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

20. Bridesmaids (2011) - The whole point, many thought, of Bridesmaids, was to prove that the women could be as funny and raunchy as the men, say in things like The Hangover. Well, if that is what people were expecting from Bridesmaids, then they did in fact make that point. Bridesmaids was a laugh-out-loud comedy that in many ways outdid the guys in the raunchy department. But Bridesmaids is not the female Hangover, and it is incredibly condescending to compare it based on gender alone. First because Bridesmaids in an entirely different entity, and second, and most importantly, it far exceeds any of the male counterparts in terms of humor, and definitely in terms of quality. Led by the always great Kristen Wiig, in the role that proved she was not just a great SNL cast member, but a genuine movie star, Bridesmaids was a
brilliantly funny ensemble piece. Standouts including Maya Rudolph, Wendi McLendon-Covey, the late great Jill Clayburgh, Ellie Kemper, Rebel Wilson, and Chris O'Dowd created a wealth of fantastic characters that added a great amount of humor and heart to the proceedings. But among the plethora of great supporting roles, two rose to the top. First of course is Melissa McCarthy. Many have argued that her performance was one-note, although even if you think that, pulling off that kind of humor is not as easy as people think it is. But there is one scene I always point to to prove those folks wrong. It is the scene where she goes to visit Annie after the disastrous bridal shower, and she gives her the tough love that she so desperately needs. In that moment McCarthy remained incredibly funny, but also showed us Megan's fierce loyalty, and surprising heart. She earned her rewards. The other standout was Rose Byrne, who with this role, and her role in this past year's Neighbors is quickly earning her place as a go-to comedic actress. She is a lot more restrained than her counterparts, but she pulls off her role as the pseudo-villain with grace. Bridesmaids' cast was not the only element that separated it from most of the other comedy films in the last several years. It also does so by being able to not only be raunchy and ridiculously hilarious, but also to have a lot of heart. At its deepest point Bridesmaids is about friendship and the struggles of relationships, and at just the right moments, Annie Mumulo and Kristen Wiig's Oscar-nominated script, has the power to knock you out with not only laughs but a huge dose of love. It is a winning combination.

19. Zero Dark Thirty (2012) - Kathryn Bigelow is a veteran director who finally got her due in 2009 when she became the first female to win Best Director at the Academy Awards. She also proved in 2009, with The Hurt Locker, that she could bring an intensity and a unique vision to the well-worn war film genre. But for me, and for a lot of folks, she went even a step further with 2012's Zero Dark Thirty. She deftly combined a war drama with an intelligence thriller in the age of terrorism, that brilliantly documented the journey to find and kill Osama Bin Laden, and most importantly, gave us all of this from the perspective of a female agent, something you don't see a lot in these well-worn genres .There was nothing familiar though about Zero Dark Thirty, and not just because it had a female lead. It was shot in an almost documentary style, had little dialogue, and purposefully left out a zillion details, allowing for the moviegoer to be as
frustrated and as intrigued as the central protagonist and her team. It was not a bluntly obvious film and it didn't take political sides (although rival Oscar campaigns were able to kill its chances with politics, an ironic and unfortunate ending to this film's awards potential). It showed the events as they were known by the filmmakers. It has an almost detached approach to a subject and a mission that was anything but unemotional. It takes a lot of skill to make something that feels like a documentary have the kind of propelling narrative, emotional impact, and visual style that excites moviegoers the way narrative films do. Screenwriter Mark Boal deftly weaves the facts of the mission with small, yet walloping emotional moments for his characters. He purposely leaves out a tremendous amount of detail, partly because there wasn't a tremendous amount to had, and also because its minimalist approach allowed for the team of talented actors to interpret and work the material. Jennifer Ehle, Jason Clarke, Kyle Chandler, Mark Strong, Jessica Collins, Edgar Ramirez, Joel Edgerton, Chris Pratt, Taylor Kinney, and the late James Gandolfini all make the most of their supporting roles. But it is Chastain that makes the most of her screen time as a dynamic lead. Despite few details, she manages to find the vulnerability, the strength, the frustration, and the passion of her character that quietly explodes on the screen. But it is Bigelow, and her top-notch technical team including her sound folks, and her editors Dylan Tichenor and William Goldenberg, that deserve the most credit for Zero Dark Thirty's success. They weave a powerful tale, give the heroes that finally brought down Bin Laden the respect they deserve, and tell an intense and mesmerizing story.

18. Enough Said (2013) - Nicole Holofcener gave me two of my favorite films in the few short years of this decade. The first was Please Give (see the last post for my thoughts on it). The second was her 2013 follow-up Enough Said. Starring the dynamic duo of Julia Louis-Dreyfus and the late James Gandolfini, Enough Said is a wonderfully touching comedy about love in the latter part of life. It is about two seemingly opposite folks with kids, ex-spouses, and a lot of baggage who somehow find charm, love, and a fun in a second-chance relationship. Holofcener has ditched some of the cynicism of Please Give, leaving enough to give Enough Said an edge, but allowing for a lot more heart this time around. I loved Please Give's darkness, but I think the main reason that Enough Said is higher on the list is because of that much needed does of heart. It gives the film more accessibility and lasting impact. But her insight into human emotion, into human mistrust,
and human relationships is as sharp as ever, and the dialogue and characterizations she gives to our two leads builds an honest and authentic relationship on screen. But a lot of the credit also has to go to its cast. Catherine Keener is great in her supporting role, but it is the combination of Louis-Dreyfus and Gandolifini that make this film worth watching. A five-time Emmy winner, with a stunning total of 18 nominations across three successful sitcoms, Julia Louis-Dreyfus is a television superstar who has rarely stepped into film. James Gandolfini was a television legend with Tony Soprano but towards the end of his unfortunately short life, he had begun to make a name for himself as a supporting player in several well-received films. This was his final lead role. All of this is to say that this was an unusual combination to lead a relatively major film release. But their quirky sensibilities, there impeccable chemistry, and I believe there lack of film experience actually helped them find an authenticity on screen that is sorely lacking in most movie romantic comedies.I hope that this role will encourage Louis-Dreyfus to seek out more indie comedies. I love her on television, but it was nice to see her expand her repertoire. As for Gandolfini, I hope that people look back at this role and remember that is was one of his finest, that he was an actor who was not afraid to show both his dark side and his soft side, and that he was one of our finest actors who is simply irreplaceable.

17. Take Shelter (2011) - Take a look at my post before on Mud and you will quickly find that I am a big fan of Jeff Nichols short but substantial career. My favorite film of his, and the one that I am saddened did not get any attention from the Academy was his 2011 work Take Shelter. The film stars Michael Shannon (who was robbed of that Indie Spirit Best Actor Award), and the wonderful Jessica Chastain in one of her banner years (of course the last four years have been banner years for her, but 2011 included Take Shelter, The Tree of Life, and her Oscar-nominated work in The Help). Like most of Nichols work so far, and his upcoming Midnight Special looks to continue the tradition, Take Shelter is a dizzying combination of drama,

suspense, and a bit of supernatural. At its core, Take Shelter is the story of a family coping with the onset of a mental disease. But this core idea is brilliantly wrapped in paranormal thriller, a tightly wound suspense that keeps you guessing whether Shannon's character is truly experiencing an other-wordly, religious, or paranormal experience, or whether it is all in his mind. The film builds and builds, a slow burn of expert precision leaving the audience guessing all the way up till the end. In terms of taut direction, of precision, and tightness on screen, Take Shelter is easily Nichol's best work, and a spectacular example of his talent as a director, and even more so as a screenwriter. And his two leads embrace the material with gusto. As the suffering wife who has trouble deciding whether to support her husband in his building of a shelter, and his vision, or to seek help to aid him break his mental state, Chastain is a brilliant mixture of restraint, control, and vulnerability, and it is her work here that for many, including me, made it clear that she was one to watch for. I am proud to say that we were right. But it is Michael Shannon that commands the screen. He is one of those guys that had been working hard for years, and was simply looking for the right project to truly show off his talents. We got a taste of his work with Revolutionary Road, which made him an Academy Award nominee. But I still believe it is Take Shelter where Shannon proves that he is one of the most talented character actors working today, but also has the ability to be a compelling and commanding lead. His visions, his journey is the center of this brilliant psychological thriller, and his performance grabs you and never lets you go, even long after the screen has gone dark.

