Editor’s Note 01.11.12: The Best and Worst Movies of 2011
It’s time once again for my annual top 10 best and worst films of the year lists. I have fun compiling these, but of the handful of critics I read regularly, most of them dislike lists and say they post them out of obligation. This is the first year where constructing these lists did not have quite the same enjoyment. There are many reasons for this, but generally I just wish I could hand people a list of films I loved and say “Here, check these out.” Regardless, it is that time, and I hope you seek some of these titles out, or avoid them if you’re looking at the worst list. I’ve seen about as many films as I did last year, but I have opted for other means of viewing them, not just the theater. Because nearly every local gigantiplex is commonly filled with pricks, I lean towards On Demand and online choices more often now.
I do think that each Top 10 list says a lot about the writer, and I hope my personality comes through every time. In the end, this list represents the opinion of one person. For some reason I’ve been asked more than ever this year what films I think people should see, and each time The Tree of Life comes creeping back up. I recommend it, but end up being torn as to whether or not I should afford a word of warning. Anyone not familiar with its director, Terrence Malick, might react harshly to it. I shouldn’t have to add this to my recommendations, but I want people to value my judgment and occasionally you must recognize that certain selections will divide audiences. What baffles me is the number of people that have sought this title out on their own. Many friends and family members I know of that have watched The Tree of Life usually stay away from the drama genre anyway. Perhaps the name Brad Pitt has something to do with this, who knows? Most casual moviegoers have been conditioned to expect a specific type of film, and The Tree of Life does not fit the routine traits, so they walk away from it angry. This is the way we react to anything out of the norm.
I have rattled on about the moviegoing experience enough this year. I even wrote an article about it if you click here. Other than that, this is also the first year where you will hear me say the quality of films that were released saw a noticeable decline. I used to get angry when other writers made comments like that, declaring that every year had plenty of worthwhile titles. In 2011, I must concede, it has been a terrible year for movies. That is not to say there weren’t any good films, but the amount has decreased, to be sure. In previous years, if I excluded every film from Top 10 list, I would have been able to toss 10 new entries with no problem. That would not be easy this year. To put this in a clearer context, if you have around 40 really good films to make a solid year overall, this year was closer to 20, give or take a few. In 2010’s column, I commented that the amount of mediocre efforts had increased. It has probably doubled now. It was not just the mainstream releases that disappointed, but many of the prestige pictures as well. Many films were merely “ok” when they should have been great considering the cast and crew involved. I can think of two obvious examples in The Ides of March and Young Adult. Each has their merits, but they were a bit of a letdown. I could list many more just like that.
And for the paragraph I always copy and paste from previous years: I construct my top lists in a specific way. My goal, whenever possible, is to include films from many genres. Sometimes certain genres contribute all the best movies, and other times one specific genre has no worthy offerings. The point is, I pick my favorite films of the year, while also trying to cover each genre. I also factor in how the film is different with a second viewing. I noticed that some critics’ lists include crossovers from 2010 to 2011. If they were released in 2010, they belong on a 2010 top 10 list. If they were submitted for the Oscars in 2010, I cannot justifiably put them on my 2011 list. It is one of those unfortunate circumstances where some foreign films fall through the cracks (i.e. Incendies, I Saw the Devil). There are exceptions to this rule of course, but I try to stick to that. I continue to see and adore documentaries as well. As a rule, they are not looped in with my film list because they are not films, they are documentaries, and should be judged differently. Here are my top 10 best and worst films of 2011.
THE TOP 10 BEST FILMS OF 2011
10. Rango – This is the first time in many years where a Pixar title did not make my Top 10, but that’s the way it went. My favorite animated film of the year was from Gore Verbinski, once again teaming with Johnny Depp to bring a lively, funny, and masterfully Don Knotts style hero to life. Verbinski saturates his Chinatown-esque plot with more homages and nods to cinema than you can handle, but that’s not what makes this movie so awesome. The quality of the animation, the detail of the shots, and the gloriously barren universe gives Rango such a distinctive flavor. Filled with numerous actors lending spot-on voice performances, Rango can be enjoyed by all ages. There are subtle aspects of the screenplay that will appeal to adults, while the younger viewers will immediately be attracted to the fun characters and adventure storyline. I still think this is the strongest animated effort of the year, but it’s been awhile since this one was has been mentioned at all. Here’s hoping it gets the attention it deserves.
