Best Female Performance: Juliet Binoche in Certified Copy

While it's true I have not seen all the Oscar Nominations yet, I myself did see a number of great performances which I deem noteworthy, dare I say award worthy, even if the Academy doesn't think so.

Looking back at some of my favorite performances by women this past year, my cup seems to have runeth over. Modern actresses these days still strive for the great role, they are there, but if your name doesn't end with Streep then they may be hard to come by.

I must admit I haven't seen many of the Best Actress nominees, Meryl Streep included.

A few performances however did shine for me. Kristen Wig for example illuminated slapstick comedy in "Bridesmaids", for me she was that movie no matter how many Melissa McCarthy supporters are out there. McCarthy was all show and not much substance, Wig was the human face of it all, it was her story, and she's not afraid to show her character's loneliness and sadness, but she's able to play both sides of the coin, it's a slippery slope in comedy, but Wig pulls it off beautifully; the blood of Lucille Ball and Carol Burnett run in her veins.

But Wig would still be my runner up, Rooney Mara's performance in "Girl with the Dragon Tatoo" would come somewhere close, as would Michelle Williams for "Meek's Cutoff".

But after watching it again just recently I there is no doubt in my mind my favorite performance by an actress this year just happens to come from my favorite actress of the moment Juliet Binoche in "Certified Copy".

I've become enchanted with Binoche in recent years. She's had success in North America winning an Oscar a few years back for "The English Patient", also being nominated for "Chocolat". But it was probably in Keislowski's "Blue" I first really noticed just what a great actress she was. As a woman wrought with grief, she is restrained but real, it's her face that catches my eye, there always seems to be sadness but brightness behind it too.

With "Certified Copy", Binoche may have her best performance as Elle, she is a woman on a mysterious rendezvous with a man who may or may not be her husband (William Schimell). Throughout the film, Binoche seems to be going through different stages of a relationship, sometimes she must be flirtatious, sometimes sweet, then hurt, and longing. It's a romantic mystery and most of the screen time consists of these two people.

Binoche's Elle is never elusive to us, she is the one we identify with the most, and the way she plays her is perfectly lived in. The best compliment I could give this performance is Elle feels one hundred percent real to me, she is a person I wouldn't mind knowing and could see myself meeting at some point in my life. I've always noticed that Binoche seems to have this knack for creating characters which feel very lived in, she becomes a part of the character and can immediately sympathize with their situation. Bincohe can play those real moments, in "Certified Copy" she is heartbreaking when she comes out of the ladies room having just applied make-up and earings to make herself look beautiful for the man she loves. She is dismissed by him immediately and her face goes from disappointment to hurt, but she never overplays it.

Most actors who are honored with awards seem to be those who are able to fade away into a character, the chameleons such as Meryl Streep, who I admire very much do that well. But I love the actors who bring a bit of themselves to the role. Their performance always feels more intimate, more personal, more real. When I see Binoche playing her part, she's bringing me in to her world, and I will follow her wherever she goes. This is probably the performance of the year in my book.

Favorite Moments in Movies of 2011

Certified Copy The long two-shot take of James and Elle in the car near the beginning of the movie. As they drive by buildings which are reflected in the windshield, their conversation transcends convention as they are shown to be on a different plain.

Midnight in Paris Hemingway's advice to Gil in the back of the taxi, an inspired satire of Hemingway prose plus Owen Wilson's delivery of the line "Pretty sexy" is pitch perfect.

Our Idiot Brother Paul Rudd gives a lesson in sublime with his delivery of the line "Aww Fuck" when he just realizes he sold dope to a cop.

13 Assassins A wave of blood pours over a village fortress during the climactic battle scene, perhaps the most visceral image of the year.

The Girl with the Dragon Tattoo The bold new ending, which gives Lisbeth a muted moment of empathy, and a whole new dimension.

War Horse Spielberg's great use of the close-up as he focuses on the face of a soldier a second before his imminent death.

Poetry A woman suffering from the first stages of Alzheimer's suddenly realizes she just finished talking to the woman who's daughter was raped by her grandson.

"Tree of Life" The wordless discovery of a boys first love in a classroom a his early flirtation as he doesn't give her his paper to grade. What I like most about this film are the little moments like these that are scattered throughout.

