Posted in: by Kathleen Murphy, by Ken Eisler, by Peter Hogue, by Richard T. Jameson, by Rick Hermann, by Robert C. Cumbow, Contributors, lists

1976, Which Will Be Charitably Forgotten by the Year 2000

[Originally published in Movietone News 53, January 1977]

1976 is a year I’m very pleased to see the back of. Several especially nice things happened to me during the past twelvemonth, but an oversupply of cloaca also insisted on hitting the fan with dispiriting frequency, and a good deal of it was cinematic cloaca. Any year in which the man who just made Nashville turns around and makes Buffalo Bill and the Indians, or Sitting Bulls History Lesson, and people who really ought to know better hail Lina Wertmuller as a distaff version of the Second Coming and Network as a serious film of intellectual and aesthetic importance, and the public is asked to pay good money to watch Midway, Gable and Lombard, Won Ton Ton, The Duchess and the Dirtwater Fox, Scorchy, The Great Scout and Cathouse Thursday, Swashbuckler, Vigilante Force and A Star Is Born Barbra Streisand–style can’t be anything but the harbinger of a new Dark Age.

It didn’t help that some normally reliable film artists seemed ‘way off the beam. That The Magic Flute, Bergman’s not-very-adventurous filming of a Mozart performance, or Face to Face, a closet drama of a rather insipid creature who was welcome to stay in her closet (Liv Ullmann’s heroic performance notwithstanding), failed to move me much wasn’t particularly disheartening or even unexpected. (I wish he’d make a spy movie.) Neither, given the international coproduction problems and the preponderance of treacle in the basic makeup of The Blue Bird, was there great surprise in George Cukor’s inability (decision?) to just let the thing lie there and moult.

Read More “1976, Which Will Be Charitably Forgotten by the Year 2000”

Posted in: by Sean Axmaker, Contributors, Interviews, lists

Milestone to the Rescue: Dennis Doros on ten American independent films in need of restoration

Milestone Films is raising funds via Kickstarter to fund a restoration of Shirley Clarke’s ‘Portrait of Jason.’

Dennis Doros and Amy Heller, partners in business and marriage, launched Milestone Films in 1990. They made a reputation for the company not merely for its restorations and revivals, but for rescuing and nurturing films that might otherwise have been drowned in the noise of the busy movie landscape, from Mikhail Kalatozov’s all but orphaned 1964 I Am Cuba to the 1972 documentary Winter Soldier (which was vilified in the 2004 presidential campaign) to, most recently, Shirley Clarke’s landmark indie The Connection. Dennis and Amy are currently raising funds to restore Clarke’s Portrait of Jason.

They are also members of the Association of Moving Image Archivists. Dennis came to the 2012 convention in Seattle (Amy, unfortunately, was unable to attend), where I was able to meet up with him. In the interests of full disclosure, I have known Dennis for years and had the pleasure to be a part of the commentary track with Sherman Alexie on Milestone’s DVD release of The Exiles. I can also report that Dennis knows more about the history of American independent cinema, and the forgotten and neglected works that deserve resurrection, than anyone I know. So I asked him to name the ten American independent films most in need of restoration.

“It’s not my ten best,” he’s careful to explain, “just the ones that I could personally support with great enthusiasm. There are tons more that I could add, but if we’re doing a list of ten, this is a cool list to consider and they each have their own merits and different reasons.”

1. The Cool World (Shirley Clarke, 1964) and the short films of Shirley Clarke “We started with Shirley Clarke because we thought it would be a great project to do and I really wanted to do the complete Shirley Clarke. And the only thing we do not have rights to is The Cool World. I think that we have her best films, The Connection and Portrait of Jason are my two favorites, but to represent Shirley in her entirety and to consider her entirety, it would help to have a beautiful version of The Cool World, which hasn’t been available yet.”

