling the way Anna Karina (and Falconetti) looked into Godard’s camera…
• Styles of stonewalling in Spotlight: Billy Crudup, Paul Guilfoyle, Jamey Sheridan…
• Scott Shepherd in Bridge of Spies as CIA man Hoffman—a ginger skull…
• Sharp casting of Kevin Crowley as Carol‘s divorce lawyer, an echt-Fifties creature…
• Anthony Michael Hall as Russian mega–fitness guru, Results
• By gad, he is in The Hateful Eight! How Channing Tatum shows up….
The Assassin: mist and reeds moving between us and island…
• Tom (Bobby) Cannavale watching the father who will outlive him, Danny Collins
• The cold, almost perfunctory precision with which brand-new star Chloë Grace Moretz cuts the veteran Juliet Binoche down on their way out of an autobiographical play, in Clouds of Sils Maria…
• Blythe Danner sings “Cry Me a River” at karaoke bar in I’ll See You in My Dreams….
• Ma (Brie Larson), voice cracking: “I’m sorry I’m not NICE anymore!”—Room
Bridge of Spies: Schischkin (Mikhail Gorevoy) commiserates on the loss of Donovan’s overcoat to East German thugs—after all, it was from Saks Fifth Avenue—and Donovan’s silent registering of the implications of that remark….
• The terrible violence of Kate’s gesture of rejection and rage at the end of 45 Years, even as no one else notices … “Smoke Gets in Your Eyes”…
• Distant avalanche past Hugh Glass’s shoulder, The Revenant…
• Best suburban neighborhood street opening since Halloween: the amazing on-your-mark, get-set, go of It Follows. And then the shore…

Copyright © 2016 by Richard T. Jameson and Kathleen Murphy

‘The Revenant’

Parallax View’s Best of 2015

Welcome 2016 with one last look back at the best releases of 2015, as seen by the Parallax View contributors and a few notable Seattle-based film critics.

Soren Andersen

1. Mad Max: Fury Road
2. Spotlight
3. The Revenant
4. Ex Machina
5. Chi-Raq
6. Steve Jobs
7. Kingsman: The Secret Service
8. Goodnight Mommy
9. The Martian
10. The 100-Year-Old Man Who Climbed Out the Window and Disappeared
(more at The Seattle Times)

Sean Axmaker

1. Clouds of Sils Maria
2. Carol
3. Phoenix
4. Taxi
5. Mad Max: Fury Road
6. Spotlight
7. 45 Years
8. Mustang
9. Jauja
10. Ex Machina
And ten more that almost made the list: Brooklyn, Experimenter, Girlhood, Inside Out, It Follows, Love & Mercy, The Martian, Queen & Country, Sicario, Timbuktu
Also lists at Village Voice Film Poll and Keyframe

David Coursen

(alphabetical)
About Elly (Asghar Farhadi, Iran)
Chi-Raq (Spike Lee,US)
Leviathan (Russia, Andrey Zvyagintsev)
Love and Mercy (Bill Pohlad, US)
Sicario (Denis Villeneuve, US)
Spotlight (Tom McCarthy, US)
Taxi (Jafar Panahi, Iran)
Timbuktu (Abderrahmane Sissako, Mauritania)
The Tribe (Myroslav Slaboshpytskiy, Ukraine)
Winter Sleep (Nuri Bilge Ceylan, Turkey)
Honorable Mention: Carol (Todd Haynes, US)

Bob Cumbow

(in no intending order)
Phoenix
Brooklyn
Ex Machina
Spotlight
Sicario
Slow West
Carol
The Big Short
Bridge Of Spies
Jauja
Also: The Walk, Mr. Holmes
Endings: PhoenixCarol
Disappointments: SpectreThe Hateful 8
Surprises: Mission Impossible: Rogue NationPredestination
Guilty Pleasure: San Andreas
Actors: Nina Hoss (Phoenix), Ronald Zehrfeld (Phoenix), Rooney Mara (Carol), Saorise Ronan (Brooklyn), Oscar Isaac (Ex Machina), Alicia Vikander (Ex Machina), Emily Blunt (Sicario), Mark Rylance (Bridge Of Spies), Laura Linney (Mr. Holmes)
Director: Christian Petzold (Phoenix)
Music: Thomas Newman, Bridge of Spies; Carter Burwell, Carol; Howard Shore, Spotlight; Alan Silvestri, The Walk; Andrew Lockington, San Andreas

John Hartl

45 Years
Spotlight
Brooklyn
Sicario
Trumbo
Carol
Ex Machina
Bridge of Spies
Inside Out
99 Homes
A second 10: The Walk, Joy, Timbuktu, Love & Mercy, Phoenix, Tab Hunter Confidential, Rosenwald, I’ll See You in My Dreams, The Big Short, Me and Earl and the Dying Girl.
Most miraculous restoration: The Apu Trilogy.

Robert Horton

1. 45 Years
2. Son of Saul
3. Bridge of Spies
4. Experimenter
5. It Follows
6. Clouds of Sils Maria
7. Ex Machina
8. The Assassin
9. Spotlight
10. The Duke of Burgundy
The second 10, just missing: The droll Swedish film A Pigeon Sat on a Branch Reflecting on Existence; Mad Max: Fury Road, maybe not as good as the fanboys say, but definitely good; the straightforwardly lovely Brooklyn; Viggo Mortensen in the magical Jauja; Bone Tomahawk; Mississippi Grind; the devastating documentary The Look of Silence; The Hateful Eight; the pictorially astonishing The Revenant; and—why not—Star Wars: The Force Awakens.
(via Seattle Weekly)

