Good and Bad of 2011: Movies - Vol. 4

And my favorite movie of 2011 is....

X-Men: First Class

I'm going to write this post differently from my impassioned and lengthy declaration of Scott Pilgrim vs. the World's sheer brilliance and status as both my favorite and the absolute best of 2010, and instead have a bit of fun with the presentation. Obviously X-Men: First Class isn't the crystal clear best motion picture of 2011, but why shouldn't it be? It's one hell of a marvelous, pretty much perfect film [unless you're one of those folks who balk at the incongruities in the films continuity; I like to look at this flick as its own entity]

And finally, before I move any further, I wish to give credit to Ruth's passionate Top 40 Reasons I Love X-Men: First Class, which echoes my thoughts and feelings quite eerily well and served as an inspiration with what follows. I hope this post does hers justice. My list won't be as detailed, but instead will be numbered to 20, because...well, I don't really have a huge reason behind it.

Finally, finally, I just want to say: before X-Men: First Class, I can't honestly say I gave a bloody damn about any of these characters minus Wolverine. I didn't care all that much about the overarching theme of the franchise of prejudice/mutations, or the opposing sides of the argument. These were action movies, nothing more. Jane Goodman and Matthew Vaughn presented audiences with a movie that wasn't about flare, action scenes, or a being a vehicle for money grabbing studios. This film made me care, because everyone involved cared. X-Men: First Class is the beginning of a battle of the minds, the splintering of a brotherly friendship, and the formation of two powerful groups. This is quality filmmaking and storytelling. This is why this movie stands - excuse the following - above the rest of class.

1. Erik/Charles relationship. The most telling moment in the X-Men trilogy, the most significant and powerful moment, was after Xavier's demise at the hands of Phoenix in X-Men: The Last Stand, as Magneto defends Xavier even in death: "Charles Xavier did more for mutants than you will ever know. My single greatest regret is that he had to die for our dream to live." Now we get to see the birth of that friendship, that bond that defines the whole damn set of movies. To me, you can throw away Cyclopes, Storm, Jean, Wolervine, Rogue, the whole group and just concentrate on these two, and you would have a very fulfilling, riveting series. They're the Anakin/Obi-Wan of mutants - their choices decide the fate of the whole world, basically. Here in First Class, that relationship is brought to life beautifully. They instantly respect one another - who they are, what they represent, what they hold dear and believe in, etc. Every scene with those two is charged and powerful. Regrettably, for a movie so jam-packed with story and character beats that needed to be addressed, there just doesn't seem to be enough Charles/Erik scenes. Sad face.

2. Raven/Charles/Erik relationship. Leave it to this flick to give more dimension to Mystique than the entire trilogy. Turns out Mystique/Raven was best buds with Charles (even though there is no hint to support this in the Trilogy, though there isn't any evidence to negate it, either), living together in a brother/sister capacity (in a fashion), using their powers under the radar just enough. Raven uses her ability nearly every waking minute of the day, and Charles uses his to pick up the ladies. And then Erik comes along, and tells Raven point blank that she doesn't need to hide who she is, that she's beautiful, that when she's, shall we say, Jennifer Lawrence, she's not completely 'her'. She believes in Erik's belief - mankind won't accept them, they can't, and makes her choice in the end, with Xavier's blessing. This whole dynamic is wonderfully played. It's this layer of complexity that I appreciate out of the screenplay.

3. Cameo! ....... sorry, did I spoil it for anyone?

4. This scene. Mentioned it the other day, but my Lords of Kobol, how is there not a more touching scene in 2011? [oh, right, nearly the entirety of this movie]. Erik is a walking vessel of anger and rage, and in this scene, this one, simple, beautiful scene, Charles enters Erik's mind and releases a memory Erik had long forgotten, giving the man of pain one wonderful moment of serenity. Why does a movie have to be a political thriller, or Holocaust drama, or just some big snazzy drama drama to be recognized for their powerful strengths? This is an action/superhero movie, and this is just one small example of why, with this new breed of post-Dark Knight productions [minus Green Lantern], these movies have a complexity unmatched before, and deserve to be recognized for their outstanding achievements.

"There's so much more to you than you know, not just pain and anger. There's good in you too, and you can harness all that. You have a power that no one can match, not even me."

5. In the Trilogy, the costumes were black. Just black. Meant to go with the realism. I can dig that. Here we are with First Class, and we've gone black and yellow....and I am really, really groovin' on that design train. It's perfectly, simply retro, but also kickass effective. They're also nice transitional suits, beginning with these and eventually forming into what we know from the Singer productions [assuming we are to believe in the continuity of all these X-flicks].

6. Jane Goldman and Matthew Vaughn's screenplay. If Christopher & Jonathan Nolan's names aren't attached to a reimagining or some other big property that deserves nothing but the best, I expect Jane and Matthew to be a part of it at least, and if none of these folks are, I already expect it to be doomed. After Kick-Ass and now this, Jane and Matthew have proven themselves amazing writers. They have a true talent in regards to characterization, specifically the ability to bring a lot in something not expansive. In just a few quick lines of dialogue (and the help of Fassbender), Erik is established fully and deeply. In Kick-Ass, the action and reaction of the characters made them three dimensional people instead of plot puppet pals. They added heart, drama, tension, action, politics, and heartbreak all in one two hour movie.

7. Erik is the cause of Xavier's wheelchair-boundness. I'm unfamiliar if this ties into the comics, but I found this turn of events to be marvelous and ingenious. I wasn't too fond of how everything seemed to be thrown into one movie, this included, but if they had to do it, this was the way. Have Erik's bullheadedness, his descent into Magneto, be the crippling of Charles Xavier. Beautiful, really.

8. Normally I find period movies to not be all that fascinating, even ones from the 1960's. Leave it to the X-Men team to turn my displeasure into pure entertainment delight. As if this flick needed to become any more epic in scope, the first X-Men leap into battle to stop potential nuclear war! How much awesomer and high-stakes can you get? There's the James Bond-y element that many people take note of, specifically how Fassbender seems to channel his inner Sean Connery/Daniel Craig (for realz) by playing Magneto: 00M. And plus, you get period clothing! As for the pic I chose above, the subtleties of why I chose it for costume design may not have be apparent. It's a deep, complex reason, no doubt.

