Monthly Archives: January 2012

2011: In A Weak Year, There Are Still 10 Best Movies

1 Reply

2011 wasn’t necessarily a bad year for movies. Sure, it looks poor when compared to 2010, which boasted both “Black Swan” and “The Social Network.” Just like any other year, 2011 had too many great movies to fit on just one list but as always, I will try.

Choosing number one this year was difficult. I didn’t know what to choose, so I looked to my heart, my head, and my gut. My heart said “War Horse,” my head said “The Girl With the Dragon Tattoo,” and my gut said “Midnight in Paris.” Ultimately my heart won out, but it was a close battle. One of these days, I might have to abandon numbers and simply pick the ten movies I enjoyed most. But for now, these are the best movies of 2011:

1. War Horse- Once the ending credits rolled and I finally found the emotional strength to leave the theater, a thought immediately rushed into my head that was so contagious that it simply wouldn’t go away: “War Horse” is the year’s best movie. The common theme of 2011 was nostalgia and Spielberg brought “War Horse” past its roots into a tribute to the great film epics of the past. Every emotional note hits its mark seamlessly here. The ending itself is enough to reduce any film buff to tears. Its journey into the crushing soul of war and then back again is as rewarding a journey as you’ll take this year. Most times, I would deem a film like “War Horse” as a pandering attempt to win Oscars. This time, I call it the best film of the year.



2. Midnight in Paris- Every few years, Woody Allen has another supposed comeback. However, “Midnight in Paris” is the real thing, and it ranks near “Annie Hall” and “Hannah and Her Sisters” as one of his absolute best. A struggling writer (Owen Wilson, a perfect Woody Allen stand-in) vacationing in Paris looks for answers in the past, and through a thankfully unexplained gap in the space-time continuum, ends up in 1920s Paris, talking to the likes of Ernest Hemingway and F. Scott Fitzgerald. “Midnight in Paris” is the most thoughtful, inventive, and overall, entertaining comedy of the year. And it achieves both of these things by being neither too dark nor too light-hearted. No matter what city he is in, and no matter how old he gets, Woody Allen’s wit, insight, and grasp on human conversation never cease to amaze me.

Midnight in Paris (2011) // Woody Allen



3. The Girl With The Dragon Tattoo- I might have spoken a little too soon when I deemed this the best movie of the year a few weeks ago. Then again, Facebook isn’t necessarily the best form of communication. “The Girl With The Dragon Tattoo” is still among the most extraordinary films of the year. It’s an old fashioned film noir wrapped in crisp digital cinematography, a haunting score by Trent Reznor and Atticus Ross, and mesmerizing direction from David Fincher. It is most notable, however, for recreating Lisabeth Salander and making her the female hero the Digital Age. Rooney Mara gives the bravest performance of the year and in one scene, pulls off an act that is shocking even in a time when being shocking and controversial proves all the more difficult. Due to very poor scheduling during a crowded weekend at the end of the year, “The Girl With The Dragon Tattoo” still cannot find the audience it deserves. Yet, the sequel is still in the works. The more time I can spend with Salander and the rest of the “Dragon Tattoo” universe, the better.



4. Hugo- “Martin Scorsese made a children’s movie” was the hype surrounding the release of “Hugo.” What everyone should have been saying is, “Martin Scorsese made another classic.” “Hugo,” a movie about the preservation of movies, plays into this year’s theme of nostalgia. Perhaps Hollywood’s answer to trying to improve the state of movies was to look toward the past. If so, it is working. It also helped that “Hugo” is the only movie I’d encourage anyone go see in 3D, as it actually adds to rather than detracts from the story. It is the most entertaining lesson in film history you’ll ever get. “Hugo” might just give birth to a whole new generation of cinephiles.