9. Drive – Before I saw this I was certainly not an expert on director Nicholas Winding Refn, but he got my attention with Drive, which is responsible for Ryan Gosling’s finest turn of 2011. This is a film that reeks of cool. Hell, even replicas of Gosling’s jacket are up for sale. This is partly because of Refn and partly because of Gosling, who hands in a subdued, controlled, and generally dynamic performance. Behind him is an incredible supporting cast featuring Albert Brooks, Ron Perlman, Carey Mulligan, Bryan Cranston, and more. Drive is effective in multiple ways, whether your analyzing action, drama, or suspense. Refn constructs many stellar car chases and brutally enthralling violence (ala Gaspar Noe). I loved the ending, which really left me wanting to watch it again, but what separates Drive from many other titles from 2011 is that Refn has built it in a way so that it moves to its own stride, in a fashion that is uniquely its own. Refn has a clear trademarks as a filmmaker, an identity all his own that he infuses in this picture with a direct, yet engaging plot and a top-notch cast.
8. Warrior – Some of the first titles I can remember watching as a child were underdog movies, specifically the Rocky series, and they were always ones I popped in the player again and again. Gavin O’Connor’s Warrior is cut from the same vein and rests comfortably next to the best sports films in recent memory. It helps that over the past year, my fondness for MMA has snowballed, so seeing Warrior, which manages to capture the excitement and emotion that the competition has to offer, was incredible. It doesn’t hurt that Tom Hardy and Joel Edgerton are the lead brothers, both amazing actors who are convincing as family members in the few scenes they have together. Nick Nolte is also magnificent as their father. O’Connor’s direction is darker, colder than most films that focus on a tournament, but that fits the characters, where they grew up, and how they conduct themselves. The overall plot might be similar to others, but a great deal of talent when into making this, and it has not received enough credit for that.
7. Hugo – With the release of a family film, Hugo, Martin Scorsese cements that he can do anything. We knew that anyway, but hey. Marvelously adapted from the book by Brian Selznick, Scorsese takes the source and makes it his own while honoring it and improving upon it at the same time. As a film buff, the fact that the story concerns cinematic pioneer Georges Melies etched a permanent smile on my face. On top of that, the characters are engrossing and superlatively fleshed out. Asa Butterfield and Chloe Moretz are fantastic, with plenty of great back up from Sacha Baron Cohen, Ben Kingsley, Ray Winstone, Emily Mortimer, Christopher Lee, Jude Law, Michael Stuhlbarg, and many others. The set design, art direction, and special effects are gorgeously mixed to produce a visual feast. From action to humor and drama to thrills, Hugo touches numerous genres and manages to balance them all with the type of intelligence and class only a legend could.
6. Source Code – One of the themes of my Top 10 are movies that will keep the audience talking well after it is over. The sophomore effort from Duncan Jones hits that mark with double the force. This is an exhilarating thriller from start to finish that carries with it a fascinating premise and an ending that will knock your socks off. Jones establishes a rapid pace and energetic atmosphere that keeps us riveted, but also keeps us guessing until the conclusion. Jake Gyllenhaal and Michelle Monaghan are terrific as the leads, while Jeffrey Wright and Vera Farmiga are outstanding in their supporting roles. I’m a sucker for plots that focus on time travel, so this was right up my alley, but I was so pleased that Duncan Jones continues to impress as a filmmaker after the superb Moon. This is one that has lost some steam since being released early on in 2011, but I will be revisiting it many times in the future.
5. Bridesmaids – Billed as a female Hangover, this comedy has much more to offer than 2009’s hit. I recently re-watched this film and laughed harder than I did the first time. It’s unfortunate that Kristen Wiig is still on SNL because she proved that she needs to break free from the confines of that series and do her own thing. She’s hilarious as Annie, a Maid of Honor stuck in a crappy situation. Dealing with annoying roommates, a bad job, and a bridesmaid who is constantly upstaging her, Annie struggles to make the best of it. Bridesmaids is the best comedy of the year because it has a style of humor for everyone and it all works. The cast has excellent chemistry and each one of the supporting roles is given moments to shine, especially Melissa McCarthy, who damn near steals the show. Director Paul Feig, who primarily sticks with TV, maintains the laughter throughout, but that is not the only reason this is a great film. Unlike other comedies, we get to know the characters, soak up the relationships, and appreciate the heartfelt exchanges. That has to be attributed to Judd Apatow somewhat, who is a producer here, but his dramedy knowhow can be found everywhere.
