Category Archives: Best of 2012

Top 10: Movies of 2012

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10. 21 Jump Street


Whoever said comedies, remakes, or buddy cop movies couldn’t be top ten worthy clearly haven’t seen “21 Jump Street.” “21 Jump Street” won me over at the beginning when it mocked its own existence, and then it had me in a state of uncontrollable laughter by the time Channing Tatum was destroying a drum set. This was the funniest purely comedic film of the year, sharp in both wit and slapstick. “21 Jump Street” convinced me of both the power of Channing Tatum’s acting ability and how far one could possibly stretch jokes about drug trips. The answer is very far.

9. Sleepwalk with Me

Anyone already familiar with the standup, book, and This American Life episode of comedian Mike Birbiglia will not find much new in “Sleepwalk with Me.” Nonetheless, it is still a fantastic example of how one great story can be molded and reshaped to be told in a variety of ways. Birbiglia makes a fantastic transition into the roles of director, writer, and actor, one that positions him as a new Woody Allen in the making. “Sleepwalk with Me” is loosely based on the struggles and anxieties that Birbiglia faced in his early days as a comedian, where he was also dealing with a toxic relationship and a sleepwalking disorder. Here, Birbiglia still gets to display his lovably awkward persona. It feels like Birbiglia’s whole career has led to this film, and his one man shows were just a step away from this. “Sleepwalk with Me” will resonate both for anyone trying to become a comedian, or just for anyone with a mind addled by anxiety and over-thinking.


8. The Perks of Being a Wallflower

Based on a book I haven’t read but now feel the need to, “The Perks of Being a Wallflower” is far and away one of the best films about high school to come out in a long, long time. Written and directed by its author Stephen Chbosky, “Perks” vividly swirls with life and love in every single frame. Even though its about high school outcasts, it is a nostalgic look at the early 1990s. It has one of my favorite soundtracks in recent memory, one that includes a variety of songs by The Smiths that are played without irony. It has fantastic supporting performances from Emma Watson and Ezra Miller as the friends and mentors to the lost wallflower Charlie (Logan Lerman). “Perks” tackles all of its issues honestly and seriously, with first love being taken as seriously as chronic depression. It takes us to a dark place, and then uplifts us on a clear night in a pickup truck going through a tunnel.


7. Silver Linings Playbook

A second viewing greatly improved my opinion of this film. For a film about mental illness, “Silver Linings Playbook” will surprise you by being one of the year’s most uplifting film. It does so by being emotionally honest, and it never begs us to cry. I’d call it a comedy filled with tragic characters. Here, director David O. Russell brings the same amount of care and detail to middle class Philadelphia that he brought to working class Lowell in “The Fighter.” Similarly, “Silver Linings Playbook” is about the power of competition to help people unite and overcome obstacles. Bradley Cooper’s acting career shot into another stratosphere with his role as a bi-polar man while Jennifer Lawrence took sudden command of the screen as the woman who helps him gain control of his life. Most importantly though, Robert De Niro makes a career comeback with a performance that is equal parts tough, earnest, and funny. Also, it has Chris Tucker holding a bunch of remotes. “Silver Linings Playbook” took a bunch of subjects that I could care less about (romantic comedies, the Philadelphia Eagles) and injects them with life. “Silver Linings Playbook” is about finding the good in every bad situation. I think we could all use a silver lining in our lives.


6. Bernie

“Bernie” was something of a comeback for its director and stars that was unfortunately seen by so few. Combining elements of documentary and scripted reenactment, this pitch black comedy tells the story of a bizarre murder and the even more bizarre man behind it. “Bernie” brings director Richard Linklater (“Dazed and Confused”) back to his beloved homeland of Texas and gives Jack Black the role of a lifetime as an overzealous funeral home operator who treats his job with love. Adding in interviews with people who actually knew Bernie was a fantastic touch, as was Matthew McConaughey as a hotheaded District Attorney.

