It’s getting toward the end of the week and we’re honing in on our top 10 movies of the decade, leading in with today’s #20-11. This list has been hotly debated and mulled over by our staff the past few months and we’re excited to have a complete list of the 50 movies that stood out to us most in the 2010’s thus far. The first half of the decade has been amazing, so let’s hope the next five years are just as memorable!

Be sure to read up on #50-21 and tune in tomorrow for the final ten films on our epic list.

Best 50 Movies Of The Decade So Far
(#20 – #11)

Take Shelter

Anchored by a breathtaking performance by Michael Shannon (a role that graduated him from “that guy” to “THAT GUY”), Take Shelter is one of the scariest films ever made despite not being a horror film. Shannon’s performance as a man losing touch with his reality while desperately fighting to protect his family has the complete spectrum of emotionally complexity—at times sad, at times terrifying, always intriguing. The themes are complex, too, ranging from climate change to the struggles of the middle class in middle America, from religious fable to mental health tale. There are films that can take on multiple readings, and then there is Take Shelter, which can be a completely different film for different people—for me, this is an incredible strength. And can we talk about that ending? OK, no spoilers, but the discussion on what the final images meant was some of the most invigorating discussion of film in 2011. Some saw it as a horror villain coming back from the dead in the final frames, some had the complete opposite view of hope that the main character was getting better in dealing with his sickness. No matter your reading of the final images, however, it is still one of the most visceral endings to a film this decade so far. [Aaron]

Certified Copy

Certified Copy, by inimitable Iranian auteur Abbas Kiarostami, is about a man and woman who, while on a stroll through Tuscany, fall into something that looks, sounds, and feels a lot like love. William Shimell plays a British author who on a book tour meets a local antiques merchant (Juliette Binoche), who insists on showing him around town while she picks and prods at his brain, absorbing and challenging his unconventional views on life and art. What at first appears to be a touristic on-the-clock romance á la Linklater’s Before films soon reveals itself to be something more abstract, puzzling and dreamlike, with the true nature of the characters’ relationship shifting from scene to scene. One moment, all evidence suggests they’ve only met hours ago; the next, they’re speaking as if they’ve been together for years and years. If watching Shimell (incredible in his first onscreen role) and Binoche (as ravishing as ever) verbally and intellectually spar while framed by sun-drenched vistas isn’t interesting enough for you, the mystery of how they actually know each other will keep you plenty engaged. You’ll find no concrete answers by film’s end, but you’ll be too thoroughly enchanted to care. [Bernard]

A Separation

There’s a reason Asghar Farhadi’s A Separation steamrolled through the festival circuit in 2011 as well as (or, even better than) any foreign art-house film in recent memory. It’s just that good. Detailing the troubling moments of an Iranian marriage, Farhadi finds a way to encapsulate worldviews, ideological perceptions, and every major component of family dynamics, into a two-hour roundhouse kick to the gut. Nader (Peyman Moaadi) and Simin (Leila Hatami) are the couple in question, and at the heart of A Separation is their 11-year-old daughter Termeh (Sarina Farhadi), torn between two loving parents. Most people in the West have never heard of these actors before this film, but they sure took notice when all three of them shared best acting honours at the Berlin Film Festival, where the film won the Golden Bear, on to its way to a Golden Globe and Academy Award. The realism created by the powerhouse acting, and one of the most perfectly constructed screenplays of the century so far, allows Farhadi to grow the story beyond the restrictions of a specific country’s conservative shackles, and into a fully fledged universal tale. When family gets in the way of family, and wrong choices turn to dire moral consequences, who can’t relate? Not an easy one for repeat viewings, but one that made a singularly deep impression in the past five years. [Nik]

The Hunt

I never thought I would hold in such high regard a film about a man wrongly accused of being a pedophile. And yet. From director Thomas Vinterberg and starring a ridiculously good Mads Mikkelsen comes The Hunt from 2012. The film is remarkably uncomfortable to watch, but not for why you might think. Yes, the topic of pedophilia is unsettling, but the fact that Mads’ character is wrongly accused—and the fact the viewer knows it—actually softens that portion of it. It’s the aftermath of the accusation that ratchets up the film’s intensity to unsettling levels. A man who was once a pillar of the community isn’t even afforded an “innocent until proven guilty” consideration. What the child said becomes gospel, the man she accuses becomes the cardinal sinner, and the small-town mob that once embraced him becomes the congregation looking to cast out the devil. And it could happen to you. Try to forget that after watching this. [Michael]

Black Swan

An artist’s pursuit of perfection and the starring role in Tchaikovsky’s Swan Lake causes her to unravel, losing touch with reality in Darren Aronofsky’s Black Swan. This frightening psychological thriller may be writer/director Aronofsky’s most fully realized work to date, combining the intense terrors of his stylistic and shocking Requiem For A Dream with his more intimate, empathetic approach in The Wrestler. In fact, Black Swan shares a lot of similarities with The Wrestler in that both films feature performers that love their craft above all else, willing to sacrifice their own health or happiness in the hopes of achieving artistic integrity. As opposed to Mickey Rourke’s aging wrestler Randy “The Ram”, Natalie Portman’s Nina takes a path to artistic enlightenment that involves an uncertain blend of truth and fiction, which threatens to drive Nina insane. There are the paintings that move on the walls, the was-it-all-a-dream lesbian sequence and of course the most terrifying hangnail in film history. All these moments create an aura of anxiety until the film climaxes with a beautiful, stressful sequence during a performance of Swan Lake, one that Nina performs perfectly. However, was it worth what it cost her? [Zach]

Frances Ha

I often find my favorite films are ones where I feel both loathing and love, bewilderment and recognition, and where a perfunctory analysis just doesn’t seem to suffice. I’m not calling Frances Ha the great think-piece of our time, but Noah Baumbach and Greta Gerwig’s tale of a 27-year-old at odds with her life and in a place of limbo around her career, her love-life, and—most painfully to Gerwig’s Frances—her friendship with her best friend and roommate Sophie (Mickey Sumner), I was left with conflicting emotions. What stuck with me most about the film was the way in which I found myself identifying with this seemingly clueless character. Her behavior and conversations are so typical of the urban middle class artist of this generation, even if somewhat inflated. Her painful interactions with others as she ignores social queues, caught in a place of distracted self-absorption, only occurs when at the precipice of deciding who one wants to be. I identify because I went through it myself, but I appreciate it because Frances Ha captures a perfect snapshot of what is now the new norm among young adults—who seem to stay younger longer, but whose convictions, deep felt friendships, and ambitions are as strong as any generation before them. It’s a rare film that captures an emerging behavioral trend, finds the humor in it, but doesn’t degrade or condescend to its subject. [Ananda]

Martha Marcy May Marlene

Martha Marcy May Marlene is a completely spellbinding film that grabs you from the first scene and doesn’t let go. The story of a girl trying to assimilate back into society after living at a cult commune, the film works subtly through its editing and performance to feel much more dangerous than anything you actually see onscreen. One of the best editing films of the decade, it whirls back and forth from past to present through match-cuts and other tricks. Its technique puts the viewer into the troubled mind of its protagonist. We’ve seen a lot of films about the cult experience—some of them are good, some bad, but none are as intensely felt as Martha Marcy May Marlene. With its parts, the film should feel cold and a little too calculated, but its movement gives it liveliness. While also being on the edge of my seat from the thrills, I experienced almost every cut with a “how did he do that” intrigue. This could have killed the momentum of the film, especially considering the tone of Martha Marcy May Marlene, but it works wonderfully here. Elizabeth Olsen’s debut performance (discounting a cameo role in one of her sisters’ films) is something special. She is partnered by John Hawkes in powerful role worthy as a follow-up to his Oscar nominated turn in Winter’s Bone, a similar character, but with an entirely different sort of intensity. [Aaron]

Carlos

If there was ever an unsung performance of the past five years it would have to be Edgar Ramirez’s portrayal of Venezuelan terrorist Ilich Ramirez Sanchez aka ‘Carlos’. Ramirez gained and lost 35 pounds for different sections of the film. Ramirez is ruthless as the South American who will kill anyone, friend or foe, who stands in his way. Carlos started a worldwide terrorist organization and caused mayhem on multiple continents, bombing and shooting his way from one country to another. Oliver Assayas depicts all of this in a five and a half hour opus that is never boring for a single moment. Assayas shot the film in three different continents over seven months and while there are many memorable moments in the film (a lot of them are tense sequences involving some sort of mayhem) none stand out as much as the 1975 OPEC raid in which Assayas dedicated a staggering 120 minutes of the 330 minute runtime. The entire sequence feels like a movie onto its own (and honestly it kind of is its own film) but doesn’t feel out of place within the entire arc of the film. Carlos originally aired for French TV and was eventually shown in US theaters before Criterion released it for home viewing. Assayas’ film is monumental. A grand spectacle that is seen, by us at least, as one of the towering achievements of the last five years. [Blake]

The Master

There was quite a gap after Punch Drunk Love, but when Paul Thomas Anderson returned with There Will Be Blood, he returned like a boss. And then, The Master happened. The only straight line one could draw to it from anything Anderson directed previously was the director’s incredible knack for pulling out career-defining performances from his actors. This time around, it’s Joaquin Phoenix who gets to bathe in the cinematic glory of Anderson’s gift to turn the complex into the fascinating. Continuing his dig into the American past, The Master follows Freddie Quell (Phoenix, like you’ve never seen him before) as he wanders from one job to the next alongside thousands of other veterans of the Second World War. He meets self-made ideologue Lancaster Dodd (Philip Seymour Hoffman’s final masterpiece) and his wife Peggy (a piercing Amy Adams), and his life changes. Or, does it? This is PTA dabbling in psychoanalysis, toying with the origin of cults, and indulging in limit tests of cinematic storytelling. It’s dense, and it doesn’t as much as sniff at the thought of follow conventional three-act structures, which The Master turns into an advantage. I was left with an unquenchable feeling, egging me to return and repeat the experience. Also, it gets major bonus points for allowing cinematographer Mihai Malamare Jr. to make magic with 70MM. [Nik]

Whiplash

I didn’t see the short film that was Whiplash’s original format before watching the feature film, but I do recall thinking before my initial screening that a director as young and inexperienced as Damien Chazelle seemed unlikely to impress me. 100 minutes later I let go of my grip on my chair’s arm rests and reminded myself to judge not lest I be judged. I’ve seen Whiplash an additional three times since catching it on the festival circuit, always with friends who haven’t seen it yet and I’m constantly peeking glances to see if they get as worked up as I do. And I do. Every. Time. A simple enough concept, the film follows Andrew (Miles Teller), an aspiring drummer at an elite music school. The school’s bad-boy dictator of a conductor, Fletcher, recruits Andrew into his studio band and then proceeds to mentally (and sometimes physically) torture Andrew into being a better drummer. Andrew is pushed to the very edges of his sanity and his abilities, and the very real argument for how to teach talent and inspire genius becomes a battle of wit and stamina. Edited like an action film pulsing to the fast paced and sporadic beat of idiosyncratic jazz, Whiplash assaults the eyes and ears with the same vigor its main character uses to hit stick to drum. Oscar winner J.K. Simmons deserves every inch of that gold statue for Best Supporting Actor, playing Fletcher as calculatedly cruel and complexly evil. It’s the sort of role that comes around less than once a decade and Whiplash isn’t likely to see an equal any time soon. [Ananda]

See the rest of our Best Movies Of The Decade lists!

View Other Lists of this Feature:
Best 50 Movies Of The Decade So Far (#50 – #41)
Best 50 Movies Of The Decade So Far (#40 – #31)
Best 50 Movies Of The Decade So Far (#30 – #21)
Best 50 Movies Of The Decade So Far (#10 – #1)

We all have those movies that we really enjoy, but for one reason or another aren’t in any hurry to revisit. Sometimes it’s because the material is full of gruesome violence or hard to watch moments, which can ruin our desire to sit through the torture ever again. Other times it’s hard to justify repeating another three and a half hours on a well-made, but painfully slow movie (we’re looking at you Jeanne Dielman!).  It’s easy to be torn on these films. We’re quick to sing their praises—but not as quick to recommend them.

Here’s a list of some of our favorite films we loved watching the first time, but don’t see ourselves returning to anytime soon. Enjoy watching them, but please don’t ask us over for the viewing.

