25 memorable films from 2011

Films have such a short life-span in the public eye. One minute we see ubiquitous marketing campaigns alerting attention to future films, movie posters emblazoned on billboards and buses, trailers on the web and multiplexes then within a few months the hype machine is turned off, and films you listed as must see when they were out,  suddenly don’t seem so appealing.Thus the majority of films drop off the radar on their way to their eventual destination: the bargain bin in DVD shops and supermarkets.

Except for that little handful of gems that you end up thinking about for weeks after you’ve seen them; the films that end up defining the year in cinema.The cinema industry is constantly looking forward to the future as magazines, trailers, posters and viral internet campaigns enshroud a release with hyper-hype; designed to sell, sell, sell their future products. Thankfully, this is the time of the year which bucks the trend. As the end of the year approaches, movie critics and cinema fans look back to recall and reflect on the movies that made a good impression and those that made a very, very bad impact. Mediocre films like Green hornet are usually forgotten. Damn, I mentioned it.

This year it is hard to recall a really extensive list of great films – it hasn’t been a year for masterpieces. That said, there have been a number of really well made films which really did capture the power of cinema.

Here’s my list of what I consider the best films I’ve seen released this year. If there is a great film you’ve seen that doesn’t appear on this list, the chances are I never saw it. Well, I am in Taiwan and inexplicably films like Tinker tailor solider spy; Hugo two name just two were not released here. Plus any list is subjective, and the great thing about cinema is that it creates diverse opinions. I’d love to hear other cinema fans top films of the year. Here is mine – in reverse order in a hopeful bid to generate suspense for the business end of the chart. Let the debate begin…

25. The Lincoln Lawyer

Matthew Mconaughey finally stepped out of his charmless rom-com comfort zone to convince as a slick but street wise L.A lawyer who becomes involved in a dangerous game of chess within the American judicial system with his unlikable client played by Ryan Philippe. Based on Michael Connelly’s novel, the film felt like a new type of court room drama with a plot that was intelligent and played on knowledge of the judicial system yet was cool and slick enough to appeal to a wide audience. It was cleverly plotted – each new revelation further heightened interest. It also seemed to be a satire of the abuse of power over-privileged people have: there’s more than a hint of American Psycho within the substance of the film if you think about it.

24.   Midnight in Paris

Woody Allen’s latest film was another charming, understated and subtle comedy with substance, culture and an invitingly vintage romantic atmosphere. It was-unmistakably Woody Allen world. A world where men and women exchange dry, intellectual flirtations, arty mood lighting sets the romantic atmosphere and everyone can draw on their encyclopaedic knowledge of a whole century of art culture, music and literature. The twist this time on Allen’s old formula was the central character channelling the usual Allen persona, played by Owen Wilson, was transported back into the Parisian past to rub shoulders with his cultural idols.  It was Allen playing out what is obviously an Allen fantasy: to escape the vacuous modern world and enter the past but it was a fantasy twist which enchantingly refreshed Allen’s likeable formula.  Read full review here

23. Horrible bosses  

Feeling disgruntled in your place of employment? Hate your boss? Well stick on this hilarious black comedy and connect with the three disgruntled characters contemplating a dastardly plan to kill each other’s bosses, Strangers on a train style. It was like a Hitchcock film as directed by Judd Apatow and it was a recession proof concept for a comedy. Comedic therapy for anyone suffering in the corporate world – which is a lot of people.  Read full review here

22. In time

This underrated sci-fi thriller from Truman Show and Gattaca writer Andrew Nicol was a creative reinvention of the nightmarish dystopian future which cleverly and thought-provokingly had a plot that attempted to expose the ruthlessness of the capitalist ethos. Time was literally money here as the residents of this dark world had lifeline clocks embedded in their arms, which coldly ticked down, reminding the people of just how fleeting their time will be if they don’t top up the clock with the currency of time, valued in their world. It was a darkly inventive new spin on films like Logan’s run, with a neat central conceit. Sure, it got a little side tracked with big car chases, playing a little too much on the race against time clock concept it set up, but it had plenty of tension and drama and some well thought out swipes at the ever widening gap between the rich and the poor in our world. It all resulted in a timely and thought-provoking film with anarchy in its veins, designed to get people thinking about the class divides making a return to our society.   Read full review here

21.  Paul

This was a super fun, charming and witty spin on the alien invasion genre. Aliens became insufferably dull this year – boring the life out of audiences in countless hackneyed blockbusters. This one had the most likeable persona as it was really Seth Rogen doing his usual stoner persona, but you know, as an alien, which was you know, very funny. Rogen’s organic style blended really well with his co-stars Simon Pegg and Nick Frost’s equally laid-bark slacker charm. And two Roswell hunting nerds landed themselves with a wisecracking alien made for some great gags affectionately playing on classic alien invasion movies. Delightfully funny and uplifting.