5. Young Adult- Mavis (Charlize Theron), the young adult writer from which this movie gets its name, is like an odd mixture of Stephanie Meyer and Paris Hilton. She might be the least likable movie protagonist of the year, but Theron makes Mavis seem so genuine because Theron doesn’t seem to think too highly of her either. “Young Adult” is a turning point in the careers of director Jason Reitman and writer Diablo Cody; it is more in line with the ambiguity of “Up in the Air” and much less precious than “Juno.” “Young Adult” will be a good time capsule movie, as it so accurately portrays America in 2011 in both its disenchantment and its cultural excesses. Perhaps what the misleading advertisements for “Young Adult” should have shown is that this is a not a dark comedy about happiness, but rather a bleak one that shows that when people sugar-coat misery and loneliness, it only makes them feel worse. In a world where reality is processed into such simple comfort fantasies as a young adult novel, “Young Adult” is the jolt of reality that isn’t just for that kid who thought they were so loved in high school, but for a world of filmmakers who feel everything must have a happy ending…

Young Adult (2011) // Jason Reitman



6. 50/50- …but that doesn’t mean a happy ending is a bad thing. Great stories run on hope. “50/50″ is a cancer comedy about living. Writer Will Reiser turned his struggle with cancer at a young age into an unlikely story about beating the odds. The mark of change is letting a negative life experience influence change for the better, and there is no better way to reflect on the past than to find the humor in it. Everyone in the cast is totally in their element, most notably Angelica Huston, Seth Rogen, and Joseph Gordon-Levitt. The scene in which Gordon-Levitt shaves his head is the bravest thing I’ve seen an actor do on camera this year aside from what Lisabeth Salender does to get revenge on her tormentor. Funny, thoughtful, and spontaneous, “50/50″ is all the better for examining life through a comedic point of view. 

50/50 (2011) // Jonathan Levine



7. The Artist- “The Artist” is more than just that silent movie: it is the year’s most indelibly entertaining film. The clever sound and image play throughout bring “The Artist” to a whole different level of inventiveness. This is both a cinephile’s and a nostalgic’s paradise. This film is essentially timeless in scope and story. Its characters are broad yet so memorable. Leads Jean Dujardin (as George Valentin) and Berence Bejo (as Pepe Miller) have the best chemistry I’ve seen this year. Chemistry is when two actors play off each other naturally and even when the two aren’t together, there seems to be an electrifying force between them that will eventually bring them together. The third act might be a little overlong, but it is worth it for the ending, in which the true reason for Valentin’s refusal to speak is revealed.

The Artist (2011) // Michel Hazanavicius



8. Terri- One of the most overlooked movies of the year that is also one of the year’s best, “Terri” is a weird (in the best sense of the word) little story that is also weirdly inspired. Maybe no one wanted to see it because the idea of a protagonist who gets excited by watching a hawk catch its prey isn’t exactly enticing. Yet the always pajama-clad Terri (Jacob Wysocki) is funny and sincere in an unexpected way. The friendship he forms with the principal (John C. Reilly) feels the exact same way, which is why it was the most believable bond seen on screen this year. “Terri” in general doesn’t seem like the kind of movie that was ever after major awards or box office success. That’s why it feels so pure, and why the relationships it portrays feel so real.



9. Bridesmaids- Most critics put “Bridesmaids” on a ridiculous pedestal as the greatest achievement in feminism since women’s suffrage. Now that the buzz has subsided, “Bridesmaids” can finely step down and be recognized for what it is: an insanely hilarious and even touching big studio comedy. It took me a second viewing to realize that this is not a movie concerned about getting a story across, but rather about stretching a bunch of strange characters and awkward situations to their possible limits, an experiment just to see how long an audience can laugh for. This is why it is even better that they chose to let Kristen Wiig’s drunken airplane tirade go on instead of letting the girls go to Vegas. The astounding success of this movie is a triumph in many ways, especially because it fast-tracked the career of director Paul Feig (“Freaks and Geeks”) and showed that a raunchy but honest movie about friendship could connect with audiences. Kristen Wiig and Melissa McCarthy, welcome to stardom.

Bridesmaids (2011) // Paul Feig



10. The Tree of Life- Long after its release, “The Tree of Life” is still the most ambitious movie of the year. Even though I am still struggling to figure it all out, I continue to admire the beauty and subtle simplicity of Terrence Malick’s vision. As Malick’s career has advanced, his films have gotten bigger in scope, yet more obscure in message. By setting this story of a Texas family coming of age in the 1950s against the backdrop of dinosaurs and the creation of the Earth, the characters are not just products of that era in American history, but struggling, clashing creatures trying to find the answers to everything and only being able to guess as to where are the right places to look. If Malick is God of this film, then the camera is his non-judging lens looking onto all of humanity. “The Tree of Life” is neither a pretty Windows screensaver nor “The Tale of Scrotie McBoogerballs”, but rather the work of a famously private director who will only shares himself through his one-of-a-kind films.