4. Melancholia – Lars von Trier is a very controversial filmmaker, but nine times out of ten, he presents us with an amazing motion picture despite any comments he makes or any edgy content he shoots. Melancholia is one of his best and in it he captures Kirsten Dunst’s greatest performance to date as a woman suffering from a deep depression as a nearby planet threatens to crash into Earth. What many do not realize is that this is not an apocalyptic science-fiction thriller. The looming planet is a MacGuffin in a film about human nature. Von Trier is a master at obtaining truly affecting and fervent portrayals, and here he accomplishes that again with Charlotte Gainsbourgh, not to mention Stellan Skarsgaard and Kiefer Sutherland. The cinematography is beautiful and the special effects are stunning. None of Von Trier’s films will fall into the “feel good” category, but they always leave an impact, and this one definitely did for me. This is an audacious movie from a director who never hesitates to provoke and test us. I so look forward to each and every one of his contributions, and this is one that exceeded my expectations.
3. Take Shelter – What a shame that this has not gained more momentum heading into Oscar season. Jessica Chastain is garnering more nominations for her work in The Help, but this is the film she deserves recognition for. The same goes for Michael Shannon, who lends a shattering lead performance as Curtis, a man who is having hallucinations about the end of the world. What is remarkable is that we do not judge any of these characters. We empathize with their dilemma and how they approach the situation. This is the second film from writer/director Jeff Nichols, who handles the material with subtlety and care, instilling and eerie, uneasy mood to the story. The pacing is deliberate, yet smooth-flowing and consistently gripping. This is one of the most suspenseful films of the year because that ominous feeling of dread grows and grows to a boiling point. We’re also never sure quite what to believe from one moment to the next, which shows how adept Nichols is as a filmmaker. This is a magnificent piece of work that evokes the early style of Terrence Malick’s Badlands and The Coen brothers’ Blood Simple. See it if you missed it. Check out my full review by clicking here.
2. A Separation – One writer described this film as a “microcosm of life itself,” and that phrase perfectly sums up what it easily the best foreign release of the year. This is an intense, brilliantly acted, and organically written and directed by Asghar Farhadi. It takes place in Iran, but everyone will be able to relate these characters and the situation they are involved in. Like my #1 pick, this too would spark a superb discussion. This is not a tale of good versus evil, only a group of people trying to do their best with the hand they were dealt. What transpires has a lot to do with conscience, ethics, and morality, but its mystery and natural tone kept me glued to the screen. A Separation will make you think about yourself and how you would react under similar circumstances. The direction is wonderfully unassuming, allowing us to simply observe these lives. The plot is also not predictable whatsoever. So far this is the frontrunner for Best Foreign Film Oscar and it deserves the positive buzz. This is a great film and I can’t wait to recommend it to others.
1. The Tree of Life – The fact that this is my #1 pick will instantly turn some people off, but honestly, I don’t care. You can speculate and criticize why I selected this, but what it breaks down to is that absolutely no other film was made with this level of skill in 2011. Terrence Malick has always been a divisive filmmaker, but in my opinion he has delivered some of the most intriguing, spellbinding, and emotional efforts of all-time since he has started making movies. I have had more conversations and debates about this title than any other this year by far. Of all the films I’ve seen, this is the one that I cannot stop thinking about. For me, I have grown tired of the sequels, remakes, and disappointing summer blockbusters. The Tree of Life is a motion picture that challenges the viewer, does not spoon feed its storyline, and forces us to use our brains a little more than usual while watching the screen. This may not be for everyone, but Malick delivered a masterpiece akin to 2001: A Space Odyssey, and like the Kubrick title, its status as great will improve with age. When cataloguing all the movies that were released this year, one title got people talking more than any other, and one title stands apart from the rest. That is The Tree of Life. For more on this film, click here for my review.
* Midnight in Paris
* Mission: Impossible – Ghost Protocol
* The Descendants
* Elite Squad 2: The Enemy Within
THE TOP 10 WORST FILMS OF 2011
Below is my Top 10 worst list for 2011. I’m fairly satisfied with the amount of bad movies I’ve seen this past year, though I must admit, I have bypassed the entire Alvin and the Chipmunks franchise. Anyone who rushes to the theater to see these late December releases in the wake of so many strong contenders must have an affinity for punishment. One thing I HATE about the worst lists of others, especially mainstream critics, is that they tend to adhere to the major releases only. If a certain title was not screened for them, it will not be factored into their worst list. Imagine doing the same thing for the best list. My point is, every week, dozens upon dozens of limited release films hit theaters, many of them horrid, and rarely do I see random titles on any list. They were available on the big screen, so they should qualify. I understand that many people did not care for Cars 2 or Larry Crowne, but worst of the year? Compared the crap below? I’ll just say I disagree.
