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“What I believe is that all clear-minded people should remain two things throughout their lifetimes: Curious and teachable.”

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“Your intellect may be confused, but your emotions will never lie to you.”

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“I believe empathy is the most essential quality of civilization.”

― Roger Ebert

It deeply saddens me to say that the fourth season of this beautiful show is the weakest one we have seen so far. I’m unsure if it was due to the shortened season order or if showrunner Jason Katims is pressured by NBC to simply not take risks. Why must every Braverman have happy endings? It seems that everything always turns out ok for this family, despite being hit hard by troubling real-life issues like cancer, PTSD, abortion, job insecurity and autism. Whenever the show introduces a new arc for our characters, it’s easy to predict that everything will turn out just fine. “It’s just a two-episode shake up but all will be back to normal soon!” This hurts the show more than anything else. There are no real stakes here.

Despite that major misgiving, season 4 of Parenthood actually had some of the best moments I’ve seen on TV all year. Adam and Kristina juggled the show’s most wrenching plot: Kristina’s cancer. We can always count on Katims’ writing team to deliver such profound and achingly real moments, like when Kristina wanted to send off her son to prom, despite Max’s resistance. When the two danced in the living room while Adam looked on, my heart broke into a million pieces. Or when Adam and Kristina decided to go away, just the two of them, we were witnessing a couple with real hardships and genuine affection for one another. Even when I had so many issues with the show’s other story lines, I knew I could always count on Monica Potter and Peter Krause every week. They really deserve Emmys for their work this season. Hundreds of them!

Other things I loved about season 4:

Mae Whitman. In every scene she was in! Amber is one of the greatest pleasures of Parenthood. She is heartbreaking in her moments with new beau, Ryan (wonderfully played by Friday Night Lights vet Matt Lauria). Ryan is a fragile individual and watching the two perform an emotional, delicate dance every week was a treasure.

Crosby is growing up and that is always fun to watch. With Adam on the sidelines and focused on Kristina, he juggled overseeing The Luncheonette and being a husband and father to Jasmine and Jabbar. Their sincere moments discussing race and religion were quietly powerful. As the character of Crosby grows to become a substantial human being, Dax Shepard has grown to become an engaging performer.

While the outcome was rushed beyond believability, most of the stories involving Joel and Julia’s adoption of Victor were effectively done. You got a real sense of frustration within the Graham household and these arcs provided Erika Christensen and Sam Jaeger some of their best work yet. If he had more episodes to work with, Katims would have fleshed out Victor’s assimilation to the family far more believably than executed here.

Also getting the short shrift? Zeek and Camille, who barely had any screen time. You can never have too much Craig T. Nelson and Bonnie Bedelia in your show, Mr. Katims. Ditto for Miles Heizer, whose abortion storyline barely made a blip in the series. A life event of this magnitude would never have gone away so quickly. Such a waste of great material here. And while I get that Sarah Ramos’s demotion from regular to recurring meant we’d be seeing less Haddie, it doesn’t make sense that Adam and Kristina would lie to her about Kristina’s cancer only to never be brought up again. It’s these inconsistencies that makes me wonder how much tighter this show would be if it had been on Showtime or FX instead of NBC. Makes me wonder, indeed.

The biggest problem with season 4 was the inability to give Sarah (the incomparable Lauren Graham) a backbone. Why does she need a man in her life? All season long, Sarah went back and forth with Hank (Ray Romano) and Mark (Jason Ritter). At the start of the season, I really enjoyed seeing both men in Sarah’s lives until it became inevitable that she would have to “choose” one. Why is this a competition? Why can’t Sarah just be happy with Mark? All of their scenes almost became unwatchable towards the last stretch. I didn’t want to see either of these guys again, which is a shame because Ritter and Romano are such pleasant actors to watch. Graham is usually perfect but she got unlucky with this terrible over-long arc that shouldn’t have lasted as long as it did. Wouldn’t it have been nice to see her deal with the fallout of Drew’s life-changing events, instead of being saddled with that non-story?

All said, Parenthood is still better than most dreck out there and it’s still one of my favorite shows on television. Hey, even Friday Night Lights stumbled a bit before regaining their footing and concluding the series on a high note. Should the show be renewed (and it damned well better!), I have faith in Katims to focus on the show’s strengths. If it means cutting out characters altogether (kill Kristina! Ship Drew off to school! Separate Zeek and Camille!), then perhaps that will allow Katims to step up and push through the longer arcs and play them out properly.

Season 4: B
Series to date: A-

My most anticipated film of 2012 and — for the most part — it didn’t disappoint. The great buzz, the high accolades and bushels of awards are all well-deserved. Argo is an extraordinarily well-made thriller from an actor I’ve always enjoyed watching and a director whose career I’m very excited about. Ben Affleck stars as a CIA agent who formulates a risky, convoluted plan to rescue six American hostages from Iran in the late 70′s. It’s one of Affleck’s best performances and I’m surprised we’re not seeing much acclaim on that front. Of course, he may be a better director than he is an actor, but that shouldn’t take away any appreciation for his sensitive portrayal of a man who puts his life on the line for his country.

There’s a lot to love about Argo. The cast of greats is a major highlight (I’m a sucker for massive ensembles of Hollywood’s best character actors, and Argo features one of the best casts I’ve seen in a long time). Affleck takes this subject very seriously and you get the sense that he and his team did their homework. The details are remarkable and the final credits sequence drives that home when we are shown comparisons of locations and persons and their on-screen counterparts.

If I’m going to nitpick about one thing in Argo, it is Affleck’s decision in the third act to rely on too many “saved at the very last minute!” plot devices in which our heroes escape from certain death by use of miraculous timing on more than one occasion. Argo then started to look more like a slick Hollywood thriller and less like a serious docudrama. It’s not a fatal flaw by any means but it did take me out of the experience for a little bit.

