The Top 10 Films of 2010

Honorable Mentions...

1. The American

Gear Wrenches

A euro-noir disguised as an assassin flick, and let there be no mistake: "The American" is geared more towards an arthouse audience than anyone else. It's consciously minimalistic and sparse with its dialogue placement, but a mounting sense of tension and paranoia preclude it from becoming a snooze-fest. George Clooney gives a mature carrying out that is full of subtlety and self-reflection-the latter of which corresponds with the film's existential subtext. A slow pace and a lack of any extravagant operation or set pieces likely baffled audiences and critics alike at the time of its release, but the fact that it became such an afterthought in the grand project of things is kind of surprising to me. It's a shame, because "The American" is a deeply misunderstood film, and unmistakably one of the more underrated gems of the year.

2. Never Let Me Go

This one begins as a customary period drama, but ultimately unfolds as a meditative, existential sci-fi romance-drama. Based on Kazuo Ishiguro's novel of the same name, "Never Let Me Go" chronicles the lives of three childhood friends who must come to terms with the fact that they are clones being manufactured for their organs. There's some serious soul searching going on here, and solid performances from Andrew Garfield, Carey Mulligan and Kiera Knightley help us feel the innocence and anguish of these characters. And though at times the sentiment may come across a bit forced, it never becomes too distracting, as "Never Let Me Go" remains one of the most unique and emotionally affecting films of the year.

3. Greenberg

An atypical style of film for Ben Stiller, but the role itself suits him well. "Greenberg" is the name of the film and the name of our protagonist, who is an eccentric, unlikeable middle-aged man in the midst of a generational crisis. He's in La to housesit for his brother's family, and it's speedily learned that he once led a promising life in the city of angels before strangely vanishing to New York. This film is all about rediscovery. It's also a character study in the sense that Greenberg's delineation is far more important than plot-which there is minuscule of. We, as the audience, are forced to follow this self-absorbed, bitter guy around, and it's not until he precariously falls into the developmental stages of love that we comprehend that there's an actual character arc at work. In the end, while we might not be able to truly feel for the character, we can at least recognize with him as he revitalizes his life.

Just missing honorable mentions were "The Fighter", "Animal Kingdom" and "I Love You Phillip Morris".

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And Now The Top 10 Of The Year...

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10. Monsters

Sci-fi, horror, human drama, romance, road movie, beast feature-all of these labels could be used to characterize the film that "Monsters" is. Sure, it has some derivative elements (think "District 9", "Cloverfield"), but don't get too discouraged early on, as this genre bender has fullness of ideas of its own. A approved alien invasion set-up ultimately gives way to thoughtful, metaphorical subtext, and soon we're wondering who the real monsters are. Perhaps the most provocative aspect here is the Diy-approach taken by director Gareth Edwards, who also wrote, produced and did visual effects for the film-and all for a minuscule budget of 0,000. That just doesn't even seem realistic, as the beast effects and deserted wastelands are very impressive. The anti-"Avatar"? You betcha.

9. Winter's Bone

Like "True Grit", this film centers around a young girl's unrelenting pursuit for redemption in the wake of her father's death. However, unlike the Coen brothers' western remake, this one unmistakably has some true grit. "Winter's Bone" paints the photo of a lawless, barren landscape not unlike what's seen in classical westerns. However, this isn't the Old West; it's the ruinous, impoverished backwoods of Ozark region, Usa. Unlike "True Grit", there's no tonal confusion here, as a steady diet of doom and gloom is implemented from start to finish. Jennifer Lawrence gives the second best female carrying out of the year (behind Black Swan's Natalie Portman) with her portrayal of an earnest, mentally tough daughter-turned-guardian. It's a tremendously remarkable film with a solid payoff, but it's grim tone and stripped-to-the-bone minimalism doesn't unmistakably solicit repeat viewings.