#1. Irreversible

If you’re not aware of Irreversible, consider your lifespan lengthened by at least a few months, and know that the film tells the story of Alex (Monica Bellucci, in career-defining mode) and her boyfriend Marcel (Vincent Cassel, brilliantly unhinged) over the course of a single night, in reverse chronological order. In terms of raw emotion, it makes Memento look like a Cheerios commercial. Considering it’s been over 10 years since it came out, it’s no spoiler to say that Irreversible contains the most realistic rape scene I’ve ever seen in any film, and once that scene was over, I knew that Gaspar Noé had created something equal parts impactful and degenerate, and that one viewing was more than enough. Technically speaking, the film is genius (for the time it came out, its camera trickery was fresh and exciting). I may have been more affected than I would’ve otherwise had anyone but Bellucci been cast (full disclosure, guys: she’s my eternal crush), but I’m pretty sure that it’s Noé’s unflinching depiction of humanity at its most depraved, the scarily realistic performances, and that emotional sledgehammer of an ending/beginning, that makes me never want to see Irreversible again while simultaneously admiring its undeniable artistry. [Nik]

#2. The Act of Killing

It’s hard for me to think of any other film in the last several years with the same impact as The Act of Killing (review). Joshua Oppenheimer’s investigation into the deaths of millions during a military coup in 1960s Indonesia is like diving head first into the worst of humanity. What Oppenheimer observes (and participates in) is a world where evil prevails. Military leaders responsible for massacring entire villages are hailed as heroes, corruption runs rampant, and families of the survivors have to stay quiet if they want to live. What’s so bothersome about Oppenheimer’s film isn’t just seeing the casual disregard for human lives; it’s the way he implicates the viewer and their complicity in the on-screen horrors. The Act of Killing is a monumental piece of filmmaking, but it’s also one that forces viewers to confront the severe costs of their inaction and ignorance. It’s an ugly film, one that made me feel physically ill watching it, and one of the best documentaries I’ve ever seen. I just know that it’ll be a long time before I see it again. [CJ]

#3. Shame

It’s always hard to delve so deeply into the life of someone that is in many ways broken, and a second time might just prove too much for many. In the case of Steve McQueen’s Shame (review), Brandon’s life is certainly one that I don’t feel capable of entering again, even as a witness. Ultimately, this is a testament to the quality of the film—the raw emotion that we are confronted with is exactly what makes it so hard to watch. Fassbender is disconcertingly convincing as a man whose day-to-day life is an endless search for another orgasm, with each one simply acting as a step towards finding the next. The concept of dissatisfaction at every moment is portrayed so precisely it would be beautiful if it wasn’t thoroughly depressing. Both Fassbender and McQueen inject Brandon’s character with so much apathy that we can’t help but feel for him – it’s almost as though we are doing the feeling for him. And while that’s involving and highly compelling, it is also far too emotionally draining to go through again. [Pavi]

#4. Precious: Based on the Novel Push by Sapphire

There are films I describe as “essential” viewing while almost always following up with the word “once.” I don’t think there is any shame in admiring a film greatly and recognizing that being in the mood to watch it repeatedly in one’s lifetime is highly unlikely. I’d even go so far as to say that Precious (review) was one of those films I might never had seen if I’d truly known what I was getting into. Does it have amazing performances? Yes. Does it have moving emotional transformations? Yes. Does it have an unnecessarily long title due to someone’s ill-placed concern that there’d be any confusion whatsoever in confusing this film for a superhero action film released in the same year? Weirdly so. Additionally, it has the abuse of a pregnant teen by her welfare-addicted mother, repeated rape from her father, and a cast of characters who finally give this young woman the support she needs to take control of her life. But for every heart melting scene are about 10 scenes of a mother throwing pots and TVs at a girl living a hell that most of us couldn’t even dream up. The ratio is a tough balance. But I still say see it. Once. [Ananda]

#5. Dear Zachary: A Letter to a Son About His Father

Easily one of the most shocking and disturbing documentaries I have ever witnessed (and not simply because one of the subjects shares my name), Dear Zachary: A Letter to a Son About His Father illustrates one man’s journey to memorialize his murdered friend, when that friend’s ex-girlfriend announces she’s expecting a son. The tone indicates early on that the only way this story will end is in disaster. Documentarian Kurt Kuenne tracks the life of Dr. Andrew Bagby from his childhood when he and Kurt made films together as friends, through Bagby’s adulthood, marriage, and ultimate murder. In speaking with Bagby’s family, Kuenne paints a picture not only of a good man killed in cold blood, but the frightening fallout from his murder. Throughout the film, you’re left angered that so little was done to prevent what ultimately occurred; however, it’s also easy to understand the inevitability of this tragedy. That doesn’t make watching events unfold within Dear Zachary any less devastating. The documentary may not be an intricately constructed masterpiece but the story it portrays is among the saddest realities an audience will have to face, just not one you’ll want to watch twice. [Zach]

#6. The Hunt

At about the 15-minute mark, The Hunt (review) takes a turn so unsettling that the film becomes uncomfortable to watch, and it remains uncomfortable to watch for its duration. The film tells the tale of a man—a kindergarten employee, no less—who is wrongly accused of being a pedophile. A young, confused child points the wrong finger at the wrong guy for the wrong reason and that guy’s life is over as quickly as word of his alleged actions can spread through the small, close-knit community and its micro-mob mentality. Pedophilia is like no other crime. When kids have potentially been exposed to a pedophile, there is no “innocent until proven guilty” in the court of public opinion. The film maximizes this wonderfully, especially in its depiction of the townspeople’s actions. What ultimately sells the tension, though, is that the viewer knows he’s innocent. This is no whodunit. There is no playing around with “did he or didn’t he?” and waiting for that “twist” to drive the final opinion on the film. His innocence is a fact, which raises the stakes on his pathos, which ratchets the unease of the viewer. Tack on a last shot for the ages and this unforgettable film is best left preserved in the memory. [Michael]

#7. Hard to be a God

It’s hard for me to add any other superlatives that CJ hasn’t already used in his fantastic write-up of the downright depraved Russian film Hard to be a God. Alesky German directed this brutal and savage film about a group of scientists who travel from Earth to another planet going through their own Medieval Age. Told not to interfere with the going-ons on the planet, they must sit back and watch as people are viciously murdered and treated like scum. German’s film is 3 hours of straight unholy debauchery where people trudge through mud, carcuses (human and animals) and mounds and mounds of excrement. If the setting isn’t disgusting enough, German constantly has objects (animate and not) directly in front of the action to add an immediacy to the ongoings, putting you right in the middle of all the action. About an hour in, I started to get queasy and almost had to stop watching. There has never been a film like Hard to be a God and there will probably never will be. [Blake]

#8. The Master

Initially my thoughts leaned to movies that evoked a positive memory such as Master and Commander or The Last Samurai–movies I only ever saw once but loved so much that I purchased them–and then never got around to watching them again. Their length and tendency towards tediousness always at the forefront when passing over them come movie night. The possibility for a future viewing is still there, however. On the other hand, it’s hard for me to say that I loved The Master (review). In fact, for a very long time I was determined to vocalize my absolute dislike for it. I don’t remember a second of that movie that I wasn’t cringing. But in thinking about where the roots of my aversion were, I couldn’t admit that it was the performances. Philip Seymour Hoffman, Joaquin Phoenix, and Amy Adams were outstanding. Ultimately I came to the realization that, in fact, this movie was really well done. Centered around self-worshiping, semi-psychotic, narcissistic con-men who prey on the weak and vulnerable, one has no choice but to respond with vitriol. So…kudos to everyone involved in the making of such a great movie, but I will never watch it again. [Scarlet]

#9. Henry: Portrait of a Serial Killer

Honestly, the concept of loving a film despite never wanting to watch it again really doesn’t register with me. If there is something in a movie that works for me, no matter how violent, draining or depressing it might be, it’s going to be something I will consider revisiting. That said, John McNaughton’s troubling Henry: Portrait of a Serial Killer is a film I’m not itching to see again for a long time. Known primarily as a horror film—I remember seeing the VHS in the same vicinity of the video store as other 1980’s gems Chopping Mall and Brain Damage, but Henry is far, far from these silly blood-splatter flicks. It’s darkly honest and straight-ahead script and documentary shooting style is a fascinating approach to the genre, but also a bit icky. Truthfully, there aren’t a lot of scares, but the intense commitment of everyone involved (from the screenwriters, to the director, to star Michael Rooker) get us inside this character, eventually taking us places we really don’t want to be. Personally, the film is made all too real in part by the Chicago street cinematography—though Wicker Park and its surrounding areas have dramatically changed over the last 30 years, it’s still recognizable enough to make me a little more aware of my own environment. [Aaron]

#10. Enter the Void

Yes, another Gaspar Noé film on this list. Adding to his collection of challenging films, Noé trades the excessive violence and brutality of Irreversible for excessive visuals and runtime in Enter the Void. The film (review) is packed with intoxicating visuals from pulsating neon lights to ghost-like camera movements that pass through walls and buildings, completely disorienting the senses like an acid trip. And because it clocks in at over two and a half hours—it’s one long trip. There’s a lot to admire from artistic and technical standpoints as some moments in the film are unlike anything seen before in film. However, the sensory overload eventually becomes exhausting to the point you’d wish it would just end already. Not helping matters is a meandering script which stretches about 30 minutes worth of material into 161 minutes. If you ever wanted to experience DMT without actually doing it, one time through Enter the Void should do the trick. But unlike the drug, you won’t be itching to go back to it. [Dustin]

#11. Mr. Nanny

I’m pretty sure Mr. Nanny is legitimately considered one of the worst movies of all time. Hulk Hogan plays a former professional wrestler who becomes a nanny to make ends meet…so yeah. It’s ridiculous. But you know what? When I watched it as a kid in the early ‘90s, I had the time of my f*cking life! I’ve been a huge Hulkamaniac since birth (I had a plush toy and action figures and video games), so to see my red-and-yellow hero star in his own movie was the coolest thing ever! I remember laughing my little ass off at every single dumb gag and thinking the Hulkster was going to be a HUGE movie star (my taste in actors is better now, I promise). I saw the movie on a VHS tape rented from Blockbuster (those were the days) and never saw it again, probably because it sucked so much no network wanted to run it. But man, did I have a blast watching it that day. Sure, I could probably find it again online and replace my old memories with new, sh*tty ones, but what’s the use in that? [Bernard]

This Sunday night everyone will know who the real 2015 Oscar winners are and that person who hasn’t watched a single nominated film this year will probably win your office pool. In our recent Oscar Winners Revisited columns, we’ve gone back to discuss who should have won back in 2011, and 2012. Now we revisit the 2013 Oscars and discuss why we think Best Picture should have gone to Silver Linings Playbook and not to Argo, as well as our picks in the other 5 major categories that year.

Best Supporting Actress

Who Won – Anne Hathaway, Les Miserables
Who Should’ve Won – Amy Adams, The Master

Amy Adams’ understated performance as the reserved but grounded wife in The Master seemed to have been overshadowed by the thunderous performances from leads Philip Seymour Hoffman and Joaquin Phoenix. But she had an essential role in shaping The Master into the brilliant and well-acted film that it became. After Adams walked away empty-handed three previous times at the Oscars (nominated for Junebug, Doubt, and The Fighter), I thought she’d finally receive the shiny gold trophy she deserves. Yet somehow Anne Hathaway received more votes from the Academy with her imperfect singing in the classic musical remake of Les Miserables. One day you will win Ms. Adams, one day. [Dustin]

Best Supporting Actor

Who Won – Christoph Waltz, Django Unchained
Who Should’ve Won – Philip Seymour Hoffman, The Master

2013 felt like a real “anything goes” year for the Best Supporting Actor category. On one side, there was the trio of living legends Alan Arkin, Robert De Niro and Tommy Lee Jones all playing pivotal roles in films that won elsewhere in major categories. On the other were two men better known as character actors: Christoph Waltz and Philip Seymour Hoffman. Waltz picked up his second win in two nominations (both for Tarantino movies) despite some critics noting Leonardo DiCaprio’s superior performance in Django Unchained. All in all, the overlooked nominee in the bunch was Hoffman. Though we didn’t know it then, The Master would be Hoffman’s final Oscar nomination, his strongest collaboration with his friend, filmmaker Paul Thomas Anderson. Playing Lancaster Dodd, the cultish leader of The Cause, Hoffman illustrates the charisma necessary to recruit a legion of followers while also depicting Dodd as a man, “a hopelessly inquisitive man.” It’s a staggeringly complex character made knowable through an honest, vulnerable performance. Lancaster Dodd exhibited Hoffman at his best: charming, empathetic, and exceedingly truthful. He deserved a win. [Zach]

Best Actress

Who Won – Jennifer Lawrence, Silver Linings Playbook
Who Should’ve Won – Jessica Chastain, Zero Dark Thirty

Nobody was surprised to hear Jennifer Lawrence’s name called for Best Actress in 2013. She was terrific in Silver Linings Playbook, a film that had Oscar wins written all over it, which made this victory feel like an easy lay-up despite the talented group of nominees that year. Emmanuelle Riva nearly broke us down to tears with Amour, Quvenzhané Wallis won our hearts in Beasts of the Southern Wild, and Naomi Watts left us emotionally stirred in The Impossible. But it was Jessica Chastain who shocked us with her bravery in an unapologetic portrayal of CIA agent in charge of tracking Osama bin Laden in Zero Dark Thirty. Unlike other Hollywood roles for women, Chastain got the chance to play an intelligent, uncompromising heroine, and she did it extremely well. This might have been one of the better years for lead actresses in recent memory, but Chastain’s electrifying performance stood above the rest—perhaps just a touch above Wallis and Lawrence. [Dustin]

Best Actor

Who Won – Daniel Day-Lewis, Lincoln
Who Should’ve Won – Joaquin Phoenix, The Master