10. Sucker Punch – Zack Snyder’s female action fantasy is probably the most hated film of the year, even if it isn’t #1 on every Top 10 worst list. Sucker Punch has been getting slammed for months, and when that happens there tends to be a small, outspoken group who says that it’s not that bad. I’m here to tell you that it is that bad. All the low ratings are justified, and what makes that difficult to swallow is that Snyder has delivered accessible pieces of work before, but always based on someone else’s writing. Here the story was left to him, and it failed miserably because Snyder excels in basically one area: special effects. In basically every other facet of filmmaking, he needs to improve, but Sucker Punch accentuated his weaknesses. He assembles an attractive cast, but not one of them can act their way out of this disorganized mush. The action, while stunning to look at, along with the rest of the visuals, lacks coherence and emotion, and possesses entirely too much slow-motion. If I were Snyder, I would have gone back to the drawing board and chosen a project more low-profile, but obviously he is not doing that. His Superman flick Man of Steel is next on his slate, and a lot is riding on it. It can’t be as bad as Sucker Punch, right?
9. Love, Wedding, Marriage – It is truly amazing how many modern romantic comedies are the opposite of romantic. But, there is still a market for them, so we must continue to trudge through every cookie-cutter entry. Love, Wedding, Marriage is lowest of this maddening genre from 2011, and it is the directorial debut of Dermot Mulroney, who proves that not every actor-turned-director transition goes smoothly. Then again, Mulroney has been in his fair share of this crap, so it was probably all he knew. Kellan Lutz and Mandy Moore play the super model newleyweds, but when Moore’s parents want a divorce, she starts to disregard her own marriage. She’s a marriage counselor you see, so she drags her mother and father (portrayed by Jane Seymour and James Brolin) through a series of wacky therapy sessions. Hilarity ensues, or fails rather. I don’t understand the trend of striving to obtain the two best looking people the studio can muster for a romantic comedy. Kellan Lutz is about as charismatic as a piece of wood and Mandy Moore’s character is so detestable you’ll be waiting for someone to slap her senseless. So her husband is angry about her new mission because darnit, he wants sex two times a week at least. The dialogue is cloying and mentally depraved of emotion, the performances are laughable, and the script couldn’t be viewed as faithful towards what makes a realistic marriage by any stretch of the imagination. Oh, and Christopher Lloyd has a cameo as an unconventional therapist. Say it ain’t so Doc!
8. Dream House – If there is one thing I hate, it’s manipulative movies, and Dream House wold get that award in 2011. With talent like Rachel Weisz and Daniel Craig, you wouldn’t expect such garbage as this, but every career has a dud or two. Both leads phone in artificial performances for a story that is completely dull and silly, not to mention filled with horrendously cheap scares. This is a prime example of a film where the director is intentionally trying to mess with the audience, but the goal is to have everyone think this is some sort of smart psychological thriller, when in fact, it is idiotic with a capital “I.” The ending is the final nail in the coffin, something so preposterous it has to be seen to be believed. After it’s all over, you’ll wonder why you wasted your time.
7. Season of the Witch – 2011 was not the greatest year for Nicolas Cage, and with from the looks of the Ghost Rider sequel, 2012 won’t be any kinder. I might be one of the last people left that remains a loyal fan of the Cagester. He is a superb actor, but his selection of scripts lately has left many wondering how he won an Oscar, which is a shame. Perhaps it is because of his money troubles, who knows? I hope he gets back on his feet soon. While I admit that Drive Angry was a guilty pleasure, Season of the Witch is unquestionably one of the worst films Cage has ever made. Aside from the fact that Cage and Ron Perlman look like goofballs, the silly story is taken way too seriously, and that is a major no-no. Dominic Sena could have been a fine filmmaker once upon a time. He even did one of Cage’s most accessible titles, Gone in Sixty Seconds. Season of the Witch was not the best project to re-team for. His direction is exceedingly poor as the characters proceed on the horrifically dull journey through dark, dimly lit settings. Every performance is phoned-in, the special effects are a joke, and I for one would ecstatic if the historical horror sub-genre ceased to exist from now on.