16. Inception (2010) - Christopher Nolan has been in a bit of a funk the last five years. The Dark Knight Rises and Interstellar were both excellent films that were far and above better than most genre pieces, and we're, in general, well-received by critics, fans, and the industry. But for Nolan they seemed to be a bit of a step backwards compared to likes of The Dark Knight, and 2010's Best Picture nominee, still his only film to manage that feat, the trippy and bold Inception. Like all of Nolan's work, Inception is a visual feast, with stunning effects, jaw-dropping cinematography work from Wally Pfister (who won an Oscar for his work), as well as incredible sound work (once again both the mixers and the editors won Oscars, both of which were incredibly deserving). But like all of Nolan's films, the technical aspects of the film are only half the equation. Nolan has always taken great care to expand his characters, carefully construct a taut and fluid
story, and combine visual genre with ensemble work. Inception is no exception, and in terms of the ensemble, it is only rivaled by his Batman franchise. Leonardo DiCaprio continued to prove he was one of the best actors working, and still is, as the lead (combined with his lead role in Shutter Island with Scorsese, 2010 proved to be a great year for him). Marion Cotillard, Ellen Page, Michael Caine, Ken Watanabe, Tom Hardy, Cillian Murphy, and Joseph Gordon-:Levitt round out an incredible cast of Oscar winners, veteran actors, great newcomers, and many Nolan alums. Their work as a whole is fantastic, and helps elevate Inception beyond just a crowd-pleasing blockbuster, to a truly prestigious film. The final piece of the puzzle is the fantastic script, and bold direction by Nolan. He is truly a visionary, which is evident by the fact that even his so-called misses are miles above most of the films released each year. The layers of his story and characters, the way they all connect is miraculous in its construction. Most importantly, Nolan always tries to engage both heart and mind. Inception does both, it keeps to guessing for days afterwards, and knocks you on your butt when you least expect it. An extraordinary effort.

15. The King's Speech (2010) - This is another one that will inspire hate among many in the film blogging community. It is the latest film to be used as proof that the Academy is a group of old and out of touch voters that don't understand the future of film. It is called one of the worst Best Picture winners of all time. This is just simply not true. To quote a piece I wrote a while back: "I'd also like to point out that for a film that has received so much hate from critics by the time it won Best Picture, it had 94% positive reviews on Rotten Tomatoes, and 88 on Metacritic, a 97 from the BFCA, and was nominated for 7 Golden Globes (1 Win), 11 Critics Choice Awards (2 Wins), and received nominations/wins from the Chicago Film Critics
Association, Central Ohio Film Critics Association, Dallas-Ft. Worth Critics Association, Denver Film

Critics Society, Houston Film Critics Society, Iowa Film Critics, Las Vegas Film Critics Society, London Critics Circle, Los Angeles Film Critics Association, National Society of Film Critics, New York Film Critics Circle, New York Films Critics Online, Online Film Critics Society, Phoenix Film Critics Society, San Diego Film Critics Society, Southeastern Film Critics Association, St. Louis Film Critics Association, and the Washington DC Area Film Critics Association. If critics and bloggers hated that film so much, they had a funny way of showing it." The King's Speech was a more traditional pick for the Academy, and it did fit in line with older, mostly white, mostly male voters that make up the majority of Academy voters. But The King's Speech is not some half-baked historical misfire. In fact it is, for most of the film, a quaint drama about the lives of three people who are trying to solve the emotional and physical problems of man who is supposed to be a leader in a time of great peril. It is about ordinary man forced into extraordinary circumstances that must tackle his own challenges to rise up and lead his people. It is a well-made, entertaining, and emotional resonant drama led by three extraordinary performances from Colin Firth, Geoffrey Rush, and Helena Bonham Carter. For the record, no The King's Speech would not have been my pick for Best Picture in 2010, as you shall see soon enough. But the backlash against does not diminish the fact that The King's Speech is a great film. Period.

14. The Kids are All Right (2010) - I read a lot of reviews about how Lisa Cholodenko brought such beautiful characterizations and emotional control to HBO's adaptation of Olive Kitteridge, a wonderful miniseries that is sure to be a huge Emmy player this year, and is something that all of you should take the time to see. It was absolutely no surprise to be that Cholodenko was that talented. Her Laurel Canyon was an underrated gem of the last decade, but it was 2010's The Kids Are All Right that proved that Lisa Cholodenko was a writer/director to watch out for. Olive Kitteridge is proof that my prediction was right. The Kids Are All Right was a unequivocal success. It was made for $3.5 Million and made over $34 million dollars worldwide at the specialty box office. It also went on became a Golden Globe winning film that earned four Oscar nominations including Best Picture. It was one of the first films featuring a lesbian couple
to achieve such success, making it a groundbreaking film in that sense. But this film's goal was not to make a bunch of money, or win a bunch of awards, although I'm sure its cast and crew appreciated the outpouring from critics, the industry, and moviegoers. Cholodenko, her co-writer Stuart Blumberg, and their stunning cast just wanted to show the world the normalcy, the humor, the drama, and the humanity (the good parts and the bad parts) of a marriage and of a family. It is a film that shows us that gay couples are just like straight couples with their marital problems, their family struggles, and their ultimate commitment to each other and to their families. It is a pertinent film with an important message for the times we live in, especially as the issue of gay marriage continues to capture the zeitgeist in American culture. The Kids Are All Right though is never preachy and it is chocked full of top-notch performances from the likes of Annette Bening, Julianne Moore, and Mark Ruffalo. It is a wonderfully funny and emotional tale of real humans and real problems. It is touching, entertaining, and quietly makes its message clear. A wonderful treat, and an outstanding film.

13. Django Unchained (2012) - Between 1994 and 2009, Quentin Tarantino was mostly off of the Oscar circuit. Jackie Brown got a nod for Robert Forster, and the awesome and completely overlooked Kill Bill series was ignored (seriously Academy, both films were better than most of the choices in both those respective years). Now, all of the sudden with Inglourious Basterds in 2009, and then Django Unchained in 2012, neither of which were Academy-esque films,  suddenly received new found love from the Academy, and I honestly could not be happier. Somehow Tarantino has managed to turn ultra-violent, revisionist history films with tons of crude humor into Academy Awards favorites. I think that it is quite possible that Tarantino
is the only director who can combine those two poles of cinema and make it work. It shows that he is one of the most talented directors and screenwriters working today. Now onto Django Unchained. First, Tarantino turned an overly long, over-the-top dark comedy revenge tale into one of the biggest and best films of 2012. He does this by doing something that he actually does a lot, although its not obvious. He actually made the story about love. This is about Jamie Foxx's character Django taking revenge on the slave owner who has his wife in custody. It is about freeing, restoring his family, and finally getting the love of his life back. Even with the gimmicky, sometimes ridiculous lines and acting, there is this underlying humanity to the story that keeps you intrigued, and let's face it no matter how ridiculous it gets, it is always entertaining as hell. Second, Tarantino assembled an incredible cast of actors including Jamie Foxx, Christoph Waltz, Kerry Washington, and the dynamic villainous duo of Samuel L. Jackson and Leonardo DiCaprio. It is a shame that Weinstein kind of fumbled the initial release because this would have made a great SAG Ensemble nomination. Finally, Tarantino recaptured his revisionist history flair (that he had developed with Inglourious Basterds, and looks like will continue with The Hateful Eight this year), and we finally get to see the bad guys get what they deserve. That is was is best about Tarantino's version of history. The bad guys get their butt whooped, and the audience cheers them along.

12. 12 Years a Slave (2013) - As most of you know, my favorite film of 2013 was easily Gravity. It was a brilliantly constructed film that pushed the technology of film forward. But when 12 Years a Slave was announced as the Best Picture winner, I was thrilled. It's the same way I felt when Birdman was announced even though Selma was my favorite film of 2014. Just because it wasn't my favorite, doesn't mean it was not a worthy winner, and 12 Years a Slave will go down as one of the best Best Picture winners of the last several decades. Spurred by invigorated direction from the brilliantly bold Steve McQueen, and an emotional and passionate script from Oscar-winning screenwriter John Ridley, 12 Years a Slave is a brilliant adaptation of Solomon Northup's remarkable narrative of capture and freedom. Chitwetel Ejiofor, despite not being a household name, commands the screen with his passion, his ferocity, and his remarkable talent. Oscar-winner Lupita Nyong'o, in her first screen role, knocks it out of the park, and hopefully her performance in this film has launched a new career for a fascinating young talent. Michael Fassbender, and the criminally
under-rewarded Sarah Paulson (seriously, if she can't win an Emmy this year playing both sides of conjoined twins, I don't know if she ever will), are vicious villains without ever having to be over-the-top. Throw in great work from the likes of Brad Pitt, Benedict Cumberbatch and Alfre Woodard, and not only is 12 Years a Slave one of the best films of the last twenty five years, but has one of the best casts. 12 Years a Slave was not just a well-acted, well-directed, and well-written film (with some impeccable craft work as well, especially the Oscar-snubbed cinematography work of Sean Bobbitt), but it is also a unique film in so many ways. First, and the most obvious, is that it is the first truly black film to win Best Picture. It has a black director, an African-American screenwriter, and features a predominantly black cast. It made important history when it was announced as Best Picture, and hopefully has blazed the trail for more well-made black-centric films to make an impact on the Academy, aka the industry. But Solomon's tale it was makes this the most unique. I read a lot of slave narratives in college, but none compared to the remarkable tale of Solomon Northup. His struggle, his fight to get back to his family and his freedom is so passionate, so heartbreaking, and yet ultimately so incredibly uplifting and inspiring. McQueen, Ridley, and this wonderful cast have honored Solomon Northup by creating a breathtaking film that is as passionate and brave as he was.

