Film review: ‘Sleepless Night’

Posted on May 23, 2012 by Joel Crabtree

In theaters

“Sleepless Night,” written by Frederic Jardin, Nicolas Saada (scenario) and Olivier Douyere (adaptation and dialogue), directed by Jardin, 98 minutes.

When it comes to action-thrillers, more often than not the characters are the leafy greens you’re forced to chew on in between bites of chocolate lava cake aka “the action.” It’s the expensive, slick eye candy that everyone pays to see, but few will own up to it. “Sleepless Night,” the French import from Frederic Jardin, however, is the exception. I came for the intensity, and I left astounded by a surprisingly well-developed lead character with more than two dimensions. What a novelty.

The film stars Tomer Sisley (“Largo Winch”) as Vincent, a corrupt cop with ties deep into the criminal underworld. When he’s caught stealing a hefty load of cocaine from renowned drug dealer Jose Marciano (Serge Riaboukine), the kingpin takes exception and abducts Vincent’s son, Thomas (Samy Seghir), as ransom for the cocaine. It’s a simple tradeoff, until an internal affairs team throws a wrench into the works, playing a shell game with the drugs while the life of Vincent’s son hangs in the balance.

“Sleepless Night” moves at a breakneck pace, confined almost entirely to the nightclub owned by Marciano. Jardin uses every inch of the club to his advantage (particularly the kitchen), squeezing as much action out of each room as is cinematically possible. Sure, the scenes of police and criminals shoving their way through crowds of clubgoers gets a little tired after a while, but considering the tight space and the insane beats per minute the film is running at, it’s excusable.

Yes, “Sleepless Night” gives you that quick-fix of action likely to leave you as jittery as a Red Bull IV, but let’s talk about Vincent and Tomer Sisley. The film’s final moments are surprisingly quiet, subdued, and sudden. It gives you time to reflect on Vincent, who does a complete 180 from the low-life tough guy and absent father we meet in the first act. Underneath all that energy and commotion, there’s a father-son relationship and a lead character with depth. Kudos to Sisley and Jardin for making “Sleepless Night” more than just guns, drugs and crime.

You’ve gotta hand it to the French. They know how to make a damn fine thriller.

Grade: B+

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Movie Review/Rant: “The Avengers” (2012)

Posted on May 14, 2012 by Joel Crabtree

“The Avengers,” written by Zak Penn and Joss Whedon, directed by Whedon, 143 minutes, rated PG-13.

I’ll be the first to admit that I was an “Avengers” doubter, right up until days before its release. I had high hopes, of course, because Joss Whedon was behind it, and quite frankly, “Buffy the Vampire Slayer” remains one of the greatest things to grace television screens in my lifetime. I don’t see that changing anytime soon. My doubts, however, came more from a box office perspective. A question lingered: Can Marvel parlay the somewhat successful franchises of “Thor,” “Captain America” and “The Hulk” into something bigger than its one real success: “Iron Man”? I thought not.

I was wrong. I’m a big enough man to admit that.

Seeing as how “The Avengers,” Marvel’s Superhero supergroup akin to The Damn Yankees, or Atoms of Peace if you’re one of those people, has grossed more than $1 billion worldwide, it has become impossible to neglect it on my blog any further. That, and the fact that I’ve been in a slumber since “The Artist” was at Railroad Square Cinema, means it’s time for an update.

So, here are my 300 or so words on Joss Whedon’s latest:

For those of you who are unfamiliar with “The Avengers,” here’s a quick breakdown: The Hulk (Mark Ruffalo), Iron Man (Robert Downey Jr.), Captain America (Chris Evans) and Thor (Chris Hemsworth) are brought together by a government branch known as S.H.I.E.L.D. (featuring Sam Jackson as Nick Fury, Scarlett Johansson as Black Widow and Jeremy Renner as Hawkeye), to fight Loki, Thor’s demigod half-brother, and an army granted to him by a higher power to enslave Earth.

