Best Movie Posters of 2010

With the year winding to a close, its time to look back at all the best things of 2010's cinema. And yes, that includes movie posters. While most are mere advertising (and some are truly horrible), these pictures can convey all sorts of themes (or just be cool). Having to tell the premise for the story, the reason to see it, and be genuinely artistic is a tough job to fill. However, the guys behind these ten posters did it excellently.

10. Clash of the Titans: "The Clash Begins"

Sure, "the clash begins" is not a brilliant tag-line, and it uses all the tricks (including having most of the image either black or blurred nothing), but it still is the film of the year that screams EPIC the most. It is so cool, and so big, one (who is male) feels compelled to see it. Look at the Kraken. Isn't it incredible?

9. For Colored Girls: "Many Voices. One Poem"

It shows all the heartbreak, abuse, and strife--but in a creative way with remarkable beauty. It is far better than the "depressed, naked girl in a bathtub" one Lionsgate also released.

8. Eat, Pray, Love: "Let Yourself Go"

Don't get me wrong, the film was awful; this, though, abstains from showing someone happily running with a bright background (or Julia Roberts and James Franco kissing). Instead, it gives us an image with such surprising depth--and makes you want to experience the world like Julia Roberts seems to beginning to. Unfortunately, the movie fails at that task; still, it's a good poster.

7. The Human Centipede [First Sequence]: "The Human Centipede"

This both shows the horrifying monster but keeps its secrets as well--it makes you HAVE to see the film (when maybe not, but awfully close). It also has that "100% Medically Accurate" note, which makes it all the more interesting (or else I am a complete sicko).

6. Black Swan: "Swan Lake"

This is not the only Black Swan poster on this list, but I felt it had to mentioned. The innocence of the ballerina contrasting with the overpowering dark evil of the black swan--and all depicting a scene from the ballet. This is beautiful.

4. Devil: "Down"

This creates both a sick little joke (congratulations if you got it by now; it took me three minutes) while conveying its premise of a devil in an elevator. Two birds (and their souls) in one stone!

3. The Expendables: "Choose Your Weapon"

This movie needed to convey that it was the ultimate action event with the most awesome kills out there. So what better way to express that then by showing a skull surrounded by practically every single weapon that can be found in a five-year-old's fantasy. The instant I saw this poster, I knew this was one film I could not miss.

2. Harry Potter Saga: "It All Ends Here"

An entire generation has grown up on the wonders and the charm of the Harry Potter Universe--what could be more devastating and yet more captivating than to see than Hogwarts, the Wardrobe of the 21st century, looking like that? Well, they could always show a screen-shot of a dead Dobby, but other than that I think this is the best we can get. So beautiful yet so terrible--and so destined to rake in millions of dollars.

1. Black Swan: "Insanity"

What better shows the haunting spirit of insanity as this image. I know the basic purpose of a movie poster is to sell the movie, but this is art.

Predictions: 5 Best Films of the First Quarter of 2011

With 2010 drawing to a close, it is time to look forward to 2011 and the new releases it will bring. It is difficult to predict what will be all the good films for the whole year, due to scheduling changes and lack of information (and the fact that it is unlikely anyone will remember in December a prediction made a year before). Therefore, I will instead predict what will be the best films of the first quarter of 2011. Due to it probably being the quarter containing the least amount of films (and the ones it has often having little-to-no information readily available on them) I have listed only five choices--though unlike in the past I have given each of them a rank (1 being the best, 2 being second, etc.). Please remember that at the time I write this Don't Be Afraid of the Dark has lost its original release date and its new one is to be determined; if it gets a slot similar to its original I will be delighted. Anyway, here goes:

(image from IMDB)

5. Red Riding Hood (March 11): Director Cathrine Hardwicke has proven the ability to pump adrenaline into anything, from Thirteen to The Nativity Story to even (!!cough!!) Twilight, and scary fairy tales are usually awesome, so its no wonder there is excitement for this horror-fantasy retelling of the legend "Red Riding Hood," re-done Hollywood (but thankfully not-Disney) style with romance (duh) and a were-wolf (YEAH!). Sure, it loses a few points for replacing the traditionally child protagonist with the decidedly-adult Amanda Seyfried and it might have trouble obtaining the depth to be one of the year's best, but RRH's exciting premise should make this experience entertaining and maybe even memorable.

