Category: Arts & Entertainment

■ By Craig J. Clark

2012 had plenty to offer the discerning moviegoer, if only they knew where to look for it. Sure, there were plenty of flashy action movies like The Avengers, The Dark Knight Rises and Looper, and such adventurous fare as Prometheus, Cloud Atlas and Life of Pi, but there’s more to the movies than big-budget spectacle (although I do count the crazily ambitious Cloud Atlas among my favorites of the year). In order to get a handle on the vast array of good-to-great films that came our way last year, I’ve separated them into categories. There are a number of films that I haven’t gotten the chance to see, though (like The Loneliest Planet, Django Unchained, Amour and Zero Dark Thirty), so this round-up is at best a work in progress.

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FOREIGN

Before he teamed up with Lana and Andy Wachowski to bring David Mitchell’s sprawling Cloud Atlas to the screen, Tom Tykwer turned out 3, his most stylistically inventive film since Run Lola Run, which follows the lives of two men and one woman, observing how they intertwine in unexpected ways. As confounding as those connections can be, though, they have nothing on the plight of the protagonists in The Turin Horse, which is the film Hungarian master Béla Tarr has chosen to retire on. An ultra-bleak drama, which Tarr co-directed with Ágnes Hranitzky, The Turin Horse recounts the hardships faced day in and day out by a cab driver, his daughter and their broken-down horse. Not an easy film by any stretch of the imagination, but it’s one that rewards those with the patience to see it through to the end.

It’s impossible to sum up the achievements of Asghar Farhadi’s A Separation in a couple of sentences, but the one thing I will say about last year’s Best Foreign Film at the Academy Awards is that its tightly constructed screenplay was robbed. (As much as I liked Woody Allen’s Midnight in Paris, its comparatively lax script can’t help but pale in comparison.) At the other end of the spectrum is Leos Carax’s Holy Motors, which is all over the map, but in a way that’s completely exhilarating. An unabashed love letter to cinema in all its permutations, Holy Motors is without a doubt my favorite film of the year, built around a virtuoso performance by the incomparable Denis Lavant. A Best Actor nod, as well-deserved as it might be, is probably too much to hope for, though. (Incidently, if you missed it at the IU Cinema you’ll have a second chance to see it in January when it returns as part of The Ryder series.)

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HORROR

On the horror front, Daniel Radcliff attempted to break out of the Harry Potter mold with Hammer’s The Woman in Black, which had atmosphere to burn but was a lot creakier than it needed to be. Much better was the genre-busting The Cabin in the Woods, which director Drew Goddard co-wrote with Joss Whedon (who had an exceedingly good year between this and The Avengers). A clever deconstruction of slasher-movie tropes, Cabin stands as a rebuke to those in the industry who think the lowest common denominator is something to aspire to. And while not every segment in the horror omnibus V/H/S worked, it was another reminder that Ti West (whose The Innkeepers sadly never made it to theaters here) is an up-and-comer to watch.

Cabin In The Woods

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DOCUMENTARY

Unfortunately, I didn’t get to see all the documentaries that came through town last year (which means The Queen of Versailles and The Imposter are conspicuously missing from my list), but leading the pack was Oscar nominee Pina, which was Wim Wenders’s tribute to the late Pina Bausch, a daring choreographer who never stopped taking risks and pushing herself. That could also be said about the subject of David Gelb’s Jiro Dreams of Sushi, about an 85-year-old sushi master and the son who’s very eager to take over the family restaurant. And family matters were also front and center in Ross McElwee’s Photographic Memory, which charts the acclaimed documentarian’s difficult relationship with his adult son while giving him the opportunity to explore his own past.

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ANIMATION

In the field of animation, 2012 was a very strong year, with robust offerings from Studio Ghibli (The Secret World of Arrietty), Aardman (The Pirates! Band of Misfits), and Pixar (Brave). It also brought us Czech animator Jan Svankmajer’s latest, the gleefully anarchic Surviving Life (Theory and Practice), which was screened as part of a retrospective of his work at the IU Cinema. And Tim Burton expanded his early short Frankenweenie to feature length using the medium of stop-motion (an improvement over his previous such effort, the listless Corpse Bride). The biggest surprise of the year, though, was Disney’s Wreck-It Ralph, with its fully realized video-game world and well-developed characters. It’s also the strongest indicator of the influence Pixar has had on its parent company to date.