9. James McAvoy as Charles Xavier. Originally, I didn't see it, didn't like it, etc. Patrick Stewart is Charles Xavier, yo, simple as 'dat! Well, then I saw the flick, and McAvoy sold me. Yeah, he's the young Xavier all right. Completely and utterly sold. I LOVED that he was a bit of a ladies man, using his telekinetic abilities to hit on the women. I LOVED how he was so enthusiastic and firmly believed in everything he was saying and doing. And I LOVED how McAvoy made this character very much his own, but with just enough to make you believe in him, that yes, the bald Patrick Stewart comes of this.

10. Henry Jackman's appropriate and rousing score compliments the action-y vibe of the flick when need be, and gives us chilling bits with 'Frankenstein's Monster'. Definitely one of the Greats of 2011.

11. This Guy. Glenn Morshower, known primarily to me as Agent Pierce from several seasons of 24, or to the general public, the guy who dies a lot but keeps coming back in the Michael Bay Transformers franchise. He's had roles in at least a half dozen major Hollywood productions and countless TV shows. Seeing this man always brightens my day.










12. Fast-paced editing. The movie starts and then - holy crap! It's the end already?! By the films insane final 20 minutes came to a close, I was ready for another outing. This is one spectacular film, firing at all cylinders, how could I not want another dose? Director Vaughn never allows us to be bored (or at least a good amount of people; lots seemed to have been less than invested in the story, or are nitpicking at its inaccuracies). It's always a balancing act for directors to juggle the characters, the drama, and the action - Vaughn makes it look easy. Bastard. Love you!


13. To Blow Up or Not Blow Up? Next to the crumbling building scene in Transformers: Dark of the Moon, I don't think I've been more - to use the tired phrase - at the edge of my seat than here. Magneto and Charles russlin' it out on the sand, a bazillion missiles ready to blow Americans and Soviets into nothingness. This is the power struggle of the whole series, personified in one hell of an amazing scene of physical violence and visual gorgeousness.

14. Jennifer Lawrence as Mystique. A hard role to pull off, perhaps more than Fassbender and McAvoy had to - after all, this was a character who was known only for her sex appeal in the Trilogy, and now she's being given depth! Lawrence had to bring heart and soul to Raven, to make her choices understandable, and her arc in the Singer/Ratner films more meaningful. Beyond all odds, she does it.

15. X-Training. Usually the area in most 'coming-of' superhero films that are least enjoyable, and could easily be cut. Here, I wouldn't slice a frame. Every second of the training exercises is hilarious and, sorry to go general here, awesome. From Banshee gaining his 'wings', Beast getting his run on, Erik pushing himself further, the Summers boy harnessing his flamey-thing, and Raven understanding how her fear limits who she is. Character building and fun - another testament to Goldman and Vaughn.

16. The Baconator. Man, can this guy pull of Evil Bastard. Loved it. Still the essence of cool.

17. In the Trilogy, Magneto was often just your regular everyday villain, but here, in First Class, he's a living, breathing character with his own ideology and attitude. He was pissed on by a pre-mutated Sebastian Shaw, hardened by the environment he grew up in, treated like shit, pushed into using his abilities for the gain of another, and all around been given a really unfortunate life. In the finale, Erik/Magneto stands at the beach, addressing his fellow mutants, and summarizes his stance well enough here, "Open your blinders, my brothers and sisters. The real enemy is out there - Americans, Soviets, humans. United in their fear of the unknown." Sorta sounds like Batman Begins, dunnit? "People always fear what they don't understand." Nice, Vaugh/Goldman, nice.

18. I relish when characters begin to push boundaries and cross lines. Erik leaps into action without a plan, and allows his anger to overcome reason, pinning Emma Frost to the metal bedpost in one of the film's most riveting scenes. And I recognize that this whole post may sound like one Michael Fassbender love letter - and rightly so - but that dead look in his eyes as he begins to break Emma's crystal exterior, it's frightening. A complete turnaround of that look of serenity Charles released earlier in the narrative. This is one of the many glimpses of Erik's rage, of that beast inside him, a furnace that refuses to be extinguished, and it's terrifying. Here I can see why people fear Magneto, I can get a picture of the complicated, pissed man under the helmet. Want to find an interesting, compelling character in 2011? Erik/Magneto is that character. In the next flick, say Second Class, the movie should focus solely on Erik and Charles and their friendship, and see how Erik's revenge has either given him peace or brought him further down.

19. When it comes to superhero movies, so many things are imperative to make a fine production, from script to actors, but perhaps one of the most important element that must be strong is the director. After all, a director brings his own 'style' to the mix. The 1989/1992 Burton Batman movies are very much Burton through and through, same with the Schumacher movies and the Nolan movies - visually, you can just tell. I'm not to a point where I can tell Vaughn's style off a quick three-second clip or anything like that, but watching his movies, there is a distinct look, and Vaughn brings his very cool look/style to the X-Men franchise marvelously. Let's take Brett Ratner's X-Men: The Last Stand, Gavin Hood's X-Men Origins: Wolverine, and Vaughn's First Class and put them next to each other, and each director's style is pretty damn obvious. I can't put into words Vaughn's style - it needs to be seen and enjoyed. He's a unique talent, and news of his return to the X-Men franchise with the sequel gives me hope for the next installment that would otherwise not be there. Vaughn owns the screen.

20. I'm going to make this coin disappear. Yeah, you are. [What a friggin' intense scene; also, more major kudos to Matthew Vaughn for excellent directing here]

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So, yeah, not a normal choice by any means, but isn't it fun to not play safe? The good of 2011 has officially been handled and done with, now what's in store for the bad? Any guesses? Thoughts on my top 10? Leave your thoughts below!