See the top 5 after the jump:

5. Looper

“Looper” belongs high in the Hollywood pantheon of sci-fi. It’s following will only increase over the years. This dystopian vision’s comparisons to “Blade Runner” are apt, but I will say that I have never seen a story quite like this. Casting Joseph Gordon-Levitt as a younger version of Bruce Willis would have been brilliant enough. But then, “Looper” gives us a frightening child who might have supernatural powers and an even more frightening scene where a defiled man’s body totally changes all rules of how time travel works. “Looper” provides a vision of the not-so-distant future that seems convincing at times (especially all of the China stuff) and while it might give you a headache, it thoroughly examines the real life consequences of trying to alter the past. It provides nothing but thrilling and deep entertainment, and reasons to watch again and again.


4. Seven Psychopaths

The prospect of a new Martin McDonagh (“In Bruges”) film excited me more than few other things this year. “Seven Psychopaths” is an excellent sophomore effort that does not disappoint. “Seven Psychopaths” is an homage and a manifesto both to anyone who loves movies and anyone who has ever thought up a story in their lives. It kills off two main characters before the first credits roll and its attempts at messing with our heads do not slow down from there. “Seven Psychopaths” manages to be funny while blurring the line between fact and fiction. It also includes some fine acting by Colin Farrel and Sam Rockwell as well as the best performance Christopher Walken has given in years. With its colorful dialogue and constant non-linear story lines, “Seven Psychopaths” solidifies Martin McDonagh as the only director who can rip off Quentin Tarantino yet still be as good as Quentin himself.


3. Moonrise Kingdom

Anyone who thinks that Wes Anderson has just become a satire of Wes Anderson is missing the point entirely. Like the best of Wes Anderson’s oeuvre, “Moonrise Kingdom” improved on repeat viewings. It’s filled with the kind of tiny details and colorful characters that I look for in a film. “Moonrise” may not have had a Royal Tenenbaum, but it did include two young actors (Jared Gilman and Kara Hayward) who give performances years beyond their wisdom. “Moonrise Kingdom” is about a love for culture, childhood, and adventure. It is one of Anderson’s darkest, yet one of his most fun to watch. 


2. Skyfall

After the failure of “Quantum of Solace,” 007 returned to form with a vengeance. “Skyfall” worked because it combined the darker edge of latest Bond movies (starting with “Casino Royale”) with the pre-technology savvy of the early days of the series. This trip down memory lane is up there with “Goldfinger” as an instant classic. It blew me away with its opening chase followed by its stunning opening credits, with a Bond anthem as good as anything that Nancy Sinatra and Paul McCartney have ever put together. As Bond, Daniel Craig was at the top of his game. A masterful performance from Javier Bardem proved the actor’s skill at playing the world’s creepiest and most startling villains. “Skyfall” impressed me most because it was both one hell of a good blockbuster, and the first time in a very long time that the Bond franchise has truly delved deep into the secret agent’s place in a post-Cold War world.

1. Django Unchained


Call it unfair but Quentin Tarantino still has the power to surprise me with every new film he makes. “Django Unchained” may have been his most gruesome, which is saying a lot, and also his funniest. It is Tarantino’s latest in his long string of vengeance tales, and the second (following “Inglourious Basterds”) in what I’m hoping to be a history bending trilogy. By removing the strains of historical accuracy from his films, Tarantino is stunningly able to find so much more truth than any Hollywood film. “Django Unchained” will probably offend many in its liberal use of a certain racial slur and its love of watching slave owners get what’s coming to them. Tarantino nails both the funny and disturbing aspects of the cruelty of slavery. Every actor rises to the occasion and gives performances of a lifetime. On par with the farce of the very similar “Blazing Saddles,” “Django Unchained” might be all over the place, and it might have gone on about 45 minutes too long, but it is a glorious, intense, mess of images and emotions that only gets better the more chaotic it becomes.


Honorable Mention: The Hunt- I had the privilege of seeing this incredible Danish film at Cannes. Unfortunately, it was not released in America this year, or else it might have nabbed the top spot. I am hoping this comes out very soon, because it has haunted me in a way that no other film ever has. And the beauty of foreign films is that they don’t have to settle for a Hollywood ending.

