Top 10 for 2009 Redux (with some thoughts)

2009 was, somewhat unexpectedly, a year full of animated/3-D/adult-children's films. From early on in the year with Coraline to the yearly dosage of happiness that comes in the form of Pixar, to young, white male directors taking on children's classics (Where the Wild Things Are and Fantastic Mr. Fox, respectively) to the amusement park-like spectacle that is Avatar. Though I was still keeping up with arthouse films as well as the occasional big budget Hollywood fare, my theater-going experiences have been predominantly filled with talking animals, monsters, and children. And it's strange, because reflecting on all of these kiddie films, I always had a good time.

But is this a step forward or a step back?

There is a sense of abandon when you put on these aesthetically ridiculous 3-D glasses and sink into the plush megaplex seats, a surrender to the impulses of your inner child and the need to be filled with awe and wonder. Yet, where do these movies fit into the larger picture of Cinema (yes, with a capital "C"), and how much does the need to be thrilled like a child matter? At times I find it increasingly difficult to gauge what I think of a movie that I enjoyed in the way I enjoyed Avatar, which thrilled me the way a roller coaster would, but when analyzed critically is an amalgamation of cliches that depend entirely on its visual prowess. Or what can I say about Where the Wild Things Are? Is it good according to how much it makes me feel like a child when watching it?

Am I being dumbed down? Does giddiness and ooh-la-la graphics compensate for a lack of narrative bravery or creative editing or framing or shots? Or am I just being hyper-critical and missing the point?

Perhaps its a trend of nostalgia for simpler times and simpler entertainment amidst the complications of economic strife and the ever-increasing mess of a 6+ year war. Perhaps Pixar has shown other movie makers that old-fashioned storybook charm (and cutting-edge graphics) can still make money. Perhaps it's just coincidence. In any case, the surplus of kid cinema makes it difficult to determine what makes a movie good, or at least one better than the other -- as if every movie should make me giddy instead of thoughtful. It's not a new problem, but I feel the distinction between feel-good and just plain good movies is even more blurred this year.

So I present my list for fave movies of 2009, the criteria of which I haven't completely figured out yet. Kid cinema and serious cinema holding hands.

1. Inglourious Basterds dir. Quentin Tarantino
Tarantino writes a fantastic character that is played by an even more fantastic actor (Christoph Waltz, God bless you) in a bloody, messy film that is filled with movie love. Maybe the most cinematic film I've seen all year, Tarantino uses the language of film in ways that many film directors have long forgotten. Great set pieces, great tension. And Christoph Waltz, Christoph Waltz, Christoph Waltz!

2. Fantastic Mr. Fox dir. Wes Anderson
Of all the kid cinema I've enjoyed this year, Mr. Anderson perhaps got it the best. Maybe he has the advantage of his auteur name and attached stylistc/thematic expectations, but I felt the tone was exactly right. It didn't simply allow for the expression of his quirks, but it balanced adult themes of family life and aspiration with the endearing qualities of stop motion animation. And it was very, very funny.

3. Up dir. Pete Docter and Bob Peterson
God, I don't know what to say. I'm almost sick of seeing Pixar films in my top 10s. It's like I almost resent Pixar for being so consistently able to steal my heart year after year. Yet here it is, another glorious winner.

4. Two Lovers dir. James Gray
One of the last films I saw this year, and one of my favorites. I think my response to it was so strong because I was desperate for something earnest, something serious. It is character study and a bit of a romance drama and the narrative is nothing revelatory, but the subtle style in which it is filmed and acted is a big breath of fresh air. A ballsy film that aims to be romantic and serious cinematic art -- and, in my opinion, is exactly that. It also presents the idea that life is often a compromise, though not always a terrible one, an idea I love.


5. The White Ribbon dir. Michael Haneke
Exquisitely shot and composed, with a austere kind of beauty reminiscent of Bergman, Haneke's film is haunting and enigmatic. Perhaps overloaded with Meaning and Art, but who cares -- the mystery and brutality of this small town is fantastically engaging.

6. The Hurt Locker dir. Kathryn Bigelow
An incredibly tense and terrifying modern war film in which heroism and insanity are fed by the same adrenaline glands. I started to sweat at some points of this film, and the theater was quite chilly.

7. Adventureland dir. Greg Mottola

Surprisingly well-done with authentic pieces of dialogue and emotion. Not to mention a killer soundtrack that bookends with The Replacements.


8. Anvil! The Story of Anvil dir. Sacha Gervasi

The most emotionally-charged film of the year for me, certainly. I love stories that have to do with the very American ambition for success -- and how it can repeatedly fail to pay off. A movie about the bonds of friendship, living with integrity, and the guts (stubbornness? stupidity?) to keep trying.

9. Public Enemies dir. Michael Mann
Though it is absolutely flawed and ultimately a little disappointing, I couldn't help but be incredibly taken in with this odd, inappropriate(?) take on a '30s gangster period picture. The tone was so strange, so somber, and at times flat, that it made it even more intriguing to me. I would definitely see this a few more times.

10. Avatar dir. James CameronAs far as movie-going experiences this year, Avatar is a highlight. The use of 3D in Cameron's film went beyond expectations and managed a level of depth that felt like a new world had really been created (despite the simple silliness of the story).

Runners up: Coraline, Where the Wild Things Are, Star Trek, An Education, A Serious Man, Police, Adjective, The Headless Woman, Bright Star