Curio: 2011's Most Inspirational

Alexa here with a year in review request straight from Nathaniel. Certain types of films seem to inspire visual artists more than others.  And it isn't as simple as gorgeous cinematography or art direction; anything from a note of eccentricity, an atmospheric soundtrack, or a well-held cigarette can create an indie poster storm. (Or anything directed by Wes Anderson.) With that in mind, here are my picks for the five films of 2011 that are most likely to send future artists into fits of creation.  Or, at the very least, the films that I would love to see artists of all stripes take on, so I can continue to write about them next year.

5. The Future 

With a talking cat, time travel, and through-the-roof indie cred, Miranda July's second film is rife with elements that make you want to see the world through a new lens. As always, she comes close to being too cute, but the film's understanding of our collective urge to disconnect from the world, and even stop time, is enough to leave it in our minds for some time.

4. Hugo

With his glorious 3D version of Paris in the '30s, filled with enough gears, springs and levers to fill a steampunk festival, Scorsese manages to celebrate the early days of film without eulogizing. He made a Melies for the 21st Century.

3. The Artist

Similar to Hugo in successfully making something new from a foundation of nostalgia. Its black and white photography, 1.33 aspect ratio and glowing performances take the 20s and make them sharp, clear and fresh.  And hopefully it will get more art students to watch the likes of Man with a Movie Camera, The Passion of Joan of Arc and Sherlock Jr.

2. The Tree of Life

Terrence Malick's films have always been the stuff of still photographer's wet dreams, and this one is no less, with images of the sun, trees, and cosmos that make you want to point your camera to the heavens. And float like Jessica Chastain.

1. Drive

The most singularly cool movie of the year, with style in spades, 80s-infused titles and a soundtrack to drive to.  The eruptions of violence beneath its smooth candy surface made for one terrific ride. And I live in hope that it will make scorpions eclipse owls and birds as a craft favorite.

Honorable Mention: The Muppets

Here's hoping that the return of Kermit, Gonzo and Animal inspire more felting and designing to come. But please, next time, more Miss Piggy.

If you were to pick up a paintbrush or craft box which 2011 films would most inspire you?

Interview: Jessica Chastain's Big Year / Big Future

Jessica Chastain was in Morocco when we spoke, jurying on a film festival. Or was she in Toronto filming a movie? No, maybe she was right here in New York City or in Los Angeles for a premiere or event? Who can say. It's been a dizzying year. Her definition of "staying put", I quickly discover, is staying in one place for a whole week. "I don't think this is a normal year for an actor," she says understating the case.

Chastain reigns over 2011's movies

She sounds bright and cheerful and ready for more movies, believe it or not, though she admits that the year has been tough on her personal life. This past summer she starred in two of the most talked about films of the year (The Tree of Life and The Help) and in the fall she was doing press for four more (The Debt, Take Shelter, Coriolanus, The Texas Killling Fields). 

Though her characters are already multiple, she is but one woman. The movies we're seeing all at once she made over the span of a few years and she helpfully provided the order when asked:

• Wilde Salome ("My first film. It hasn't come out yet")
• Jolene 
• Stolen ("very small role")
• The Tree of Life
• The Debt
• Coriolanus
• Texas Killing Fields
• Take Shelter
• The Help ("I went straight from the set of Take Shelter")

I figure her sudden ubiquity is a good place to start the conversation...

"I'm fine right here" 

Nathaniel R: It's almost like you've sprung full grown from the head of Zeus for moviegoers.

JESSICA CHASTAIN: Which is so funny because I've been working so long!  But it does feel like this year with people starting to see my films they're asking "Where did you come from?" Well, I trained. I have been working for a long time.  You guys are just getting caught up . I didn't come out of nowhere.

NR: It just feels that way for us! I want to ask you about Take Shelter first. Long suffering wives of male leads -- how shall I put this? This type of part always runs the risk of feeling like a thankless stock role. How did you make it feel as specific as it does? That marriage is so vivid.

JC: It's funny. I think I teased Jeff [writer/director Jeff Nichols] quite a bit when we first started working together. I'm sure they were like "oh no…" because I do a lot of work before i show up on set. My script, it's not necessarily filled with answers but there are a lot of questions that I write down. In a scene in Take Shelter I might write down 'When's the last time he told me he loved me?'  Something like that which gets me thinking 'hmmmm, okay...'

For that movie I did that throughout the whole script. I had to make it so specific because my entire subtext in that film is "what's wrong with you?" but I can't say that the same way in every scene so I had to look for what's happened before each scene to make it as specific as possible. I really wanted to grasp it so much that on our first day I really embarrassed Jeff and Mike [Michael Shannon]. We're at lunch. The three of us sat down and I've got some questions. I looked at Jeff and said 'When do they have sex? I just wanna know.' Mike's mouth opened up, Jeff turns beet red.

'what's wrong with you?' Now, ask it in multiple unspoken ways.

[The Help, The Tree of Life and Chastain's future plans after the jump.]

