The Zero Theorem
Terry Gilliam's first science fiction film since "12 Monkeys" is an inventively designed but oddly inert satire on technology, God and the future of humankind.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A recap of the latest Silicon Valley episode; Hollywood scandals in the new era; Movie magic in the 21s century; Summer film anticipation guide; Ebertfest coverage.
A few weeks ago on Facebook -- that sly keeper of family secrets, whose memory seems to have increased incrementally with its new Timeline mumbo-jumbo -- an actor of some repute posted a list of the best Twitter accounts of 2011, as compiled by a wholly forgettable outlet. He had been placed relatively highly, and someone commented that it was a very subjective list. Apart from the fact that taking issue with "a list of the best Twitter accounts of 2011, lol" is by definition absurd, the statement presented a logical fallacy (I am fully aware of the irony of regarding a throwaway Facebook comment in such depth). All lists are subjective: that's why they're lists. Nonetheless, this fairly simple fact gets lost in the year-end frenzy as interested parties start calling for the list-maker's head, like angry villagers wielding pitchforks, if and when their favoured books, albums, films, etc fail to place on a given critic's compilation of the year's best.
(Picture the headline above in Comic Sans.) MSN Movies contributors have selected our Top 10 Movies of 2011. What does that mean? Whatever you want it to mean. Are these movies "the best"? Are they our favorites? Are they "movies we got to see before the deadline"? In my case, it's some combination of all three -- but I'm really quite happy with the aggregate results. As for my own contribution, as usual I hadn't seen everything I wanted to by the deadline ("A Separation," "Hugo," "The Artist," "Mysteries of Lisbon," "Midnight in Paris" among them), and still haven't, but them's the breaks. My lists will evolve in coming days (Village Voice/LA Weekly poll, indieWIRE Critics Poll, and so on), but I do want to say that I went all-in with my emotions. I picked these movies 'cause I love 'em, not because I merely admire them or appreciate them.
The Big List starts here; the individual lists start here.
Of course, as much as we love lists, the best thing about the MSN feature is that we have short appreciations of the top 10 movies, written by some very perceptive and eloquent people. And me, too. You will find the Group List, with excerpts and links to the full mini-essays, below -- and my personal ballot at the bottom. Let me know what you think -- and be sure to read the previous post ("Idiocracy and the ten-best trolls") for a good laugh:
The Ebert Club Newsletter is 1 year old!
... continued from here...
5. "Wendy and Lucy" (Kelly Reichardt, heartbreaker). A couple bad breaks and a stubborn act of unkindness push a girl and her dog over the edge, from a marginal migratory existence into near-invisibility. Wendy (Michelle Williams) is driving to Alaska with her dog Lucy to find work in the fishing industry, probably in a cannery. (Note to Eastern critics who found this notion strange or fanciful: It's not even unusual. Many people, especially young people, in the Pacific Northwest head to Alaska for good-paying seasonal work.) Only a few acts of kindness manage to keep her from falling off the map entirely. This (almost) opening shot (again, I present only a chunk from the middle) is scored to the humming in her head, and represents a perfect miniature of the movie as a whole: Wendy and Lucy walking in the woods, playing fetch, moving in and out of the frame, passing through light and shadow, occasionally disappearing behind trunks and thickets, then emerging on the other side. (Christopher Long has a beautiful appreciation of the shot and the film at DVDTown.)
Mike Myers' "The Love Guru" was chosen worst picture of the year in the Second Annual Ninth Annual Village Voice/LA Weekly Film Poll, in which I was but one of 81 balloteers. I may have been fortunate in that I didn't see it. Nor was I exposed to runner-up Alan Ball's "Towelhead," which was followed by a multiple tie for third-lousiest between "Burn After Reading," "Changeling," "Doubt," "Gran Torino," "Rachel Getting Married," "Step Brothers," and "Synecdoche, New York." The reason I mention this first is that most of these films (OK, not "Love Guru") were also chosen by some as among the best movies of the year, and they were directed by a few critical darlings: Joel and Ethan Coen, Clint Eastwood (twice), Jonathan Demme, Charlie Kaufman...
This year's poll favorites:
10) "Synechdoche, New York" (Charlie Kaufman, USA)
9) "Let the Right One In" (Tomas Alfredson, Sweden)
8) "Wendy and Lucy" (Kelly Reichardt, USA)
7) "Milk" (Gus Van Sant, USA)
6) "Waltz With Bashir" (Ari Folman, Israel)
How to plan my Toronto schedule when there are a few dozen movies screening every day and I want to keep from knowing much of anything about them before I see them, so that I can (as much as humanly possible) avoid preconceptions, false expectations, artificial festival "buzz," and other distractions that have little or nothing to do with what's on those screens? (See last year's accounting: "What did I know and when did I know it?")
The first thing I look for are the names of directors whose work I'm interested in following (or whose work I think I would like to follow). This year, for example, Danny Boyle, Kevin Smith, Rod Lurie and (as previously mentioned) Guy Ritchie all have films in this year's festival -- which, in my case, leaves more room to accommodate movies by directors I like. Not only for megastar filmmakers like the Dardennes and the Coens, but for Terence Davies ("The Long Day Closes"), Rian Johnson ("Brick"), Ramin Bahrani ("Chop Shop"), Katherine Bigelow ("Blue Steel"), Jerzy Skolimowski ("Deep End"), Kelly Reichardt ("Old Joy"), Michael Winterbottom ("A Cock and Bull Story" -- who makes two or three movies a year, it seems)... Those parenthetical titles, of course, are earlier films by these filmmakers. I don't even remember most of the titles from this year yet, because I haven't seen the movies. I've just been circling times and places on my screening schedule.