1. Kick-Ass (dir. Matthew Vaughn)
Aptly titled Kick-Ass is an excellent comic book adaptation that proves that there is no stagnation in a superhero genre whatsoever. Based on Mark Millar's violent tale Kick-Ass is directed by Matthew Vaughn, the filmmaker who happens to have a real knack for both action movies (Layer Cake) and teen fantasies (Stardust). It's more than evident in Kick-Ass and although the film has some problems with selecting the proper tone: it verges between campy comedy, dramatic piece and action spectacle, this is a gripping ride from start to finish.Vaughn's direction is nothing less than clever and kinetic. By employing video game techniques inspired by Shoot 'Em Up and Crank movies, Vaughn really excels at showing highly-stylized bloody violence on screen. As for the script, the main concept of an ordinary teenager who chooses to become a superhero is downright effective evoking loads of laughs and our sympathy. Aaron Johnson's cool, unrestrained performance also helps a great deal.The film revitalizes the genre by undermining its rules. The characters involved have no special powers, most of them, no necessary backstory and no turning point that resulted in them becoming superheroes, much like in Watchmen. Despite this, the movie establishes its own pantheon of heroes and the director knows that there's nothing more fascinating than the battle between good and evil shown in a vivid, exciting fashion.What's controversial about the film is the extensive use of pitch-black humor including the character of 11-year-old Mindy McReady aka Hit-Girl who has been trained from the early years to become a killing machine by her loving father aka Big Daddy. The whole subplot may be immoral for some who don't understand this kind of cinema, yet it's surprisingly plausible due to a tongue-in-cheek writing and acting talents of Chloe Moretz and Nicolas Cage who are as subversive in their respective parts as you can get. Last but not least, the artist formerly known as McLovin' channels a wannabe villain named Red Mist. You may be actually surprised by how smart he is in his plotting.Overall, Kick-Ass is a refreshingly funny and wickedly entertaining spectacle that warrants the whole franchise of masked teenagers to come. 9/10 (A-)
2. Splice (dir. Vincenzo Natali)
Vincento Natali has directed the most stuningly original pictures in recent memory. Both Cube and Nothing were definitely polarizing, but their concepts remained novel as well as practically unmatched in their respective genres. Splice doesn't differ from these movies in this matter a lot. It follows a pair of scientists who successfully has been creating genetic hybrids of various animals. When they attempt to add human DNA to the their formula, the results are both surprising and potentially destructive. The movie's premise may sound quite preposterous at first, yet Natali manages to craft his very own genre hybrid that cannot be labelled as one-dimensional or shallow. Splice effectively blends a sci-fi theme of cloning with observational drama and gruesome horror forming the movie quite reminiscent of David Cronenberg's early work. Splice is also wildly unpredictable taking viewers to uncomfortable places without any warning. In this way Natali explores numerous fascinating themes concerning moral dilemmas on cloning, the relation between creators and a clone and many others I'm not going to mention in order not to reveal any spoilers. What's more, the movie clearly benefits from its complex central performances delivered by Sarah Polley and Adrien Brody. The dynamics between these two actors feel strikingly authentic throughout, which grounds the movie in reality. Overall, Splice is a treat for everybody interested in cinema that doesn't provide easy answers. It's equally ingenious and shocking. 9/10 (A-)
3. Toy Story 3 (dir. Lee Unkrich)
Pixar stands as a monolith in providing high-level entertainment: no other movie studio (focused on animation or not) working today has experienced such a long series of constant triumphs. The third installment of their first full-length movie only strengthens their top position. Toy Story 3 may be considerably larger in scope than its predecessors, yet it retains the same quality as the previous films in the series had: it blends spectacular action and full-blown comedy with way more psychological undertones. The film even gets darker as well as more serious in its most daring moments. Unsurprisingly the filmmakers from Pixar manage to pull off these risky elements really well throughout. Toy Story 3 is a model escape-from-prison type of flick with all the excitement and sense of adventure involved. The structure of the movie and its characters mock or refer to everything from seemingly worn-out filmmaking patterns (a cool western intro) and cult characters (a baby doll showcasing Frankenstein) to real historical figures (a cuddly teddy bear as mock-Stalin). The creators also tend to implement some amazingly dark scenes into the mix. The sequence in the large incinerator resembles Sam Raimi's full-fledged vision of terror rather than some kid-friendly cartoons. What's more, the characters are treated in a genuine manner, which results in many profound scenes as well as a truly poignant finale. To summarize, Toy Story 3 is yet another Pixar's huge success as well as arguably the most captivating movie in the series. 9/10 (A-)
