Half A Decade In Film – 2011

2011 seems so long ago now. It’s hard to imagine films even existing back then. The fields were all green, the sky unpolluted and movies were just a figment of the imagination.

That’s clearly not true. But certainly Failed Critics didn’t exist until the following year, so anything that went before it was obviously just practice until our arrival. Film criticism in particular wouldn’t reach its zenith until 2012 with the inception of this website (……)!

OK, so that might not be true either! Nevertheless, Liam, Paul, Mike, Andrew and Owen all return for another entry to our Half A Decade In Film series as they cast their minds back all those years and each take a look at their favourite film of 2011 as we continue with our Decade In Film spin-off series.


Source Code

© 2010 Vendome PicturesAny soldier I’ve ever served with would say that one death is service enough.

It seems insane to say it now, but I wasn’t always a Jake Gyllenhaal fan. Not least of all because just typing his name for this article brings up that obnoxious squiggly red line that tries to convince me that I can’t bloody spell!
I liked his earlier films. Brokeback Mountain and Jarhead are great. But for the most part they are great in spite of Mr Gyllenhaal’s inclusion. I tended to judge him more on rubbish films like The Day After Tomorrow and stuff I just didn’t like, like Donnie Darko and with those in mind I just never saw the appeal of Jake and his performances. Until I saw Source Code that is.

The weird thing is that Gyllenhaal’s performance wasn’t anything special! It wasn’t crap, but it was one of those times when you could name any number of half decent actors that do the role just as well. But the direction, was absolutely superb and anyone in the role of Gyllenhaal’s Army Pilot would have been great as Duncan Jones (the guy that made the excellent Moon) dragged the best out of everyone involved.

Gyllenhaal is Colter Stevens, an Army Pilot who’s last memory is of being on mission in Afghanistan. Suddenly waking up on a train opposite Christina Warren (Michelle Monaghan) he takes a few minutes to figure out what is going on and where he is. In those minutes, his train explodes and kills everyone on board.

Waking from the explosion like a bad dream, Stevens is told he is part of an experiment called “Source Code” and he is being used to stop a terrorist attack that is due to happen in the next few hours having already blown up a commuter train. He is being sent back to relive the last few minutes on that train and find the bomber.

Annoying and silly tacked-on “Hollywood” ending aside, what should be a so-so plot to an average screenplay (written by the guy that wrote Species 3 and 4, for Christ’s sake) is brought to brilliant life with Duncan Jones’ direction as Gyllenhaal thrillingly races against the clock time and time again in a sci-fi Groundhog Day with a shorter memory span, for a generation that’s grown up with The Matrix!

by Andrew Brooker (@Brooker411)


Super 8

super 8“According to my Uncle Seth, an accident like this is exceptionally rare.”

After the success of  JJ Abram’s Star Trek, there was a buzz about Super 8, a creature-feature which many now consider to be Abrams homage to the Spielberg films of the 80’s. There are some similarities that’s for sure; it uses the same heartbeat, the same suspense and creates a great character dynamic that some of Spielberg’s films have used. Yet it never really reaches the dizzy heights or emotions that those kinds of films hit. E.T broke your heart, The Goonies made you really care about a bunch of misfit kids, and Close Encounters left you in awe. Super 8 never gets there for me, yet that said it is still a great film and one which really does entertain me.

Abrams doesn’t just follow one Spielberg film, he amalgamates a collection of them. A group of friends: not as misfit as the Goonies but pretty close. The broken home: here the family is ripped apart by tragedy and the husband left to bring up his son in a haze of grief and loneliness. Friendships torn apart and rebuilt, romance and of course let’s not forget about the alien. The alien is along ET’s path, while it’s a bit more ferocious then ET, Abram’s alien is just as lost and alone has the little planet loving alien we all cried over (well some of us) back in the 80’s. Being held in captivity and under constant scrutiny and testing, all the alien wants to do is go home.

Once the alien escapes after the rather over-the-top yet quite spectacular train crash, the hunt is on, a town in fear, the military spinning the truth and we are back to Close Encounters. Objects going missing, strange sounds in the distance and of course we need one of the kids to go missing as well. Abram builds the tension from the train crash slowly and surely to he finally reveals his alien in all its glory. While I do like the final third of the film, the ending seems a little flat after everything which has come before it. I was just lacking a real connection to the alien, the kids or even the grieving father and son, and it just feels a nice and satisfactory end to the film, but it doesn’t really spoil it for me.

There isn’t really that much I dislike about Super 8 (except the end). It has a superb score from Michael Giacchino, some wonderful cinematography from Larry Fong and a really solid cast of kids and adults. Kyle Chandler is superb as the father, along with the gang of kids led by Joel Courtney and the wonderful Elle Fanning, they all give solid performances from a decent script. Visually the look of the film is stunning, the train crash without doubt one of my favourite scenes of the whole film. As I said Abram’s is channelling Speilberg but never really pulls it off completely but even so it’s a rather brave attempt and one of my favourite films of 2011.

by Mike Shawcross (@Shawky1969)


Rise of the Planet of the Apes

rise of the apesPlease, Mr. Jacobs! Lives are at stake! These are animals with personalities, with attachments!

I’ve written and talked extensively about my fondness for the Planet of the Apes films, book, comics, TV show and remakes. Most recently in my review of Dawn of the Planet of the Apes, I explain a little about the time I first saw Rise of… in the cinema upon its release (coincidentally on my birthday!)

At the time, I absolutely adored it. After the terrible trailer showing apes leaping off bridges onto helicopters, I half expected a dreadful, CGI filled blockbuster with less redeeming qualities than Tim Burton’s attempt to tell Pierre Boulle’s Monkey Planet tale. However, I was pleasantly surprised as this clever little sci-fi began to carefully tell a story of an old man with dementia, a potential cure being tested on an ape (Caesar) that begins to grow in intelligence, learns to communicate and, er, leads an uprising.