11. Nebraska (2013) - Alexander Payne delighted me, when he quickly followed up his smash The Descendants with Nebraska just two years later. He did the same thing with About Schmidt and Sideways, and then it took seven years for another film. In that sense, I hope history doesn't repeat itself, because I don't know if I can wait another seven years for another Payne dramedy masterpiece.That is because Nebraska, like all of his films before, was a brilliant mix of humor and sadness, is chocked full of wacky, quirky, and simultaneously lovable and unlovable characters, and despite having no special effects or loud noises, showcases the talent and skill of its director. It is the story of a delusional man who seeks to travel
across the American Midwest to claim a prize that almost everyone else recognizes is probably a scheme. He is joined by his son, and later his nagging wife along his journey, as we quickly learn that really it is not about a prize at all. Bruce Dern, the veteran character actor who usually plays the bad guy, was absolutely brilliant, and finally got the lead role he has been working decades for. He plays a grumpy and seemingly delusional man, who is also extremely proud, wants the best for himself and his family. His wise-cracking wife is played by the incredibly funny June Squibb, who provides most of comedic relief that balances out the films quirk and drama. She is sharp, and is yet another awesome veteran that found the role that finally gave her some overdue recognition. Will Forte, quiet and dramatically understated as their son finds enough humor, and enough emotion in his role, and is the ensemble's unsung hero. But it is Bob Nelson's script, and Payne's quiet direction that pull Nebraska together. Their emotional and humorous tale of adventure, father and son, Midwestern values, and family quietly and effectively became one of the biggest Oscar successes of 2013, and easily became one of the best films of last decade, heck of the last 25 years.

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

30. The Fighter (2010) - Since 2010, David O. Russell has received three Best Director nominations in what has become a sort of career renaissance. The first of this trio of great films was 2010's The Fighter. The Fighter, like all of the recent David O. Russell films, is a hot mess, but I really do mean that in a good way. It
is the story of Mickey Ward, and his screwed up family including his ambitious mother Alice (Melissa Leo), his druggy brother Dickey (Christian Bale), and his fiery love interest Charlene (Amy Adams). Mickey's life is messy, it is complicated, and for every fight in the ring, there are plenty of fights outside of it. So Russell's chaotic, loud, and messy approach to the film fits absolutely perfectly into the characters that he develops, and the story he is trying to tell, and when it all concludes you realized that it has been a hell of a ride. Russell's emergence has inspired a lot of hate among commentators, bloggers, and pundits, as his style is a bit unconventional. But with The Fighter and his later projects, Russell somehow makes it work. For all the chaos in his films, there is still a surprising control of the story, and an impeccable eye and use of craft. Russell doesn't get enough credit for the success of his films because he usually has such incredible casts that are packed with talent and star power, and The Fighter is no exception. Christian Bale earned his Oscar for this role as a drug-addict who is Mickey's confidant, mentor, and coach, when he is not busy being self destructive. Bale lost weight for the role, did his research, and created an incredible character that shows his craft as an actor. Melissa Leo's Alice is a manipulative, self-interested monster that you still kind of like because for all of her evil she cares about her family and wants them to succeed. It is a layered character that earned Leo a well-deserved Oscar as well. Amy Adams was once again the bridesmaid, watching her co-star win award after awards, but she held her own against such big personalities, and proved her ability to stretch herself as an actor. Last, but certainly not least was Mark Wahlberg. Mark Wahlberg's only Oscar nomination came for his over-the-top role in The Departed, but his best work came here in The Fighter. He may not have been as loud and brash as his co-stars, but he was the heart and soul of the film, proved that he really is a talented actor that doesn't get the recognition he deserves.

29. Argo (2012) - Argo got a lot of flack in that 2012 Oscar season, including from this blogger. My favorite film of the year was Lincoln, and I just couldn't understand why it wasn't winning Best Picture. Yes, I look back and realize that I was being irrational and petty, but when your in the heat of the moment of Oscar season, and you love a film, you can't help but be a bit ridiculous. If I wasn't passionate about what I was doing, I would have given up the game years ago. I recently re-watched Argo, and while I still think it is a pale comparison to Lincoln, I truly began to understand why it was so well-liked by critics, moviegoers, and the industry. Argo is a great film. It is a fun, thrilling film that shows us a slice of history previously unknown, and shows us the talents of a film maker that has finally hit his stride. Ben Affleck was one of my least
favorite actors, and honestly he was not a good actor, until he got himself behind the camera. I think as soon as he got a different perspective, he became a better actor in the process. And Gone Baby Gone, The Town, and Argo proved that Affleck has a real eye behind the camera. He impeccably crafts this story and gives it its energy. And I hate that we have to wait till 2016 to see his next directorial achievement Live By Night, which looks to be another historical film, this time set in Prohibition. The one award I was particularly mad it won was the SAG Ensemble award. Once again, I was being stupid, and petty, because when I re-watched, I realized how great of an ensemble piece it was. You had the biggies like Affleck, Arkin, Cranston, and Goodman. But you had plenty of great performances from character and television actors including Victor Garber, Tate Donovan, Kyle Chandler, Chris Messina, Zeljko Ivanek, and Clea DuVall. They crackled with the script, added much needed comedic relief, and yes, earned that ensemble win. Argo is one of those films that will continue to inspire hate from so many. When a film is successful, it always inspires backlash. But from now on, I am going to keep my mouth shut about it, because hindsight is always 20/20. Argo won Best Picture because it was a well-made, well-acted, entertaining historical thriller that is worth a second view.

28. The Descendants (2011) - I loved Kaui Hart Hemming's novel about a struggling family in Hawaii after their mother/wife falls into a coma after a boating accident with the man she was having an affair with. It was warm and funny, but also deeply complicated and emotional. These two poles blended seamlessly together into an inspiring work. I was so happy to see that Alexander Payne, of the best American directors working today, and his team of talented screenwriters were able to perfectly capture and translate Hemming's work to the screen. Did I mention that Payne is one of the best directors working today? Luckily the Directors Branch of the Academy has recognized his work, because there are still plenty out there that do not rank him
high enough. His films may not be flashy or considered incredible directorial achievements, but in their own way they are great achievements because he has created a class of films that explore the American people in life, death, and always adding rich and dark comedy, as life always seems to do. The Descendants is yet another notch in Payne's belt, and yet another great portrait of real people in real situations. Payne also brought out the best in George Clooney an actor I respect, but I also feel relies on his charm to overcome a lot on screen. There is a certain amount of that in The Descendants, as always, but Clooney, who has always done well at comedy, also hits his dramatic and emotional notes with ease. He is the heart and soul of The Descendants, and he does probably his best acting work to date by embracing his role. Another standout among the cast was Shailene Woodley, who narrowly missed out on an Oscar nomination for the role. Up until this role she was best known for her work on the TV show The Secret Life of the American Teenager, which is not something to necessarily to be proud of. But her fiery and complicated part in this film showed the world her incredible talents and since then has continued to shine in films such as The Spectacular Now and The Fault in Our Stars, and is now a huge box office star thanks to Divergent. The cast was great, but in the end the credit and the success goes full circle back to Payne. He doesn't make too many films, in the last decade, only three. But when he does, he knocks it out the park.

27. Beasts of the Southern Wild (2012) - Beasts of the Southern Wild was the little indie that could. It was made on a practically nonexistent budget by a young filmmaker with completely unknown actors. The fact that this film went on to earn four Oscar nominations including Best Picture, Best Director, and Best Actress is a true testament to the power and the vision behind this piece. When Benh Zeitlin got the last slot for Best Director in early 2013, there was an audible gasp in the crowd, and I'm sure there were plenty more around the world. But if you go back and watch Beasts of the Southern Wild, it is not hard to see why the Directors Branch found love for the film. It is gritty, most likely due to the low budget, but there are some incredible shots, the vision is bold and inventive, and honestly, it is hard to tell that this is his first full-length
film. Little Quvenzhane Wallis has become a movie star thanks to her role here, and Dwight Henry got a lot of positive buzz off of his role. Both were completely unknown actors that brought an authenticity to the screen, but you never once doubted their skill and talent. Both are clearly talented actors, and with Benh Zeitlin's skill they were able to give powerful and magnetic performances, even though it was their first time at bat. But Zeitlin, and his co-screenwriter Lucy Alibar, deserve most of the credit for Beasts of the Southern Wild's success. They beautifully constructed a not-so-distant future that speaks to a number of issues including poverty, climate change, and growing-up. They also shrouded their story in darkness so that hope and courage, in the form of Hushpuppy, could find the light. It was an exuberant film experience, a pitch-perfect Southern noir that came from nothing, and became a profound hit, and one of the best films of the decade.