Continue reading at Fandor’s Keyframe

Posted in: by Robert C. Cumbow, Contributors, lists

If I Had a Sight & Sound Film Ballot: Robert C. Cumbow’s Top 10 Films of All Time

[Originally published on The House Next Door]

For many years, I maintained a Top 10 list. It was changing all the time, but by the mid-1980s, I had pretty well nailed it down. Only by then was it a Top 12, not a Top 10, and anyone who asked me my Top 10 films got an unexpected bonus. And that was how it was until a couple of years ago, when I allowed myself the latitude of increasing my all-time favorites to a list of 15. But as a devoted game player, I respect rules and try to play by them, so for this personal Top 10 list project, I’ve forced myself to pick just 10. These are not necessarily the same 10 I would pick if my criteria were cinematic greatness, beauty, and far-reaching influence—though they easily could be. No, these are favorite films, the films that mean the most to me, the ones that give me the most and best chills. There are lots more where these came from, but for now, these are the ones. I present them in chronological order to avoid any suggestion of preference.

King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933). People tend to forget that King Kong was a sensation, and a huge success, in its day. Perhaps the first horror film that tried to humanize and empathize with its monster, it did so without making any of the mistakes of the two remakes, always keeping the monster scary. It’s easy to sympathize with a teddy bear. King Kong wrote the book on movie monsters for decades to come, and no monster movie ever did it better, or told us more about the beasts inside ourselves.

Continue reading at The House Next Door

Posted in: by Bruce Reid, by Sean Axmaker, Contributors, lists

The View Beyond Parallax… more reads for week of June 27

The only links page that matters… except for all the others.

Seattle screenings and cinema events are surveyed at Parallax View here.

Is it legitimate to theorize that some culpability for the brutal murders in Aurora lie at the feet of the movies themselves? Apparently, after throat-clearing assertions of their civil libertarian backgrounds, many film writers feel in this circumstance it would be irresponsible not to speculate. Some have ratcheted up from the film itself to the industry—recall the violent legacy of Warner Brothers studio—or even exhibitors—perhaps midnight screenings should be suspendedPeter Bogdanovich blames the movies being too violent—actually, he has Orson Welles do it for him, which tells you how long that argument’s been floated. Speechless myself (out of frustration at my own ignorance and disgust at the inadequacy of words to limn the pain and horror and fury of it all), I find that Bill R. and Glenn Kenny are right that, pace Mr. Bogdonavich’s current ambivalence, he said everything I had to on the topic 44 years ago.

Boris Karloff in Peter Bogdanovich’s ‘Targets’

“What did she realize, Kitten?” “That all the songs she’d listened to, all the love songs, that they were only songs.” “What’s wrong with that?” “Nothing, if you don’t believe in them. But she did, you see.” The new Senses of Cinema inducts Neil Jordan into their database of Great Directors; Carole Zucker ably handles the honors, focusing on how Jordan’s understanding of fairy tales informs his sensibilities. Elsewhere in the issue, Murray Pomerance finds even the interior-bound Go Go Tales suffused with Abel Ferrara’s nonpareil sense of New York; and Jacques de Villiers traces Germany’s romantic heritage, including the Nazi’s perversion of it, throughout Herzog’s Aguirre.

David Bordwell reminds you it’s not just red-state schoolboards that plunk down for creationism over evolution despite all evidence to the contrary; it’s also film lovers obsessed with proclaiming what they deem the first instances of a technique while disregarding the context that led to it. Returned from his latest visit to the Royal Film Archives in Brussels, Bordwell provides several lovely examples of deep-focus blocking from mostly forgotten German and Italian silents. In a subsequent post, he rhapsodizes over a magnificent shot of passengers fleeing a sinking ship from the 1918 Italian serial I Topi Grigi, and provides a link to Joseph North’s fine thesis paper on the film’s Fantomasian antihero, the mostly forgotten Za La Mort.

Read More “The View Beyond Parallax… more reads for week of June 27”

Posted in: by Bruce Reid, Contributors, Links, lists

The View Beyond Parallax… more reads for week of June 15

The only links page that matters… except for all the others.

Seattle screenings and cinema events, including the “Best of SIFF” series and other post-SIFF releases, are surveyed at Parallax View here.

Girish Shambu leads off his typically fine collection of links with a welcome announcement: Issue 2 of LOLA, the film journal he edits with Adrian Martin, has arrived. The articles are being released piecemeal over the next few weeks, but already there’s such delights as the transcript of a Raúl Ruiz speech from 2005, an almost discomfitingly intimate recollection of Gilbert Adair by Alexander García Düttmann, and a clutch of articles on Chantal Akerman highlighted by an exhaustive, playful, yet fiercely honest interview with Nicole Brenez.

