LeapBackBlog 2012 Film Awards – Part 5: Films

Film in 2012 may not have been quite as strong overall as 2011, but right at the top there were a lot of good and very entertaining films. 2012 also featured many wonderful performances, particularly among men (many great performances that would have made my lists in past years were sadly left off). The LeapBackBlog Film Awards are comprised of what I think were the best and most interesting films, the strongest performances (taking into consideration who the actor is and what else they have done), the narrative style that drew me in (best directing), and exquisite craftsmanship (best technical achievements). But really, these are lists of my favorites from the year.

Part 1: Technical Achievements

Part 2: Supporting Performances

Part 3: Directors

Part 4: Leading Performances

The Avengers

So many of us fans of Joss Whedon, who have known he was a great writer and filmmaker for years, were vindicated in 2012 with (both The Cabin in the Woods and) The Avengers. Whedon’s film that wraps up phase one of Marvel Studio’s adventures is probably the most entertaining cinematic experience of the year. It sees Iron Man, Thor, the Hulk, Captain America, Hawkeye, and Black Widow all team together to save Earth from an alien invasion that Loki has brought on. Whedon brings a wonderful combination of humor, drama, and character to the film – it is exciting, action packed, hilarious, and full of great character moments. It is the epitome of fun blockbuster filmmaking (and what we Whedon fans completely expected it to be).

Cloud Atlas

Leave it to the Wachowskis and Tom Tykwer to make the most insanely ambitious film of the year with Cloud Atlas. It features six stories across the history of man. Each story deals with human relationships and traits – love, friendship, freedom, and bravery – and each is connected in some way. The epic scale and scope of the film is staggering, and it is amazing that it even came off at all, let alone as brilliantly as it did. The troupe of actors are all asked to play multiple characters, many of which are against type (and even race and gender). What is the most impressive about the film is how well it is woven together, as it never drags or feels like it is not building towards something. In today’s cinema landscape in which blockbusters are seemingly solely remakes, rehashings, and sequels (which are mostly broad, boring generic films), Cloud Atlas is an essential epic, as it dares to be original, challenging, and adventurous.

The Dark Knight Rises

The Dark Knight Rises was the film I was most looking forward to seeing in 2012, and it did not disappoint as it is my favorite film of the year. Christopher Nolan’s The Dark Knight Trilogy ends with grand conclusion. Taking place eight years after The Dark Knight, Bruce Wayne must return as Batman to face is most physically daunting foe in Bane, who is looking to complete Ra’s al Ghul’s work and destroy Gotham City. Nolan’s narrative features the great action set pieces and genre staples to go with his deft directing to make it a superb adventure film, and satisfying finale, but it is the rich characters (and brilliant performances led by Christian Bale, Tom Hardy, and Anne Hathaway) and emotional moments that make it something more, something special. Nolan’s trilogy is the benchmark that all comic-book films will be measured against (and it is a very high bar).

Django Unchained

Wildly violent, almost to a cartoonish level of excess, and sharply written, Django Unchained is a highly entertaining western/revenge drama. Like all Quentin Tarantino films, it is full of B-movie references, artistic filmmaking, great performances (from Jamie Foxx, Christoph Waltz, Samuel L. Jackson, and Leonardo DiCaprio), and spirited dialog. Django is a slave who is freed by a German bounty hunter (Dr. King Schultz) who needs his help tracking down his latest bounty. They become friends, and Schultz wants to help Django rescue his wife from a plantation in Mississippi owned by the brutal and dastardly Calvin Candie – a suicide mission. Tarantino uses his narrative to portray the South in a very unflattering manner, directly challenging the myth purported by films like Gone with the Wind – and to this endeavor, the film is quite striking and effective (without losing an ounce of entertainment).

Killing Them Softly

Much like last year’s Drive, Killing Them Softly is a different take on the crime drama genre. On its surface, the narrative is that of a typical crime drama (and works on that level too) – some low level thugs knock-off a protected game, so the mob sends in a professional to kill them and retrieve the money – but Andrew Dominik uses the format for so much more. The film plays as a comment on the financial crisis that America faced in 2008 and the need of a bailout to seeming save the country from disaster. From the constant stream of financial and political news talking-heads in the background to the filming location being the dilapidated post-Katrina New Orleans and the characters being veiled stand-ins for those involved in bringing the financial markets down, Killing Them Softly seems to be a fairly exacting shot at capitalism – one that also has stunning aesthetics and brilliant performances (particularly from Brad Pitt) at is core.