Others: The Master, Rust and Bone, Your Sister’s Sister, This Is 40, Celeste and Jesse Forever, Jeff, Who Lives at Home, Safety Not Guaranteed, Argo, Lawless, Killing Them Softly, The Hunger Games

Still Need To See: Zero Dark Thirty, Life of Pi, Not Fade Away

Top 10: TV Shows of 2012

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10. 30 Rock

“30 Rock” hit a bit of a rough patch at the beginning of 2012. However, it bounced back for its seventh and final season and has turned out some of its best episodes in years. Most notably, this season saw Liz Lemon (Tina Fey) finally tying the knot in a wedding that was both moving and wacky in a way that only “30 Rock” could deliver. “30 Rock” is one of the best heirs to the sitcoms of the 70s with its fearlessness in tackling race, political, and gender issues for huge laughs. In fact, it ended the ridiculous “are women funny?” debate with a monkey wearing a suit. No other show on TV can deliver so many jokes in such a short span of time. “30 Rock” might be winding down, but the many doors it opened for the flood of single-camera comedies that have emerged over the years will always be present.

9. Archer

“Archer” is far and away the best animated show on TV. A spy spoof that puts “Austin Powers” to shame, “Archer” proved that its spectacular first two seasons were just a warmup for how perfect season three would be. Few comedies currently on TV have plots as smart and intricate as “Archer” does, whether the bumbling heroes are trying to get rid of a dead body or fight villains in outer space. What makes “Archer” so unique is the neat little backstories it gives to all of its characters, which expanded in ever satisfying ways this season. For example, Archer’s constant literary references suggest someone much smarter than he acts. “Archer,” however, never has to hide its sophistication. It continues to be one of the sharpest satires currently on TV.

8. Homeland

I was a late convert to “Homeland,” and I am not ashamed to say that I caught up in less than one week. “Homeland” hit a bit of a rough patch this season. However, those who immediately jumped ship need to learn a thing or two about TV history, and that “Homeland” is in the same company as some pretty great shows that have had faulty seasons and then bounced back. Even in the implausibility, there has still been plenty to love about season two. The show made a pretty risky story move early on and then built it up to an interrogation scene that was one of the most finely acted and scripted in TV history. However, this season went through a few big bumps in the road. One was literal (a car accident that was worth it only for allowing actress Morgan Saylor to shine) while others were illogical (see: Skyping with a terrorist on a Blackberry). Yet, I was still compelled to watch “Homeland” from week to week, and discuss with every other fan I knew. Many other shows have gone through rough patches early on, and I have faith in where next season will take us.

7. Happy Endings

The funniest show currently airing on network TV (while another one is still in an overlong hiatus) is also the most underrated. “Happy Endings” took the concept of “twenty/thirty-something friends” in a big city to insane new heights throughout seasons two and three. It does self-referential better than most shows on TV, and it knows when to be over-the-top and when to be human. “Happy Endings” doesn’t just succeed in its endless mocking of sitcom tropes, but also how natural the ensemble feels together. Often, it just feels like a tight-knit improv group going crazy in whatever direction they desire. Plus, it has my favorite married couple on TV (Brad and Jane) and the most hilariously non-stereotypical gay character since “The Sarah Silverman Program.” In the vein of “30 Rock,” “Happy Endings” could probably cram more funny into five minutes than most shows ever could in an entire season.

I think it’s the pronunciation that sold me.