Also presenting their new issue, Experimental Conversations, which leads off with an excellent resource for further study, a tantalizing survey of Thailand’s up-and-coming arthouse directors conducted by Jit Phokaew and friends.

“Sounds like you had a strict upbringing.” “You might say that.” At Movie Morlocks, the Horror Dads offer a back-handed salute to Father’s Day by discussing some of the genre’s most memorably vile patriarchs.

The Cine-Files, a journal by the grad students of the Savannah College of Art and Design, dedicates its second issue to the French New Wave, and the children of Deleuze and Vitaminwater acquit themselves nicely to the challenge. Several distinguished interviewees (including Louis Menand, Jonathan Rosenbaum, and Mary Wiles on meeting Rivette) establish the history, while a trio of student filmmakers confirm the period’s influence extending to the future. Spotted by Film Studies for Free.

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Posted in: by Richard T. Jameson, Contributors, lists

Moments Out of Time 1987

[Originally published in Pacific Northwest, January 1988]

Hope and Glory: Down among the green leaves of his family’s backyard garden, young Bill Rohan (Sebastian Rice Edwards) confronts the wizard Merlin, while in the house the stillness of the adults ’round a grumbling radio signals that the Second World War has just been declared….

The Dead

• The Vietnamese woman’s voice scrapes relentlessly on our eardrums until we wish anything at all would shut her up: an unforgettable scene in Platoon makes us understand, by vicariously participating, how a My Lai might have happened….

The Dead: Gabriel Conroy (Donal McCann) turns from the snowy window to discover that his wife Gretta (Anjelica Huston), after the most intense and revealing conversation of their life together, has fallen deeply asleep….

Barfly: Returning from the hotel bathroom down the hall, Henry (Mickey Rourke) sits on the bed and slowly begins to wonder why the music from his radio should sound so muted. Oh, right. He’s in the wrong room….

• The wind drifts leaves across the road as Gene Hackman’s car and the camera crest a rise together—Hoosiers….

• “I’m gonna tell you something, Bonanza is not an accurate depiction of the West”: earnest breakfast discourse in Tin Men

• Diane Keaton singing “You’d Be So Nice to Come Home To,” New Year’s Eve 1943. Radio Days

Innerspace: Dennis Quaid sees his unborn child…

• On the battlefield at the end of Good Morning, Babylon, the dying brothers film each other in order that their sons will know what they looked like….

• Jimmy Malone (Sean Connery) blows a dead man’s brains out: David Mamet’s most outrageous con job in The Untouchables

Read More “Moments Out of Time 1987”

Posted in: by Andrew Wright, by John Hartl, by Kathleen Murphy, by Richard T. Jameson, by Sean Axmaker, Contributors, lists

Parallax View’s Best of 2011

Welcome 2012 with one last look back at the best releases of 2011, as seen by the contributors to Parallax View. Critics listed in reverse alphabetical order

Andrew Wright

(as posted at Salt Lake Weekly)
1. Melancholia
2. Rise of the Planet of the Apes
3. Cave of Forgotten Dreams
4. 13 Assassins
5. Drive
6. The Tree of Life
7. Take Shelter
8. Hugo
9. The Descendants
10. Stake Land

Bruce Reid

1. World on a Wire: The gleaming surfaces and monotone bureaucrats are a dig at 2001. The eternally recurring reflections are Fassbinder’s own, Dietrich and gay hustlers and rapacious businessmen stalking a virtual Germany warped by funhouse mirrors. Giddy, heartbreaking, endlessly inventive, and (forget the copyright) absolutely of-the-moment.

2. Tree of Life: It’s not the brutal slaps of nature that birthed you, nor the ways of grace so ethereal they threaten to float away to the sky. It was both of them, and everything else. Malick’s illimitable camera summons grand and mysterious creative forges ranging from cosmic fires to a grandfather’s face.

3. Hugo: The first few reels (those gears; those pipes; the city so close you could reach out and feel its pulse) are so marvelously dense and rich they’re practically retraining you to see in a new way. Which I suspect is pretty close to Scorsese’s personal definition of cinema to begin with.