It’s a really simple good vs. evil story that gives Joss Whedon enough space to let the characters breathe, time to bond, and affords each actor an opportunity to actually build a character. With the exception of Iron Man, after all, most of these characters and their corresponding actors have barely had two hours of screen time for moviegoers to become acclimated with them. In a project where each hero needs a distinct voice, that’s key.

And Whedon’s “Avengers” pulls it off gracefully, where more careless filmmakers would have tossed lesser-known heroes (although favorites) “Hawkeye” and “Black Widow” deep into the background, Whedon gets them to stand out. The one man who will not receive nearly enough credit in all this is Tom Hiddleston, who, as Loki, is as good as any of The Avengers.

The action, although it’s written in a way that is uncanny to “Transformers: Dark of the Moon” (not a slam, by the way, I’m the one who actually likes “Transformers”), is directed in a much cleaner, uncluttered manner that lets the battles play out more like a comic book and less like a Paul Greengrass knock-off.

So, against my better judgment, I’m going to pull out one of my own film critic pet peeves, and say “The Avengers” is “just a lot of fun.” Because, really, it is. Here we have a summer blockbuster delivering exactly what it should, and setting a pretty high benchmark for the rest of the season.

Grade: B+

•••

While I’m on the subject of comic books, I’ve recently started reading a series by Caitlin R. Kiernan titled “Alabaster: Wolves,” from Dark Horse. If you’re in a comic shop, I highly recommend picking up issues #1 and #2. They’re well worth the time.

 

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Movie review: ‘The Artist’ (2011)

Posted on March 23, 2012 by Joel Crabtree

In theaters

“The Artist,” written and directed by Michel Hazanavicius, 100 minutes, rated PG-13.

In the always-evolving and opportunistic world of Hollywood, it can be difficult to gauge which cinematic innovations are genuine advancements in the medium, and which are merely gimmicks intended to dig into consumers’ wallets. Writer-director Michel Hazanavicius takes a look into this with his black-and-white silent film “The Artist,” the favorite to win Best Picture at this year’s Academy Awards.

In the late 1920s, actor George Valentin (Jean Dujardin) was a king among actors in the silent picture era, receiving standing ovations at sold-out shows and winning audiences over with his charming personality and pizzazz. And he was able to do it all through facial expressions, muted gestures and title cards.

But Valentin becomes the victim of his own stubbornness, insisting on not compromising his art and refusing to adapt with the industry as talking pictures take over Hollywood. As Valentin’s star fades, that of Peppy Miller (Berenice Bejo), a little-known actress Valentin once advised when he was in his prime and she was just getting started, begins to rise. Their destinies become intertwined as Peppy remains the only one in Hollywood still starstruck by Valentin, fascinated by him and his work.

For Hazanavicius, “The Artist” is an exercise in filmmaking that pays off, proving that good cinematic storytelling is the same whether the film is silent, black and white, color or 3-D. Hazanavicius keeps the narrative of Valentin’s fall from grace simple and accessible, but the running time feels a bit excessive at 100 minutes, taking an unfitting detour into dark territory as Valentin dwells a little too long on his post-talkie depression.

With that said, for the most part “The Artist” is an absolute joy to watch, thanks in large part to Dujardin and Bejo. Dujardin, who until now was a little-known French actor from Hazanavicius’ “OSS 117” series, takes full advantage of a once-in-a-lifetime role as Valentin, transforming himself into the amiable entertainer who wows audiences within the film, as well as those watching it. Bejo does the same, and the two have a natural chemistry that helps bring “The Artist” together. Needless to say, whether or not either one takes home an Oscar on Sunday, they earned their nominations.

While it’s not one of my favorites from 2011, it’s easy to see how “The Artist” has become the leader in this year’s Oscar race. It’s original, well-made and a lot of fun to watch.