Richard T. Jameson

1. It Follows
2. Clouds of Sils Maria
3. Spotlight
4. Bridge of Spies
5. Room
6. The Assassin
7. 45 Years
8. Son of Saul
9. Jauja
10. Me and Earl and the Dying Girl
Close and by all means a cigar: Bone Tomahawk, Brooklyn, Blackhat, Mad Max: Fury Road, Phoenix, Ex Machina, Sicario
Pix: Saiorse Ronan, Emory Cohen, Brooklyn; Charlotte Rampling, Tom Courtenay, 45 Years
(via Framing Pictures)

Jay Kuehner

1. The Assassin (Hou Hsiao-hsien)
2. Carol (Todd Haynes)
3. Horse Money (Pedro Costa)
4. Jauja (Lisandro Alonso)
5. The Kindergarten Teacher (Nadav Lapid)
6. Heaven Knows What (Benny and Josh Safdie)
7. The Wonders (Alice Rohrwacher)
8. Arabian Nights (Miguel Gomes)
9. Phoenix (Christian Petzold)
(via Keyframe)

Moira Macdonald

(in alphabetical order)
45 Years
Brooklyn
Carol
Diary of a Teenage Girl
Grandma
Inside Out
Room
Shaun the Sheep Movie
Spotlight
The Third Man/ Tales of Hoffmann
(more at The Seattle Times)

Brian Miller

Favorite moments at Seattle Weekly

Kathleen Murphy

(in no intending order)
Brooklyn
Phoenix
Clouds of Sils Maria
45 Years
It Follows
Room
Son of Saul
Jauja
Bone Tomahawk
Mad Max: Fury Road / The Assassin
(via Framing Pictures)

Bruce Reid

1. Experimenter
2. Taxi
3. It Follows
4. The Hateful Eight
5. Welcome to New York
6. Blackhat
7. Clouds of Sils Maria
8. Timbuktu
9. Queen and Country
10. Maps to the Stars

In my absolute favorite scene of the year Stanley Milgram sits and reads from Speak, Memory the famous opening line of how we’re all our lives suspended between oblivions. Behind him two assistants lower lab equipment into a crate with the professional solemnity of undertakers.

In my second favorite scene a figure loping down a road, dressed in a ridiculous, baggy frog costume complete with bulging eyes, is revealed to be the last-act badass whose coming has been threatened throughout the movie.

One of those films made the list below; the other, Miike’s entertainingly unhinged Yakuza Apocalypse, didn’t quite. But both show off the quality that marks my favorite movies: an apparent legibility that, looked at more closely, resists any definitive reading. The ending of Milgrim’s most famous experiment is framed (literally, through a window that carves another screen inside the screen we’re watching) as a death; but one of the movie’s many points is that lives carry on, quite fulfillingly, after their supposed defining moments have passed. And when the muppet suit comes off there’s another surprise, and a further bad guy to confront.

We’re always told that movies, capturing real people moving through real environments, tend away from the mysterious and toward the concrete in a way that the other arts aren’t hampered. Except the camera’s eye can make even concrete glow with mysteries. I fell in love with the films above for the way they tracked down hallways in prisons and apartments, refusing to distinguish between the two; for the expertly timed closing of a piano lid; for the anxious way its actors clutched fishbowls, and the nonchalance with which they grasped cameras; for clouds roiling down a mountaintop, which you’d think would be beyond a director’s control; for a skyscraper flickering in a dying woman’s eyes. But it’s not just pianos and hallways, fishbowls and clouds and cameras, or even flicker. It never is.

Andrew Wright

1. Mad Max: Fury Road
2. Blackhat
3. Carol
4. The Hateful Eight
5. It Follows (Reviewed for the Portland Mercury)
6. Bridge of Spies (Reviewed for The Stranger)
7. Tangerine (Reviewed for The Stranger)
8. Bone Tomahawk
9. Creed
10. Sicario

Lists of lists:

Village Voice (poll and lists)
Roger Ebert.com
Variety
Keyframe Best Feature Films of 2015
Keyframe Daily Lists and Award 2015 Index

Polls
Film Comment
Indiewire Poll
Roger Ebert
Sight and Sound
Time Out London

Other lists
2015 additions to the National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1925
New York Times Year in Culture

Restorations, revelations, and revivals of 2015 – Celebrating film history discovered and rediscovered

We never stop recovering our film history. Lost movies are being found and older films on the verge of self-destruction are getting preserved and in many cases painstakingly restored, thanks to the digital tools that give filmmakers, producers, studios, and film archivists and restorers the ability to resurrect damaged prints and rescue damaged footage previously beyond the scope of physical and chemical methods.

Jean-Pierre Leaud in ‘Out 1,’ restored and released in 2015

The preservation of our film legacy is essential, but it’s just an ideal until the preserved films become available for viewers at large to watch, not just limited to brief festival appearances. Film history needs to be living history, and thanks to DVD and Blu-ray, streaming and digital downloads, and (ironically) the shift from celluloid to digital projection, classic films are more available than ever.

This list is focused on debuts and rediscoveries of classic films and cinema landmarks, restorations of great films, and revivals of previously unavailable movies that became available to viewers in 2015 in theaters, on home video, or via streaming services. Not just a countdown of the best, it’s a survey of the breadth of restorations and rediscoveries that film lovers across the country now have a chance to see regardless of where they live.

1 – Out 1

Set in “Paris and its double,” Jacques Rivette’s Nouvelle Vague epic (a staggering 12 ½ hours long!) is a film of doubles and reflections: two rival theater groups each rehearsing a different play by Aeschylus (“Prometheus Bound” and “The Seven Against Thebes”), two theater group leaders who were once lovers, two street hustlers (Jean-Pierre Leaud and Juliet Berto) who stumble into the conspiracy of “The Thirteen,” which turns out to be both a fictional creation by Balzac and a contemporary cabal that includes some of the characters in the film. Rivette, who collaborated with the cast to fill out his outline of a script, musters the energy and enthusiasm and free-spirited filmmaking of the Nouvelle Vague that his more famous colleagues left as the moved into their own comfort zones (Truffaut, Chabrol, Rohmer) or, in the case of Godard, discomfort zones. His engagement with actors is there on the screen, creating energy even in simple conversational scenes, and they are co-conspirators in his hide-and-seek narratives, where characters circle conspiracies and play blind man’s bluff through mysteries that may have no solution. Meanwhile their lives go on, even if their projects are sidelined, shut down, or simply left to evaporate as they move on to their next project.