4. A Dangerous Method: In the past (Spider, Crash) Cronenberg has flung sperm at the camera; here he’s captured by the silky gleam of hymenal blood. Which is less feminism than a sign things have forever changed. A chronicle of dangerous plagues coming to ravage the 20th century: as new as Freud’s talking cure, as ancient as anti-Semitism.

5. Certified Copy: I’d always found something monstrous in Kiarostami’s serenity, a hint of disinterest so profound he could find driftwood as fascinating as people. This study of flowing identities, both playful and devastating, corrects my misapprehension; it’s the drift itself that captivates him, and how we’re all dragged along by the surf.

6. Take Shelter: The first great horror film of post-prosperity America, where job insecurity and HMOs and government therapists fuel the nightmare no less than the claps of thunder or the ominous skies. Almost the polar opposite—in style, in effect—from Nichols and Shannon’s previous collaboration; which suggests they’re capable of anything.

7. Mysteries of Lisbon: The best joke of the year is how the final revealed history in Ruiz’s delightful rebuff to stately period dramas bears no relation to the first, but was entirely dependant upon it all the same. One last labyrinth from the master, the paths this time laid out in human lives.

8. The Girl with the Dragon Tattoo: Fincher’s breakneck pace has assumed a frictionless confidence that gives you a heady, almost comic charge to see. Which might seem entirely the wrong tone here, but brings a much-needed fleetness to the exposition while making the horrors ever more jarring.

9. Contagion: Its narrative propelled so breathtakingly by the actors plenty and Martinez’s score, Contagion’s emotional heft can be overlooked. But this is a shattering argument for grief as our overwhelming commonality, and a lovely salute to those brave enough to suit up against it when needed.

10. Tinker Tailor Soldier Spy: So guarded and chill you barely notice its beating heart. Till it surges, and wrecks nearly everyone forced to live lives so rigorously, ruthlessly compartmentalized.

Kathleen Murphy

(as posted on MSN Movies)
1. Melancholia
2. The Artist
3. Tinker Tailor Soldier Spy
4. A Dangerous Method
5. The Tree of Life
6. Certified Copy
7. Uncle Boonmee Who Can Recall His Past Lives
8. The Descendants
9. Drive
10. Meek’s Cutoff

See also MSN essay on A Dangerous Method

Richard T. Jameson

My list submitted to MSN.com on Dec. 9 could just as well have had some of these titles on it. In some cases their omission was chiefly a matter of my not having got round to a second viewing that likely would have put paid to any reservations I harbor. Worthy films all, and enough of them to make the year a better one than it felt like from week to week, month to month. Order here is random:

Melancholia
The Tree of Life
Le quattro volte
Uncle Boonmee Who Can Recall His Past Lives
A Separation
Of Gods and Men
Midnight in Paris
Carnage
Stake Land / Small Town Murder Songs

Midnight in Paris is the only one I hadn’t seen by Dec. 9.  Still haven’t seen Poetry, Mysteries of Lisbon, Film Socialisme, The Road to Nowhere….

See also list on MSN, and essay on Tinker Tailor Soldier Spy

Robert Horton

(as listed at The Herald)
1. Tinker Tailor Soldier Spy
2. Certified Copy
3. Melancholia
4. A Dangerous Mind
5. Meek’s Cutoff
6. Drive
7. Uncle Boonmee Who Can Remember His Past Lives
8. Poetry
9. Into Eternity
10. The Descendents / Le Havre