Midnight in Paris Gil: "I'm having an insight, it's a minor one...but I think it explains the anxiety of my dream." and then later Gil again: "These people don't have any antibiotics". These are probably two of my favorite quotes of the year, they made me laugh more than anything else.

Mission Impossible: Ghost Protocol The best car chase of the year done in a sand storm, popcorn entertainment at its best.

Rango The best use of 3-D. Oh wait this wasn't in 3-D but once Rango gets to the vast vistas of the old west, it just feels that your there with him.

Meek's Cutoff The unexpected finale where we are left with our characters in that moment between hope and uncertainty.

Certified Copy Juliet Binoche's final words in the quietest most intimate scene of the year "J...J...James."

Bridesmaids Kristen Wig who was the true heart of the film juggles slapstick and pathos beautifully during her breakdown at the wedding shower.

"Meek's Cutoff" A wagon loses control down a hill, which could mean almost certain doom for its party.

Hugo The recreation of the films of George Melies using today's state of the art technology, films can still be magical.

Moneyball Brad Pitt driving aimlessly while his team is playing, then hearing his daughter singing a song for him at the end of it all.

The Ides of March The final close-up of Ryan Gosling, a wonderful ending.

The DescendantsShailene Woodley's reaction in the pool after she is told her comatose mother will die, then her remark right after that.

Tree of Life The creation scene is the most epic and awe inspiring sequence I saw in the theatre all year.

Film Socialisme The moments of real wind blowing against the boom mic. Baffling, but effective.

Mission Impossible: Ghost Protocol Say what you will about Tom Cruise, but I'm pretty sure that's him climbing on the side of the world's tallest building.

The Ides of March The moment Phillip Seymour Hoffman is given his walking papers, a restrained and effective moment.

13 Assassins Biggest WTF moment, that guy who got the sword in the throat isn't dead!

13 Assassins The image of a young woman who had both her arms, legs, and tongue cut out at the hands of the brutal emperor.

Drive Albert Brooks' matter of fact way of slicing a guy's arm open, cold blooded.

Drive Without giving anything away, the ending when we see Ryan Gosling blink.

Midnight in Paris The most movie loving romantic ending of any movie this year. Woody Allen delivers exactly what the film called for, walking in Paris in the rain.

Special Jury Prize: Film Socialisme

I tried to rewatch "Film Socialisme" again before I wrote this, I really tried, but I figured, life is probably too short. Yet there might come a time where I would like to revisit the film, probably the most frustrating incoherent film I've ever seen.

What does it mean? I don't know, perhaps nothing, maybe it is the ramblings of a mad genius, but maybe, just maybe (And this is my hopeful side talking) it's the next revolution of film making.

When I did watch "Film Socialisme", I decided right away that it was not successful at whatever it was doing, but I was still stunned by it, I couldn't quite shake it off. I saw some things in this film that I hadn't seen before and I think in a different context perhaps they would work.

You might call this a total film, with even the subtitles not being used conventionally, but rather as another image. The sound and picture is sometimes distorted, I'm not quite sure why, but then perhaps it is meant to show us why not.

The film was directed by Jean-Luc Godard, who has proven himself a master filmmaker, he made some of the most radical and inventive films of the 1960s, then he decided to confuse his audience and alienate them more and more. I actually haven't seen any of Godard's post 1960s films other than "Film Socialisme", but he's proven to be ever the provocateur.

I suppose the best description I could post about my feelings towards "Film Socialisme" is rather a love hate relationship. At its worst, it's a trial to sit through, at its best, it's wild and unpredictable. It shows the potential of film, that it's a raw and true artform. To me Godard has been a filmmaker who constantly asks himself what can film do that no other medium can? He experimented perhaps more than any other filmmaker. Take "Vivre Sa Vie" which has been called a film about close-ups, how many close-ups can you give your subject, and what can they all be about. It's also about how many ways you can film a conversation. "Film Socialisme" seems to be a continuation of Godard's experimentation, he's pushing boundaries here. His intention was never to make a linear film with an easy to follow storyline.

A lot of his compositions are beautiful, perhaps if this were silent, you could be conjure up some kind of story, yet Godard fills his films with words and phrases, he's alwasy done that, it's almost like an essay told in a limerick. Whatever it is, I find it fascinating.