26. Moonrise Kingdom (2012) - This year, Wes Anderson finally earned his first Academy Award nomination for directing, and The Grand Budapest Hotel became the first film of his to earn a Best Picture nomination. For those of us who have been following Anderson's films and his career, these honors are a long time coming. Many of us also thought he might finally cross that threshold in 2012 with Moonrise Kingdom. Alas he did not, but he did earn another screenplay nomination, oh and he created one of his finest films to date. The biggest complaint that most people have about Wes Anderson films is that for all of their quirk, they seem to be lacking heart. Moonrise Kingdom, a sweet tale of young love and rebellion, was the
first film that finally silenced his critics. Don't get me wrong, like all of his films, Moonrise Kingdom was wacky, clever, and quirky comedy that was a nice combination of funny and odd. Like all of his films, the cast was large and quite impressive. Edward Norton, Tilda Swinton, Bill Murray, Jason Schwartzman, Bruce Willis, Frances McDormand, and Bob Balaban make up the incredible adult cast, all of whom are on their A-Game. And new additions Jared Gilman and Kara Hayward play the young couple at the center of the film, and both clearly have a grasp of the Wes Anderson quirk. And of course, the cinematography, production design, setting, score, and costumes provide plenty of charming backgrounds that capture the unique aesthetic of its director's vision. But what sets Moonrise Kingdom apart, is its heart. It is not some cheesy or weepy heart-string tugger. But it has a layer of sweetness to it that adds just the right amount of depth to make Moonrise Kingdom Wes Anderson's most accessible, and probably best film to date (a close race with The Grand Budapest Hotel). It would have been nice to see him take home an Oscar, but one day he will, and when he does it will be a win that will surely resonate with film lovers around the world.

25. The Help (2011) - Before you begin to criticize this pick, just stop while you are ahead. Yes, The Help, both its source material, and the film itself, are a bit pat. Yes, they gloss over too much of the true violence and hatred of the South during the Civil Rights Movement, and yes, its balancing humor really does evolve around someone eating a shit pie. But first, if you didn't pump your fists and laugh out loud when Hilly ate that pie, then you have no heart, because it was funny as hell, and she got exactly what she deserved. But I digress. The Help is still one of my favorite films of this decade despite its obvious flaws, and the reason should be crystal clear. I love movies where actors get to just go free and tear up the screen, and The Help has one of the best casts in recent memory. It was a huge hit led by a cast of women, proving Cate Blanchett's point that the world is really round. Viola Davis was robbed of an Oscar for her hauntingly
beautiful and devastating performance. That last scene was so emotional, yet so controlled, showing the skill of one of our finest actors working today. Octavia Spencer did win that Oscar (Thank God at least one of them did), for showing us Minnie's strength, her sass, and her vulnerabilities. Emma Stone gets some great screen time as our lead, and her journey to expose a world not seen by many was noble. Jessica Chastain played Spencer's dynamic duo of a lost and weak young wife who found strength in herself, and her friend. Of course every film has a villain, but Bryce Dallas Howard managed to find some depth to her hatred, and gave us someone worthy to root against. Allison Janney was a scene-stealer, as always, and between her performance and Sissy Spacek there was plenty of comic relief. Throw in a dose of the great Cicely Tyson, and as I said, you quite simply have one of the best ensemble casts in recent memory. These women lit up the screen, showed strength and courage, as well as incredible acting ability, and took what would have been a mediocre project and turned it into something wonderful.

24. The Perks of Being a Wallflower (2012) - The YA genre of books has exploded over the last several years, and take it from this librarian, it has expanded well beyond its age group. Within this expansions there have been two distinctly different tracks. You either have the dystopia, futuristic action flicks, or the heartfelt and honest looks at real life. Both have their merits, and both have been wildly succesful in their translations to the big screen. But I have profoundly preferred the real stories, with films like The Fault in Our Stars (not eligible for this list) and The Spectacular Now (already on this list), and the same writing duo of those two films is tackling John Green's Paper Towns, and I'm sure the results will be splendid. But before all of those films was Stephen Chbosky's own adaptation of his hit novel The Perks of Being a Wallflower. While the film is marketed for a younger audience it has universal appeal, and while it was not quite the hit that things like The Hunger Games and Divergent were, it was a worthy entry into a stuffed canon of films that not only
stood out, but was successful in its own right. The script beautifully captured the heart and pain of the novel, and Chbosky, despite not being separated from the original work, was able to know when to leave things out, and when to move things when necessary to make the film experience a reflection of the work, while its own entity (something I honestly think was the main problem with Gone Girl and Gillian Flynn, even though I liked the film). But it is our trio of leading actors here that steal the screen, and it is probably this work, among other quality entries that has launched a new generation of talented actors. Emma Watson proved that she was not a one tricky Harry Potter pony with a well-thought and beautifully constructed character. Logan Lerman had a quiet charm that at just the right moments had the ability to knock you over. But it was Ezra Miller, already a standout from his work in City Island and We Need to Talk About Kevin that proved that he is a magnetic screen presence with an electricty that is infectious and lights up the entire ensemble around him. These three create an unforgettable team, and combined with a refreshingly real and honest look at real life at that age, The Perks of Being a Wallflower was easily the best coming of age film of the decade so far.

23. Please Give (2010) - Nicole Holofcener has a track record of  great ensembles going into the depths of dark comedy that are both difficult to watch and also incredibly entertaining and funny, a hard combination to pull off. Enough Said, Friends With Money, and Lovely & Amazing are all excellent pieces that show off her skill, and her ability to assemble a great combination of actors. Her 2010 work Please Give is my second favorite piece of hers (as you will see!), and it is easily one of her best films to date. It is the story of an incredibly selfish and yet outwardly unselfish and guilty couple who are waiting on their elderly neighbor to die, so that they can buy her apartment and combine the two. Yes, it is an incredibly cynical. But Holofcener's script adds just enough bite, and just a dash of the right amount of humor to pull you along despite wanting to literally hit some of these characters over the head with something large. Plus the characters that she creates are mind-boggling complex. They are incredibly screwed up, flawed, and yet you understand why they are the way they are. You want to see how their journey ends, you want to see if they are capable of what you think they are. It is tragedy and comedy blended together in a way that keeps you engrossed. Of course none of this would be possible without a knock-em dead cast. Veteran Ann Morgan Guilbert, yes Yetta from The Nanny, proves her comedic chops here, and takes what could be one of those thankless "grandma roles" and makes it worth watching. Rebecca Hall and Amanda Peet, two incredibly under-rewarded actors, playing polar opposite sisters work well against each other. But it is the family in the center of the drama, played by Oliver Platt, Sarah Steele, and particularly the incredibly talented Catherine Keener that anchor the ensemble with their witty, and psychologically fascinating family dynamic. Please Give is not a film for everyone, and it certainly has its detractors, but it is a fascinating tragic comedy that is worth a second look.

22. 50/50 (2011) - Pairing cancer diagnosis and treatment with a Seth Rogen, pot-head style comedy is a huge risk to take. You either end up killing all of the humor out of the film, or you end up taking too lightly such a serious subject. It is a fine line, and it takes skillful writers, directors, and actors to balance out both sides in a way that really works. Luckily for us, 2011's 50/50 had all three. First and foremost is the work of writer Will Reiser and director Jonathan Levine, but particularly Reiser's script. I don't honestly know how he managed to pull it off, but this is film where one minute you are literally laughing your ass off, and the next minute you feel the tears welling up in your eyes because their is a touch of truly effective emotion. Like I said, it is a tough balance, but Reiser easily pulls it off, and when I look back at snubs for screenplays, this
one is high on the list. Luckily, while the Academy ignored it the Writers Guild of America did give it a well-deserved nomination. It was nice to see that writers recognized the skill, care, and impeccable talent it took to pull it off. The acting is as good as the script, particularly its two leads Joseph Gordon-Levitt and Seth Rogen. Gordon-Levitt has made his mark several times, and it was not a shock to me that he was able to pull off the role with ease. But it was Seth Rogen that surprised me. He did a lot of his funny Seth Rogen stuff, which always works, but it is not a surprise anymore. But he also really dug deep, and took the buddy comedy approach to the film to new depths. The success of the film depended on him stretching himself as an actor, and he pulled it off. The supporting cast pulled its own weight as well. Bryce Dallas Howard plays a good bitch in many roles (from what I have seen from her interviews, she herself is not one at all, but damn she nails it in several different films), and Anna Kendrick, despite not having as much to do as I would have hoped, still makes her mark. The real star though among these talented women is the fantastic Angelica Huston. As the mother trying to make sense of her son's disease, her performance is the one among the bunch that had the most effect on me, and seriously broke my heart. 50/50 remains a beacon for film comedies that want to be smart, have a lot of heart, and still make you laugh till you cry. It is a rare but incredibly delicious treat when you get all three.