See also his list at indieWIRE

John Hartl

Not necessarily the best movie of 2011, but certainly the one that most memorably captured the pervasive sense that the planet is going to hell, was Jeff Nichols’s hauntingly ambiguous doomsday drama, Take Shelter. Michael Shannon gave another of his Cassandra-like performances as a distraught family man who has apocalyptic visions that may or may not be tied to reality. Duncan Jones’ Source Code used its Groundhog Day plot to imagine another kind of catastrophic future. J.C. Chandor’s brilliantly cast Wall Street tale, Margin Call, fictionalized the Lehmann Brothers disaster into a showdown between casually wicked Jeremy Irons and the only slightly less evil Kevin Spacey. John Sayles went back to the turn of the last century to reveal another form of duplicity in Amigo, his best work in years. Lu Chuan’s City of Life and Death transformed the 1937-1938 Nanking massacre into an astonishingly reflective drama. Andrew Haigh’s Weekend used Brief Encounter as the inspiration for an affecting gay love story, while Chris Weitz’s A Better Life lifted the plot for The Bicycle Thief and set it in East Los Angeles. Alexander Payne’s The Descendants deftly transformed its Hawaiian setting into something less than paradise. Among the year’s most provocative documentaries were James Marsh’s Project Nim, about a chimpanzee raised (and sometimes enraged) by humans, and Kenneth Bowser’s carefully researched Phil Ochs: There But For Fortune, about the epoch-defining 1960s singer whose ambitious activism was ultimately overwhelmed by his self-destructiveness.

A Second 10: Arthur Christmas, The Artist, Incendies, Moneyball, Hugo, Beginners, Vito, Le Havre, Tinker, Tailor, Soldier, Spy, and about two-thirds of The Tree of Life.

Award-winning movies that have yet to be shown in Seattle: The Iron Lady, A Separation, Carnage, Pariah, We Need to Talk About Kevin, Margaret, Coriolanus.

Sean Axmaker

The first three films could swap spots without much anxiety on my part. In the arbitrary, often shifting border between aesthetic principle and personal appreciation, I choose to honor the passing of Raul Ruiz and favor my predilection for labyrinthine storytelling and cinematic weaves of character and narrative across time and space, which Ruiz accomplishes with such grace and beauty I find myself in awe of his art and his insight into human nature and the contradictions that define us.

Three of the films on my list I first saw in 2010, and I construct this list without having seen two films which, by all accounts, are among the year’s best: Margaret, which did not screen in Seattle and which did not play as the film festivals I attended, and A Separation, which screened for critics opposite an end-of-the-year deadline. The rest of the choices and absences are all on me.

1. Mysteries of Lisbon (Raul Ruiz)
2. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
3. Certified Copy (Abbas Kiarostami)
4. Meek’s Cutoff (Kelly Reichardt)
5. Poetry (Lee Chang-dong)
6. The Descendents (Alexander Payne)
7. Take Shelter (Jeff Nichols)
8. Le quattro volte (Michelangelo Frammartino)
9. The Tree of Life (Terrence Malick)
10. Hugo (Martin Scorsese)

Ten More (in alphabetical order): The Artist (Michel Hazanavicius), A Dangerous Method (David Cronenberg), Drive (Nicolas Winding Refn), Le Havre (Aki Kaurismaki), Melancholia (Lars von Trier), Of Gods and Men (Xavier Beauvais), The Princess Of Montpensier (Bertrand Tavernier), Road to Nowhere (Monte Hellman), The Skin I Live In (Pedro Almodovar), Tinker Tailor Soldier Spy (Tomas Alfredson)

I also very much appreciated a year of smart, well-crafted and clever genre films – Attack the Block (Joe Cornish), Limitless (Neil Burger), Rise of the Planet of the Apes (Rupert Wyatt), Source Code (Duncan Jones), Stake Land (Jim Mickle) – and one marvelous mess of a personal project: Sucker Punch (Zack Snyder).

See also lists on the MSN and Village Voice polls and essay on Certified Copy, plus a uniquely Seattle-centric survey of Top Ten cinematic events for Seattle Weekly.

Plus…

Video: 2011 Film Critics Wrap at the Frye (Robert Horton, Jim Emerson, Kathleen Murphy, Andrew Wright)
Audio: Robert Horton, Richard T. Jameson and Kathleen Murphy discuss the movies of 2011 on KUOW.
Village Voice / LA Weekly Film Poll
indieWIRE Critics Survey
Movie City News Top Ten List compilations
BFI 2011 Critics Poll
Senses of Cinema 2011 World Poll
Best Movie Posters of 2011 (Adrian Curry)
Last year’s lists: Parallax View’s Best of 2010
David Bordwell and Kristin Thompson’s Top Ten films of 1921
and the 25 Films chosen for the National Film Registry in 2011

Posted in: by Kathleen Murphy, by Richard T. Jameson, by Sean Axmaker, Contributors, lists

The Best of 2011 on MSN

MSN Movies published its annual Best of the Year poll this week, featuring Top Ten lists from thirteen MSN writers including a trio of Parallax View contributors: Richard T. Jameson, Kathleen Murphy and Sean Axmaker. The rest of the line-up isn’t too shabby either: Jim Emerson, Don Kaye, Glenn Kenny, Kim Morgan, Mary Pols, James Rocchi, Glenn Whipp and out editor, Dave McCoy.