Keep Reading

The View Beyond Parallax… more reads for the week of December11

Charlotte Rampling

“I sat down and said something sincere and clumsy about how I knew she was going through a hard time and that I was concerned about blundering into things I shouldn’t touch. ‘If you do that, I will stop you,’ she replied. ‘If you ask anything I don’t like, I’ll step around it and go on. I can take care of myself.’” Mary Gaitskill ably defends Charlotte Rampling’s notorious privacy as her right even in a profession synonymous with tell-all confessionals; then rather less convincingly argues that the actor’s unique appeal owes mostly to her skill at portraying “the natural representation of real people.” Possibly NSFW due to a Helmut Newton portrait (hey, it was the ‘70s).

“In conversation with his high-school mentor Roger Hill, he declared that opera directors should be unobtrusive presences, serving the conductor, the performers, and, above all, the composer. The man who helped to originate conceptual staging, with his historically displaced productions of Macbeth and Julius Caesar, felt that such radical transpositions had no place in opera. In a sense, he may have been captive to his early operatic memories, to the lingering Gilded Age milieu in which he got to know the art. On his home turf, however, Welles handled music with freewheeling brilliance.” The only strange thing about last week’s excellent Orson Welles piece by Alex Ross is that one of our best music critics had no comments to make about Welles’s use of music or even his films’ inherent musicality. Turns out that discussion had merely been carved out for a separate, equally fine article.

“Still, this judgment [that Harold Lloyd is the most complacently ordinary of the early comedians] needs to be complicated, because only a profoundly and uniquely imaginative artist—by definition, an outsider—can take on his shoulders the burden of synthesizing the entire society around him and fashioning an archetype from it that will play in Peoria.” Phillip Lopate finds the virtues of Speedy precisely in the everyday-man archetype that Lloyd’s detractors find so off-putting—and in the matchless string of terrific gags, of course.

Dan Callahan takes stock of William Dieterle’s career, and finds a talent probably too eager to fall into the boring solemnities of big studio biopics, but one who managed more to achieve more than a few delights along the way; and, in The Last Flight, at least one “triumphant” masterpiece.

Keep Reading

Moments out of Time 2014

Images, lines, gestures, moods from the year’s films

We perpetrated the first “Moments Out of Time” in ecstasy over the cinematic splendors of 1971—The Conformist, The Last Picture Show, McCabe and Mrs. Miller, Straw Dogs, Dirty Harry, et al. It ran in our Seattle Film Society journal Movietone News (“The trees creaking in the wind: the murder in The Conformist…“), where it became a much-anticipated annual feature ’til the journal wrapped in 1981. We’ve missed memorializing a few years since, but have enjoyed at various times the hospitality of Film Comment, American Film, Steadycam, Movies/MSN, and Cinephiled. A comprehensive “Moments” library is maintained at Parallax-View.com.

‘Cold in July’
  • Under the Skin: disembodied face lies in a lap, gazing upward, its eyes blinking…
  • SQÜRL’s banshee screech, “Funnel of Love,” over the first ravishing images—including turntable as flat circle of time—of Only Lovers Left Alive
  • “I was once considered a great beauty,” confides Gustave H. (Ralph Fiennes), concierge extraordinaire, The Grand Budapest Hotel….
  • A dollhouse town and the relentless cheer of a minister’s wife (Meryl Streep), on the edge of the crazy-making emptiness of the American frontier, The Homesman
  • What to say, politely, to an Iraqi woman after your team has burst into her Fallujah home? “Hello….” Bradley Cooper as Chris Kyle, American Sniper
  • Birdman: After Mike (Edward Norton) blows up the performance, Riggan (Michael Keaton) storms offstage snarling, “Get him out of here!” Annie the P.A. (Merritt Wever) softly asks, “How do you want me to do that?”….
  • Threesome rocking out to “Gloria” on car radio: a rare communal moment of joy in Two Days, One Night
  • The Better Angels: Abraham Lincoln’s second mother (Diane Kruger) balances on one foot, wavering over a fallen tree trunk, the sun blazing a bright halo around her head….
  • In Exodus: Gods and Kings, a tiny white stallion, rearing beneath a heavens-high curve of tsunami….

Continue reading at Keyframe

Videophiled Best of 2014 on Blu-ray and DVD

The death of Blu-ray and DVD has apparently been prematurely called. Streaming and cable VOD still dominates home viewing but Redbox and other kiosk-based disc vendors have kept disc rentals alive (if not quite robust) and Blu-ray remains the format of choice for movie collectors and home theater enthusiasts, keeping sales robust enough to bring new players into the business. Kino Lorber expanded its release schedule with a Kino Classics collection of titles from the MGM/UA catalog and distribution deals with Cohen, Raro, Redemption, and Scorpion. Shout Factory has ventured into restorations and special editions as well as new partners (like Werner Herzog). Warner Archive has increased their flow of Blu-rays with some substantial titles presented in high-quality editions. Twilight Time has made its own limited edition business plan work and started adding more supplements to their releases, including original commentary tracks from the company’s film history brain trust.

This is my highly subjective take on the best disc releases of 2014 (of those I had the opportunity to watch and explore), with extra points for heroic efforts and creative archival additions. Note that this is strictly domestic releases—I do have import discs but I don’t have many and I barely have the time to keep up with American disc releases—and are as much about the importance of the release as the quality of the disc.

