Every year has its share of good movies and bad movies, but in 2010, the good ones were especially good and the bad ones sucked more than they usually do. And then there were the ones that fell somewhere in between – films that a lot of us were looking forward to seeing that didn’t pan out quite like we’d hoped. But there was nothing more destructive to cinemas this year than the onslaught of 3D, with studios hell-bent on trying to convince moviegoers that it was the future of movies. Sorry to say, but it was a gimmick in the 50s, a gimmick in the 80s, and it’s a gimmick today, not to mention a giant scam. Nevertheless, the good far outweighed the bad, with new films from innovative directors like Christopher Nolan, Edgar Wright and Danny Boyle, and what’s shaping up to be one of the most exciting Best Picture races in years. That’s not to say that all of my choices are necessarily award-worthy, but in a perfect world, they would be.
1. “The Social Network”
It might sound a bit contrived to say that a movie can define an entire generation, but in the case of “The Social Network,” I honestly believe it. There have been plenty of films made about corporate empires built on ruined friendships, broken promises and massive egos, but never has one hit so close to home as the story of Mark Zuckerberg and the rise of Facebook. It’s not just a product of our time, but something that directly affects the everyday lives of people all around the world. Interesting stuff no matter how you spin it, but David Fincher takes what could have been a boring courtroom drama and turns it into a wildly entertaining character study filled with some of the zippiest and cleverest dialogue that Aaron Sorkin has ever written. There’s not a weak link in the cast – from major players like Andrew Garfield and Armie Hammer, to Rooney Mara’s brief (but important) appearance as one of Zuckerberg’s pre-Facebook girlfriends – but it’s Jesse Eisenberg’s star-making performance as the socially inept whiz-kid that makes “The Social Network” the year’s most enthralling film.
It’s hard not to be envious of a filmmaker like Christopher Nolan, because the guy is only 40 years old, hasn’t made a single bad movie yet, and doesn’t show any signs of slowing down. Though it might have seemed virtually impossible to outdo “The Dark Knight,” Nolan’s seventh feature is better in just about every way – from its incredibly complex and original mind trip of a story, to the stunning visual effects and outstanding ensemble cast. “Inception” is the kind of film that only gets better with each new viewing, and though everyone may have their own theory about the ending (you could ask just about anyone whether or not it fell and they would immediately know what you were talking about), the real delight is watching the journey that leads us there. There are so many memorable moments that it’s hard to keep track, but the last 40 minutes are particularly spellbinding as Nolan manages to juggle four different dream states without tripping once. Can we just give the man his Oscar already?
Edgar Wright wasn’t exactly a household name prior to directing “Scott Pilgrim vs. the World,” but that will hopefully all change with this wildly ambitious action-comedy that pretty much rewrites the rules on comic book movies. It’s been said that mimicry is the highest form of flattery, and if that’s the case, then Bryan Lee O’Malley must be blushing, because the film adaptation of his six-volume comic series is not only incredibly faithful to the story, but its quirky humor and breakneck pacing as well. The ensemble cast is terrific (from a pitch-perfect Michael Cera in the title role, to bubbly newcomer Ellen Wong), the fight sequences are playfully unique, and you’d need a Rolodex just to keep track of all the clever pop culture references that are crammed into the script. It’s like dying and going to geek heaven.
4. “127 Hours”
Aron Ralston’s incredible story of survival may not exactly sound like the feel-good movie of the year, but despite all the attention that was placed on the dreaded amputation scene, there’s a really positive message coursing throughout the film. It’s not necessarily something you’ll notice the first time you watch it, either. In fact, while I was engrossed by Ralston’s perseverance during my first viewing (his know-it-all selfishness may have gotten him into the mess, but it’s also what got him out of it), it wasn’t until I saw it a second time that I truly appreciated how much the film is bursting with life. There aren’t too many actors that could have played Ralston without coming off as smug, but James Franco brings an Everyman quality to the role that wins you over immediately. And if he’s the heart and soul of the movie, then Danny Boyle is the brain, interweaving memories/daydreams/hallucinations of Ralston’s family and lost love as he tries to free himself from the boulder. This could have been a really dull film, but under Boyle’s direction, it’s an unforgettable, one-of-a-kind experience.