My Top 30 Films of 2012: 30-21

It's that time again! Time for the annual top 30 film list, in which I rank my favourites. People ask me "Rob, why do you insist of compiling a top 30, rather than, say, a more traditional top 10?" And I say to those people, with limitless patience, "because even compiling this year's top 30 has seen me leave out such stunning films as 'Francine', 'Elles', 'Just the Wind' and 'Postcards From the Zoo' - to say nothing of documentaries such as 'Tabloid', 'Dreams of a Life' and 'Woody Allen: A Documentary'." I have also neglected to include films that came out too late last year to be included in the 2011 list. So, whilst magnificent, 'Moneyball', Fincher's 'The Girl With the Dragon Tattoo' and the surprisingly funny 'Arthur Christmas' don't feature.

Anyway, here is the first part of this year's list. Films 30-21:

30) The Woman in Black, dir James Watkins, UK/CAN/SWE

What I said: "In places it's truly frightening, even if it is (by design) playing on oft-seen horror tropes. It doesn't do anything new but it does the old stuff very well. Radcliffe is a good fit for the protagonist, seeming both vulnerable and capable. Some are bound to find his youthful appearance and image as a boy-wizard a distracting incongruity, especially given that here he is playing a father, but I didn't find this to be a problem. At 22 Radcliffe is an adult who could feasibly have a child - this is simply a fact. If anything his most famous role compliments this one, with both Harry Potter and solicitor Arthur Kipps being of unfailingly good nature."

Regular readers will know I'm not a horror fan, but I did really enjoy this one despite seeing it with a tittering teenage audience that found every aspect hilarious. The fact that it still made me jump (more than a couple of times) and genuinely creeped me out, is all the more impressive given the circumstances. An old fashioned type of horror movie that's refreshing in an age of all-out gore-fests.

29) Magic Mike, dir Steven Soderbergh, USA

What I said: "Steven Soderbergh is on a good run at the moment, something which makes his impending retirement a real shame. 'Contagion' and 'Haywire' rank among the most enjoyable films of the last twelve months, and now 'Magic Mike' can be added to that list. Based on star Channing Tatum's own experiences as a male stripper, this slightly moralistic and overlong tale is more than salvaged by a fine - and extremely intense - performance by Matthew McConaughey and a couple of really funny scenes. Tatum confirms that he is a genuine star, a quadruple threat: showcasing some amazing dancing chops to add to his established gifts for action ('Haywire', 'Fighting'), comedy ('21 Jump Street') and romance ('Dear John')."

The scene where Matthew McConaughey teaches Alex Pettyfer to sexy dance in a mirror - sweatily gyrating against him in spandex - is one of the funniest things I've seen all year long, matched only by the incongruous appearance of McConaughey in an Uncle Sam hat later in the same film. Marvellous. I'm not sure how much of 'Magic Mike' is supposed to be funny but I had a blast watching it. I also have a real soft spot for Soderbergh of late. Let's hope he isn't really about to retire.

28) The Muppets, dir James Bobin, USA

What I said: "The film isn't content to trade solely on nostalgia and old-time good feeling though, even if it could probably just about get away with that. There are loads of inspired sight gags, clever one-liners and, best of all, a few infectious song and dance numbers written by Bret McKenzie of 'Flight of the Conchords'. Of these my favourites are the upbeat loneliness empowerment anthem "Me Party", sung with gusto by Adams and Miss Piggy, and the Oscar-nominated ballad "Man or Muppet" - a duet between Gary and Walter."

A little ray of sunshine - blissfully free of irony or schadenfreude in a world where both are dominant. 'The Muppets' isn't solid gold all the way through - it lags in the middle for a bit and some of the gags fall flat - but it's impossible to watch without a smile on your face. The songs are great and there are some really inspired gags too. This is one I've already gone back to several times on DVD.