Life of Pi

As someone that generally thinks 3D is a waste of everyone’s money because it mostly just detracts from the cinema experience, Life of Pi and its use of 3D blew me away. Ang Lee uses the format not to exploit (less than knowledgeable) filmgoers for their money, but rather to heighten the beauty and the grand experience of the film’s journey. I forgot I was even watching a 3D film – that is how well it is integrated. It is a wondrous experience. The story tells the adventure of Pi, a young man who travels from India to Canada with his family along with their zoo animals, only to be the sole human survivor of a horrific storm that takes the ship. Pi finds himself adrift in a life boat with only a zebra, hyena, and Bengal tiger named Richard Parker. Life of Pi is the kind of filmmaking that all epics should strive to be – it is maybe the most beautiful and fulfilling cinematic experience of the year.

The Master

The Master seems to perfectly capture the mood of the time it takes place in – the sense of loss, isolation, and disconnection of those returning from WWII mixed with the façade of force-fed family values by government and advertising (that would shape America in the early 1950s). Freddie Quell (wonderfully played by Joaquin Phoenix) is lost in society returning from the war, but he finds a place with the eccentric Lancaster Dodd (played by the equally great Philip Seymour Hoffman), a charismatic cult leader. Quell is drawn by the intrigue and grand con of Dodd and his Cause and Dodd seems to be fascinated in the wildness of Quell. Paul Thomas Anderson’s narrative is not so much a streamline story, but an experimental emotional study of Quell and his internal struggle. Anderson uses all his filmmaking tools to make the film a visceral experience, and one that is utterly compelling and fantastic (my personal love of grand genre films aside – aka my love of The Dark Knight Rises – The Master is probably the best film of 2012).

Moonrise Kingdom

Quirky, charming, genuine, and a complete joy to watch – Moonrise Kingdom is auteur Wes Anderson’s seventh feature film. It follows two kids Suzy and Sam who run away together to camp out and explore their budding romance. Anderson’s narrative (as his films often do) feels like it takes place in an alternate reality, in which kids are full of budding potential and adults are somewhat melancholia at having never reached theirs. Aesthetically, it feels and looks just like one familiar with Anderson’s work would expect, as Anderson has a flair for aficionado directorial moments (long takes, lots of camera moves, and stylistic blocking – basically every element of every frame is specifically designed to look the way it does down to the smallest detail by Anderson). What is different, however, about Moonrise Kingdom as opposed to Anderson’s last few features is that it wins over its audience in total by the end, even those not enamored with Anderson’s unique style with its warmth and likable characters.

Skyfall

James Bond is a character all filmgoers know and most love. With Skyfall, director Sam Mendes welcomes the nostalgia and classic franchise elements that make James Bond great while also bringing a more modern take to the series (keeping with the trend of the Daniel Craig films). In his latest adventure, Bond finds himself facing off against maybe his most equally matched villain (well, since GoldenEye) – another MI6 agent formally shepherded by M named Silva (who is fantastically played by Javier Bardem). He knows just where to strike to hurt M and cripple MI6. Bond must takes refuge in his past to protect M. This is one of Bond’s more personal films, which benefits it greatly as the character work is strong. Mendes also does a wonderful job of making a Bond film that feels fresh, but completely embraces and brings back many of the elements of classic Bond films (it is the best of the Craig era so far).

Zero Dark Thirty

Zero Dark Thirty is Kathryn Bigelow’s Heart of Darkness (so to speak). The film details a CIA agent’s (Maya, played by Jessica Chastain) journey into the darkness to find and ultimately kill Osama bin Laden. It is an emotionally arduous yet rewarding experience as Bigelow expertly uses suspense and tension to pull the audience in with intense moments – and it is an interesting story. As a character drama, it works very well – Chastain is brilliant as Maya, a woman who has given everything of herself to finding bin Laden. Bigelow tells the story without a political slant, rather it is more about the sacrifices that men and women have made to try and keep America safe (or simply to do their jobs and what they think is right).

Honorable Mentions (11-25):

Anna Karenina, Argo, The Cabin in the Woods, Chronicle, The Five-Year Engagement, Flight, The Hobbit: An Unexpected Journey, Little White Lies, Looper, The Perks of Being a Wallflower, Rust and Bone, Safety Not Guaranteed, Silver Linings Playbook, Ted, and This Is 40

Killing Them Softly (2012) – Review

Review: Killing Them Softly is an arty thinking-man’s gangster film. It is about two loser thugs, Frankie and Russell, who knock off a mob-protected card game, and the man sent in to clean up the mess, Jackie.

