Though comparing movies is a futile effort....
Let me just say this: trying to rank movies is typically an absurd endeavor. In some years past, there is a clear favorite in my mind—last year, it was _Inglourious Basterds_, year before that _The Wrestler_--but, in a year like this, no clear favorite emerges. In fact, my top three films could all, in fact, be my number one just depending on what mood I’m in. None of them, in my mind, are perfect. _The Social Network_ has the best script and is a very tight movie overall, but it really doesn’t ever surprise, whereas _Black Swan_ is full of surprises and daringness but comes off in some parts as clichéd and one-dimensional. _True Grit_ is probably the most consistent of the year’s best films, but even it has a few flaws in a screenplay that can grow a little tedious and underwhelming at times, and, certainly when thinking of it in terms of great Western films, one realizes it would be tough to even crack a top 20 list.
All that being said, I still like to do Top 10 list not really to say some films are better than others, but more so as just an organization tool for me to keep track of what films I really enjoyed this year and compare the quality of cinema from this year to years past and future. Thus, here are my top 10 films of 2010:
1. Black Swan: Natalie Portman is excellent. The screenplay feels like typically thriller material, but director Darren Aronofsky pushes every department and brings out the best in the story and his cast and crew. With any other director, it might have been a lesser film. Nonetheless, with its perversion of the classic and pristine world of ballet, it becomes the boldest movie of the year and, while not as consistent as other films on this list, no other film, likewise, matches the high points in _Black Swan_.
2. The Social Network: Strong acting, great soundtrack, and the best writing of the year. Every line and every scene moves the story forward, which is what a good screenplay should do.
3. True Grit: Violent, sentimental, and a great cast ensemble. The second act wanders around, but Roger Deakins’ photography and Jeff Bridges’ acting are enough to keep you interested.
4. Inception: Great action, complex yet personable story, good cast.
5. 127 Hours: James Franco gives, in my opinion, the best performance of the year. Yes, Colin Firth is great in _The King’s Speech_, but he pretty much plays a one-note character to Franco’s well-rounded portrayal of a man who goes through pretty much every emotion imaginable, all while playing off of only himself. Its reminiscent of—though not quite as good—Sam’s Rockwell’s amazing performance in 2008’s _Moon_.
6. The Fighter: Christian Bale is amazing, and the movie, treading in clichéd territory, does manage to take an old formula and make it fresh by focusing not so much on the boxer himself but the society that creates him.
7. The Town: Not as surprising or heartfelt as Ben Affleck’s previous film, _Gone Baby Gone_, but with great acting by supporting players Jeremy Renner and the late Pete Postlethwaite and a very exciting car chase and shoot-out, this is still a very, very good movie.
8. Shutter Island: Perhaps because it was released last February, but, for whatever reason, most awards this year seemed to overlook Leonardo DiCaprio’s impressive performance in this film. Dark, sad, and depressing, this is Martin Scorsese doing film-noir, which means it has to be good.
9. The King’s Speech: Colin Firth is wonderful. And when a movie rests on mostly all dialogue to move it forward but still manages to deliver one of the tensest climaxes of the year, then that speaks volumes for how good the directing is to make the audience feel that what they are watching is really playing out in real-time right in front of them.
10. Kick-Ass: Just fun. That is all.