Just Missed the List: Source Code, The Descendants, The Muppets, Crazy, Stupid, Love, The Guard, The Ides of March, Super 8

Worst: Cowboys & Aliens- This epically dull sci-fi blockbuster included an alien spaceship that resembled Squidward’s house. That is all.


Most Overrated: A Dangerous Method, Drive, Moneyball

Most Disappointing: The Rum Diary, Your Highness, 30 Minutes or Less

Still Need to See: Melancholia, A Seperation, Tinker Tailor Soldier Spy, Extremely Loud & Incredibly Close, Shame, Like Crazy, Take Shelter

All movie title card images were found on this awesome website.

Movie Review: The Artist

Leave a reply

Who would have thought that a modern black and white silent film could be funnier and more entertaining than most films made with sound and color nowadays? Sound might have been improved film, but “The Artist” proves that a step back into silence every once in a while isn’t such a bad thing.

For anyone resistant to seeing a silent film, “The Artist” is only partly one. It incorporates the orchestra that would usually play live alongside a silent film as well as a few incredibly clever sound tricks. “The Artist” is an “I’m big, it’s the pictures that got small” story about silent star George Valentin (Jean Dujardin), with a last name evoking Rudolph Valentino and a mustache and toothy grin evoking Clark Gable. In 1927, Valentin’s Hollywood career is soaring. He stars mainly in action and romantic pictures which usually boast names such as “A Russian Affair” and “A Chinese Affair.” His dog, who is always on his side in both movies and in life, probably plays dead better than most dogs.

Movies are all about those little coincidences that, like a butterfly effect, later have a huge impact. After leaving one of his premieres, Valentin bumps into a fan (Berence Bejo) with a made-for-Hollywood name: Peppy Miller. Her name, and pictures of the glance that the two exchange, is all over the tabloids the next day. In order to get closer to George, Peppy auditions to be a dancer in his next movie. As she gets her start, George teaches Peppy the most important rule in being a successful actor: look distinct.

Around the same time that Peppy becomes a household name, the cigar wielding studio head (John Goodman, perfect for the role) decides that silent movies are out, and talkies are in. George wants absolutely no part in the talkies, and he pays the price for his arrogance. The inside of the studio is shown in one scene as a never-ending staircase in which people constantly walk up, but rarely down, like the Hollywood machine that mass produces movies and stars. Valentin becomes just another piece of unnecessary inventory.

“The Artist” is both a satire of the way movies are made and a movie with the broadest of plots and characters. Archetypes are usually unacceptable to me but here, they are just so lovingly that they actually work. As a movie star, George Valentin has no singular appeal, as he can play both a swashbuckling action hero and a dazzling romantic. These roles only seem to suit him in silent movies, and his fear of speaking makes his attempted comeback all the more difficult.

When the new form of motion picture medium first developed, the early filmmakers were like magicians constantly trying to play tricks on audiences. “The Artist” revives that spirit of visual trickery that is so often missing from today’s movies. Some see 3D as a new form of this. What “The Artist” shows is that the image of a woman putting her arm through a man’s jacket and moving it around can give off the appearance that it is actually someone else’s arm. That didn’t even require a pair of 3D glasses.

“The Artist” plays many more tricks with sound, both silent and audible. With one very subtle yet shocking clank, sound is brought to a silent world. A title card that reads “Why won’t you talk?” could be considered hilarious despite the dramatic nature of the scene that it is placed in. Another card that appears at the movie’s most thrilling moment, which I will not spoil here, will leave you relieved and stunned. You’ll be relieved at what it really means, and stunned as to how easy it is to play with words.

Watching a silent movie is a totally different viewing experience. A silent movie will make even the most casual viewer pay more attention, as actions and gestures are the only things guiding the way. Audiences in the 1920s must have been some of the most engaged moviegoers there were. By bringing together silence and sound, “The Artist” ties the past and present together. Silence might enhance viewing in several ways but in a way, movies were never meant to be silent. After all, every silent movie was accompanied by a live orchestra. A moving image can only go so far.