Good and Bad of 2011: Movies - Vol. 3

2011: What I Loved

Two weeks ago, I sat down with one of my co-writers at the student newspaper at school, and we started talking about our best and worst lists of last year. There were a few points where our tastes matched, and when that happened, on those instances, it was uncanny how in tuned we were with each other. My feelings were basically the same as his. But when it came to one we disagreed, there was no way we found common ground. Thus, our Top 5 Best/Worst list was a weird mess of action movies. I didn't want to repeat that with this blog edition. So these ten choices are my definitive choices. Some titles will be a bit of a question mark, which is understandable, and I give my reasons, but at least it's sort of interesting to have a diverse list instead of the same old, same old, eh?

Indeed, these aren't the BEST of 2011. Very film films, I think, of last year were masterfully made. Very few. But the following are movies I would gladly pick out of my DVD/Blu-Ray collection any day of the week and watch with a stupid grin on my face. Without further ado, the Minnesota Geek's take on 2011!

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The Green Hornet

Oh, yes. There are four movies in my top ten that could have been absolutely disastrous, but none had that high of an expectation like The Green Hornet, and it's nothing short of amazing that this movie is as good and damn fun as it is. A large part of that goes to - and I can't believe I'm actually going to type this - but Seth Rogen, ladies and gents. This is the one role that he could have truly screwed it big time and would have ruined everything. Instead, Seth Rogen nails Brit Reid. Yes, there are hints of his normal obnoxious guy role rearing its ugly head, but that's part of Reid's character, and when the Hornet becomes something more to Reid than a way to sell newspapers and have fun, that's when it's really obvious Rogen's putting on a true performance, not just showing up for a paycheck. It's Rogen and Jay Chou's hilarious relationship that holds this movie together. I was floored when they have their 'falling out' scene and kick the snot out of each other at Reid's mansion. I haven't seen two 'heroes' duke it out like that in a long while, and thanks to their very real, very honest friendship, that made it all the better. Christoph Waltz gives yet another spectacular performance as Chudnofsky, stealing every scene he's in with suave ease. I love this man, he's terrific, and his one-on-one with James Franco near the beginning reminded me of something taken out of a Quentin Tarantino script. The Green Hornet is a surprise through and through - Chou, Rogen, and Waltz are marvelous (I'm still wondering why Cameron Diaz was even in this movie...), and the script is genuinely fun. Directed by Michael Gondry, the movie passes by at a brisk pace, the action scenes are nicely shot and edited to elevate the excitement factor, and overall, it's one of the better hero experiences of the year. [Read Review Here]

Transformers: Dark of the Moon

You better believe it, bub. Okay, so reasons why you shouldn't believe that this flick should be on this list and that I obviously don't know movies. I'm 21, and as a young male, I have a tendency to love/enjoy flicks that have lots of explosions, attractive females, rapid pace editing, and giant fighting robots. It's just part of youth, right? And let's not forget that Michael Bay doesn't make art films, he doesn't make conventional movies - he just films entertainment blockbusters. And, yes, of course, this is a movie about alien robots duking it out in Chicago. So there ya go, a few reasons why you shouldn't take my inclusion of this flick here seriously.

But let's get down to business. This is a good movie. I will not walk up to customers at a video store and tell them to buy Transformers over Citizen Kane because, c'mon, robots are way cooler than finding out the origin of this enigmatic "Rosebud." So let me take a second to make my very simple, direct case. [1] Michael Bay and his style. At this point, his style is part of the Transformers DNA, and it's because of Bay these movies are so damn successful. He is a real director, and he crafts some absolutely beautiful shots. Don't forget that in order to bring these digital entities to life, Bay had to design the shots and figure out how to frame everything. Additionally, action movies are difficult to get right. For Bay, it seems engrained in his blood. So Bay is a major part of why I dig this movie so. [2] Superior script. I won't defend Revenge of the Fallen at all - except to say it was in just as tough a position as Quantum of Solace - but Ehren Kruger's script for this 'final' flick in the trilogy is actually really damn good. Sometimes I wish the story was as simple as the first movie, the simplicity of good guys vs. bad guys and that's it, but in order for a franchise to find its legs and justify further episodes (outside of money wanting by the company), you need to have an intricate script, with a lot of beats and a lot of shit happening. At least I, personally, would much rather have this type of script than 'more bad guys threaten the earth.' [3] The actors seemed to care. At this point, the actors are either happy that their contract is up and they're done so they're giving it their all, or they genuinely enjoy what they do. I hope it's the second one. But everyone's great here, even the blonde newcommer. Nobody is as godawful annoying as pretty much everyone was in Revenge of the Fallen. [4] Digital effects - wwoooww. [5] I had fun. Most important, most important, indeed. This is sci-fi for this generation, and it works. Yes, it appeals to the young adult male part of me, but y'know, I just think it's a damn good movie. [Read Review Here]

The Artist

Believe it or not, I originally had Scream 4 in this spot. I just felt I had to honor the horror franchise that I fell in love with. But this was before I saw The Artist last week, and once I did, well, there was no possible way it wouldn't be on this list. There's a half-billion reviews circulating for this movie, so I'll keep this short and simple. Far too often a movie receives praise that I feel doesn't warrant it. This is not the case with The Artist. All those accolades, all those awards - the movie deserves it. I love that damn dog, Uggie the Jack Russell. I love the meta quality of it all, where George is repeatedly berated by his wife for not talking. I love Peppy Miller, because she is absolutely gorgeous. I love the scene that above screencap is taken from, because it was absolutely hilarious and charming and told you everything you needed to know about these two characters without an ounce of dialogue. I love how the movie is both an homage to the silent era and also becomes one. I love pretty much everything minus two points. One, I didn't dig the score as everyone else. It just didn't feel...enough. Second, when George (not really a spoiler at this point, but, um, SPOILER!) speaks in the end, it's rather startling and throws you off completely when a thick French accent comes out of his mouth. Pretty much one of those "Wah...?" moments. But obviously the pluses outweigh the negatives, and The Artist damn well deserves to be on this list.