1. The Complete Jacques Tati (Criterion, Blu-ray and DVD) collects all six features he directed (including alternate versions of three films) and seven shorts he wrote and/or directed, plus a wealth of other supplements. Of the six features on this set, all but Playtime make their respective American Blu-ray debuts and two appear on disc for the first time in the U.S. From his debut feature Jour de Fête (1949) to the birth of both M. Hulot and the distinctive Tati directorial approach in his brilliant and loving Monsieur Hulot’s Holiday (1953) through the sublime Playtime (1967) to his post-script feature Parade (1974), this set presents the development of an artist who took comedy seriously and sculpted his films like works of kinetic art driven by eccentric engines of personality. The amiable oddball Monsieur Hulot was his most beloved creation, a bemused outsider navigating the craziness of the modern world, but unlike the films of Chaplin, Tati’s screen alter ego is just a member of an ensemble. A gifted soloist to be sure and the face of the films, but a player who weaves his work into the larger piece. Tati made comedy like music and this collection celebrates his cinematic symphonies. Playtime reviewed here.

2. The Essential Jacques Demy (Criterion, Blu-Ray+DVD Dual-Format set) offers the definitive American disc releases of six of the defining films of Jacques Demy, the Nouvelle Vague‘s sadder-but-wiser romantic, from his 1961 debut Lola to his 1982 Une Chambre en Ville, which makes its American home video debut here. Like so many of his fellow directors, Rivette loved American movies, especially musicals, but his taste for American musicals and candy-colored romance was balanced with a bittersweet sensibility. For all the energizing music and dreamy love affairs, his romances more often than not don’t really get happy endings. The films include his two most famous musicals, The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), as well as four early shorts—Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962)—plus two documentaries on Demy made by his widow Agnes Varda, a small library of archival TV programs on the films, and the hour-long visual essay “Jacques Demy, A to Z” by James Quandt. Full review here.

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Ten Silent Movies to Make You a Silent Movie Fan

“We didn’t need dialogue. We had faces.”
—Norma Desmond, Sunset Blvd.

You say that you’re really into old movies and you can’t get enough of the classics but you just haven’t found a way to love silent cinema? You say that all your friends are doing the silents and you feel left out? You say that you too want to be part of the early cinema crowd but just haven’t found your way to loving the movies before sound?

‘The New Gentlemen’

Even among many classic cinema buff, silent movies can appear alien and unfriendly, a duty more than a treat. And it shouldn’t be that way at all. In their day, silent films were a universal entertainment, a truly popular art that transcended language and culture.

There are those who think of silent films as primitive and naïve. Some were, to be sure, but movies grew up quickly in those early years. Those primitive experiments and one-shot gags matured into feature films in under two decades, and the knockabout slapstick comedies of the Keystone Kops gave way to the comic grace of Charlie Chaplin and the invention of Buster Keaton just a few years.

And then there’s those scratchy, poorly-preserved prints that were often presented at wrong projection speeds that made everything look sped up and absurd. It’s hard to appreciate let alone recognize the scope and technical wonder of the silent extravaganzas under such conditions.

Thanks to the efforts of film preservationists, a new spirit of cooperation between international film archives, and new digital tools, those days are fast disappearing. Silent cinema is getting a makeover and audiences are finally getting a chance to see the glamor and splendor that original audiences saw when they went out to the flickers.

There is a universe of films, genres, moods, sensibilities and styles to be discovered in the thirty-plus years of cinema before the introduction of sound changed the way films were made and experienced. This isn’t necessarily a list of the greatest or the most important silent films (though there are some of both sprinkled through), but rather a selection of the most entertaining and engaging films of the era. Consider it a place to start your appreciation of the glory and grandeur that was the cinema before sound.

From the recently restored version of ‘A Trip to the Moon’

A Trip to the Moon (1902, Georges Méliès)
You want to get an idea of how lavish and creative the so-called primitives could be? Magician-turned-filmmaker Georges Méliès was a pioneering special effects artist and a fantasist with an unbound imagination, but more than anything else he was a showman and A Trip to the Moon is his most ambitious spectacle. Thanks to the painstaking restoration of the sole surviving hand-painted print of the film by Serge Bromberg and Eric Lange, we can now see what enthralled audiences at the turn of the 20th century: a picture-book fantasy brought to life as a work of pure, playful imagination with crazy special effects and delirious color. Accompany this with a screening of Martin Scorsese’s Hugo (2011) and you might just come away with a new appreciation for the early years of filmmaking. And if this inspires more interest in the pre-feature era of filmmaking, try the fantasies of Ferdinand Zecca and the work of Alice Guy-Blaché, the most versatile filmmaker of her era.

Continue reading at Keyframe

Restorations, Revelations and Debuts of 2014

Film history discovered and rediscovered on Blu-ray, DVD and digital formats.

We never stop recovering our film history. In 2014 alone we found a 1916 version of Sherlock Holmes starring the legendary stage actor William Gillette (the only known footage of the man considered the definitive Holmes of his era in character) and an unfinished orphan film shot in 1913 starring black Broadway star Bert Williams.

‘Too Much Johnson’

The digital tools have given filmmakers, producers, studios and film archivists and restorers the ability to resurrect damaged prints and rescue damaged footage previously beyond the scope of physical and chemical methods and the transition from film prints to theatrical digital formats for repertory and revival showings has created new incentives to restore and remaster classic films for new theatrical screenings. (There’s plenty of controversy over this shift, with many partisans arguing that movies shot and originally shown in celluloid should be preserved and only screened that way.)

But it’s still a specialized audience and film lovers outside of major metropolitan areas often have no opportunities to see these restorations and revivals on the screen. At least until they are made available to home video formats. For instance, while the new restoration of the original Todd AO version of Oklahoma! premiered at the Turner Classic Movies festival in April, it has yet to reach audiences outside of specialty theaters and the China Film Archive restoration of the 1934 Chinese classic The Goddess has only shown in film festivals.