21. Mud (2012) - Mud is one of those films that did not make much of a dent on the overstuffed 2012 Oscar circuit. A few critics nods, the Robert Altman Award at the Indie Spirits, and some film festival notices were about it for the film. I get it. 2012 was a great year for awards-friendly films, and it simply, not for lack of quality, just got lost in the shuffle. Well I hope that maybe these few sentences from this paragraph will make you dust it out of the pile, and rediscover what is truly a gem of a film. Led my Matthew McConaughey, the mysterious drifter with a haunted past, Mud is chocked full of talented veterans, bright newcomers, and combined it is one of the best ensembles in recent memory. McConaughey, who was in the middle of his career rejuvenation was fantastic. Reese Witherspoon in a limited role as the abused girl who Mud longs for once again, gives us a incredibly effective look at long-lost love and the horrifying results of
domestic abuse. It might have been a small role, but that character, and the pain that she suffered, may have helped her find her grit and her pain in Wild, which earned her a second Oscar nomination. The two kids in the film, Jacob Lofland, but particularly the fantastic Tye Sheridan act way beyond the abilities of many older actors working today. Sheridan, of course, is the lead, and since Mud he has done some more incredible work, and it looks like he has some incredibly baity projects on the horizon. He is one to watch for in the not so distant future. Sam Shepard, Michael Shannon, Ray McKinnon, and the always incredible Sarah Paulson round out a great ensemble piece. But at its heart and center is the work of its writer/director Jeff Nichols. It is hard to believe that Mud is only Nichols' third film. His first Shotgun Stories has some issues, but Take Shelter was a jaw-dropping masterpiece (as you shall see). Mud continues his streak, and sets him up as one of the most unique and daring young filmmakers working today. He has captured the art of telling brilliant Southern gothic tales that are an unusual, but incredibly well blended mix of horror, action, thriller, romance, and rural attitude. Mud is a handsome mix of all these elements, and while it could have been an awkward piece with random tonal shifts, Nichols steady hand and brilliant script hold it together marvelously.

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

40. Wreck-It Ralph (2012) - Disney finally won its Oscar for Best Animated Feature in 2013 with the hit Frozen, which continues to be a pop-culture phenomenon. But most people (including me) felt like Frozen should have actually  been its second win the category, the first being for 2012's Wreck-It Ralph. Wreck-It Ralph was one of the most intriguing, and stealth Disney animated films to come along in a long time. It disguised itself as a film for the guys. The story of a video game bad guy who is tired of being the bad guy, who does the unthinkable when he jumps games, and lands in a sugary-coated game that is not as rosy as it appears. There Ralph meets one of the newest Disney princesses to emerge. Yes, Disney managed to slip in a Disney princess into a movie about video games. Princess Vanellope is a plucky racer who dares to defy a vicious virus who attempts to take over the whole arcade. Voiced by none other than Sarah Silverman, she
is the most surprising, least expected, and most welcomed Disney princess to appear in the last thirty years. And kudos to the the team behind Wreck-It Ralph, led by writer/director Rich Moore, and the great team of writers for taking a classic Disney princess story and turn it into something new and exciting, unlike anything they have done before. By combining the princess story, with the lovable, unlikable hero story, Disney bridged the gap and created a film that would literally entice kids of all ages, boys and girls to its offerings. But Wreck-It Ralph doesn't succeed because of its clever trick, or its appeal to all. Wreck-It Ralph succeeds because it refuses to be labeled as simply "kid stuff". It is a smart, fun, at times sad, and always emotionally compelling film that represents the best of the genre, and has the know-how to appeal to kids of all ages, 1 to 92. It is beautifully animated, and thanks to the work of John C. Reilly, Sarah Silverman, Jane Lynch, Mindy Kaling, Ed O'Neill, and Alan Tudyk, it is a beautifully conveyed story through great voice performances. Wreck-It Ralph is the whole package, and one of the best animated films of this decade...so far.

39. Life of Pi (2012) - Life of Pi was one of those movies that I kind of ignored in that jam-packed 2012 Oscar season. It was in my Top 20 films of the year, and won some of my technical awards, so it wasn't like it didn't respect it. But I didn't quite fully grasp its brilliance until a second viewing, and two years out, I am still a bit disappointed that I kind of missed the mark. Life of Pi was a brave book to tackle. It was basically waiting on the technology to catch up with it, and waiting for a director bold enough to tackle was seemed like the impossible. We should have known that that director would be the great Ang Lee. There is literally
no genre he has not tackled at some point in his career. His filmography ranges from Crouching Tiger, Hidden Dragon, to Brokeback Mountain, to The Ice Storm, to even something like Sense and Sensibility. But Lee took on his greatest challenge with Life of Pi, took home an Oscar for Best Director, and may have created what will become his most endearing work. The story of a tiger and a young man stuck on a boat trying to survive, learning to trust one another as they face the elements, Life of Pi struck a deep emotional chord, despite what some critics say, and managed to do so with few well-known actors. At its center was newcomer Suraj Sharma, who, despite his age and inexperience, proved capable of leading such a bold and daring motion picture experience. But it is Lee that deserves the most credit. He makes sense out of a sometimes confusing, and always ethereal plot and message, utilized technology to create a visually stunning film, while never forgetting to capture the heart and the human element, and made a film that was both beloved by critics, as well as accessible to larger audiences as the film grossed over $124 million dollars domestically, easily making it a genuine blockbuster. Life of Pi won four Oscars, including one for Lee, and while it lost the top prize to the crowd pleaser Argo, I think that, of the two, Life of Pi will be remembered far longer than its competition as a truly groundbreaking, and utterly absorbing film that will stand the test of time as one of this decade's best.

38. Stories We Tell (2012) - I watch a lot of documentaries every year, and while most of them are engaging and informative, there are a few that truly stay with you, and create an emotional impact that is usually only done so in works of fiction. Sarah Polley's Oscar-snubbed Stories We Tell is one of those remarkable exceptions. Stories We Tell is an intricate weaving of stories about one particular family as they reminisce about their lives, and their family history in the aftermath of a death central to the family's tale. The stories are all personal, they are all slightly different, and they are representative of the truth of human storytelling, that there is no one truth. Stories We Tell is one of those films that is hard to describe, and there
is honestly nothing else out there to really compare it to. It is one of those films that only makes sense once you have actually taken the time to watch it. So do yourself a favor. Take the time to watch it. Polley's two previous works, Away From Her and Take This Waltz are beautiful constructions of human relationships, but Stories We Tell is her finest work yet, because it is her most raw, most honest, and most emotionally compelling work of the bunch. It can at times be funny, always engaging, at times incredibly sad, and sometimes shocking. But most importantly, it is always true. Its authenticity is based on the fact that Polley never had to force anything, she never had to work in moments of truth. All she had to do was point the camera and let it flow, and that is probably what sets it apart from most of its contemporaries. It never has to fight for a moment, it never has to powerfully argue its side, all it does it let real people discuss real issues, and in the end, what we have is one of the most honest films of this decade so far, a true tale of the messy, emotional, sometimes funny, and always intriguing lives of American families. Sarah Polley has yet to release anything else since 2012, although I'm sure she is hard at work on her next project. It will be hard to top her last one.

37. Shame (2011) - Over the years, different films have tackled a variety of addictions from alcoholism to drug abuse. But never has sex addiction been dealt with before, at least not in quite the manner that Oscar-winning producer and Oscar-nominated director Steve McQueen did in 2011's haunting Shame. Shame is the story of a sex addict who has carefully constructed a world that allows him to satisfy his desires while also continuing to seemingly function in the real world. Of course when a family member shows up to stay for a while, it throws his perfectly balanced world into chaos, and forces him to finally look at this life, his
addiction, and his true emotions. Shame was rated NC-17, so unfortunately a lot of people missed out on it. Yes, it probably deserved that rating due to the large amount of sex in the film, but this film isn't about sex. It isn't a bit sexy, and it is not a bit fascinated with the act itself. Steve McQueen, and his co-writer Abi Morgan have beautifully constructed a character study, in which sex happens to play an important part. But the title of the film is Shame, as Brandon comes to the realization that his life and his addiction are not just shameful, but are ruining his chances at real love, real relationships, and real human interaction. Backed by McQueen's stunning and taut direction (which would truly come to fruition in last year's Best Picture winner 12 Years a Slave), and brilliantly shot dark hues of color (thanks to the talents of the DP Sean Bobbitt, a truly talented cinematographer, who has shamefully yet to earn an Oscar nomination for his work), Shame is a fantastic mood piece, and a perfect landscape for its actors to shine. And shine did they. Carey Mulligan, as the sister who interrupts, once again proves why she is one of the best young talents working today. But it is Michael Fassbender, who many thought was criminally snubbed a nod here (I just knew the Oscar voters would not go for the film, despite his brilliance) that is the star of the show, and proves that he is a magnetic, and versatile actor, one of the best working today.

36. Blue Valentine (2010) - Blue Valentine was an audacious film. I know that that sounds like the wrong adjective, but I personally think it fits. It is incredibly rare for a film to take on not the fun part of a relationship but the hard part. To make it engaging, despite its depressing premise, is a truly incredible feat. Blue Valentine had the audacity to tackle a subject most films shy away from. It wasn't aiming at money (like most relationship movies), or at sentimental sap. Blue Valentine was a movie about romance that was striving for something far greater: the truth. In a world where films are hard to get made, where studios shy away from depressing and complicated films, it is audacious that Derek Cianfrance and his team of talented actors chose to go for it anyway. Then they throw in a twisting plot line that jumps back and forth between the beginning of the relationship, and the end, slowly working its way to reveal all the details before an explosive
finale that (literally) ends with fireworks. It is a brilliant strategy that can either seem like a cheap trick, or pay huge dividends in masterful storytelling. Luckily for us, Blue Valentines turns into the latter. Captured by a beautifully blue and dark palate from DP Andrji Parekh, Blue Valentine not only weaves a well-told story, but also casts itself as a brilliantly constructed film. But none of this would have been possible without talented actors capable of fully fleshing out these dark and complicated characters. Ryan Gosling and Michelle Williams are two of the best working actors today and look no further than the likes of Drive, Half Nelson, Brokeback Mountain and My Week With Marilyn if you need proof to that claim. Separately, both give layered and triumphant performances that capture both the light and the dark of this star-crossed relationship. But together they create fireworks on screen, much more interesting than the real fireworks in the background (I know I have used that twice, but it proves to be an excellent metaphor to end the film on). They fight, they love, they cry, and together they create an incredibly honest, always engaging, and fully developed look at love in the real world with real people. It is a magnificent sight to see.