Otherwise, for a well-oiled high quality piece of entertainment, one cannot go wrong with Argo. It’s the kind of film I can recommend to just about everyone I know. A-

2. Killer Joe (2012)
Written by Tracy Letts | Directed by William Friedkin

What a delightfully fucked up movie. Of course, the scene that generates the most dialogue on Killer Joe is its infamous “fried chicken” scene (no spoilers here), but the film is so much more than that. It’s a twisted, intense white trash thriller about murder, insurance money and trying to not get in the way of individuals who have immense power over you. Emile Hirsch is a sad sack who hatches up a brilliant plan to have his mother murdered so that his sister (Juno Temple, a terrific discovery) can claim the insurance money. Thomas Haden Church (in arguably his best performance) is Hirsch’s father and gets reluctantly involved, who then eventually drags his new wife (Gina Gershon, ditto) in on the scheme. They hire a cop who is a killer on the side to do the job. Matthew McConaughey plays Joe, a sleazy, manipulative contract killer who never performs a job he isn’t comfortable doing. He’s careful, he’s methodical, and he has no boundaries. He’s also a guy with urges in which he satisfies with maniacal glee, making for some very uncomfortable (and oddly compelling) viewing.

A few things I adore about this film. First, I love that some of the major characters don’t even speak or show up on-screen at all. The writing is clever and sneaky that way. Second, there’s no limit to the depths of depravity showcased in Killer Joe. It’s not about how far the filmmakers are willing to go, but about how these twisted acts truly define the characters and their motivations. Of course Sharla (Gershon) opens the door naked from the waist down. Of course Joe likes ‘em really young. Of course Ansel (Church) has no clue what goes on behind his back (his reaction to some incriminating photographs are priceless). The fried chicken scene is simultaneously incredibly fucked up and yet makes complete sense to the people involved.

Killer Joe features the best career work by almost everyone involved. Director Friedkin has done incredible work in the past, but this is the most assured and loosest effort of his storied career. I’ve already mentioned how I’ve never seen Church or Gershon better than I have seen them here, but McConaughey is the real star of the film. His focused intensity is amazing to watch. I always knew he had the talent to pull off this kind of role, but thought he just never had the right material (or the motivation) to show us. 2012 will be a very difficult year for him to top (he just nailed it in Bernie and Magic Mike, didn’t he?). And Killer Joe – the performances and the film itself — won’t be soon forgotten by me. A

3. Prosecuting Casey Anthony (2013)
Written by Allison Cross | Directed by Peter Werner

What is this? A Lifetime made-for-TV movie about a sensational ripped-from-the-headlines murder case? What the hell is this doing on here?!

Please, allow me to explain. Prosecuting Casey Anthony isn’t the kind (or caliber) of movie I’d normally seek out. In fact, I knew very little about the Casey Anthony case prior to watching this. I don’t typically follow these types of tabloid cases because, well, I just don’t care. What intrigued me about this particular production, however, was three things:

1) Rob Lowe. I’ve always liked this guy and I’m loving his work on Parks and Recreation. Seeing this occasionally serious actor in a comedic role on a very funny show every week makes me respect him as an actor. Lowe is not a movie star, but a TV one. And a very good one. He plays Jeff Ashton, a skilled lawyer who seems to enjoy the spotlight as the guy who tries to put Casey Anthony behind bars.

2) Elizabeth Mitchell. Yes, Mitchell has appeared in a variety of film and TV projects, but she will always, always be Juliet Burke to me. Lost changed my life; it consumed much of my obsessive traits in the last decade and Mitchell played a big part of that. (Her vending machine moment with Josh Holloway in the Lost finale made me cry harder than anything in recent memory). Anyway, she plays Ashton’s partner at his law firm and the two seemed to be an intriguing match.

3) The trade papers were kind to this film. I was expecting harsh reviews, but the word of mouth was positive enough for me to say, “Ok, I’ll give it a shot.”

And I’m glad I did. As expected, Lowe and Mitchell had terrific (and refreshingly platonic) chemistry as a team who were so determined that Anthony was guilty. As a newcomer to the case, I had very little knowledge to what actually happened so I was surprised to learn that no one really knows what the hell happened. Prosecuting Casey Anthony certainly doesn’t provide answers or insight on the case or the people involved, nor does it try to be a groundbreaking display of media journalism. It’s not a movie I will go out of my way to recommend since it doesn’t really offer much in the way of gritty filmmaking, but I can honestly say I was compelled by it and enjoyed the way Lowe and Mitchell played off one another as passionate prosecutors in search for justice. In fact, I’d be thrilled if someone would cast these two gorgeous specimen of the human race (did I just type that out loud?) in a legal drama pilot for next season. B

4. Trouble with the Curve (2012)
Written by Randy Brown | Directed by Robert Lorenz

I had a lot of problems with Trouble with the Curve, the directorial debut of Clint Eastwood’s long-time producer and assistant director, Robert Lorenz. Lazy writing, poorly realized supporting characters and a conveniently tidy finale are some of the major issues I had, but despite all of that, there’s a certain comfort to be had when you are going along for a ride in which you already know the way.

I just really enjoyed the company. Clint Eastwood is still playing the old, cranky guy with health issues, but he wears that role comfortably. It fits him. His daughter is the terrific Amy Adams, a career-driven woman with a deep passion for baseball. She has no time for love, but she makes time for her unstable father and attempts to make things work between them. John Goodman is especially endearing as Eastwood’s longtime friend, Pete. Goodman excels in these kinds of roles (remember him in Always?); he is just a joy to watch. Justin Timberlake also has a few good moments as a former ball player who strikes an emotional chord with Adams’s distant character.

Look, Trouble With the Curve is not a particularly good film (how awful are the “villains” of this movie? All that is missing from Matthew Lillard [as Sanderson] and Joe Massingil [as Bo] are mustache twirlers), and I rolled my eyes when Adams made that last act “discovery,” but dammit, I felt happy for our lead characters when their emotional journey ended on a happy note (not a spoiler — you know it’s coming). There’s something about predictability that is strangely comforting. B-

5. Liberal Arts (2012)
Written and Directed by Josh Radnor

Liberal Arts is a very minor film that thinks it has a lot to say but really doesn’t. For Josh Radnor’s character, it’s about realizing he’s not the man he’d thought he would become. For Elizabeth Olsen, the future is bright and full of promise. For Richard Jenkins, the end is near and there’s no stopping it. These actors are wonderful to watch as they realize that some things are just not always in their control.

