2012 Favorites

We now return you to 2013, already in progress

I keep hearing myself say, “I told you the best movies from 2011 were Take Shelter, Another Earth, and Jane Eyre.”  In part so that I can cite the fact that I “told you,” and mostly just because I’ve been wanting to for awhile, I will now hold the Richard Lives equivalent of the Oscars once annually (called “Favorites” because I don’t presume to be any more of an authority on the subject than I seem to be [not to say I don’t make better decisions than the Academy, but I digress]) .  The rules I set for myself are as follows:

I.  Only include movies that I’ve seen/written about here.

II.  Set early February as a deadline.  Do it during awards season.  As such, I won’t have seen every movie of the year, in large part because of my location (for example, I am doing this list before having seen Rust and Bone, as I may not get to it anytime soon.  Apologies to Marion Cotillard, who surely doesn’t need my approval).

III.  Only include movies from the year in question.  Sometimes I see films from the previous year that I never got around to and write about them if I need to, so you’ll see them mixed in with the new movies.  Look at the year of release, listed at the bottom of each review, if you’re wondering why The Lie isn’t included in this year’s list.

IV.  No more than 5 nominees for each category.  Some have fewer.  Some have only one, such as “Favorite Character,” which we’ll also call the Highlander Award, just for fun.

V.  Be honest.  As much as I may like to be seen disagreeing with the Academy, Les Mis was pretty damn good.

I’ll explain the categories as we go, if the parameters aren’t obvious.  The “Body of Work” actor and actress awards refer to actors who had the most prolific year (varied roles, great performances).  2011’s winner was, of course, Jessica Chastain, with seven major roles and no equal in performance and character assortment.

Some categories have several nominees.  Some don’t.  Categories with multiple nominees may have a star (*) next to one, indicating my personal favorite of the year’s best.  However, since the nominees aren’t actually receiving anything from me (positive encouragement notwithstanding) and considering the fact that many of these roles/films are really not comparable (for instance, how do you compare Hugh Jackman’s performance with Woody Harrelson’s and Daniel Day-Lewis’s, and then decide which is somehow “best”?  “Best” according to what characteristics shared by all three?), you may consider all nominees equal winners if I’ve chosen not to “star” anything.  Click the links (movie titles) to see my original reviews.

Without further ado:

Best Pictures

Safety Not Guaranteed             

A Late Quartet                        

Moonrise Kingdom

Les Misérables

Zero Dark Thirty

Best screenwriting

Quentin Tarantino – Django Unchained 

Derek Connolly – Safety Not Guaranteed     

Martin McDonagh – Seven Psychopaths    

James Ellroy/Oren Moverman – Rampart

Brit Marling – Sound of My Voice 

Favorite character

Léa Seydoux as Sidonie Laborde – Farewell, My Queen

Best Actress (single performance)

Jessica Chastain as Maya – Zero Dark Thirty*

Lea Seydoux as Sidonie Laborde – Farewell, My Queen

Juno Temple as Lily – Little Birds  

Jennifer Lawrence as Tiffany – Silver Linings Playbook 

Sarah Hayward as Suzie – Moonrise Kingdom 

Best Actress (body of work)

Jennifer Lawrence

Best Actor (single performance)

Woody Harrelson as Dave Brown – Rampart*

Daniel Day-Lewis as Abraham Lincoln – Lincoln

Michael Fassbender as David – Prometheus

Richard Gere as Robert Miller – Arbitrage

Philip Seymour Hoffman as Robert – A Late Quartet*

Best actor (body of work)

Joseph Gordon-Levitt

                                                                                                                                                                                                                                                                                                                                                                                             Best supporting actress

Brie Larson as Helen – Rampart*

Imogen Poots as Alexandra – A Late Quartet*

Brit Marling as Maggie – Sound of My Voice

Diane Kruger as Marie Antoinette – Farewell, My Queen

Best supporting actor

Christoph Waltz as Dr. King Schultz – Django Unchained

Robert De Niro as Patrizio Solitano – Silver Linings Playbook

Ben Whishaw as Robert Frobisher – Cloud Atlas

Best director

Kathryn Bigelow – Zero Dark Thirty*

Oren Moverman – Rampart

Quentin Tarantino – Django Unchained

                                                                                                                                                   Best book-to-film adaptation

Anna Karenina

Les Misérables*

Silver Linings Playbook       

Dark Horse Favorite

Salmon Fishing in the Yemen

Biggest letdowns

Skyfall

The Expendables 2

Ruby Sparks
                                                                                                                                                                                                                                                                                         

Most Popular Review

The Moth Diaries

Actors who wrote to me

Lily Cole

Lauren Ashley Carter

———

Thanks for reading.  See you next year.

