BEST OF THE DECADE - 2010 & 2011 - U OF C FILM SOCIETY

BEST OF THE DECADE - 2010 & 2011

11/30/2019

There remains one month left in the decade, and soon we'll see 2020. This begins the first in a series of articles compiling some of the UCFS execs' favourite films of the past ten years.

2010

The start of a new decade brings new promise and an endless amount of possibilities for the world of film and entertainment. We definitely started off the year with a bang with Kathryn Bigelow’s history making win of the Best Director award at the 82nd annual Academy awards. Her win sparked discussions regarding the wage gap, lack of female filmmakers and what exactly makes a feminist film. The beginning of the decade also served as the start of the end of one of the most popular literary/filmic franchise, Harry Potter. Other highlights? Toy Story 3 busting out as the highest-grossing film of the year, both in terms of money and tears shed from moviegoers, Hailee Steinfeld’s breakout performance in True Grit and the world’s introduction to the term Catfish (and we’re not talking about the animal). But what were the best films of the year? Read below to see what our executives and members picked:

Nicole Betts - Crash/Cut Assistant Editor

Book of Eli (Allen and Albert Hughes, USA)

I went into this movie totally blind. I did no research and I had managed to avoid any and all trailers or information leading up to its release. I am so grateful I did. It blew me away and I had no prior beliefs or expectations that could have influenced how I’d view this movie. Between the post-apocalyptic setting, the way they handle the breakdown of society and what they are attempting to find to gain control, and the final twist, I adored it. I don’t want to give away any more information than I have to, but I highly recommend this movie. What looks to be a typical post-apocalyptic action film has a fresh and profound meaning I didn’t expect.

Jacob Bews - Crash/Cut Editor

Incendies (Denis Villenueve, Canada)

Hatred. Burning homes and flaming buses. A mother searches for her lost child, while, years later, her other children search for their father. A story which begins in the midst of war. Love endures throughout, despite the fires, torture, and murder.

This film hollowed me out. Denis Villeneuve remains one the best Canadian directors working. Now excuse me, I must go pick up my innards and attempt to put them back. They don't really fit anymore. Oh no.

Anton Carpentier - Cinema Politica Coordinator

Toy Story 3 (Lee Unkrich, USA)

Toy Story 3 is genius. Sure, that statement could be interpreted as an indicator that I’m a man child that disappointed the boomer generation, but the fact is that Toy Story 3 is perhaps the strongest Pixar movie ever made. Toy Story 3 tackles the pain and brutal sadness that is growing up. The film pulls no punches or pretends that becoming an adult is fun, rather it presents an honest reality that parts of your life end. Although, the end is always a new beginning.

Lucia Gonzalez S. - Cinema Politica Assistant Coordinator

Incendies (Denis Villeneuve, Canada)

First time I watched this movie I thought I knew what it was about, but, oh boy I didn't! It's a good movie.

(Honorable mention to How To Train Your Dragon because I love that film, and I'm pretty sure the animation of the dragons is based on cats and that makes me very happy)

Jocelyn Illing - VP Communications

The Social Network (David Fincher, USA)

You know that a film is excellent when it causes you to spend the next year doing some thorough research on the topic it discusses. Watching The Social Network sparked my obsession with the story behind Facebook. Part of what made this film such a thrilling success is its killer casting. Each actor put an immense amount of work into their characters in order to give enticing and complex performances, prompting me to look into their backgrounds. Why Jesse Eisenberg never received the Oscar I will never know.

Elias Stang - Poster Designer

Boy (Taika Waititi, New Zealand)

Taika Waititi has quickly become a household name with his reinvigorating take on a classic MCU hero in Thor: Ragnorok or his earnest and whimsical look at foster life and the New Zealand wilderness in Hunt For The Wilderpeople. All of his work incorporates his special brand of “Kiwi” comedy with genuine and organic characters to provide an entertaining experience with heart for its audience. Much of what makes Taika Waititi such an entertaining figure in the film industry can be seen in his feature debut Boy. Boy is a film about Boy (an avid fan of the king of pop) growing up in New Zealand in 1984 with his brother Rocky (he has magic powers). Living on his grandmother’s farm and idolizing a derelict father played by Taika Waititi himself, Boy has the chance to discover his father’s true self as he returns after a lengthy stay in jail to retrieve a certain package he had left many years ago. A film about idealism, disappointment, and the influence a parental figure can hold on the life of an impressionable child, Boy is a strong and passionate debut that blends Waititi’s delightful brand of humour with organic storytelling. Rife with endearing characters, Waititi produces a film that does not ask to be loved, as admiration for it comes naturally.

Watch out for the East Coast Crazy Horses.