Watching "Film Socialisme" to some might be futile, especially to those who couldn't even endure "Tree of Life", which is a walk in the park by comparison. But I do encourage people to at least see even a few frames of "Film Socialisme" and maybe make up their own minds whether it's worth your while or not. I enjoy films which force you to take a stand, "Film Socialisme" makes no apologies for its intricacies, what it does it show you that film is full of possibilities, in the end, I guess that's why I can't quite give it up.

Worst Film of the 2011: Transformers: Dark of the Moon

To kick off the Best of 2011, let's start off with the bottom of the barrel. Originally, I wasn't going to focus on any worst movie of 2011, but it made me think that yes, even a bad movie can have its merits.

I actually don't believe I've seen too many bad movies this year, I found myself enjoying them on some level. I found the often maligned "Green Lantern" to be a movie that maybe didn't work fully, but I could see something full of promise in it. By comparison, I found "Thor" to be a much less inventive movie that had a dark look to it, and not enough at stake.

Even arthouse wise, Jean-Luc Godard's "Film Socialisme" had many detractors, and I may never watch it again, however I couldn't deny some passages of pure mad genius and the need to take film into another dimension, (stay tuned for more about this later on.)

As far as the most critically lambasted movies are concerned ("Twilight" and Adam Sandler), instinct has taught me to simply stay away.

But there was one movie that did manage to ultimately dull my senses this year, and make me look at my watch more times than any other. That is "Transformers: Dark of the Moon". What an awesome piece of trash this movie is, and in some corners that could be seen as a compliment. Movies can be trashy and still be good, as Pauline Kael has taught us, afterall it's sometimes those movies claiming to be important that turn out to be terrible.

But for me "Transformers: Dark of the Moon" is the worst kind of trash, it's the kind that tries showing its greatness through state of the art special effects, and big star cameos, but only leaves a wreckage of carnage in its wake.

The film is incomprehensible, annoying, and senseless. How depressing it is to see actors from the Coen Brothers stock company (Francis McDormand, John Turturro, and John Malkovich) forced to act grotesquely and play second fiddle to CGI (Although McDormand comes off the best when she must share the screen with that ham Optimus Prime)

The real crime is these robots themselves, the ones this whole movie revolves around, how uninteresting they are, and lifeless. Think of the great robots that have graced the screen of Science Fiction (Robbie the Robot, Gort, The Terminator, C3P0 and R2D2). Some of these robots never spoke a word of English, yet they remain far more interesting. The transformers are only meant to look cool, and they do, especially when they get to transform, but they are used only as mechanical plot devices literally.

In a film where the world seems to be in an apocalyptic war between robots, it all seems pretty tepid and unimportant, by the time the epic battle begins, we know where it's going and how it will resolve itself, it's going through the motions.

I suppose the reason I actually did see "Transformers: Dark of the Moon" was the director Michael Bay. I can't deny Michael Bay has a style of his own, good or bad, he's got a signature. It had been some time since I saw a Michael Bay movie, and I guess I thought it was time to revisit him and perhaps reassess his work. However my opinion of him hasn't much changed, but I will say he fits nicely in the vat of bad taste he's made for himself, and if he's happy with it, then that's fine.

I actually do hope they don't stop making films like "Transformers: Dark of the Moon", history will tell weather or not there is validity in them, my gut likes to think not, but I've been wrong before.

FEBRUARY CELEBRATING THE BEST OF 2011 plus THE OSCARS

It's that time again. As per usual, February is the time to celebrate the best in film according to the Academy of Motion Pictures Arts and Sciences, but to be fair, they've kinda missed the mark on a number of occasions. At the same time, this is also when we here over at Jeremy and the Movies celebrates what Jeremy (That's me) thinks the best in film are.

On most occasions, I'd say I differ with the Academy, but that mostly has to do with their sheer lack of imagination and narrow minded views of what the best in film is. I'm usually shocked and appalled when I hear the nominees, however I am delighted to see a few surprises. This year in particular I was glad to see the inclusion of some films (Yay "Midnight in Paris") but baffled by others (You couldn't drag me to see "Extremely Loud and Incredibly Close").

