Okay, so this was the year the Oscars got on my nerves for announcing ten Best Picture nominees. (And judging by what was included in those ten, I think we can all agree that I was right to be irked, which is some vindication, at least.)
(As a rule, I don’t care much about spoilers. I think it’s a misnomer. Does knowing what happens really “spoil” or ruin a movie? I don’t think so. I enjoy things just as much if I already know the ending as if I don’t. But there are some things I prefer to go into reasonably blind, The Cabin In The Woods being one of them. So consider yourself warned. It’s impossible to say much about this movie without giving away a few things, though I will still attempt to be vague enough to not totally spell it all out — though I’m not convinced that would make this particular movie any less enjoyable.)
(Films discussed in this post: A Dangerous Method, 50/50, Cedar Rapids, Margin Call, The Perfect Host, The Guard, The Ides Of March, Horrible Bosses, Warrior.)
In my post on “The Chicks,” I reflected on the ups and downs for females in film last year, from the ribald shenanigans of Bridesmaids to the slightly-less-ribald racial politics of The Help.
Ladies first. Now here come the guys.
(Movies discussed in this post: War Horse, Attack The Block, X-Men: First Class, Harry Potter And The Deathly Hallows, Paul, Super 8, The Adventures Of Tintin.)
From The Artist to Midnight In Paris to Hugo and a number of others, 2011 is a big year for nostalgia for all sorts of mainly things — but mainly, for old movies. Hugo and The Artist display it most blatantly, but it’s everywhere — take the romanticized look at growing up in the 50′s (not to mention nostalgia for the creation of Earth) in The Tree Of Life, or the paranoid Towering-Inferno-meets-21st-century-paranoia star-killer Contagion, or the retro heroics of Captain America: The First Avenger, or the 80′s kitschiness evoked by Drive, or the surprising success of a prequel to a campy 60′s movie, Rise Of The Planet Of The Apes. Even the latest Mission: Impossible embraced a silliness that felt borrowed from old spy TV series rather than John Woo-style theatrics.
And because of it, you can hear audiences breathing a collective sigh of relief: “Oh, thank God. We’re allowed to have fun at the movies again.”
This just in: Lady Gaga is all set to appear as Lieutenant Ellen Ripley in Aliens: The Musical, the latest screen-to-stage adaptation on its way to Broadway.