Liberal Arts is the second feature from the gifted Radnor. In terms of quality, I’d say it is on par with his debut, happythankyoumoreplease, though that earlier film actually stayed with me longer than it had any right to (it has been over a year since I’ve seen it and some scenes still linger in the mind). Radnor writes well, he has an unobtrusive eye and his presence is welcoming.

Liberal Arts is engaging enough but unfortunately packs very little punch. They talk and talk and talk but sort of move in circles. I do hope Radnor continues to churn out these types of films because, well, I’m a fan. He just needs to build on his craftsmanship. He’s got potential just waiting to be fully realized. C+

The most vivid memory I have of Laura Dern is back in 1996 when I saw Citizen Ruth at Kendall Square in Cambridge. I was alone – which was not unusual during those college years where I spent countless hours in the movie theaters all around Boston – and I was enraptured by Dern’s presence. She WAS Ruth Stoops, the drug-addicted, flaky, irresponsible young woman who found herself in the middle of a political debate about abortion. I fell in love with Dern and it had been a long time since I’ve seen her this balls-out good.

That is, until I caught up with season one of HBO’s Enlightened, a half-hour dramedy about a woman named Amy Jellicoe (Dern) who gets a second chance on life and really, really takes advantage of it. You could say that Ruth Stoops has grown up become Amy. After all, Amy has made several irresponsible mistakes and is frowned upon by her discerning mother and exasperated colleagues. After returning from a months-long sabbatical at a treatment facility, Amy has a new outlook on life. She is relentlessly positive and is determined to find her purpose. Even if it makes everyone around her absolutely miserable.

Dern is astonishing here, just as she was 16 years ago in Citizen Ruth. She is full of vibrancy and buzz, as if she is a new star in the making. Where was this magnificent woman all these years? (Judging by her IMDb profile, despite some strong films here and there, Dern certainly kept busy away from the movie biz). And I gotta say, nearing 50, she looks downright fantastic. She is aging naturally and beautifully.

She defiantly anchors Enlightened, even though the brain behind the show belongs to the ever-versatile Mike White. I’ve been a big fan of White’s since Chuck & Buck and The Good Girl 10 years ago. This is the most spiritually rich work I have seen from him. He nails that feeling of going against the tide. For many people, change is a very difficult thing to go through, and when the obstacles are stacked up against Amy (her mother, her junkie ex-husband, her boss, her company), her quest to be a better person is damn near impossible. Fortunately, White doesn’t take it all too seriously. Enlightened is smart, funny, infinitely relatable and strangely moving.

The rest of the cast gels nicely. Diane Ladd, Dern’s real-life mother, plays Amy’s skeptical, hardened mom. Luke Wilson has a meaty role as her ex (their chemistry is remarkable; in their few scenes together, you get a sense that they have a long, troubled history). Then you have Mike White himself playing Amy’s colleague who actually looks up to Amy, despite not having the courage to admit it. The luminous Robin Wright turned up midway in the season for a brief memorable stint (in a pair of episodes directed by the great Jonathan Demme) as Amy’s spiritual friend Sandy. Like Dern, Wright just lights up the screen with her grace and beauty.

Enlightened is a terrific discovery and I cannot wait to see where White and Dern take us next season.

Season 1: A-

A man (Duplass) puts out an ad in the hopes he would find a partner to travel through time with. For starters, it took a huge leap of faith for me to buy that a small magazine would pay for these reporters to cover such a non-story. These three reporters basically had a mini-vacation at the magazine’s expense while receiving no concrete answers or information for several days on end. The film just collapses under the weight of this premise. Of course, that the movie inevitably has very little actual time travel didn’t sit too well with me.

Safety Not Guaranteed is really about faith and believing in the impossible. It’s just unfortunate that I didn’t believe in this movie. C

Beasts of the Southern Wild (2012)
The indie sensation of 2012, Beasts of the Southern Wild is something of an anomaly. When I sat down to watch this film last week, I was transfixed by its unique storytelling, lyrical scoring and a magnificent central performance by Quvenzhane Wallis. But what really surprised me about this film was how much it was being embraced by audiences worldwide. Beasts of the Southern Wild isn’t an easy film to sit through; it’s a bit on the arty side (meaning: it challenges you) and there’s nothing conventional about it. This is not a knock against the film by any means, but it’s the fact that so many people in all walks of life are so taken by this offbeat, colorful film. Even the surliest of moviegoers are finding something to take away from this movie. So what does that really mean? For me, it means that – as of 2013 – the cinema is alive and well. Our favorite art form continues to thrive. B+

The Five Year Engagement (2012)
Sometimes all it takes is a thoughtful script and two engaging leads. On paper, The Five Year Engagement sounds as bland as any other rom-com you’ve seen in the last 10 years. Even the title fails to pop out. But when you get to it, the film takes you in. Nicholas Stoller directs this observant dramedy about a couple who adore one another but continue to find ways to put off their wedding. Emily Blunt continues to excel in leading roles (she has certainly had a very busy year) and her chemistry with the adorable Jason Segel is beautifully matched. I cared about this couple. I rooted for them to be together. It wasn’t just about the laughs or the hijinks but about their resilience. Come to think of it, perhaps The Five Year Engagement would make a perfect companion piece with Haneke’s Amour. No? Too far? B

Savages (2012)
Yay! An Oliver Stone film without any political or social agendas! I’m not Stone’s biggest fan but I’ve always admired his craftsmanship. He’s a director who embraces film as a way to spin a remarkable story. So that said, Savages is nothing more than a genre piece about a group of drug dealers who are in over their heads when they get into business with a high-powered Mexican drug cartel. The two best buds (well-matched Taylor Kitsch and Aaron Johnson) share a bed with the lovely Blake Lively, and when she’s kidnapped, things get ugly. The great cast also includes a surprisingly good Salma Hayek as the ruthless cartel boss, Benicio Del Toro as her sadistic lieutenant and John Travolta as a sleazy cop (good to see him playing for laughs; Travolta has a lighter side that is not used often enough). The film moves at an urgent clip, thanks to Stone’s penchant for nasty violence, a frenetic camera and showy editing techniques. It’s kind of refreshing to see a master at work on a meaningless project. Stone is just letting loose and having fun. Savages isn’t a great film by any means but it dares you to look away. B