Grade: B

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Complete Oscar predictions from Joel Talks Movies

Posted on February 26, 2012 by Joel Crabtree

2012 Oscar Predictions:

Best Picture
“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

My Prediction: “The Artist”

Best Director
Woody Allen, “Midnight in Paris”
Michel Hazanavicius, “The Artist”
Terrence Malick, “The Tree of Life”
Alexander Payne, “The Descendants”
Martin Scorsese, “Hugo”

My Prediction: Michel Hazanavicius, “The Artist”

Best Actor
Demian Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker Tailor Soldier Spy”
Brad Pitt, “Moneyball”

My Prediction: Jean Dujardin, “The Artist”

Best Actress
Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl With the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week With Marilyn”

My Prediction: Viola Davis, “The Help”

Best Supporting Actor
Kenneth Branagh, “My Week With Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max Von Sydow, “Extremely Loud & Incredibly Close”

My Prediction: Christopher Plummer, “Beginners”

Best Supporting Actress
Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

My Prediction: Octavia Spencer, “The Help”

Best Animated Feature Film
“A Cat In Paris”
“Chico & Rita”
“Kung Fu Panda 2″
“Puss in Boots”
“Rango”

My Prediction: “Rango”

Best Foreign Film
“Bullhead,” Belgium
“Footnote,” Israel
“In Darkness,” Poland
“Monsier Lazhar,” Canada
“A Separation,” Iran

My Prediction: “A Separation”

Best Original Screenplay
“Midnight in Paris”
“Margin Call”
“A Separation”
“The Artist”
“Bridesmaids”

My Prediction: “Midnight in Paris”

Best Adapted Screenplay
“The Descendants”
“Hugo”
“The Ides of March”
“Moneyball”
“Tinker, Tailor, Soldier, Spy”

My Prediction: “Moneyball”

Best Art Direction
“The Artist”
“Harry Potter and the Deathly Hallows Part 2″
“Hugo”
“Midnight in Paris”
“War Horse”

My Prediction: “Hugo”

Best Costume Design
“Anonymous”
“The Artist”
“Hugo”
“Jane Eyre”
“W.E.”

My Prediction: “The Artist”

Best Original Song
“Man or Muppet” from “The Muppets”
“Real in Rio” from “Rio”

My Prediction: “Man or Muppet” from “The Muppets”

Best Original Score
“The Adventures of Tintin”
“The Artist”
“Hugo”
“Tinker Tailor Soldier Spy”
“War Horse”

My Prediction: “Tinker Tailor Soldier Spy”

Best Documentary
“Hell and Back Again”
“If a Tree Falls: A Story of the Earth Liberation Front”
“Paradise Lost 3: Purgatory”
“Pina”
“Undefeated”

My Prediction: “Pina”

Best Film Editing
“The Artist”
“The Descendants”
“The Girl with the Dragon Tattoo”
“Hugo”
“Moneyball”

My Prediction: “The Artist”

Best Cinematography
“The Artist”
“The Girl With the Dragon Tattoo”
“Hugo”
“The Tree of Life”
“War Horse”

My Prediction: “The Tree of Life”

Best Makeup
“Albert Nobbs”
“Harry Potter and the Deathly Hallows Part 2″
“The Iron Lady”

My Prediction: “Harry Potter and the Deathly Hallows Part 2″

Best Sound Editing
“Drive”
“The Girl with the Dragon Tattoo”
“Hugo”
“Transformers: Dark of the Moon”
“War Horse”

My Prediction: “Hugo”

Best Sound Mixing
“The Girl with the Dragon Tattoo”
“Hugo”
“Moneyball”
“Transformers: Dark of the Moon”
“War Horse”

My Prediction: “Hugo”

Best Visual Effects
“Harry Potter and the Deathly Hallows Part 2″
“Hugo”
“Real Steel”
“Rise of the Planet of the Apes”
“Transformers: Dark of the Moon”

My Prediction: “Rise of the Planet of the Apes”

Best Documentary (short)
“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement”
“God Is the Bigger Elvis”
“Incident in New Baghdad”
“Saving Face”
“The Tsunami and the Cherry Blossom”

My Prediction: “The Tsunami and the Cherry Blossom”

Best Short Film (animated)
“Dimanche/Sunday”
“The Fantastic Flying Books of Mr. Morris Lessmore”
“La Luna”
“A Morning Stroll”
“Wild Life”

My Prediction: “La Luna”

Best Short Film (live action)
“Pentecost”
“Raju”
“The Shore”
“Time Freak”
“Tuba Atlantic”

My Prediction: “Raju”

Agree with my predictions? Disagree? What do you think will win?

