The 7th Annual Davies Awards in Film

Hollywood zeroed in on real drama and history in 2012, and they hit their mark.

Hollywood zeroed in on real drama and history in 2012, and they hit their mark.

A Look Back at 2012:

There’s so much to say about the year in film that was 2012. In many ways it was like two distinct years. The first half was grim and borderline torturous with the only bright spots being two films that came out of the blue to depict with great grit and emotion man vs. his own nature (guised as man vs. nature) in The Grey and The Hunter. In the summer, we were met with art house films critics were too eager to gush over. Yes, Moonrise Kingdom was Wes Anderson’s most charming film in a while, but it was still a Wes Anderson film. And yes, Beasts of the Southern Wild had a cool title and interesting set-up, but it really didn’t make any sense.

Oddly, at the multiplex things were clearer as some of the heavy hitters were well above average. The Hunger Games offered a new series positively literary when compared to the god-awfulness of The Twilight series (finally put to rest this year). Many people didn’t like it, but I still got a kick out of Prometheus while The Dark Knight Rises was a fine conclusion to a fine trilogy. Even The Avengers (overrated by fanboys) was above average…though it was still a comic book movie. This trend continued into the fall with the best James Bond film of the modern era, Skyfall, lighting the box office on fire.

Quietly simmering beneath all of this pop-culture hubbub was a snarky good year for neo-noir with the twisty sci-fi yarn Looper at the multiplexes and art houses runneth over with films like the Russian melodrama Elena, Friedkin’s southern-fried piece of Americana trash Killer Joe and the Twin Peaksian French entry Nobody Else But You.

But it wasn’t until the fall that things got real and filmmakers tapped into history to deliver highly polished professional products of the most prestigious order.
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Nature, Redemption and Tasmanian Tigers in The Hunter

The Hunter is one of 2012’s best films.

One of the greatest pleasures of being an avid film lover is discovering those overlooked gems.  The Tasmanian-set Australian allegory The Hunter (directed by Daniel Nettheim) is one such film.

The titular character is a man with no back-story played by Willem Dafoe in what is ironically the peculiar actor’s richest role since portraying Jesus in Scorsese’s The Last Temptation of Christ.  His Martin David is a man tempted by necessity to track and capture the elusive Tasmanian Tiger (thought to be extinct) by a stereotypically evil corporation (Red Leaf – echoing the Weyland Corporation alluded to in The Grey and the driving force in Prometheus) looking to unlock the secrets of the beast’s DNA and its alleged paralyzing toxins.

The cresting and rolling landscape of Tasmania (which can only be described by this ignorant American as a cross between the Smoky Mountains and a tropical rainforest) are on display in a coldly haunting way.  The hills seem cut off and without an apex – as if Mother Nature came down with the wind and shaved off the peaks with a butter knife.  David becomes the lodger of an environmentalist widow (the elusively alluring Frances O’Connor) with two young children (the endearingly naturalistic Morgana Davies and Finn Woodlock) and is guided into the Tasmanian wilderness by Sam Neil. Continue reading