4. The Ghost Writer (dir. Roman Polanski)
The latest Roman Polanski's film, The Ghost Writer is a very elegant and astute thriller that has much more in common with the classic film noir than the contemporary genre offerings. Explosions and bombastic action sequences have been replaced by the overbearing atmosphere of tension and dread meticulously built by Polanski with every single frame. His unquestionable artistry in keeping the proper tone is also put to the forefront, yet he makes a great use of black humor only to pinpoint a particular scene. That's why, the movie is so delightful to watch and the mystery so involving. Perfectly selected actors don't disappoint either. Ewan McGregor masterly shows the increasing hopelessness of the main character as the movie progresses, while excellent Pierce Brosnan thoughtfully draws analogy to Tony Blair steering clear of obvious allusions. All in all, The Ghost Writer is a near-perfect piece of high-quality filmmaking, an equally gripping and totally plausible cliffhanger that many young directors wouldn't even aspire to make. 9/10 (A-)
5. Diary Of A Wimpy Kid (dir. Thor Freudenthal)
Diary Of A Wimpy Kid seems to be the most pleasant surprise of this somewhat disappointing year. It's exhilarating how closely this superb adaptation of a popular illustrated book series resembles A Christmas Story. Thor Freudenthal's movie represents basically the same approach focusing on an endless streak of hilarious situations that combined with the sufficient anmount of dry sarcasm and poignancy create an unforgettable movie about the awkward years of middle school. The film is dextrously directed as well as pointedly written retaining the lively, immediate style of the book. Nonetheless, Diary Of A Wimpy Kid wouldn't be the same little charming movie without instantly likeable, mostly hilarious characters personified by a team of fantastic young actors who are certainly the future of comedy. Last but not least, the movie has a totally universal appeal since it offers a valuable friendship message for the kids, yet never fails to entertain adults showcasing a nostalgic look at often distressing problems and humiliations that everybody has experienced. Overall, Diary Of A Wimpy Kid is a joyously hilarious movie that all viewers should seek out regardless of age. 9/10 (A-)
6. Hot Tub Time Machine (dir. Steve Pink)
Hot Tub Time Machine reinvigorates a high concept comedy. A few years back, we enjoyed an absurd, if deliberately funny idea of Snakes On A Plain that bashed ridiculous action flicks. Now, it's high time to poke fun at often equally ridculous time travel movies. Steve Pink and his crew resign from the traditional story-driven structure in favor of sheer comedic flow. The movie tends to be outlandish, insane and over-the-top, yet it hardly ever ceases to be hilarious. The script depends on various allusions to the Reagan Era: we get every chief cultural excitement and embarassment of this time, a mandatory Michael Jackson joke and some shrewd cameos thrown in. The film also benefits from the great chemistry between the foursome of leading actors. Even though they represent completely different character types, each of them provides an equally hilarious turn. Given that Craig Robinson doesn't really need to speak to make me laugh, that's a major accomplishment. Overall, Hot Tub Time Machine is one hell of a laugh-out-loud riot: such raunchy and crudely executed farces are seldom so entertaining. 8/10 (B+)
7. Inception (dir. Christopher Nolan)
Inception directed by Christopher Nolan may not be totally flawless as some moviegoers proclaimed it to be, yet it's an intriguing take on the concepts of dream and reality and how they interwine with each other. It's a complex story that doesn't steer clear of making viewers constantly think and analyze what's happening on the screen. Nolan seems to master this kind of mystery-driven film structure in Prestige, but here he goes even further creating a number of visually abstract images as well as wonderfully surreal action scenes. Though a caper movie at its core, Inception is, in fact, way more than that: a challenging high-concept riddle that works supremely well on many different levels until its final act. The main