20. Source Code

This ambitious, sharp, thought-provoking, tense and creative sci-fi-thriller, reworked ideas from Inception, but had enough imagination and creativity to be much more than a rip-off of Christopher Nolan’s film. The plot, involving a man reliving the same 8 minutes, played like a clever reworking of Groundhog day in structure. The central character uses his knowledge of the previous visit to the 8 minutes to adjust something in an attempt to track down a terrorist. Each clever revelation about Jake Gyllenhaal’s character’s situation heightens intrigue with each passing (8) minutes, further engrossing the viewer and it all worked perfectly well. It’s perhaps totally implausible but enjoyable in context and there seems to be a strong message about how used and abused ex-military personal are – so there is a purpose to it all.

19. The adjustment bureau

The depiction of the powers beyond our world as an all controlling bureaucracy prone to error owed a great deal to Mike Powell’s classic It’s a matter of life and death. But George Nolfi’s gripping alternative love story, had enough originality and enough sense of purpose to sweep up the audience.  The key concept involving fate verses free will was done well enough to make one think about said concepts which can only be a good thing. A love story with an intriguing sense of existentialism.

18.  Ides of March

The fact that the title for George Clooney’s provocative and scathing political drama was a reference to Rome and the demise of Caesar, gave a strong hint at what Clooney really thought about the corrupt American political system. Based on a stage-play, the back-stabbing and betrayal that went on between the characters within this tightly plotted and gripping political drama, was alive with Clooney’s contempt for the ‘democratic’ American system. Clooney’s direction had an effective fly on the wall style, which pulled back the curtain of what may go on between all politicians and their campaign managers. The error in judgement the characters made, caused the film to be feel like a serious, and rather troubling, version of In the loop.  Clooney’s caustic portrayal of politics was seemingly designed to shake people out of their political apathy. Come the end, when most of the characters were framed to be rather loathsome, and there was a strong suggestion you need to play dirty to survive in politics, you can’t help but be roused into feelings of anger at the game of chess involving self-preservation and betrayal these political characters played here. If you didn’t hate politics before, after watching Ides of March you surely will. Ides of March saw Clooney as fired up as Oliver Stone. This was further evidence that Clooney is a talented director.

17. Melancholia

Experimental controversial Danish filmmaker Lars Von Trier found the perfect context for his dour and bleak film sensibility: the end of the world. Think of end of the world films and your mind leaps to images provided by big blockbusters. Von Trier’s genius idea moved away from the big sensation of the apocalypse, creating a film which forces you to contemplate what kind of emotions one might feel if an asteroid was slowly, but very definitely drawing closer to the earth. That’s the fate that awaits the characters within Melancholia. Like all Von Trier films the punishing grimness of it all was hard to endure at times but underneath the bleakness and pretentiousness, there was an existential truth that was evocative and poignant. Visually, Von Trier’s depiction of the planet and the universe showed a visual artistry we didn’t know he was capable of. Cinematically, Melancholia was as magnificently beautiful as Kubrick.  And that ending was the most powerful and extraordinary climax to a film all year.

 16. Tree of life

Like Von Trier, Terrence Malick also explored existential themes in a grandiose, if a slightly pretentious style this year. The story, about a family coming to terms with the loss of their child has its conventionality obscured by a creative directorial style as Terrence Malick – renowned for his artistic style – really tried to tell the story in an abstract method to heighten the emotional impact of the tragic story. Malick’s films have always been a celebration of the natural world via consummate visuals. Here the illusive director out did himself with a hypnotic, and graceful visual style that really had a near spiritual sense of beauty.

15. Trollhunter

Ok, so technically this little seen Norwegian hidden gem had its low-key release last year but I saw it this year and hey, this film deserves to receive more attention. It had a title and an idea that suggested a trashy, cheesy non-film that could only really hope to make the bottom shelf of a straight to DVD release. It was a Blair witch style faux documentary in which a group of amateur filmmakers go off in search of trolls deep in the Norwegian woodlands. Yes, trolls. How on earth could that work?, I here you ask. You expect B movie clag at best. These Norwegian filmmakers audacious ambition paid off as surprisingly, Trollhunter was a sensational, rip-roaring creature feature. The mythology was done so well, with detailed depictions – drawing on Norwegian folklore – that the trolls were brought magically to life. For the duration of this, you’ll believe a troll could be real.