Right from the start, it is clear that writer-director Andrew Dominik is not interested in making just another crime drama or typical gangster film (though, clearly he is very much influenced by past works in the genre – particularly Goodfellas). Killing Them Softly opens with sort of a sonic barrage – as the titles accompanied by loud ambient noise are cross-cut with a man walking out of a factory or warehouse while political news coverage plays almost like voiceover narration. This opening shot sets up the rest of the film, which plays as sort of a mix between an art film, a satire on the economic crisis and capitalism in general, and a straightforward crime drama.

As a piece of art, Killing Them Softly is brilliant. Dominik and company are not afraid to express the violence and effects of drug use in a visual manner that goes beyond merely showing the audience what it is happening – it tries to illicit an emotional response and put the audience in the position of the characters. Two examples: there is a scene between Frankie and Russell, after they have pulled off the job. Russell has bought some drugs and taken some of them. Frankie is talking to Russell about how well the job went and Russell is going in and out of consciousness, but is still slowly delivering details to Frankie. Russell eventually explains that there is a hit out on them and that the mob bosses know it was them who robbed the card game, and thusly Frankie is desperate to find out more from Russell but he is completely wasted. Yet, Dominik does not just play this out for the audience. He creates the experience for the audience putting them in the place of both characters. The sound slows down and the pitch changes, the screen goes in and out of focus and brightness. All this heightens the anxiety and frustration that Frankie has, trying to get information out of Russell, and so the audience feels it too. Another example: Jackie is told to kill Markie, the man who ran the card game that got held up. Dominik shoots Jackie’s execution of Markie in extreme slow motion, with graphic detail. The audience can practically see each bullet leave Jackie’s gun, fly through the air and enter and destroy Markie. By slowing it down and unflinchingly showcasing the violence, Dominik is again creating an experience for the audience. They do not just see Markie die, they feel it, which is much more profound an experience. These scenes both also have a wonderful artistic flare to them, setting this film apart from what most movies feel like and look like.

The satirical nature of the film is both blatant and also easily missed. In almost every scene, there is a TV or radio playing political news coverage detailing the financial collapse of 2008 and the need for a bailout, seemingly setting the stage. This constant stream of talking heads in the background (seemingly replacing a score) is juxtaposed to both the filming locations of particularly dilapidated and abandoned industrial buildings and slums of New Orleans, along with a few bars and a hotel room, and characters that are almost solely comprised of low lives and criminals. Looking first at the locations used – the talking heads focus on the collapsing economy in the present (2008), but the exterior locations in the film have long been decaying and forgotten, indicating that the true rot that caused the financial collapse has been a long time coming, eating away at America from the inside.

Next, looking at the characters – all of them are selfish, greedy and seemingly void of any kind of real compassion and drive (save for maybe Jackie). It is possible to view these criminals as the proponents of our capitalist system in a way. Take Mickey (the hit man Jackie hires from out of town to help him), all he does is drink, hire prostitutes, spend the mob bosses’ money,  and not accomplish what he was hired to do – he is a complete waste and drain on his employers. Mickey can be viewed as say Wall Street (in today’s times) – he lives well off the good will of Jackie (an entity brought in to help get things going again – get money back on the street and flowing again) and the mob bosses, while not doing what he is hired to do nor contributing anything of use, rather he is wasting their money on himself (and it is no mistake that he is presented as completely unlikable, vulgar and a mess). The mob bosses could be taken as the government unable to come to a decision on anything, just letting the problem(s) compound, or just as the system itself. And finally, Frankie and Russell can be viewed as two people within the system that messed up and caused the money to drive up (like a failed bank), because their backer Johnny Amato thought he could selfishly and greedily beat (or rig) the system. They gambled and lost (like the investment bankers with mortgage backed securities). Everyone in the system (all the characters) come off looking bad, except for maybe Jackie, who in the end turns out to really be no different (as his final lines are: “I’m living in America, and in America you’re on your own. America’s not a country. It’s just a business. Now fuckin’ pay me.”). He is just as firmly rooted in the system as the rest of them. Jackie is the bailout. As a satire, the film takes a very harsh look at America’s current capitalist system.

Now, as a straight-forward crime drama, for those not wanting to look any deeper, it works just as well as its does a satire or an art film. It is built on great characters and strong performance, and not so much on action. Most of the scenes are comprised of characters engaged in conversations, and these series of conversations build until the finale. However, within in each conversation there is a lot of tension and drama built in. Dominik and the actors deliver just as much emotion in these scenes, showcasing the give and take between characters – who has the upper hand in any given scene – as any action scene, though action scenes are probably more appealing for the average viewer. The film does have some action, though it is mostly highly stylized for effect and not entertainment. This crime drama is about the characters, not gangsters shooting at each other and explosions.