So this list is focused on debuts and rediscoveries of classic films and cinema landmarks and restorations of great films and revivals of previously unavailable movies that became available to viewers at home in 2014. Not just a countdown of the best, it’s a survey of the breadth of restorations and rediscoveries that film lovers now have a chance to see regardless of where they live, as long as they have a web connection and a Blu-ray player.

Too Much Johnson (1938) (Fandor, streaming)
The home video event of 2014 is not a disc debut or a Blu-ray special edition but a piece of lost film history found, restored and streamed on the web. Shot by Orson Welles in 1938 (two years before he went to Hollywood and began production on Citizen Kane) as a kind of experiment to accompany a stage production of the theater farce Too Much Johnson, the film was never finished by Welles beyond a continuity work print that was thought to have been destroyed in a fire in Welles’ Spanish home in 1970. The 35mm nitrate work print was found in 2013 in a warehouse in Italy (in Pordenone, as it happens, home to the greatest silent film festival in the world) and restored in an international effort. After a series of special screenings, the film (in both the original 66-minute work print and a 34-minute “reimagined” version, with outtakes and duplicate shots removed and footage edited into an “educated guess” of how it would have played in finished form) was made available to audiences the world over for free via the National Film Preservation Foundation website and in an HD edition through Fandor. I celebrated the film and its discovery for Keyframe earlier this year.

Continue reading at Keyframe

That’s not Art, that’s Smut!

Sex sells, as the saying goes, and movie producers, distributors and exhibitors have known this since pictures began to move.

In That’s Sexploitation, filmmaker Frank Henenlotter and exploitation legend David Friedman celebrate the freewheeling culture of sexploitation, the sensationalistic underground of independent filmmakers and studios who cashed in on promises of carnal thrills and forbidden spectacle, specifically naked flesh (mostly female). These are the films that sprung up between the cracks of the production code and studio restrictions and, as the moniker suggests, they aimed straight for the lurid and the tawdry.

But not all films that sold themselves with the promise of erotic thrills and taboo-busting presentations of sexuality were a matter of pure exploitation. American movies started taking on adults themes once again in the fifties while films from the more permissive Europe blurred the lines between art and erotica as they explored sexuality with both a maturity and a more graphic explicitness. In other words, people got naked and shared bed right on the screen. “That’s not smut, that’s art,” was the implicit argument, even if it was the sex that the exhibitors marketed.

Here are ten films from the heady days of the sexual revolution to the present that smudge the line between art and exploitation. Sex may be the subject, the subtext, or the motivation, but promise of steamy spectacle and erotic delights was used attract patrons that normally might not otherwise attend such fare and give them the cinematic equivalent to the time-honored justification for purchasing Playboy magazine: “I get it for the articles.”

‘Contempt’

Contempt (Jean-Luc Godard, 1963)
Blow-Up (Michelangelo Antonioni, 1966)
Here are two examples of marketing skin to attract audiences to challenging films from European intellectual filmmakers. Contempt (1963) is an unlikely meeting between nouvelle vague legend Jean-Luc Godard’s anti-Hollywood sensibility and the showman aesthetic of (uncredited) producer Joseph E. Levine in an international co-production about the clash between art and commerce, the politics of artistic integrity and compromise and the dissolution of love. To meet his producer’s demands, Godard added an opening bedroom scene and inserted pin-up style nude shots of star Brigitte Bardot. Wouldn’t you know he actually makes them work as a comment on the very process of filmmaking compromise? Blow-Up (1966), the English-language debut of Italian filmmaker Michelangelo Antonioni, is an existential murder mystery starring David Hemmings as a jaded fashion photographer who may have taken a picture of murder and Vanessa Redgrave as the mystery woman of his photograph. Set in swinging London, full of mod fashions, free love, a score by Herbie Hancock and an appearance by the Yardbirds, it’s a timepiece by way of Antonioni’s brand of contemporary alienation and it won the Palme d’Or at Cannes. It was also the first mainstream movie to show female pubic hair (however fleetingly) and that was a bigger selling point for a lot of the patrons.

Continue reading at Keyframe

Get your Oscar flick fix without leaving the house

By the time the Oscars air on March 2, most moviegoers will not have been able to get to theaters to see all the nominees. But thanks to the era of DVD, Blu-ray, streaming video and movies on demand, those who really want to cram for Hollywood’s big night can catch up on a bunch of the films at home.

Some of the front-runners still require a theater trip (more on that later), but for those of you who want to order in and prep for your office pool from the comfort of your own couch, it’s possible to cover a lot of ground.

Jared Leto in ‘Dallas Buyers Club’

The biggest talkers

“Dallas Buyers Club” picked up six nominations, including best picture and best original screenplay, but its best chances are in the acting categories, where Matthew McConaughey is a front-runner for best actor and Jared Leto is up in the supporting actor category. The two already took home Golden Globes for their performances. It’s available on Blu-ray, DVD, VOD, and On Demand.

“Captain Phillips” also received six nominations, including best picture, adapted screenplay, and actor in a supporting role for Barkhad Abdi, a non-actor who made a vivid debut in the role of a Somali pirate. Star Tom Hanks was overlooked for his equally strong performance. It’s available on Blu-ray, DVD, VOD, and On Demand.

Woody Allen’s “Blue Jasmine” earned Cate Blanchett her sixth Oscar nomination and she is a wonder as a Blanche DuBois in contemporary San Francisco. That would make fellow nominee Sally Hawkins (up for best supporting actress) the film’s Stella. It’s available on Blu-ray, DVD, VOD, and On Demand.

Continue reading at Today.com

Parallax View’s Best of 2013

Welcome 2014 with one last look back at the best releases of 2013, as seen by the contributors to Parallax View and a few notable Seattle-based film critics.