6. Game of Thrones

2012 was the year I got back into fantasy. “Game of Thrones” was one of the many shows this year that helped push the medium forward, as it pushed its own storytelling ambitions in new directions and away from its source material. It truly blurred the difference between film and television with the episode “Blackwater,” which contained a battle as epic as anything in “The Lord of the Rings” trilogy. What I always liked best about “Game of Thrones” is that even when it travels into the territory of dragons and the undead, it still remains incredibly grounded, as this story is much more of a political allegory than a battle of good versus evil. If “Game of Thrones” has proved anything to me, it’s that moral ambiguity is way more interesting than battles of absolute good against absolute evil. Without it, where the hell else would we get amazing characters like Tyrion (Peter Dinklage) and Cersei (Lena Headey) Lannister, Theon Greyjoy (Alfie Allen), and Joffrey Baratheon (Jack Gleeson)? Well, I think I know how everyone feels about Joffrey.

joffrey slap

View the top 5 after the jump


5. Girls

Amidst all of the controversy and unrighteous indignation, “Girls” had the most solid first season of any new show that debuted this year. Virtually overnight, Lena Dunham deservingly became a household name. “Girls” is a mixture of both the trademark edginess of HBO, and the trademark awkwardness of the Apatow brand. This show about Brooklynites in their early twenties treads a lot of new ground and says a lot more about this generation than most other works in any form of entertainment have. Yet, Dunham is too modest to try and become the voice of a generation (a fact that is mocked in the very first episode). “Girls” caught my attention in every episode for its cinematic audacity (scenes of pure dialogue that nearly hit the ten minute mark) and chaotic humor that might take multiple viewings to fully appreciate (“I’ll be your crack spirit guide”). Each episode opens with completely different theme music. In one year, Dunham created an indelible new world and filled it with lively and memorable characters. Many people criticized the show for its lack of diversity. I found this claim to be ridiculous, as it does not acknowledge the world these characters inhabit and it does not at all do justice to the substance of the show. With all of that out of the way, I think it’s easier to appreciate the nearly flawless first season of “Girls.”

4. Breaking Bad

What more can I (or everyone else) say about “Breaking Bad” that I haven’t said already? Probably not much, but I don’t mind reiterating. As it prepares its swan song, “Breaking Bad” has proved itself more brilliant than ever. I’m still waiting for Vince Gilligan to top the season four finale, but for now I can live with a train robbery and a meth-induced montage. “Breaking Bad” has always been excellent at keeping us at the edge of tragedy, and never letting us know when we are going to go off the cliff, and this past season was no exception. The first half of season five found Walter White on top of the world, with no worlds left to conquer. He had gone so far off the edge that at times, it was hard to tell whether or not he wanted to back away. All I know is that any barriers of safety for the audience that once existed have all evaporated. I have no idea where “Breaking Bad” is headed for its last few episodes. All I know is that it still has a lot of ground to cover, and it shows no signs of letting any of us down.

3. Mad Men

“Mad Men” now carries the honor of being one of few shows to peak during its fifth season. When most are winding down, “Mad Men” rediscovered its mojo in new, exciting, and profound ways. It all added up to the best drama of the year. The writers of “Mad Men” are like few others, and they went into the surreal this season, catching Don in the middle of an elaborate dream while Roger experienced an LSD-fueled reality. Supporting actors such as Christina Hendricks and Vincent Kartheiser gave beautifully nuanced performances. Meanwhile, Michael Ginsberg (Ben Feldman) was a welcome new addition to Sterling Cooper Draper Pryce. The ad executives faced unimaginable tragedy even in a season filled with dark humor (one of the best, yet saddest, gags involves a Jaguar that won’t start). Like the world around them, the characters of “Mad Men” have been allowed to change and evolve. Into its fifth season, “Mad Men” still continues down the dark abyss of American Dream, still exploring whether or not America really offers second chances.

2. Community

2012 has been a rough year for “Community.” It got put on hiatus multiple times, it was nearly cancelled, it lost one of its stars (Chevy Chase), and the mastermind behind it all (Dan Harmon) was fired in what can only be seen as a network and a studio out of touch with the times. Even with all of the trouble in the real world, “Community” is like the Dreamtorium: a place to escape from reality and into the mind of one very strange individual. In its season three, “Community” was darker and more inventive than ever. It put the Greendale Seven into a videogame, a heist movie, and an Ed Burns documentary. In each of those, it was a stunningly faithful homage that brought depth to its richly created characters. “Community” is special in that the weirder it gets, the less it forgets about its characters. “Community” might not be made for everyone, but if you are not ever won over by Dean Pelton’s man-crush on Jeff, Troy’s innocence, or Britta’s ability to ruin everything, then you have no heart. “Community” wants fans, but season three seemed to display a show that cared less about getting high Nielsen Ratings (which, with the Internet, will soon be irrelevant) and more about telling good stories. “Community” includes some of the most innovative storytelling that we’ll never see again on network television.

