Thursday, 27 December 2012

It's the End of the Year as We Know It: THE FILMS OF 2012

2012 Banner
I suspect that 2012 was a really exceptional year for film, if only because the list of films I regret missing in cinemas – The Raid, Skyfall, The Perks of Being a Wallflower, Dredd, Sightseers, Silver Linings Playbook, Moonrise Kingdom, Life of Pi, Beasts of the Southern Wild – is far longer than the list below, and I was more than happy with the year of films as it was.
For me, though, 2012 was all about Joss Whedon. Three out of the dozen times I made it to the cinema this year were down to Whedon, who released two films (of the three it looked like we might be getting at the start of the year, boo hiss Much Ado). One of them was the year's biggest grossing; the other was my personal favourite experience in a cinema all year.
We'll get to the latter in another post, but (Marvel's) Avengers (Assemble) was exciting because of the amount of influence and money it seems to be putting into the hands of one of my favourite directors – but also because it's a truly great blockbuster, one which inspired me to write 3,000 words back in August.
GOTCHA!
Six months on, what I remember about it most is:
-Containing a whole bunch of moments which caused my jaw to drop – the helicarrier, Black Widow kicking guys in their heads, the vast majority of the final action scene.
-Being a great and colourful introduction to a sprawling family I want to spend more time with – probably the way in which Avengers is truest to the (very best of) its source material.
-Geoff being absolutely wrong about Hulk, something we fight over in pubs to this day. He argues Hulk is treated too lightly, with too much comic relief given over to this monstrous being. But of course, Mark Ruffalo is the best Hulk ever, including the pencil-and-ink one, and it's a totally Whedon thing to get that the Id isn't a completely bad thing. Denying a whole part of you – the funny bit, the sexy bit, the bit that likes to dance – is where the sickness really starts (for all people who haven't taught The Strange Case of Dr Jekyll & Mr Hyde to an A-Level English class, now would be the time to go and reread it). There are maybe some continuity issues with the previous film, but for me these films are so much about stripping these characters back to their core metaphors and letting that interpretation run rampant for two hours that it doesn't matter too much.

Oh, and it of course absolutely stomped all over the highly misleadingly titled Amazing Spider-Man, which had thirty seconds of great fight scene and Emma Stone in high socks. How it compares to that Other Superhero Film of the Year, Dark Knight Rises, I sadly can't answer, as I still haven't seen it – something which owes a lot to the deflated reaction that followed its incredibly hyped release, and a conversation with Tim 'Person of the Year' Maytom in a Camden pub in which he described trucks of cash being driven up to Chris Nolan's front door in a borderline threatening manner.
"BRAVE"
As seems to be the official line on it, Brave wasn't Pixar's best, but it was still a non-Cars Pixar film, and therefore pretty great.
It took a standard-issue fantasy setting and set of tropes, along with a rather broad sense of humour, and made something beautiful (though it was out-prettied by the accompanying La Luna short) and engaging, with the rare achievement of fight scenes that had me rooting desperately for the good guys. Also, it was yet another reminder that the combination of sweeping scores and parental relations in a cinema can put a very big lump at the back of my throat.

“THIS DECADE'S THE MATRIX,” the poster screamed. The chorus of early reviews roughly concurred. I went into Looper thinking it might be my film of the year, which is never a healthy expectation, and given that, it handled itself very well.
Looper is a neat package – a smart concept, neatly executed, and full of neat moments I won't spoil here. It's set in just the right kind of sci-fi world, one that is rarely pushed in your face, but rather gives you the pleasure of hunting through the background details and piecing together a history of the future yourself. It toyed with other film's visions of the future, but found its own identity in the wide open spaces that surrounded the futuristic city. There's also a full essay on how cleverly it presents and contrasts Willis and Gordon-Levitt's firearms, to characterise the differences between them and to help define the plot, and what we can all learn from that.
But that's a story for another time - and besides, what's most important, more than how stylish and smart it was, is that how surprisingly emotionally involving Looper was. Watching it the week after Brave, its climax matched that film in the 'nearly making Alex cry' stakes.
What time is love?
Beyond that, I'm finding myself having to score the release schedules to remember what I actually saw. Young Adult was a downbeat, volume-turned-down follow up to Juno from Cody/Reitman, swapping that film's primary colours caricature for something more muted and aching. Something a bit more adult... but not quite grown up. It was great, and just the right level of tough, and deserves a spot on everyone's DVD shelf.
Cosmopolis left me cold despite taking the approach to sci-fi I described above, and despite the great line-up of talent involved. Seen on a whim, Red Lights was very pleasant, if unspectacular, company for two hours. American (Pie: The) Reunion left me wandering around Tesco's feeling strangely desolate about growing up.

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London, United Kingdom
Videogames, film, music, comics: feed them into the Alex-Spencer machine and out come neat little articles. Like the ones you're looking at here.