TEEN ANGST

Last Friday I presented a Top Ten List for 2019. But let’s not forget that, as of last Wednesday, the 2000-‘Teens are also in the rearview.

Here’s a Top 10 for the ‘Teens:

The Act of Killing (2012) —Joshua Oppenheimer’s shocking nonfiction film, in which participants in killings during the Indonesian massacres of the mid-‘60s re-enact their crimes for the camera, is hard to watch, but probably the movie of the decade.

The Other Side of the Wind (2018) —Released four decades belatedly, the final directorial feature of Orson Welles—shot in the ‘70s, much of it here in the Valley—is a send-up of both old-Hollywood machismo and new-Hollywood artsy posing. Superficially chaotic, it’s full of bravura sequences and fine, funny acting.

The Tree of Life (2011) —Terrence Malick takes on The Meaning of Life through the prism of a midcentury Texas family. A strange, difficult symphony of fractured narrative and beautiful acting.

   
Get Out (2017) —Jordan Peele’s horror comedy-melodrama about race as a hijack-able commodity was a knockout.

Moneyball (2011) —A superbly re-watchable, improbably touching sports movie, about Billy Beane using “Sabermetrics” to rebuild the Oakland A’s. Brad Pitt and Jonah Hill make a great Don Quixote and Sancho of baseball.

Fruitvale Station (2013) —This heartbreaking, infuriating drama about a police shooting at the title BART station marked a spectacular debut for director Ryan Coogler and potent star turns by Michael B. Jordan and Octavia Spencer.

 

American Animals (2018) —Bart Layton’s docudrama, about four college-age nitwits plotting to rob the rare books room at a Kentucky library, is unforgettable in its depiction of movie-driven criminal fantasy, and of the privileged status of the conspirators. 

November (2017) —This black-and-white Estonian gothic, directed by Rainer Sarnet from a novel by Andrus Kivirahk, has a low-key magic all its own. 

Black Panther (2018) —Having debuted with Fruitvale Station, Ryan Coogler went on to direct the most fun of the Marvel movies.

The Lovers (2017) —Hardly anyone seemed to pay any attention to this low-key comedy-drama about adultery turned on its head, so, modest though it may be as a piece of cinema, I’m going to put it on the list. Hope it gets discovered one of these years. 

Here are 10 more that came close: The Skin I Live In, Moonlight, Lincoln, Spotlight, The Shape of Water, Once Upon a Time in Hollywood, Inside Out, The Town, Attack the Block and Ant-Man. 

By the way, after a nearly twenty-year hiatus, Your Humble Narrator finds himself back on Rotten Tomatoes; you can check out my page here.

THE DEFAULT IN OUR STARS

Opening today:

  

The Big Short—The prestige Christmas Day releases this year have such feel-good subjects as concussions in the NFL and two women persecuted for a lesbian affair in the ‘50s. Beating these two into the multiplexes today is this jolly romp about the criminal idiocies leading up to the collapse of the housing market in 2008.

But I’m not being facetious. It really is a jolly romp. Director and co-writer Adam McKay, best known for Will Farrell flicks like Anchorman, uses his anything-goes comedy techniques to give this infuriating and depressing material a sort of Brechtian vaudeville energy, and the result is one of the most absorbing and perversely entertaining movies of the year.

Based, like 2011’s excellent Moneyball, on a nonfiction book by Michael Lewis, the film follows several traders and investors who predicted, or were made to believe, that the market, balanced on atrociously unstable subprime mortgage bonds, would collapse starting in 2007. Because of the received wisdom that the housing market was unshakable, these guys were seen as crackpots when they began to “short” (bet against) the housing market with “Credit Default Swaps” in the mid-2000s. When the market did indeed melt down in 2007-2008, they looked like geniuses. Jackals too, perhaps—and the movie doesn’t try to deny it—but genius jackals.

Said geniuses (some of them are dramatized under their own names, others under pseudonyms) include Christian Bale as a socially awkward California doctor turned hedge fund manager who horrified his own investors by pouring millions into swaps, and Finn Whitrock and John Magaro as two small-potatoes hedge fund guys who got into swaps with the help of their disillusioned mentor Brad Pitt (who also executive-produced). Steve Carrell plays an abrasive hedge fund boss, haunted by a personal tragedy, who worked under the aegis of Morgan Stanley with his small team of wound-up, bantering, obscenity-spouting traders (Jeremy Strong, Rafe Spall and Hamish Linklater).