The Dark Knight Rises (2012)
Finally. A Batman film I can wrap my head around. Until now, I have only been a distant admirer of Nolan’s previous Batflicks. Batman Begins was so heavy-handed and brooding that I found it nearly impossible to enjoy. Sure, it’s a technical marvel but there was very little heart and soul. The Dark Knight was a vast improvement, much thanks to Heath Ledger’s maniacal and inspired performance. The Dark Knight also featured a propulsive energy that was completely lacking in the trilogy’s first entry.

And now, with The Dark Knight Rises, Christopher Nolan upped the stakes and turned his Batman trilogy into something really special. This final entry gets it completely right. I’m still not crazy about Christian Bale’s performance under the mask — his voice is haltingly irritating, his features dramatically stuff — but his Bruce Wayne has become an intriguingly well-rounded figure.

The biggest surprise in The Dark Knight Rises was Anne Hathaway as the sneaky, vulnerable Selina Kyle, aka Catwoman. The film just lights up when she’s on-screen and she is precisely what this trilogy was missing. A terrific character, a terrific performance. Less successful, though impressively foreboding, was Tom Hardy as Bane, a character that was only frightening in his physicality. In all fairness, you can’t top Ledger’s Joker, but Hardy and Nolan created a worthy adversary to wrap up this trilogy.

Everything else here really worked for me. Caine’s heartbreaking work as Wayne’s loyal servant, Alfred. The brilliant set pieces involving the shut-down and imminent destruction of Gotham. The inner turmoil eating at Commissioner Gordon (a great Oldman performance). Not one, not two, but three delightfully surprising twists in the final act — the first twist drew a huge gasp from me, the second one left my mouth wide open and the last one gave me some serious goose bumps.

So, to my complete surprise, The Dark Knight Rises finally brought some life into the Batman franchise; it provided a much-needed jolt of adrenaline and high stakes. I didn’t think it would top The Avengers as my favorite superhero film of 2012, but damn, it sure gave those Marvel guys a run for their money.

Batman Begins: C
The Dark Knight: B
The Dark Knight Rises: A

That being said, these are the last 20 films I’ve seen in 2012.

Happy New Year!

Wreck It Ralph (2012)
A spirited, joyful experience. By far the best animated experience I’ve had in 2012. It’s almost Pixar-at-its-peak quality, but nevertheless, Disney strikes again. A-

The Best Exotic Marigold Hotel (2012)
A group of British seniors retire to India to live out their golden years. Loved this cast. Judi Dench, specifically, is just remarkable. It’s a simple, straight-forward dramedy that won’t win any awards but it sure charmed the hell out of me. B+

Battleship (2012)
I wanted to dig this one. Peter Berg makes fun films. He even recruited some of his Friday Night Lights vets (Taylor Kitsch, Jesse Plemons). But what a dumb, dumb plot. Nothing in this film made a lick of sense. D

Brave (2012)
Brave is a sweet family film about a Scottish princess who must undo a curse that turned her mother and brothers into bears. Not Pixar’s finest, but a really solid entry in the massive, ever-growing Disney canon. B

The Amazing Spider-Man (2012)
Wholly unnecessary but delicately crafted action blockbuster pits a game Andrew Garfield’s Peter Parker/Spider-Man against Rhys Ifans’s Curt Connors/Dr. Lizard. Marc Webb spins a slick and fairly entertaining piece of pop. B-

Perfect Sense (2012)
My fascination with Ewan McGregor continues with this odd and intriguing drama about how our five senses are so integral to our everyday lives. Sure, it’s a bit obvious but director David Mackenzie crafted a unique and absorbing picture. B

Moonrise Kingdom (2012)
I just can’t get into the mind of Wes Anderson. I find his films very difficult to penetrate. Moonrise Kingdom is actually his most accessible work to date but I still cannot get past the preciousness of his tone. There’s genuine charm in some of these frames but not enough to win me over. C

Life of Pi (2012)
Life of Pi will be yet another one of Ang Lee’s pictures on my year-end list of favorites. I just adored this fantastical journey about a young man who is stranded at sea with a Bengal tiger. The 3D is astonishing and the frames continue to linger on my mind even weeks later. A-

Flipped (2010)
A sweet low budget Rob Reiner family dramedy about a young boy and a young girl who grow up together as friends, despite their true feelings being hidden from one another. The great cast, including John Mahoney, Aidan Quinn, and Penelope Ann Miller, elevate this plain-spoken film to something kind of sweet. B

Seeking a Friend for the End of the World (2012)
I had an unusual reaction to this film. The tone was all over the place — it was a dead serious broad comedy with a typical romantic arc that kinda dragged down the whole affair. There’s a lot here that I liked but there’s also lot I didn’t. C+

The Queen of Versailles (2012)
Man, the things some people do just boggle the mind. This doc is disturbing in a lot of ways but it’s also a fascinating “riches to rags” story that made me glad I’m not a billionaire. Money. Who needs it? A-

The Expendables 2 (2012)
Just as ridiculously fun as the original. These generic shoot-em-ups are direct-to-VHS quality right out of the 80s and that’s its appeal. They don’t try to be anything more. Schwarzenegger is terrible but he does have a few good zingers (“This car is as big as my shoe!”). B

Magic Mike (2012)
After this and Haywire, Soderbergh is having a banner year. Both films are stylish and fun, and Magic Mike features really strong work from McConaughey, Tatum, and especially newcomer (to me, anyway) Cody Horn. Loved it. A-

Hope Springs (2012)
Despite its pedestrian direction and clunky screenwriting, Hope Springs has some painful truths about marriage without the sparks. Tommy Lee Jones and Meryl Streep, old pros who still “got it,” elevate the film from drowning in hokiness. B-