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COMEDY

After a long absence, Whit Stillman emerged from the wilderness with his campus-set comedy of ill manners Damsels in Distress, which hopefully heralds a Terrence Malick-like renaissance for the much-missed chronicler of the upper crust. He was joined by Richard Linklater, who returned to form with the wickedly funny Bernie, which gave Jack Black his best role in years (as a beloved mortician who’s so charming, he almost gets away with murder). Woody Allen’s To Rome with Love was less substantial, but still enjoyable, and it was neatly counterbalanced by Todd Solondz’s Dark Horse, about the aspirations of less worldly individuals. When it comes to dark comedy, though, nothing this year came close to William Friedkin’s Killer Joe, his second collaboration with playwright Tracy Letts. Not a film for everyone (there’s a very good reason why it got slapped with an NC-17 rating), but its most infamous scene (involving a piece of fried chicken) will be talked about for years to come.

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DRAMA

When looking for dramatic source material it’s hard to go wrong with Shakespeare, as Ralph Fiennes proved with his directorial debut, which transformed the less-heralded play Coriolanus into a dynamic war film. And with the horrific events in Newtown, Connecticut, fresh in people’s minds, I imagine Lynne Ramsay’s chilling We Need to Talk About Kevin is due for a reevaluation. At the very least, it should be more widely recognized that Tilda Swinton turned in a riveting performance as the mother of an unrepentant high school shooter. Failing that, if Rachel Weisz doesn’t score a nomination for her work in Terence Davies’s The Deep Blue Sea, based on the play by Terence Rattigan about a love affair that’s essentially doomed from the start, we can officially declare the Academy completely out of touch.

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AUTEUR CORNER

Finally, we come to the place for directors with such singular visions that they transcend genre. The ever-industrious Steven Soderbergh delivered a powerful one-two punch with the ass-kicking Haywire (which re-teamed him with screenwriter Lem Dobbs, late of Kafka and The Limey) and the buns-baring Magic Mike (which Matthew McConaughey effortlessly stole out from under Channing Tatum). I loved Guy Maddin’s existential gangster fantasy Keyhole and Wes Anderson’s whimsical coming-of-age tale Moonrise Kingdom so much I saw both of them twice. And Japanese humanist Hirokazu Kore-eda continued his winning streak with the down-to-earth I Wish, about two brothers trying to reunite their divided family.

Unsurprisingly, the second half of the year was just as strong as the first. Newcomer Benh Zeitlin burst onto the scene in a big way with the Sundance favorite Beasts of the Southern Wild. David Cronenberg took on Dom DeLillo and the challenge of trying to get Robert Pattinson to act in Cosmopolis. Paul Thomas Anderson took on Scientology-by-proxy with The Master (which featured mesmerizing performances by Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams). And David O. Russell’s Silver Linings Playbook proved that you don’t have to be nuts to fall in love with a mentally ill person, but it doesn’t hurt.

I could go on at length about any one of these films, but I’d like to close by highlighting Marcel Carné’s Children of Paradise, which was restored and re-released to great acclaim last year. For as great as 2012’s crop of films was at times, I don’t think any of them transported me in quite the same way as Carné’s 1945 classic. If you managed to see it when it screened at the IU Cinema, you should count yourself lucky. I know I certainly do.

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The Ryder, January 2013

The 5 Most Enjoyable Films Of The Year ■ by Robert Singer

◗ The Perks of Being a Wallflower

This coming-of-age tale is an adaptation of the beloved novel by the same name and was written and directed for the screen by the author himself, Stephen Chbosky. The film tells the story of Charlie (Logan Lerman), an emotionally fragile teenager navigating the treacherous pitfalls of his freshman year of high school following a year of intensive therapy after the suicide of his best friend. Charlie learns to come out of his shell as he makes friends with misfit upperclassmen, including the fabulously loud and proud Patrick (Ezra Miller in a scene-stealing performance), anti-establishment punk chick Mary-Elizabeth (Mae Whitman), and the beguiling but insecure Sam (Emma Watson). Many films about teens tend to feature implausible plots that overshadow or undermine the complex realities of growing up, but The Perks of Being a Wallflower avoids this problem by avoiding clichés, instead focusing on how raw and painful the early emotional wounds gained in high school can really be. The film takes an honest look at how powerfully important the feeling of belonging is during one’s transition to adulthood and how crushing heartache can be when experienced for the first time. In a film beset with great lines, a simple yet brutal truth uttered by Charlie to Sam encapsulates the intimate honesty of this film, “We accept the love we think we deserve.”