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Movie review: ‘The Secret World of Arrietty’ (2012)

Posted on February 19, 2012 by Joel Crabtree

In theaters

“The Secret World of Arrietty,” written by Hayao Miyazaki, Keiko Niwa and Mary Norton (novel “The Borrowers”), directed by Hiromasa Yonebayashi, 94 minutes, rated G.

Based on “The Borrowers” by Mary Norton, “The Secret World of Arrietty,” tells the tale of Shawn (voiced by David Henrie), a young boy battling a life-threatening heart disease, who moves out to his mother’s old house in the country for a summer of peace and tranquility before a serious operation determines his fate.

On his first day there, Shawn gets a glimpse of a doll-sized girl, Arrietty, (voiced by Bridgit Mendler) known as a Borrower. She and her family have inhabited the house for generations, living off of stolen items such as buttons, crackers and cubes of sugar that humans won’t notice if they go missing. Against the will of her parents, Arrietty begins to trust Shawn and build a friendship with him, endangering their secret life under the floorboards.

As with every Studio Ghibli feature, such as “Spirited Away” or “My Neighbor Totoro,” “Arrietty’s” animation if gawk-worthy, as director Hiromasa Yonebayashi takes full advantage exploring the wondrous, scaled-down world of the Borrowers. The day-to-day living of these tiny people – venturing out on borrowing missions, evading cats and mice, and finding uses for our household knickknacks – is as engrossing as the animation.

However, Disney attempts to Americanize “Arrietty” without damaging its integrity too badly. Instead, we get a compromised mash-up of East and West that feels a little disoriented. The film’s dialogue and score, along with some Japanese-inspired ballads, will struggle to win over mainstream American audiences, while the voice acting will alienate die-hard anime fans. For Disney, there’s really no winning.

Mendler and Will Arnett are well cast as Arrietty and her father, Pod, while Amy Poehler brings too much eccentric energy to Arrietty’s mother, Homily, and Henrie’s trademark “Wizards of Waverly Place” tomfoolery is stifled by the ailing Shawn’s somberness. Sadly, Henrie, whose future looks bright in Hollywood, is just the wrong guy for the job here.

This inconsistency in voice acting is just another reason foreign films should be subtitled and never dubbed, and probably a reason most anime enthusiasts will avoid “Arrietty” in theaters. Or they saw it months ago before it even hit American multiplexes.

But for the rest of us who have little to no idea what “Naruto” or “Bleach” are, and have hardly scratched the surface of what Studio Ghibli has to offer, there’s too much good in the pint-sized world of “Arrietty” to ignore. Even with the dubbing.

Grade: B-

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Movie review: ‘The Vow’ (2012)

Posted on February 16, 2012 by Joel Crabtree

In theaters

“The Vow,” written by Jason Katims, Abby Kohn, Marc Silverstein, Michael Suscy and Stuart Sender (story), directed by Suscy, 104 minutes, rated PG-13.

The heart of any good on-screen romance comes from the chemistry of its two leads. Strangely, this year’s token Valentine’s Day release, Michael Suscy’s “The Vow,” goes against that adage by using amnesia as a wedge between the film’s couple. It’s a cheap plot device that never seems to go out of fashion.

A car accident leaves Paige (Rachel McAdams) in a coma and with serious damage to her brain. When she wakes up, she has forgotten her husband, Leo (Channing Tatum) entirely – from the moment they met to their marriage. With her memory of Leo wiped clean, Paige begins to use her estranged and wealthy family as a crutch, trying to regain her missing years while distancing herself from the love of her life in the process.

Giving up hope on trying to bring back her memories, Leo decides to go all out to get Paige to fall back in love with him. These are the moments that would make the most devout Valentine’s Day opponent smile. But Paige’s thought process regresses to that of a pre-teenage girl, making irrational decisions that don’t add up to her close friends or the audience. This is the film’s most frustrating aspect.