What’s more, this was one of those faux documentaries that didn’t go entirely for the cloak and dagger Paranormal activity or Cloverfield approach, it actually had the boldness to show the trolls. And they were visually really well designed, both fearsome and funny at the same time. The trolls were beguiling, frightening and curiously loveable and the fact the film went for a sense of documentary realism made certain sequences enthralling. The action and special effects rivalled anything in a mainstream Hollywood blockbuster and it had the good sense not to take itself too seriously so the screenplay is packed full of hilarious dry tongue in cheek humour like the suggestion the trolls smell Christian blood. Seek it out before Hollywood drains the story of all the magic with the inevitable remake coming out in 2014.

14. Thor

Thor was an epic summer blockbuster – it featured eye-popping special effects and beguiling art direction that glistened on screen; it  was a film that provided thrilling, rip-roaring, super fun entertainment, and it was consistently amusing. Kenneth Branagh seemed an unlikely and dubious choice to make a big summer movie; he’s a director more at home with adapting Shakespeare than big summer blockbusters. It was however his knowledge of human drama that made the fantasy in Thor so strangely relatable. The director used all his experience crafting relationship dramas to make the paternal power battle between Thor and his Dad – a commanding performance by Anthony Hopkins – resonate. It could have easily been melodramatic soap opera in space, but Branagh made it seem strangely real. The power struggle between the two deities drove film. They were fictional characters, supernatural in nature but that father son power struggle you saw on screen is going on in numerous families around the world. Hats off to Branagh, he gave this potentially silly summer movie a lot of substance and directed one of the best narratives in a summer movie for a number of years. Yet Branagh also gave this a lightness of touch which made the film surprisingly comedic. It had a punchy, witty, and humourous script. Thor’s time in America, was tellingly set in New Mexico; cue lots of tongue-in-cheek humour playing on the Roswell aliens, as the government men in black were perplexed by an unidentified flying hammer and an alien a lot more blonde than they were expecting. The government agents’ ineptitude when faced with Thor was good, clean summer fun in one of the most entertaining films of the year.

13. Black Swan

Darren Aronofsky absolutely shattered the defined perception of ballet this year, twisting, perverting and warping the inherent elegance, gracefulness and purity of the dance culture, creating a film with considerable atmosphere, intensity and ultimately tragedy. But for all the praise given to it during to the awards season, it wasn’t quite the ground-breaking prestige film it was hailed as and there are definite flaws to it. It is a psychological thriller, a very good psychological thriller, yes, but it is firmly within the psychological thriller genre.  The fact that Aronofsky cleverly subverted ballet made it seem more original than it actually was but a lot of what unsettled audiences in Black Swan was actually quite conventional.

There are a number of jumpy moments –  where strange figures lurk in the shadows – which have been done a hundred times over. Credit must be given to Aronosfky as he disguised his trick well, but on closer inspection it was heavily influenced by a range of films. The mother daughter bond here as creepy as it was straight out of Carrie and stylistically the way the film gets in your head and under your skin owes a great deal to the films, particularly Suspira, of Darren Argento. Let’s not forget that a lot of the power from the choreography and the visual style was due to the power inherent in the story of Swan Lake itself. The way Aronofsky plots Natalie Portman’s character’s story to mirror the story of Swan Lake was both powerful and poetic though; and Portman’s transition from light to dark was really well done. But that ending as powerful and moving as it was, is definitely a little too contrived to be entirely satisfying.

12. Submarine

This was a clever, witty and evocative take on the coming-of-age drama which was set in Wales and featured a number of Welsh characters, yet is closer to capturing the agony and uncertainty of the teenage years than any film I have ever seen. The film is full of creative visual ideas and inventive editing; it had an amusing observational style comedy that really captured the difficult teenage years. The central character was a really well written 15 year old who conveyed his refreshingly philosophical and eloquent view of his teen life through a great use of voiceover. It managed to be poignant and yet dryly comic which is a very difficult combination to pull off. As a film-loving Welshman, I was very proud that such an intelligent independent film could be set in Wales.