With all due respect to the World’s Greatest Actor Daniel Day-Lewis, Joaquin Phoenix’s portrayal of Freddie Quell creates a character far beyond imitation. The enigmatic Quell is noticeably disturbed, speaking out of the side of his mouth and prone to sudden, violent outbursts. Phoenix is said to have used a rubber band to tie his teeth together on a side of his mouth to contribute to Quell’s odd speech pattern. But beyond his vocal choices, Quell is likely Phoenix’s most physical performance. The actor contorts himself, throwing his body into walls and at others with an animalistic quality. This type of performance could feel over-the-top in a lesser production but guided by Paul Thomas Anderson, Freddie Quell is both frightening and sympathetic. More than that, he’s simply unforgettable. [Zach]

Best Director

Who Won – Ang Lee, Life of Pi
Who Should’ve Won – Benh Zeitlin, Beasts of the Southern Wild

Obviously nobody at the time knew that Ben Affleck‘s Argo would go on to win Best Picture, a strange thing since he wasn’t even nominated in this Best Director category. While people were scratching their heads trying to figure out why he and Kathryn Bigelow were snubbed, some were pleasantly surprised (myself included) to see Michael Haneke on the list for Amour (foreign films don’t often get recognized in this category), as well as first-time filmmaker Benh Zeitlin for Beasts of the Southern Wild. Though the race seemed to be between David O. Russell (Silver Linings Playbook) and Steven Spielberg (Lincoln), Ang Lee walked away with his second Best Director award. Remarkably, it was the new kid on the block, Zeitlin, who impressed me the most. He shot Beasts of the Southern Wild on location using mostly local actors, and created a poetic fairy tale most seasoned directors couldn’t produce. Even though he didn’t win, Zeitlin should have felt honored to be in such great company. [Dustin]

Best Picture

Who Won – Argo
Who Should’ve Won – Silver Linings Playbook

This is probably one of my least favorite years for Best Picture, a lot of brilliant films didn’t make the cut while a couple mediocre ones did (cough Les Miserables cough). But I’ll take Silver Linings Playbook over the wondrous Life of Pi, the heartbreaking Amour, and the endlessly moving Beasts of the Southern Wild. Silver Linings is one of the most charming movies of the decade and a delightful throwback to the zany screwball romantic comedies of the ‘30s and ‘40s, a better tribute than the previous years Best Picture winner The Artist. David O. Russell’s chaotic and jumpy style perfectly suits this story of a man suffering from bipolar disorder trying to correct his life amidst an unusual romance, a temperamental football-obsessed father, and any other type of everyday drama that can stand in the way of a positive and happy life. There’s a lightning-in-a-bottle feeling of success to Silver Linings Playbook which the uninspired mess of American Hustle only makes me appreciate more. [Ryan]

One of the most intriguing films of 2012 was without a doubt Paul Thomas Anderson’s The Master. The film contains some of the best acting performances of the year, which led Philip Seymour Hoffman, Joaquin Phoenix, and Amy Adams to all receive Oscar nominations for their respective roles. Recently, some of the official details of the DVD and Blu-ray release were disclosed.

The Master will be released on Blu-ray and DVD on February 26th, 2013.

Special Features:

• “Back Beyond” Outtakes – Additional Scenes Music by Jonny Greenwood (20 min)
• “Unguided Message” – 8 Minute Short
• Behind the Scenes Featurette
• Trailers
• Teasers
• “Let There Be Light” (1946) – John Huston’s landmark documentary about WWII veterans (58 Minutes)
• Digital Copy

The Master Official trailer:

Read Our Review of The Master

The nominations for the 2013 Oscars were announced this morning with Lincoln brining in the most nominations with a whopping 12, including most of the main categories. Almost every year at the Academy Awards the showdown for Best Picture is normally between just two films, this year may be a little different. I have always thought Lincoln and Zero Dark Thirty are the two films considered to have the best chance at taking the top prize, but with Kathryn Bigelow not getting a nod for Best Director, that severely hurts Zero Dark Thirty’s chances of winning Best Picture.

There were a few surprise nominations this morning, most which were welcoming. First off, Beasts of the Southern Wild got a lot more support from the Academy than what some were predicting. The film walked away with a total of 4 nominations, includes ones for Best Picture and perhaps the most surprising, Best Director. You could say because Benh Zeitlin (Beasts of the Southern Wild) got that nod, that it shut out Kathryn Bigelow (Zero Dark Thirty) for that final spot. Quvenzhane Wallis got a well-deserved nomination for Best Actress and although it is unlikely, she would be the youngest award winner if she ended up winning.

Some were worried that The Master would not end up getting any love from the Academy, but we can know breathe a sigh of relief as Joaquin Phoenix, Philip Seymour Hoffman, and Amy Adams were all thankfully nominated for acting awards. Amour got some love (pun intended) in more than just the Best Foreign Language category (where it is thought to be the front-runner in). The film also picked up nominations for Best Original Screenplay, Best Actress, Best Director and Best Picture.

The 85th Academy Awards will air February 24, 2013 at 5:30 p.m., PT/ 8:30 p.m., ET on ABC.

Full List of 2013 Oscar Nominations:

Amour
Argo
Beasts Of The Southern Wild
Django Unchained
Les Misérables
Life Of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty

Michael Haneke – Amour
Benh Zeitlin – Beasts Of The Southern Wild
Ang Lee – Life Of Pi
Steven Spielberg – Lincoln
David O. Russell – Silver Linings Playbook

Denzel Washington – Flight
Hugh Jackman – Les Miserables
Daniel Day-Lewis – Lincoln
Joaquin Phoenix – The Master
Bradley Cooper – Silver Linings Playbook

Emmanuelle Riva – Amour
Quvenzhane Wallis – Beasts Of The Southern Wild
Naomi Watts – The Impossible
Jennifer Lawrence – Silver Linings PLaybook
Jessica Chastain – Zero Dark Thirty

Alan Arkin – Argo
Christoph Waltz – Django Unchained
Tommy Lee Jones – Lincoln
Philip Seymour Hoffman – The Master
Robert De Niro – Silver Linings Playbook

Anne Hathaway – Les Misérables
Sally Field – Lincoln
Amy Adams – The Master
Helen Hunt – The Sessions
Jacki Weaver – Silver Linings Playbook

Michael Haneke – Amour
Quentin Tarantino – Django Unchained
John Gatins – Flight
Wes Anderson & Roman Coppola – Moonrise Kingdom
Mark Boal – Zero Dark Thirty

Chris Terrio – Argo
Lucy Alibar, Benh Zeitlin – Beasts of the Southern Wild
David Magee – Life Of Pi
Tony Kushner – Lincoln
David O. Russell – Silver Linings Playbook

Amour
Kon-Tiki
No
A Royal Affair
War Witch

Seamus McGarvey – Anna Karenina
Robert Richardson – Django Unchained
Claudio Miranda – Life Of Pi
Janusz Kaminski – Lincoln
Roger Deakins – Skyfall

Brave
Frankenweenie
ParaNorman
The Pirates! Band Of Misfits
Wreck-It Ralph

5 Broken Cameras
The Gatekeepers
How To Survive A Plague
The Invisible War
Searching For Sugar Man

William Goldenberg – Argo
Tim Squyres – Life Of Pi
Michael Kahn – Lincoln
Jay Cassidy and Crispin Struthers – Silver Linings Playbook
William Goldenberg, Dylan Tichenor – Zero Dark Thirty

Dario Marianelli – Anna Karenina
Alexandre Desplat – Argo
Mychael Danna – Life Of Pi
John Williams – Lincoln
Thomas Newman – Skyfall

“Before My Time” – Chasing Ice
“Pi’s Lullaby” – Life Of Pi
“Suddenly” – Les Miserables
“Skyfall” – Skyfall
“Everybody Needs A Best Friend” – Ted

Anna Karenina
The Hobbit: An Unexpected Journey
Les Misérables
Life Of Pi
Lincoln

Anna Karenina
Les Misérables
Lincoln
Mirror Mirror
Snow White and the Huntsman

Hitchcock
The Hobbit: An Unexpected Journey
Les Misérables

Argo
Django Unchained
Life Of Pi
Skyfall
Zero Dark Thirty

Argo
Les Misérables
Life Of Pi
Lincoln
Skyfall

The Hobbit: An Unexpected Journey
Life Of Pi
Marvel’s The Avengers
Prometheus
Snow White And The Huntsman

Inocente
Kings Point
Mondays At Racine
Open Heart
Redemption

Adam And Dog
Fresh Guacamole
Head Over Heels
Maggie Simpson In The Longest Daycare
Paperman

Asad
Buzkashi Boys
Curfew
Death Of A Shadow
Henry

As the Way Too Indie Staff compiled their favorite films that had a U.S. theatrical release in 2012, there was some debate as to whether or not 2012 was an overall good year for films. I landed in the “it was a pretty good year” camp personally, but let’s take a moment to recap some of the big releases that came out. In particular, 2012 was quite a year for blockbuster films as The Avengers broke 28 box office records during the summer. Christopher Nolan finished up his Batman trilogy with The Dark Knight Rises. Steven Spielberg shot an epic biopic about the history behind one of America’s most famous presidents with his film Lincoln. No one from the staff had a chance to see Zero Dark Thirty before making their list, which is bound to have a nice box office run. Next, consider how many modern legendary filmmakers released a film this year; Wes Anderson (Moonrise Kingdom), Paul Thomas Anderson (The Master), Quentin Tarantino (Django Unchained), Leos Carax (Holy Motors) and the final film by Bela Tarr (The Turin Horse). While there may not have been a plethora of masterpieces in 2012, overall it was a solid year for fans of cinema.

Way Too Indie’s Best Films of 2012

#1 This Must Be the Place

Paolo Sorrentino’s new film about a retired gothic rock star living in Dublin, Ireland who sets out across America to find the ex-Nazi who tortured his father is one hell of a road trip film. Sean Penn plays the rocker and it’s one of his best performances in years. Some parts are very funny and others will touch your heart. Supporting turns from Judd Hirsch, Frances McDormand, Harry Dean Stanton and real life rock star David Byrne are just a few of the quirky people that populate Sorrentino’s whimsical journey into the heart of not only America, but darkness itself. (Blake)
This Must Be the Place Review | Watch Trailer

#2 Looper

Having worked in a cinema over the summer I can say that in the UK, Looper wasn’t a film that generated that much hype, I think we were all sure that it was just another Bruce Willis action stereotype. After seeing the trailer, my opinion changed dramatically and I was forced to admit I was eagerly awaiting the release. This sci-fi designed to avoid the deep nature of time travel and accept that there are many ‘loop holes’ to the whole experience focuses on a single man’s fight for survival. The people and/or person that he is fighting against are where this story pulls at the complex strings of our mind. We’re constantly fighting our own battle to understand what’s happening and our constant personal debate as to who to root for is why this film is so high in this list. (Amy)
Looper Review | Watch Trailer

#3 Beasts of the Southern Wild

Benh Zeitlin blindsided everyone this year with his fantastic filmmaking debut in Beasts of the Southern Wild. One of the year’s best films was comprised of people who have never acted before, making the film that much more impressive. The film is told through the eyes of a self-aware child who has extraordinary determination to find her place in the world. Many allegories can be found within this poetic fairy tale of a film, making it not only an imaginative coming-of-age story but also a though-provoking one as well. (Dustin)
Beasts of the Southern Wild Review | Watch Trailer

#4 Oslo, August 31

You will not find a more devastating film in this year (or possibly any year). Led by the best performance by an actor this year, this Norwegian drama will have you weeping in parts and your hands balled in fists rage in others. Anders, a recovering drug addict, wanders the streets of the Norwegian capital for 24 hours wondering his life’s worth and where he fits it in the grand scheme of things. The film is brutally honest for most of it’s 95 minutes, but you’d be hard pressed to find a more complete film than this Scandinavian masterpiece. (Blake)
Oslo, August 31 Review | Watch Trailer

#5 Moonrise Kingdom

Wes Anderson has created such a spectacular adventure fantasy I challenge anyone to dislike it. With two fantastic young actors portraying disturbed and lonely children searching for love, happiness and adventure you can’t help but adore their almost-adolescent behaviour. Suzy Bishop (Kara Hayward) the daughter of Laura (Frances McDormand) and Walt (Bill Murray) Bishop always carries a pair of binoculars due to her investigative and interesting nature. Sam Shakusky (Jared Gilman) is a devoted boy scout who doesn’t fit in with his group of peers. His destructive attitude towards bullies makes him an outsider to society and abandoned by his foster family. The pair’s loneliness and abstract personalities force them to run away with each other. The story is brilliant and a personal favourite of the year. (Amy)
Moonrise Kingdom Review | Watch Trailer

#6 Jeff, Who Lives at Home

In this fourth feature film from the indie darlings Jay and Mark Duplass, they have perfected the comradery of brotherhood using their signature approach of quick zoom cinematography and less scripted dialog. Jeff, Who Lives at Home delivers a powerful message about believing things happen for a reason by blurring the line between choice and destiny. Along the way are some hilarious scenes that make the film an easy and entertaining watch. The Duplass brothers may be edging into more mainstream movie making, but they are not sacrificing their style or creativity. (Dustin)
Jeff, Who Lives at Home Review | Watch Trailer

