2010: The Year We Make Contact

There’s a year’s-end best-of thing over at The Auteurs’ Notebook, to which I have contributed a few lines.

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7 Responses to “2010: The Year We Make Contact”

  1. Mine (First ten in order, the following twenty runners-up in no order):

    There Will Be Blood
    Nobody Knows
    The White Diamond (Herzog)
    The Heart of the World (Maddin)
    Bad Santa
    In the Mood for Love
    Napoleon Dynamite
    Infernal Affairs
    A Prophet
    DIG!

    Monsters, Inc
    Sympathy for Mr Vengeance
    Synecdoche, New York
    The Man Without a Past
    Mulholland Drive
    End of the Century – the Story of the Ramones
    Chopper
    The Royal Tenenbaums
    Grizzly Man
    Let the Right One In

    The 40-Year-Old Virgin
    Innocence
    Spring, Summer. Autumn, Winter….. and Spring
    INLAND EMPIRE
    Zoolander
    Anchorman
    The Host
    Capturing the Friedmans
    Bob Dylan: No Direction Home
    Cowards Bend the Knee

  2. Christopher Says:

    sexy beast
    The Lives of Others
    3-Iron
    Monsoon Wedding
    Maria Full of Grace
    Y Tu Mama Tambien
    Goya’s Ghosts
    Mulholland Drive
    Napolean Dynamite
    New York Doll
    Dogtown and Z-boys
    Lords of Dogtown
    The Passion of the Christ
    Sweeny Todd
    Love Actually
    Pride and Prejudice
    Gran Torino
    Changeling

  3. See, that’s the trouble, I just don’t see enough films.

    Goya’s Ghosts was very underrated, I think. Insofar as a lot of reviewers called it terrible, and it’s AT LEAST very interesting and unusual.

  4. Christopher Says:

    …Its like nothing else I’ve seen of late..An Epic in the old style maybe,with many twists and turns,could have been a silent movie script..Interesting unglamorous fate for Natalie Portman and I love the way Javier Bardem’s evil Priest character goes thru changes over the years ,coming full circle to his come uppence at the end..

  5. I like that film a lot, it had an energetic unpredicability that didn’t seem tied to any particular era or style of cinema.

  6. Yes, the silent comparison seems useful because they wouldn’t have been afraid of that odd, semi-rambling structure or of the darker plot elements.

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