27) The Grey, dir Joe Carnahan, USA

What I said: "Carnahan shoots the film in a restrained and gritty style, with heavy use of grain. By avoiding showing too much of the wolves he ensures that sections of the film play like an impressive monster movie. But it's his handling of the survival stuff that's the film's best asset, particularly in the disorienting, noisy plane crash sequence and in a scene of nerve-jangling terror as the surviving men attempt to cross a ravine using a hastily conceived makeshift rope. In its depiction of men battling the elements, it's also far more visceral and engaging than last year's similarly themed 'The Way Back'. Ottway's strange (presumably made up) vocation [anti-wolf sniper] and the presence of exaggerated, man-eating wolves sets up a sillier film than 'The Grey' actually ever wants to be. In fact it's more often a brutal and painfully realistic depiction of death and loss."

One from way back at the start of the year, 'The Grey' sees Liam Neeson again in action hero mode, but this time he's battling the elements, a pack of ravenous wolves and himself (coming to terms with the loss of his wife and a new-found dislike of humanity). It's supremely effective and an interesting change of direction for the director after making that forgettable 'A-Team' movie a couple of years back.

26) Side by Side, dir Christopher Kenneally, USA

What I said: "It's a film which pits staunch 35mm loyalists like Christopher Nolan and DP Wally Pfister against the progressive likes of George Lucas, Steven Soderbergh, James Cameron and Robert Rodriquez. It provides a potted history of the medium, explaining how cameras work, and breaking down who does what on a film set, in a way which some viewers might find simplistic and insulting to their intelligence. However, as someone who is intimidated by and largely ignorant of the technical side of filmmaking, I appreciated the film's accessibility. Sequences in which clips of films shot on 35mm and on digital are alternated are also really effective at practically demonstrating the ideas being discussed."

A timely film arriving at the end of the celluloid age, 'Side by Side' would be interesting enough if it were simply a dry look at the difference between the old technology and digital and the potential problems and advantages arising from the change. But it's much more fun than that, however, with Keanu Reeves interviewing a stellar line-up of filmmakers, actors, producers and technicians that includes Martin Scorsese, David Lynch and an especially enthusiastic Danny Boyle. The likes of David Fincher and Steven Soderbergh provide some extremely memorable and amusing quotes too, ensuring this is a must-watch movie for anyone with an interest in filmmaking - even if they aren't necessarily bothered about competing storage media. Though those who go in without an opinion are sure to leave 'Side by Side' feeling pretty strongly one way or the other.

25) The Hunger Games, dir Gary Ross, USA

What I said: "The teen girl mob, who during the show I attended literally screamed the house down whenever Gale or Peeta (or a cat or a child) appeared on screen, seem to have found a new set of idols and, with Lawrence's robust central showing, a feminine hero for the ages. Perhaps there's little surprise in their showing of affection for this material, in many ways so cynically tailored to meet their interests, but what's striking is that 'The Hunger Games' is actually to some extent worthy of their adulation."

With extremely low expectations I read The Hunger Games in the run-up to the summer movie and, to my surprise, really enjoyed it. Enough that I swiftly read the next two books and got pretty into that world. I'd be the first to admit that the books are flawed, but they are pretty good and the film lives up to the first one and - in a couple of ways - improves upon it. It made for an interesting film and one which leaves me excited enough to want to see the sequels.

24) Carnage, dir Roman Polanski, FRA/GER/SPA/POL

What I said: "A sharp and bitterly funny attack on middle class social mores and attitudes, Roman Polanski's 'Carnage' is the kind of movie I'm easily smitten by: a tight little film which primarily takes place on one location (in real-time, no less), peddles deft social satire and zips by in a welcome 79 minutes. It's to the veteran director's credit that it never feels paired down or non-cinematic, despite being based on a stage play: French playwright Yasmina Reza's God of Carnage. Tight close-ups develop a sense of claustrophobia and Polanski's camera seems to relish the few occasions where the characters nearly escape their setting, eagerly rushing out into the hall and returning to the apartment with an air of resignation."