Drive

Another movie that lived up to its hype. Drive isn't as near perfect as The Artist, but it's damn mesmerizing and amazing. I find fault with some parts of the script - specifically instances where Irene and Driver are bonding where the dialogue is far too clunky and should have been revised - and the too frequent a use of pauses that it nearly reaches uncomfortable proportions. But aside from those minor quibbles, ladies and gents, I bloody love Drive. That opening scene and that tense elevator ride are two examples of "mint" filmmaking [thank you kids from Super 8 for 'mint']. Ryan Gosling is chilling as Driver, a sort of closeted man who doesn't raise his voice or appear to be anything other than what he is on the outside, only to have a darkness erupt out of him when necessary and become some violent, cool-headed brute force. How the narrative goes to shit in the second act and the fallout that brings us to the climax, it's tense material of which I can't pull my eyes away. I've watched Drive four times now, and it does not get old. And I frankly don't expect that's gonna change anytime soon...

Crazy, Stupid Love

What the hell is a romantic dramady doing here? Oh, fine. Thing is, Crazy, Stupid Love falls into the same category as Dan in Real Life [both surprisingly starring Steve Carrel!]. Both are clearly set in an exaggerated reality, but they are so deeply rooted in reality, in a world familiar to us, that I feel like part of the equation. It's, shall we say, an intimate experience. I'm living Dan's search for love or I'm living Cal's messed up marriage. These two movies, Dan and Crazy, work so well because they have well thought out, identifiable characters that are three dimensional and captivating to watch [and yeah, it doesn't hurt to cast Emma Stone]. This movie is fun. It's dramatic, and it's hilarious. Yeah, the ending could have used a bit of a touch up with how it's all sussed out, but screw it. Everything that came before is pretty much perfect, why complain about a good thing? Also, this is one of those rare cases where the ensemble cast feel absolutely genuine. This is a family unit, I don't question it. This is Cal and Emily undergoing marriage issues. This is Jacob's story from womanizer to monogamous man. These actors work so well together, that their relationships are real, and their stories are real, and consequently, I became damn well invested in 'em. So why is this on my top 10 of 2011 list? Because damnit, so few movies actually achieve that.

Thor

There was a battle inside myself on whether to go with Thor or The Ides of March, both movies that I cherish dearly and have an insane affection for. Obviously, Thor won out. And amazingly, it mostly had to do because of story. Oh yes, the performances of everyone involved was spot on, with Tom Hiddelston giving us a tour de force portrayal of Loki, but this story of this powerful family being ripped apart by secrets and character flaws, and how the material is handled so perfectly when it could very well have turned to be one of the biggest embarrassments of 2011 - that's worthy of praise. When I think back fondly on Thor, this is what I think of, and this is why it's on the list: Kenneth Branagah, whose visual style is perfect for this type of film. I love the heavy use of dutch angles, I love the color scheme and the wide, sweeping shorts of Asgard. The Shakespearean-esque story of a society on the brink of war and a family being ripped apart from the inside out. I love Asgard. I love the balance of screentime for Asgard and earth. I love Thor. I love Loki. I love manipulative Loki. I love Thor's interaction with S.H.I.E.L.D. I love the emphasis on character and, furthermore, the impact of choices within the narrative. I respect and hold Thor above so many other movies because first and foremost this is a story about a man who needs to be humbled to be a wise ruler, and this is his journey. This is not just a superhero action movie, or a tie-in to The Avengers. This is what I'd call a definitive Thor tale. [Read Review Here]

The Adventures of Tintin

One of the problems of making a definitive list for a blog is that you may be just about to post the list of your favorite movies of 2011, and you just might come across another one you fall head over affordable TARGET-shoes in love with after you post said blog...er, post. Luckily, the day before I post(ed) this, I saw The Adventures of Tintin. My God. How absolutely amazing to watch. First, I take back my proclamation of Rise of the Planet of the Apes as the best visual effects Hollywood had to offer. That was before I saw this. Nothing bests Tintin. It's been a long while - well, eh, maybe since Rango, which wasn't too long ago, but feels long enough - since I've been so completely impressed by special effects. Not only that, but this is utter perfection of the motion capture style. Now I really, really want Robert Zemeckis to go back to Beowulf and attribute this new foundation of excellent effects work, and then it will be one larger step closer to being perfection. So special effects: not a single bad thing to say about it. Adventures of Tintin is pure Steven Spielberg. The movie is pretty much an animated Young Indiana Jones adventure. Hell, even John Williams' music echoes the Indy trilogy (notice: trilogy). There's adventure, there's exploration, there's gold, there's clues - all that interesting journey stuff. And the best part? It's fun! To be upfront, I didn't really care about the big mystery, this Unicorn/ship stuff, it didn't concern me. What I paid attention to were the characters, the special effects, and additionally, the writing [after all, it has two of the Big Names Who Can Do No Wrong: Steven Moffat and Edgar Wright], and nothing in that area disappointed. Oh, and Spielberg - this must be a dream come true. He is the master of the camera, and with it, he commands the screen like a excited kid creating some truly nifty shots. This is Spielberg at his most creative. Beautifully, beautifully shot. I am immensely glad I had the pleasure of seeing The Adventures of Tintin before I published this post, and now that I have, I implore you all to check it out. It's a true Spielbergean adventure.