Sean Axmaker

1. Her (Spike Jonze)
2. Blue is the Warmest Color / La vie d’Adèle (Abdellatif Kechiche)
3. Something in the Air / Apres Mai (Olivier Assayas)
4. Ain’t Them Bodies Saints (David Lowery)
5. Before Midnight (Richard Linklater)
6. Nebraska (Alexander Payne)
7. Drug War (Johnnie To)
8. You Ain’t Seen Nothin’ Yet (dir: Alain Resnais)
9. Upstream Color (Shane Carruth)
10. Byzantium (Neil Jordan)

Twelve more: Bastards / Les Salauds (Claire Denis), Fruitvale Station (Ryan Coogler), Inside Llewyn Davis (Joel and Ethan Coen), Gravity (Alfonso Cuaron), Mud (Jeff Nichols), Night Across the Street (Raul Ruiz), Museum Hours (Jem Cohen), Short Term 12 (Destin Creton), Stoker (Park Chan-wook), Stories We Tell (Sarah Polley), The Wind Rises (Hayao Miyazaki), The Wolf of Wall Street (Martin Scorsese)

Best festival film I saw in 2013 without a release: What Now? Remind Me (Joaquim Pinto)

Other lists: Village Voice, Cinephiled, Senses of Cinema

Sheila Benson

(as published in Village Voice)

1. 12 Years a Slave
2. Gravity
3. Captain Phillips
4. Fruitvale Station
5. Inside Llewyn Davis
6. All Is Lost
7. Philomena
8. The Great Beauty
9. American Hustle
10. The Confessing Stone

Jim Emerson

(as published on Cinephiled)

1. Inside Llewyn Davis
2. Nebraska
3. Mud
4. All Is Lost
5. The Act of Killing
6. This Is the End
7. Behind the Candelabra
8. The Stranger By the Lake
9. The Great Beauty
10. Gravity

Other lists: Indiewire

Robert Horton

(as published in Seattle Weekly)

1. Something In the Air
2. All Is Lost
3. Gravity
4. Blue is the Warmest Color
5. Inside Llewyn Davis
6. The Unspeakable Act
7. Nebraska
8. The Act of Killing
9. Amour
10. Like a Rolling Stone

Other lists: Indiewire, The Herald

Richard T. Jameson

1. Inside Llewyn Davis
2. Gravity
3. Nebraska
4. Blue Is the Warmest Color
5. her
6. American Hustle
7. Like Someone in Love
8. Enough Said
9. All Is Lost
10. Fruitvale Station

Other lists: Cinephiled

Jay Kuehner

(as published on Indiewire)

1. Leviathan
2. The Act of Killing
3. Something In the Air
4. In the Fog
5. Neighbouring Sounds
6. Bastards
7. A Touch of Sin
8. Viola
9. Centro Historico
10. Nana

Other lists: Senses of Cinema

Moira Macdonald

(as published in Seattle Times)

Here are my favorite movies of 2013, in alphabetical (and numerical) order.

12 Years a Slave
56 Up
Before Midnight
Enough Said
Gravity
Her
Much Ado About Nothing
Nebraska
Philomena
Stories We Tell

Brian Miller

(as published in Seattle Weekly)

1. Her
2. The Great Beauty
3. Gravity
4. Before Midnight
5. All Is Lost
6. Nebraska
7. Stories We Tell
8. The Act of Killing
9. (tie) In No Great Hurry: 13 Lessons in Life With Saul Leiter / Cutie and the Boxer

Kathleen Murphy

(as published on Cinephiled)

1. Inside Llewyn Davis
2. Gravity
3. Blue Is the Warmest Color
4. All Is Lost
5. Nebraska
6. Stories We Tell
7. Bastards
8. Her
9. Blue Jasmine
10. The Wind Rises

Andrew Wright

1. Upstream Color
2. Inside Llewyn Davis
3. All is Lost
4. The Act of Killing
5. Frances Ha
6. Gravity
7. You Will Be My Son
8. Mud
9. Her
10. We Are What We Are

Lists of lists:

Fandor List of Lists
Indiewire
Village Voice Film Poll 2013
Cinephiled
Senses of Cinema

Polls (no individual lists)

Film Comment
Indiewire
Sight and Sound
The Dissolve
The A.V. Club

Other lists

Keyframe: The Year in Film
2013 additions to the National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1923

See the 2012 Seattle Film Critics Wrap at the Frye, with Robert Horton hosting Kathleen Murphy, Jim Emerson, and Andrew Wright, after the jump below.

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Ten Great Disc Debuts for 2013

We know that DVD and Blu-ray are losing sales ground to digital and streaming, but the epitaphs for physical media are premature. Every year sees another crop of restorations and revivals rolling out in superb and sometimes lavish editions.

Of course there are the upgrades, the previously available classics in newly-restored editions and state-of-the-art digital remasters, but what excites me are the debuts, the films that have never been on disc before and the personal discoveries of films that, while not exactly unknown, have been largely forgotten because of their unavailability.

Here are my perfectly subjective picks for the top ten disc debuts: the greatest classics, rediscoveries, and revivals that made their first appearance in 2013.

In alphabetical order:

‘Pierre Etaix’ – Celebrated in one of the Top Disc Releases of 2013

Collections:

French Masterworks: Russian Émigrés in Paris 1923-1928 (Flicker Alley) presents of the American home video debut of five silent classics from Film Albatros, a French studio founded by Russian artists: The Burning Crucible (1923), Kean (1924), The Late Mathias Pascal (1926), Gribiche (1926), and The New Gentlemen (1928). The Late Mathias Pascal, a fabulist epic directed by Marcel L’Herbier (also released separately on Blu-ray), and Jacques Feyder’s sophisticated romantic comedy-turned-political satire The New Gentlemen are the crown jewels of the set but all entertaining and revealing examples of the sophisticated filmmaking coming out of France in the twenties. Each are mastered from 2009 restorations from La Cinématèque Français and feature newly-recorded original scores. DVD.

Continue reading at Keyframe

Parallax View’s Best of 2012

Welcome 2013 with one last look back at the best releases of 2011, as seen by the contributors to Parallax View and a few notable Seattle-based film critics.