“The Vow” ultimately turns into a showcase for Tatum to woo the audience more than his leading lady, pushing the bubbly Paige out of the way. While McAdams, an actress with a more established track record than her counterpart, struggles to find the right tone for Paige, Tatum fits as Leo.

Tatum, who has spent most of his career bouncing back and forth between being an action hero and a heartthrob, has left many movie-goers questioning his range. I would urge anyone in this camp to compare Leo in “The Vow” to Antonio in “A Guide to Recognizing Your Saints,” and see just what Tatum is capable of.

That’s not to say the material here challenges Tatum in the least, nor will it challenge viewers. It’s a popcorn love story that is fairly benign when compared to Katherine Heigl’s filmography – a Nicholas Sparks’ story without the sap, or a romantic comedy that doesn’t quite succumb to the cookie-cutter mold prevalent in Hollywood. Backhanded compliments aside, it’s Tatum’s charisma that really carries “The Vow.”

Grade: C

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Movie review: ‘The Grey’ (2012)

Posted on February 2, 2012 by Joel Crabtree

In theaters

“The Grey,” written by Joe Carnahan, Ian Mackenzie Jeffers (screenplay and short story “Ghost Walker”), directed by Carnahan, 117 minutes, rated R.

When “The Grey,” the latest movie from Joe Carnahan (“Smokin’ Aces,” “Narc”), pits man against nature, it loses the battle, bogged down by predictability and action cliches. But when it pits man against self, the film finds its soul.

Ottway (Liam Neeson) is living as an outcast working for an oil business in Alaska alongside some of society’s other rejects, for one reason or another. He’s a salaried killer of wolves, whose new existence at the end of the world revolves solely around life and death – both of which he treats with respect.

When a passenger plane occupied by Ottway and his roughneck colleagues goes down in the Alaskan wilderness, a small group of survivors are left to fend for themselves with few supplies and even less hope. Their morale takes a nosedive when they discover they’ve landed in territory occupied by wolves.

Under the guidance of Ottway, the team heads for the woods in hopes of retreating from their predators, but when the pack continues its pursuit, the concept of survival gets further out of reach.

The film picks off its survivors one by one, creating a deadly obstacle course surrounded by hungry, angry wolves ready to pounce on their prey without a moment’s notice. The structure, which is more horror than action, spoon-feeds viewers eager for cheap thrills and forced sympathy.

Behind that, however, there are philosophical undertones of life and death, survival and giving up, fear and courage, but most importantly, facing the present rather than being haunted by the past. Those themes intensify as Ottway’s true self comes to light, and as the wilderness becomes a much lonelier place. It all leads up to a bold and divisive conclusion that will leave you speechless.

Carnahan, a filmmaker known for his messiness and grit, shows surprising focus in his direction, and actually allows for a cohesive story to come through in “The Grey.” It’s something we haven’t seen from the director since 2002′s “Narc.” Neeson, whose popularity has exploded in the last couple of years, is stoic as always, lending a coldness and tenseness to Ottway that the actor only brings out on rare occasions.

“The Grey” has a way of pulling its punches for the sake of entertainment, and it’s a shame considering the film’s potential. But when you break through all those layers that emulate Stallone’s “Cliffhanger” or Arnold’s “Predator,” there’s a film here that will push you.

Grade: B-

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Movie review: ‘Tinker Tailor Soldier Spy’ (2011)

Posted on January 15, 2012 by Joel Crabtree

In theaters

“Tinker Tailor Soldier Spy,” written by Bridget O’Connor, Peter Straughan and John le Carre (novel), directed by Tomas Alfredson, 127 minutes, rated R.

The difference between good and great espionage thrillers can be like night and day. “Tinker Tailor Soldier Spy” is a great espionage thriller, putting those “good” films in the genre far in its rear-view.

The film avoids the cheap trickery, twists and turns that so many lesser-minded thrillers fall back on these days. Director Tomas Afredson builds the tension and drama through his characters, without the implementation of forced plot devices and fast-paced editing.