1. Louie


After much thought, I could put no other show in first place. “Louie” is not necessarily an “event” type show, but I found myself eager every Thursday night this summer to watch it live. I knew that every week would provide me with a totally unexpected episode. “Louie” is the most unpredictable show on TV, and with every episode, Louis C.K. manages to break down all sitcom conventions without being snarky or obnoxiously ironic. This season, he proved himself as a master of dramedic storytelling. He nailed the sentimentality of so many moments and steered them away from sappiness. Whether surreal or realistic, each episode felt like a short movie that could only be made with the raw inspiration of New York City. Yet, C.K. took his fictional character to new places this year. In a three part arc that included the best celebrity cameo I’ve ever seen on TV, Louie tried to host the Late Show. Another episode had him at a strip club with Robin Williams. And then another had him involved in a boat chase. The season finale, which brought him on a journey of self-discovery in China, reduced me to tears. Some might call “Louie” gloomy, but its message is so positive: life will never be easy or predictable, so we might as well roll with whatever is thrown at us. The feeling that people in the 70s first got when watching “All in the Family” and “Taxi” and the feeling that people got when first watching “Seinfeld” in the 90s, I got while watching “Louie.”

Not from the show, but this is one of my favorite bits from Louis C.K.

Honorary Mentions: Parks and Recreation, New Girl, Portlandia, Veep

Top 5: Stand-Up Specials of 2012

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My interests have taken me in a weird, unexpected place in the past few months. Since last summer, I have found myself greatly exploring and obsessing over comedy. It is something that I’ve always liked my whole life, but never thought I could actually see myself becoming a disciple of. But after an improv class and a few shots at standup at various open mics (they are hard to come by in Upstate New York), that is starting to change. I find quotes from Louis C.K. floating around in my head as often as lines of dialogue from “Pulp Fiction.”

Many believe you can’t overanalyze comedy too much. This is true. Sometimes, you can’t explain laughter. However, I believe you can mine out deeper meaning in comedy. Stand-Up began to change in my eyes as I began to watch and listen to entire albums. The more you do that, the more you pay attention to themes and transitions as well as jokes. Here I have a list of five stand-up specials from this year that shocked me, moved me, made me think, and most importantly made me laugh uncontrollably:

5. Animal Furnace (Hannibal Buress)


Like the great show he once wrote for (“30 Rock”), Hannibal Buress is a joke-spewing machine. “Animal Furnace” is Buress’ second hour-long special, and his next leap into becoming one of the funniest people in America. Buress has honed his act beyond just a lot of jokes and he proves that he is a fantastic storyteller. He mocks himself a lot for being overly angry about a lot of issues that don’t matter, but the first few tracks have some pretty thorough takedowns of TSA agents and a bunch of cops in Montreal who gave him a ticket for jaywalking. Then his beat-by-beat commentary on an article written about him at a college that he performed at shows that he would make a great roastmaster. Many have compared Buress’ voice and delivery to that of Mitch Hedberg. It’s an apt comparison: Buress can pick apart the mundane and make it funny in ways you never imagined.

