2011 as a movie year

'twas all right.

I can't help but be underwhelmed by a year that didn't supply anything to my list of favourite films of all time. 2009 gave me The Princess and the Frog and 2010 introduced me to Scott Pilgrim. This year didn't really have a definite stand-out best film for my tastes.

As far as drama goes, Drive and The Girl with the Dragon Tattoo were the best that I saw, representing the opposite virtues of minimalism and... blockbuster-ism.

In action, Tintin was the best. Captain America gets a honourable mention for managing to do well worldwide, while apparently North America couldn't care less for Tintin.

Even my more optimistic movienut friend was willing to admit that this was a poor year for comedy. Paul was the best that comes to mind, and though it's a pretty good film, the general level of humour was low. Midnight in Paris gets the honourable mention for Adrien Brody as Salvador Dalí, the best one-scene performance of the year by far.

Immortals was the shittiest film I saw. Transformers 3 was really bad too, but somehow I can't really get emotional about a Transformers movie being bad anymore at this point.

I don't really care that much for Oscars, myself, so no comments about my guesses or bets regarding the nominations and victories there.

Well, that's it for 2011. Let's see what 2012 has in store! Avengers, The Dark Knight Rises, The Hobbit and Prometheus seem to hold a lot of promise.

PS. 13 Assassins was left unmentioned in this post because it saw its original Japanese release in 2010. If it was a 2011 movie, it'd be the best one.

Midnight in Paris

The best movie poster yet on this blog.

Gil Pender (Owen Wilson) is an indecisive, gibbering Hollywood screenwriter, and a hopeless romantic. While visiting Paris with his fiancée Inez (Rachel McAdams) and the in-laws, he realises that he's in love with the city, its rich culture and history. This annoys his missus-to-be, as she's planning on moving to Malibu. When taking a walk on the streets at nighttime to escape Inez's annoying acquintances, he stumbles upon an antique car that takes him to 1920s Paree, where everyone is famous and restaurants serve free champagne to bohemian artists and authors. Gil embarks on a journey of reflection and discovery, and has to come to realise how what he sees in the past applies to his own life.

Midnight in Paris is the first Woody Allen film I've ever seen. Despite having this hole in my filmbuff-cred, I'm aware of Allen's style. The character of Gil is obviously written to be played by the director's younger self, and Owen Wilson was only hired as a stand-in. Wilson himself hasn't been in a single good movie before this that I'm aware of, but he's not that bad an actor. I love his body and facial acting, but the character can get a bit grating over time due to the neurotic tics and stuttering Allen is famous for.

The real showpieces of the movie are the music, the costuming, the supporting actors and Paris itself. The way the city is shot is like a really well done ad for tourism, and I won't blame anyone for wanting to visit Paris after seeing the film. The scenes taking place in the 1920s really have a sense of energy and a lust for life to them, and all the actors playing famous people from the past are magnificent. Corey Stoll as Ernest Hemingway will make you to ask: "Who is this actor and why isn't he in more movies?" Adrien Brody gets a one-scene part as Salvador Dalí, and he's by far one of the most memorable and hilarious things I've seen in a film in some time.

I know that all this talk about early 20th century culture may make some people nod their heads politely and start looking for another movie, but this film isn't really snobby or pretentious, per se. It's about a pretentious snob, to an extent, but I never felt like it was trying to distance itself from the laymen among the audience. In order to enjoy the movie, you don't really need to know more of Hemingway, Dalí, Zelda Fitzgerald and Pablo Picasso than that they existed, and were artists.

It's a mood movie, all about imparting the right emotions upon the viewers, but alas, it seems to take that as an excuse to neglect its story and characters. For a film that does a great bit of gushing over how great the artists of the -20s were, and honestly admiring the depth their works held, Midnight in Paris is a very straightforward movie. There is almost no ambiguity or subtlety about it. The main theme of the story is outright stated ten minutes before the credits, and the resolution is quite predictable. I dunno, maybe putting Hemingway in your movie makes me expect too much out of it, but I was kinda left asking: "That's it?"

So, to sum up, I liked the film. I can see why others would find it boring or annoying, but I still recommend giving it a chance if you think there's a chance you'll find it entertaining. As far as romantic comedies go, one could definitely do worse.