Great performances from the cast and a really smart script, this is a tight, little drama with a sharp wit. It's the best film Polanski's made in at least a decade. Not a lot more to say about it than that without going into specifics and reviewing it all over again... so there it is.

23) Chronicle, dir Josh Trank, USA

What I said: "But if Spider-Man was born into the idealistic 60s, these kids are definitely from our more cynical present - in that they just piss around aimlessly, content to serve no grand purpose. In the fun first half of the movie, they pull immature pranks on passersby, win a high school talent show and play American football in the troposphere. It's the first super powers movie I've seen in which the kids on-screen do what real kids would actually do: they film themselves doing the sort of stuff the 'Jackass' crew could only dream of and laughing constantly. If 'Kick Ass' was the story of a guy whose vigilante fantasy was limited by his lack of special abilities, then 'Chronicle' is the reverse."

A slick mix of horror, "found footage" movie and super hero actioner, 'Chronicle' - written by Max Landis, son of John - is inventive, exciting and tense. The film even finds time to become a drama about growing up and to some extent an angsty teens new-found abilities form part of a commentary on high school shootings and the sorts of troubled kids who perpetrate them: the anti-social and violent side of the geek empowerment fantasy around which all super hero stories are built.

22) Brave, dir Mark Andrews & Brenda Chapman, USA

What I said: "Pixar's first non-sequel since the phenomenal 'Up', 'Brave' was a troubled production which saw original director Brenda Chapman replaced as a result of "creative differences" midway through. With that in mind it's pretty amazing that the final film is such a fine addition to the studio's pantheon: a mature and nuanced mother-daughter bonding story that's pretty touching and, as usual, beautifully animated. The backgrounds are richly detailed and the character animation is peerless, particularly for the film's hero, Scottish Princess Merida (Kelly Macdonald) - a determinedly individual teenage redhead, and skilled shot with a bow - resentful of her mother's (Emma Thompson) attempts to make her a courtly lady and marry her off to a rival family's prince."

A huge improvement on the studio's last two films - both sequels - 'Brave' is only just short of being up there with 'Up' and 'Wall-E' in the Pixar canon. It succeeds mostly because it's not the film you think it's going to be based on the trailers. This isn't a trite story about a woman who doesn't want to be pretty but wants to be a warrior instead - the usual route of female empowerment being depicted as increased masculinity - but rather the tale of a stubborn teenager and her equally stubborn mother trying to improve their mutually antagonistic relationship during a tough transitional time in their lives. This is the story of a mother getting to grips with her daughter's increasing independence from her care, whilst that daughter has to juggle with discovering who she is and what she wants to do. The popular culture is full of stories about father-son bonding and that relationship in general, but this is the first mainstream children's movie I can recall that's all about the relationship between mother and daughter.

21) Argo, dir Ben Affleck, USA

What I said: "Following on from the enjoyably meat and potatoes, Michael Mann-lite crime movie 'The Town' and his Clint Eastwood-like directorial debut 'Gone Baby Gone', Ben Affleck has now turned in an entirely effective political thriller in the mode of the late Sidney Lumet. The actor-turned-director still hasn't really displayed any particular style of his own behind the camera, but it doesn't really matter in this instance because everything about 'Argo' is at least solid, often going some way beyond that. In fact, for the last hour, it's incredibly tense and terrifically well-paced, leading to the sort of air-punching, applause baiting finale usually reserved for fight movies."

