Anyway, my point in bringing up this movie is this: I spent much of this winter and early spring prognosticating about the Oscars--I read blogs, saw any film I could that was nominated for anything, made my own predictions, etc., etc; but when I came home from a really great Oscar party at a friend's house, after all of the hooplah and hype of the Oscars ended, I didn't sit in my living room thinking about the results of the Oscars--I was still thinking about Biutiful, a film that won zero awards, and I didn't even care.
The Oscars can certainly validate a film, and obviously I think exceptional films deserve recognition. But when it comes down to it for me, when I think about what films I really like, I don't think about it in terms of awards--I think about it in terms of why it stuck with me, why it was personal to me. So, in each of the write-ups for my Top-10 of 2010, I tried to write a little about why the film stuck with me, because ultimately, that is what's important.
10. The Ghost Writer
|Polanski: mastering the art of suspense, thrill, and subversion|
of the American justice system.
|Maybe Danny Boyle should have|
directed the Academy Awards, too.
The various sounds effects, split-screens, frantic editing, camera shots through tubes and in a Nalgene bottle, and a couple of trippy dream-sequences all made for a memorable film that has a harder edge than Slumdog Millionaire without succumbing to as much sappiness, yet does have a message worth telling.
|The art in The Illusionist is simply breathtaking.|