But really it's all in good fun, we all have our own views of what we think the best movies are, and this is just a chance for me to share mine with you. I also like to think I highlight some films that don't usually get the kind of press mainstream movies do. And heck if my writing about them gets you intrigued to watch them, then that's all the better.

I usually think some of the best films I've ever seen were the ones I took a chance on. Just in the past few years, I could count foreign films like "Summer Hours" and indie movies like "Shotgun Stories" to be the best recent movies I've ever seen. This year is no different. There have been some unique and surprising Hollywood movies that I was immensely entertained by, but also some smaller films that were brought to my attention by other critics who I admire and trust.

Before Oscar night, I will reveal my top ten list, one I am still trying to compile. I might also focus on a favorite performance, or favorite moments from the past year. I also like to give a special Jury Prize award to a unique film that deserves a special mention.

So I hope you join me this month for some fun as we give a fond final farewell to 2011. And if I don't talk about your particular favorite film/performance/moment, don't take it personally, but I hope you let me know what it is.

Superman

"Superman" was the first super hero and the first super hero movie, and in my opinion it's still the best of its kind. "Superman" is a movie designed for kids, he's less dark than Batman, less ironic than Ironman, and less angsty than Spiderman. Superman is the kind of hero who knows what the right thing to do is and he does it, he's all black and white, there is no grey area.

I think it might be a mistake to squeeze much hidden substance behind Superman, he was a character designed to be the perfect speciman, that doesn't mean you can't have fun with it. The 1978 film which cast Christopher Reeve as the titular character hits just the right tone, it takes Superman's existence seriously, it resists temptation of treating him like a joke, thus creating the modern super hero movie.

"Superman" as a film is constructed as what is commonly described as "The Origin Story", where we see him escaping his dying planet of Krypton in a spaceship, growing up as a simple farm boy in Smallville U.S.A., and then discovering his true nature at his Arctic Fortress of Solitude. He then creates a secret identity for himself, that of Clark Kent mild mannered reporter and takes up residence in Metropolis working at the Daily Planet Newspaper.

The film is full of wonderful sequences involving Superman doing very super things, from saving a cat stuck in a tree to keeping Air Force One from crash landing. The most famous scene in the film is probably the one which properly introduces Superman in full garb in the film. This is where local damsel in distress Lois Lane (Margot Kidder) is being hung off the top of a sky scraper dangling from a helicopter. Of course Superman wooshes in to save the day, but part of the excitement of the scene is the anticipation of seeing him in action, plus the sudden astonishment of seeing a man who could fly. This whole sequence is craftily handled with some cliffhanging suspense but also some modern humor thrown in. When Lois falls, Superman grabs her in which he quips "easy miss, I've got you." To which she replies "You've got me? Who's got you? It's got that feeling you're reading a block right from a comic book.

Part of the excitement of watching "Superman" is that feeling of seeing your favorite Super hero flying right off the page and onto the screen. The opening credit sequence plays with that a bit as curtains open to reveal a comic book, suddenly the scene gets bigger and the giant red "S" appears on the screen right as the memorable John Williams theme music kicks in. It has a childlike mentality, imagine being a kid and seeing these images for the first time in the movie theatre.

There is much to appreciate with "Superman" they even have a romantic interlude between him and Lois as he takes her on a night fly in the air. How often to you see such a romantic scene in a super hero movie?

The film was directed by Richard Donner who fought with the producers into making a sincere "Superman" picture. Originally, the film was meant to be campy making fun of the myth, but Donner obviously wasn't as cynical, and it was his vision which you see on screen. His master touch was probably casting Reeve as Superman; he plays the character without a sense of irony. When Superman says he's out to fight for truth, justice, and the American way, you don't blink an eye or snicker, it's done with a straight face. As Clark Kent he's as clueless and befuddled as he has to be in order for people not to suspect he's the man of steel, Reeve actually said his inspiration for Clark came from Cary Grant's performance in the comedy "Bringing up Baby", which you can no doubt see.

"Superman" is still a great entertainment even though it seems super heroes have grown more complex and dark. The latest Christopher Nolan Batman films are great in their own way, yet I see them as being more adult. "Superman" is more family oriented, there isn't much violence, he's never seen throwing a punch, he doesn't have to, he mostly just flies around saving people.