'The Tree of Life'

It’s the first published Top Ten List from most of us (the individual lists are collected here and here) and deadlines being what they, they were made before at least some of us were able to see some of the most talked about releases set for release before the end of the year (to qualify for the Academy Awards). Given that, it turned out to be such a strong year that there was no shortage of films to vie for spots on the lists.

MSN’s gallery-style feature begins here with an introduction by Glenn Kenny and continues with essays on the top ten films by the contributing critics. Jim Emerson comments on the list on Scanners here and Glenn Kenny muses on the project at Some Came Running here, while Richard Jameson reflects on the ritual of lists at Straight Shooting here.

Here are clips from the individual essays (in my laziness, I’m borrowing the editorial acumen of Emerson’s feature on Scanners).

10. “Meek’s Cutoff” (Kelly Reichardt) by James Rocchi:

“This has the big vistas and open spaces of a classic Western, to be sure (it’s even shot in the pre-widescreen Western aspect ratio we know from John Ford films and a thousand other classics), but it also has a rare sense of time as an element of composition: You’re pulled into the rhythm of the trek, slow and steady and terrified.”

9. “Hugo” (Martin Scorsese) by Glenn Kenny:

“While this film is first and foremost a fairy tale, it is still at heart a quintessential Scorsese story of lonely people and the worlds they make for themselves. Only here the invented worlds, works of imagination, are benign, and actually end up reaching out to the other characters and bringing them together.”

'The Artist'

8. “The Artist” (Michel Hazanavicius) by Mary Pols:

“The film is a study of hubris and fear, but mostly, of the easy refuge found in artificiality, the very definition of most contemporary filmmaking. No scene stands out more than a series of takes from George’s silent ‘A German Affair,’ where he dances with Peppy. In one take they flirt, in another they giggle, and finally, as they try to be serious, something real blooms. George, undone, must leave the set….”

7. “A Dangerous Method” (David Cronenberg) by Kat Murphy:

“Do 2011’s end-of-days movies signal some collective anxiety? Electrified by energy and intelligence, David Cronenberg’s ‘A Dangerous Method’ also chronicles end-times, the halcyon era when Freud, Jung, et al., brought the unconscious to light even as the dark seeds of two world wars were germinating. ‘Method’ marks the rise of killer ideas; revolutionary theories skitter like hungry termites behind the film’s perfectly composed interiors and idyllic landscapes. There’s evident strain between civilized surfaces and the dangerous new work of defining madness. For Cronenberg, ideas aren’t dry abstractions; they’re as disturbingly alive, as wildly subversive as those phallic phages in ‘They Came From Within.'”

6. “Certified Copy” (Abbas Kiarostami) by Sean Axmaker:

“You could describe ‘Certified Copy,’ his first production made outside of the borders of Iran, as the cinematic equivalent of a Picasso cubist portrait, presenting multiple experiences along the timeline of a relationship in a single day. The breathtaking tectonic shift is all the more impressive by the subtlety and slyness of the transition, played out in long takes and the easy rhythms of Kiarostami’s heightened naturalism. He has a way of turning the details of his environment into evocative images: The river of sky reflecting across a car windshield illustrates the gulf between Binoche and Shimell, and a parade of hopeful young newlyweds and stooped old married couples continue their life story by proxy.”

5. “Tinker Tailor Soldier Spy” (Tomas Alfredson) by Richard T. Jameson:

“Early in ‘Tinker Tailor Soldier Spy,’ veteran cold warrior and abruptly retired spy George Smiley (Gary Oldman, magnificent) stares across his sitting room at a painting. The screen is vast, the painting tiny; we can make out only a pattern of frames within frames, one of them as red as a wound. Director Tomas Alfredson ‘s credit appears over the shot, making it seem a mite insistent as an abstraction of impenetrably enigmatic John le Carré world and an assertion of stylistic principle. The movie often has us watching people watching through frames — windows, doorways, ironwork — and being themselves watched; sometimes they furtively cherish the mutual recognition. Yet Alfredson’s signature shot isn’t just a viewing instruction….”