11. Super 8

Few films since the Goonies have been as successful at evoking that sense of childhood adventure of feeling like you are uncovering something strange and supernatural as Super 8. JJ Abrams could have been accused of thin characterisation before but with Super 8 he showed that he had a real human side – the group of child characters in Super 8 all seemed very organic and realistic. They anchored us into an enthralling plot as a government owned train crashed, unleashing a strange unexplained entity on a small town, causing the small town to be over-run with government types as people inexplicably disappear. Abrams really did flesh out his love for weird creature features here. It wasn’t all his usual smoke and mirrors style. This had his trademark mystery, it had drama, it had exciting action and eerie atmosphere it had suspense all delivered in a crowd-pleasing style that had a Spielberg sense of magic. Yes, that ending has divided opinion, and was arguably a tad anticlimactic and mawkish but personally I thought that Abrams was obviously trying to evoke a feeling tributing E.T and it was a bold choice to change the perception of the creature that made Super 8 strangely spine-tingling.

10. The Beaver

Prior to its release, Jodie Foster’s serious character study of one man’s self-destructive depression looked like it wouldn’t work due to the obvious novelty factor of a plot revolving around a man who entrusts his life to a scruffy, cockney accented hand puppet.  The fact that it did work, was a tribute to Foster’s sensitive, sympathetic, yet twistedly dark direction and a star channelling his real life battles in the most cathartic way possible. It was poignant, it was startling, it was compelling and it really captured the mind-set of a man hopelessly adrift in an ocean of despair. That actual hand-puppet had more dimensions and a stronger character than most flesh and blood characters’ – it was a device to perfectly illustrate just how helpless and alienated people suffering from depression feel. Mel’s puppet made the film unpredictable and often disturbing. You will never look at puppets in the same way again.

9.  Drive

The juxtaposition of styles in Drive really should have created a mismatch of cinematic sensibilities. The fact that it wasn’t uneven and, it worked so well, was down, in chief to the accomplished direction of Nicolas Winding Refn. The plot, involving a professional driver whose moonlighting leads him to be embroiled in L.As crime underbelly, is a hard-boiled crime drama in the vein of a dark seventies style revenge film,  and yet stylistically, with its garish pink credits, nostalgic eighties synth-pop score and fantastically retro car chase scenes, stylistically it was all a tribute to the eighties. It moved grippingly from slow-burn tension to sharp bursts of shocking violence as Ryan Gosling’s cool calm and collective stuntman swiftly switched from passive to aggressive – revealing his hidden depths. Gosling had a real mystique in this – his deadpan persona seemed to be channelling Steve Mcqueen in Bullit and the visual depiction of night-time in L.A as a brooding crime underworld was reminiscent of Michael Mann. Classy, gripping and atmospheric – like Michael Mann directing Steve Mcqueen.

8. Blue Valentine

A distressingly well observed depiction of a relationship in terminal decline, Blue Valentine was intimate, poignant and heart-wrenchingly raw. Two suburb performances from Michelle Williams and Ryan Gosling conveyed the complexities of the characters’ relationship, and rendered the complex spectrum of emotions the two are feeling incredibly evocative. Blue Valentine proved that when done subtly, relationship dramas can be the most affecting of film genres; our lives may not have much in common with many films, but in relationship dramas done well we can relate; Blue Valentine is the perfect film to put on if you are coming to terms with a bad break-up.

 7.  127 hours

Danny Boyle returned to the theme he explored in The beach here: naïve man underestimating the dangers of nature in the pursuit of adventure.  The British director managed to make the simple but tragic true story – about an adventurer getting trapped under a boulder alone in the wilderness – both compellingly raw, realistic, and intimate and yet simultaneously strangely stylistic and inventive. Such a static story posed problems in terms of keeping interest levels; Boyle adeptly side-stepped the many potential pitfalls with his accomplished and assured direction and along with James Franco’s realistic performance the pair did a great job at conveying what exactly would be going through the mind of a man with a very difficult dilemma of whether to fight and risk unbearable pain or to drift away anonymously.

We are thus transported into the mind of a man literally between a rock and a hard-place and following his thought pattern was utterly gripping. Come that much talked about scene, thanks to Boyle and Franco, we were so in-tune with the central situation that we felt as though we are actually experienced the pain ourselves.  The whole film built up to the scene, we knew it wass coming and yet it was one of the most excruciatingly unbearable and torturous scenes you will ever see; it made me squirm in my chair – it severs nerves in the most literal way possible. You felt the isolation and the pain and what’s more Franco’s natural performance and the film itself, challenged you to consider whether you could do the same. 127 hours was a compelling man against nature film.