35. Tinker Tailor Soldier Spy (2011) - When I say that it took me about five times seeing this film to actually start to comprehend all of its nuances, it is not an exaggeration. Based on the best-selling novel by John Le Carre, many of the film's critics have said that it was too complicated, too confusing, making it seem like because they could understand it fully, it meant that it was not a good film. Each person deserves their own opinion, but when I read reviews like that the words "stupid" and "lazy" come to mind. Yes, Tinker Tailor Solider Spy is a confusing film, but it is one that begs to be re-watched. And if you keep re-watching it, just a few more times, you begin to understand, not only more of the plot itself, but the care and consideration that went into each detail of the film. Screenwriters Bridget O'Connor and Peter Straughan earned a well-deserved Oscar nomination for their work, and I am glad that the writers recognized the craft

that went into crafting a story that was shrouded in mystery, and that fleshes itself out the more that you watch it. It is hard to find stories with those kinds of layers, making this winning duo somewhat of an anomaly in the business. Unfortunately Tomas Alfredson, the film's director, did not get the same amount of recognition, (although a BAFTA nomination for Best Director isn't too shabby) but he should of. It takes a lot of skill to make all of the subtlety, and the twists and turns, and its large cast balance out perfectly, and Alfredson did so in style. The players on the screen were pretty great too. In supporting roles, the likes of Colin Firth, Tom Hardy, Toby Jones, Ciaran Hinds, Kathy Burke, John Hurt, Mark Strong, and the new it-guy Benedict Cumberbatch create a wonderful tapestry of characters, each with their own motives and secrets. But they were all there simply to help along our hero/anti-hero George Smiley. One of my favorite Oscar nominations in the last decade was the one for Gary Oldman for Best Actor. It was not predicted by a lot of people, but he made the cut, and it not only served as a nod for the work in the film, but also for a lifetime of wonderful performances that had been continually ignored. Oldman was never better than he was in Tinker Tailor Soldier Spy, and even if you don't always understand what's going on in the plot, you always are engaged with Smiley, thanks in large part to Oldman's indelible talents.

34. True Grit (2010) - I love the Coen Brothers, but even I was weary of them tackling one of the greatest Westerns of all time, adapted from one of the greatest western novels of all time, and featuring the performance that won one of the greatest actors of all time, John Wayne, his Oscar. But I guess if anyone could do it, and make it work it would be Joel and Ethan Coen, and they did just that. The film grossed over $170 million dollars, was nominated for ten Oscars, and many purists say that it was actually closer to Charles Portis' novel than the original 1969 version. Most importantly, people recognized that this version, while impossible not to compare to the first, managed to also stand on its own as a great film. I'd say that despite the odds against them, the Coens managed to make this film into yet another success for the

talented duo. I was also impressed on just how straightforward this film was, and I really don't mean that in a bad way. Yes, I love films that are deep and complicated, but I also love films that simply tell a good story. I think the Coens found more depths than the western genre usually does. But it also captured what has made the genre such an integral part of American culture. It created unique characters, a beautiful landscape, and a tantalizing story of wild west riots, family, and revenge. Jeff Bridges makes Rooster his own, while paying tribute to Wayne's work before him, Matt Damon, smart-mouthed Hailee Steinfeld, and Josh Brolin are an excellent supporting cast, and its technical elements were simply top-notch. But none of that matters. People go into westerns for a little drama, a little humor, and a lot of good old-fashioned action, with exciting stories about the way things used to be. True Grit managed to be one of the best films of this decade so far because it never tried to be anything more than it should have been, and while Westerns may still feel like a thing of the past, it is nice to know there are filmmakers out there that appreciate the art form, and are willing to bring it back to life.

33. Silver Linings Playbook (2012) - The worst thing that ever happened to Silver Linings Playbook was the 2012 Oscar race. When Harvey went full on, well Harvey, pushed the whole mental illness connection with David O. Russell's family, shoved it down people's throats, and made people hate it because they felt like it was going to beat out more substantial work, it kind of lessened the films impact. Don't get me wrong, there were moments where I felt like the film's haters. I respect the hell out of Harvey Weinstein, but his tactics can sometimes be off-putting. But I re-watched Silver Linings Playbook recently, and I realized that if you take away all of the campaigning, it is actually an excellent film, and was one of the best of 2012, and

this decade. Silver Linings is a rough movie, its camerawork feels like a gritty independent film, and its script is a bit messy. And while it does change a lot of things about Matthew Quick's ingenuous book, was it doesn't change is its mood and feel. Silver Linings Playbook is a messy movie, and that is exactly why it was so damn good. The two main characters, played with zest and heart by Bradley Cooper and in the performance that won her an Oscar, Jennifer Lawrence, are incredibly screwed up people. Of course when your spouse either dies or cheats on you, you are allowed to be a bit nutty. Throw in some interesting family members (especially Cooper's mom and dad played by Jackie Weaver and Robert DeNiro), and Silver Linings Playbook feels just about right. It is genuinely heartbreaking, at times incredibly hilarious (Chris Tucker is a wonderful comic relief, it is nice to see him doing good work), and always engaging look at a real American family. David O. Russell has hit a stride lately of great films, and has finally earned some Oscar recognition after years of being ignored. And after years of rumors regarding his treatment of actors, he has quickly emerged as one of the best ensemble directors, a true Altman protege, who has earned his actors a total of eleven acting Oscar nominations in his last three films. And he has never been better than with Silver Linings Playbook. He lets his talented cast work the material to its fullest extent, allows his actors breathing room, and the results are fantastic. Forget all of the Oscar drama, and take a second look at Silver Linings Playbook. It is worth your time.

32. Captain Phillips (2013) - When Tom Hanks was snubbed for another Oscar nomination for Captain Phillips last year, I was so shocked. I know that the race was a tight one, with way too many contenders for five nominations. But Hanks is a legend, had gotten all the precursors he needed, and was simply fantastic in the film. But alas, he missed the cut, but that does not at all diminish his work in Captain Phillips, a well-executed, taut, and well-acted thriller based on a harrowing true story. Hanks was masterful in his role, beautifully melding together the strength of a captain, and the fear of the unknown. After almost a decade of unworthy roles for a talent of his magnitude, it was nice to see him get a worthy script and worthy character to show that he still has it. The cast as a whole, mostly unknowns, was fantastic, the standout of course being Barkhad Abdi, who was nominated for an Oscar, and won the BAFTA for his terrifying role. Abdi was a

cab driver looking for a big break. I'm sure he didn't realize that at his first time at bat, he would earn an Oscar nomination. It would have been easy to play Muse completely as the bad guy who does bad things. But Adbi found layers of depth in his character, and showed the desperation and the hunger that drove him to commit acts of terrorism and to hijack the ship. But Abdi is not the only one to thank for this depth of character. Paul Greengrass, a masterful director at the top of his game, and his screenwriter Billy Ray, who earned a well-deserved WGA Award for this work, could have easily made this a straight-forward thriller, and even then it probably would have risen above the fray. But both of them tried to focus on not just the how, but the why, showing us that hunger, poverty, third-world living, and class warfare can drive even the most humble to take extraordinary measures, good or bad. They made a connection between hostage and hijacker, which carried an emotional weight to add to the thrilling and pulse-pounding action. Framed by excellent work from Barry Ackroyd, and masterfully cut by editor Christopher Rouse (I loved Gravity, but this was one category where I felt that they should have shook things up and thrown Rouse a bone), Captain Phillips is a gritty, well-made action flick with excellent technical elements that lent the film its authenticity. Of course even if those things had not been as top-notch, its script, and its mesmerizing performances were authentic enough.