(image from GeekTyrant)
4. Sucker Punch (March 25): While I have yet to see Watchmen and was a bit to young when 300 came out, I have to say that Legend of the Guardians was pretty freaking awesome! Sure, it wasn't quite as thoughtful as Lord of the Rings, but it had enough morals to be the perfect family fantasy and some of the most gorgeous visuals I have ever seen. Furthermore, at the same time Tim Burton was making Alice in Wonderland Disney-clean that kiddy-flick managed to contain the year's best action! So, whether you think he's right for the Superman-reboot or not, it is imperative that we understand that whatever Guardians's mastermind Zack Snyder has next is very likely going to be big. While an unusual choice for a sci-fi/fantasy/anime epic considering all the events take place in the protagonists mind to help her cope with stressful events, one should not write off a movie that seems to have more explosions and robots than Star Wars. Yes, its moral appears to be the exact same as Precious (switch "abusive home" with "abusive institution"), but there could be a little extra here to make this something powerful. And if not you might want to remember that Precious didn't have THIS:

(image from GeekTyrant)

Please not that the next picture is for an entirely different movie.

(image from IMDB)

3. The Company Men (January 21): Given the current economic downturn, this allegedly-enlightening story of a man (Ben Affleck) coping with his recent unemployment and subsequent depression is quite timely. However this could be good anytime if its done right, and (despite the unsavory rating explanation) the trailer seem and descriptions seem to indicate they did. Featuring an impressive cast for a limited release, this John Wells production has Chris Cooper, Maria Bello, Kevin Costner, and Tommy Lee Jones.

(image from IMDB)

2. The Beaver (March 23): Red Riding Hood has an interesting premise, but this one wins the originality award: A depressed man going through an unpleasant divorce and rocky period with his son decides to have an alternate personality take over his life in the form of an abandoned beaver puppet he operates. Half comedy/half drama, this Jodie Foster-directed movie could be offensive and cynical, or it could be truly moving tale.

(image from IMDB)
1. Biutiful (January 28): Alejandro Gonzalez Inarritu's first directorial feature since Babel, Biutiful is the critically-lauded entry from Mexico for the Academy Awards' Best Foreign Language Picture. However, due to the unique requirements for that category, Biutiful is not a 2010 film, since American viewers can't see it until January (unless they buy the DVD online). The story of a compassionate-father deep-in-organizes crime who wants to solve lose ends and ensure a good future for his children before he dies. Yes, last year's most praised foreign film was the odiferous The Secrets in their Eyes; still, the critic community is right more often than not and I am going to take their word and get excited for this movie. I hope you do to.

I wish luck to anyone who follows my advice and sees these films. I will post again when they are out to evaluate their merits (and my MAD predicting skills). I would love to hear your picks too, so feel free to post whether you are reading this on screened or my more complete website cinetim.blogspot.com. :)

The Other Guys (A-)

A-
Witty lyrics, good acting, and humorous scenarios make this the year’s funniest film. Add onto that the entertaining action and you have one good movie.
Detectives Allen Gamble and Terry Hoitz are to ordinary looking guys with dark pasts. Gamble has been trying to repair his relationship with his “plain wife” (Eva Mendes of We Own the Night), the anchor keeping him from leaving his mundane life as a timid nobody doing paper work for the police force to go roam the streets as the vicious pimp Gator, notorious in university dorm-rooms. Hoitz is bitter and resentful after being the one cop on a corrupt force who gets in trouble (he did the one thing New York couldn’t forgive when he accidentally crippled Derek Jeter). However, as the dark forces of Wall Street execs unite with the Russian mafia, these two might be the only people able to bring justice back to the city. No wait, that job falls to Detectives Danson and Highsmith. This movies just about the other guys.
Every piece of the force behind the over-the-top comedy does their share, and what’s more writer/producer/director Adam McKay (Anchorman: The Legend of Ron Burgandy, Talladega Nights: The Ballad of Ricky Bobby) makes sure they fit into together. The impressive cast—which includes Michael Keaton, Dwayne “The Rock” Johnson, Samuel L. Jackson, and Steve Coogan—all shine, but the best comes from the two leads. Will Ferrell (Elf and all of McKay’s most famous films) is in his element as Gamble, and Mark Wahlberg (Boogie Nights, The Departed, The Fighter) is so good as Hoitz he is actually at times quite scary.
Of course the acting only works since there is a script to back it up. The jokes fly by so frequently its as if one is watching Airplane, and the plot has enough of a story for us to care about the characters and enough restraint to keep things from becoming offensive or disappointing. To increase the fun, the movie also has some playful action sequences—a great substitute for the vulgarities that usually fill up spare space in films of this genre. The movie also wants to give some messages on corporate corruption, but doesn’t interrupt the plot more than necessary. Much of this is do to the inclusion of some startling statistics in the credits—a new strategy that creates a great compromise between those who want an a-political story and those who want to make a statement. A truly hilarious film, The Other Guys is great fun for practically everyone.