#7 The Deep Blue Sea

“You know what real love is? It’s wiping someone’s ass … and lettin’ ‘em keep their dignity so you can both go on.” That advice one character gives to Hester (Rachel Weisz) more or less sums up the message of Terence Davies’ film. Hester, who left her marriage to a wealthy judge for a young Air Force pilot (Tom Hiddleston), is so madly in love with her boyfriend that she resorts to suicide if he doesn’t return the same feelings entirely. Weisz is naturally terrific at earning sympathy despite her character’s irrational behaviour, but it’s Davies who stands out (returning to narrative filmmaking after a long hiatus). Shooting through the same perspective as Hester, Davies uses a soft, hazy look and plenty of jaw-dropping sequences/shots that make The Deep Blue Sea the most romantic film of 2012. (CJ)
Watch Trailer

#8 Your Sister’s Sister

Lynn Shelton shot Your Sister’s Sister in under two weeks, but there is no evidence that the film suffers from such a short production. While the premise is simple, a man falls for his friend’s sister, the film turns out to be more intelligent and less conventional that it may sound like. Shelton brilliantly takes simple situations and turns them into extraordinary ones without sacrificing believability. Because the film mostly consists of improvisational dialog, genuine emotions and conversations are fully captured. To top it off, it wisely steers clear of a safe ending and goes with one that perfectly fits with the rest of the film. (Dustin)
Your Sister’s Sister Review | Watch Trailer

#9 The Turin Horse

Bela Tarr’s final film (and final masterpiece) is such a satisfying end to the Hungarian director’s career that it’s easy to understand why he retired. Unfolding over two and a half hours in 30 long takes, The Turin Horse observes six days in the life of a farmer and his daughter in a desolate landscape. They do the same tasks repeatedly with each passing day, but soon their world is slowly dismantled piece by piece until there’s nothing left. Tarr’s bleak vision, with the brutal soundscape of pummeling winds and intense focus on the farmer’s tedious tasks, are so gorgeously realized with DP Fred Kelemen that it’s impossible not to be affected by it. The Turin Horse may not be an easy watch, but it’s undeniably pure cinema. (CJ)
Watch Trailer

#10 Cabin in the Woods

Reading through Blake’s review of this movie, I can safely say that I agree with him quite strongly. The film was 100% refreshing to the horror genre and indeed “on the edge of being great”. The Cabin in the Woods offers us a chance to see horror for what it is and what it should be, awesome, ‘scary’ and sometimes absolutely spontaneous. In a genre that suffers from over use of the stereotype high-school death sequences this film gives it a breath of fresh air, something much needed due to the drivel that’s been pumped out over the years. (Amy)
Cabin in the Woods Review | Watch Trailer

#11 End of Watch

Set on the mean streets of Los Angeles this tale of two beat cops is one hell of a thriller. Jake Gyllenhaal and Michael Pena are magnificent as the two cops. The film lives or dies on their chemistry and honestly you won’t find a better on screen duo this year. Director David Ayers supports them with a great screenplay and even better directing. His film builds from minute one all the way to the frantically intense finale where the two cops find themselves marked men by the Mexican drug cartel. This is visceral filmmaking. (Blake)
Watch Trailer

#12 The Raid: Redemption

The premise is simple: A SWAT team takes on an apartment complex run by a drug lord but soon have to fight their way out in order to survive. Gareth Evans, evoking the no-bullshit attitude of 70s exploitation films from the likes of John Carpenter, takes his straightforward concept and fills it with some of the most brutal and exciting action sequences from the last decade. Starting with guns and slowly moving his way towards hand-to-hand combat, Evans maintains a breathless pace while upping the brutality with each passing minute. When it comes to action filmmaking this is as close to perfect as it can get. (CJ)
The Raid: Redemption Review | Watch Trailer

#13 The Dark Knight Rises

To be clear, The Dark Knight Rises is not my favorite of Christopher Nolan’s three-film franchise. But is it one of the best of 2012? Absolutely! There is enough that works in this film to forgive its more obvious flaws, ahem pacing. Nolan maintains the dark tragic arc of the Batman introducing him to, if not his most tantalizing of villains, definitely his most dogged. Bain manages to invoke more damage than any other criminal introduced, on both Gotham and Batman. And there is the true connection Nolan presents: Batman is Gotham and his fate ties directly to the city. This emotional tie, and the barriers Bruce Wayne, who may now always be remembered with Christian Bale’s cool collected mannerisms, must overcome, grow our love for this favorite of the superhero universes. Nolan’s conclusion to what is clearly the best comic book film series ever made, gives us the best of the Batman and this leaves a satisfying sense of closure. (Ananda)
The Dark Knight Rises Review | Watch Trailer

#14 The Master

An alcoholic war veteran (played by Joaquin Phoenix) stumbles into a cult circle run by Philip Seymour Hoffman. From there The Master keeps the audience on edge with massive amounts of psychological realism resulting with more questions than answers. The Master is a hypnotic film that is challenging but ultimately rewarding if you are willing to read between the lines. Containing acting performances that are not only among the best of the year, but the best in recent memory. Paul Thomas Anderson is considered to be one of the best filmmakers of the last 20 years and it is easy to see why after watching this film. (Dustin)
The Master Review | Watch Trailer

#15 The Avengers

Though I may perhaps be one of few who would call this one, if not the, best film of the year, any film that perfectly executes its genre, should be given accolade. With comic book films starting to lose originality, Joss Whedon stays true to the character of each of The Avengers’ six superheroes by presenting them truer to their comic book form than trying to adapt them to film. Using his particular comedic wit (all that we loved about Dr. Horrible) and incredibly executed action (all the greatness of Firefly) and suddenly we’re watching a different sort of comic book movie. One which gratifies fanboys and moviegoers alike with its presentation. Combined with Whedon’s sly horror film Cabin in the Woods (also on our list of the Best of 2012), which manages to reinvent genres by cleverly laughing both with and at Horror, I’d say Whedon’s in the zone. (Ananda)
Watch Trailer

#16 Headhunters

The best description I’ve heard about this brilliant thriller from Norway was, “a mix of Coen brothers and Wiley Coyote.” A corporate headhunter is way in debt. So much so that he resorts to stealing valuable art pieces from clients. His new client, whom he also suspects of sleeping with his wife, turns out to be an ex-Mercenary who specialized in tracking down humans. Once the chase starts there is no letting up. The film is brilliant at mixing brutal and bloody violence with ironic comedy and great human moments. (Blake)
Headhunters Review | Watch Trailer

#17 Ruby Sparks

I had very high hopes for Ruby Sparks, and I’m absolutely positive it was rooted from my love of Little Miss Sunshine. The makers did not disappoint. Ruby Sparks is funny, crazy and a little bit lovely. Calvin (Paul Dano – “Dwayne” from Little Miss Sunshine) has writers block when we are first introduced to him. He’s seeing a therapist (Elliot Gould) in order to help him overcome some personal issues; however his need to write overshadows dealing with those problems. A writing assignment given by his therapist turns into the narrative for this story. Calvin creates a woman “Ruby Sparks” (Zoe Kazan) from the words he writes on his typewriter and she comes to life; cue love story. Ruby isn’t an ordinary girl however, she’s everything Calvin wants and has ever dreamed of quite literally; until the day she isn’t. A self-destructive Calvin realises he is living out a dream and not a reality. A typical boy meets girl love story but with some serious edge. (Amy)
Ruby Sparks Review | Watch Trailer

#18 Arbitrage

After seeing Dustin’s review for a new Richard Gere film I had to check it out for myself. Arbitrage was an almost perfect film that grips you from the very beginning and doesn’t lose you at any point at all. Robert Miller (Richard Gere) is the CEO of Miller Capital with an intention to sell his business, the reasons why cause trauma and deceit throughout the entirety of the film. His family and friends can’t seem to understand why he wants to sell the firm but the need to preserve his dignity a financial standing pushes him to do so. Keeping concentration during Arbitrage is effortless. In Dustin’s review he said the film, “uses its runtime effectively, making it seemingly fly by” – and because the ending came as such a shock to me I’d have to agree. I hadn’t realised I’d been watching the film for 107 minutes and it seemed to jump out of the blue. Arbitrage leaves you with some unanswered questions and the film ends quite abruptly, however the journey is so exciting you don’t seem to mind all that much. (Amy)
Arbitrage Review | Watch Trailer

#19 Lincoln

I was skeptical before seeing this film; unsure Spielberg wasn’t out to extort one of America’s most beloved political heroes. As a timely film, during the 150th anniversary of the Civil War, I worried the film would focus on the war, the most gruesome event of Lincoln’s presidency, but instead Lincoln is a well-crafted political drama. The film portrays Lincoln as a politician who could play the game as well as any of them and still bring a sense of dignity to it all. Daniel Day Lewis, a Brit who has my permission to play any American figure he pleases, portrays Lincoln’s affability but also shows the toll such empathy for people took on him. With an inspired ensemble (I literally spent the first 30 minutes gawking at how many great actors kept popping up), Lincoln’s greatest Presidential act, the abolishment of slavery, is acted to perfection. And at a time when our own politicians seem unable to reach compromises, this film offers greater encouragement and a timely reminder of what one man was able to accomplish. (Ananda)
Watch Trailer

#20 Holy Motors

This French gem of a film is one that I can honestly say I haven’t quite figured out fully yet. But, I guarantee you won’t find a better film this year about the love (and loss) of cinema. A man rides in the back of a limo from one “appointment” to another. To describe what he does over the course of the film in one paragraph is simply impossible, but I would bet my life that as a cinema lover you’ll lose count of how many times you’ll be picking your jaw up from the floor. This is a film that drips with the blood, sweat and tears of all eras of cinema. Denis Levant’s lead performance is one for the ages. You owe yourself to see this film. (Blake)
Holy Motors Review | Watch Trailer

#21 This is Not a Film

Jafar Panahi’s film, while sitting closer to the bottom of this list, would certainly be at the top if we were going by the most impressive films of the year. Panahi, who is currently on house arrest with a 6 year prison sentence and 20 year ban on filmmaking, tries to work around his limitations by filming himself acting out a script he was working on before his arrest. It’s through this seed of an idea that This is Not a Film transforms into so much more: a portrait of a man who’s lost his livelihood, a defiant act of protest, a meditation on cinema itself and so much more. It’s one of the most daring and original works from this year with a final sequence that has to be seen to be believed. (CJ)
This is Not a Film Review | Watch Trailer

#22 Silver Linings Playbook

Granted, I’m a sucker for an untraditional romance any day, but throw in amazing performances and I have no problem calling Silver Linings Playbook one of the best of the year. David O. Russel makes a romance between two emotionally disturbed people both heartwarming and realistic. Bradley Cooper gives a career-defining performance as Pat, just out of a state institution after going ballistic when he found his wife in the shower with a co-worker, and now living back at home with his parents. Robert De Niro (only improved with age) is Pat’s borderline OCD father who loves his son the only way he knows how. But Jennifer Lawrence picked the perfect way to cast off any young-adult-leading-lady stigma by playing Tiffany, a manic recently widowed young woman who befriends Pat and proves that two crazies cancel each other out. Through their self-devised form of therapy they bring out the best in each other while accepting each other in fully flawed form. Both hilarious and heart-wrenching, Silver Linings Playbook proves that today’s romance no longer fits the rom-com mold, and I say out with the old and in with new. (Ananda)
Silver Linings Playbook Review | Watch Trailer

#23 Beyond the Black Rainbow

Beyond The Black Rainbow is more of an experience than anything else. This sci-fi thriller is a highly stylized head trip; weather it is an enjoyable one will come down to your tolerance of slow-paced atmospheric films that replace a traditional narrative for abstract visuals. The film is set in a futuristic 1983 facility where an experimental doctor holds his patient captive to perform tests on her. The film appears heavily influenced from the masterminds of Stanley Kubrick and Dario Argento. If you can overlook the dreadful ending, you may just find the most bizarre film of 2012. (Dustin)
Beyond the Black Rainbow Review | Watch Trailer

#24 Life of Pi

Based on the acclaimed novel of the same name, Life of Pi, dubbed “unfilmable” by some, is at once both true to it’s source as well as a stand alone masterful film. The story of a young man who loses everything when shipwrecked and winds up lost at sea with a Bengal tiger, is fantastical and yet at all times believable, because Pi’s spiritual journey is so in tune with that of the struggle within many of us. Ang Lee has told every manor of story in his many films, covering both history and the globe with his settings. With Life of Pi, he proves there is no story he can’t get to the heart of, and no visual element he can’t master. Turns out a film can combine the visual elements of a major blockbuster with the artistic emotion of an independent film, where one element need not trump the other. (Ananda)
Watch Trailer

#25 Killer Joe

William Friedkin and Tracy Letts’ pitch black comedy isn’t afraid to revel in the vile world it creates. The hick family, who hire an assassin to kill their mother and use their mentally impaired daughter as a retainer, are either dumb as a doornail or reprehensible on every level. People only communicate through shouting matches, and everyone is just trying to make money without any care for who might get hurt along the way. Friedkin and Letts slowly let the story develop along the way, letting things play out as a sort of warped take on a Coen Brothers film while slowly building up the tension until everything goes wrong. What elevates Killer Joe into something truly great is the final act, where all the tension explodes in a horrifying conclusion that’ll have viewers mortified or cackling with glee. William Friedkin might not be churning out classics like The Exorcist or The French Connection nowadays, but there’s no denying the man hasn’t lost his edge. (CJ)
Killer Joe Review | Watch Trailer

Honorable Mentions

Sleepwalk With Me
Alps
Prometheus
Barbara
The Color Wheel

Now look, I don’t have to tread familiar ground here (but I will for fun). Anyone who knows about awards season knows how much of a joke the Golden Globes are. The awards, which are selected by 90 or so people who make up the ‘Hollywood Foreign Press Association’ or HFPA, have very little significance. The studios pour out money shoving their stars around to HFPA parties, wining and dining the members in order to get some sort of recognition. This isn’t much of a secret since it’s so blatant. A quick Google search can show you how messed up the awards are, and it seems that with every year they’ve stopped bothering with trying to make themselves look somewhat prestigious.