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OFCS Nominations: The Drive of Life

The Online Film Critics Society is the latest group to chime in with their nominations for the best of 2011. They'll announce the winners on January 2nd but because they're a big group we deigned to feature their nominees this year. As in most years there are a couple of eyebrow raising choices (I really can't handle Editing and Screenplay nominations for We Need To Talk About Kevin! Shoot me now... with bow and arrow if you must.) but their Best Cinematography list is just... well, we should only pray we get an Oscar field that beautiful, that acclaimed, that challenging, that perfect, that War Horse evading.

The Tree of Life led their field of contenders with seven nominations including two for acting (Brad Pitt was honored there,  not for Moneyball) with Drive in hot pursuit with six. And for what seems like the first time in ages, Martha Marcy May Marlene was not left out in the cold, picking up three nominations including Original Screenplay for Sean Durkin (recently interviewed).

Full list of nominations with a few thoughts after the jump.

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20:11 Water For Hanna's Insidious Code

Year in Review Fun!. Herewith the 20th minute and 11th second of the movies of 2011 in chronological order of US release date. It's like flipping channels for snapshots of the film year! For those who like a challenge, I've written the film titles in invisible ink (you can highlight to see them) below the screencap. What kind of memories does this bring back? Do these tiny glimpses make you want to see the movies in question?

january | february | march 

Part 4: April

Our records show that 1,812 calls ended at the moment of the explosion. 52 of those calls were tethered to the cell tower nearest the train so one of those calls was made by our bomber..."

SOURCE CODE ...reviewed in brief (10 words)

We'll conduct some further testing. It's only been a couple of days. It could take a little longer." 

INSIDIOUS

My name is Dr. Burton. Would you like to talk to me?"

HANNA... this movie seemed very well liked by readers. And it was definitely a missed opportunity on this blog that we never properly discussed. Apologies!

Would you like to talk to Dr. Burton?
How about these other 2011 characters after the jump...?

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Box: Office - Ghostly Christmas

One of my favorite traditions when I was a kid and later a visiting adult was picking the movie to watch on Christmas day with the family. It was usually me making the final decision since I was the one forcing keeping the tradition alive. My favorite of these as an adult was Titanic (1997) because even my Dad loved it and he never loves movies. This Christmas evening movie-going tradition maybe isn't as strong as it once was with American families since the weekend didn't jingle merrily with box office change.

Nevertheless, it was definitely crowded with new releases, week old releases and all of those frustratingly shy Oscar hopefuls who refuse to go wide enough for audiences to enjoy them. The weekend was won by Ghostocol which you could categorize as a big hit were it not for that super-sized budget. Whose idea was it to give it a budget that was even higher than the domestic gross of its predecessor five years ago?

Box Office Top Fifteen (Estimates)
          ~ over 2000 theaters
01 MISSION: IMPOSSIBLE - GHOST PROTOCOL  $29.5  (cum. $61.9)
02 SHERLOCK HOMES: A GAME OF SHADOWS $20.2  (cum. $79)
03 THE GIRL WITH THE DRAGON TATTOO  $12.7 (cum. $21.1) 
04 ALVIN & THE CHIPMUNKS: CHIPWRECKED $12.6 (cum. $49.5)
05 THE ADVENTURES OF TINTIN $9.7 (cum. $17.7)
06 WE BOUGHT A ZOO  $9.4 christmas day only
07 WAR HORSE $7.5 christmas day only [STAGE VS. SCREEN]
08 NEW YEARS EVE $4.9 (cum. $34.2)
09 THE DARKEST HOUR $3 christmas day only 
         ~ under 2000 theaters
10 THE MUPPETS $2.1 (cum. $75.7)
11 THE DESCENDANTS $2.1 (cum. $32.3) 
12 ARTHUR CHRISTMAS $2.1 (cum. $43.5)
13 HUGO $2 (cum. $43.6)
14 THE SITTER $1.8 (cum. $22.3)
15 YOUNG ADULT $1.7 (cum. $7.1)

Talking Points
Pina, Extremely Loud and Incredibly Close and Tinker Tailor Soldier Spy had the best per screen averages. I was at a Christmas party yesterday and the latter was definitely a movie people were talking about. The conversation frequently swerved to Benedict Cumberbatch (People knew him as the other new Sherlock Holmes -- the not Robert Downey Jr Holmes) and there were at least a couple of "I didn't understand what was going on!"s uttered. But the point is that people are interested in it. They should've opened wider. 

You could finally give the gift of Marilyn. But did the wide release come two weeks too late?Same goes for My Week With Marilyn. It doubled its screen count, finally going wide this weekend for the holiday, but the widening came too late. The movie's moment, if you will, was definitely back around Thanksgiving time when competition was slightly less severe and it had that new girl sparkle in a weekend that was otherwise all about the little kiddies. Now it's competing with other adult appeal movies and it's not entirely fresh news in our fast-paced pop culture. The big expansion five weeks later saw dwindling revenues and it landed on the worst opening weekend chart. Did they not think Marilyn was a brand? Movies are obsessed with selling us the familiar and there's no way that MARILYN didn't have enough branding to open wider earlier. It isn't a French film without dialogue with no stars, after all.

Did you hit the theater and does your family always do this on Christmas?