◗ Moonrise Kingdom

Wes Anderson’s latest film just may be his best. Yes, I’m serious. Moonrise Kingdom features many of the director’s signature tropes: meticulous attention to minute detail, glorious mise en scene, 1960s inspired costumes and sets (although this time it really does take place in the 1960s), and his trademark wry humor. But Moonrise Kingdom diverges from Anderson’s previous work because the story feels more organic, establishing an intimate sincerity that is lacking from his earlier classics Rushmore, The Royal Tenenbaums, and The Life Aquatic with Steve Zissou, which have often been criticized for being too ironic. This is the filmmaker’s first film in which the characters feel like characters rather than caricatures, a clear sign of maturation on the part of Anderson, the film’s director, producer, and co-writer. Revolving around the story of two star-crossed adolescent lovers Sam and Suzy (played with aplomb by newcomers Jared Gillman and Kara Hayward), Moonrise Kingdom subverts the clichés of stories about young love by allowing the film’s characters as well as its audience to root for the kids to be together.

Moonrise Kingdom

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◗ The Avengers

After the colossal commercial and critical success of Christopher Nolan’s The Dark Knight  in 2008 (the same year Marvel released Iron Man) it was likely very tempting for Marvel Studios to skew all subsequent films with a darker, more serious tone in an attempt to “Nolanize” all of its characters. The company has yet to do so, however, and this year, Marvel Studios President Kevin Feige made the smart choice in hiring geek god Joss Whedon as director of The Avengers. Whedon handles the larger than life cast of characters ably, giving the impressive ensemble of established and rising stars moments to shine as a group as well as separately. Whedon’s trademark wit, humor, and passion for drama are evident in every exchange, and equally impressive are the action sequences, the likes of which have never been seen before on the big screen. Sure, we’ve watched New York trashed by aliens dozens of times, but not on this scale, and never for so long! The final 45 minutes is just one scene after another of adrenaline pumping, nerdgasmic, utterly epic action. Never before in the history of cinema have so many powerful superheroes fought on screen together as a team, fending off a threat that no single hero could handle alone. It sounds corny and goofy, and it is, but it’s also what people have wanted to see all this time, a movie that manages to satisfy your inner eight-year-old without abhorrently offending your cultivated aesthetic sensibilities. The Avengers is the epitome of what a superhero movie ought to be: epic, dramatic, and most importantly, fun.

◗ Silver Linings Playbook

Silver Linings Playbook tells the story of Pat Solatano (Bradley Cooper), a bi-polar history teacher recently back from an eight month stint in a mental health facility and Tiffany (Jennifer Lawrence), a young cop’s widow who is coping with the loss of her husband through manic rage and sexual promiscuity. Both characters are living at home with their parents after losing everything and are struggling to manage their respective conditions. Then, they meet. Pat and Tiffany are tremendously vocal about how disturbed each thinks the other is, but that doesn’t stop them from forming a steady bond that leads to friendship, love, and the possibility of recovery. Also, it’s a comedy. Dramatic, funny, and edgy from start to finish, David O. Russell’s Silver Linings Playbook is one of the best romantic comedies of the year. The film moves at a frenetic pace, navigating the bizarre lives of the two leads and their quirky, dysfunctional families and friends, as they follow their beloved Philadelphia Eagles through an NFL season. The film is bolstered by great supporting turns from Robert De Niro and Chris Tucker, who steal scenes every chance they get, but its real heart and soul lies with Cooper and Lawrence, who give the most mature and emotionally charged performances to date and whose chemistry is undeniable.

◗ Lincoln

Steven Spielberg’s Lincoln is a quintessential American film that recounts the intriguing and powerful true tale of the most important legislative battle in our nation’s history: the passing of the 13^th Amendment to abolish slavery by the U.S. House of Representatives. Mr. Spielberg and screenwriter Tony Kushner were wise to base their film on Doris Kearns-Goodwin’s mesmerizing account of the Lincoln administration, Team of Rivals: The Political Genius of Abraham Lincoln; the result is a film equal parts period-piece biopic and compelling political thriller. Spielberg’s direction is the best it’s been in over a decade and the cinematography by Janusz Kaminski (Saving Private Ryan, Schindler’s List) is his finest work to date. Lincoln boasts a tremendous ensemble cast including David Strathairn, Joseph Gordon-Levitt, James Spader, and John Hawkes. However, the true strength of Lincoln lies in three terrific and key performances. Sally Field’s portrayal of feisty and emotionally drained First Lady Mary Todd Lincoln is one of the most memorable supporting performances of the year, and Tommy Lee Jones as racial equality Republican firebrand Thaddeus Stevens deserves every nomination and accolade he will most assuredly receive this awards season. However, the crux of the film’s power lies in the performance by the impeccable Daniel Day-Lewis, who evokes the haunted, brilliant giant of American history perfectly, cementing his own legacy as the greatest actor of his generation.

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The Ryder, January 2013