8. The Ghost Writer

A slow-paced but effective political thriller from the great Roman Polanski. At this point in his career, Polanski has become such a masterful filmmaker that it's hard to pin-point why and how this film works so well-but you just know that it does. And let's face it, there's unmistakably not a whole lot going on here at the surface; it's long, slow and largely driven by dialogue, but Polanski's subtle craftiness induces a mounting sense of intrigue and agonizing suspense. The cold, ominous interiors and exteriors help to originate a chilling atmosphere not unlike something you've envisioned while reading an Agatha Christie novel, and enigmatic-if not menacing-characters help to reinforce these obvious parallels. The Ghost Writer strikes a measured balance that is rarely seen in new-age thrillers, and it's refreshing to see that there are still classical filmmakers out there still mastering their craft.

7. Easy A

"Easy A" is something of an anomaly-a teen sex comedy with a high Iq and moral backbone but no actual sex. Not since "Clueless" has a teen movie been so sharp with satirical wit and pop-cultural & literary references. Emma Stone is proving to be one of the best young leads of her generation, as she effortlessly carries the film with a sizable estimate of charisma. "Easy A" is a refreshingly honest spoof of modern adolescence that never takes itself too seriously, but also doesn't dumb itself down for young audiences. It's the most entertaining, funniest and best comedy of 2010.

6. Inception

"Inception" is an imperfect masterpiece. Of policy that's somewhat of a contradictory statement, but to me it perfectly reflects the film's propensity towards undermining its own potential ingenuity. It's ultra-dense framework is unparalleled (maybe somewhat Kubrickian), but at a obvious point in the film, it also becomes part of the problem. There's plainly too much exposition going on, and though it's obviously required to help us understand the film's puzzling architecture, it also serves to confine the film in such ways that it starts to feel sort of mechanical. Exquisite performances from Leonardo Dicaprio, Cillian Murphy and Marion Cotillard help in saving the film from becoming a nihilistic cerebral workout, and the sentimental angle created by Nolan is unmistakably undervalued; we do care about these characters, and that's partly why the final sequences resonate so deeply (Hans Zimmer's remarkable score also helps). Despite any of its shortcomings, "Inception" is still unmistakably one of the finest, most ingeniously crafted existential sci-fi films of the last two decades. It challenges viewers to find their own meaning in a convergent world of dreams and reality. Some will say that the totem falls-others will say that it keeps spinning-and then a select few will proclaim that the totem's fate is irrelevant, because the film is unmistakably an allegorical autobiography designed to symbolize the way that films, by nature, plant ideas into audience's minds. But regardless of is meaning, the most splendid thing to me is that such a challenging, auteurist work such as this had the capability to manifest itself in the form of an action-based summer blockbuster-and it made nearly 0 million at the box-office. That's the true feat of "Inception".

5. A Prophet

This French prison film was unmistakably released in 2009, but it didn't get a stateside release until 2010. To label this as a gangster-crime saga set within the confines of a prison wouldn't be doing it much justice. "A Prophet" is a humanist drama at its core, and it transcends the boundaries of approved gangster fare. Sure, its grim, gritty, and at times pretty brutal, but it also has heart and soul. We care about the protagonist's fate. The film does so well in letting the audience see and feel the harsh realities of prison life. Without this crucial element, it would likely serve as nothing more than a rehashing of the classical gangster report set forth in films such as "The Godfather" and "Scarface". It's also a story of survival, and the protagonist does what he must to get by in the world in which he's forced to live in. And though the film is slightly overlong and not so adequately weighted in terms of pacing, it does finally administrate to carry the load of its lofty themes. Look for this exceptional gangster saga to stand the test of time.

4. The King's Speech

Look, I comprehend that it's somewhat fluffy, middlebrow and caters to the Academy's primary values-and yes, it could of probably just as unmistakably been a made-for-tv movie; however, "The King's Speech" is also an authentic period drama, an impressive actor's showcase, and an emotionally rich, sentimental piece of excellent cinema. The fact that a film based around a man with a speech impediment and his vocal educator can be so riveting and emotionally affecting is truly a testament to the masterful craft of Colin Firth, Geoffrey Rush, and director Tom Hooper. The bromance between Firth and Rush is one of the most touching bromances in the history of film-thanks, in part, to their awesome performances. Helena Bonham Carter and Guy Pearce also do some solid supporting work, and the cinematography, art direction and score all seem authentic and top-notch. All faux-progressive "Social Network" backlashers and petty smear campaigns aside, this is a very fine movie, even if it unmistakably has no right to be.