There are definitely some shocking nominations here, but most of them are of the ‘Huh?!’ variety. Expectantly this comes from the Musical or Comedy category, where Salmon Fishing in the Yemen scored three nominations! Other odd surprises include Maggie Smith getting nominated for Quartet instead of Comedy/Musical Picture nominee The Best Exotic Marigold Hotel and The Hobbit getting completely shut out.

As for the serious contenders, Lincoln and Les Misérables continue their race at the top with Zero Dark Thirty closing in fast. Lincoln scored the most nominations with 7 while Argo and Django Unchained got 5 a piece. Les Misérables, which was the presumed front-runner for the Musical/Comedy category, only got nods for Picture, Actor (Hugh Jackman) and Supporting Actress (Anne Hathaway). It could be a sign of that movie losing steam, but treating the Globes as a predictor of anything would be a grave mistake.

As for the pleasant surprises: Moonrise Kingdom scores a Best Picture nod, Life of Pi got some love (while it isn’t the best movie of the year it’s definitely one of the more unique films in the awards race), Django Unchained and Argo proving that they have staying power, Rachel Weisz, Richard Gere and Jack Black all getting acting nods and Cloud Atlas picking up a nomination for its excellent score. Read (or weep at) the nominations below. The awards show, which is more about watching celebs get drunk and hoping tabloid fodder happens, air on January 13th. Tina Fey and Amy Poehler will host.

The full list of 2013 Golden Globes nominations:

Best Motion Picture – Drama
Argo
Django Unchained
Life Of Pi
Lincoln
Zero Dark Thirty

Best Picture – Comedy/Musical
Best Exotic Marigold Hotel
Les Miserables
Moonrise Kingdom
Salmon Fishing In The Yemen
Silver Linings Playbook

Best Director
Ben Affleck – Argo
Quentin Tarantino – Django Unchained
Ang Lee – Life Of Pi
Steven Spielberg – Lincoln
Kathryn Bigelow – Zero Dark Thirty

Best Actress – Drama
Rachel Weisz – The Deep Blue Sea
Helen Mirren – Hitchcock
Naomi Watts – The Impossible
Marion Cotillard – Rust And Bone
Jessica Chastain – Zero Dark Thirty

Best Actor – Drama
Richard Gere – Arbitrage
Denzel Washington – Flight
Daniel Day-Lewis – Lincoln
Joaquin Phoenix – The Master
John Hawkes – The Sessions

Best Actress – Comedy/Musical
Judi Dench – Best Exotic Marigold Hotel
Meryl Streep – Hope Springs
Maggie Smith – Quartet
Emily Blunt – Salmon Fishing In The Yemen
Jennifer Lawrence – Silver Linings Playbook

Best Actor – Comedy/Musical
Jack Black – Bernie
Bill Murray – Hyde Park On Hudson
Hugh Jackman – Les Miserables
Ewan McGregor – Salmon Fishing In The Yemen
Bradley Cooper – Silver Linings Playbook

Best Supporting Actress
Anne Hathaway – Les Miserables
Sally Field – Lincoln
Amy Adams – The Master
Nicole Kidman – The Paperboy
Helen Hunt – The Sessions

Best Supporting Actor
Alan Arkin – Argo
Christoph Waltz – Django Unchained
Leonardo DiCaprio – Django Unchained
Tommy Lee Jones – Lincoln
Philip Seymour Hoffman – The Master

Best Screenplay
Chris Terrio – Argo
Quentin Tarantino – Django Unchained
Tony Kushner – Lincoln
David O Russell – Silver Linings Playbook
Mark Boal – Zero Dark Thirty

Best Original Score
Alexandre Desplat – Argo
Dario Marianeli – Anna Karenina
Tom Tykwer, Johnny Klimek, Reinhold Heil – Cloud Atlas
Mychael Danna – Life Of Pi
John Williams – Lincoln

Best Original Song
Keith Urban – For You (Act Of Valor)
Taylor Swift – Safe & Sound (The Hunger Games)
Hugh Jackman – Suddenly (Les Miserables)
Adele – Skyfall (Skyfall)
Jon Bon Jovi – Not Running Anymore – (Stand Up Guys)

Best Animated Feature Film
Brave
Frankenweenie
Hotel Transylvania
Rise Of The Guardians
Wreck-It Ralph

Best Foreign Film
Amour
The Intouchables
Kon-Tiki
A Royal Affair
Rust & Bone

Best Television Series – Drama
Breaking Bad
Boardwalk Empire
Downton Abbey
Homeland
The Newsroom

Best Performance by an Actress In A Television Series – Drama
Connie Britton, Nashville
Glenn Close, Damages
Claire Danes, Homeland
Michelle Dockery, Downton Abbey
Julianna Margulies, The Good Wife

Best Performance by an Actor In A Television Series – Drama
Jeff Daniels, The Newsroom
Jon Hamm, Mad Men
Damian Lewis, Homeland
Steve Buscemi, Boardwalk Empire
Bryan Cranston, Breaking Bad

Best Television Series – Comedy Or Musical
The Big Bang Theory
Episodes
Girls
Modern Family
Smash

Best Performance by an Actress In A Television Series – Comedy Or Musical
Zooey Deschanel, New Girl
Julia Louis-Dreyfus, Veep
Lena Dunham, Girls
Tina Fey, 30 Rock
Amy Poehler, Parks and Recreation

Best Performance by an Actor In A Television Series – Comedy Or Musical
Alec Baldwin, 30 Rock
Don Cheadle, House of Lies
Louis CK, Louie
Matt LeBlanc, Episodes
Jim Parsons, The Big Bang Theory

Best Mini-Series Or Motion Picture Made for Television
Game Change
The Girl
Hatfields & McCoys
The Hour
Political Animals

Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Nicole Kidman, Hemingway and Gelhorn
Jessica Lange, American Horror Story: Asylum
Sienna Miller, The Girl
Julianne Moore, Game Change
Sigourney Weaver, Political Animals

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Kevin Costner, Hatfields & McCoys
Benedict Cumberbatch, Sherlock
Woody Harrelson, Game Change
Toby Jones, The Girl
Clive Owen, Hemingway and Gelhorn

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Hayden Panettiere, Nashville
Archie Panjabi, The Good Wife
Sarah Paulson, Game Change
Maggie Smith, Downton Abbey
Sofia Vergara, Modern Family

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Max Greenfield, New Girl
Ed Harris, Game Change
Danny Huston, Magic City
Mandy Patinkin, Homeland
Eric Stonestreet, Modern Family

The members of the Screen Actors Guild have submitted their nominations to honor their fellow cohorts and the results were mostly predictable and safe. Leading the pack with four nominations each were, Lincoln and Silver Linings Playbook. Even though the guild does not have a “best picture” category, the “outstanding performance by a cast” can be a good indicator for contenders looking to win Best Picture at the Oscars in February.

There were two major surprises in the film category. The first one being the nod given to Nicole Kidman for her supporting role in the disdained The Paperboy. The other shocker was the lack of love for Paul Thomas Anderson’s The Master, which recently picked up several acting nominations from the Critics Choice Awards. The only SAG nomination for The Master was given to Philip Seymour Hoffman. The two surprises may even be linked to one another; with Kidman somehow besting Amy Adams for the nomination in that category.

The full list of 2013 Golden Globes nominations:

Film

Outstanding performance by a cast in a motion picture
Argo
The Best Exotic Marigold Hotel
Les Misérables
Lincoln
Silver Linings Playbook

Outstanding performance by a male actor in a leading role
Bradley Cooper – Silver Linings Playbook
Daniel Day-Lewis – Lincoln
John Hawkes – The Sessions
Hugh Jackman – Les Misérables
Denzel Washington – Flight

Outstanding performance by a female actor in a leading role
Jessica Chastain – Zero Dark Thirty
Marion Cotillard – Rust and Bone
Jennifer Lawrence – Silver Linings Playbook
Helen Mirren – Hitchcock
Naomi Watts – The Impossible

Outstanding performance by a male actor in a supporting role
Alan Arkin – Argo
Javier Bardem – Skyfall
Robert De Niro – Silver Linings Playbook
Philip Seymour Hoffman – The Master
Tommy Lee Jones – Lincoln

Outstanding performance by a female actor in a supporting role
Sally Field – Lincoln
Anne Hathaway – Les Misérables
Helen Hunt – The Sessions
Nicole Kidman – The Paperboy
Maggie Smith – The Best Exotic Marigold Hotel

Television

Outstanding performance by an ensemble in a drama series
Boardwalk Empire
Breaking Bad
Downton Abbey
Homeland
Mad Men

Outstanding performance by an ensemble in a comedy series
30 Rock
The Big Bang Theory
Glee
Modern Family
Nurse Jackie
The Office

Outstanding performance by a male actor in a drama series
Steve Buscemi – Boardwalk Empire
Bryan Cranston – Breaking Bad
Jeff Daniels – The Newsroom
Jon Hamm – Mad Men
Damian Lewis – Homeland

Outstanding performance by a female actor in a drama series
Claire Danes – Homeland
Michelle Dockery – Downton Abbey
Jessica Lange – American Horror Story: Asylum
Julianna Margulies – The Good Wife
Maggie Smith – Downton Abbey

Outstanding performance by a male actor in a comedy series
Alec Baldwin – 30 Rock
Ty Burrell – Modern Family
Louis C.K. – Louie
Jim Parsons – The Big Bang Theory
Eric Stonestreet – Modern Family

Outstanding performance by a female actor in a comedy series
Edie Falco – Nurse Jackie
Tina Fey – 30 Rock
Amy Poehler – Parks and Recreation
Sofia Vergara – Modern Family
Betty White – Hot in Cleveland

Outstanding performance by a male actor in a television movie or miniseries
Kevin Costner – Hatfields & McCoys (History)
Woody Harrelson – Game Change (HBO)
Ed Harris – Game Change
Clive Owen –Hemingway & Gellhorn (HBO)
Bill Paxton – Hatfields & McCoys (History)

Outstanding performance by a female actor in a television movie or miniseries
Nicole Kidman – Hemingway & Gellhorn (HBO)
Julianne Moore – Game Change (HBO)
Charlotte Rampling – Restless (Sundance)
Sigourney Weaver – Political Animals (USA)
Alfre Woodard – Steel Magnolias (Lifetime)

I still remember the feeling I had immediately after watching Beasts of the Southern Wild; my heart was beating out of my chest, a long-lasting smile was on my face, and I had that feeling that I just watched something great. Regardless of the title, it is special when a film can make you feel this way. So it should be of little surprise that Beasts of the Southern Wild is my number 1 film of 2012. But the main purpose of this preface is to highlight potentially important films that I did not get a chance to see before making the list. Some of these films include; The Sessions, Amour, The Comedy, Cloud Atlas, and The Silver Linings Playbook just to name a few.

Also to note, Paradise: Love is absent from my list (although it would have likely been in the Top 3). This is because of the rules we set up, only films with a North American release date of 2012 can count. Therefore it will have to appear on the list next year.

Dustin Jansick’s Top 10 Films of 2012

Honorable Mentions

Sound of My Voice
Goodbye First Love
Compliance
Ruby Sparks
Arbitrage

You will be hard pressed to find a film this year that is better acted or better crafted than Paul Thomas Anderson’s The Master. In Anderson’s sixth directorial film comes an epic tale of made up religion that has earmarks of a cult and it’s radical followers. Even though the film never comes out and says it directly, the film at the very least resembles that of Scientology. You end up walking away with more questions than answers as The Master was perplexing as well as absorbing, but above all, it was hypnotic.

From the very beginning we see that Freddie Quell (Joaquin Phoenix) has a drinking problem as well as a troubled sexual past that may explain his erratic behavior. To say that Freddie has a problem with drinking is putting it lightly. He is literally poisoning himself with what he drinks as often times he makes his concoctions with whatever is within reach; sometimes that means paint thinner. As his service in the Navy ends with the end of World War II, he stumbles from job to job until one night he walks aboard a large yacht.