2011

Scout Tafoya of RogerEgbert.com considers 2011 to be the best year for cinema, countering arguments for 1939. Harry Potter and the Deathly Hallows – Part 2 was the highest grossing film of the year, also the highest grossing film in its franchise, and set the single-day and opening-weekend record in the US and Canada. 2011 was also the year that the Shrek franchise became the first animated film series to gross more than $3 billion with the release of Puss in Boots. In world news, Japan was rocked by tsunamis that reached run-up heights (how far the wave surges inland above sea level) of up to 128 feet, causing a level-7 nuclear meltdown. Osama bin Laden was killed, and the world was rocked by the Arab Spring. In good news, over two billion people worldwide watched the royal wedding of Prince William and Kate Middleton, and the world was cursed with the song “Friday” by Rebecca Black. 2011 was also the year that the Space Shuttle Discovery launched for the final time after nearly 27 years of spaceflight.

Nicole Betts - Crash/Cut Assistant Editor

The Cabin in the Woods (Drew Godard, USA)

This is one of my all-time favourite horror movies, and I recommend it to anyone who wants to see a horror comedy done right. It manages to perfectly balance a scary movie with funny moments that don’t ruin the tension or take away from the scares. It takes a typical horror movie set up and picks it apart, makes fun of it, but uses it to take the movie in an entirely different direction. Classic horror movie tropes are explained or justified, the characters feel like they have depth to them, and every kill in this movie is fun. Sounds a bit like what a serial killer would say, I know, but I would much rather watch a horror movie with unicorns that murder over a movie that only has gun violence.

Jacob Bews - Crash/Cut Editor

Hugo (France, UK, & USA)

Hugo is beautiful. A sincere love-letter to the history and nature of filmmaking, which itself has had a troubled time of ‘fitting in,’ much like Hugo Cabret himself. Scorsese proves he can make a family film with as much passion as his criminal movies. Hugo also features some of my favourite dream sequences: the train crash accomplished with practical effects, and the body-horror like scene where Hugo turns into the automaton he's trying to repair. Back in 2011, this film was my introduction to Georges Melies, and he's stayed with me since. Hugo helped insure Melies in the pantheon of film for popular audiences, from then onwards.

Anton Carpentier - Cinema Politica Coordinator

Tree of Life (Terence Malick, USA)

Every cinephile has something to say about the tree of life, either you think its genius, or you think it’s hot garbage. I side with the former, and I’m aware of how pretentious that makes me sound. I don’t care, this movie is beautiful and akin to a religious experience. I love how weird it is and inexplicable somethings are. Like, why is Sean Penn in this movie? I don’t know, but it just kind of works. I can’t explain this movie in such a short blurb, but it might be my favourite film.

Lucia Gonzalez S. - Cinema Politica Assistant Coordinator

Dias de Gracia (Everardo Gout, Mexico)

This is one of those Mexican movies that doesn't get enough attention (specifically in Mexico -- I already know Mexican movies don't get any attention outside of Mexico unless they are directed by the members of the triforce.) With this movie I realized how Mexican movie theaters make us watch gringo films instead of our own because they sell better.

Jocelyn Illing - VP Communications

Drive (Nicolas Winding Refn, USA)

Drive is definitely one of my most watched films in one sitting and gets my vote for the best soundtrack of the decade. Each song enhances the scene, causing the viewer to think deeply about the feelings of the characters or to respond physically, dancing and grooving to the music. A particular standout is the film’s use of Kavinsky’s “Nightcall” during the opening credits. The techno vibes seem to glide long with the car as Ryan Gosling drives through LA, displaying both the promise and the darkness within the city.

Elias Stang - Poster Designer

We Need to Talk About Kevin (Lynne Ramsay, UK & USA)

We sure do need to talk about Kevin. Lynne Ramsay directs a tale of a young man's turbulent relationship with his mother in a non-linear ride through the mind of a woman as she deals with their destructive past leading to her son's descent into evil. As a non-linear narrative, We Need To Talk About Kevin constantly keeps its audience guessing, holding the attention of its viewers as both the story and the characters unwravel in a world that grows to view them as pariahs. Tilda Swinton and Ezra Miller shine in their roles which excellently showcase each actor’s diverse talents breathing life and complexity into a pair of individuals in a constant struggle for control. Lynne Ramsay brings a thoughtful and devastating look at family life in this psychological thriller, posing the question “what makes a monster and what happens when one is unequipped to fight it?” With an ending that is sure to polarize and leave those either wondering why they watched or why they enjoyed such a film, We Need To Talk About Kevin will imprint itself in your mind whether you want it to or not.

Don’t chew your fingernails.

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