While the film is fairly brilliant in its artistry and construction, the pacing can feel a bit slow at times, and this gets back to its structure – being built around multiple conversations between characters, lacking action – and Dominik’s shooting style for the film. The conversations are long and the cuts do not come quickly, rather Dominik allows his actors and their performances to dominate each scene, as the film takes its time. But, for some viewers the net effect of this is going to be a slow film, which is not working for them (as often artier films do not work for average viewers).

Killing Them Softly is unlike most crime dramas and gangster films. It dares to be aesthetically relevant, emotionally compelling and intellectually engaging all at the same time. It is the rare film that strives to be more than just entertainment, but mean something. And, it succeeds fantastically (for those willing to take in the full experience).

Technical, aesthetic & acting achievements: Andrew Dominik has now made three films. His last two have been near masterpieces (The Assassination of Jesse James by the Coward Robert Ford is one of the most impressive films of the last decade, that no one has seen), allowing me to confidently name film as an auteur filmmaker. His work just has too much aesthetic aptitude and emotional/intellectual depth to be denied. He is one of the best filmmakers working right now. I cannot wait to see what he does next.

The film does not have a score; rather it has a background ambiance of talking heads and a great classic rock soundtrack, each serving a specific purpose. The talking heads play into the satire that Dominik is creating, while the soundtrack creates an emotion in the viewer when set against the visuals (much like how The Sopranos often also used classic rock to create a certain mood for the visuals). Greig Fraser’s cinematography is wonderful. Killing Them Softly has such a decrepit look to it. Fraser’s lighting and Patricia Norris’s production design create a world that almost feels post-apocalyptic, filled with old cars, broken down buildings and people, and stormy skies. Fraser’s artistic work with Dominik on a few of the scenes (like those mentioned above) is also top notch. The film has both an emotional and visual edge and splendor to it.

Like with all great dramas, the performances are astonishing. Richard Jenkins is good in his small role as the go-between for Jackie and the mob bosses, playing his character as someone who is fed up but goes along with everything anyway. James Gandolfini is somewhat reminiscent of Tony Soprano at his psychologically and emotionally weakest point. Mickey is a killer, completely emotionally incapacitated by the potential loss of his wife and prospect of jail (but is much more unlikable than Tony – lacking the charisma). Ben Mendelsohn and Scoot McNairy play Russell and Frankie and are both wonderful. They are just losers caught up in the system, they do not really understand how it works or their place in it, and they do not really care to know. (Assuming people actually see this film, which is probably a losing proposition, considering its artistic and narrative ambitions) their performances are strong enough to warrant their casting in many future projects. Brad Pitt is brilliant in the film (and it is probably among his best work to date – I would argue his other collaboration with Dominik yielded his best performance). He plays Jackie to be a gangster seemingly struggling upstream – the only competent operator in the system. He is ruthless, but has a wonderful swagger to him. The audience is not quite sure if what they see in Jackie is his true character (is he really a good guy deep down) or is it merely his skill in manipulating those around him to get the result he wants. It is one of the best performances of 2012.

Summary & score: It is easy to think of movies as purely entertainment, and often that is all they are or strive to be, but from time to time filmmakers shoot for something more. Killing Them Softly is a shining example of a film in which those involved wanted to create a full experience, not only entertaining the audience but also engaging their minds and emotions. 8/10

At the Movies – November 2012 – Part 3: Most Anticipated Films

Must-See of the Month:

Skyfall (Sam Mendes) – Action Thriller – Nov 9

Summary: James Bond is back. M’s past comes back to haunt her, testing 007’s loyalty. Now, he must track down and end the threat, no matter the cost. Filmmakers: British auteur Sam Mendes may at first seem like an odd choice to do a Bond film, being that he has never made an action film; but exploring his filmography closer, it is clear that he is a wonderful director (which trumps genre experience) and will make a great film with strong characters and good performances. He is working with a great group as well, including: screenwriter John Logan (nominated for three writing Oscars, and just signed on to write the next two Bond films), composer Thomas Newman (who has scored three previous Mendes films, including great work on American Beauty), cinematographer Roger Deakins (one of the absolute best working D.P.s today), and production designer Dennis Gassner (worked twice with Mendes before, and designer Quantum of Solace). Cast: Daniel Craig is back for his third film (of reportedly five), and is joined by a fantastic supporting group with Judi Dench, Javier Bardem, Ralph Fiennes, Naomie Harris, Berenice Marlohe, Albert Finney, Ben Whishaw, Rory Kinnear, and Helen McCrory. Expectations: Craig’s first two Bond films had almost opposite reactions. Casino Royale was a critical and commercial success making James Bond a viable brand again (easily being the best Bond film since GoldenEye, and I might argue since Goldfinger), while Quantum of Solace came with a ton of expectation after Casino but was a big disappointment. Thus, when Skyfall was announced, I like most was not overly enthusiastic (but not dismissive either). Then, Mendes was hired to direct, and my interest perked up. Then, Bardem and Fiennes joined the cast, and I have been very excited to see this ever since (it is currently second of the list of films I am most looking forward to in 2012, behind The Hobbit). Having premiered in the U.K. already, the film is playing to universal critical acclaim, completely rejuvenating the franchise again. It quite possibly could be the best Bong film yet (it looks aesthetically brilliant from what I have seen as well). Trailer: Here. Review: Here.