I get the same feeling when I watch "Superman" as with an Indiana Jones film or a James Bond movie featuring Sean Connery. It's that feeling of being a kid again and these larger than life heroes feel more alive on the screen than ever. It's almost as if those characters exist for real in your own childlike universe. I hope I never get too old for "Superman" and I hope the world doesn't either.

My Desert Island Movies

I've stumbled upon a neat little idea for movie fanatics such as I from Matt Zoller Seitz a renowned film essayist. He took the time to make up his desert island list of movies he would take with him. He did have some ground rules, it would include ten movies you couldn't live without followed by a season from a television show and a short film, making a total of 12. In my moments of reflection I've taken upon myself to construct such a list for myself since making lists are so much fun for movie fans such as myself. So in lieu of a Top Ten films of 2011 (Which I will post once I'm caught up with more films from last year) I give you 12 films I certainly can't live without.

Television Season If it had to be one season from one television show I know I certainly couldn't live without "The Simpsons" for very long. I simply can't remember what television was like without "The Simpsons" so how could I imagine what a desert island would be like without them. Though there are many seasons to choose from, my preference would probably be season six. This was the season that ended with the cliffhanger of "Who Shot Mr. Burns", and it also had perhaps my favorite sentimental episode "And Maggie Makes Three" which features a sweet story of how Maggie said her first words.

Short Film Along with "The Simpsons" another animated institution I couldn't dare live without would be Bugs Bunny. He's simply a comic genius this side of Buster Keaton and Groucho Marx. Of the many Bugs Bunny short films I could choose from it would be "Rabbit Seasoning" featuring Bugs and his two greatest foils Daffy Duck and Elmer Fudd.

Now for the feature films, they are...

Tokyo Story In my mind there has never been a more perfect film than this one. If there is one film I would say shows what life is all about it would be this film. I've talked much about this film and its director Yasujiro Ozu at length throughout the years this blog has existed.

It's a Wonderful Life A tougher film than its reputation, it's dark, grim, but also uplifting and hopeful, a film for me that has taught me a series of life lessons I'm still learning today.

The Three Colours Trilogy I'm cheating a little bit by adding this three-piece series as a whole movie, I can't live without them as individuals only as a whole. They are metaphysical masterpieces of movie making, philosophical in their motives and I'm fascinated by them. I can ponder these films forever on my desert island.

Horse Feathers Still my favorite comedy of all time. How can I spend the rest of my life on a desert island without The Marx Brothers? I ask you how? I can't and I won't which is why it will go with me.

The General While I'm at it, how can I exist without Buster Keaton, the most innovative, and compelling silent comedian known to man. So many to choose from, but "The General" was the first one of his films I ever saw, the first silent film, I declare you can't take a shot away from this film, it's perfect.

City Lights I've taken Keaton, I cannot banish Chaplin I'm sorry. To hell with those who choose one over the other, they are both geniuses sir, and both will be with me until my dying day.

The Shop Around the Corner The greatest romantic comedy known to man, it's witty with two people who deserve to fall in love with eachother, it's by Ernst Lubitsch and he is for sure one director who I can't be without.

Top Hat I need music and romance to get through my lonely days on the island and Fred Astaire and Ginger Rogers can take me out of any funk into their world of wonderful melodies, dance, and art deco. I choose this one over "Swing Time" because it has Edward Everett Horton one of the greatest character actors playing Astaire's best friend.

Casablanca This is for my cynical days where there is no hope to remind me that perhaps my life doesn't amount to a hill of beans in this crazy world but that's only because there are bigger things. Humphrey Bogart also proves that cynics can also be poets.

Jules and Jim Because it's like a dream, a memory, a life I may have lived long ago. It's a film that captures love, youth, and cinema perhaps better than any other film, because it's alive and in those dark days on the island I may have to be reminded of what feeling alive and in love is.

There are many others, I regret not picking a film with Cary Grant or Barbara Stanwyck, a Hitchcock, or a Kurosawa. No Billy Wilder or The Coen Brothers, to them and a hundred others I wish I could bring you all, the truth is I can't live without any of you, and I hope I never have to choose.