Whilst not my favourite film of the year - in fact it's 20 spaces off the top spot - 'Argo' could easily be crowned Best Picture at next year's Oscars. Ben Affleck has established a good reputation behind the camera, with 'The Town' already seen as an unlucky loser last time around despite strong early buzz, whilst the Academy traditionally loves actors-turned-directors. It's also got a liberal political stance on the situation in modern Iran, laying the blame for the current regime at America's feet. Yet overall it isn't going to alienate more conservative voters, because it's a film in which the CIA are the good guys and "bringing our boys home" is the objective. It is - spoiler warning - an American success story in a part of the world where those are currently difficult to come by. And, finally, much of it takes place in Hollywood and lampoons that community - but in a gentle and affectionate way that can only be received warmly. Thought of that way it's a pretty safe movie, especially as - in terms of plot and the way it's shot - it recalls the sort of 1970s political thrillers they just don't make any more. It is, however, also very good - so I wouldn't begrudge it any of that success.

Check back later for films 20-11.

Keanu Reeves Interview: Neo himself talks about documentary project 'Side By Side'

Quick post to say an interview I did with Keanu Reeves and director Christopher Kenneally is now online, on the website of Brighton's Cinecity Film Festival. The star-studded documentary, based around the current debate about whether or not filmmaking should go digital or stay rooted in photo-chemical processes, sees Reeves interview top people including directors (too many to mention, but dozens of BIG names), cinematographers, actors, producers and beyond. It's so good that I saw it twice in Berlin earlier this year, which is where I caught up with Mr. Reeves.

Anyway, if you live in or around Brighton you can see 'Side By Side' for yourself this weekend as part of Cinecity. It's playing at 15.30 (3.30pm) at the Duke of York's Picturehouse and you can book tickets here.

My review of the film is up here.

'Side by Side' Berlinale (Special) review:

In terms of how films are made - literally, how they are captured on camera - we are potentially at something of an epoch-defining crossroads. 35mm film cameras are no longer being manufactured, with studios now turning more and more to digital filmmaking and new technology. This moment in time - and its polarising effect on the industry - is the topic of 'Side by Side', a comprehensive, thoroughly entertaining look at both sides of the issue. In it Keanu Reeves, the film's producer and narrator, interviews those at the forefront of both camps: speaking to top directors, cinematographers, actors, editors, colourists, camera manufacturers, studio heads, and even students.

It's a film which pits staunch 35mm loyalists like Christopher Nolan and DP Wally Pfister against the progressive likes of George Lucas, Steven Soderbergh, James Cameron and Robert Rodriquez. It provides a potted history of the medium, explaining how cameras work, and breaking down who does what on a film set, in a way which some viewers might find simplistic and insulting to their intelligence. However, as someone who is intimidated by and largely ignorant of the technical side of filmmaking, I appreciated the film's accessibility. Sequences in which clips of films shot on 35mm and on digital are alternated are also really effective at practically demonstrating the ideas being discussed.

Keanu Reeves proves a really capable interviewer, getting some great, illuminating quotes from his subjects who seem at ease in his presence. Many contributors are so disarmingly frank that the film exceeds its brief, providing insight into the work methods of lots of the individuals involved. Danny Boyle unleashes his infectious enthusiasm, talking about his use of consumer cameras to make '28 Days Later' after falling out of love with film following the debacle of 'The Beach'. David Fincher is also good for a quote, voicing some very direct, unguarded criticism of various cameras - and he doesn't pull his punches when it comes to the cinematography fraternity either, citing the DP's loss of on-set authority (and the increase of his own) as one of the benefits of the digital age. Unsurprisingly you hear the reverse from the likes of old school cinematographer Michael Chapman.

Although the weight of opinion seems to go with digital - with most arguments in defense of 35mm coming down to nostalgia and fear of change - the documentary is overall careful not to come down on one side or the other. Instead both arguments are aired and made convincing in their own way. More a document of record than a polemic of any sort, the film leaves us with questions rather than answers, pondering what the future holds - for distribution and archive preservation as well as production. With such great use of film clips and boasting simply unprecedented access to high quality interview subjects, the only obvious problem with 'Side by Side' is that (at 99 minutes) it's far too short. It's a tantalising prospect to consider that there are longer interviews with people like David Lynch, Lars von Trier and Martin Scorsese sitting on director Chris Kenneally's hard drive.