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31Dec 12

Before I begin, what are your favourite films of the year? Doesn't matter if your opinion is right, wrong, pleb, or godly, variety is the spice of life. Pick two, just for fun.

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I'm at that point in my career where if someone where to ask me "Have you seen "X" film?", I make that busy filmmaker excuse and reply, "I haven't yet because I haven't the time, but I do try go to the theatre as often as possible." As often as possible, it seems, means I just watch all the big popcorn movies (of which only one is mentioned below). I have been given screeners of some smaller films to watch in my spare time, though I've only gone through three of them, and I ended up seeing two of those on the big screen anyway.

If you guys hadn't noticed, 2012 has been the biggest year for movies since 2003, and it's also the biggest year for movies, ever. $10.8 billion dollars of your monies went to the box office, and now the hardest part for Hollywood is to figure out where to put it all in order to evade the inevitable tax increases. Thank you Obama.

And like 2003, it has been very disappointing. Well, for me, at least. Apparently a lot of you liked this year's offerings. It was so disappointing for me however, that I couldn't think of one film I actually liked without some significant reservation.

I won't do a top ten. I find that most people end up trying to fill and order a list rather than give them the acclaim they deserve, and the staggered releases worldwide just make things too controversial for such rigidity. I also haven't seen enough films. So instead, I'll just do the films that immortalize 2012, and the ones that I enjoyed for some reason or another.

THE IMMORTALS

Beasts of the Southern Wild

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My oh my, Louisiana. You just did what no other state in the U.S of A has been able to do for a long time: you've made foreign filmmakers stand up and take notice of what the Americans are making. They do say that it's only during a crisis that the most audacious can craft something truly special. If that's the case, it was inevitable that a New Orleans filmmaker would conjure something beautiful in the aftermath of Hurricane Katrina. It's by no means perfect, but it's the start of something special, guaranteed.

The Intouchables

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When you can smell an English-language remake coming from a mile away, you know a French film is flippin' good. It's just scene after scene of hilarity and brutal honesty, with my favourite joke being the practicality of the Maserati. The only knock on this movie is that it doesn't develop a strong enough plot, so two thirds of the way through it slows down enormously. Nevertheless, if a comedy can be judged by how naturally set-ups and payoff develop throughout, this is the one to beat in the next few years.

Rust and Bone

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I was wondering if the director of "A Prophet" - one of the best mafia movies ever - could follow up with something just as incredible. Alas, the answer is no. Like the other French movie The Intouchables, Rust and Bone has a measly plot to hold onto, and thus the characters don't get to do anything remarkable in the long running time. But what an intense character study this movie is. It also helps that Marion Cotillard turns in the greatest performance of the year, while Matthias Schoepolish (sic) mirrors her frailty with unbridled testosterone.

AND THE NOTABLE FLICKS

Really, it should be titled "Good flicks", but there just wasn't any apart from the above three.

Looper

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Looper is to Terminator/12 Monkeys what Moon was to Solyaris/2001. Where Moon felt like a competent homage, though, Looper felt like it was stuck trying to find its own identity. And two thirds of the way through, it tried a gambit which didn't really pay off. In fact it soured the whole thing. It's one of those films I cannot watch again because I know how poo-poo the finale is.

Cabin in the Woods

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The more interesting experiment of the two Joss Whedon had done this year, it's got enough wit of its own to make people forget Scream did the exact same thing 17 years ago. It's just that after the first half, it doesn't know what to do with its plot twist, and so decides to amp up the farce by the end.

Pirates! Band of Misfits

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Not the best of Aardman, nor the worst of Aardman, but the world of film could always do with a little more Aardman.

The Raid

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Everyone says this is a good action film. I disagree, because Die Hard is a good action film. This is a nicely choreographed action film, however, and that's why it's notable.

Life Without Principle

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You got it this year, North America, and most of you didn't see it. Many of you that should were too busy watching the pretentious w@nkery that is South Korean New Wave. Please fix that. Anyway, Johnnie To is probably Hong Kong's number one auteur (yes, even bigger than Wong Kar-Wai), and this microcosm of the Western world's economic crisis is rather sharp. I do wonder if Johnnie To needs to find his stride in non-styIish gangster flicks, though.

Amour

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If there ever was a personification of the flaws of 20th century German-Austrian intellectual discourse, it'd be Haneke himself; Amour has all the elements to make profound statements about human love, but instead devolves to shock, revulsion, and mild confusion, with the pretension to parade around as intelligent thought.