Harry Potter and the Deathly Hallows, Part 2

In what universe would this movie not be on the list? This is it, this is the end [as Agent Smith said in The Matrix Revolutions], and what a finale to close on. A couple of names: Ralph Fiennes, Alan Rickman, Daniel Radcliffe. Deathly Hallows, Part 2 is one giant love letter to these three actors and their jaw-dropping, awe-inspiring talent. It's because of them (and, of course, Jo Rowling's/Steve Kloves' story/script) that each emotional pull is a sucker punch leaving even the strongest of men 'emotionally compromised', that the battle of Hogwarts is thrilling and magical and tragic all at the same time. Harry Potter has been my life since the age of 12, and these movies are extraordinary, and these actors and directors and writers and crew members deserve every bit of applause imaginable. To know that a Harry Potter movie won't be on this list for 2012 is heartbreaking. I don't want it to end. It did, for many months now, but, well, can't we just use that nifty time-turner gizmo from Prisoner of Azkaban? Harry Potter and the Deathly Hallows (both parts) is phenomenal, a thrilling tale of bravery, sacrifice, darkness, friendship, and most importantly, love. Goodbye, Harry Potter. [Read Long Review Here]

Bridesmaids

The biggest surprise of 2011. Honestly. I don't remember what precisely had come out during this time theatrically, but I do know that as the tickets were bought and mom and I made our way towards the screen [it was a birthday present, seeing Bridesmaids], and I didn't even have the slightest interest in watching this flick. And then the movie started. And Kristen Wiig is riding Jon Hamm, and there's that instant uncomfortableness of watching this sex scene with your mother, and then it became less unconformable because Jon Hamm's character is a dick, and from that moment on, the laughs didn't stop coming. Me, mom, the whole damn theater laughed our asses off. Bridesmaids is frakking hilarious. Perhaps a large majority of people I know saw the flick after all the hype and thus were a bit disappointed by it, but I honestly don't know why they dislike this but love both Hangover movies. Whatever, irrelevant. Point is, on a bad day, there are now two movies I will throw in: the first is American Wedding, because I love that movie, and the second is Bridesmaids, because it will make me smile and laugh and I'll be in a better mood afterwards. The script is air-tight brilliant, and every member of the cast should get a standing ovation [didn't they at one of the award ceremonies earlier this year? Can't remember]. Unless my brain is forgetting some important moment from 2011, sitting in the theater and watching Bridesmaids was the single funnest experience watching a movie last year. What a fabulous, brilliant, hilarious movie.

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Now that a good portion of the usual suspects of most 2011 top ten lists have already been accounted for, what on earth could possibly be Andy's favorite of 2011? And will you think he's on crack when he reveals it? Tune in tomorrow for the answer! Questions? Comments? Hit me up below!

Good and Bad of 2011: Movies - Vol. 2

Welcome to Day 2 of the Geek's Good and Bad of 2011! Are y'all having fun? Well, if not just yet, today marks the beginning of super funness. It's the day where I give out awards, ladies and gents. Weird awards, duh awards, fun awards, what have you. 2011 is over with, let's give credit where credit is due. Now without further ado, let's get this ball rollin'!

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WHAT'S YOUR NUMBER? Approximately 85 2011 movies watched to date.

TOP THEATER EXPERIENCES -
Numero One: Bridesmaids
Numero Two: Harry Potter and the Deathly Hallows, Part II
Numero Three: Crazy, Stupid Love

REMAKE FOR THE WIN: Fright Night
REMAKE FAIL: Straw Dogs
REMAKE OKAY: Arthur

I WILL FOLLOW THIS MAN TO THE ENDS OF THE ERT: Joseph Gordon-Levitt
BATTLE OF THE FOURQUELS:
Contestants: Mission: Impossible - Ghost Protocol, Pirates of the Caribbean: On Stranger Tides, Scream 4, Breaking Dawn, Part 1
Winner:

I HONESTLY FORGOT THIS CAME OUT: Fast Five

ZERO INTEREST CINEMA:
[I am fully aware most of these are kids flicks, but c'mon, the writers & studios could have at least put the slightest bit of effort into their product to look even slightly appealing]

• The Smurfs
• Mr. Popper's Penguins
• Country Strong
• The Roommate
• Gnomeo & Juliet
• Justin Beiber: Never Say Never
• Hop
• Monte Carlo
• Zookeeper
• Spy Kds 4D
• Bucky Larson: Born to Be a Star
• Arthur Christmas
• War Horse

THE GOOD AND BAD OF SUPERHEROES ON DVD
Winner: Green Lantern: Emerald Knights
Dropped the Ball, Big Time: Batman: Year One

ALIEN INVASION MOVIES AREN'T MEANT TO BE BORING, GUYS: Battle: Los Angeles

MOVIES THAT NEEDED A FEW MORE DRAFTS
Immortals
I Am Number Four
Our Idiot Brother
Green Lantern
Conan the Barbarian
Battle: Los Angeles
The Tree of Life

BEST LINE OF DIALOGUE: "Elizabeth is dying. Oh wait: fuck you. Elizabeth is dying." - The Descendants

2011 IN REVIEW: THE ANDY STYLE
(yes, a near rip off of Kai's list, but it was ingenious)

1. THE END OF POTTER

2. BEST FIGHT SIGHT EVAH

3. ALAN TUDYK

4. BATMOBILE GEEKGASM

5. HOW NOT TO DO A SEQUEL

6. WOAH

7. YOU CAN BE MY ORACLE

8. COLIN FARRELL

9. CLAYMATION COMEBACK

10. THE BETTER 'LET'S JUST FUCK' COMEDY

11. ONE FOR THE GEEKS

12. CLEVER BUSINESS STRATEGY

13. THIS IS HOW YOU DO A PREQUEL

14. TYLER LABINE

15. DREAMWORKS ANIMATION DOMINATION

16. CHRIS EVANS DOESN'T LIKE SHIRTS

17. MAKE IT STOP, MAKE IT HAVE MEANING

18. BRING BACK GORE VERBINSKI

19. HATS OF POWER

20. SCI-FI COOL

21. THE DRUNK DICK DOCTOR

22. MANIACAL LAUGH!

THE #1 STAR OF 2011Uggie the Dog, The Arist

SEXIEST ACTRESS OF 2011

Jessica Chastain honestly came out of nowhere. I don't know when it was in the year, but mom and I sat down in the theater to watch The Debt. Jessica played the younger version of Helen Mirren, and was absolutely mesmerizing. She never stopped impressing me. And then I saw her face in The Help. And then The Tree of Life. And now, most recently, Take Shelter. Damn, girl, either you love to have work, or these were all filmed quite a while ago and were unleashed all in the same year by coincidence. Point is, in each of these films, Jessica Chastain is a highlight, and I don't mean that just because of her beauty. When I think back on The Debt, I think of Chastain's struggle to keep her composure when being inspected by a doctor she aims to apprehend; in The Help, a naive blond who doesn't discriminate and just wants to have fun; in The Tree of Life, an affectionate mother who protects her children from Brad Pitt [weird sentence there]; and in Take Shelter, the voice of strength and support. This woman ruled 2011, and I hope she doesn't fall off the face of the earth anytime soon. She's drop-dead gorgeous, and talented to boot. Rare and awesome.