6. Big Momma: Like Father, Like Son – I gave up on Martin Lawrence a long time ago. I think the last film of his I could tolerate was Blue Streak. I do know people who were fans of the first Big Momma’s House, but even they have to admit the series has run its course and then some. This latest installment is the definition of a chore. The reasoning for Lawrence dressing in drag is barely grazed upon. Another MacGuffin, and immediately the suggestion is to get out the Big Momma costume. Wouldn’t that be a last resort? Oh well. And this time his son, portrayed by Brandon T. Jackson, joins the fun. Jackson and Lawrence have zero chemistry, and at this point, you can tell Lawrence is simply going through the motions. He doesn’t care anymore, which causes him to resemble Mr. Sandler in more ways than one. The biggest crime Like Father, Like Son commits is not the transparent plot, the humorless gags, the lame disguises, or the irritating female characters. Nope, it’s Jackson’s rap song, “Lyrical Miracle,” which is played numerous times in this overly long 107 minute borefest. I promise you will have this terrible track stuck in your head, and attempting to extract it will be difficult. Jackson even refers to himself as the Notorious PhD. Yeah. Is this series over? I hope so. I pray nightly that it will be.
5. Atlas Shrugged: Part 1 – Last I checked the powers behind this independently released adaptation were planning on moving forward with Parts 2 & 3 regardless of the critical backlash, or the fact that hardly anyone has seen it. Lucky us. I wrote the review back in April when the film was released, and at that time I was reading the book. I’m not that much farther now than I was then, but I’m determined to see this excursion through to the end. Atlas Shrugged might be considered a classic by some, but Ayn Rand’s novel is ridiculous and tiring. The film echoes that, with atrocious acting from the cast and a storyline that is incoherent, sloppily told, and unintentionally hilarious. The production here has no ambition. Director Paul Johansson and Producer John Aglialoro concentrate so intensely on copying and pasting Rand’s dialogue into the film that they let other key elements suffer as a result, and suffer they do…hardcore. I have been criticized for bashing the film because of my political affiliation. I find that funny. I don’t see how even fans of the book would be satisfied with this. Those who view this as a solid adaptation must be seeing something that isn’t really there: quality.
4. The Human Centipede II (Full Sequence) – I actually saw The Human Centipede (First Sequence) in the theater when it was initially released. I thought it was mediocre at best, but had some fun to it thanks to Dieter Laser’s performance. The sequel has absolutely none of redeeming qualities of the first film. And you know what, my primary reason for hating this isn’t even that it’s overly extreme or graphic. The fact is, the majority of this garbage is deathly boring. What does anyone expect when you have a lead character who doesn’t speak, but just squeals and whimpers? How could writer/director Tom Six think this was the right choice for a star? The tiring routine of watching him bludgeon people and drag them to his vehicle goes on way too long. Because it’s in black & white, the graphic nature is not nearly as bad or off-putting, but of course the lack of color gave some the excuse to say the shots were “artsy.” Give me a break. And near the end all we get is people crapping all over the place and killing each other, characters we could care less about. This is as literal an example of “torture porn” as you can get. I read the theories some have that this film has some underlying intelligence, and I think those people…are high. Tom Six had a concept, a human centipede, but that’s it, and this sequel proves he had nowhere else to go with it. He even uses sporadic highlights of the first film to waste time. This ranks right up there with Salo and Caligula as some of my least favorite films ever. This is complete trash from start to finish.
3. I Melt With You – “Pretentious as hell” pretty much sums up I Melt With You, another candidate for worst movie of the year with a talented cast. You might be thinking that a film starring Thomas Jane, Jeremy Piven, Rob Lowe, and Christian McKay as college buddies can’t be that bad right? Maybe Piven channels his PCU days. No, he doesn’t. This is an agonizing experience from start to finish. The majority of the film has these thoroughly unlikable arrogant douchebags getting together at an enormous vacation house and doing drugs. The first hour is non-stop substance abuse and laughing hysterically. Then they have a party with young kids from the nearby town and whine to them about where their lives went wrong. I won’t spoil the second half, but once a story actually starts to develop its kooky nihilistic turn is beyond moronic. This is a movie where Carla Gugino plays the driven police office investigating the shenanigans with the foursome. Carla Gugino…a cop. What makes matters worse is the ham-fisted, obnoxious, unbalanced direction of Mark Pellington, who includes a popular song when he can’t think of anything else to do, or a pompous voice-over sound clip. When you finish with this, it will have felt like an eternity passed.
