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From DAVID GUGLIELMO

Instead of writing a top ten list, I decided to mention the films that I think were overlooked and/or underrated this year. Many of these had wide releases, but didn’t do well for one reason or another. Others had very limited screenings. A few came out too early and were forgotten about on the road to award season. And some aren’t the kind of films that would ever be up for these types of awards, but make a great rental nonetheless. In short, all of these are worth your time.

1. MOTHER: A Korean Hitchcockian gem. This could be my favorite movie of the year, on any list. Technically it came out last year, but it hit U.S. theaters in 2010 so I’m counting it.

2. GREENBERG: I stopped personally recommending this to people, because I was tired of getting reprimanded for it. I guess it’s not everyone’s cup of tea, and it’s not the romantic comedy they advertise it to be. It’s cynical and awkward, but always feels real and is often hilarious. Ultimately it is a feel-good movie. You just have to feel bad first.

3. PLEASE GIVE: One of the best screenplays of the year, and possibly the funniest. Written and directed by Nicole Holefcener, this charming ensemble piece really went under the radar and it’s a shame because it’s better than all the films that were nominated for Best Comedy at the Golden Globes. Catherine Keener is so natural I sometimes wonder if she realizes the camera is rolling. Amanda Peet and Rebecca Hall are also very good in supporting roles.

4. ENTER THE VOID: The most experimental narrative film of the year. Clocking in at close to 3 hours (it is too long) with not one conventional shot in the whole film. It’s flawed, but undeniably unique, provocative, and needs to be seen even if you end up hating it. It also has the coolest opening credit sequence… maybe ever.

5. BURIED: No flashbacks – in the coffin the whole time. I don’t know how they pulled this off, but they did, and it’s great. Who knew Reynolds was this strong of an actor?

6. SPLICE: The most fun I had with a genre film all year. I don’t want to give too much away for those who haven’t seen it, because it has such wonderful surprises. Watch it with an audience, you’re bound to get some great reactions.

7. THE AMERICAN: Another case of false advertising resulting in poor reviews. This is not an action film, it’s a moody art-house character piece, set in the crime world much in the vein of LE SAMOURAI. Great cinematography (one of the year’s best), music (also one of the year’s best), and Clooney’s strong presence make this one of the most cinematic films of the 2010, even if we’re just watching him walk around, or do pushups.

8. FROZEN: I’m not sure if this ever got a theatrical release outside of Sundance, which is a shame because it’s easily one of the years best thrillers. The premise is simple, but the filmmaking and acting are strong enough to sustain the tension throughout. I had a screenwriting teacher that used to tell us to “get your characters up a tree so they can’t get down, then throw rocks at them”. This is the most literal example of that analogy working. Except the tree is a ski-lift and the rocks are…well, I won’t ruin it, but it will make you think twice about taking that trip to the mountains.

9. FISH TANK: Everybody is raving about TRUE GRIT’s Hailee Steinfeld (and for good reason) but as far as I’m concerned Katie Jarvis is just as impressive in this debut performance. I suspect more people will check this one out after the Criterion Release. It’s a film I went in knowing nothing about, and had no clue where it was going. All I knew is I couldn’t take my eyes off this raw new talent.

10. MOTHER AND CHILD: This melodrama hits all the right notes without ever feeling overwrought, and we all know how fine of a line that can be. Along with PLEASE GIVE and THE TOWN, it’s one of the best ensemble movies of the year. Annette Benning is much better in this than she is in THE KIDS ARE ALL RIGHT. Naomi Watts and Samuel L. Jackson (playing against type) are also award-worthy. I have a feeling that if this came out in December we would be hearing more about it.

11. CHLOE: For those who consider MOTHER to be a 2009 movie, here’s one more which may or may not be included in the top ten. I don’t know why it was met with such poor reviews. This is a very well made erotic thriller (although it does work better in the erotic department than it does as a thriller). Julianne Moore is terrific as always, and the camera absolutely loves Amanda Seyfried. I suspect it was the third act that threw people off. You do need to suspend disbelief, but I went along for the ride. The French original, NATHALIE, put me to sleep.

The fact that I am able to compose an alternate top-ten made me realize how exceptional 2010 was for film. I can only hope we are this fortunate in 2011. And just for the record, I do think THE SOCIAL NETWORK deserves all it’s praise.

Jack Smith next…

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