Sound of My Voice

Why do I like being lame?

Zal Batmanglij’s Sound of My Voice wastes no time in presenting a concept, three potentially combustible personalities, and a dozen questions, the most important of which is this: is Maggie telling the truth?  It’s the most important question because if she’s not, the lion’s share of this film’s narrative is for nothing.  This is a problem that generates a compelling motivation, or “viewing style” if you will, for an audience: we’re rooting for the character presented at the outset as a charlatan.  Why?  Partly because she radiates honesty, partly because we don’t really care about the dual protagonists’ motivations, and thirdly because we don’t want any of the characters, even the ones we don’t like, to have wasted their time.

The story places us in the presence of Lorna (Nicole Vicius) and her boyfriend, Peter (Christopher Denham), late-twenties layabouts seeking to make a living in L.A. by doing what everyone who goes to L.A. hopes to make a living doing: making films.  Their film is a documentary about cults, and they’ve somehow come across a group led by a mysterious, white-veiled basement dweller named Maggie (Brit Marling), who claims to have traveled back in time from 2054, where a civil war is tearing the world apart, and she has returned in order to “save” the people she loves.  How will she accomplish this?  We don’t know.  What does her plan have to do with this group of strangers who worship her?  She doesn’t say.  All we know is that Peter and Lorna think of the whole thing as a joke, and are willing to play along with Maggie’s rituals until they can find a way to expose her on film.  They infiltrate the group, pretending to be members, not knowing what they’re getting themselves into.

Of course, as Peter and Lorna attend several months’ worth of group rituals, the things Maggie says begin to make more sense, even to the arrogant and skeptical Peter, who is emotionally gutted by Maggie in one of the film’s most effective dramatic scenes.  “She knew things about you,” Lorna says to him over a meal the next day.  Peter stone-facedly denies this and says he was just making things up, but we know he wasn’t, which presents two solid conflicts: Lorna, after a three-year relationship with Peter, doesn’t know much about him and is jealous that the beautiful and enigmatic Maggie has this effect on him; and Peter, who may have developed a fixation on Maggie similar to that of the other followers (of whom he made a terrible mockery before), hasn’t bothered with his documentary work in weeks.

During the day, Peter teaches at an all-girls elementary school, which he considers sedentary and a waste of his twenties.  The film lends particular focus to a certain student, Abigail (Avery Pohl), an eight year-old who shows symptoms of Asperger’s (indicated by her insistence on never removing her red hat and the fact that she spends the entirety of her free time building with black Lego pieces).  We know she has some connection to Maggie before it’s even revealed, but the trouble that brews is well worth the wait: Maggie, still claiming to be from the future, believes Abigail to be her mother, and “needs” to meet with her.  The guy who can make this happen?  Peter, the one teacher Abigail tolerates.  Peter’s decision whether to do this pops the bubble that has expanded between Lorna and himself throughout the story, and the payoff delivered when Maggie and Abigail finally meet rivals most films from this year – but what do you expect?  Sound of My Voice was co-scripted by Brit Marling, who is absolutely convincing as Maggie, and who wrote the best screenplay of 2011, Another Earth.  Her next film, also in tandem with Batmanglij, is The East, starring Brit alongside Ellen Page.

For better or worse, the film deprives us of the denouement that most films would drag us through.  This works if you don’t mind not having every single question answered – what will the nature of Lorna and Peter’s relationship be in the future?  What do the feds looking for Maggie think she wants the child for?  Can they legally convict her of anything?  The film makes no absolute statements about any of it (exemplified by Peter’s final line: “I don’t know”), but I think we know in our hearts, just as we do when watching election coverage, who’s telling the truth and who is perpetually full of it.

Sound of My Voice (2012); written by Brit Marling and Zal Batmanglij; directed by Zal Batmanglij; starring Brit Marling, Christopher Denham, and Nicole Vicius.