31. Fruitvale Station (2013) - I am not going to go into a long litany about Ferguson or Eric Gardner other than to say this: before either of them there was Oscar Grant. And while I hate to use the word zeitgeist (overused in my opinion), the recent events in this country make Fruitvale Station suddenly an essential part of the dialogue. Of course before these events, it was still essential, and worth a view, as it is a powerful film that doesn't need the current headlines to stand out as a remarkable piece of independent cinema. Oscar Grant was a flawed young man, who had gotten himself into a lot of trouble. But those who knew him knew that he was also a wonderfully funny and loving man who was genuinely trying to turn his life around to make a better world for his family, particularly his mother and his daughter. He recognized his past mistakes, he recognized that he was a human, and humans are flawed. But Oscar Grant could not escape his past, he

could not catch a break, and on a late night at Fruitvale Station, his life was tragically ended short at the hands of the police. Those who were there that night say that the killing was uncalled for, and the overreaction of a white cop to a young black man (and even here I am still not going to enter into current events). Played by the magnificent Michael B. Jordan, who had already done great work in the found-footage sci-fi film Chronicle, Oscar Grant's sad story, his ambitions, and his tragic death are brought to the screen with compassion and honesty. First time director Ryan Coogler, is currently working on his second feature film Creed, reuniting with Michael B. Jordan, and teaming up with Sylvester Stallone. Even if it is half the movie Fruitvale Station is, it will still be worth a view. You would have never known that Fruitvale Station was his first film based on its quality. He had an assured hand, a daring vision, and an open heart that combined for a well-made, and emotionally wrought film. I have already praised Jordan, but there is one other cast member that deserves recognition. Grieving mothers are an intricate part of so many films that at times they have become almost a stock character. But when done right, then can be the most emotionally effective characters of the film. Octavia Spencer proved her Oscar win was no fluke, and did it more than right, she was astonishing, and her pain was the pain that stung the most at film's end, and simply the look on her grieving face was enough to make audiences understand the injustice that was done.

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

50. Harry Potter and the Deathly Hallows Part I (2010) - Harry Potter was split into two films in order to preserve the integrity of J.K. Rowling's sprawling finale. Unfortunately, since then, every major book to film series has done the same thing, in an attempt to cash in more money at the box

office. Of the bunch (The Hobbit, Twilight, and we'll see about The Hunger Games), Harry Potter is the only franchise which as justified the split. Part I of Deathly Hallows could have been a clunky and boring film that simply sets up the finale, and while it does pale in comparison to part II, I was so thrilled to see that it held up as an excellent film that happens to stand on its own merits. To be honest, yes most of this film is exposition, but writer Steve Kloves, and director David Yates never let the plot lag one bit. They keep things moving, throw in enough action to satisfy the fan boys, and bring A-Game technical elements that were some of the best in the field. What Harry Potter and the Deathly Hallows truly achieved though, was emotional depth, depth that would play out beautifully in the series' final chapter. It developed its characters, and prepared them for their ultimate fates. It did justice to Rowling's work, and yet managed to make it its own. And in the films final scenes, we see the stakes that lie ahead for our characters, as a beloved one is killed, one of many that would perish in the final battle between good and evil. It is hard to be the redheaded step-child of a film series (actually that description probably belongs to The Order of the Phoenix), whose only purpose is to serve its final act. But Harry Potter and the Deathly Hallows Part I managed to rise above its meager expectations, and prove to be a unique and necessary entry into one of the best, and most popular film series of all time.

49. Looper (2012) - When I heard that Rian Johnson was directing two of the new Star Wars films, I knew that I had reason to be excited. He has lent his directorial efforts to Breaking Bad, so we know he can master tension and mood and 2005's Brick was a solid thriller. But the real reason to get excited about Rian Johnson is that he has already had an awesome entry into the sci-fi film canon with 2012's Looper. Looper has a pretty dense science fiction base. When the mob, way into the future, wants to kill some one, they send the victim into the past, where someone immediately kills

them. Joe, played by both Bruce Willis and Joseph Gordon-Levitt is one of those killers, who soon realizes that his past and future self will meet in order to eliminate him. Looper has one of those plots that could bog down the film with simply too much science fiction for its own good. But in the hands of Rian Johnson, Looper avoids all of those potential pitfalls, and quickly emerged as one of the best science fiction films to hit theaters in the last decade. Two engaging leads, whose chemistry was enigmatic, were able to pull off playing the same role with ease. A solid supporting cast including Piper Perabo, Paul Dano, Jeff Daniels, and particularly the always underestimated Emily Blunt (who also proved to be well suited to her role in this year's Edge of Tomorrow, maybe she has a career in science fiction), round out the cast well.  But it is Rian Johnson and his technical team that deserve the most credit for Looper's success. It has top notch technical elements that keep the visuals and sounds sharp, and mesmerizing to the eyes and ears. And most importantly, it takes the classic science fiction concept of time travel in the future, and manages to give it a breath of fresh air, a refreshing twist on an old theme. The dialogue is sharp, the action perfectly timed, with plenty of room in between to develop its story lines and its characters. Most science fiction, fantasy, or action blockbusters that come about nowadays focus on blowing up as much stuff as possible. They all should take a lesson from Looper, and find out how to exercise the audience's mind and heart, as well as blow a bunch of stuff up.

48. Short Term 12 (2013) - Dealing with at-risk youths is a job for angels, those who have the patience and the stomach to deal with issues that many of these kids face. Short Term 12 is about not only the struggles of many of today's youth, the struggles of poverty, violence, and lack of parental support, but also about those that take on the task of trying to rehabilitate these kids to attempt to give them a better future than their lot in life originally allotted them. A tremendous cast of talented young actors is led by the mesmerizing Brie Larson, in a role that earned her a butt load of recognition. She
plays Grace, a young counselor whose decisions and choices not only affect her personal relationships, but end up affecting her kids as well. Short Term 12 was made on a small budget, featured mostly unknown actors, and yet that might have been its strongest component. The result is a completely organic, and realistic look at the scars of life. Its authenticity is balanced with brimming humor, scarring darkness, and a rhythm that mirrors that ups and downs of life perfectly. The acting, particularly Larson's central performance, is top notch. The script from Destin Daniel Cretton is, as I have said before, completely organic, and perfectly balances emotion, humor, and pain. His direction is simplistic, letting the actors work out the material without too many flashes and bangs, and it is a strategy that pays off. What I love most about Short Term 12 is its enduring hope in humanity. No matter how bad things get, it shows us that there is always light buried in the darkness. It is by no means a gushy or corny film, in fact it can be harsh to watch the events as they unfold, but it holds its center that these people are trying to make the world a better place, one troubled teen at a time. It is a message that will stand the test of time, and I hope that years from now people are still watching Short Term 12, and taking away its teachable moments about life as we know it.

47. Young Adult (2011) - Jason Reitman has hit a bit of a speed bump lately with Labor Day pretty much bombing, and Men, Women & Children landing incredibly soft on the fall festival circuit. Many people would include 2011's Young Adult as part of that decline, simply because it didn't get the awards recognition that his previous efforts Juno and Up in the Air did. I however, think that Young Adult was another excellent effort for the director, and truly believe that the reason a lot of people couldn't get behind it was because it was unlikable. I have never understood that whole "likable" argument anyway. I guess that the theory goes that just because a film featured unlikable people, or in general had an unpleasant overtone, it automatically means it is un-watchable. While
that sometimes may be true, luckily Young Adult was not one of them. Its central character, Mavis Gary, was brilliantly portrayed by Charlize Theron, in a role that should have earned her a third Oscar nomination. She brilliantly balances Mavis' evil, her delusion, and her vulnerabilities. The supporting cast is great, and it is Patton Oswalt who gives a surprisingly deep and heartfelt performance of a man whose torture in high school still haunts him. These are two individuals who had a hard time escaping the trappings of high school. One because of his physical and emotional scars, and the other because of her delusional refusal to actually grow up. They create an endearing duo that is at times hard to watch, and at other times, incredibly engaging and funny. The wonderful script from Oscar winner Diablo Cody creates a perfect balance of cringe-worthy drama, and laugh out loud hysterics. Young Adult succeeds because it refuses to shy away from the moments that make you cringe or wince, and it tackles the mental issues of Mavis and of Matt with a clear head and a strong sense of dark comedy that simply works. For anyone who has ever had a hard time with high school, for anyone who has ever felt like the will never outgrow the pain and pettiness of those formative and sometimes awful four years, then Young Adult is an important film, and despite popular belief, further proof that when the right elements combine, Reitman can pull off quite a cinematic punch.

46. ParaNorman (2012) - I recently went on a 2012 Best Animated Feature re-watch, and while I still love Wreck-It Ralph, it was ParaNorman that stuck out to me even more on a second viewing. ParaNorman is the story of a boy who can see the dead. No its not a Sixth Sense rehash. It is a sweet tale about a young boy who finds understanding among the dead, and fights to preserve both the living world and the dead one, and break an ancient curse. ParaNorman has many of the same themes

that have run through children's and teen films in recent years. Norman is bullied at school for being weird, and smaller than the other boys, his sister and parents do not understand his struggle, and there is even a sly reference to gay teens, and breaking through stereotypes. Yet ParaNorman is anything but stereotypical. It doesn't hit these messages over the head too much to the point of being cheesy or too obvious, yet it doesn't sweep them under the rug, nor belittle their importance. Instead it seamlessly blends them into a heart-racing, visually stunning, and wildly entertaining animated film that will appeal to kids of all ages (yes that includes you adults out there). Its voice cast is top notch including Kodi Smit-McPhee, Anna Kendrick, Casey Affleck, Leslie Mann, Jeff Garlin, and the late great Elaine Stritch, who was particularly fantastic as Norman's grandmother. It is also a sweet, sometimes terrifying, and always engaging film that educates, entertains, and perfectly blends horror, fantasy, humor, and humanity to perfection. ParaNorman had the unfortunate fate of being up against Frankenweenie, Wreck-It Ralph, and Brave when it came to awards, although a few brave critics groups broke from the mainstream and gave it well-deserved honors. After a second viewing, I recognize now that it is just as distinctive and well-made as any of those other films and deserves to not be forgotten any time soon.