“The Artist” also uses the silence as a sense of humor. The cue cards, perfect in their font, display dialogue that is both hilarious and thoughtful, and not just plot focused. Writer-director Michel Hazanavicius makes the style fit into every ounce of the overall theme.

Anyone can make a silent movie. The true achievement of “The Artist” is how it gives this old technology a raison d’etre. Some characters were just meant to be seen as silent. Looking past the silent element of “The Artist” is a movie that is funny and entertaining in the most timeless sense possible. The mark of most great movies is that you never want them to end. “The Artist” may be one of the year’s best movies, but its biggest problem is that it begins to lag on in its third act. The darkest portion of the film begins to feel contrived and repetitive after a while, basically bringing down everything the movie had so beautifully built up.


But then, “The Artist” miraculously saves itself in its closing minutes with a few final lines that basically define the entire movie: clever, but not at all snarky. Just as seen in “The Artist,” the Hollywood studio machine churns out an uncountable amount of movies every year. Few rarely stick. Every once in a while, a movie like “The Artist” comes along in which you wish the characters would dance off the screen and into your own lives. Maybe it helps when that machine is French. 


If you liked this movie, you’ll also like: Singin’ in the Rain, Sunset Boulevard, Barton Fink, Modern Times, Citizen Kane, Hugo, Midnight in Paris

Movie Review: War Horse

1 Reply
The Magic Hour.

Many have remarked that the ending shots of “War Horse” evoke the feelings and beauty captured in the landscape of classic Hollywood films, from “Gone with the Wind” to just about any John Ford western. And rightfully so, as this feels like a movie straight out of another era, the kind that isn’t made so often nowadays. It has the power to move any viewer, but it might just bring the biggest film admirer to tears.

Based on a play which was based on a book (I have not seen or read either), the cinematic version of “War Horse” could not have been brought to life by anyone except for Steven Spielberg. It might seem predictable from start to finish, but there is simply no other way to tell this story.

“War Horse” gets off to a slow start, but even the most impatient moviegoer will want to stick it through. In rural Devon, England just before the outbreak of the first World War, a farmer (Peter Mullan) buys a horse for a price more than it appears to be worth. While his wife disapproves, his son Albert (Jeremy Irvine) is infatuated with the horse, but not in an “Equus” kind of way. The horse, whom Albert names Joey, is small but distinctively beautiful, marked by four white socks on his legs and a large white spot on his face. At first, Joey can barely carry a plough but by the end of the movie’s lengthy first hour, he has plowed an entire field. Joey may be smaller than the others, but he is fast and persistent.

Then comes The Great War and like most men in the area, Joey is enlisted into battle. He comes into the care of Captain Nicholls (Tom Hiddleston, or F. Scott Fitzgerald in “Midnight in Paris”). After losing Nicholls in battle, Joey ends up in the care of the British, the Germans, and at one point, a young French girl. Albert enlists in the war, in hopes of being reunited with his beloved horse.

When it comes to depicting the horrors of war, no one does it better than Spielberg. It is stark realism to the highest, most detailed degree. If “Raiders of the Lost Ark” evoked a young boy playing with action figures in his backyard (as a critic once said), then “War Horse” evokes that young boy who is all grown up, knows history too well, and has sat through every action and adventure movie there is.

There have been few notable movies made about World War I, and the scenes in “War Horse” which take place in No Man’s Land and the trenches could definitely give “Paths of Glory” a run for its money. It looks exactly like the post apocalyptic hell that it should be depicted as. When it comes to unflinching historical accuracy, no one beats Spielberg.

Even when Spielberg fails (and he has before), he never loses his uncanny eye for what elements truly complete a movie. In “War Horse,” every little thing ends up having some sort of payoff. He knows what the viewers wants, but he also knows they shouldn’t have to be cheated in order to get it.