Rock of Ages (2012)
Atrocious, putrid and insanely dull, Rock of Ages is a complete failure in every way. I love this cast, but everyone is so over the top in smarm and hamminess that I wondered if they knew what the hell this movie was all about. The young leads had zero charm and personality. I rarely give out F’s, but I can’t think of a more likely contender. F

Your Sister’s Sister (2012)
I loved this movie. I was weary of how they were gonna handle the big secret presented almost midway in the film, but I was so surprised at how delicate the writing and performances were. You can pretty much predict how it all wraps up but everything was just beautifully handled. All three actors – Mark Duplass, Rosemarie Dewitt and Emily Blunt – are exquisite and absolutely perfect. A-

Men in Black III (2012)
Jones again, strangely looking a decade older than he did in Hope Springs. This time, he takes a backseat to let his younger doppelgänger (Josh Brolin) entertain the hell out of us with his dead-on Jones impersonation. I don’t have much of an opinion of the first two Men in Black films – I liked them enough, I suppose, but don’t remember squat about ‘em – but this one was surprisingly a lot of fun. Smith, especially, as is spry and funny as ever. B+

10 Years (2012)
Channing Tatum concludes his impressive 2012 bid for stardom with this low-key drama about a 10 year high school reunion that brings back a flood of memories for a group of once-close friends. The cast is huge and full of talent, but the standouts are Kate Mara, Oscar Isaac and Rosario Dawson. Not great but engaging and kind of sweet. B-

Sleepwalk with Me (2012)
I had never seen anything from Mike Birbiglia until a few days ago when he showed up briefly in Your Sister’s Sister, but I had heard about his breakthrough comedy earlier this year. I wasn’t all that impressed with Sleepwalk with Me but I do find Birbiglia appealing and even a little insightful. And any film that has a juicy part for perennially underused Lauren Ambrose is automatically worthy a look. C+

Take This Waltz (2012)
A challenging indie that takes bold steps in presenting a love story we’ve seen before countless times. Director Sarah Polley lovingly directs Michelle Williams (who I just adore) as a woman who is torn between a stubbornly comfortable marriage and an exciting affair with a neighbor. There are too many missteps along the way for me to like this film overall (for example, Sarah Silverman’s entire arc, especially in the lay-it-on-thick climax, rang completely false), but I dug the three lead performances and the film’s attempt to show us the intimacy of a marriage. C+

My Favorite Films of 2011

(in alphabetical order)

Beginners
In Mike Mills’s utterly charming, slightly autobiographical drama, Ewan McGregor plays a writer who – like many in this world – have relationship issues. He has a tough time committing with a woman. He’s kind of estranged from his father. He doesn’t have many friends. His best friend, in fact, is a dog. But when his father comes out of the closet and becomes ill, McGregor’s life snaps into focus. Warm performances and a fantastic script help make Beginners an incredibly funny and moving experience.

Extremely Loud and Incredibly Close
Amid polarizing buzz, I did not know what to expect from this drama when I sat down to watch it during one hot summer night. The lack of expectations allowed me to open my mind and embrace the film for what it really was: a parable about loss, mourning and acceptance. Extremely Loud and Incredibly Close is a six-hankie tearjerker and unabashedly so; it’s also a gorgeously life-affirming one, a movie that clings so hard to hope. It’s a miracle this even worked at all. Under the wrong hands, this could have turned into a Patch Adams or a Simon Birch. But director Stephen Daldry and writer Eric Roth walked some very fine lines and achieved a thing of genuine beauty.

Hanna
In this fantastic thriller from Joe Wright, Saoirse Ronan plays a teenage girl who was raised by her father (Eric Bana) to become a ruthless killer. She’s completely isolated from society and her focus is razor-sharp and quick-witted. You would never want to cross her path. When Hanna is let loose, the film makes some charming observations on how a teenage girl processes modern-day culture. Part action thriller, part fish-out-of-water commentary, part father-daughter drama, and all parts awesome and thrilling, Hanna is an achievement in style and substance. A great ride.

Margin Call
Wall Street jargon tends to confuse me. All of this recession-speak makes my head spin. Margin Call, a corporate thriller about key strategists at an investment bank who make life-changing discoveries and decisions in a 24-hour period, made me feel like a smart person. I knew exactly what was happening; I understood the crisis, the dilemma, the stakes. JC Chandler’s script – which was nominated for an Oscar – was sparse, tight and utterly absorbing. And wow, what a cast! So good to see Kevin Spacey in a juicy role again. And Irons, Tucci, Bettany, Moore – incredible work from all of them.

Mission: Impossible – Ghost Protocol
Brian DePalma’s 1996 Mission: Impossible is one of my favorite movies. It’s one of the rare summer blockbusters that holds up well after repeated viewings. After the two lackluster sequels (III was pretty good, II was not), I had all but considered the franchise on its last legs. Boy, was I wrong! Ghost Protocol is the most fun movie-going experience I’ve had all year. Brad Bird’s fanciful direction, the delightfully clever set pieces, the familiar and rousing score, and an extraordinarily charismatic Tom Cruise at the top of his game — it all works. The surprise cameos and incredibly game supporting cast more than make up for the film’s sole weakness: an unmemorable villain. Still, it’s a huge adrenaline rush, just what the franchise — and the viewer — needed.

A Separation
An exquisite, crushing little film. A Separation is an intimate drama about a working stiff who is in over his head with his father’s illness, a demanding job, a conflicted daughter, a house helper he cannot trust, and a wife who wants to move away. He is forced to make choices that will affect his family’s entire future. Payman Maadi delivers a masterful performance in Asghar Farhadi’s deeply resonant film from Iran. My heart breaks for this family.