45. Holy Motors (2012) - I have seen Holy Motors three times since it premiered in 2012, and I still don't fully understand what the hell happened from beginning to end. But with Leos Carax's Holy Motors, I don't think it actually matters. Holy Motors is the story of one night with a man named Monsieur Oscar. He completely becomes several different people at each of his stops along his strange journey of just a few hours. Denis Lavant brilliantly portrays the varying characters of Oscar's repertoire, completely becoming each character. It is a jaw-dropping performance with an incredible degree of difficulty. Not only did Lavant have to become so many characters and bring them to life as unique entities, but he also had to embrace the madness. Yes, Holy Motors is one of the strangest films, brilliantly brimming with ferocious energy that not only verges, but completely goes over the
cliff of madness. Leos Carax has a vision, and I think decades from now, that film scholars will still debating all the twists and turns, all the method to his madness. But until then, we must accept what is laid before us. Holy Motors is a visually enticing film, packed full of bright colors, flashing lights, and stunning cinematography. It is chocked full of music that makes your heart and head thump. Its stylistic approach is unlike anything I have ever seen on the screen. Its jump from persona to persona is so intertwined with the mood and the visual feel, that yes it can sometimes be confusing. But if you let yourself go for a while, stop trying to think it through all the way, and simply sit back and enjoy the events as they come, then you will have a much more enjoyable time with Holy Motors. It is not a film you watch, it is a film you feel, and while you may be a bit numb at the end of it, like any good trip it is worth the journey. Holy Motors was not seen by most average moviegoers. However, the Cesar Awards in France gave it a stunning nine nominations, it won and was nominated for many critics awards, and it made it on to a lot of top ten lists. It is time you add it to your list as well.

44. Inside Llewyn Davis (2013) - The Coen Bros are two of the finest screenwriters and finest film makers working today. They have won a plethora of Academy Awards, their films are almost always hits with critics, and I cannot wait to see what they do with their upcoming script for Unbroken. While their straight up dramas like No Country for Old Men and True Grit have played better with the Academy, I personally love their comedies, and their quirkier, grittier dramas that show off their unique style. 2013's Inside Llewyn Davis was one of their finest, and underrated films in that vein (although 2 Oscar nominations is nothing to be ashamed of). It is the story of Llewyn Davis, a folk singer in the 1960's, who is a talented, yet starving artist, whose irritable and mooching personality makes him somewhat unlikable. Davis travels far to achieve his dream, he leans on his friends, family, and his lovers to try to make his dream, no matter how out of reach, come true. But Inside
Llewyn Davis is not a feel-good story about a plucky folk singer who rises to fame. No Inside Llewyn Davis is about an artist that decides, despite all of his talent, to give up. I think it is this basic plot line that prevented the film from becoming an awards favorite. What industry wants to reward a film that is about giving up on that industry? What group of artists wants to recognize one of their own who decided that the risk was no longer worth the reward? Whatever their reasoning, it is there lost, and twenty five years from now when critics and film lovers are still talking about the film, then they will be turning their heads in shame that they missed the opportunity to reward it when it presented itself. Oscar Isaac, as the leading player, was jaw-droppingly good in a role that has made him one to watch among the film community. He was vulnerable, unlikable, yet somehow endearing in a layered and subtle performance that shows his talent as a actor. Scene-stealing supporting roles from the likes of Carey Mulligan and John Goodman round out the performances well, but in the end it is the Coens that, not surprisingly, rise to the top. Their brilliant script, taut direction, along with Bruno Delbonnel's dark and pitch perfect cinematography, create the perfect mood, the perfect balance of great music, great performances, dark comedy, and painful drama that blends together for a slightly depressing, and always brilliant film.

43. Win Win (2011) - Early in 2011, a small indie comedy hit the screens with little fanfare, not much box office, and it quickly faded off the Oscar map despite some initial buzz. However, it did come back around come awards time with some recognition including an ALMA nomination, Critics Choice Award Nomination, an Indie Spirit nomination, various critical nominations, and a coveted WGA nomination for the wonderful script. While it failed to make much of a mark on the bigger awards ceremonies, I was so delighted to see even a small amount of recognition for Thomas McCarthy's winning, and delightful Win Win. His latest film, The Cobbler, landed with a thud at Toronto this year, which is a real shame, because McCarthy is such a talent both behind the camera, and behind a word processor. Win Win is the story of a lawyer and local wrestling coach who takes
on a case in order to collect the check that comes with it. Along with the check comes some baggage in the form of a troubled teenage boy, who happens to also be a star wrestler. As the two become close, complications arise including the return of a wayward parent, the truth about motivations, and the struggle to become a champion. In one of his more emotional and resonant roles to date, Paul Giamatti brilliantly balances his desperate economic outlook, with being a caring father figure for a troubled young man. Amy Ryan, Bobby Cannavale, Alex Shaffer, Margo Martindale, Jeffrey Tambor and Burt Young round out a talented and involved cast whose total talents melt perfectly into a well-rounded ensemble piece. Backing them up is a quiet, funny, and emotional resonant script from McCarthy, that is well-paced, full of excellent character development, sad, sweet, and funny all at the same time. Win Win is one of those movies that sneaks up on you, grabs your heart and your funny bone, and never lets up. It was a quiet film that turned out to be one of the best of 2011, and one of the best of this decade so far.

42. Black Swan (2010) - I don't know if any Darren Aronofsky film will ever top his work in 2000's Requiem for a Dream, but in 2010 (and in 2008 with The Wrestler) he got pretty damn close with his psychological ballet thriller Black Swan. Let me run that description by you one more time: psychological ballet thriller. Only Aronofsky has the mind and the vision to pull off a psychological thriller about ballet dancers. Like Requiem for a Dream, Black Swan is a visually stylish film, where the actual events, and the delusional and sickly fantasy moments are blended so seamlessly that you have to guess which world you are actually watching. But like Requiem, unless your cast is willing to
embrace your unconventional style, and dive into the depths of your emotional blackness, the way that Aronofsky expects his actors to do, then the project will not achieve any measure of success. Luckily, Aronofsky was surround by capable actors and stunning performers that were willing to dive into the depths of his darkness.Barbara Hershey, Vincent Cassel, Winona Ryder, and Mila Kunis all bring their A-game to the mix in scene-stealing supporting roles, but it is Natalie Portman that truly shines. We know the training that went into her performance was intense and showed great determination and dedication to her craft (despite that faux controversy), and she completely dives into the psychological depth of her character full force. It was a tour-de-force that earned her an Oscar, and proved that she was a talent to watch for (although since then she has yet to find a role that has matched this one's greatness). Every description so far of Black Swan has made it seem like one of those dark indie films that is only seen by those in the industry, small groups of cinephiles, and critics. But Darren Aronofsky and his team were able to blend the darkness with enough engagement to make Black Swan an accessible film that went on to become a smash at the box office, and gross over $100 million dollars at the domestic box office, a feat that shocked the numbers guys, and enticed millions of movie goers across the country. It shows the mark of a true talent that can make those two elements, dark indie and blockbuster smash, work together in harmony, so we should all praise Portman, Aronofsky, and the team behind this strange smash.

41. The Spectacular Now (2013) - The Spectacular Now joins The Fault in Our Stars and The Perks of Being a Wallflower as a new trio of young adult books adapted to the big screen. I know you could probably also include the likes of Divergent, Twilight, The Maze Runner, and The Hunger Games. But these three in particular stand out. First of all, unlike those other ones, these three films are actually pretty damn good (okay The Hunger Games movies have been good so far). Second, these films are not distopia, futuristic, or have vampires in them. They are realistic tales of teens in the modern age. They are about real things, like love, disease, sexuality, friendship, and it is these elements that have made them such a refreshing part of modern youth cinema. When most people think of high school films, they picture Grease, or some of those 80's comedies starring Molly
Ringwald and Matthew Broderick. While those films have their merits, they are simply there for fun. The Spectacular Now has its fun moments, but at its heart and core it is a fascinating drama, a wonderfully honest romance, and pitch perfect modern day story about the struggle of high school, the complexities of first love, and the reality of tragedy. At its center is an incredibly well-written script by Scripter nominees Scott Neustadter and Michael H. Weber, which beautifully captures the spirit, wit, and emotion of Tim Tharp's remarkable young adult novel. But what we see play out on screen, that so beautifully unfolds, is due to the remarkable chemistry and stunning performances of its two young leads. Both Shailene Woodley and Miles Teller are getting plenty of Oscar buzz and praise for their performances in Whiplash and The Fault in Our Stars respectively, which is well-deserved to say the least. While well-deserved, it is not at all shocking, at least not to me. These two were simply extraordinary in The Spectacular Now. They radiate from the screen, fully capture the emotion of the story, and suck the audiences into their spellbinding love. This incredible film was just the beginning for Shailene Woodley and Miles Teller. I can't wait to see how their journeys play out.