Despite having a lot of plain human characters, “War Horse” makes an indelible impact. It is Joey the horse who truly makes it special. If there was an Oscar for animals, he would surely win it. Having Joey as the main character of this movie is something of a small relief, as it is nice to have a totally silent lead character sometimes, and I don’t mean like Ryan Gosling in “Drive” kind of silent. Since horses can’t speak, they use the purest form of acting: the emotions generated by their facial expressions and body language. You can tell when the horse is in physical pain but the more time you spend with Joey, the more you can see emotions that go below the surface. From Joey it is apparent that every living creature feels the effect of war and loss. Think of it as a minor “Consider the Lobster” effect.

“War Horse” is many things. It is an underdog story, a tragedy, and a love story in one. It displays Spielberg’s great gift of always being able to shine the beacon of hope into the darkest of times. Spielberg gets to end “War Horse” with the big happy reunion he so often likes to conclude with. But here, it doesn’t feel like schmaltz as it did at the conclusion of “War of the Worlds.” It felt much deeper than that, and totally in place.

As many before me have pointed out, shades of “The Searchers,” no doubt a huge influence on Spielberg’s career, can be seen here. As Ethan Edwards stood outside the open doors of the house, feeling isolated and overwhelmed by the burdens of both the atrocities he’s seen and the bigotry he feels, is an outsider not just to normal society but even to his own family. As Joey stands just outside the open gate of the loving family’s estate, he probably can’t help but feel the same way. He is loved and many strangers go to great lengths to save him but he is still an animal who has seen more than any can imagine, and in an instant could be traded from one owner to the next. Even if Albert raised him, he will never have one true master. “War Horse” in a sense, is a western, and Joey is its outlaw.

“War Horse” is also the best looking movie to come out this year. From the red sunset to a shot in which an entire army emerges from a field of tall grass, “War Horse” is like looking at a constantly morphing painting. Despite the horrors of war, the beauty of the natural world does not cease to exist.

“War Horse” is especially different because of the unique perspective it is told from. It shows that when war breaks out, everybody feels the consequences. It takes a series of contrived coincidences and two and a half very speedy hours to arrive at this point, but when a movie is able to suspend you from disbelief during its entire running time and keep you in that state, it has ultimately done exactly what its supposed to do. I cannot justify the poignance I felt once the movie ended, but the fact that this emotional state stuck with me long after the ending credits rolled shows the subtle and outstanding power of this movie. Just as Joey is not some dumb horse, just as “War Horse” is not some war movie.

Movie Review: A Dangerous Method

Leave a reply
Psychoanalyzing the Psychologists

Scorsese has one. Kubrick has one. Cronenberg now has one. The Croneberg stare; in which a character looks into the camera, realizing what they lost is really what they wanted and all they have left to feel is remorse and self-hatred. This happens just seconds before the dramatic cut to black. This is repeated once again in “A Dangerous Method.”