Source Code
You know me, I’m a sucker for time travel. But Source Code isn’t exactly time travel; the filmmakers like to call it “time displacement.” Hey, call it whatever you like; this stuff is right up my alley. The film involves our hero (the always great Jake Gyllenhaal) who helps the government catch a terrorist by “re-living” moments just before the previous terror attack. He’s not actually going back to stop the attack, but to gather information in order to prevent the killer from doing it again. Source Code is very tricky in its way of spelling out the narrative but it absolutely works. It’s a challenging film but hugely entertaining and very rewarding. Shout out must go to the lovely Vera Farmiga as a communications analyst who helps our hero save the world. After Moon and this one, director Duncan Jones has become a filmmaker you can get excited about.

Take Shelter
Michael Shannon, character actor extraordinaire, gives one of his very best performances as a working family man who lives a peaceful, respectful life. Until, that is, he is inflicted with the harrowing symptoms of a paranoid schizophrenic. First he is ashamed and hides it from his family and coworkers. But then he becomes frightened. Jessica Chastain, who had a marvelous year, is aces as his conflicted wife. Some folks were put off by the tricky ending but it made absolute sense to me. (The way I see it, it is not to be taken literally.) It’s a daring film, beautifully executed by relative newcomer Jeff Nichols.

The Trip
Michael Winterbottom’s improvisational The Trip is not just the funniest film of the year. It also happens to be a deeply moving travelogue in which two long-time friends reflect on life and its joys and miseries. Steve Coogan and Rob Brydon play variations of themselves as they eat and talk in one glorious location after another. Winterbottom originally filmed The Trip as a 6-part miniseries but whittled it down to a hilarious and heartfelt two-hour feature. It works like gangbusters. “Gentlemen, to bed! For we rise at daybreak… Or 8:30… ish.”

We Need To Talk About Kevin
The best film I’ve seen all year. It’s not exactly a title I’m eager to sit through time and time again, but We Need to Talk About Kevin is a film that truly shook me to my core. Harrowing is not a strong enough word. Tilda Swinton gave the best performance of anyone I’ve seen in 2011. She plays a mother who never really wanted a child. Eva was a free spirit and the new baby ended that lifestyle sooner than she had hoped. She resented the kid but after a while, she turned it around. She fell in love with her son and wanted to make the best of it. But unfortunately it was too late. The kid saw right through her. Kevin was a boy who never had his mother’s genuine love. Needless to say, that f’ed him up good. We Need to Talk About Kevin is less about what Kevin actually does in the film and more about Eva and her guilt. Either way, it’s a thrilling piece of filmmaking.

Honorary Mention

The Adjustment Bureau; The Adventures of Tintin; Being Elmo; Cedar Rapids; Drive; 50/50; The Girl with the Dragon Tattoo; Harry Potter and the Deathly Hallows Part 2; The Help; Higher Ground; Martha Marcy May Marlene; Moneyball; The Myth of the American Sleepover; Paul; Rampart; Rise of the Planet of the Apes; Shame; Warrior; Weekend; Win Win; Winnie the Pooh; Young Adult

Steven Spielberg, one of the most acclaimed directors of our time, still doesn’t get enough credit. He directed the hell out of a great motion capture film this year and no one saw it. #Tintin

Speaking of motion capture, somebody give Andy Serkis an Oscar! His “performance” in Rise of the Planet of the Apes in nothing short of chilling.

Armie Hammer’s makeup in J. Edgar is pretty god-awful.

I love being proven wrong. I thought I’d hate it, but I actually loved Warrior.

I hate being right. I didn’t think I’d like Melancholia and, well, I didn’t like it. At all.

After seeing We Need to Talk About Kevin, I had the strongest desire to find someone – anyone – and talk about We Need to Talk About Kevin.

I don’t care what Tom Cruise does in his personal life, but I hope he never, ever stops making movies. #GhostProtocol

I don’t care what Mel Gibson does in his personal life, but maybe he oughtta disappear for a while.

Every time I see Glenn Close in something, I keep thinking she’s a man. Thanks, Albert Nobbs.

Matt Damon just continues to bring it, doesn’t he? Even though We Bought a Zoo, Contagion and The Adjustment Bureau were not exactly masterpieces, he carries these films remarkably well.

Vin Diesel and Paul Walker can continue making as many Fast and Furious movies as they want to — as long as they are as fun as Fast Five.

They can keep making as many Paranormal Activity films as they want to — as long as they are as scary as #3.

It’s time to stop the Final Destination films.

Michael Fassbender is pretty fucking amazing in everything he does. How is that even possible?

Rampart and Margin Call had two things in common. One — they had killer ensembles. Great actors just tearing it up in bit parts. And two — they are both little seen, underrated and goddamn fantastic.

You don’t need a lot of money to make a film come alive before your eyes. Evidence: The Myth of the American Sleepover, Martha Marcy May Marlene, Terri, Weekend, Shame, Meek’s Cutoff

I still don’t like Kate Hudson.

Contagion made me afraid to touch anything. For about 10 minutes.

Charlize Theron, arguably the most beautiful actress working today, is so damn amazing at playing ugly. #YoungAdult

Vera Farmiga is more than just a phenomenal actress. She is transcendent in front of the camera and behind in Higher Ground.

Justin Timberlake and Mila Kunis had undeniable, sizzling chemistry in Friends with Benefits. Who knew?

Remember Super 8? Me neither.

I keep waiting for Harrison Ford to make a huge comeback. Cowboys & Aliens didn’t even come close. Someone get him a new agent, please.

After over 10 years of making mostly very crappy movies, Shawn Levy finally struck pay dirt with Real Steel. It’s no classic, but it’s a damned good time.

You is kind. You is smart. You is important.

Sad that Scream 4 played it safe.

Even though The Future wasn’t quite the success I had hoped, I still cannot wait to see what Miranda July does next.

Look, I didn’t know what I was watching half the time, but I’m damned glad I experienced The Tree of Life.

Biggest comeback story of 2011? After being off the grid for a while, John Goodman did season-long arcs in Treme and Damages, and popped up in a Best Picture nominee (Extremely Loud and Incredibly Close) and winner (The Artist). Plus, he voiced a character in a kids movie (Happy Feet 2) and a video game (The Rage). Plus (!) he was the best thing about Red State. And dammit, he showing no signs of slowing down in 2012. Dan Connor rules my world, man.