The Next Three Days (D)

The Next Three Days is well-crafted, but by no means does that mean it is a good movie. The underlying message of rebellion should not be taken lightly.
Three Days is not a particularly in-depth film (it will by no means achieve the same level of praise as writer/producer/director Paul Haggis’s other work, which includes the screenplays of Million Dollar Baby and Letters from Iwa Jima as well as writer/director credit on Crash). However, its central moral is achieved in a satisfactory manner, that of the precious nature of family and a husband’s role to protect it. Nothing particularly shocking, but a compelling enough premise for a thriller. In that regards the movie is perfect, as Haggis makes everything intense, well-paced, and as compelling as possible. The audience might not care enough for the characters in a sincerely emotional way, but one is most definitely on the edge of the seat with excitement.
The story, based on French thriller Pour Elle, tells of John Brennan (Russell Crowe of L.A. Confidential, Gladiator, and A Beautiful Mind), a happily married teacher with a cute little kid (Kevin Corrigan) who’s life is turned upside down when his wife Lara (Elizabeth Banks of W.) is arrested, convicted, and imprisoned for murder. John, feeling he has exhausted all legal courses of action and disturbed by his wife’s attempted suicide, decides he might just have to break her out. Of course, there is always the problem of the new lifestyle as an outlaw harming his kid’s newfound friendships, or his troubled relationship with his dad (Brian Dennehy of The Belly of an Architect), or the fact that any logic would show just how stupid an idea this is. Actually, Haggis is not terribly concerned about that last one, and does a good job of almost making the audience forget it. Almost.
The acting talent involved is good of course, though, with the exception of Liam Neeson in a well-done if stereotypical cameo, none of them have much to do. In fact, the over-reliance on Bank’s physique standing in for any of her positive character traits becomes a bit irritating (though this is by no means her fault). This would be less of a problem if John wasn’t so unbelievably perfect. While it is likely to excite the fantasizing women who will make up a good portion of the film’s audience, the film loses much of its anchor to reality and its impact by making everything too perfect. The husband’s portrayal as the even-headed guy being the saint saving the flawed, shallow wife even comes across as a bit sexist.
The movie’s main flaw, though, is a bit more serious. Sure, the film gives a few reasons why John’s path is a bad idea and is a large burden (much to show how family comes with a lot of responsibility), but for the most part it states that rebellious, even violent, measures are sometimes necessary. While most viewers will be able to distinguish between fiction and reality in the regards of prison breaks aren’t really an idea you should ever consider, it will be harder to avoid the idea that when the system doesn’t work you shouldn’t follow it. Yes, the normal procedures of justice are sometimes ineffective. Even so, it is counterproductive to fight it anyway but through the convoluted, calm, lengthy process that is provided. To do anything else, whether it be risking your child’s future to break your wife out of prison or to not continuing to do your job to the best of your ability since you didn’t get the raise your coworker got when you know he was cheating, is the good choice not only because it is the one that is truly effecting—which it is—but because it is the right thing to do. Our actions affect others, and by breaking the rules we are hurting the whole society and not following the moral codes people are supposed to. While I’m sure Mr. Haggis believes he adheres to the “do unto others” motto he is denying logic by saying that it doesn’t apply if the other is a faceless government which doesn’t play nice.
I, fortunately, have never been falsely imprisoned. However, I have been denied basic rights to report harm done to me in a hospital. For a while, I used this as an excuse to break the rules and stir up chaos. However, once I learned that just because something is justifiable doesn’t mean its right, I changed both my life and others. Rebellious actions might pay off in the short term, but in the course of life it will negatively affect you and your friends.
A common excuse of filmmakers is to say “The movie shouldn’t be taken literally.” This is another glaring omission of logic. Seeing any kind of justification for any kind of action will in some way affect a person’s opinions. If it is something like driving your car through the windows to kill transformers logic will kick in and it won’t be a problem. However if it is a message that rebellion is good, the moral is bad and can negatively affect you. Movies are giant metaphors, and despite the fact that criticizing one will get complaints of “it's just a story” we all know that metaphors have power just like any other statement. There is a reason people use them.
As I said before, obeying the rules is the right thing to do. That is why everything else never works. Except in the movies.

Megamind (B+)

