Top 100 Films of the 2010's...So Far: Part II

90. The Queen of Versailles (2012) - For some reason, the last several years have seen a plethora of fantastic documentaries hit the big screen, and made an incredible cultural impact, far more than most nonfiction films ever even get close to doing. Just look at the offerings this past year: 20 Feet from Stardom, The Act of Killing, Stories We Tell, The Square, just to name a few, which were praised for not just being great docs, but for being genre-bending, cross-over films that not only enlightened, but entertained audiences as well. 2012's The Queen of Versailles should be added to that list, because not only is it an incredibly biting and timely look at the precariousness of the so-called "American Dream", but also works as an engaging and entertaining character drama that would make for either a great Blue Jasmine-spin off, or a guilt pleasure reality show on VH1. Director Lauren Greenfield has a keen eye as her tale shifts gears and brilliant balances its two messages. Its story of the Great Recession, of how greed and wealth brought down an entire global economy is a relevant and powerful message that should be seen by every American who was affected by the crisis (which is every American). But the film also manages to be a stinging indictment of the one-percenters, the large corporations and the CEO's. It shows that even the almighty can be brought to their knees. The one word I remember seeing over and over again in reviews of the film was schadenfreude. For those who are familiar with Avenue Q, we know that schadenfreude is German for happiness at the misfortune of others. While we try to find sympathy for this family, who really is going through a tough time, in the back of our minds, we can't help but enjoy their suffering because they got exactly what they deserved for their hubris. So yes, The Queen of Versailles is also a biting, yet surprisingly funny, big middle finger to the bastards whose greed brought down an entire global economy. But I also think that by the end, some of the schadenfreude wears off, and just when Greenfield could have hit the final blow, she backs off, just a bit, and reminds us of our own humanity, and that suffering, no matter how you got there, should not be taken so lightly. It is this impeccable balance of stinging criticism and favorable humility that makes The Queen of Versailles such a terrific experience.

89. The Place Beyond the Pines (2012) - 2010's Blue Valentine was a beautifully constructed tragedy that navigates back and forth between the beginning and ending of a doomed relationship, managing to create two of the most authentic characters seen on the big screen in the last decade. So needlessly to say, I could not wait to see what writer/director Derek Cianfrance had up his sleeve next. When I first saw The Place Beyond the Pines in 2012, I was actually a bit disappointed. It was not as good as Blue Valentine, plain and
simple. But I finally opened my mind a little, stopped comparing projects long enough to watch it again, and I'm glad I'm did. My first assessment was right, it was not as good as Blue Valentine, but it was still an incredibly powerful, and beautifully constructed film that easily stands on its own merits. At its center is Ryan Gosling, who brought half of the magic in Blue Valentine. He once again (see Ides of March below), proves that he can be an engaging leading man, even when playing dark characters. He is joined by excellent turns from Eva Mendes and Bradley Cooper, who both match Gosling's grittiness and ferocity as they bring their characters to life. But it is Cianfrance's dark script, and his unique vision that matches his ability to weave stories together brilliantly, and create complex webs of connection that really pulls the film together into an emotional ride of intertwining fates. A special shout out is also deserved for cinematographer Sean Bobbitt, who many felt was robbed of an Oscar nomination this past year for his breathtaking work in 12 Years a Slave. To be honest, I think his work here is just as brilliant, maybe even more so, because I firmly believe that it is his shots, his creation of mood, his brilliant contrast of light and dark that bring a certain visual intensity that the film desperately needed. The cinematographer usually doesn't get enough credit, but I dare you to watch The Place Beyond the Pines and not comment on Bobbitt's excellent work.