FAORITIST MOVIE POSTER OF 2011

Nearly goes without saying, this poster is clever in ways not many are. The only one next to Ides of March that could potentially receive this wonderful merit would be the poster for Young Adult, a brilliant poster that lost out because I'm unable to not be bias and shake off my particular distaste towards that flick. Still, lovely poster. The Ides of March is simple and subtle simultaneously, and I want to clap every time I look at the poster because of that. Ryan Gosling becoming George Clooney. In the movie, pretty sucky fate. In real life, eh, not too bad.

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Whew! That was a lot... Okay, then, rightio, Day 2 of the 6-day Good and Bad of 2011 has been completed! Thanks to everyone who is checking in to check out the awards and write-ups, I hope you're enjoying. Come back tomorrow where I unveil 9 of the top 10 flicks of 2011. Boo ya!

Good and Bad of 2011: Movies - Vol. 1

Hello ladies and gentlemen! It's time to put 2011 in the rearview mirror, and that means, of course, that it's time to dissect, praise, and rip apart movies that deserve some damn recognition. The annual Ramblings of a Minnesota Geek Good and Bad of [insert year here] is about to begin! Get ready for SIX days - count 'em, SIX! - worth of movie talkin'. I even made a spiffy new banner thingy just for y'all. I swear, one of these days, I might actually learn how to make a competent looking banner, something Photoshopy, but that day 'tis not today!

Let. Us. BEGIN!

THAT VISUAL EYE

Confession: I wasn't all that taken with Hugo. What I was taken by, though, was the directing work of Martin Scorsese. The first, say, ten minutes, are filled with so many marvelous shots that I couldn't help but think, 'y'know, this is pretty cool.' Unfortunately the movie didn't live up to my expectations, but the sheer visual beauty of it - yeah, that amazed me. And near the third act, when the movie switches time periods even more, how Scorsese directs - it's clear his love for film is on every inch of the frame. Hell, it's infectious. Even I wanted to watch me some George Melies films. How Scorsese directed the movie, it was as if we were in the world of Hugo, not some passerby observer. We were in this children's book, and it was awesome. The train station, marvelously shot and brought to life. The train catastrophe - with the exception of some minor poor special effects - was fine enough I'd sign Marty up for Speed 3: Off the Rails. Martin Scorsese is the director of the year because of the simple fact that how he brought Hugo to life left an impression on me. It's not his fault the script was less than spectacular, his job was to present a whole new world, and he did that, with some reaaaallly spiffy camera shots that left me quite smitten. Consider me eagerly looking forward to his next work.

Of course take everything I say with a grain of salt. You're reading the blog of a young adult who thinks Michael Bay is a genuinely talented director and Transformers: Dark of the Moon was visually stunning...

“At the Beach/You Have to Do This”, Take Shelter

There are two standout scenes in Take Shelter, both which heavily rely on Jessica Chastain being the amazing actress that she is. The first scene that is just so completely powerful and memorable is when Shannon has brought his wife and daughter into the storm cellar to pass a night’s thunder and lightning, and by daybreak, Shannon is so struck with fear, so assured that the storm is still brewing in full force that he refuses to open the latch, Chastain, as calmly and tenderly as she can, tells her husband that only he can open the latch, that only making that gesture will force him to face what’s been ailing him for weeks. It’s about five minutes of the strongest, most captivating performances of the year. And secondly, the finale. I don’t want to spoil it too much, but it is spine-chilling, hair raising and bloody unforgettable.

“Tense Rides in Elevators”, Drive

Yes, I went there. At this point, the elevator scene from Drive has been hyped to death. Why? Because it works. It really does. Often I felt uncomfortable at the too long periods of time where the characters didn’t speak. I get it; it’s all about character nuances and the quietness and all that jazz, but sometimes it would go on for uncomfortable amounts of time. The silence, the looks, the gestures – everything about this scene is transfixing. My eyes will not leave the screen every time I watch this scene. Even the damn lights add to the effect – dimming as Driver leans towards Irene and gives what could very well be his last kiss (though I like to think of it as his ‘I need it for good luck, yeah? Thanks’ smooch), everything works, all the way to that last heartbreaking shot of Driver looking at a terrified Irene as she walks away…to work… Wonderfully done.

“Release”, X-Men: First Class
For all its glorious scenes of mutant abilities and cameos and fight scenes, the most remarkable, the most memorable and intense scene in the entire movie, is a moment of serenity. During the training montage, Xavier challenges Erik to move a satellite dish, wish Erik tries to do with the best of his abilities, but finds that he can’t. Xavier enters his mind, and conjures up an old memory, a memory that gives Erik release, that gives him happiness, that gives him power. With McAvoy and Fassbender filling in the roles of Xavier and Erik, respectively, this scene transcends the screen, making it one hell of a moment, forever etched in my mind as one of the greatest character beats in all of superhero films. It’s moments like this that makes First Class one of a kind.

“Inevitable”, Sherlock Holmes: A Game of Shadows

There wasn’t a whole lot that was memorable with this Sherlock Holmes sequel (aside from the premiere of The Dark Knight Rises trailer…), but the climax, with Sherlock and Moriarty facing off intellectually – well, that was phenomenal. Director Guy Ritchie has shown us Sherlock’s mind, how he operates by thinking his moves through before he takes action. Well, turns out that Sherlock ain’t the only clever guy around, and Moriarty proves himself more than a match intellectually, but also physically, leaving the outcome of their game inevitable. But Sherlock has an unexpected trick up his sleeve, and it’s a cinematic doozy. One hell of a scene.