3. The group Network

Only time will tell if this is the generational film that many of its rabid enthusiasts say it is. Yes, it is the Facebook movie, but does it unmistakably have a whole lot to say about about Gen-Y's fixation with online group networking? Perhaps some. Is it unmistakably a vital snaphot of our culture? Does it capture the zeitgeist of the internet era? Again, maybe, but who's to say at this point in time? These kind of appraisals usually come after a film has a opening to age. We must first quantum its impact on our culture, so please chill out with the "Citizen Kane" comparisons for right now. It unmistakably is a great film, but I see it as more of a personal tale of betrayal, regret, power, class and identity (very excellent themes) rather than some grandiose cultural reflection. Jesse Eisenberg is great as a complex, slightly misunderstood-and very fictional-version of Mark Zuckerberg. Andrew Garfield is just as good as Eduardo Saverin, the emotional center of the film and the only character worth caring about (also fictionalized). The pacing is top notch, as is the gradual unfolding of the story. The characters are interesting, and the dialogue is as riveting as and clever as anyone Mamet or Tarantino have written for the screen. All of these elements add up to originate the most wholly engrossing film of the year.

2. Black Swan

"Black Swan" is an imperfect work of abstraction that thematically personifies it's protagonist's struggle to achieve an artistic perfection of body and mind. It begins as a sexually-charged psychological thriller, takes a left turn into gothic horror, and ends with an expressionistic, cathartic piece of ballet. Natalie Portman gives a transcendent carrying out that is, without a doubt, one for the books. Her character (Nina) is soft, fragile, reserved, and all too controlled. She needs to become the black swan, but doesn't seem capable. She must break free of the reasoning prison in which she is confined, and must break free from the clutches of her over-nurturing mother. Mila Kunis plays Lily, who is Nina's foil and the objectification of the black swan. She's seductive, dark and visceral. Is she Nina's doppelganger? Does she even unmistakably exist? These are questions in which concrete answers may or may not be unmistakably important. But needless to say, this is not light material. We begin to feel the weight on Nina's shoulders as she's tortured by not only those that surround her, but also by the enigmatic military within her own mind. Tight framing and kinetic camera work induce a sense of claustrophobia and disorder. Melodrama gives way to over-the-top absurdism. Surreality blends into reality. Literal meaning takes a back seat to symbolism. In the end, the cathartic climax of Swan Lake serves as a reflection of Nina's own life. She does achieve artistic perfection, but at what cost?

1. 127 Hours

The only film of 2010 that still floored me after a second viewing, and also just one of two films that made me think, feel and marvel at the boldly innovative filmmaking at hand (Inception being the other). This is plainly powerful, gut-wrenching, life-affirming cinema. I applaud Boyle and Franco for taking a giant leap of faith and unmistakably nailing a film that unmistakably should not have worked at all from a practical and conceptual standpoint. As usual, Boyle employs his hyperactive visual energy and doesn't shy away from exploring the inner thoughts and psyche of his protagonist. To criticize these report and visual elements (as some have) would be neglecting-or, at the very least, misinterpreting their creative function-which is to reaffirm the durability of the human spirit. The visual elements not only reinforce the film's illustrious themes, but they also serve to personify Aron Ralston as an individual. He's foolish, selfish, energetic, daring, and commonly full of life. But sometimes population can't see the error of their ways on their own, and Ralston inadvertently enters into an impromptu resumption schedule in which he must make an greatest sacrifice. It's not a wholly enjoyable caress to sit through this, but it will leave you with an unparalleled appreciation for human life, and that must count for something.

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The Top 10 Films of 2010