6. Rango 

The most weirdly wonderful animation of the year – this offbeat animated Western was vibrant, utterly surreal and visually inventive. You don’t see too many animated Westerns, and as this was an animation that paid tribute to the Spaghetti westerns of Sergio Leone, it felt very fresh. The quirky plot was littered with cinema references, and the script was punchy, sharp and consistently amusing. The action was lively and exciting and as enthralling as any live-action blockbuster entertainment. Visually Rango had a strange, beautiful ugliness about it – the bewitching bug-eyed creatures were creepy and full of character. Johnny Depp brought the eponymous character to kooky life; his lovable chameleon was really an animated version of Depp’s usual off-kilter routine, but this worked in such a uniquely bizarre animated feature; beguiling and enchantingly odd and I think one of the most colourful and all out fun, as well as funny, films of the year.

5. True Grit

True Grit was a powerful, strangely beautiful reworking of an old Western classic from one of the most talented teams working in the filmmaking industry – the Coen brothers. The characters were as organic and well defined as we’ve come to expect from the Coens and the films slow, leisurely, near nostalgic pace, made the shocking bursts of violence all the more provocative and unsettling. The central relationship between Jeff Bridges surly gunslinger and Hailee Steinfeld wise-beyond her years young girl was believable and interesting. It provided two of the best performances of the year and a wonderfully strong female heroine perfectly played by Steinfeld. Expertly made and genuinely moving, another Coen classic.

4. We need to talk about Kevin

There have been a number of horrendous atrocities committed by nihilistic teenagers in recent times.  Often the tabloids weigh in with easy assumptions that attribute such heinous crimes to parental apathy. Scottish director Lynne’s Ramsey’s astonishingly agonizing film, based on novel previously deemed unfilmable – was a traumatizing character study which intercut a grieving guilt burdened mother – a powerful performance from Tilda Swinton – coming to terms with the sickening actions of her son, with a profile of their cold relationship. It’s a film that added a great deal to the nature versus nurture debate, yet it took an objective view point, never drawing any assumptions as to what makes Kevin commit his crime, allowing audiences to make their own conclusions as to whether Tilda Swinton character was in partway responsible for the actions of her son or whether he was born evil. Kevin was disenfranchised and disturbing without being a caricature of evil. The film was brilliantly directed by Lynne Ramsey. She used an array of techniques to drip-feed the tension and emotion frame by frame, to maximize the impact of the climax.

We need to talk about Kevin was painfully harrowing, debate inducing cinema that left audiences reflecting on the contentious issues for days after viewing.

3. The Skin I live in 

Spanish art-house filmmaker Pedro Almodovar has always written fascinating female characters; in this chillingly dark alternative horror film, he created one of the most extraordinarily unique female characters in cinema history.  She is the key to unlocking the deeply unsettling secrets within this creepy, atmospheric and genuinely horrifying film. This was a remarkably original take on the ‘mad scientist’ idea. Antonia Banderas’ was disturbingly warped as a plastic surgeon who breaks ethical medical codes by developing a skin resistant to damage. Just how in breach of the medical code he was, remained mysterious and suspenseful until the true horror of just what he had done was revealed in an extraordinary climax. You were never quite sure just how deranged he was, which meant you could never make up your mind about the character until that exact moment when Almodovar wanted you to. That ambivalence created so much uncertainty and tension. It was an expertly written screenplay, Almodovar played with audience perceptions, threading many clever red-herrings into the nightmarish story to inspiringly misdirect audiences, in order to make the final reveal the most jaw-dropping moment on celluloid all year. It’s skin-crawlingly nightmarish and troublingly warped – and yet it gains its considerable horror potency because of the subtle and restrained approach. Almodovar managed to make a horror movie that was completely extreme, twisted and frightening and yet didn’t compromise the art-house feel. The Skin I live in was an inspired take on the body horror idea – as organic and unnerving as an early David Cronenberg film.

2. Rise of the planet of the apes

Those who loved the original Apes movies for their though-provoking ideas feared an abomination when this project was announced. The concern was the intelligent sci-fi franchise was being whored out for cheap summer thrills. Not only did this not detract from the greatness of the original it actually did a remarkable thing: it made the originals seem even better in concept as the story of just how the apes come to be so intelligent in the earlier films was made to seem so plausible that it added greater authenticity to the series.