Movies have a funny way of dealing with history. Some praise those movies that remain completely accurate to the facts, and others prefer those that deviate into historical fiction territory. “A Dangerous Method” is a restrained drama that wants to be an intense one and a piece that strives to be totally historically accurate yet deep down, it wants to be an insane piece of historical fiction. 
  “A Dangerous Method” begins at the turn of the 20th century as Carl Jung (Michael Fassbender), a budding star in the psychoanalysis movement, attempts to cure a seemingly incurable patient named Sabina Spielrein (Keira Knightley). Jung’s personality is one that is cold and impersonal, and he doesn’t even look at his patients when he speaks to them. The deeper Jung digs into Sabrina’s child issues, the closer the two become, and the more dangerous their relationship ultimately turns out to be. Let’s just say a touch of S&M is involved. 
While Jung studies and beds Sabina (unbeknownst to his wife), he makes frequent trips to Vienna to visit his friend and mentor, the cigar-chomping Sigmund Freud (Viggo Mortensen). The two construct the foundations of early psychoanalysis but they have differing opinions on it. Freud is purely scientific and Jung is quite spiritual. They clash and talk but mostly, they just talk. 
“A Dangerous Method” is not necessarily a bad movie. It is more like a good movie that missed the mark of greatness that it had the potential for. Oftentimes, this is even worse than a movie that is just bad. Cronenberg is an immensely talented director, especially when it comes to dealing with the darkest depths of human behavior. However, he never really makes movies on a larger scale, and a larger scale is exactly what “A Dangerous Method” could have used. 
I walked into “A Dangerous Method” as a stranger to psychology. The many dialogues between Jung and Freud made me more interested in further exploring the subject on my own. However, it is the subject matter, and not the story created about it, that is so interesting here. It tries to tell too many different stories at once and therefore never effectively completes any of them. Cronenberg seems like he wants to focus more on Sabina, and while she has a twisted and interesting mind, there is much more fertile ground that needs to be explored in the rivalry between Freud and Jung. The movie sometimes feels like a vehicle for Knightley’s turn in a dramatic role. She is effective when she’s not hamming it up and being reminiscent of nothing more than a pirate princess.
But let’s back up to the rivalry between Freud and Jung, and the fact that it doesn’t even seem to exist. In the movie, it is less of a rivalry and more like an extended heated argument that leads to nothing once the steam cools. In one brief sentence, it is revealed that Sabina’s findings go against Freud’s findings on sex and the ego. It is addressed once, and then never brought up again. In another similar incident, Freud tells Jung he will reveal nothing of his thoughts to him as a way of remaining powerful over him. It is a strong moment that should have paved the way for an entirely different movie. Why wasn’t Jung more angry at Freud for this, when Jung knew that some of Freud’s findings were wrong?
“A Dangerous Method” should have taken a cue from a much better film about a rivalry during the birth of the new discoveries during the beginning of the 1900s: “There Will Be Blood.” The rivalry of that movie culminated into something much more horrific and tragic; a boom rather than a whimper. Maybe this story would have benefitted in the hands of a different director and a different writer.
“A Dangerous Method” is saved mostly by the outstanding performances of Fassbender and Mortensen. Fassbender rises to the occasion even with some of the flat dialogue he is given and Mortensen, meanwhile, depicts a tone and voice that are reminiscent of Alex DeLarge, who ironically could have used a serious couch session with Freud. The real star of the movie however, is cinematographer Peter Suschitzky. His stunning camerawork is romantic yet haunting; a mood that most perfectly captures the era. I could see myself watching this movie with the volume off and just being carried away by the imagery.
All of those great parts just feel like fragments. Occasional lines are thrown in here and there to show their importance but then are never brought back to their full extent. “A Dangerous Method” is like watching a very monotonous professor in a very crowded Psych 101 lecture. That is why that stare at the end feels blake rather than thoughtful at the end, as Cronenberg’s previous features (“A History of Violence”, “Eastern Promises”) left so much more to ponder. “A Dangerous Method” consists of many great parts searching for a much better movie to be a part of.   

My Most Anticipated Movies of 2012

Leave a reply
A fan poster for “Django Unchained”.

Will 2012 be a better year for movies than 2011. So far, the amount of trailers for 3D re-releases is not promising. However, we live in a world where content is king, and a few amazing filmmakers, and some great actors, as well as some who are on the rise, will make 2012 a noteworthy year. Assuming the world doesn’t end (I still doubt you, Mayans), here are the 2012 movie releases that I am most looking forward to:




1. Django Unchained- It’s Quentin Tarantino’s next movie, what else would you expect me to put as number one? It is not for that mere fact alone, however, as a lot of good directors can make bad movies (Tarantino’s own “Death Proof” was far from a masterpiece). However, what also looks promising is the film’s amazing cast, which includes Samuel L. Jackson, Christoph Waltz, and The RZA. It is Tarantino’s next attempt to relocate the Western. It started in Los Angeles, traveled to East Asia, and ended up in Nazi-Occupied France. “Django Unchained” will put the Spaghetti-Western into the slavery era South. Expect scenes that go on longer than they should, but you wish could continue, and some amazing dialogue on Civil War politics and slave culture.
Coming to Theaters December 25


2. The Dark Knight Rises- When Christopher Nolan first made “Batman Begins,” he not only revived a franchise, but also an entire genre. When he made “The Dark Knight” in 2008, he had created the best comic book movie ever. Not only that, but one of the greatest action movies of our time. Can “The Dark Knight Rises” not only equal, but surpass, its predecessor. From the looks of the previews, it can. It is unfortunate that we don’t have The Joker, but Tom Hardy will put on quite a show as Bane, and be more true to the character from the original comics than “Batman & Robin” was.  Nolan has just gotten better and better as a director, and “The Dark Knight Rises” looks like one hell of a way to end this amazing story.
Coming to Theaters July 20