“What?”, Crazy, Stupid Love

At this point, also in the same vain as Drive, a scene talked about a lot, and has probably been hyped up too much to be effective at this point for any new viewers, but me, seeing it opening night – this was wildly hilarious. So many plotlines coming to a head in this single location, with so many twists and turns I didn’t see coming. This was truly a highlight, a real surprise – an honest rarity in movies, these days. Over hyped or not, I love this scene, and the movie is pretty spectacular, too.

“Fun Air Ride”, Bridesmaids

Funny movie. Rolling-on-the-floor-laughing scene. Everyone’s seen Bridesmaids by now, so not much point in retelling it here. Kristen Wiig owns with all her special ticks and mannerisms and slurred speech and big-ass glasses. In what I’m sure was a very ad-libbed scene, she steals the momentum from everything else that came before it and after (all of which I love, mind you, but personally, this was the epitome of funny). On those days when I’m in a most unpleasant mood, I firmly intend on throwing my Bridesmaids disc in and choosing this scene specifically, and I haven’t the slightest doubt my day will be just a wee bit brighter by the end of those five minutes. Terrific.

“Collapsing Building, Not So Fun”, Transformers: Dark of the Moon

Every year there’s a Transformers movie I say this, but go ahead and diss Michael Bay all you want – wrong as it may be, in my opinion – but that man knows perfectly well how to craft an intense, electrifying scene that the fanboy in me has always wanted. For the longest time, I wanted to see our main character trapped in a building that any second is gonna collapse and break into a bazillion pieces (although in my imagination, Godzilla was involved in some capacity, but I can deal with giant robots instead), and Bay delivered that with his signature style. A riveting ten minute scene, beautifully shot, digitally perfect – the whole damn thing, love it, and I won’t forget a second of it.

THE FANTASTIC SCORES OF 2011

Harry Potter and the Deathly Hallows, Part II – Alexandre Desplat

For a climax of an eight-film saga, with more action beats in its two hour running time than its predecessors, there is something weirdly subdued by Desplat’s score for this grand finale. As the movie nears its conclusion, we get the grand epic themes I was expecting, in respect to the war reaching new unimaginable heights of intensity and the final confrontation between Harry and Voldemort, but outside of those few tracks, this score is surprisingly quiet. Desplat boasts some marvelous work in this final entry, particularly the trip down memory lane for Snape and the Final Battle at Hogwarts cue before the Big Finale. Still, I can’t help but fantasize about how John Williams would have closed out the series.

Transformers: Dark of the Moon – Steve Jablonsky

There are two composers who are your basic go-to guys for action scores: Alan Silvestri and Steve Jablonsky, because you know they can deliver the goods. Jablonsky, under the assumption this would be the last Transformers outing, gives it his all. The score stays perfectly within the established tone of the previous installments, and reflects the apocalyptic, last-ditch-effort-to-save-the-world storybeat perfectly. “Battle” and “I’m Just An Messanger” are examples of Jablonsky working his groove. He also channels the resonating emotional cues just as well, such as when the Autobots are exiled and supposedly blown out of existence. It may not be a deeply nuanced score like people are looking for, but it’s great and Jablonsky’s work is always worth a nod.

Hanna – The Chemical Brothers

Their type of techno music isn’t always my cup of tea, but sometimes the situation just calls for it, as is the case for Hanna. Take a listen to the track I picked out. Takes place at a container platform, and Hanna unleashes the full might of her murderous fury. It's one hell of a scene made all the more powerful by the score by the Chemical Brothers. Techno hasn't worked this well with a film since the Wachowski's Matrix trilogy.

Drive – Cliff Martinez

Unfortunately there are no tracks for me to embed, but it would be sacrilege not to mention Cliff Martinez's phenomenal work. The performances are powerful things, yes, but every once in a while you come across a movie where the music matches so perfectly with the film, it demands attention, it demands to be heard and enjoyed and consumed. Martinez does exactly that with his Drive score. Find "Rubber Mask" somewhere online, and come back and write to me that you disagree.

X-Men: First Class – Henry Jackman

There's going to be lots of X-Men: First Class love for the next few days, so might as well get used to it. The X-Men movies don't have a history of boasting really outstanding scores. I think the only time I can really say I was impressed was with John Powell's X-Men: The Last Stand, specifically his Dark Phoenix themes that rocked my world. Well, now we have Henry Jackman provide some outstanding themes that reflects the period setting of the movie, but also just gives that vibe of X-Men springing into action. This is the beginning of something big, and Jackman gets that. When the action is ginormous and all over the place, the music is spectacular. When the scene is a more intimate conversation between Xavier and Magneto, the music is perfect, a hint of darkness behind two competing ideologies. Wonderful, wonderful, wonderful.

Super 8 – Michael Giacchino

I don’t know if it’s possible for Giacchino to craft an imperfect score. He was faced with a rather huge task: creating a monster/alien theme, creating a theme for the kids, and invoking the vibe of old Amblin/1970's action/adventure titles. Giacchino does this. I don't know where his brilliance comes from, but however he came to be on the scene, I'm extremely thankful for it. When I see his name attached to a title (even Cars 2), I'm there listening. Super 8's score does so many things right, there was a period of time where it was on loop - for realzies. Hell, I'll make a crazy statement right now: if it wasn't for Giacchino's score, there would be no Super 8. Yes, the physical product would be there, but everything that resonates with me, everything that makes this movie powerful...can be traced directly back to Michael Giacchino.