Worth Checking Out:

Lincoln (Steven Spielberg) – Biography/History Drama – Nov 9

Summary: As the Civil War continues to ravage and further divide the country, President Abraham Lincoln struggles with the toll it is taking on the people while also fighting to emancipate the slaves in the face of detractors even within his own cabinet. Filmmakers: Director Steven Spielberg might be the perfect auteur to take on the biography of Lincoln, and the story seems to lend itself to his particular brand of nostalgia, dramatic weight and genuine heroism without cynicism (see his films Schindler’s List and Saving Private Ryan). Spielberg is working with his ‘A-team’ on the film including composer John Williams (Star Wars), cinematographer Janusz Kaminski (Munich) and production designer Rick Carter (Jurassic Park). Cast: This is one of 2012’s greatest ensembles. Daniel Day-Lewis stars (Liam Neeson was originally attached) with an incredible supporting cast, including: Joseph Gordon-Levitt, John Hawkes, Walton Goggins, Tommy Lee Jones, Jackie Earle Haley, Michael Stuhlbarg, Sally Field, James Spader, Jared Harris, Lee Pace, David Strathairn, Bruce McGill, David Oyelowo, Hal Holbrook, Tim Blake Nelson and David Costabile (Gale from Breaking Bad). Expectations:  On paper, Lincoln should rack up Oscar nominations (with Day-Lewis and Lee Jones being favorites in the leading and supporting male categories, respectively). It screened already for critics, and was met with praise. Spielberg is known best for two kinds of films – his entertaining adventure blockbusters and his (almost epic in scope and scale) powerful dramas; this should be among his best in the latter (continuing his fascination with the unfortunate plight of African-Americans in American History, following The Color Purple and Amistad). On a side note, getting back to my ongoing fascination with how there always seem to be two films related to a specific ‘it’ topic to come out in a certain year, in 2012 we have two Lincoln films that could not be more different. This is a completely serious biopic/drama while Abraham Lincoln: Vampire Hunter is a ridiculous throwaway horror action film. Trailer: Here. Review: Here.

Anna Karenina (Joe Wright) – Romance Drama – Nov 16

Summary: An adaptation of Leo Tolstoy’s classic novel – Anna Karenina is trapped in a loveless marriage to a Russian aristocrat. She risks everything entering into an affair with a man she truly loves, Count Vronsky. Filmmakers: Director Joe Wright is perfectly fitted to adapt Tolstoy’s masterpiece (having made two fantastic romance dramas and three great films in his first four). He is working with his frequent collaborators composer Dario Marianelli (scoring three previous Wright films), cinematographer Seamus McGarvey (shooting two previous Wright films) and production designer Sarah Greenwood (designing all previous Wright films). As a crew that works together a lot, they are one of the best working right now. Tom Stoppard wrote the script (he also wrote Brazil, Empire of the Sun and Shakespeare in Love). Cast: The cast is great. Keira Knightley stars with a wonderful supporting group, including: Aaron Taylor-Johnson, Kelly Macdonald, Jude Law, Matthew Macfadyen, Emily Watson, Michelle Dockery (who some will know from Downton Abbey), Olivia Williams, Holliday Grainger, Shirley Henderson, Ruth Wilson (who is brilliant in Luther), and Domhnall Gleeson. Expectations: Anna Karenina is the third collaboration between Wright and Knightley. Their first two were both superb: Pride & Prejudice and Atonement (two of my favorite films). Wright is also coming off 2011’s cool action thriller Hanna. The film seems like a perfect third partnership between Wright and Knightley (forth, if you count this Chanel commercial). Plus, Wright has gone very ambitious with the visual and narrative style, presenting it like a stage production. It looks very impressive. Trailer: Here. Review: Here.