Unbeknownst to him, the yacht belongs to a man named Lancaster Dodd (Philip Seymour Hoffman). Soon enough Freddie meets Dodd, who people call the master, and finds out that he is a self-proclaimed jack of all trades; “a writer, a doctor, a nuclear physicist and a theoretical philosopher, but above all, I am a man.” Dodd is eager to take Freddie under his wing. Freddie, a troubled soul looking for anything to cling on to, has no problems with that.

I found it especially interesting when Dodd introduces his family someone new that he first introduces Freddie before the rest of his family. In fact, the last person he acknowledges is his son, who does not believe what his father his preaching and at one point says, “Can’t you see what he is doing? He is making things up as he goes along.” The connection between the two only grows the more Freddie gets involved.

Freddie is not afraid to beat people up who question what Dodd is preaching. I think that speaks to how much he wanted to attach and be part of something. However, by the end you start to wonder if Freddie is being people up because he is afraid that the questioners are correct. Slowly, it is slightly implied that he may be casting his own doubts on Dodd, like when he is listening to him speak about how laughter is the secret on two separate occasions.

There is a scene early on when Lancaster Dodd interviews Freddie with intrusive questions about his past that is quite possibly the best scene in any film of this year. Emotions fill the screen as you see tears roll down Freddie’s eyes and the vein in his forehead as he screams in anger. It is the kind of scene that takes the air out of the room and makes your knuckles hurt from tension.

The Master had a couple of standout scenes where you get a glimpse of how Freddie sees the world. The obvious scene is when a roomful of people are cheering on Dodd dancing, Freddie sees every woman in the room naked. Another eerie but more subtle moment is when Dodd’s wife asks Freddie to look into her eyes and then change the color of them. You can notice that her eyes do in fact change.

Joaquin Phoenix puts on a performance that I do not think will be matched in his career again. From the very first teaser trailer it was pretty evident that his character is insane. My instant reaction from the little bit that I saw then was this could easily be an Oscar worthy performance by him. Now after seeing the film and his full performance, it only reaffirms my initial reaction.

Nearly matching the phenomenal performance of Phoenix was Philip Seymour Hoffman as the charismatic religious leader. He comes off as a confident speaker that can win over most doubters with his charm but you can tell that he is masking his own problems. In private there are some moments when he relies on his wife Peggy (Amy Adams) to guide him and tell him everything is going to be okay.

The Master felt almost like it was a companion piece to There Will Be Blood (which is currently one of only two perfectly rated films on Way Too Indie). The overall tone felt very much the same courtesy of Jonny Greenwood’s score in both films. But also the subject matter is similar; two powerful leaders who look to take advantage of the weak and powerless. Even though Paul Thomas Anderson replaced his go-to cinematographer Robert Elswit with Mihai Malaimare Jr. for this film, there were many epic shots including some outside tracking shots similar to ones that worked so well in There Will Be Blood.

While The Master did not quite have the instant masterpiece feeling after watching it as There Will Be Blood did, it certainly adds to the already impressive arsenal of films done by Paul Thomas Anderson. He is a modern day master (no pun intended) filmmaker that will years for now be studied and compared to. What makes this film work is that it is as ambiguous to itself just as the characters are portrayed in the film. The Master demands the viewer to read between the lines the whole time with implications but never answers questions for you. The last scene is a perfect example of this as it opens up a different theory that was mentioned earlier in the film depending how you interpret it. It is a challenging but rewarding film if you are willing to connect the dots yourself.

2012 Toronto International Film Festival came to close on Sunday when officials announced the Audience Award went to Silver Linings Playbook, a film that now has some serious Oscar potential. We did not attend a showing of that crowd-pleaser film but below is a recap of the films that Way Too Indie writer CJ Prince did see at this year’s festival.

Recap of Way Too Indie coverage of 2012 Toronto International Film Festival

Day #1: An Introduction to the festival

An informative article about Toronto International Film Festival along with helpful film festival pointers.

Day #2: Spring Breakers and The Master

The first actual day at the festival was full of delays which resulted in leaving early from Spring Breakers to catch P.T. Anderson’s highly anticipated The Master.

Day #3: Tabu, Amour, 90 Minutes, No One Lives

This was the busiest day at the festival as it consisted of four different films including Amour which many believe to be a front runner at the Academy Awards for Best Foreign Language.

Day #4: Cloud Atlas and The Land of Hope

Easily the largest budgeted film we cover, Cloud Atlas, ended up being one of our favorites that we saw.

Day #6: Berberian Sound Studio and Here Comes The Devil

Back from taking one day off from the festival we cover a film that was on Way Too Indie’s Top 10 Most Anticipated Films at TIFF 2012.

Day #7: The Hunt and Leviathan

This day would end up be to the best overall day, Leviathan which ended up being the best film we saw by far and The Hunt which was a crackling drama.

Day #8: Post Tenebras Lux and When Night Falls

Two films from TIFF’s Wavelengths programme which are films that straddle the line between conventional and experimental.

Day #11: Penance

Finally we close out the festival with an epically long 5 hour film that ended the festival on a mediocre level.

Way Too Indie on Twitter

Follow @WayTooIndie on Twitter to see all of our festival coverage as well as daily reviews and news. Below is a recap of some our TIFF ’12 coverage.

Front of the spring breakers line is almost entirely young girls who are here for the cast. Poor souls have no clue what they’re in for.

— Way Too Indie (@WayTooIndie) September 7, 2012

Screening delayed already, dammit. Gotta catch the master no matter what even if it means skipping on this movies ending #TIFF12

— Way Too Indie (@WayTooIndie) September 7, 2012

From what I saw SPRING BREAKERS was a typical Korine movie for me. Hit and miss, with incredible highs and dull lows. #TIFF12

— Way Too Indie (@WayTooIndie) September 8, 2012

THE MASTER: going to take another watch before I get a better idea of what to think. Plenty of amazing stuff but it doesn’t come together

— Way Too Indie (@WayTooIndie) September 8, 2012

Filling in for AMOUR #TIFF12 twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) September 8, 2012

Say hello to the directors of CLOUD ATLAS #TIFF12 twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) September 9, 2012

CLOUD ATLAS: Welp, they did it. Huge epic, it’s faults are overshadowed by its huge ambitions. #TIFF12

— Way Too Indie (@WayTooIndie) September 9, 2012

BERBERIAN SOUND STUDIO: Some fantastic moments but it gets too bogged down in its insanity to be truly great #TIFF12

— Way Too Indie (@WayTooIndie) September 11, 2012

Thomas Vinterberg at a Q&A for THE HUNT which got a standing ovation twitter.com/WayTooIndie/st…

— Way Too Indie (@WayTooIndie) September 12, 2012

Overheard someone say they thought Morgan Freeman died a week ago, so anyone who thinks that #TIFF12 is for intellectuals can rest easy

— Way Too Indie (@WayTooIndie) September 12, 2012

LEVIATHAN: holy shit. Holy shit. Holy Shit. Holy. Shit. HOLY SHIT #TIFF12

— Way Too Indie (@WayTooIndie) September 13, 2012

In my 5 years of attending #TIFF12 I have yet to meet a nice person with a lanyard.

— Way Too Indie (@WayTooIndie) September 13, 2012

POST TENEBRAS LUX: Uh… #TIFF12

— Way Too Indie (@WayTooIndie) September 13, 2012

Well guys it has been a fun #TIFF12. Thanks for the follows, RTs and support. I now hand the reins back over to Dustin, see you next year

— Way Too Indie (@WayTooIndie) September 16, 2012

It seems like the word of the day was “delay.” After arriving at Toronto the line-up for picking up tickets took nearly an hour. That’s not a complaint though, anyone who has been to TIFF is fully aware that waiting in line is just part of the festival. Either way, gone were my hopes of rushing Imogene or Paradise: Love so off I went to Spring Breakers.

Unfortunately Spring Breakers ended up getting delayed by over a half hour, meaning that in order to catch my next screening I had to bail out on the film towards the end (I’m guessing there were 15-20 minutes left). I can’t give a proper review, but from what I did see it seemed like Harmony Korine hasn’t really changed for me. With his previous films like Mister Lonely and Trash Humpers, Korine was able to pull out some beautiful, amazing moments but couldn’t sustain that feeling throughout. Spring Breakers starts out strong with a montage of college kids partying which is the first of many montages peppered throughout. These were the best parts of the film, but as a collective whole the film became exhausting. I’d rather not get into too much detail since I haven’t seen the entire thing, but I do know one thing for sure. James Franco kills it in this. Believe the hype.

RATING: N/A

Spring Breakers

But of course, after Spring Breakers was the main event. I got in line for The Master and…ended up waiting some more due to an hour long delay. To add even more insult to injury, aside from a quick intro by Paul Thomas Anderson there was no sign of the cast and no Q&A. Considering the screening was charged at a premium because of a Q&A with the cast/director I’m guessing a lot of people weren’t too happy.

But on to the movie, which is sure to confuse many once it gets a wide(r) release. The film, which is simply about a mentally disturbed seaman (Joaquin Phoenix) becoming friends with the leader of a cult (Philip Seymour Hoffman) in 1950, has plenty of powerful moments. The use of 65mm film and feel of There Will Be Blood from the trailers might suggest a similarly epic story, but this is much more intimate than the insane bombast of Daniel Plainview. Phoenix wipes away his entire misstep with I’m Still Here in this, becoming so involved with his character that he’s unrecognizable at certain points. Hoffman is terrific as well, and the two of them getting Oscar nods is probably set in stone. My issue is that none of the great moments (and a shout out to the use of 65mm which was gorgeous) came together as a whole, which led to a very slow pace. I would need a rewatch to really settle in on how I feel about The Master, but my initial reaction is that it’s good. It’s just not the masterpiece that his last film was.

RATING: 7 (tentative)

The Master

COMING UP: I start to head into the Wavelengths direction with the half-silent Tabu, followed by Haneke’s Cannes winner Amour and the return of Ryuhei Kitamura with No One Lives.

Recap of some of my Tweets from today:

Follow @WayTooIndie for full coverage of the 2012 Toronto International Film Festival!

Went to pick up tickets, and now in my first of many lines for the fest. Can’t wait for SPRING BREAKERS and THE MASTER #TIFF12

— Way Too Indie (@WayTooIndie) September 7, 2012

Front of the spring breakers line is almost entirely young girls who are here for the cast. Poor souls have no clue what they’re in for.

— Way Too Indie (@WayTooIndie) September 7, 2012

From what I saw SPRING BREAKERS was a typical Korine movie for me. Hit and miss, with incredible highs and dull lows. #TIFF12

— Way Too Indie (@WayTooIndie) September 8, 2012

THE MASTER: going to take another watch before I get a better idea of what to think. Plenty of amazing stuff but it doesn’t come together

— Way Too Indie (@WayTooIndie) September 8, 2012

This year will be my fifth time heading out for the Toronto International Film Festival (or TIFF for short). The festival, which takes place over 11 days throughout downtown Toronto, has become more influential after the last several years. Back in 2008 TIFF premiered Slumdog Millionaire which went on to dominate the major award shows. In 2010 TIFF premiered The King’s Speech which, like Slumdog Millionaire, went on to win Best Picture at the Academy Awards. Now TIFF is seen as the starting line for the Oscar race, with studios premiering their films hoping for a breakthrough hit.

Don’t get the impression that TIFF is just a collection of celebrities promoting their Oscar hopefuls. This year there are 289 feature films playing at the festival, with the bigger premieres (Argo, To The Wonder, Hyde Park on Hudson) taking up a small percentage of that number. Films from all over the world play every year, and whether you’re interested in a certain country, genre, venue, etc. you should be able to find a line-up of films that will cater to your interests.

The festival starts today, but I will not be attending until tomorrow. Cameron Bailey, the artistic director of the festival, has admitted that people tend to think the festival starts on the second day which is basically true. The festival has tried to combat that this year by selecting Rian Johnson’s Looper as its opening film, but Thursday only has a handful of screenings that are all sold out. While I wait to become a part of the madness, here are some general pieces of information about TIFF that I’ve learned over the years.

You are a slave to the schedule (AKA You can’t always get what you want) – There are plenty of films I would have loved to see this year at TIFF but timing and scheduling end up becoming my worst enemy. I plan on seeing more than half of our most anticipated films at TIFF, but the perfect world where I can watch them all simply doesn’t exist. Like Someone in Love conflicts with The Master and Cloud Atlas. To The Wonder conflicts with Berberian Sound Studio. Other films I would have loved seeing, like Pablo Larrain’s No, conflict with other screenings. While it’s unfortunate I have no reason to complain, I’m perfectly happy with my current line-up. The fact that I have to make these kinds of tortured decisions goes to show how much content TIFF really has. It’s better to have an embarrassment of riches than a shortage.