Sean Axmaker

1. Holy Motors
2. Zero Dark Thirty
3. Moonrise Kingdom
4. Margaret (2011 in NY and LA, didn’t screen elsewhere until 2012)
5. Cosmopolis
6. Once Upon a Time in Anatolia
7. The Master
8. The Turin Horse
9. Tabu
10. This is Not a Film

Ten more: Amour, Barbara, Deep Blue Sea, Django Unchained, Hyde Park on Hudson, I Wish, The Kid With a Bike, Life of Pi, Lincoln, Magic Mike

My greatest cinematic events of 2012
Hands down the cinematic experience of 2012 for me was the American premier of the complete restoration of Abel Gance’s Napoleon (1927) with live accompaniment by Oakland East Bay Symphony conducted by Carl Davis. The density of Gance’s ideas, the frisson of his images and experiments in cinematic expression, and the complicated perspectives on the legacy of Napoleon have a weight that is undeniable. And watching the full 5 ½ Napoleon with a live orchestra in a magnificent theater elevates the film to a cinematic experience without parallel, and that experience electrifies the storytelling and imagery.

Local (Seattle) Event: Joe Dante’s The Movie Orgy, one-night-only at Grand Illusion. It was a perfect marriage of film and venue: the tiny, independent house with a storied history and an audience of regulars, and a scrappy compilation movie with some surreal moments and a climax that manages to bring over dozen films into the same narrative universe, if only for this moment. And hey, don’t crowd me, man.

Other published Top Ten Lists: MSN, Village Voice, Fandor

Best of Home Video lists: Top Ten Disc Debuts, Top Five Blu-rays, Top Five TV on Disc Releases, Top Five MOD Releases and Notable Achievements for 2012

Sheila Benson

(as published in Village Voice)

1. Rust and Bone
2. Amour
3. Argo
4. Lincoln
5. Holy Motors
6. The Master
7. The Perks of Being a Wallflower
8. Life of Pi
9. Quartet

David Coursen

(the first nine in alphabetical order, the last as the film of the—um—year)
Holy Motors, Hugo, Lincoln, Margaret, Once Upon a Time in Anatolia, Rust and Bone, Silver Linings Playbook, Tabu, Take this Waltz, and La Rabbia: the Rage of Pasolini (“a film released, in what must have been an infinitely less compelling form, in 1963, but listed this year by the National Gallery of Art as a “Washington Premiere” in a form so imbued with greatness it triggered a private pre-New Years Pasolini epiphany”).

Jim Emerson

(as published in Village Voice)

1. Holy Motors
2. Once Upon a Time in Anatolia
3. The Deep Blue Sea
4. Lincoln
5. Amour
6. Tabu
7. Moonrise Kingdom
8. The Turin Horse
9. This is Not a Film
10. The Master

John Hartl

Technically, Kenneth Lonergan’s remarkable Margaret may not have qualified as a 2012 film (a few people saw it in 2011), but the years he spent in the editing room paid off in this story of a high-strung teenager (Anna Paquin) who causes a horrendous traffic accident. The writer-director’s unique focus on responsibility–and its limits–led to the creation of the year’s most haunting and original film. Almost equally affecting were Michael Haneke’s wrenching account of an older couple facing the end of their relationship, Amour, and Paul Thomas Anderson’s The Master, about an American personality cult spinning out of control. Among the most playful new movies: Wes Anderson’s tale of romantic runaways, Moonrise Kingdom, and Richard Linklater’s stranger-than-fiction Jack Black vehicle, Bernie. The latter, like Ben Affleck’s self-assured Argo, Steven Spielberg’s painstaking Lincoln, and Kathryn Bigelow’s vigorous Zero Dark Thirty, is based on fact. Gary Ross’ The Hunger Games took a popular young-adult book and made something majestic of it. Northwest filmmaker Jon Garcia’s The Falls, a perfectly cast love story about 20-year-old Mormon missionaries, was the best of several strong gay films.

A second 10: Rust and Bone, How to Survive a Plague, The Invisible War, Keep the Lights On, Barbara, A Royal Affair, Life of Pi, Silver Linings Playbook, Queen of Versailles, Any Day Now.

Robert Horton

(as published at Everett Herald)

1. Margaret
2. Once Upon a Time in Anatolia
3. Silver Linings Playbook
4. This Is Not a Film
5. Lincoln
6. The Turin Horse
7. The Master
8. Bernie
9. Searching for Sugar Man
10. To Rome With Love

For the second 10: The Secret World of Arietty, Wreck-It Ralph, The Deep Blue Sea, Cosmopolis, Django Unchained, Holy Motors, Elena, Moonrise Kingdom, The Dark Knight Rises, The Grey.

Richard T. Jameson

1. Zero Dark Thirty
2. Lincoln
3. Django Unchained
4. Once Upon a Time in Anatolia
5. The Turin Horse
6. Silver Linings Playbook
7. Moonrise Kingdom
8. Cosmopolis
9. The Deep Blue Sea
10. The Sessions

Mooned by the misbegotten: Les Misérables, Rock of Ages

Other published lists: MSN

Jay Kuehner

(as published on Fandor)

1. Leviathan (Lucien Castaing-Taylor and Verena Paravel)
2. Tabu (Miguel Gomes)
3. Neighbouring Sounds/O som ao redor (Kleber Mendonça Filho)
4. In Another Country (Hong Sang-soo)
5. Two Years at Sea (Ben Rivers)
6. small roads (James Benning)
7. Viola (Matias Piniero)
8. O Gebo e a Sombra/Gebo and the Shadow (Manoel de Oliveira)
9. Vers Madrid/The Burning Bright (Sylvain George)
10. Arraianos (Eloy Enciso)

Moira Macdonald

(as published in The Seattle Times)

Anna Karenina
Argo
The Avengers
The Deep Blue Sea
Flight
I Wish
Lincoln
Margaret
Pina
Ruby Sparks

Ten more terrific movies, any of which might have slipped into my first ten on a different day: A Cat in Paris, Bernie, Liberal Arts, The Master, Middle of Nowhere, Moonrise Kingdom, A Royal Affair, The Sessions, The Silver Linings Playbook, Skyfall, Smashed. OK, that’s 11. So be it.