Silver Linings Playbook (David O. Russell) – Drama – Nov 23

Summary: Pat Solitano, a former teacher, just got out of a mental institution, serving a short stint. Having moved back in with his parents, he looks to reconcile with his ex-wife and get his life back on track. However, things get more complicated when he meets Tiffany, a mysterious girl who also has mental problems. Filmmakers: Writer-director David O. Russell has another film ripe with critical acclaim following The Fighter. He has a knack of getting the best from his actors. He is working with a great group with composer Danny Elfman (Dark Shadows), cinematographer Masanobu Takayanagi (Warrior) and production designer Judy Becker (Shame). Cast: Bradley Cooper and Jennifer Lawrence star with Robert De Niro, Julia Stiles, Chris Tucker (good to see him back in something), Shea Whigham, Dash Mihok, Jacki Weaver, and John Ortiz in support. Expectations: Silver Linings Playbook is prominently in the conversation for Best Picture and Jennifer Lawrence is the front runner for Best Actress (right now). The film looks like a very good drama with some comedic moments – built on great performances from both the leads and principal supporting players. Trailer: Here. Review: Here.

Killing Them Softly (Andrew Dominik) – Crime Drama/Thriller – Nov 30

Summary: A mob-protected poker game is robbed. Jackie Cogan, a professional enforcer, is brought in to investigate on behalf of the mob. Filmmakers: Writer-director Andrew Dominik became one of the most exciting new filmmakers (at least for me) after the release of his brilliant film The Assassination of Jesse James by the Coward Robert Ford. Killing Them Softly is his follow-up (and third feature overall). Dominik is working again with production designer Patricia Norris, but with cinematographer Greig Fraser (Let Me In) for the first time. Cast: Brad Pitt stars (and is also producing), while Scoot McNairy, Ben Mendelsohn (who is great in Animal Kingdom), James Gandolfini, Vincent Curatola, Ray Liotta, Sam Shepard, Garret Dillahunt, Richard Jenkins, Slaine, and Bella Heathcote feature in support. Expectations: Killing Them Softly looks like a great stylized crime drama (reminding me a bit of a Coen Brothers’ film). It has a fantastic cast, and Brad Pitt has been in top form lately (especially in Dominik’s last film). This is a must see for fans of budding potential auteur directors and good crime dramas. I think it is going to be very good indeed. Trailer: Here. Review: Here.

Most Anticipated Films of 2012 – Part 2: Prestige and Fun Films

The Most Anticipated Films of 2012 is a two part look at the movies that should be the biggest and the best of the year to come. Part One is a look at the biggest, the Blockbusters, and Part Two will focus on the films that should be among the most fun and best of the year (not counting the Blockbusters and those that details are not yet known about).

Prestige Films:

Title: Anna Karenina

Release: Fall

Genre: Period Drama

Director: Joe Wright

Plot: An adaptation of Leo Tolstoy’s Anna Karenina about a girl trapped in a loveless marriage searching for more, only to find herself in a far more complicated life.

Main Cast: Keira Knightley, Jude Law, Aaron Johnson, Olivia Williams, and Matthew Macfadyen

Why It’s Anticipated: Anna Karenina is one of the great dramatic stories, and really a perfect project for director Joe Wright and star Keira Knightley to tackle (they made Pride & Prejudice and Atonement together, both are brilliant). The cast as a whole is very solid, and Wright has his usual excellent craftsmen behind the camera. This has a lot of awards season potential.

Editor’s Thoughts: Both Pride & Prejudice and Atonement are among my favorites of the last decade, and I loved 2011’s Hanna – Wright is one of the great new generation auteurs and thus any new film from him comes with a lot of built-in anticipation. Plus, I am looking forward to great artistic work from Seamus McGarvey, Dario Marianelli, Sarah Greenwood, and Jacqueline Durran.

Trailer: Here

Title: Killing Them Softly

Release: Spring

Genre: Crime Thriller

Director: Andrew Dominik

Plot: Jackie Cogan is an enforcer and point man for the mob. When their assets are stolen in a heist, Jackie is enlisted to investigate on their behalf.

Main Cast: Brad Pitt, James Gandolfini, Richard Jenkins, Ray Liotta, and Sam Shepard

Why It’s Anticipated: Writer-director Andrew Dominik’s first feature Chopper was decent, but his second The Assassination of Jesse James by the Coward Robert Ford announced him as one of the best new directors working today. Cogan’s Trade sees him again reteaming with Brad Pitt for what could be the best crime drama/thriller of the year (think 2011’s Drive).

Editor’s Thoughts: While the known actors are all really great for this genre, I am interested in seeing the work of excellent under-the-radar actors Garret Dillahunt, Ben Mendelsohn and Scoot McNairy. I am also looking forward to the collaboration between Dominik and wonderful cinematographer Greig Fraser.