88. Marvel's The Avengers (2012) - If you take The Avengers as a stand alone film, you might think of it as a poorly set-up, over-caffeinated action flick along the lines of the Transformers series. But Joss Whedon and his team knew it would be futile to spend a lot of time on exposition, and instead took the approach that if you were joining the crowd for this film, then you probably had already seen Captain America, Thor, The Incredible Hulk, and the first two Iron Man films. If you were a casual viewer, this was probably frustrating. But if you had followed the journey of these varying characters, then The Avengers was probably an utter
delight for you, a brilliant combination of the varying personalities, into one fun, epic, and action-packed climax that managed to also set the stage for the Marvel Universe in the future (as evidenced by Agents of S.H.I.E.L.D., Iron Man 3, Thor The Dark World, and the new Captain America entry, all building up for an Avengers reunion). For me The Avengers was far from a perfect movie, but honestly hit all the high points for a perfect summer blockbuster. It brings the flash and the bang with stunning visual effects and sound work, and an adrenaline shot of energy into its action sequences. It brings together a whole host of capable and attention-grabbing actors that are charismatic and nice to look at, and most importantly, it is the perfect escapist entertainment that, despite a two and a half hour run time, manages to transport you away enough that don't realize you haven't seen the sunlight in so long. But upon a second viewing, I realized that The Avengers digs a lot deeper that I had originally given it credit for. It brilliant balances its plethora of characters, while preserving their back story, and managing to move each character forward in their personal narratives at the same time that it explodes the Marvel Universe as a whole. It also reaches out of a huge dose of humanity, and manages to inject it flawlessly into the fast-paced story. The Avengers could have been a loud, clunky disaster. But a talented director, a kick-ass cast, and a surprisingly deep story rescued the film from summer box-office hell, and turned it into a hell of a film.

87. The Ides of March (2011) - This is another film in recent memory that by the time the Oscars finally rolled around was long-ago swept under the rug. While it managed an Adapted Screenplay nomination, that felt more like a consolation prize for the beloved George Clooney than a reward for the film as a whole. And it is kind of a shame considering some of the lesser efforts that year that were far more successful. When it landed on the film festival circuit, it was certainly a soft landing. But in the end it rebounded with great reviews, and a recognition that it was a smart and entertaining political thriller, and one of the better ones to grace the big screen in recent years. Ryan Gosling plays a young staffer of a potent candidate for President,
who truly believes in the man until a dark secret about him is revealed. Then the young, and hopeful boy has to decide whether to leave the game or dive into a corrupt and dark political world where he has to play the villain to achieve his own personal goals. It is a taut and tense thriller that has a lot of potency on the screen as it mirrors so many campaigns and so many politicians in our time that have dove to unbelievable depths just to achieve some form of political and personal success. The screenplay landed an Oscar nomination, and while I think many voters thought of it as a placeholder, I think it was a well-deserved mention, and a nice addition to a great set of nominees in that category. But I think, and most critics seemed to agree at the time of its release, that the reason the film achieves its entertainment value and its political potency is because of its stand out cast. Ryan Gosling proves once again that he has the charisma and the force to carry pretty much any genre of film. George Clooney perfectly captures the shiny exterior, and mean interior of a flawed and dirty politician. And Evan Rachel Wood captures the vulnerability, as well as encapsulates the prices we pay for messing with the wrong guys. All of them are on top of their game and they deliver the film's energy and presence. Of course I also have to mention the late great Philip Seymour Hoffman. It is still hard to think about his death, especially as I have been re-watching his many roles over the last several months. His character here, Paul Zara, is another standout, and yet again, a reminder of the talent that we lost way too soon.

86. Easy A (2010) - Every year since the height of John Hughes in the 1980's, some director or screenwriter has tried to capture the magic, hilarity, and sometimes ridiculousness of high school drama. So many try, and more often than not they completely fail. Over the last several decades, three films in particular have created a new sub-genre that while set in high school, does a lot to actually make fun of those films, and create incredibly funny parodies of those classic 80's films. Clueless in the 90's and Mean Girls in the 00's proved that this reinvention of a classic film genre was possible. In 2010, Easy A even took it a step further by having its main character have an incredible self-awareness of the cliches, and play on them in a way that felt refreshingly funny. Easy A was not everybody's favorite film, and many people probably
instantly wrote it off, because there was no way that a high school comedy could be anything but stale. But those who gave it a chance were probably incredibly surprised at just how much they liked the film. The story line certainly has its moments, and while it deserves a lot of credit for mocking the cliches, it sometimes can fall into other ones along the way. So in order to pull this off, they needed an actor who could make it work, and boy did they find it in Emma Stone. This was the film that really introduced the world to this incredibly talented, husky-voiced comedienne who defied the traditional Hollywood look, and proved to be a surprisingly deep and versatile actress that is one of the best younger actors working today. Her spunk, sarcasm, and brilliant screen presence make this story really pop, and really work. She sells her role with gusto, and makes us all wish we were half as smart or self-aware when we were in high school. It takes a lot to make a well-worn genre feel fresh, but Easy A pulls it off.

