Revisiting Phoenix – The Best Film of the 2010s

Nina Hoss in Phoenix – The Performance and Film of the Decade
Denis Villenueve (directing Amy Adams in Arrival) – The Director of the Decade
Ryan Gosling in Drive – the Performer of the Decade

The 2010s: the decade of Obama and Trump, hope and hate, dashed dreams and heightened anxiety, increasing interconnectedness that lead to both positive grassroots movements and sharper divisions, social media overload, hacks into our privacy and once sacred institutions, political chaos, and drones delivering both presents and bombs.

Personally, this was the decade I traveled abroad for the first time and ultimately visited six different countries. I advanced multiple rungs in my corporate career. I met an amazing woman – our first date was seeing the Roger Ebert documentary Life Itself – who I married. We then bought a wonderful old house together in a charming neighborhood, and became parents to an awesome little boy. I also published a novel, Then Came Darkness, that will likely always be my own sentimental favorite piece of work.

Film was right there with me every step of the way, mirroring the light (La La Land) and increasing darkness (most of Villeneuve’s output) in the world at large, sometimes in the breadth of the same film (Arrival, Drive, The Tree of Life).

It’s terms of consistency of output, Denis Villenueve had a banner decade and directed more list entries than any other auteur: Arrival, Enemy, Sicario, Blade Runner 2049. It was also a great decade for Ryan Gosling, who is the performer who shows up on more list entries than any other: Drive, La La Land, The Place Beyond the Pines, Blade Runner 2049. The Gos also brought my wife and I together as our shared love for him was one of the first topics of discussion the night we met at a rooftop party, both of us reluctant guests of mutual acquaintances. Her favorite Gos performance was Half Nelson, mine was Drive. We abhorred The Notebook. Both of us passed each other’s first test.

But I digress. Back to the decade at hand where some films reflected the anxious yet still somehow hopeful mood of the moment through depictions of complex modern relationship (Moonlight, Waves), while others just flat out broadcast our deepest modern anxieties (Take Shelter, Enemy, Sicario, Us). Still others looked back and reminded us there were times before ours even more tumultuous (Phoenix). Still others bent time (Inception, The Tree of Life, Uncle Boonmee Who Can Recall His Past Lives) while others stood austerely outside of any context and proved the timeless nature of art (Phantom Thread).

Some could’ve only been made with the boldness of young auteurs finding their voice (Moonlight, Us, Waves), while some could’ve only been made by a reflective master looking back on their career (The Irishman). Then there were others that could’ve only been made by auteurs in their prime (Arrival, Inception, Phoenix).

Yet some could’ve only been made by a depressed madman looking for the beauty in the end of the world (Melancholia). And still some blazed a trail so defiant in their logic and reason for being (a continuation of a series thought long dead directed by a senior citizen) that they perfectly reflected the madness of our times by showcasing an even madder future (Mad Max: Fury Road).

But the movie that I think about probably more than any other film of the decade; a film whose climax features a haunting, emotional, draining, and ultimately uplifting rendition of Sarah Vaughn’s “Speak Low” that was so memorable my wife and I later added it to our wedding song list; a film that I compared to such classics like The Third Man (routinely in my Top Five of All Time) and Hitchcock’s Notorious…is none other than Christian Petzold’s neo-noir psychological slow-burner about survivor’s guilt and hidden identities, Phoenix. Just as Nelly (played by Nina Hoss in a performance for the ages) survived her husband’s betrayal, WWII and the Holocaust, so did all of us looking back now survive the wild anxiety-riddled ebbs and flows of the 2010s. Phoenix is without a doubt, the greatest film of the decade.

FilmYearDirectorDecade Rank
Phoenix2015Christian Petzold1
Phantom Thread2017Paul Thomas Anderson2
If Beale Street Could Talk2018Barry Jenkins3
Inception2010Christopher Nolan4
The Tree of Life2011Terrence Malick5
Mad Max: Fury Road2015George Miller6
Waves2019Trey Edward Shults7
Melancholia2011Lars Von Trier8
Uncle Boonmee Who Can Recall His Past Lives2011Apichatpong Weerasethakul9
Drive2011Nicolas Winding Refn10
The Irishman2019Martin Scorsese11
Arrival2016Denis Villeneuve12
12 Years a Slave2013Steve McQueen13
Winter’s Bone2010Debra Granik14
Interstellar2014Christopher Nolan15
Moonlight2016Barry Jenkins16
La La Land2016Damien Chazelle17
Cold War2018Pawel Pawlikowski18
Lean on Pete2018Andrew Haigh19
The Place Beyond the Pines2013Derek Cianfrance20
Take Shelter2011Jeff Nichols21
Biutiful2010Alejandro Gonzalez Innaritu22
Transit2019Christian Petzold23
Us2019Jordan Peele24
Personal Shopper2017Olivier Assayas25
A Separation2011Asghar FarhadiHM
Lincoln2012Steven SpielbergHM
The Grey2012James CarnahanHM
The Impossible2012Juan Antonio BayonaHM
The Master2012Paul Thomas AndersonHM
Gravity2013Alfonso CuaronHM
Inside Llewyn Davis2013The Coen BrothersHM
Mud2013Jeff NicholsHM
Blue Ruin2014Jeremy SaulnierHM
Enemy2014Denis VilleneuveHM
Sicario2015Denis VilleneuveHM
The Salesman2016Asghar FarhadiHM
Dunkirk2017Christopher NolanHM
Blade Runner 20492017Denis VilleneuveHM
Wind River2017Taylor SheridanHM
BlacKkKlansman2018Spike LeeHM
Roma2018Alfonso CuaronHM

Written by D. H. Schleicher

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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International Tragedy through the Lens of Intimate Family Drama in The Impossible

Director J. A. Bayona brings the tsunami to horrifying life on the big screen in THE IMPOSSIBLE.

In December of 2004, Maria Belon and her family were among the many who experienced first-hand one of the worst natural disasters in the history of the world when a tsunami overwhelmed large swaths of Southeast Asia including the coastal resort area of Thailand where Belon and her family were spending the holidays. Director Juan Antonio Bayona (who previously put viewers through tear-soaked thrills in the Catholic ghost story, The Orphanage) has adapted Belon’s harrowing tale for the silver screen. Here Maria Belon becomes Maria Bennet (the incomparable Naomi Watts) and her husband is played by Ewan McGregor and three boys by newcomers Tom Holland, Samuel Joslin and Oaklee Pendergast. They’re a picture perfect beautiful British family living abroad, and Bayona, in ways both Spielbergian and Hitchcockian, puts them through the wringer in this tsunami horror-show tear-jerk thriller that pulls all the right strings.

The Impossible is worth the price of a ticket just for the ten minute tsunami sequence, frighteningly realized without CGI and done all with scale models and a giant water tank. Bayona in the sequences building up to the disaster uses sound effects for foreshadowing, and by replaying the tsunami through the eyes of Maria and her eldest son Lucas (Tom Holland in a riveting star-making performance), he totally immerses the viewer in the chaos of the event tossing the two actors around like rag dolls in the deluge of water and menacing debris that tears and rips at human flesh relentlessly.
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