London Film Fanatiq’s Top 10 Films of 2011
In composing my first top ten film list, I find it difficult to settle on my own parameters. There were many great films of 2010 that were only screened in the UK come 2011, such as The Fighter or Blue Valentine. The King’s Speech was also technically a 2011 release but having seen it in December 2010 where would that fall? I’ve decided that I will attempt to keep in line with the general awards season window, having seen all the legitimate contenders with the exception of only The Descendants*.
Of course this list is just the opinion of one cinema-goer who spends too much time at the cinema (over 180 different films in 2011) and isn’t to be taken too seriously. If anyone disagrees with my list, please accept the fact that I am always right, but be sure to let know with what you agree with (or not) in the comments below. Let’s get to it…
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Discussion: Why The Awakening Deserves a Chance *Spoilers*
See enough films and you’re bound to get it wrong every now and then. Critics and those who fancy themselves as such *ahem* are not impervious to missing the point sometimes. Having said that, I need to put my hands up with regards to The Awakening, as going into a second screening, I was ready to label director and co-writer Nick Murphy a charlatan himself. However, what I found was that once aware of the twists, the film holds up and, while there is some deception at hand, it’s far sounder than I (and many professional critics) gave it credit for.
Director Nick Murphy discusses the finer points of The Awakening at Curzon Mayfair 12 November 2011
It may well be that knowing where the story goes allows for enhanced concentration on the details. For a first viewing there is a lot that is revealed within a short amount of time: Thomas is a ghost, Florence lived in the house, her father being Tom’s father as well, her father murdering her own mother, him attempting to kill Florence, actually killing Tom and finally killing himself. All the while visual connections are being made onscreen, such as the shoes, the shattered glass and the toy rabbit. It’s a lot to process initially, especially given the chaos of the unfolding vision. Perhaps it is too much too quickly, but it’s hard to disagree with an approach that rewards further viewings. In fact, a highlight of a second time around is Imelda Staunton’s performance. It’s so nuanced that it takes on an entirely different feel once the twist is known. The look on her face in the moment after Florence speaks to Tom for the first time is perfection.
For his part, in discussion Murphy comes across as perceptive and honest. He immediately owns up to his love of The Orphanage instead of pretending that the influence is non-existent. One gets the sense that he approaches film-making from an audience’s perspective and displays a genuine desire to provide cinema worth discussing. With regards to the twists in The Awakening, Murphy explained himself thusly:
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Discussion: What Really Happens in Kill List? *SPOILERS*
Ben Wheatley’s Kill List, released this past Friday is a baffling cinematic experience. If one believes the critics, it’s one of the best films of the year. On a film forum I frequent, of those who attended the preview screening at the Prince Charles Cinema last week, everyone hated it, without exception. Even the film’s biggest supporters talk up the film without delving too deeply into why. Instead, many review appear to have been drawn from a template which includes “kitchen sink drama” and “It’s best to know as little as possible before viewing it”. Others claim it to be a brilliant film… well, except for that third act.
Neil Maskell and director Ben Wheatley at the Prince Charles Cinema
Personally, I appear to be one of the few whom falls somewhere in between. Upon my first viewing of it at the UK premiere at FrightFest, I was totally confused. From a technical standpoint, for everything that Wheatley does well, there are silly mistakes such as the dialogue between Gal and Jay often being indecipherable. The background noise was too loud and the Maskell and Smiley just did not deliver their lines clearly enough. The editing is interesting. Or is it just bad. I wasn’t sure.
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