4. The Special Special Special (Maria Bamford)
If I ever meet Maria Bamford, I’d like to give her a hug, because she seems likes the nicest person imaginable. She’s also one of the funniest and most original comedians of our time. Bamford’s latest special, appropriately and hilariously titled In “The Special Special Special,” Bamford doesn’t perform in a theater, or even a comedy club, but rather in her own home, with an audience made up of only her parents. I have never seen stand-up so dependent on the audience’s reaction. Bamford goes through her usual manic routine of impersonations, which is made even more awkward by the fact that the targets of much of her ridicule are sitting right in front of her. Then, Bamford goes into darker territory than ever before, as she chronicles her ongoing battle with Depression in a way that is both funny and inspiring. In a few meta moments, she completely stops the show so she can go to the bathroom, take cookies out of the oven, and give her beloved pug his medicine. With her stand-up, Bamford invites us into her brain. With “The Special Special Special,” she invites us to be a part of her life. Buy it here



See the top 3 after the jump:

3. Live (Tig Notaro)


“Hello! I have cancer!” That’s how Tig Notaro opens up her set that accidentally became legendary. Notaro was scheduled to open for Louis C.K. at Largo. She was supposed to open with a half hour of her usual material. Instead, she takes her audience into a dark and brilliant trip into the tragic past few months of her life. C.K. was so moved by it that he posted it on his website. “Live” is exactly what comedy should be, but rarely is: raw, honest, and uncomfortable. Sometimes, it’s hard to know whether to laugh or shutter at Tig’s jokes, but it’s so inviting because she feels just as uncomfortable as the audience. The half hour is as dark as dark humor can get. Tig chronicles a rough few months in her life which include a brush with death, cancer diagnosis, and the death of her mother. Most of her jokes seem improvised, and she feeds off of the audiences reactions like a master. At one point, she asks if she should cut out the tragedy and tell the jokes she originally wanted to. The audience objects, with one member shouting, “this is fucking amazing!” Indeed.

2. Mr. Universe (Jim Gaffigan)
Jim Gaffigan begins “Mr. Universe” by saying, “oh, he’s doing that voice already?” in his trademark audience member voice. This is exactly what “Mr. Universe” is: Gaffigan takes the routine he has worked so hard to established and brings it to the next level. Here, he is funnier and more insightful than ever. He has a nearly genius monologue that both lampoons and defends McDonalds which turns his love of food into a social statement. Gaffigan also ventures into some new territories besides food. He also wonders why people ignore how gross hotels can be and then he breaks down why it sucks to go on vacation if you’re a father. These turn into more than just silly observations because there is meaning to them. But of course, some musings are there just to make us laugh (see: his joke about whale’s blowholes). Gaffigan is the rare comedian who can be accesible to a large crowd without pandering.

1. New in Town (John Mulaney)

John Mulaney is a comedy prodigy. He’s been participating in sketch groups and stand-up since he was a child. That is why, even before the age of 30, he has been able to establish himself as one of the funniest people working in comedy today. “New in Town” may only be Mulaney’s second special (after 2009′s overlooked “The Top Part”), but he shows off the comedic skills of an old pro. Mulaney is a master at blending sharp observations about Jewish women and 13-year-olds with long stories that never get dull. Wit and buildup have never gone together so well. Mulaney brings us into his world of pop culture obsessions which may not be timely, but as his act projects, he is the guy on stage so he gets to talk about whatever he wants. Indignation over “Home Alone 2″ and jokes about “Law & Order” never get old, but Mulaney is at his best when he’s being self-deprecating. Anyone who was ever bullied in their life will sympathize with Mulaney’s tales of being bullied as a child for looking Chinese (“Daddy, today I met a boy with no eyes”) and sounding like a woman (“I had a voice like a little flute”). Unlike a lot of comedians, Mulaney veers away from being cynical, even when he’s tackling his demons such as his past drinking problem, which he discusses with the story of a high school party gone spectacularly wrong (one word: “Scatter!”), and his anxiety, which culminates into a hilarious doctor’s visit gone wrong that I dare not spoil for you. Even with all its sillines, “New in Town” is a meaningful and infinitely rewatchable hour of comedy about the weirdness of adult life as seen through the eyes of someone who views himself as a “tall child.” As Mulaney gets older, his stand-up will get better and better. I just hope he never feels the urge to actually grow up.

Choosing one bit to represent all of “New in Town” was nearly impossible, but I went with this one because it uses the phrase “playfully anti-Semitic.”