Emotion versus Logic – There’s a debate that usually goes on between TIFF-goers every year that can be summed up like this: Is it worth the extra money to see a popular film at TIFF, even if it comes out in theatres shortly after? The ‘Emotion’ side says yes. With the cast and crew attending, a Q&A, and an audience of hundreds of enthusiastic fans watching it certainly feels like it would be the ideal experience to watch a movie. The ‘Logic’ side doesn’t consider those factors worthy of the premium pricing, and that time at the festival is better spent checking out something that won’t get a major theatrical release. Personally I sway back and forth between both sides of the debate. The reason why I won’t be checking out Argo at TIFF is because it’ll be out in theatres shortly afterward, but seeing Cloud Atlas at TIFF appeals to me a ton even if it’ll be out in October. And this point brings me to…

See something different – A trip to TIFF or any other film festival wouldn’t be complete without stepping outside one’s comfort zone. Every year I make sure that I see one film I know little to nothing about. The greatest opportunity that TIFF brings to viewers is discovery. It’s no surprise that out of 289 films some of them will be duds, but there are plenty of hidden gems as well. There’s something exciting about discovering a great film no one else knows about, and in a lot of cases no one ever gets the chance to see these films again in theatres. Some people might see it as risky to spend their money on a film they don’t know about, but the reward would be something worth remembering for a long time.

Besides the Looper premiere today should be relatively quiet at the festival. Jason Reitman is hosting a table read of American Beauty, while Rust and Bone and On The Road will screen for North American audiences before Dredd 3D kicks off the festival’s Midnight Madness programme. It should hopefully be a nice start to another great year for TIFF.

Coming up tomorrow: I start my festival trip with one of the weirdest double features in my life, starting with Harmony Korine’s Spring Breakers followed by Paul Thomas Anderson’s The Master.

The staff at Way Too Indie narrows down the Top 10 films that we are most excited for at the Toronto International Film Festival this year. The task of narrowing a list down to only 10 is not an easy one considering that there will be over 300 films playing at the festival. Way Too Indie’s CJ Prince will be there to cover the festival and plans to review some of those that are listed below Listed below are Way Too Indie’s Top 10 Most Anticipated Films playing at Toronto International Film Festival 2012.

The Master (director Paul Thomas Anderson)

I think it is fair to say, even setting aside my complete biased opinion, that P.T. Anderson ranks up there among one of the most prominent American directors of today. That being said, it is easy to see why The Master, his follow up to 2007’s There Will Be Blood, is a highly anticipated film. At the helm as one of the lead characters is an Anderson veteran Philip Seymour Hoffman. Hoffman plays a charismatic intellectual who starts up a faith organization and recruits drifter Joaquin Phoenix. Just from the trailer one can see how berserk Phoenix’s character goes and if anyone is fit to play that role it is Joaquin Phoenix. The other reason The Master is getting a lot of attention is that it is being shown in 70mm widescreen format that is suppose to look drop-dead gorgeous. [Dustin]

Spring Breakers (director Harmony Korine)

No one ever thought that they’d hear the words ‘Selena Gomez in a Harmony Korine film’ in their life, but here we are. The director of films like Trash Humpers, Mister Lonely and this disturbing Black Keys music video, Korine would seem like the last person in the world to team up with stars from Disney and Glee (Vanessa Hudgens, Dianna Agron and Korine’s wife Rachel round out the rest of the female cast). The casting may sound like it came straight out of Hollywood but the plot, about a drug dealer (James Franco aping the look of rapper Riff Raff) who hires the four bikini-clad girls to be his hitmen after they rob a fast food restaurant, sounds bizarre enough to fit in with the rest of Korine’s films. Now, with all of the crazy set photos and news of Skrillex getting involved with the score, Spring Breakers sounds like Korine has managed to capture the zeitgeist. [CJ]

Cloud Atlas (directors Tom Tykwer & Wachowski brothers)

The Wachowskis, directors of the Matrix Trilogy and the underrated Speed Racer, team with Tom Tykwer, director of Run Lola Run and The Princess and the Warrior, team to make this centuries spanning film involving actors playing different roles over the course of those centuries. As soon as the film was announced for TIFF a stunning trailer set to M83’s ‘Outro’ was released. The film looks to be a shoo in for technical awards at next year’s Oscars. It is not known whether or not the film will be a mess, though we’ll have a clearer picture in a couple of weeks. [Blake]

To The Wonder (director Terrence Malick)

It has been rumored that To The Wonder is even more experimental than Terrence Malick’s last film, The Tree Of Life, which seems hard to believe but if true we could be in store for another Malick masterpiece. The film is being billed as a romantic drama about a man who is reconnected with a woman after his marriage falls apart. It will star Rachel McAdams, Ben Affleck and Javier Bardem. The only thing that has me a little worried is this will be the first time that Malick has ever released films in consecutive years. [Dustin]

Argo (director Ben Affleck)

The last time Ben Affleck came to TIFF it was for The Town, which went on to snag an Oscar nomination along with a surprisingly big haul of $92 million at the box office. Two years later, Affleck is hoping to repeat his success with Argo. Based on a true story, Argo follows a group of CIA operatives who go to Iran posing as documentary filmmakers in order to free six Americans trapped in the country. Unlike The Town, Affleck only takes on directing and acting duties this time (he doesn’t have a writing credit) but he’s assembled an impressive cast with names like John Goodman, Bryan Cranston, Victor Garber and Alan Arkin to name a few. It’s hard to tell if audiences will be interested enough in the story and 70s period setting, but Affleck has proven himself to be a strong enough director that Oscar buzz is building around the film. With a theatrical release right around the corner after its TIFF premiere, it won’t take long before we find out if Argo will be a serious contender in the awards race. [CJ]

Like Someone In Love (director Abbas Kiarostami)

Abbas Kiarostami last wowed audiences with his masterfully crafted Certified Copy starring the lovely French actress Juliette Binoche as a woman walking the Italian country side with a man she may or may not have a past with. Kiarostami’s new film is rumored to be a semi-sequel to Certified Copy. This film takes place in Tokyo and involves a relationship between a young woman and an old man. [Blake]

Room 237 (director Rodney Ascher)

After receiving both high praises and concerns over possible copyright issues, Room 237 made a splash at Sundance Film Festival this year. This documentary aims to explore theories about the hidden meaning in Stanley Kubrick’s The Shining. The three decade old film is still being studied by scholars and hardcore fans as well as debated which is what this documentary shows. Of course, this documentary will only appeal to people who enjoyed The Shinning but you can count me in as it is my all-time favorite horror film. [Dustin]

Leviathan (director George P. Cosmatos)

Directors Lucien Castaing-Taylor and Verena Paravel focus their cameras on the ocean in Leviathan, a new documentary about a fishing boat. Castaing-Taylor and Paravel spent two months aboard as the ship traveled around catching fish, but their goal wasn’t to do their own version of The Deadliest Catch. Sharing multiple GoPro cameras with the fishermen on board, footage was captured from the bowels of the ship to under the ocean. We talked about the incredible trailer on here earlier, and the film received rave reviews (along with many walkouts due to feelings of nausea) at its premiere in Locarno. Leviathan looks like a truly original experience that will take its toll on viewers mentally and physically, but hopefully it should be something no one will ever forget. [CJ]

Berberian Sound Studio (director Peter Strickland)

I have a soft spot for Italian horror films. This new film by Peter Strickland looks to go behind the scenes of these horror movies to see how they are made. The film looks to be about a British sound engineer (Toby Jones) who is hired by an Italian director to do the sound for his newest film. However, it seems that life soon begins to imitate art as his job starts to get deadly. The film looks to be a great throwback to the 70s filmmaking era, especially the Horror genre. This could be a sleeper hit in the making. [Blake]

Penance (director Kiyoshi Kurosawa)

Director Kiyoshi Kurosawa established himself early in the 2000s with the terrifying horror film Pulse. Since then he spent several years trying to re-capture his success at scaring people with films like Loft and Retribution but his output was uneven. In 2008 Kurosawa (no relation to legendary director Akira Kurosawa) changed gears with Tokyo Sonata, a drama about a family in crisis after the father is laid off. It was another masterpiece from Kurosawa, but he hasn’t made another film since then. Now, four years later, he makes up for his lost time with the 4.5 miniseries Penance. Taking place over 15 years, the miniseries follows a woman who tries to get vengeance for the unsolved murder of her daughter. Kurosawa’s filmography may be uneven, but he’s proven himself capable of making truly great films. Hopefully Penance will be the sign of a terrific comeback. [CJ]

With TIFF only weeks away, the festival has just dumped another massive amount of titles that will be playing come September. Today TIFF rounds out its Galas and Special Presentations program, announcing Paul Andrew Williams’ Song for Marion as the closing film. That brings the total number of Galas to 20 and Special Presentations up to a whopping 70. Highlights include Spike Lee’s Michael Jackson documentary Bad 25, Brian De Palma’s Passion and Harmony Korine’s Spring Breakers. Titles from Cannes that are showing up in Special Presentations include Lee Daniels’ The Paperboy, Walter Salles’ On The Road and Pablo Trapero’s White Elephant. And, despite being revealed yesterday, one of the biggest announcements for TIFF is that Paul Thomas Anderson’s The Master will be screening in 70mm for its North American Premiere.

Contemporary World Cinema, a massive programme dedicated to showing off cinema around the world, revealed the rest of its line-up. With 62 films, highlights include Christian Petzold’s Barbara, Edward Burns’ The Fitzgerald Family Christmas, Sergei Loznitsa’s In The Fog, Sion Sono’s In The Land of Hope, Ulrich Seidl’s Paradise: Love, Kiyoshi Kurosawa’s Penance and James Ponsoldt’s Smashed.

Finally, the Wavelengths line-up was fully revealed. Dedicated to avant-garde films, the program has expanded this year to include more film choices. On top of its 4 wavelengths sections, the programme includes Apichatpong Weerasethakul’s Mekong Hotel, Tsai Ming-Liang’s Walker, Lucien Castaing-Taylor and Véréna Paravel’s Leviathan, Carlos Reygadas’ Post Tenebras Lux and Ying Liang’s When Night Falls which just won 2 awards at the Locarno Film Festival.

The line-ups for Galas and Special presentations are listed below. You can read the rest of the line-up for Contemporary World Cinema and Wavelengths at the festival’s official site. Once again, WayTooIndie will be covering the Toronto International Film Festival next month where we hope to discover some amazing new films from around the world. More information about the festival, including the full line-up and how to get tickets, can be found on www.tiff.net/festival. The Toronto International Film Festival runs from September 6th – 16th.

Galas:
Song for Marion Paul Andrew Williams, UK World Premiere (Closing Night Film)
A feel-good, heart-warming story about how music can inspire you. Song for Marion stars Terence Stamp as Arthur, a grumpy pensioner who can’t understand why his wife Marion (Vanessa Redgrave) would want to embarrass herself singing silly songs with her unconventional local choir. But choir director Elizabeth (Gemma Arterton) sees something special in the reluctant Arthur and refuses to give up on him. As she coaxes him out of his shell, Arthur realizes that it is never too late to change.

Emperor Peter Webber, Japan/USA World Premiere
In the aftermath of Japan’s defeat in World War II and the American occupation of the country, a Japanese expert (Matthew Fox) on the staff of Gen. Douglas MacArthur (Tommy Lee Jones) is faced with a decision of historic importance, in this epically scaled drama from director Peter Webber (Girl With a Pearl Earring).

What Maisie Knew Scott McGehee, David Siegel, USA World Premiere
Based on the Henry James novella, the story frames on 7-year-old Maisie, caught in a custody battle between her mother – a rock and roll icon – and her father. What Maisie Knew is an evocative portrayal of the chaos of adult life seen entirely from a child’s point of view. Starring Joanna Vanderham, Onata Aprile, Alexander Skarsgård, Julianne Moore, and Steve Coogan.

Special Presentations:
Arthur Newman Dante Ariola, USA World Premiere
Wallace Avery is tired of being a loser. Once a hot shot in the world of competitive amateur golf, Wallace was dubbed ‘The Choker’ when he hit the pro circuit. Unable to shake off a monumental loss of nerve on the greens, Wallace retired from the pro tour and slipped into the ranks of the quietly desperate. Deciding to address a radical problem with a radical solution, he stages his own death, buys himself a new identity as Arthur Newman, and sets out toward his own private Oz of golf. An offbeat love story set in a perfect storm of identity crisis, Arthur Newman looks at how two people try to remake themselves and come around to owning up to some basic truths about the identities they left at home. Starring Emily Blunt, Colin Firth, and Anne Heche.

Bad 25 Spike Lee, USA North American Premiere
Bad 25 celebrates the 25th anniversary of the Michael Jackson “Bad” album with unseen footage, content shot by Jackson himself, and a treasure chest of findings. The documentary is divided into two parts: artists today who were influenced by Michael, and people who worked by his side – musicians, songwriters, technicians, engineers, people at the label – all committed to Michael and the follow-up to the biggest record of all time, “Thriller.” Interviewees include: Mariah Carey, L.A. Reid and Sheryl Crow.