Trailer: Here

Title: The Flowers of War

Release: Spring

Genre: Historical War Drama

Director: Yimou Zhang

Plot: In 1937 during the Nanking Massacre, an American priest John Magee helps a group of Chinese escapees find sanctuary when Japanese troops invade the city of Nanjing, China.

Main Cast: Christian Bale, Paul Schneider and Shigeo Kobayashi

Why It’s Anticipated: Yimou Zhang is maybe the best director working in Chinese cinema today (he is like the Steven Spielberg of China for reference), and he is working with one of the top five leading men in Hollywood Christian Bale (not so much in terms of popularity, but in terms of talent). The Flowers of War is China’s entry for Best Foreign Film at the 2012 Oscars.

Editor’s Thoughts: Zhang is one of the great visual directors and his cinematographer Xiaoding Zhao’s work is utterly astounding (House of Flying Daggers for example). Bale is pretty much always excellent, but it will be great to see his work acting for one of the top international directors, whose style is much different than what is typically found in Hollywood.

Trailer: Here

Title: Moonrise Kingdom

Release: 5/25

Genre: Drama

Director: Wes Anderson

Plot: When a young couple runs away from their small New England island town in the 1960s, a local search party led by the town’s sheriff and the girl’s parents fan out to find them.

Main Cast: Bruce Willis, Edward Norton, Bill Murray, Tilda Swinton, and Frances McDormand

Why It’s Anticipated: Wes Anderson is one of the most artistically interesting filmmakers. His style is unique and plays off his love of both the medium of film and storytelling. He is working again with co-writer Roman Coppola (they wrote The Darjeeling Limited together with Jason Schwartzman who also stars in this film) and cinematographer Bob Yeoman (who has shot all but one of Anderson’s films).

Editor’s Thoughts: Anderson is one of those special filmmakers whose work is entirely original and unlike anything else in cinema. I love his films: the style, awesome soundtracks and wonderful quirky characters. I am excited to see how new faces to the Anderson group work in this film (specifically Norton, Swinton and Willis who is notoriously difficult to direct – but remember how great Gene Hackman was in The Royal Tenenbaums, plus Murray has got Anderson’s back).

Trailer: Here

Title: Untitled Terrence Malick Project

Release: Spring or Fall

Genre: Romance

Director: Terrence Malick

Plot: A romantic drama about a man who finds love with a girl from his hometown after his rushed marriage to a European woman falls apart.

Main Cast: Rachel McAdams, Michael Sheen, Ben Affleck, Rachel Weisz, and Javier Barden

Why It’s Anticipated: Terrence Malick has made five films (his latest The Tree of Life), each is beautiful and sort of transformative. He is one of the great filmmakers working today (and with new passion – making four films between 1973 and 2005 and now four between 2011 and 2013), and thus his films are all cinematic events. He also has a great group of actors, which also includes Jessica Chastain, Olga Kurylenko, Amanda Peet, Barry Pepper, and Charles Baker.

Editor’s Thoughts: Yes the cast is very good, and yes Malick is a phenomenal visual director, but what I am most interested in this film is Malick’s third collaboration with cinematographer Emmanuel Lubezki. He also shot Malick’s The New World and The Tree of Life, which are both brilliantly photographed (especially The New World – probably among my top ten best photographed films of the last decade). They work so well together, and the same can be said for Malick’s work with production designer Jack Fisk. He has designed all Malick’s films since The Thin Red Line. The artistry of his films is what makes them so special and really the reason this is among my most anticipated.

Trailer: Here

Fun Films:

Title: Django Unchained

Release: 12/25

Genre: Western

Director: Quentin Tarantino

Plot: Django, a slave turned bounty-hunter, sets out to rescue his wife from the brutal Mississippi plantation owner Calvin Candie.

Main Cast: Jamie Foxx, Leonardo DiCaprio, Christoph Waltz, Samuel L. Jackson, and Kurt Russell

Why It’s Anticipated: After the fantastic job writer-director Quentin Tarantino did with his genre film Inglourious Basterds, tackling the western genre seems like a great idea (as we could always use more quality westerns). Plus, Tarantino’s stardom as a cult director brings with it a lot of cinema fans. Releasing this at Christmas makes me think that Sony Pictures and The Weinstein Company have high hopes for this as a critical (as in awards season potential) and commercial success.

Editor’s Thoughts: We all know the talent Tarantino brings to his films, but I am very interested to see Leonardo DiCaprio’s work as a villain (I cannot recall him every playing a straight-up bad guy). He has been brilliant in his last few films. I am also a big fan of Christoph Waltz ever since his breakout role in Inglourious Basterds – really I look forward to any performance from him. I love westerns. It is one of my favorite genres and I am eager to see what Tarantino brings to it (even if this is not quite a classic style western).