Life in a Day. Being Elmo. Project Nim. Bill Cunningham New York. It was a good year for docs.

Remember when Rachel McAdams had so much promise? Damn.

The final scene in Take Shelter is beautifully ambiguous.

The final scene in The Skin I Live In is unexpectedly heartbreaking.

The final scene in Transformers 3: Dark of the Moon is sweet, sweet mercy.

Dueling Michael Caine impersonations are a hell of a lot funnier than one might think. “She’s only 16 years old!”

Pixar’s perfect run ends with a mildly enjoyable though completely unmemorable sequel to Cars. Hate to say it, Pixar, but Rango, Winnie the Pooh and The Adventures of Tintin were all superior in 2011.

Those muggles had a helluva run, didn’t they?

Rather than highlight simply the “best” performances I’ve seen this year, I choose to celebrate the underrated ones because these are the folks who made me laugh or smile or cry or cringe all throughout the year, and yet, neither one of them were singled out for their exceptional work. No acting nominations this year among any of them. You’ll note that I didn’t mention the obvious omissions, like Michael Fassbender in Shame, Ryan Gosling in Drive or, most glaringly, Tilda Swinton of We Need to Talk About Kevin. They were all snubbed and we’ve all rightfully bitched and moaned about them.

But what about these guys?

Bobby Cannavale as Terry Delfino in Win Win
This guy never fails to charm the hell out of me. I’ve been a fan of his for many years (he killed it every week on Will & Grace – remember that?), and I’m always happy when he pops up in a movie or TV show. Win Win was no exception. This beautifully thoughtful dramedy is another winner for Tom McCarthy and actor Paul Giamatti. Cannavale scores the biggest laughs as Giamatti’s overeager best friend Terry who enjoys his volunteer gig as assistant coach a little too much. Not that McCarthy’s droll film needed it, but Cannavale gave Win Win a real burst of energy and charisma.

Kristen Wiig as Ruth Buggs in Paul and Annie Walker in Bridesmaids
The lovely Wiig had a huge year. Her departure from SNL was bittersweet — she was a bright spot on that show but she is so talented that other projects demanded more of her skills. In fact, we demanded it as audience members who crave for talented actresses who can pull off such range as Wiig has done so far in her young blossoming career. Bridesmaids was a high-profile hit for her. It’s a bawdy, funny film and she blended in well with this ridiculously gifted ensemble. But for me, it was her performance in Paul that affected me the most. I think the film is actually funnier and sweeter than Bridesmaids, but Wiig alone was so intoxicating as Ruth Buggs, a religious zealot who gradually changes her faith as she becomes a victim of a kidnapping (of sorts) by a group of nerds that hang out with an alien. Paul is outrageous, and Wiig is the film’s heart and soul.

Saoirse Ronan as Hanna in Hanna
Saoirse Ronan’s performance as the kick-ass Hanna is the most commanding work by a young actor I have seen all year. Before Jennifer Lawrence donned the bow and arrow as Katniss Everdeen, Ronan represented this latest surge of “girl power.” The film’s story is deceptively simple – girl becomes trained killer, uses her skills when rogue agents go after her father – and Hanna is Joe Wright’s best film in his young career so far. Ronan has a lot to do with it. Hanna is fiercely independent, adapts well in new environments and is unafraid to show her true feelings. She is still a teenage girl, after all. Remember her name and learn to pronounce it correctly, because Saoirse Ronan is going to be around for a long, long time.

Philip Seymour Hoffman as Art Howe in Moneyball and as Paul Zara in The Ides of March
There is a scene towards the end of The Ides of March when Philip Seymour Hoffman is outside smoking his cigarette. A car pulls up and George Clooney invites him in. The camera stays outside of the car; we don’t see or hear anything that happens inside. After about 30 seconds of agonizing silence, Hoffman climbs out of the car and the car pulls away. Hoffman just stands there and says nothing. But does he need to? We understand precisely what just went down and his face is telling us a million things. You know exactly what he’s feeling. That’s Philip Seymour Hoffman to a tee. His two roles this year had one thing in common – he was a pushover. He had firm beliefs, he had strong ideas what was right and what needed to be done. But Clooney’s Governor Mike Morris and Pitt’s Billy Beane went right over his head. See, no one plays the pushover type better than this guy.

Bryan Cranston as Shannon in Drive
When I saw Drive earlier this year, it was before I had seen a single episode of Breaking Bad. So while Walter White was a name I was not yet familiar with, I knew of Bryan Cranston from other various projects. His uncanny performance in Drive really jumped out for me. It was the performance of a true character actor. He had the limp, the tough guy demeanor, the in-over-his-head attitude and that fatherly glint in his eye. He was a nicely rounded character, that Shannon. And when his character met a tragic, untimely fate, my heart sank. I felt the loss of his character. I felt tremendous sadness. And that, my friends, is the mark of a great performance.

Thomas Horn as Oskar Schell in Extremely Loud and Incredibly Close
He is supposed to be unlikable. That’s what I always say when someone tells me that they didn’t like the film because the kid was so irritating. Yes, that’s how he was written and Thomas Horn, who amazingly had no acting credits before this one, just nails the portrayal of a kid with highly unusual sociological behaviors. Oskar Schell is clearly inflicted with some form of autism (which the film offhandedly mentions but never really fully explains), and Oskar is a very difficult boy with a mind that is nearly impossible to penetrate. When tragedy strikes, he behaves in such a way that is highly unusual but yet oddly empathetic. Extremely Loud and Incredibly Close is one of my favorite films of the year, and Horn’s indelible performance is one of the main reasons why.

Leonardo DiCaprio as Hoover in J. Edgar
Clint Eastwood’s J. Edgar is a mess of a film. A lot of it doesn’t work, but what does work is Leonardo DiCaprio’s heartfelt performance as the enigmatic director of the FBI. DiCaprio has always been such a great actor; since What’s Eating Gilbert Grape, he has consistently proved to us that he is undeniably one of our best performers today. He so completely disappears inside that garish makeup to play this complex character; not for a minute did it feel like I was watching DiCaprio act. I wonder if J. Edgar were a better film, DiCaprio would have gotten his due for this terrific performance.