85. Prisoners (2013) - In the year that was 2013, there were so many films of high quality that you knew that some of them were going to be left behind when the Oscar nominations came out. While it did score a worthy cinematography nomination, Prisoners was one of those overlooked gems that is worth revisiting. The basic story is that during a visit, two young girls from two tight personal families go missing while playing in the yard. A suspect gets arrested, but is later released due to lack of any evidence. While the police search for answers, a father takes the case into his own hands to find out the truth about his daughter. On paper, this

sounds like another bloody, violent revenge tale, or just another been-there-done-that cop drama. Fortunately for the viewer neither of these stereotypes fit Prisoners, as it dares to go deeper than the run of the mill members of its genre ever thought to do. Prisoners is a dense and taut thriller, brilliant constructed by the screenwriter Aaron Guzikowski, and director Denis Villeneuve that never condescends its viewers, and instead keeps them on their toes with the many twists and turns that weave together the story. At times it can be difficult to keep up, and at other times it can just be painful to watch. But the end product is so worth the ride that you are willing to look through the painful moments. It doesn't hurt that some of the finest actors working today make up a wonderful ensemble cast. Hugh Jackman gets a lot of the credit, deservedly so, as the father who takes the law into his own hands. And Paul Dano and Jake Gyllenhaal provide fine supporting turns. I also think that the women in the film Maria Bello, Melissa Leo and Viola Davis deserve a lot of credit for standing out in a dominant male cast, and pulling us into the struggles as mothers facing a life-altering and devastating possibilities. All around Prisoners is a well-written, impeccable acted thriller that should have stayed in the awards conversation much longer than it did.

84. Another Year (2010) - Whether he is directing an historical film or one set in modern times, Mike Leigh is the master at creating complicated and deeply flawed characters. Just look no further than his characters in Happy-Go-Lucky and Secrets & Lies, as well as many of his other efforts, and you will see exactly what I am talking about. In 2010, he presented us with another one of his singular creations, Another Year. In the film, we see a happily married couple over the course of a year in their lives. Their story of continued happiness is really not just the center of the film, emotionally, but also provides the perfect launch point to foil their happiness with individuals who are quite the opposite. In particular their friend Mary's loneliness and inability to fix her own issues provides a stunning, yet stark contrast. Mike Leigh has crafted a wonderfully

human script about love, family, friendship, and the debilitating disease that is loneliness. His actors, including Jim Broadbent and Ruth Sheen as the happy couple, are built for their roles, and each tackles their characters with an incredible passion. But the real star here is Lesley Manville as Mary. In the earlier days of the 2010 Oscar Season, she gained a lot of traction, including many critical awards, in the hopes of crossing the finish line with an Oscar nomination. While she was not able to pull it off, she certainly was worthy of any accolades she received. Mary's almost tragic life is the real center of the film, and shows the complexity of human relations and human emotions. Leigh has a new film, Mr. Turner coming up, and I think I speak for most people when I say that I am thoroughly excited to see what he has in store for us next, because Another Year was another incredible film.