Gary Oldman plays George Smiley, a veteran spy in Cold War-era London who is exiled from the highest tier of England’s Secret Intelligence Service (known as “The Circus”) alongside his overseer, Control (John Hurt), after a botched mission in Budapest. Shortly thereafter, the government taps Smiley to anonymously infiltrate The Circus and carry out Control’s mission of uncovering a Soviet mole hidden among his former colleagues.

The Circus, still reeling from the Budapest mission that left agent Jim Prideaux (Mark Strong) physically and emotionally wounded, is made up of Percy Allelin (Toby Jones), Toby Esterhase (David Dencik), Roy Bland (Ciaran Hinds) and Bill Haydon (Colin Firth). There’s an air of suspicion that each one carries — but is it actually present, or just a figment of our imagination borne from Smiley’s paranoia?

“Tinker Tailor Soldier Spy” studies the fine line separating friends and foes, loyalty and betrayal, truth and fiction. Alfredson emphasizes this with recurring scenes from a Christmas party years in the past, which begins free of suspicion, and evolves into an effective plot device that reveals much about The Circus.

With characters that are so guarded and layered, Alfredson assembles a cast of some of the finest actors working today: Oldman, Firth, Jones, Hines, Dencik, Strong, Hurt, Benedict Cumberbatch, Tom Hardy, Stephen Graham and Christian McKay.

Oldman’s Smiley is a fascinating character, a man who bides his time thoughtfully, meticulously choosing his spots to best his compatriots at the game they’re all playing. Smiley becomes a puppet master — always present, but hardly ever front-and-center. Or maybe it’s a role that Smiley plays from the onset.

Much like the spy subjects of his film, Alfredson keeps his distance from Smiley and company, methodically shooting them like a voyeur, watching the story slowly come into focus. There’s a patience to “Tinker Tailor,” but don’t let that fool you into believing that it’s slow or boring. It’s very much the opposite — a smart, gripping thriller that strings you along until its final moments. If ever there were a movie that could be described as a page turner — a term sadly inapplicable for obvious reasons — it would be “Tinker Tailor Soldier Spy.”

Grade: A

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Movie review: ‘The Innkeepers’ (2011)

Posted on January 13, 2012 by Joel Crabtree

In theaters and On Demand

“The Innkeepers,” written and directed by Ti West, 100 minutes, rated R.

By Anthony Crabtree, Guest Blogger

I remember the first time I read about Ti West — it was in a Film Comment article about the mumblecore movement. West’s name was mentioned briefly at the end as someone who is part of the mumblecore movement, but who works in the horror genre. Intrigued by this idea, I sought out his first feature length film, “The Roost.” If not a perfect film, it still worked, and it attempted to connect with the audience through nostalgia and realistic characters — something long missing from the horror genre.

In a similar vein, “The House of the Devil,” the second film from West, was an ’80s-inspired horror film that fans had been longing for, and the movie found more critical success than “The Roost.”

West’s fifth feature-length film, “The Innkeepers,” centers around the Yankee Pedlar Inn, a hotel believed to be haunted that is on the verge of closing its doors for good. Two of the hotel’s employees, Claire (Sara Paxton) and Luke (Pat Healy), are the only staff members on duty during the hotel’s last weekend, and they’re determined to record evidence of ghosts inside the premises.

The concept is simple and classic, but one of the ways “The Innkeepers” elevates itself above most other horror films is by creating unique and genuine characters that West has become known for. In this case we have Claire, an easily excitable and easily scared asthmatic, a combination that allows for both moments of comedy and intensity. Paxton does an outstanding job in this role, never going over the top, and finding the perfect approach to make her humorous and likable. Similarly, Pat Healy could have gone for a stereotypical nerd with Luke, but he never takes the performance too far into that territory, opting more for sincerity than leaning on cliches.

Along with the cast, the film’s location is straight out of a classic haunted house movie. The Yankee Pedlar Inn, which is a real hotel, has an eerie look that is almost indescribable. The wallpaper lining the rooms seems like something you might find in Robert Wise’s “The Haunting” or even Kubrick’s “The Shining.” West takes advantage of his location, creating tense shots by simply going down hallways or exploring areas of the hotel in the dark.