John C. Reilly as Dean Zeigler in Cedar Rapids, Franklin in We Need to Talk About Kevin, Mr. Fitzgerald in Terri and Michael in Carnage
The always great Reilly scored in four fantastic roles that couldn’t be any more wildly different from each other. You want to see range? Check out Reilly’s work in 2011. In the funny Cedar Rapids, he plays a childish insurance salesman who becomes unlikely friends with the sincere Ed Helms. At first, Reilly seemed to be channeling his outlandish work from Stepbrothers or Walk Hard, but Dean turns into a guy with a soft, chewy interior. It’s an endearing performance, a major highlight of a sweet film. In We Need to Talk About Kevin, his subtle, extremely low-key portrayal as husband of Tilda Swinton’s conflicted Eva is something of revelation for Reilly. He’s reserved, almost walking on eggshells as he attempts to restore balance and stability in a volatile household. As principal Fitzgerald in the engaging indie, Terri, Reilly is at his immensely likable best. Fitzgerald is a human being, as flawed as the rest of us, and you are convinced that he really wants to be your friend. Sounds like the John C. Reilly we’ve come to know and love after all these years. And finally, Reilly is so great as the passive-aggressive Michael in Roman Polanski’s so-so dramedy Carnage. He stood out among this cast of great actors playing a man who is just tired of being polite all of the time. Does he love his wife? Sure. But man, does he have a bone to pick with her or what? A painfully funny performance that comes from a place of real truth.

Ewan McGregor as Oliver Fields in Beginners
I’ve been watching Ewan McGregor for many years now and I’ve always liked the guy. I thought he was a solid actor who usually selects interesting and offbeat projects. I began to appreciate him more after the remarkable one-two punch of I Love You Philip Morris and Ghost Writer, but it wasn’t until I saw Beginners when I realized, “Wow. This guy is pretty damn special.” And thus, a man crush was born. In Beginners, he plays Oliver Fields, a guy whose distant relationship with his father is blamed for his failed romances. When he learns that dad is not only gay but also dying, he is forced to take a closer look at himself. I adored this film and especially the fantastic well-rewarded performance from Christopher Plummer. But McGregor here is just as good, if not better. The range and complexities of Oliver’s emotions are on full display and it’s a heartbreaking and inspiring performance. He has shown so much depth as an actor here that gives me a whole new level of respect for him. He has officially transformed himself from being that interesting guy in interesting films to one of my favorite actors working today.

Take Me Home (2012)

Written and Directed by Sam Jaeger

Ever just glance at Netflix’s home screen, find a title you’ve never heard of and become intrigued by its story and pedigree? That’s exactly what happened with Take Me Home, a ridiculously low-budget indie that was written and directed by Parenthood‘s Sam Jaeger. I just love Jaeger on this show; he’s underused but shines brightly in that show’s cast of greats. Who knew he was an aspiring filmmaker? Take Me Home is his first feature and an assured one at that. Jaeger also stars in it, playing a jobless man who loses his home after being unable to pay the bills. He heads into his car, which doubles as a fake taxicab, picks up a stranger (played by Jaeger’s real-life wife, Amber Jaeger, a real discovery), and they head on a life-changing journey across the country. Yes, it’s completely improbable, but its heart is in the right place. Take Me Home is funny and sweet, well worth a look for fans of Jaeger’s undeniable charm. He may just be the one to watch for when Parenthood closes shop for good. Available on Netflix Instant. B+

The Way (2011)

Written for the Screen and Directed by Emilio Estevez

Another film about a long soul-searching journey across miles of beautiful country. Martin Sheen, always a pleasure, is reliably great as a man mourning for his only child by completing his son’s pilgrimage along the El Camino de Santiago. Emilio Estevez, a writer/director who never gets enough credit as an actor or filmmaker, surehandedly leads us on an engaging journey that deeply resonates. “There’s a difference between the life we live and the life we chose.” Beautifully done. B+

Pariah (2012)

Written and Directed by Dee Rees

After huge buzz from Ebert and other notable critics, I was expecting something pretty great here. What I discovered was a very small film with a big heart and a lot of mediocrity. This cast of unknowns mostly failed to move me but I don’t entirely blame this group of actors (who are clearly not professional). I blame the script, which relies on too many familiar tropes of screenwriting (stern father overcomes ignorance, girl confides her trust in best friend only to have it betrayed, etc). I appreciate movies of this kind, especially with a heroine as unique and beautiful as Alike, but not in a second-rate production like this. C+

Flight (2012)

Written by John Gatins | Directed by Robert Zemeckis

Welcome back, Mr. Zemeckis. This man is one of my favorite directors. I embraced his return to live-action filmmaking after a decades-long absence as if it were a true cause for celebration. The film didn’t let me down. It’s a searing portrait of a man’s descent into isolation. Whip is an alcoholic and drug addict — though a “functioning” one — and after a terrifying ordeal in the skies, he begins to unravel. The lies upon lies began to weigh in on his psyche. It’s a beautiful, layered performance from Denzel Washington, one of his best roles. He is supported by the terrific John Goodman as his enabling buddy, Bruce Greenwood as his exasperated colleague and Don Cheadle as his sneaky, though impatient, lawyer. Zemeckis shows his amazing astuteness as a filmmaker yet again. And, yes, that’s cause for celebration. A-

Snow White and the Huntsman (2012)

Written by Evan Daugherty, John Lee Hancock, and Hossein Amini | Directed by Rupert Sanders

I had no desire to see this one but I threw it in the queue anyway. I’m a big fan of Charlize Theron and heard good things about her here. Not even her intoxicating presence was enough to awaken me from the slumber I was in during this film. It was just rote and by-the-numbers and I really couldn’t muster any excitement for the heroine (even Kristen Stewart, who I actually admire, was phoning it in.) My interest peaked when I saw those great actors portraying the dwarfs, but that was short-lived since they were given very little to do. C-