Best 2012 movies that haven’t opened in Seattle yet (but I’ve seen them): Amour, Zero Dark Thirty

Kathleen Murphy

(as published at MSN Movies)

1. Zero Dark Thirty
2. Lincoln
3. The Master
4. Amour
5. Holy Motors
6. Django Unchained
7. Moonrise Kingdom
8. Silver Linings Playbook
9. The Deep Blue Sea
10. Cosmopolis

Bruce Reid

1. The Turin Horse
2. The Kid with a Bike
3. Moonrise Kingdom
4. Cosmopolis
5. The Master
6. Holy Motors
7. This Is Not a Film
8. Universal Soldier: Day of Reckoning
9. Not Fade Away
10. The Loneliest Planet

Andrew Wright

1. Django Unchained
2. Holy Motors
3. Elena
4. Looper
5. Margaret
6. Universal Soldier: Day of Reckoning
7. Argo
8. The Master
9. The Grey
10. Skyfall

Lists of lists:
MSN Movies (lists at end of gallery)
Village Voice (poll and lists)
Indiewire’s Criticwire
Movie City News
Fandor
Time Out London
Keyframe Daily Lists and Award 2012 Index

Polls (no individual lists)
Film Comment
Indiewire Poll
Sight and Sound

Other lists
2012 additions to the National Film Registry
Kristin Thompson and David Bordwell’s Ten Best Films of … 1922
New York Times Year in Culture

See the 2012 Seattle Film Critics Wrap at the Frye, with Robert Horton hosting Kathleen Murphy and Jim Emerson, after the jump below.

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Dossier ’79

[Originally published in Movietone News 64-65, March 1980]

It is appropriate that they just took “There she is, Miss America” away from Bert Parks. I too have been deprived of the opportunity to sing my same old song again. One could say rhetorically that after 1978 the movies had nowhere to go but up; but rhetoric is one thing and the art-industry’s capacity for self-degradation quite another. And ’79 did see a few films as empty, ugly, and offensively inept as any dreck of previous seasons: Bloodline, Prophecy, Nightwing, Sunburn, Love and Bullets, Ashanti, and the phenomenally successful Meatballsas drecky dreck as ever dreck was. But they didn’t taint the whole scene, didn’t seem the dominant alternative to excellence. If only one or two films suggested a radical breakthrough into new zones of artistry or film consciousness, nevertheless an astounding number of movies managed to be lively, personal, nonderivative. François Truffaut may have made an utterly superfluous Antoine Doinel compendium like Love on the Run, and Federico Fellini wasted his time on Orchestra Rehearsal, an only half-good idea for a movie done with about a third of the zest and invention we’d expect of him. But good men like Blake Edwards and Peter Bogdanovich seemed to have got better; at least they were getting more credit for the beauties and intelligence of their work than they had in years. Whatever they had must have been catching because even hacks and/or poseurs like Ted Kotcheff, Peter Yates, William Friedkin, Sydney Pollack, and Arthur Hiller signed their names to very agreeable movies (North Dallas Forty, Breaking Away, The Brinks Job, The Electric Horseman, and The In-Laws, respectively). Going to the movies got to seem more like a pleasant pastime again instead of a masochistic compulsion.

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Slap Shots (1977)

[Originally published in Movietone News 57, February 1978]

I felt a little off-balance throughout film year 1977, and it took me most of that time to figure out why. Even eccentric filmwatchers fall into patterns of expectation, and my Platonic Ideal of eccentricity was taking a beating. Too many of the big, heavily financed productions the freewheeling freelance looks forward to trashing turned out to be not bad films at all. By reverse token, the year was virtually devoid of sleepers—the unexpected, born-to-be-lost-in-the-shuffle beauties like Gumshoe, Bad Company, Charley Varrick and Bring Me the Head of Alfredo Garcia the enterprising commentator looks forward to saving for posterity and, in the meantime, directing a few adventurous viewers toward. Just why there were no sleepers is hard to say. Maybe there is so much written on film nowadays that every film’s fair chance at the limelight is conceded in advance. Add to this that the Jet City has acquired an industry rep for scaring up an audience for movies that die on the vine elsewhere. Then too, in recent years we have been dubiously blessed with at least one exhibitor willing to cry sleeper every other week, so that the term has tended to be devalued hereabouts—especially when many of the so-called sleepers have proved resolutely undistinguished.

It just may be that the biggest and, in its rather trivial way, happiest surprise of the year was a George Roy Hill movie that most reviewers suddenly felt compelled to attack for having the flaws all the director’s more popular works have manifested in abundance; I went into that in my quickie of Slap Shot in MTN 54, and I continue to recall this rowdy, raunchy, sharply acted sports comedy with pleasure. And while I was liking a movie by a director I normally find exasperating in the extreme, I was let down—anywhere from mildly to precipitously—by such customarily reliable types as Sam Peckinpah (Cross of Iron), Don Siegel (Telefon), Michael Ritchie (Semi-Tough), Dick Richard (March or Die), and Robert Aldrich (The Choirboys—though not so much Twilight’s Last Gleaming). Fred Zinnemann compelled respect and gratitude for his impeccable craftsmanship, if not necessarily artistry, in Julia. Herbert Ross astonished by coming on like, of all things, a personal director in The Turning Point and, to a lesser extent, The Goodbye Girl. Robert Benton fell a little short of the promise of Bad Company with The Late Show, but that film was one of the early pleasures of the year all the same.

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