83. The Wind Rises (2013) - We're not sure whether this will be Hayao Miyazaki's last film. It was reported before its release that that was the case, but it was later taken back, with the statement that more work from the Japanese master could be in the works. Either way, 2013's The Wind Rises is an wonderful film from one of the greatest directors of all time. It is also a surprisingly grown-up film, considering that it is animated. Although when you think about it, Miyazaki's films have never been just for kids. They have

always had a universality to them that has appealed to all age groups. The Wind Rises is no different, and maybe his most mature effort to date. It tells the story of Jiro Horikoshi, who designed the fighter planes used by the Japanese during WWII. Like some of his earlier efforts, Miyazaki is looking at the effects of WWII on Japan and its people, and war in general. He has always been fascinated by the subject, and this biopic brings an incredible authenticity to the discussion. Furthermore, as always, Miyazaki has created a lush world that straddles the line between realism and fantasy, and the end product is stunning to look at, despite having a traditional animation feel. Throughout his career, Miyazaki has always stuck to that classic animation, and none of his films have the 3-D, computer feel of say Pixar or later Disney films. His passion for his art form is always at the forefront, and his stories are emotional, mature, and always worth the journey, and The Wind Rises is no exception, and it even earned Miyazaki another Oscar nomination. If this his is final film, and I'm sure all of us hope that is not true, then at least he went out with a bang.

82. Flight (2012) - When Denzel Washington finds the right project, he knocks it out of the park. Think Glory, The Hurricane, Training Day. The latest addition to his impeccable resume of award-worthy roles was his role as Whip Whitaker in Robert Zemeckis' 2012 hit Flight. He nails the action parts with gusto, which is not a huge feat considering that when he is not pursuing these types of roles, he is usually starring in action films. But it is the emotional depth, the vulnerability, and the bravura that he brings to the screen with this damaged, yet still likable character that makes the film soar . It is magnificent role that lights up the screen, and gives the film its gravitas, as well as its entertainment value, and earned Washington yet another Oscar nomination. But, despite popular belief, Flight is not just the Denzel Washington show. The supporting cast, including John Goodman, Don Cheadle, Melissa Leo, and Kelly Reilly hold their own against the main star. Furthermore, Zemeckis, and Oscar-nominee John Gatins craft a brilliantly balanced thriller that plays up its character development, and deftly combines entertaining, breath-taking action sequences, with an emotionally stunning character arch that pushes it way into the clouds above your regular action or dramatic fair. In the end, Flight did relatively well at the box office and earned two Oscar nominations, so it was certainly not a failure. But upon returning to it recently, I realized that in the end, it probably deserved a lot more credit than it got. It proved than Denzel was still on top of his game, and that Zemeckis despite some bumps in the road was still a hell of a director with a passionate and clear vision. Take another look at Flight, I think you find it is worth a second chance.

81. Martha Marcy May Marlene - It is hard to believe that the younger sister of the infamous Olsen twins would end up being the one in the spotlight, but over the last several years, Elizabeth Olsen has managed to breakthrough her family name, and with role after role, prove that she is a stand alone actress who should only be compared to herself, and is immensely more talented and unique than her infamous siblings. The role that proved her talent, and introduced her to the acting world was 2011's haunting Martha Marcy May Marlene. Olsen plays Martha, a young woman who struggles to reintroduce herself to normal society, including rebuilding her relationship with her family, after escaping an abusive and horrific cult. First time writer/director Sean Durkin shows surprising depth and vision for a director at such an early stage in his career, flawlessly interweaving the haunting images, flashback, and psychotic nature of Martha's time in the cult, with her struggles to recover from the psychological damage done to her. The story slowly builds in its intensity as both threads weave around each other, and without a lot of bang or flash, Durkin manages to create an undeniably fierce tension that builds towards a stunning ending. I'll say it once again, it is hard to believe that this was Durkin's first feature film considering how much control it takes to pull off this successful of a psychological thriller and reach deep into the varying themes of wealth, ideology, psychology, and family that wind through the plot and the characters. But every story comes full circle, and in the end Martha Marcy May Marlene comes back to Olsen. Her innocence, her struggle in her search for the truth, and, despite her mostly quiet exterior, her ability to convey to the audience the depths of her pain, are truly haunting, yet mesmerizing to watch. And that is because of Olsen and her incredible abilities and talents as a young actress. In the coming years we will see her tackle the Hollywood blockbuster with her roles in Godzilla and The Avengers: Age of Ultron. And I guarantee that she will bring surprising depth and gravitas to those projects, and if critics need any proof for this bold prediction, look no further than Martha Marcy May Marlene.