It climaxed in an eye-popping special effects sequence in which apes rebelled with a very definite cause ,including a jaw-dropping gorilla in a helicopter sequence, a perfectly justified, thrilling scene which served the sophisticated narrative – but before the revolution came the evolution. And what an absolutely enthralling evolution it was, as we followed the journey of an incredibly precocious laboratory born chimp named Caesar. Just how the apes came to rise was extraordinarily well done. The film was surprisingly character driven which was no small achievement considering the main character was a near wordless ape. The story started strong and continued to develop into an enthralling narrative. The apes looked eerily life-like, particularly the ring-leader, thanks in a large part to Andy Serkis electric performance, which was a complex and mesmerizing blend of understated human emotion and primitive primate passion. Without words his physical movement conveyed so much. It’s one of the most startling performances of the year. Fittingly it was another giant leap forward for effects wizardry too.  The interaction his character had with the other apes was achieved by a master-class in direction; the film was a clever apes’ eye view of the story – right from the telling first shot. The apes loaded looks and non-verbal interaction showed the power of body language to tell a story – we fully believed they were capable of uniting in the way they did. We were persuaded to favour the well-being of our simian cousins over that of the human counterparts. The apes, despite their rampage, are the victims, and you root for them to underthrow their oppressors, partly because all they wanted to do was get to the trees. There was something inspiring about seeing them rebel with a cause. It also had the sci-fi weight of its predecessor strengthening and reiterating the message of the first film which is that science will eventually bring about our demise.

As enthralling, though-provoking and character driven as the original, this film provided the um, missing link in the story and it was more than a worthy franchise instalment. It had the power to move and entertain both the fan-boys and newcomers the same.

1.      The King’s speech

The greatest achievement in motion pictures this year was Tom Hooper successfully turning a story that looked destined to be a rudimentary stuffy period biopic into a character study so tense, so powerful and heart-chokingly moving that it had the ability to transcend generations and strike a chord with everyone – young or old. There was just something universally compelling about a man who was nervous and desperately frightened to talk, being thrust into a position where the future of a country rested on his command of speech. The fear of public speaking is something that everyone can relate to; Hooper expertly tapped into that fear, transporting audiences everywhere into the shoes of a reluctant monarch. Colin Firth was so vulnerable, nervy and realistically human, that he actually made us experience what it might be like to have to face the microphone with a chronic lack of confidence as a King. It was impossible not to relate to him, garnering that much empathy for a King is quite an achievement. Commanding sympathy for such obviously privileged people as monarchs is no easy task; Hooper and Firth did a remarkable job of expressing the burden that comes with a crown. It was like someone threw open the curtains of a palace and sensitively and sympathetically explored how hard it must have been for this monarch to take power. The dynamic between Firth and Geoffrey Rush was perfect and Firth proved that dignified introspection can be as dramatic as big thrills. Firth’s character was the most sympathetic character of the year and his performance was by far the best acting achievement. The King’s speech was easily the most outstanding film of the year.

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About Filmfella Darren
Film critic, writer and long-time cinema appreciator. I write about cinema matters, because cinema matters. Like your clothes and your laptops, my articles were made in Taiwan.

2 Responses to 25 memorable films from 2011

  1. Nice list, colleague Darren. Although, for me, Drive was absolutely the best movie of 2011. I guess I’m glad you have it in your top 10! Surprised you don’t have X-Men: First Class in there. By far one of the best superhero movies made to date. Check out Hesher for sure; Joseph Gorden Levitt is awesome in this very odd black dramedy. Rise of the Planet of the Apes was one of the best surprises of the year. Thought it was great. Talking of surprises, Fast & Furious 5 was really fun and had more of a ‘Ocean’s’ heist feel to it than a muscle head fast car fest-ness. I haven’t yet seen ‘….Kevin’, but want to. Melancholia was good but didn’t reach the heights of greatness for me. And the one movie that has come n’ gone that looked like a special experience is The Artist. Can’t wait to see it.

  2. filmfellaDarren says:

    Charts are never carved in stone; it is a good job too as they can always change. Since writing the list I’ve seen a number of films that would now make my top 25. The Artist, and Tinker Tailor solider spy would definitely have been on there. I think Lozz, you maybe right. X-men last stand should have been on there too.

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