problem with Inception is that it overstays its welcome. While Nolan skillfully adds more and more layers to his storyline, the movie gets mind-boggling when the winter sequences kick in. The final twist involving Cillian Murphy's character is a failure slowing down the pace of the movie to the point of it becoming dreadful to watch. Therefore, Nolan doesn't use his intriguing concept to the greatest possible effect. Another aspect that could have worked better is the movie's emotional core that showcases the tragic love story of Cobb and Mal (Leaonardo DiCaprio and Marion Cotillard respectively). Although the actors are fine in their roles, their story seems to be less than compelling, which chiefly stems from the fact that the character of Mal isn't developed properly. Aside from these shortcomings, Inception is one of the best movies you stand a chance of seeing all summer long, surpassing most of mainstream cinema offerings with its sheer sense of novelty and ambition. 8/10 (B+)
8. The Joneses (dir. Derrick Borte)
The Joneses is a good example of the film that had no right to be made. Derrick Borte's dramedy is a biting satire on consumer culture. It focuses on one seemingly perfect fake family shrewdly composed of attractive individuals. Their aim is to create the way of consumer-sensitive bahaviour among their respective peers so as to sell more and more expensive products. This kind of advertising might be extremely effective, yet it's not very ethical to say the least. This aspect is expertly explored by The Joneses, the movie that doesn't steer clear of revealing the common purely materialistic approach of wealthy classes. This desire to have better and better things than your next-door neighbour resembles a rat race that Borte's film so boldly encompasses. The whole setup is great with Stepford-like location and permeating competition that replaces conformity. The writng is sharp and witty, as well as the cast really shines. David Duchovny once again makes his Frank Moody (of Californication fame) impersonification with lots of deliciously sarcastic one-liners and inborn impudence. There is an on-screen heat between him and Demi Moore who plays her character of go-getting, independent woman exceptionally well. There is one substantial drawback though. The happy ending comes as compromising and safe, which belittles the impact of the entire movie. All in all, The Joneses has its heart in the right place or at least pretends it does. Anyway, this is a timely movie that reflects our times well enough. 8/10 (B+)
9. [REC] 2 (dir. Jaume Balaquero, Paco Plaza)
The nightmare continues in the sequel to the excellent Spanish supernatural horror film released two years ago. REC 2 picks up exactly when the horrifying events of the first installment leave off. Paco Plaza and Jaume Balaguero return to their directorial duties introducing the team of commandos entering the block of flats that have been occupied by the rapidly spreading virus. While REC delivered its action through the lens of a TV reporter's camera, REC 2 makes use of shoulder-mounted soldier-cams as well as usual cams of personal use. In terms of generating shocks and the omnipresent dreadful atmosphere, the sequel is very much in line with the first film utilizing the same technique of faux-documentary. This lack of novelty makes the film certainly less immediate or surprising than the first that stood as an unexpected revelation. Given that, the film never disappoints throwing a bunch of twists and turns in the mix (including an appropriately sinister ending), which make the whole experience pleasurable in a demented way. REC 2 may not be as effectively raw in delivering its scares as its predecessor, yet it's consistent enough to be regarded as a worthy sequel in my to-be-favorite horror movie franchise. 8/10 (B+)
10. The Crazies (dir. Breck Eisner)
After a mysterious toxic substance contaminates their water supply, the inhabitants of a small Kansas town become plagued by insanity and then death. Breck Eisner's The Crazies is a loosely based remake of George Romero's film that uses its simple setup to full advantage. It successfully updates the subjects of paranoia and bio-terror for a new technology-obsessed generation. What makes The Crazies so scary though is the atmosphere of isolation skillfully projected by Eisner who happens to understand the mechanics of a thrilling horror movie. His movie is more about escalating danger and the chase than the violence itself. That's why he so sparingly delivers gory sequences. As a result, they come twice as shocking everytime they occur. Moreover, the film is competently acted with almost reliable Timothy Olyphant in the main role. Overall, The Crazies works as an effectively twisted genre outing even if it's narratively deficient at times. 7.5/10 (B)