One portion involves Claire attempting to capture EVP (electronic voice phenomenon) by herself in the dark hotel. Starting out in the laundry room, she moves her microphone slowly to and fro, all the while the camera follows her microphone, hearing everything that it’s pointing at. She travels through different rooms, slowly moving her microphone, and the entire time there’s an ominous feeling in the air, dreading what she (and in turn, we) could discover. Even when she’s only hearing static, the lack of noise creates suspense. Not to mention, things actually become frightening when she does begin to hear things in this large, nearly empty hotel.

West has crafted a piece of cinema that is unlike anything we see today, especially in the horror genre. His trick is to focus on creating endearing and relatable characters, which then lends a heightened level of tension to every scene or situation because, to the viewer, they matter Simply put, “The Innkeepers” is one of the best haunted house movies I’ve seen in years. While “Insidious” was fun, and the “Paranormal Activity” series is mostly passable entertainment, Ti West has achieved something much greater.

Grade: A

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The 10 best movies from 2011

Posted on January 8, 2012 by Joel Crabtree

Looking ahead from 2010 to 2011, the cinematic landscape looked suspect. The summer schedule was crammed with even more blockbusters than usual, as studios looked to continue or create a franchise or two every week. Some, like “Rise of the Planet of the Apes” and “X-Men: First Class” exceeded expectations. Others didn’t fare so well – namely “Green Lantern.”

But as the year progressed, it became clear that some of the best films from 2011 had been released earlier in the year, sitting right underneath my nose just waiting for the credit they deserve. “Certified Copy,” “Incendies” and “Midnight in Paris” are just a few examples of movies released in the first half of 2011, while fall brought its usual competitive lineup looking to generate early Oscar buzz.

So, for the sake of reducing my rambling, here are the 10 best movies I saw last year … and some honorable mentions:

10. Hugo: Within Martin Scorsese’s adaptation of Brian Selznick’s “The Invention of Hugo Cabret,” there’s a not-so-subtle call for support of film preservation – a subject that is dear to the filmmaker. The movie also encourages both young and old alike to find their passion in life and pursue it, much like Scorsese has. Morals of the story aside, “Hugo” is a piece of cinematic magic, and Scorsese shows audiences that in the right hands 3-D technology can go beyond the gimmick that it’s become, and have some artistic value.

9. Drive: Ryan Gosling owned 2011 – even if People Magazine didn’t realize that when they named Bradley Cooper as the year’s Sexiest Man Alive. Way to go editorial staff, you really missed the boat on that one.

In all seriousness, Gosling took chances in 2011 that most actors in his position wouldn’t dare to – particularly with his lead role in Nicolas Winding Refn’s “Drive.” It’s stylish and gruesome in a way we’ve come to expect from Refn (“Valhalla Rising”), and it reaches into existentialism through its lead character (named Driver), and its depiction of Hollywood. Albert Brooks delivers one of the best supporting performances of the year, and Gosling is absolutely perfect as the wheel-man.

8. Martha Marcy May Marlene: Independent cinema is alive and well, and Sean Durkin’s “Martha Marcy May Marlene” was a leading example of that in 2011. One of the most talked about movies coming out of Sundance, “Martha Marcy May Marlene” is a breakthrough for both Durkin and the movie’s star, Elizabeth Olsen – sister of Mary-Kate and Ashley. The way Durkin weaves together Martha’s story, along with her many identities, is so well-crafted, and the film is so well acted, that it’s impossible not to get sucked into the world of “Martha Marcy May Marlene.”

7. Melancholia: The antithesis of sunshine and rainbows, “Melancholia” is a true work of art from writer-director Lars von Trier. His look at one woman’s depression while the apocalypse looms over the world is unlike anything else you’ll see this year. Kirsten Dunst, whose career has been filled with extreme highs and lows, shows with her performance as Justine that she might just have a career with unexpected longevity. When she puts her mind to it, the girl can really act. So can Charlotte Gainsbourg.