Disconnect Henry Alex Rubin, USA North American Premiere
Disconnect interweaves multiple storylines about people searching for human connection in today’s wired world. Through poignant turns that are both harrowing and touching, the stories intersect with surprising twists that expose a shocking reality into our daily use of technology that mediates and defines our relationships and ultimately our lives. Directed by Academy Award® nominee Henry Alex Rubin (Murderball), and starring Jason Bateman, Hope Davis, Frank Grillo, Paula Patton, Michael Nyqvist, Andrea Riseborough, Alexander Skarsgård, and Max Theriot, as well as Jonah Bobo, Colin Ford and Haley Ramm.

Do Not Disturb Yvan Attal, France World Premiere
Jeff unexpectedly shows up on Ben’s doorstep at 2am. Since their college days, they’ve taken very different paths. Jeff is still the wild man, a serial lover, an artist and eternal vagabond who’s never stopped roaming the world. Ben has settled down with chilled-out and wonderful Anna; they bought a small and comfortable house in the suburbs and started trying to make a baby. But this quiet life is disrupted by the whirlwind that is Jeff, especially when he takes Ben to a wild party, from which they return at dawn, having made a decision that is about to turn all of their lives upside down. This provocative, hot and funny new film by award-winning French director Yvan Atta stars François Cluzet and Charlotte Gainsbourg.

Greetings from Tim Buckley Dan Algrant, USA World Premiere
Greetings from Tim Buckley follows the story of the days leading up to Jeff Buckley’s eminent 1991 performance at his father’s tribute concert in St. Ann’s Church. Through a romance with a young woman working at the concert, he learns to embrace all of his feelings toward the father who abandoned him – longing, anger, forgiveness, and love. Culminating in a cathartic performance of his father’s most famous songs, Jeff’s debut stuns the audience and launches his career as one of the greatest young musicians of his time. Starring Imogen Poots and Penn Badgley.

Lines of Wellington Valeria Sarmiento, Portugal North American Premiere
After the failed attempts of Junot and Soult in 1807 and 1809, Napoleon Bonaparte sent a powerful army, commanded by Marshal Massena, to invade Portugal in 1810. The French easily reached the centre of the country, where the Anglo-Portuguese army, led by General Wellington, was waiting. Starring John Malkovich, Nuno Lopes, Soraia Chaves, Marisa Paredes, and Victoria Guerra.

Love is All You Need Susanne Bier, Denmark North American Premiere
Love Is All You Need is a new film by Academy Award-winner Susanne Bier. Philip (Pierce Brosnan), an Englishman living in Denmark, is a lonely, middle-aged widower and estranged single father. Ida (Trine Dyrholm) is a Danish hairdresser, recuperating from a long bout of illness, who’s just been left by her husband for a younger woman. The fates of these two bruised souls are about to intertwine, as they embark for Italy to attend the wedding of Philip’s son and Ida’s daughter. With warmth, affection and confidence, Bier has shaken a cocktail of love, loss, absurdity, humour and delicately drawn characters who will leave only the hardest heart untouched. This is a film about the simple yet profound pains and joys of moving on – and forward – with your life.

On The Road Walter Salles, France/Brazil North American Premiere
Directed by acclaimed filmmaker Walter Salles and based on the iconic novel by Jack Kerouac, On The Road tells the provocative story of Sal Paradise (Sam Riley), a young writer whose life is ultimately redefined by the arrival of Dean Moriarty (Garrett Hedlund), a free-spirited, fearless, fast-talking Westerner and his girl, Marylou (Kristen Stewart). Traveling cross-country, Sal and Dean venture out on a personal quest for freedom from the conformity and conservatism engulfing them in search of the unknown, themselves, and the pursuit of it – the pure essence of experience. Seeking unchartered terrain and the last American frontier, the duo encounter an eclectic mix of men and women, each adding meaning to their desire for a new way of life. The screenplay is by Jose Rivera (Academy Award nominee for The Motorcycle Diaries), while Executive Producer Francis Ford Coppola has been developing the project since 1978. Also stars Viggo Mortensen and Kirsten Dunst.

Passion Brian De Palma, France/Germany North American Premiere
An erotic thriller in the tradition of Dressed To Kill and Basic Instinct, Brian de Palma’s Passion tells the story of a deadly power struggle between two women in the dog-eat-dog world of international business. Christine possesses the natural elegance and casual ease associated with one who has a healthy relationship with money and power. Innocent, lovely and easily exploited, her admiring protégé, Isabelle, is full of cutting-edge ideas that Christine has no qualms about stealing. They’re on the same team, after all… But when Isabelle falls into bed with one of Christine’s lovers, war breaks out. Starring Rachel McAdams, Noomi Rapace, Karoline Herfurth and Paul Anderson.

Rhino Season Bahman Ghobadi, Iraqi Kurdistan/Turkey World Premiere
After thirty years spent in prisons of the Islamic Republic of Iran, Kurdish-Iranian poet Sahel finally walks free. Now the one thing keeping him alive is the thought of finding his wife Mina, who thinks he is long dead and has since moved to Turkey. Sahel sets out on an Istanbul-bound search. Starring Behrouz Vossoughi, Monica Bellucci and Yilmaz Erdoğan.

Spring Breakers Harmony Korine, USA North American Premiere
Four sexy college girls plan to fund their spring break getaway by burglarizing a fast food shack. But that’s only the beginning. During a night of partying, the girls hit a roadblock when they are arrested on drug charges. Hung over and clad only in bikinis, the girls appear before a judge but are bailed out unexpectedly by Alien (James Franco), an infamous local thug who takes them under his wing and leads them on the wildest spring break trip in history. Rough on the outside but with a soft spot inside, Alien wins over the hearts of the young spring breakers, and leads them on a spring break they never could have imagined. Starring Selena Gomez, James Franco, Vanessa Hudgens and Heather Morris.

The Master Paul Thomas Anderson, USA North American Premiere
A striking portrait of drifters and seekers in post World War II America, Paul Thomas Anderson’s The Master unfolds the journey of a Naval veteran (Joaquin Phoenix) who arrives home from war unsettled and uncertain of his future — until he is tantalized by The Cause and its charismatic leader (Philip Seymour Hoffman). Starring Amy Adams, Joaquin Phoenix, Philip Seymour Hoffman and Laura Dern.

The Paperboy Lee Daniels, USA North American Premiere
A chilling sex-and-race-charged film noir, The Paperboy takes audiences deep into the backwaters of steamy 1960s South Florida, as investigative reporter Ward Jansen and his partner Yardley Acheman chase a sensational, career-making story with the help of Ward’s younger brother Jack and sultry death-row groupie Charlotte Bless. Starring Matthew McConaughey, Nicole Kidman, John Cusack, David Oyelowo and Zac Efron.

The Son Did It Daniele Ciprì, Italy/France North American Premiere
The Son Did It is the story of the Ciraulos, a poor family from South Italy whose young daughter is mistakenly killed by the Mafia. As compensation, they receive a large amount of money from the State but this sudden richness will change their life in a completely unexpected way. Starring Toni Servillo, Giselda Volodi, Alfredo Castro and Fabrizio Falco.
The Suicide Shop Patrice Leconte, France/Belgium/Canada International Premiere
Imagine a shop that for generations has sold all the accoutrements for the perfect suicide. This family business prospers in all its bleak misery, until the day it encounters joie de vivre in the shape of younger son, Alan. What will become of The Suicide Shop in the face of Alan’s relentless good cheer, optimism and determination to make the customers smile? Starring Bernard Alane, Isabelle Spade, Kacey Mottet Klein, Isabelle Giami and Laurent Gendron.

Thérèse Desqueyroux Claude Miller, France International Premiere
In the Landes region of France, near Bordeaux, marriages are arranged to merge land parcels and unite neighbouring families. Thus, young Thérèse Larroque becomes Mrs. Desqueyroux. But her avant-garde ideas clash with local conventions and in order to break free from the fate imposed upon her and live a full life, she will resort to tragically extreme measures. Starring Audrey Tautou, Gilles Lellouche and Anaïs Demoustier.

White Elephant Pablo Trapero, Argentina/Spain North American Premiere
In a poverty-stricken and highly dangerous Buenos Aires slum, two men – both friends, both priests, both deeply respected by the local community for their tireless endeavours on behalf of the poor and the dispossessed – take very different paths in their struggle against violence, corruption and injustice. Starring Martina Gusman, Ricardo Darin and Jérémie Renier.

Yellow Nick Cassavetes, USA World Premiere
Nick Cassavetes’ seminal work, Yellow, is a searing take on modern society and the demands it makes on people. Centered on Mary Holmes, a young woman who has a difficult time feeling things, and swallowing twenty Vicodin a day doesn’t help. We enter her hallucinatory world, peopled with Busby Berkeley dancers, Cirque du Soleil, Circus freaks, and human farm animals where nothing is quite what it seems. Starring Sienna Miller, Gena Rowlands, Ray Liotta, David Morse, Lucy Punch, Max Theoriot, Riley Keough, Daveigh Chase, Heather Wahlquist and Melanie Griffith.

Today is the day Paul Thomas Anderson fans can rejoice. In the same day that we received the movie poster for Anderson’s upcoming film, The Master, we now have the full length trailer. Up until this point The Weinstein Company only toyed with us by giving us two teaser clips but they now released a full 2 minute and 37 second trailer for The Master.

From watching the trailer it appears that Joaquin Phoenix might have given his best performance to date which could earn him an Oscar nod come award season. From the trailer The Master certainly looks like Anderson could match the level of notoriety as his previous film, There Will Be Blood, did.

The Master will be released in theaters on October 12th.

Watch the official trailer for The Master:

We still do not know a whole lot about Paul Thomas Anderson’s highly anticipated film The Master. So far there has been two teaser trailers and news that Tom Cruise was unhappy about it’s portrayal of Scientology. But today one more small piece of information has been surfaced, a movie poster for The Master.

The Master Synopsis:

A 1950s-set drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.

Movie poster for The Master:

It has been less than a month since the movie lords graced us with a first glimpse of P.T. Anderson’s newest film, The Master. But it was literally just a glimpse as it served more as a teaser clip than a full blown trailer. Today we have been blessed with the second teaser clip for The Master, which comes in at about the same runtime of a minute and a half.

Absent in the teaser was title character Philip Seymour Hoffman, who finally makes an appearance here as the charismatic leader known as “The Master” whose religion is about to take off in America. Joaquin Phoenix, a troubled ex-Navy man, becomes his right-hand man.

We will still have to wait for the full trailer to be released but this certainly wets our appetite for what will hopefully be P.T. Anderson’s next masterpiece. The Master will be released in theaters on October 12th.

Watch the second teaser clip for The Master:

On Monday we reported that a teaser clip of P.T. Anderson’s new film The Master had been released. In my opinion, it is the most anticipated film of the year. So even a minute and forty second teaser clip was enough to satisfy people’s appetite while we wait for the film to release on October 12th 2012. Watch the teaser clip here.

Later on that day, The Playlist reported from the Cannes Film Festival that a select group of journalists gathered and watched an extended trailer for The Master. The screening was shown by Harvey Weinstein himself. Not completely surprising, their impressions from the extended trailer were positive. Even comparing the opening slow dolly shot to something reminiscent of Stanley Kubrick. [Playlist]

The Master was just one of three films Weinstein previewed to the journalists. The other two were David O. Russell’s The Silver Linings Playbook and Quentin Tarantino’s Django Unchained. None of these films were shown at the Cannes festival, but are films The Weinstein Company has bought the rights to.

Apparently Paul Thomas Anderson has screened The Master for one of Scientology’s most famous follower Tom Cruise. Unsurprisingly, Tom Cruise “had issues” with some parts of The Master according to The Wrap. As you probably know P.T. Anderson and Tom Cruise have worked together in Magnolia and have remained friends since. This undoubtedly added some awkwardness to that friendship. The Weinstein Company also plans to screen the film to John Travolta. [The Wrap]

The staff here at Way Too Indie prepares you for the summer with our Top 10 Most Anticipated Films of Summer 2012. The article is definitely worth checking out as you are bound to find a few surprise picks in there. See our Top 10 Summer Films list.

The cast of Wes Anderson’s newest film, Moonrise Kingdom, is stacked with big names such as; Edward Norton, Bill Murray, Jason Schwartzman, Tilda Swinton, and more. But one name that is typically synonymous with Wes Anderson films, Owen Wilson, does not appear in it. Not to worry though as Paste Magazine reports that Owen Wilson will appear in the next Wes Anderson film. No word yet on what that next film will be but he has apparently already started working on the script for it. [Paste Magazine]

To be honest, there is no other director out there today that gets me more excited to see their films than P.T. Anderson. It has been 5 very long years since his last film There Will Be Blood, which many including ourselves considered an instant masterpiece. Today the first teaser clip of his latest work entitled The Master has been released.

In this clip we see Joaquin Phoenix in the 1950’s who is a drunken sailor before he meets a charismatic religious leader played by the magnificent Philip Seymour Hoffman. It has long been rumored that Hoffman’s character would be a Scientology leader based on Scientology founder L. Ron Hubbard. Amy Adams will also star in the film and Jonny Greenwood returns again to do the original score.

The Master is one of this year’s most anticipated films but we will not have to wait much longer. The film will open on October 12th, 2012. Check out the teaser clip below.