I’ve since watched it a couple of more times and although that surprise is obviously no longer present, it’s still no less entertaining. It’s everything that’s required of a sci-fi blockbuster. It’s got heart, a great story, decent performances (brilliant performances in the case of Andy Serkis and John Lithgow), an epic climax and it looks utterly breathtaking.

The fact that director Rupert Wyatt and his writers got the tone so absolutely spot on that it completely fits in with the Planet of the Apes franchise, yet felt fresh and modern in a way that some of the dated original sequels don’t any more, is testament to not only their ability, but also to the source material. Quite simply, as much as I loved Conquest of and Escape from, Rise of the Planet of the Apes is the best film in the series since 1968. And probably the best science fiction blockbuster released between District 9 and a certain Marvel movie a year later.

by Owen Hughes (@ohughes86)


The Yellow Sea

the yellow seaDon’t forget it. If you forget it, your family’s all dead.

One of my favourite Korean films is The Chaser (2008), the tale of a cop/pimp and a serial killer, which as the title suggests, has an awful lot of chasing. The team behind it, director (Na Hong-jin) and stars (Kim Yun-seok & Ha Jung-woo) team up again for The Yellow Sea. That the phenomenal The Chaser was a debut effort put The Yellow Sea top of my ‘to see list’ for 2011.

It’s a simple set up, gambling debt ridden cab driver is offered a way out of his problems……..go to Korea and kill someone. It takes a while to get going, and I can’t deny the simplistic plot is then burdened with a sub-plot about his wife and a small army of characters that you don’t care about or are just not fleshed out that well. So why do I love this film so much…?

…A good Korean gangster caper needs the following ingredients. A completely inept Police force, people being hit around the head repeatedly, ridiculous melodrama, no guns, the main protagonist being outnumbered to a ridiculous degree in fights and chase scenes and of course, close combat involving knives.

The Yellow Sea does all of this. It’s very, very stabby…..and axey….and er…large unidentified animal boney…if it can be used to beat, stab and kill people, it will be. Rivers of blood, things being chopped off, lots of screaming and of course….lots of chasing. This is to The Chaser, what The Raid 2 was to The Raid. All the fun of the first film is there, but they’ve shoe-horned in a proper film too.

I’ve seen this 3 times, this was my first look at the slimmed down directors cut for US audiences. I still don’t understand a lot of it, but you can’t help but enjoy spending time with the main characters, and that alone made this my favourite film of 2011.

by Paul Field (@pafster)


Le Havre

le havreYou don’t deserve such a good wife. You’re not worth her.” “No-one is, so I’ll do.

Written and directed by Aki Kaurismaki, Le Havre is a wonderfully karmic comedy drama set in the titular French port.

Marcel Marx is a financially struggling shoeshine who comes across a young Gabonese boy desperately trying to hide. The shipping container he and his compatriots stowed away had been delayed & diverted from its intended destination of London and opened by heavily armed immigration authorities. The boy, Idrissa, is the only member of the party to make a bolt for the door and get away.

The film follows Marcel’s struggles to help the boy evade capture and make his escape across the Channel to join his mother in London.

They face numerous obstacles; Marcel’s wife’s seemingly terminal illness, the media frenzy about immigration issues, the government authorities’ high profile crack down and the local police have Marcel marked down as chief suspect.

Those familiar with Kaurismaki’s work will recognise many of his signature touches. It’s a simple story about the basic, human decency of ordinary people. All his usual trademarks are present, the constant cigarette smoking, the dog, the importance of music and the wonderfully wry, deadpan humour.

One of the most interesting characters is Monet, the local Inspector. His morals and motives are far from obvious, you are kept guessing right to the end of the film. His encounters with Marcel are so uncomfortable. Is he speaking “Off Duty”, as he claims? Is he genuinely warning Marcel that the net is closing in out of compassion? Or is he slyly trying to wheedle out information by putting Marcel at ease? He brings to mind a slower moving, morose version of Columbo. Hardly surprising, as both are clearly inspired by Dostoevsky’s Porfiry Petrovich.

A highlight, maybe not entirely for the right reasons, is the Charity Concert performance of French recording artist Little Bob, making a cameo appearance. Imagine an elderly Ewok dressed in 1980’s biker leathers and you’re on the right lines.

The only slight disappointment in the whole film is the performance of Kati Outinen as Marcel’s wife Arletty. A truly superb actress, she is somewhat restricted by her character’s illness, but this is still far from the level of performance she’s given in any of Kaurismaki’s other films.

A hugely enjoyable film, with compassion and decency as its main themes.

by Liam (@ElmoreLTM)


Five films there that span a few different genres and continents but are all equally as excellent as each other, I’m sure you’ll agree. Or, maybe you don’t agree and think we’ve erroneously overlooked an obvious choice? Let us know in the comments section below. Otherwise, you’ll have to stew in your own angry juices until we return next week with five of our favourite films released in 2012.

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6 thoughts on “Half A Decade In Film – 2011”

  1. Since you asked:

    – Drive – which seems too obvious a choice, but c’mon, it’s pretty near perfect.
    – Take Shelter – for the foreboding.
    – The Adjustment Bureau – loved it at the time, but fear it might have dated badly.
    – Hanna – pretty much exclusively for Tom Hollander’s performance.
    – Goon – even though I know no-one in the world will ever agree with me.

    1. Take Shelter was *so* close to making the list. Haven’t seen the next two but yeah… Think you may be on your own with Goon. 🙂

      Drive, however, was probably closest of all those you mention. Although took me until a rewatch to truly love it. Good picks though!

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