(Here lies a film by Ben Affleck which GameSpot considers a swear word. Ah well.)

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There are films I haven't mentioned, probably because I haven't seen them yet, and the notable ones I want to mention are The Silver Linings Playbook and Lincoln, which only come out next month/year. Personal favourite Kathryn Bigelow is also coming out with the apparently incredible Zero Dark Thirty, which could turn out to be my favourite for all I know.

Anyway, it's two hours 'til the new year here in NZ. I've got to write up my resolution that'll hopefully score me a place in a 'best of' list in a couple of years. That includes 5am weekday starts, intense exercise, networking, and writing, and constant prayer prayer that I don't mess it all up. Oh, oh, oh, and two of my resolutions are really interesting: I'm building my own book case for my amazing personal library of books, and I want to build my own fight stick!!! Two awesome hobbies for the next 365 days.

See you guys on the other side... and don't forget to tell me your fav films.

P.S if champ does a last blog of the year, he has to sign out with either a Jensen or Timmy gif. There can be no other option.

8 comments
OB-47
OB-47

*Ctrl F's for Skyfall*

I didn't watch many movies this year, but Sam Mendes really created probably my favourite Bond film ever. I still need to watch the old one's though.

FrozenLiquid
FrozenLiquid

 @OB-47 pfff, may have as well pressed Ctrl + GTFO.

 

Did not like Skyfall lol. From the Craig era, I think Casino Royale owns it. c'mon dude, it's directed by Martin Campbell, our NZ broski! Also watch Campbell's other Bond film, Goldeneye.

OB-47
OB-47 like.author.displayName 1 Like

 @FrozenLiquid Go ahead and call me a pleb then D:

Maybe I'm just giddy from excitement after watching it. I'll watch Casino again, that film was pretty damn boss.That being said the best film I've seen all year wasn't even made this year: No Country For Old Men. I fvcking loved that film. 

Foolz3h
Foolz3h like.author.displayName 1 Like

I don't think I watched a film from this year. I watched quite a few (more than in recent years) films from the last few years to unsurprisingly mixed results with the bad well outweighing the good. I think the most recent film I watched was Tinker Tailor Solider Spy, which also has the honour of being easily the worst film I watched this year.  In fact, it deserves to be mentioned not just in the context of this year, but with the worst films I've ever seen.

 

Let's see. The two best films I watched this year (that I can think of right now):

Symbol: Masterpiece, which I was not expecting at all. The first two thirds of them film are all doing lead up work to the final punchline...but the pay off is just so God damn good.

Stalker: There are some rather crippling problems with this film as there often are with Tarkovosky (have some balls and believe in your medium please) but I'll be damned if I didn't love it anyway. His ability to make what you're watching seem real is unmatched, and it's so perfect for the setting here.

FrozenLiquid
FrozenLiquid

 @Foolz3h Which Symbol movie are you talking about?

 

And Stalker is great. Tarkovsky is one of my fav directors. What consistent problem do you find in his movies? I think I've found the root of the source, but I'm not sure if I'm the only one, so elaborate!

Foolz3h
Foolz3h

 @FrozenLiquid The Japanese one from 2009.

 

It's kinda hard to explain as it manifests itself differently from film to film and is a problem that I think a lot of directors from the same era suffer from. I think it boils down to a lack of faith in film, and therefore an inability to follow through on some of the basic ideas behind the film they're making. In Stalker for example, this meant that the use of poetry and music was sometimes very dilluted because it was there simply to give the film cultural context, as if it wasn't strong enough to create that on its own. And yet at the same time you had some amazing passages of poetry, and spectacular use of music. For example when they first get on the cart, and the sound of the diesel engine merges with the sound of its wheels on the tracks which form the opening percussion...which eventually is devoured by synthesisers. Contrast that with the horrible, pointless use of classical music with the train at the end. One is a stroke of genius, the other is predictable, hackneyed, and so half-heartedly done.

 

I hope that makes some sense! Whether that was what you were talking about or not, I'd love to hear what your take on it is!

Foolz3h
Foolz3h

 @FrozenLiquid I wish I could edit posts: "And yet at the same time you had some amazing passages of poetry, and spectacular use of music, so it's not as if he wasn't attempting to use both in an interesting way."

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