2.Just Go With It/Jack and Jill (tie) – It’s tough for me to say that the double-dose of idiocy given to use by Adam Sandler in 2011 were his worst ever. I would hate to try and rank his recent efforts at this point. They deserve to be lumped into one giant pile of excrement. What makes both of these titles so bad is that Sandler isn’t even trying anymore. He is so blatantly lazy with regard to his own acting and any attempt at humor that it is just plain pathetic. He knows people will go to see his sorry excuse for comedies because of his name, and after all these years and so many horrid offerings, the public still flocks to the theaters. He does as little as possible and watches the money flow in. That apathy acts as a virus to the cast and crew. I put these together because they both made me equally as frustrated and were both among the most unpleasant visits I had to the theaters this past year. The icing on the cake is that Sandler is dragging down others, who should know better, with him. Al Pacino embarrasses himself in Jack & Jill, and Nicole Kidman couldn’t be more annoying in Just Go With It. And of course Sandler always lugs along his friends for the ride, even though no one cares any longer. It is safe to say that I cannot view Sandler’s past superior efforts with the same happiness anymore. He has plagued us with so much atrociousness that I would like to just ignore him.
1. Bucky Larson: Born to be a Star – I don’t think anyone can justifiably compile a worst of 2011 list without having seen Bucky Larson. They can’t honestly think a list without it is remotely accurate. This Happy Madison Production has warranted its spot at the bottom, and I’ll tell you why. First I should add that I did not see this in theaters. I forgot about it, so I had to wait until it appeared elsewhere. By then, it had already made the IMDB Bottom 100. What makes Bucky Larson such a loathsome travesty is that the cast and crew involved genuinely believe it to be funny. You can tell just by watching. Look closely at any movie and you will be able to discern whether or not an actor is invested in the material. Nick Swardson and company probably thought this concept was hilarious. And of course Adam Sandler co-wrote and co-produced it. I have no doubts they were cracking up on set. The problem is, what they think is humorous and what the world thinks is humorous, are two very different things. I actually enjoyed Swardson in Grandma’s Boy, and I know he can be funny, but this is as low as he could go without doing legitimate porn. The performances are uniformly terrible from everyone, especially Christina Ricci and Don Johnson, but most of all, the story is so incredibly, massively, out of this world dumb. It is amazing that no one tried to step in and say “Please Stop.” I swear, if Sandler was a director, I would say he belongs in the same group as Uwe Boll. There, I said it.
* Red Riding Hood
* Apollo 18
Most Overrated Films of the Year
Harry Potter and the Deathly Hallows Part 2
Rise of the Planet of the Apes
Most Underrated Films of the Year
Everything Must Go
Most Overlooked Films of the Year
Most Disappointing Films of the Year
The Ides of March
The Hangover Part II
The Rum Diary
Movies That Would Have Ended Up in the Top 20
Tinker Tailor Soldier Spy
You Didn’t Like It, But I Did
You Liked It, I Didn’t
Captain America: The First Avenger
Best Family Films of the Year
You Should Put This On At Parties
Attack the Block
This One is For All The Weirdos Out There
Hobo with a Shotgun
For the Gentlemen
For the Ladies
Crazy, Stupid, Love.
For the Couples
Extremely Loud & Incredibly Close
The Best Documentary of the Year
Cave of Forgotten Dreams & Into the Abyss (tie)
This Is A Fabulous Movie To Rent on a Rainy Day
Great 2010-2011 Crossover Titles
I Saw the Devil
For Christmas Any Time of the Year, See This
The Dramedy Award Goes To…
It Was a Good Year for…Jessica Chastain
The Tree of Life
Texas Killing Fields
This Person Needs a New Agent: Nicolas Cage
Season of the Witch
The Greatest Olsen Film Ever Made Is…
Martha Marcy May Marlene
Another year is gone, and a new one is ahead. I hope 2012 brings plenty more entries in movies and music to write and rant about. I love providing my opinion, so if if my selections above urged you to see or avoid a certain title, I’m glad. Be on the look out for my Top 10 Best and Worst Posters of 2011 column, as well as one that looks ahead at 2012 where I make my 2013 Oscar predictions!
I welcome all feedback as usual. Don’t forget to check out “Nether Regions”, which is a regular weekly column from yours truly. New issues will be posted every Tuesday. Check out my latest edition by clicking here.
Check out my Top 10 Pet Peeves articles as well:
The Pet Peeves of 2011
The Pet Peeves of 2010
The Pet Peeves of 2009
The Pet Peeves of 2008
The Pet Peeves of 2007
The Pet Peeves of 2006
The Pet Peeves of 2005
“The plural of Chad is Chad?”
–From the movie Recount