BEST VISUAL EFFECTS IN HOLLYWOOD

It's been a battle, ladies and gents, deciding between Rise of the Planet of the Apes and Transformers: Dark of the Moon, both wildly deserving the award for best visual effects, but in the end, well, you can see who won. But really, let's just say that both are victorious. Each and every outing Transformers pushes the boundaries of what I thought possible with visual effects, each time impressing me with something new and monumentally beautifully. With WETA and ILM, they present to use which is basically 2007's King Kong, but on a smaller scale. This award is given mostly because of Andy Serkis, and how the effects team was able to capture his every motion, and transform it into a living, breathing creature that wasn't digital pixels - when I looked at the screen I wasn't looking at a digital creation twisting my emotions, I was looking at Caesar, and he was pissed. And there ya go, that's why it wins. Because when I watch Transformers, I'm not seeing real life Autobots [yes, I can suspend my disbelief to fully commit myself to the idea there are walking, talking alien robots - it could happen!], I'm seeing digital creations. Caesar is real, man. Case closed.

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And there you go, Day 1 completed! Come back tomorrow for my handing out awardness to deserving flicks, and the day after that, the first 9 of my top 10 favorite movies of 2011! So, what did y'all think? Thoughts? Questions?

The Twitter Review - Vol. 1

Hey guys. So, as part of my TV addiction and absolute laziness, I haven't reviewed pretty much anything as of late. I aim to remedy that now. Utilizing the brilliant style of Twitter, I'm going to do my reviews, but write really, really short thoughts on them. Besides, at this point, most of these flicks have been out for eons and anyone who wanted to see them have done so already. I won't limit myself to precisely 140 characters, but somewhere in that margin. This should be fun!

MISSION: IMPOSSIBLE - GHOST PROTOCOL: Difficult to top Abrams' masterpiece, but Brad Bird somehow does it. Beautifully shot, hugely intense, breathtaking action bits, great comedy - easily best of the franchise, and helluva fun to watch over and over.

THE DESCENDANTS: First Alexander Payne film, and loved it. Clooney, Woodley, the whole cast - great greatness. Very funny, very emotional, very real. One hell of a memorable film.

HUGO: A love letter to cinema, the tone is wildly uneven, and despite being visually really, really pretty, there is no real emotional connection or sense of completion by films end. A series of connected scenes without anything backing it. Very meh. Hit Girl was good, though.

COLOMBIANA: More of an excuse to see Zoe Saldana in skin-tight outfits, it boasts lots of action and a battalion of cliches in a mediocre production. Fun to watch, but easily forgettable.

THE CHANGE-UP: Ryan Reynolds reaching Zach Galifinakis levels of insufferability, neither Reynolds or Bateman make this movie funny or all that good. Changing bodies by pissing? Facepalm. One saving grace? The exuding hotness of Olivia Wilde. Coulda been better.

CONTAGION: Just as effective as OUTBREAK in scaring the shit out of me. Was uber awesome watching A-Class stars get with the dying on camera, very effective, very chilling. Ended rather quickly, though.

MIDNIGHT IN PARIS: Very meh. Couldn't connect or care. Took a bit to realize there was actual time travel involved, otherwise thought bunch of Paris groupies played dress up. Best part? Kurt Fuller being Kurt Fuller. Otherwise, could care less. SCOOP was stronger.

THE ART OF GETTING BY: Teach me how to get by this film. What annoying emo dick of a kid. Not the best way to make us care about your protagonist, guys.

YOUNG ADULT: Weird. I understand where Cody was trying to go with this, but something about the flick feels 'off'. Mostly, there just should have been MORE. Ends prematurely, the story doesn't seem finished, even in the unfinished, ambiguous-movie-kinda-way.

A GOOD OLD FASHIONED ORGY: Surprisingly funny, though that's largely thanks to Tyler Labine, who easily steals the show in anything he's in. Worth a rental.

MONEYBALL: Worth a rental. Jonah Hill was good. How did Brad Pitt memorize all those bloody baseball statistics? Lots of scenes. Didn't weave together well. Needs trimming. Liked the Pitt/ex-wife bits, that was good.

THE IDES OF MARCH: Really, really, reaaally good once you get past the first 20 mins. of political mumbo jumbo talkie talk. Gosling, Giammati, Clooney, the whole gang - nothing short of awesomeness, and over a month later, the film still sticks with me.

FOOTLOOSE [2011]: Weird complaint, buuut not enough dancing. Friggin' FOOTLOOSE, gimmie some dancing. Lead looked like Edward Cullen impersonator. Main chick was pleasant. Why do I always sigh when I see Dennis Quaid in the credits? Decent script. Can't believe I liked it.

THE BIG YEAR: Understand the story, but it sort of lost itself. The end doesn't justify the journey. Jack Black sucks at V.O. Rosamund Pike is GORGEOUS. Steve Martin, make PINK PANTHER 3 already.

THE RUM DIARY: Johnny Depp playing Jack Sparrow in contemporary times! Good flick, but after 80 minutes of set-up, final 15 wraps up far too quickly. By films end, what's the point? Depp, hot girls, death of newspaper, rich blokes getting richer - what's the point?

STRAW DOGS: Just watch the last 20 minutes. Nothing else in the movie is worthwhile. True story.

WHAT'S YOUR NUMBER?: Why do I like you so much? Faris and Evans work off each other extraordinarily well. Yay! @Martin Freeman!

MMAM - Vol. 55

I had the pleasure of watching TAKE SHELTER the other week, and it was nothing short of amazing. One quick zoom around the internet and that seems to be the general consensus, so it must be true, right?

Once again, Jessica Chastain owned the screen. What a wonderful actress. And furthermore, her character was phenomenal in TAKE SHELTER. She didn't end up going the route I expected, the tired and cliched route a less intelligent screenwriter would take, but instead was strong and left one hell of an impression.

But what left an impression more than anything else were those final two minutes, encompassed here on the final track of the soundtrack for the film, titled "At the Beach." When the credits hit, I rewound the movie back those two/three minutes, and watched it again. Repeat. This happened about five times. Something about the performances from Chastain and Shannon just sell it, and when you add the music - sonuvabitch, the hairs on my arm stick straight up, I am electrified and scared shitless. The gravitas of the scene is felt in full force. It is breathtaking and amazing and wonderful in feeling the entire movie is justified.

Forget what I'm saying. Go rent TAKE SHELTER. Pronto. But wait! Listen to this first. Enjoy. :)