3. The Hobbit: An Unexpected Journey- I have a soft spot for “The Lord of the Rings” movies: they helped to fuel my very hyperactive mind around the age of 10. Given the 3D and digital technology Peter Jackson is using, this chapter of Tolkien’s books will look better than ever. While this probably won’t top “Return of the King” in scope, it will stand in its own right as a superior example of how to make a blockbuster movie, and will complete the full arc of one of the greatest fantasies ever told.
Coming to Theaters December 14


4. Chronicle- I have never been a fan of the incorporation of shaky cam movies. It makes action movies more nauseating, and is a poor excuse for creating supposed “horror” (I’m looking at you, “Blair Witch Project”). But it should work for “Chronicle,” a homegrown superhero fable that made a splash on the internet with its intriguing trailer. The fact that “Chronicle is not based on a comic book gives it more creative freedom, and based on the plot I’ve seen from the trailer (kids causing chaos) with their own powers, this will probably be one of the most realistic superhero movies we’ll get.    
Coming to Theaters February 3


5. Lincoln- Here’s the movie with the second best cast of 2012. It is something of a shocker that there hasn’t been a decent Lincoln movie to date, but it’s no surprise that the first one will be directed by Steven Spielberg and star Daniel Day-Lewis as Honest Abe. I am always curious to see what Mr. Day-Lewis will add to a performance, and how Spielberg will tell a story. I expect nothing but the best.
Release Date Currently Unknown


6. The Amazing Spider-Man- America might be all Spider-Maned out, thanks to the poorly received third movie and the even more poorly received play that involved the world’s most overrated musician. It might be too soon to do a “Spider-Man” reboot (“Spider-Man 3″ is only four years old), but “The Amazing Spider-Man” shows great promise. It is directed by Marc Webb (“500 Days of Summer”) and it stars Andrew Garfield (“The Social Network”) as Peter Parker. Some young energy could do good for the franchise. Plus, this will go back to the roots of the original “Spider-Man” comics, when Parker had to construct his own web blasters. In the original “Spider-Man” movies, Parker could launch webs from his arms. This change brings Spider-Man back to what he always was: a nerd, and a genius.
Coming to Theaters July 3


7. This is 40- I am still on the fence about Judd Apatow’s last movie, “Funny People” (it had brilliant moments, but it would’ve benefitted from being 45 minutes shorter). However, “This is 40″ brings back Apatow’s greatest couple, Pete (Paul Rudd) and Debby (Leslie Mann) from “Knocked Up.” Jason Segel will be reprising his role as Jason, and Melissa McCarthy (“Bridesmaids”) will join the ensemble. I’m already laughing.
Coming to Theaters December 21


8. Gravity- I know very little about “Gravity” besides the fact that it was directed by Alfonso Cuaron, and that it is a science fiction movie. The last movie Cuaron directed, “Children of Men,” was a sci-fi masterpiece and one of the greatest movies I’ve ever seen. Each time I watch it is always as exhilarating as the first. I expect some amazingly long takes of outer space.
Coming to Theaters November 21


9. Casa de mi Padre- This is one of the more peculiar projects of the coming year. It is a comedy about a Hispanic drug dealer starring Will Ferrell that is entirely in Spanish. It also stars two of Latin America’s best (and usually, most serious) actors: Gael Garcia Bernal and Diego Luna. Once Ferrell turned Luna into a running joke during his George Bush one man show, it was kismet that they would make a movie together.
Coming to Theaters March 16


10. Jeff Who Lives At Home- The Duplass brothers make some of the quietest, strangest dark comedies of the day. Just look at 2010′s “Cyrus” for proof. Jason Segel steps into the slacker role this time, as Jeff, a man who is finally forced to leave his mother’s basement in order to help his brother (Ed Helms) catch his possibly adulterous wife. Awkward laughs and awkward silences to ensue. The fact that it comes out in March will help make the early part of the year a better time for movies than it usually is.
Coming to Theaters March 2