Trailer: Here

Title: The Five-Year Engagement

Release: 4/27

Genre: Romantic Comedy

Director: Nicholas Stroller

Plot: The story of Tom and Victoria and their ups and downs as an engaged couple.

Main Cast: Jason Segel, Emily Blunt, Alison Brie, Chris Pratt, and Rhys Ifans

Why It’s Anticipated: This is the new film from the team of Jason Segel (star, writer), Nicholas Stroller (writer, director) and Judd Apatow (producer) creates of Forgetting Sarah Marshall, which was the best R-rated rom-com of the last decade. Segel and Stroller also wrote 2011’s The Muppets.

Editor’s Thoughts: Forgetting Sarah Marshall is very funny, but what makes it great is its heart and characters. The Five-Year Engagement hopefully will be the same. Segel and Stroller have certainly put together a stellar cast with dramatic talent in Emily Blunt (who I think is one of the top leading ladies to emerge at the end of the 2000s), Rhys Ifans and Jacki Weaver (who was nominated for an Oscar in 2011 for Animal Kingdom) and comedic talent in Alison Brie (who is brilliant on Community), Chris Pratt (who is very funny on Parks and Recreation) and Mindy Kaling (who is awesome on The Office). This very likely will be the best comedy of the year.

Trailer: Here

Title: Looper

Release: 9/28

Genre: Action Sci-Fi

Director: Rian Johnson

Plot: Joe is an assassin who works for the mob. When he is hired to kill his next target, he recognizes him as his future self.

Main Cast: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt, Paul Dano, and Jeff Daniels

Why It’s Anticipated: Writer-director Rian Johnson’s first film was the very good genre-meshing Brick. He is reuniting with Brick’s star Joseph Gordon-Levitt for this, his third film (Gordon-Levitt also has a very brief cameo in Johnson’s ambitious and artistically interesting film The Brothers Bloom). Sci-fi is a genre that does not often produce good feature work, so when a project that have a lot of great potential comes along fans take notice.

Editor’s Thoughts: Johnson is one of the most inventive indie directors, but Looper comes with a ton of expectations as The Brother’s Bloom while good was a little bit of a letdown after Brick. On concept alone, Looper sound awesome, and it is something completely different from Johnson’s first two films.

Trailer: Here

Title: To Rome with Love

Release: Spring or Fall

Genre: Comedy

Director: Woody Allen

Plot: Four vignettes involving the city of Rome.

Main Cast: Woody Allen, Ellen Page, Jesse Eisenberg, Penelope Cruz, and Alec Baldwin

Why It’s Anticipated: Woody Allen has made six of his last seven films in Europe garnering three wonderful films (I also really like Scoop, but realize I am in the minority). With Nero Fiddled, he focuses on the city of Rome (much like Midnight in Paris and Vicky Cristina Barcelona did for Paris and Barcelona and Match Point, Scoop, Cassandra’s Dream and You Will Meet a Tall Dark Stranger did for London). Penelope Cruz is reuniting with Allen after winning her Oscar starring in Vicky Cristina Barcelona.

Editor’s Thoughts: In addition to the big names starring in this film, I am excited to see Alison Pill, Greta Gerwig and Ellen Page deliver Allen’s dialog. Allen is also working again with cinematographer Darius Khondji whose work on Midnight in Paris was excellent. I have really enjoyed Allen’s work in Europe since 2005 and I look forward to seeing how he utilizes the Italian capital.

Trailer: Here

Title: This Is 40

Release: 12/21

Genre: Comedy

Director: Judd Apatow

Plot: A spin-off of Knocked Up focusing around the relationship of Pete and Debbie.

Main Cast: Paul Rudd, Leslie Mann, Chris O’Dowd, Melissa McCarthy, and John Lithgow

Why It’s Anticipated: Judd Apatow is maybe the top working writer-director and producer in comedy right now (this will be his fourth film – The 40 Year Old Virgin, Knocked Up and Funny People). It also has a great group of comedians with Jason Segel, Charlyne Yi, Albert Brooks, and Annie Mumolo also starring in addition to the main cast (Megan Fox, Ryan Lee, Maude Apatow, and Iris Apatow are also in it). While Funny People was a disappointment for critics who were mixed (though, I liked it) and at the box office, Apatow looks to return to the success of his first two films, which is maybe why he is reusing characters for his biggest hit.

Editor’s Thoughts: While this seems much more like a summer movie, Universal pushed it back until December so that they could put Snow White and the Huntsmen in its place in June. For me, Apatow working with Rudd, Mann and Segel is enough for me to be excited to see this. I think Rudd and Segel are two of the best comedic actors right now.

Trailer: Here