Megamind
B+

Though its large number of writers and consultants combined with Dreamwork’s previous track-record of taking semi-parodies a bit too far were enough to worry anyone, Megamind manages to balance humor, adventure, and plot to create a compelling, charming story that continues their winning streak.
The alien to be known as Metro-Man (Brad Pitt) was sent out of his dying solar system as a baby. After traveling vast interstellar distances he landed on the mysterious planet called Earth. Fortunately, a kindly couple decided to adopt him. As he grew older it became apparent he had incredible powers of strength and flight—powers he constantly used to help make the world a better place. Over time, he became the legendary defender of Metro-City and the greatest hero the world ever knew.
Things never went quite so well for poor Megamind (Will Ferrel). He left the same solar system as Metro-Man, but he ended up landed on one of Earth’s toughest prisons. Brought up to hate the law, Megamind became a juvenile delinquent who arrived at his new school in handcuffs. Despite having an incredible intellect that allowed him to create amazing inventions, Megamind never fit in—constantly being overshadowed by the do-gooder known as Metro-Man. In frustration, Megamind decided to become a super-villain and battle Metro-Man and his beloved city. Megamind and his sidekick Minion (a talking fish-like creature in a robot suit voiced by David Cross) would constantly come up with dastardly plans that would almost destroy all that stood for hope and happiness. Almost that is. For over a decade Metro-Man always seems able to stop him just in time. Then one day the unthinkable happens: Megamind wins! With his nemesis gone and the city enslaved, the possibilities for Megamind are endless. However, he is disturbed to learn his imagination is not. Megamind becomes depressed until he befriends a pretty young reporter (Tina Fey) and comes up with an idea to liven his life up.
When Megamind is giving a silly critique of the super-hero genre it succeeds surprisingly well due to two reasons. First, after a dull half hour the movie becomes genuinely funny (a factor certain earlier Dreamworks films failed to account for). The imagery is creative, the dialogue is full of great one-liners and puns (Megamind can’t help but make Metro-City’s name rhyme with “atrocity”), and the film actually gets the themes and flaws behind super hero stories—from over-simplication of people to a general lust for glory. Just as importantly, though, is the movie’s ability to reign the jokes in when story becomes necessary. This means the audience genuinely cares for the characters and is sincerely invested in the story and its morals.
Megamind’s story is a bit more simplistic than some other recent animated films like Toy Story 3, Up, and Kung Fu Panda; but its morals are prevalent enough to have a nice affect on the younger viewers, its observations astute enough to humor hardcore comic fans, and its lack of anything objectionable makes it great fun for everyone. And what great fun it is: the action is engrossing and non-stop without too much slapstick; the 3D is used to maximum effect with minimum interruption; the true villain (Jonah Hill) is as captivating, dark, and sympathetic as can be allowed in a kiddy flick; Hans Zimmer (Despicable Me, Sherlock Holmes, Inception)’s soundtrack is brilliant as usual and the overall flow hits all the right notes. While large production teams often clutter and confuse a movie’s stories, Director Tom McGrath (co-director of the Madagascar movies) combines all the many talents (including Ben Stiller as a producer and Guillermo Del Toro as a creative consultant) to make this a thrilling ride.
Now it is impossible to bring up Megamind without mentioning the last super-villain animated movie—Despicable Me. Yes, they are eerily similar, and Despicable Me was satisfactory and fun-enough, but Megamind is undoubtedly superior in every way. If you think you saw this story last summer let me assure you that you didn’t; and if you have to pick between the DVDs choose this.
Megamind is a fun action-comedy for any and every age.

Winter's Bone (A+)

Winter’s Bone combines rarely seen artistic talent with excellent acting and powerful morals to create a soon-to-be-classic.
The Sundance winning coming-of-age drama is set in the very rural Missouri Ozarks where 17-year-old Ree Dolly has been forced to raise her two young siblings for many years, since her meth-manufacturing father is never around and her mother has been rendered near-comatose by drugs and depression. Trouble comes when the sheriff drops by to inform Ree that her father seems to be jumping bail—bail he paid for with the house Ree relies on for hunting and shelter. Ree sets out to find her father, but must struggle with the spider-web of organized crime throughout her related-by-blood community.
Award-winning indie Director Debra Granik (Down to the Bone) and Cinematographer Michael McDonough reveal the setting and plot with skill, depth, and a great deal of credit to the viewer’s astuteness; using no tricks like quick camera movements or graphic content. The result is one of the most involving films of all time.
Of course this only works because of the perfect acting, which includes John Hawkes (a supporting actor in Me, You, and Everyone We Know) as Ree’s troubled uncle and Dale Dickey (TV’s My Name is Earl) as the powerful wife of the community’s ringleader. Best of all though is Jennifer Lawrence (The Burning Plain), who refrains from any hamming up or departing from the role of Ree. The acting and the character become truly indistinguishable—yet another testament to the film’s well-developed union between performers and director.
Ree looks on her life with wonderment at the tragic and confusing circumstances she is in, but never debates what her role, nor anyone else’s, should be. The community and its deep corruption are bitterly attached, and the film uses this to provide interesting and original insights on responsibility and family. Of course, the films also stands as a stark warning to the dangers of using methamphetamines, and a shocking portrayal of how they affect places rarely shown in the movies. Yet throughout all this, the film manages to be one of the more enlightening pictures I’ve seen in a while.
Haunting, powerful, and eerily inspiring Winter’s Bone is an incredible work of art.