They’re all excellent, but the liveliest of the leads is Ryan Gosling as the swaggering Deutsche Bank trader who sells Carrell on shorting the market. Gosling’s character frequently looks into the camera and addresses us—several characters do, but this guy most of all—and having the least tortured, most unapologetically mercenary of  The Big Short’s players serve as its spokesman goes a long way to rescuing it from piety.

You’ll notice that in the preceding paragraphs I throw around financial terms like I remotely understand them. I assure you I probably understand them far less than you do, although after seeing this movie—assuming that it’s reasonably accurate—I now understand them far better than I did before. McKay makes the movie a remedial-level course in finance, and he uses gimmicky shtick to keep us interested—he shows us Margot Robbie luxuriating in a bubble bath with a glass of champagne while she explains subprime mortgages to us, and a couple of other celebrities pop up to give us brief tutorials.

The implication of these gags could be seen, in a sense, as an insult to the audience. But it’s an elegant and entertaining insult. And, alas, not an unfair one

THE LIST I CAN DO

For the multitudes trembling in anticipation, here are my Top Ten movies for 2011:

1. The Tree of Life: Terrence Malick’s film isn’t ambitious or anything; it just takes on the Creation of the Universe and the Meaning of Existence. Also, it contains Brad Pitt’s best performance, beautiful music by Alexander Desplat, & a plesiosaurus.

2. The Skin I Live In: Pedro Almodovar’s entry in the venerable European “mad skin doctor” genre is convincing, ingeniously-structured & potent. Antonio Banderas & Elena Anaya are superb as the Doctor & his patient/victim, respectively.

3. Moneyball: Brad Pitt & Jonah Hill play statistical weird science on the Oakland A’s to make them win without marquee players. Sly, restrained direction by Bennett Miller & another gem of a performance by Pitt combine to make this inside-baseball tale fascinating & improbably touching.

4. The Artist: This black-and-white, mostly silent romantic comedy somehow manages to be a movie of substance rather than a stunt. Jean Dujardin is sensational as the title character, an ultra-debonair Hollywood leading man whose career hits the wall when the talkies arrive; the beguiling Berenice Bejo is the spirited up-and-coming star who adores him from afar & would salvage his career if only he wasn’t so proud. The film is studded with charming supporting performances, but the hero’s little dog steals scenes like they were Snausages.

5. Meek’s Cutoff: Kelly Reichardt’s subtextually political Western, loosely based on historical events, is about a bunch of lost covered-wagon settlers looking for a drink of water in the eastern-Oregon desert. It’s an ordeal, but a dramatically valid one, & it maddeningly offers no answers. Michelle Williams is quietly excellent as a clear-headed frontier wife, & Bruce Greenwood gives the performance of his career as the reactionary guide Meek.

6. Martha Marcy May Marlene: Elizabeth Olsen is spectacular in the title role, a young woman who flees a rural New York cult, & John Hawkes is chilling as the cult leader. Sean Durkin’s simple, low-key direction generates moody atmosphere & a subtle, fretful suspense.

7. Attack the Block: Teenage South London street punks jump on their bikes & save the world from aliens on Bonfire Night. Joe Cornish wrote and directed this funny, tense sci-fi tale, with a fine ensemble cast & spooky, amusingly simple invaders.

8. Rise of the Planet of the Apes: More top-notch sci-fi, this is the best iteration of the Apes franchise since the 1968 original, cleverly dramatizing how the Ape-pocalypse begins. Behind the CGI, Andy Serkis provides the superb facial expressions of the chimpanzee revolutionary Caesar.

9. Texas Killing Fields: This police procedural from director Ami Canaan Mann , about the murder of young women in a small, grungy Texas town, is a grim & difficult work, but it has an intense, enveloping atmosphere of tragedy.

10. The Adventures of Tintin: Steven Spielberg’s adaptation of the Belgian comic books is pure fun, & dazzlingly skillful cinema. As with The Artist, however, Spielberg lets the dog steal the show.

Also worth checking out: Contagion, Women on the 6th Floor, My Week With Marilyn, Hop, We Bought a Zoo, Footprints, Rio, The Smurfs, J. Edgar, Arthur Christmas, Happy Feet Two, Thor, Rubber, Super8, Trollhunter, Margin Call, Winnie the Pooh, Rango, Henry’s Crime and The Muppets (& the excellent Toy Story short before The Muppets).

A couple of major stinkeroos: Zookeeper, The Green Hornet, Creature & Atlas Shrugged: Part One.