'Uncle Boonmee'

4. “Uncle Boonmee Who Can Recall His Past Lives” (Apichatpong Weerasethakul) by Jim Emerson:

“The mythological terrain here is as personal to Apichatpong as ‘Tree of Life”s is to Terrence Malick. You might recognize characters (or names) from his earlier pictures (‘Tropical Malady,’ ‘Syndromes and a Century). And you can read about some of the how the film became (at some stage in its gestation) part of a larger multimedia installation/exhibition called Primitive; or how he envisioned it as a six-reel film shot in six different styles (from Thai horror movie to European art film), but all that is really incidental to the experience you have while watching and interpreting the film yourself. While it unfolds before you, it is, to borrow the title of another Apichatpong movie, blissfully yours.”

3. “The Descendants” (Alexander Payne) by Don Kaye:

“A number of major movies this year were about looking into the past and attempting to find some sort of solace or meaning there, creatively, personally or otherwise. But as Woody Allen revealed in his ‘Midnight in Paris,’ our view of the past is often distorted by our own desires, and things weren’t truly any better then than they are now. That’s why there’s not a whole lot of emotional truth in a simple homage. But there’s a ton of it in ‘The Descendants,’ which is ultimately about taking one’s eyes off the rearview mirror and peering into the future.”

2. “The Tree of Life” (Terrence Malick) by Glenn Whipp:

“There’s beauty, poetry, tyranny, death. There’s the birth of the universe. There are dinosaurs! Why dinosaurs? Short answer: (Again) Why not? Long answer: Perhaps Malick is reminding us that the creatures that once held dominion over the Earth no longer exist. Could the same fate befall their successors? Or maybe that little moment of grace where the big lizard spares its sickly cousin shows a way of avoiding that destiny. Again, it’s all about the questions, and Malick gives you enough to chew on here that you could return repeatedly to ‘Tree’ for years to come, knowing (and savoring) that your experience will be different each time you watch it.”

1. “Melancholia” (Lars Von Trier) by Kim Morgan:

“Von Trier, a sufferer himself, sincerely understands depression (just as he understood anxiety in ‘Antichrist’), which may be why he maddens many. Weaving himself into his characters, he’s sadistic, masochist, empathetic, self-obsessed, morbid and morbidly funny and then honest and honestly confused. With ‘Melancholia’ he grants depressives a gift….”

Posted in: by Andrew Wright, by David Coursen, by Jay Kuehner, by John Hartl, by Kathleen Murphy, by Richard T. Jameson, by Robert Horton, by Sean Axmaker, Contributors, Editor, lists

Parallax View’s Best of 2010

Welcome 2011 with one last look back at the best releases of 2010, as seen by the contributors to Parallax View.

Sean Axmaker

1. Carlos
2. Let Me In
3. The Social Network
4. White Material
5. Winter’s Bone
6. The Ghost Writer
7. Wild Grass
8. Eccentricities Of A Blond Haired Girl
9. Sweetgrass
10. Our Beloved Month of August

Runners up: Amer, The American, Alamar, Black Swan, Inception, Red Riding Trilogy, Somewhere, Vengeance

Best festival films I saw in 2010 without a 2010 theatrical release: Uncle Boonmee Who Can Recall His Past Lives, Poetry, Mysteries Of Lisbon

Best Unreleased film of 2007 finally getting an American release in 2010 (but still feels like a film from another era): Secret Sunshine

Most Impressive Resurrection/Restoration/Real Director’s Cut: Metropolis

Also see lists at MSN here and the Village Voice / LA Weekly poll. And the Best of DVD / Blu-ray 2010 is on Parallax View here.

David Coursen

A splendid year, in both quality and quantity.   These were all shown for the first time in the Washington, DC area in 2010.

