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TOP PICKS by David Guglielmo

I love making lists, but I hate numbering them. These are my favorite films of the year, in no particular order. Except for # 1, which is…

1. HUGO

Scorsese is my all-time favorite director, and as far as I’m concerned, the greatest living filmmaker. But even with that, I was still skeptical as to whether I’d enjoy this film going in. I knew close to nothing about it, but it just didn’t seem like my cup of tea. How wrong I was. I left the theater feeling exhilarated. I had no idea that Melies was a character, or that the film would be such a love letter to filmmaking. It all made perfect sense. Scorsese found a vessel in which to make this family fantasy a personal journey. Also — and maybe most importantly — he sold me on 3D. I have never seen a film so specifically designed for the medium. Not a single “gimmick” in the whole movie. Every composition was specifically thought-out to utilize 3D to its fullest potential. The production design, attention to detail, and subtle CG enhancements (the falling snowflakes and specks of dust that felt like they were with you in the theater) were astounding. I was completely immersed in this world. All of my past qualms were nonexistent (no dim screen, soft focus, or headaches here). I still think 3D has its place (I saw the film followed by a Q and A, in which Scorsese mentioned that he thinks 3D is the future of cinema, and would make all of his films in 3D if not for economical restrictions), but it works in HUGO, not only technically, but thematically as well. This is the best picture of the year.

THE HOUSEMAID

Beautiful, sexy and haunting melodrama from Korea. The cinematography and performances are among the best this year. A couple of scenes had the theater holding their breath. I suspect you know them if you’ve seen it. (Fun fact: This is a remake of the 1960’s version by director Kim-Ki Young, often referred to as “The Korean Nicholas Ray”. The film was only recently made available, by none other than Martin Scorsese, who assisted in the preservation process. Most of Young’s other films are still unavailable, but highly regarded by those who have seen them.)

I SAW THE DEVIL

Insanely violent and visceral cat-and-mouse thriller from one of Korea’s most interesting directors. I felt physically sick when I left the theater. I don’t know if I’d be able to watch it twice, but I can’t forget it either. Min Sik Choi gives one of the best performances of the year– possibly even the best. He’s a pure monster.

UNKNOWN

Juam Collete-Serra is quickly becoming one of my favorite new directors in Hollywood (ORPHAN was on my 2009 list of faves). Technically inspired with enough twists to keep you guessing all the way through. I think people were disappointed because they were expecting another TAKEN (through no fault of their own – it was marketed as such) when really this is a whole different beast. TAKEN was exploitation, this is a classical thriller in the vein of Hitchcock. And it works.

LIMITLESS

Hands down the best sci-fi of the year. A brilliant script. Bradley Copper may be “The Sexiest Man Alive” (People Magazine) but in this he proves he’s got acting chops to boot, playing two opposite sides of his character with credibility and charm. Andrew Howard is terrific as well.

YOUNG ADULT

This year’s GREENBERG, and I mean that in a good way. Oscar-winner Diablo Cody has earned just as many detractors as she has fans. Many find her quirkiness more irritating than witty. I’m not one of them. I liked both JUNO and JENNIFER’S BODY but felt they suffered from bad first acts. The pacing in YOUNG ADULT is a big improvement. It’s also her most honest script, substituting cheeky dialogue with character development. But it’s really Theron’s film. She deserves a best actress nomination for her painfully funny and nuanced performance.

SUPER 8

Surprisingly, the summer and early fall had the best films this year, beating out even Oscar season. This is what a blockbuster should be. It’s not perfect– the third act has problems, and the alien stuff is anticlimactic, but there’s enough nostalgia, warmth and a love for filmmaking here that it still makes my list. The train scene is among the most memorable of the year. Elle Fanning shines as the girl next door.

TABLOID

The most entertaining, colorful, and laugh-out-loud funny documentary I’ve seen in a while. Well-paced and bursting with style. Joyce Mckinney gives one of the best “performances” of the year.

THE TREE OF LIFE

Terrence Malick seems to be a love or hate director, but I don’t feel anywhere near such extremes. I appreciate his films more than I enjoy them. He’s a unique and ambitious artist, and I’m happy someone like this exists in film. However, I feel the hiatuses work to his advantage. If prolific, he’d run the risk of wearing out his welcome. The great thing about THE TREE OF LIFE is that he paints in very broad strokes, but the film still manages to feel intimate, and therefore accessible. I could have done without the Sean Penn scenes, but everything else works surprisingly well.

THE SKIN I LIVE IN

Along with HUGO, this is the most masterful film of the year. Cinematography, score, performance, and story are in such beautiful harmony here. It is not for the faint — Along with I SAW THE DEVIL, it’s the most disturbing film of the year (though not nearly as explicit). The narrative is so impressively constructed, always staying a step ahead of its audience while it unravels. This one lingered in my head for days.

Honorable mentions: MIDNIGHT IN PARIS, THE DESCENDANTS, HALL PASS, DALE AND TUCKER VS. EVIL, FAST FIVE.

Sidebar: MILDRED PIERCE (mini-series, HBO) and HOMELAND (series, Showtime) would have been included, if I had decided to rank film with television.

Sidebar #2: At the time of this compilation, I have yet to see a number of films that look good: THE ARTIST, CARNAGE, A DANGEROUS METHOD, MY WEEK WITH MARILYN, WAR HORSE, MISSION IMPOSSIBLE: GHOST PROTOCOL and MEEK’S CUTOFF.

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