6. Beginners: Mike Mills’ semi-autobiographical film takes an honest and personal look at relationships and delivers one of the most endearing father-son relationships on film in 2011. Christopher Plummer is extraordinary as Hal, a father and widower who comes out as gay at the age of 75, after years and years of pretending to be a happily straight man. For the first time in his life, Hal is content, finally able to be himself. With this new revelation, Hal’s son, Oliver (Ewan McGregor) is forced to re-evaluate his own love life. As I’ve stated before, “Beginners” is quite possibly my favorite kind of movie, perceiving life as neither an outright comedy or tragedy, but finding a delicate balance between the two.

5. The Descendants: I’ve come to the conclusion that you’re either on board with Alexander Payne’s style of filmmaking or you’re not. I’m on board, which means underneath my 26-year-old exterior I’m likely a confused, slightly neurotic middle-aged man in the midst of a major life crisis. This time around, Payne draws a brilliant performance from George Clooney, as he sticks his character Matt King, a descendant of Hawaiian royalty, between a rock and hard place in his personal and professional lives. For Matt, there is no such thing as a winning situation. After “Sideways,” “Election” and “About Schmidt,” it’s no wonder why Payne was drawn to this story.

The director also has a knack for casting the right actors just where they need to be – Clooney, Shailene Woodley and Nick Kruase all give stand-out performances.

4. Midnight in Paris: This year’s entry from Woody Allen, “Midnight in Paris” is a movie for dreamers and romantics, which is probably one of the reasons I found it so appealing. Lighthearted with philosophical undertones, the film is just plain irresistible. Owen Wilson clicks with Allen’s vision, and is deserving of Oscar talk, as is Corey Stoll for his performance as Ernest Hemingway.

3. Margin Call: “Margin Call” is the best thriller I’ve seen since 2007′s “Michael Clayton.” The writing, with its pacing and precision, will remind you of David Mamet’s “Glengarry Glen Ross.” It also doesn’t hurt that writer-director J.C. Chandor assembled an all-star cast made up of Kevin Spacey, Paul Bettany, Stanley Tucci, Jeremy Irons, Zachary Quinto, Simon Baker, and Penn Badgley. Yes, that Penn Badgley. It would be an injustice for Kevin Spacey to get overlooked for a Best Supporting Actor nomination at the Academy Awards. It’s one of his best performances in years.

2. Incendies: Denis Villneuve’s “Incendies” isn’t an easy movie to watch, but it’s well worth the journey. The film sends two twins from Quebec (Melissa Desormeaux-Poulin and Maxim Gaudette) on an expedition to the Middle East to discover their dead mother’s (Lubna Azabal, who will blow your mind) horrific and graphic past in a region of the world torn apart by war and religious differences. What they find is both moving and unsettling. When you reach the end of their story, it will take your breath away and haunt you for months to come. It certainly did for me.

1. Certified Copy: “Certified Copy” is a gem of a movie that comes along once every 10 years or so. It’s a small story with big ideas – it’s a conversation between Elle (Juliette Binoche) and British author James (William Shimmell) as she leads James through the Italian village of Lucignano while on his book tour. Their discussion moves from a debate about the differences between original artwork and imitations – the subject of James’ book – to slowly uncover a much deeper connection between the two. Writer-director Abbas Kiarostami knows exactly how to lure us in with the most engaging dialogue and direction of the year.

Honorable Mentions: 13 Assassins, Another Earth, Cold Weather, Harry Potter and the Deathly Hallows: Part 2, Like Crazy, J. Edgar, Senna, Source Code, Tinker Tailor Soldier Spy, Uncle Boonmee Who Can Recall His Past Lives, Warrior, X-Men: First Class.

On the Facebook page for Joel Talks Movies, Hailey from Hailey Tash Photography shared her top 10 list as well. If you missed it on Facebook, take a look below:

1. Drive
2. Take Shelter
3. Beginners
4. Melancholia
5. Another Earth
6. Bridesmaids
7. Jane Eyre
8. Kung Fu Panda 2
9. The Debt
10. Martha Marcy May Marlene

Honorable Mentions: Hugo and I Am Number Four

So what were some of your favorite movies of 2011? Join the conversation and share your comments below, or like Joel Talks Movies on Facebook and let us know what you think.

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