The best film is a tie:
Certified Copy-Kiarostami
Carlos-Assayas

The next seven, in roughly descending order:
A Prophet-Jacques Audiard
Somewhere-Coppola
The Social Network-Fincher
The Ghost Writer-Polanski
The Strange Case of Angelica-Oliviera
Red Riding Trilogy-in total, with James Marsh’s 1980 segment putting it on the list
The Kids are Alright-Cholodenko

And for the final entry, a pairing I couldn’t resist:
Police, Adjective-Poromboiu
Winter’s Bone-Debra Granik

John Hartl

Truth proved far stranger than fiction in many of 2010’s best films. My favorite was Craig Ferguson’s devastating documentary, Inside Job, which painstakingly demonstrates just how our economy was hijacked by greed and ideology. In Roman Polanski’s Ghost Writer, Pierce Brosnan gives a career-best performance as a politician clearly based on Tony Blair. In Doug Liman’s Fair Game, Naomi Watts is equally persuasive as Valerie Plame Wilson, a vulnerable spy whose marriage is nearly demolished in a political feud. James Franco wins this year’s versatility award for convincingly reincarnating two exceptionally different people: Allen Ginsberg in Rob Epstein and Jeffrey Friedman’s underrated Howl and a carefree rock climber in Danny Boyle’s 127 Hours. Jesse Eisenberg deftly captures the drive and insecurities of Facebook’s billionaire chief, Mark Zuckerberg, in David Fincher’s The Social Network. The shameless wartime exploitation of the late Pat Tillman’s heroism is the focus of Amir Bar-Lev’s The Tillman Story, an excellent documentary that goes behind the headlines to suggest the personal extent of that loss. Jim Carrey’s excesses are tapped and artfully used in I Love You Phillip Morris, Glenn Ficarra and John Requa’s mostly true comedy about a con artist who is locked away in prison, but for how long? More fictional, but still quite strange, are Noah Baumbach’s Greenberg, a brave portrait of a mid-life washout played by Ben Stiller, and Derek Cianfrance’s Blue Valentine, with Michelle Williams and Ryan Gosling daring to play the walking wounded in an impossible marriage.

A second 10: The King’s Speech, Animal Kingdom, Cairo Time, Life During Wartime, Toy Story 3, Never Let Me Go, Shutter Island, Restrepo, Cell 211, Joan Rivers: A Piece of Work.

Robert Horton

1. A Prophet
2. Winter’s Bone
3. Four Lions
4. Sweetgrass
5. The Ghost Writer
6. Eccentricities of a Blond-Haired Girl
7. Mid-August Lunch
8. True Grit
9. The Kids Are All Right
10. Greenberg

See also indieWIRE here and Best and Worst lists at The Everett Herald.

Richard T. Jameson

In chronological order seen, but the first two have landed in the right place and there’s a non-chronological tie at 10.

The Ghost Writer
Winter’s Bone
Please Give
The Kids Are All Right
Un Prophète
The Social Network
Hereafter
Let Me In
Sweetgrass
The American / White Material / True Grit

See also lists at MSN and Queen Anne News.

Jay Kuehner

(as compiled for indieWIRE, originally published here)

1. Sweetgrass
2. White Material
3. Carlos
4. Everyone Else
5. The Strange Case of Angelica
6. Alamar
7. Change Nothing
8. Restrepo
9. The Anchorage
10. Daddy Longlegs

Kathleen Murphy

(as originally presented at the Frye Art Museum Critics Wrap)

1. The Ghost Writer
2. Winter’s Bone
3. Let Me In
4. Sweetgrass
5. A Prophet
6. The Social Network
7. Please Give
8. The Kids Are All Right
9. White Material
10. Black Swan

See also MSN here.

Andrew Wright

(as originally presented at the Frye Art Museum Critics Wrap)

1. A Prophet
2. Inception
3. True Grit
4. Red Riding Trilogy
5. Winter’s Bone
6. Hausu
7. The Ghost Writer
8. Four Lions
9. Greenberg
10. Let Me In

More lists:

Village Voice / LA Weekly Poll (and individual lists here)
indieWIRE Critics Survey
Movie City News list compilations (individual lists are here)
BFI 2010 Critics Poll

And the year in review from select publications in print and on the web

New York Times Year in Review
Los Angeles Times Year in Review
SF360 Top Ten Lists and Year in Film
The Onion AV Club
Slant Magazine
MSN Movies