When examining two artists’ work, writers rarely consider jumping across the media barrier to study themes and trends in art as a whole. Artistry isn’t limited to one form of multimedia, and auteurism can be examined between novelists, filmmakers, musicians, and/or playwrights. After listening to Kanye West’s The Life of Pablo and watching Terrence Malick’s Knight of Cups, I couldn’t help noticing similarities in the static energy of both projects, whose many moving parts turned into commotion. Although Malick and West’s creative processes are worlds apart, their evolution as artists can be seen as parallel as they explore spirituality, perfection and challenge the notions of art itself in their polarizing careers. But when comparing their recent output, it seems that they have taken one step beyond the apex of their highest artistic potential. The Life of Pablo and Knight of Cups are problematic works due to how involved they are in their own space, whether it be Malick’s cold, dreamy world or West’s personal heaven—empty of consequences. Both projects present a false sense of grandeur that falls apart on the principle of a weak foundation.

The titles of both The Life of Pablo and Knight of Cups allude to conceptually grand pieces doused in imagery and inspiration. After many assumed that West’s album was alluding to Pablo Picasso or Pablo Escobar, it was a bit of a surprise when West hinted that the titular Pablo may be St. Paul the Apostle. Yet, despite what the album promises, The Life of Pablo gives very little insight into the life of any Pablo, whether it be Picasso, Escobar, the Apostle or an alter-ego of West. In fact, the album meanders from track to track in a shallow and sometimes chaotic way. My first concern when listening to the much tighter 10-track album that premiered at Madison Square Garden was that Pablo wasn’t conceptually innovative unlike Yeezus or My Beautiful Dark Twisted Fantasy. That concern is even more grounded in the final album, which includes a lot of songs that feel like bonus tracks.

Knight of Cups central idea is much clearer, but not necessarily better in execution. Malick uses tarot card readings to characterize and split his film into chapters. The Knight of Cups tarot card comes from the “Minor Arcana” deck; when the card is upright it represents opportunities, changes, and new romances, but when the card is turned downward it represents recklessness and a person who has trouble distinguishing right from wrong. Knight of Cups follows Rick as he attempts to flip his attributes while meeting other individuals who represent different cards from the deck. Each of the first seven chapters, all named after a card in the Major Arcana deck, show Rick meandering between romantic flings and family members before finding his inner peace. His turmoil is cleared in the eighth chapter, called “Freedom.” Here, the tarot card concept comes to an abrupt halt—“Freedom” isn’t even a tarot card, yet many of the unused cards could’ve represented the same ideas of Malick’s final chapter. Ultimately, Malick captures the ideas of the cards as superficially as West creates a “Life” for any of his titular “Pablos.” Both works are sprawling and sometimes random, but they’re missing a central, cohesive idea. Though the works never hit a conceptual grandeur, they aren’t thoughtless and have some conceptual ingenuity.

When Knight of Cups and The Life of Pablo reach their thematic potential, they often focus on the same things: spirituality and a quest for perfection or redemption. These are some of the same themes that Malick and Kanye have tackled throughout their careers.

Malick’s work has always been upheld with inspiration from spirituality and religion. The Tree of Life is the epitome of his theological questioning, but To The Wonder and Knight of Cups also examine religion in their exploration of men lost in the worlds they inhabit. Knight of Cups’ spirituality and mystery doesn’t always lend itself to Christianity, but its opening lines come from The Pilgrim’s Progress, a Christian allegory written in 1678 by John Bunyan.

West isn’t unfamiliar to large productions sampling from a multitude of sources; speeches, sermons, and classic songs show up in some form or another throughout The Life of Pablo, along with dozens of other samples. The Life is Pablo’s opening track is “Ultralight Beam,” the most holistic and singular song of the album, which borrows from an Instagram post of a little girl saying, “We don’t want no devils in the house, God.” These words, which open the album, are unexpected from a rap album or a Kanye West album, but they mark a message that is revisited multiple times on The Life of Pablo. “Ultralight Beam” continues in a spiritual direction and, at times, nearly breaks into full gospel, whether it’s because of lyrical content or an actual gospel choir.

In relation to spirituality, West and Malick also explore a divinity in their own characters or personas. In the rap community, West is sometimes viewed as a god. This maybe indicates why The Life of Pablo features an enormous amount of other performers—work from his “disciples.” And while West has stated he’s a Christian, it’s a statement that comes with controversy after tracks like “Jesus Walks” and his album Yeezus, where West often paints himself as a false profit.

On the other hand, Malick takes no claim to be a god among men, but a theme throughout his work is a quest for perfection. This could manifest in striving for a perfect marriage in To The Wonder; a perfect walk with God in The Tree of Life; or Rick’s journey for divinity in Hollywood while finding redemption in Knight of Cups. At Malick’s best, his characters are human and their wonderings are relatable, but this theme of perfection actually provides ammunition to his detractors. Christian Bale wandering through Los Angeles meeting with countless women is, understandably, seen as pretentious and not insightful to the real everyman. Ben Affleck searching for true love through Rachel McAdams or Olga Kurylenko amid airy whispers in To The Wonder comes off as equally shallow and disengaged.

The Life of Pablo and Knight of Cups are hugely spiritual works, albeit in hugely different ways. West’s inward spiritual examination is more on the nose and ironic than Malick’s, yet it is clear that West and Malick take inspiration from a theistic entity—presumably a Christian one—that drives them into exploring divinity or the futility of perfection, respectively. As strong as these ideas were in previous Malick and West joints, it is hard for me to perceive their recent outputs as anything but slight.

Once upon a time, I wasn’t just a casual fan of West and Malick’s work, but their latest offerings have left me questioning their visions and career trajectories. My biggest complaints about their latest work actually relate back to the way the artists react with their audiences when they aren’t behind a camera or a microphone.

Malick’s dissociation from the public eye is evident in his most detached work yet. With Knight of Cups, Malick has lost the touch and understanding of the human condition that actually drove his earlier works. Instead of capturing a relatable story with real characters, Knight of Cups meanders and searches, but the exploration is never more than a surface deep perspective of an uninteresting man.

On the other hand, The Life of Pablo is an album of the moment that’s caught up in the zeitgeist. This is as much of reflection of West’s inward interests as it is a reflection of his every (unfiltered) thought. At times, The Life of Pablo becomes a misaligned musical rant that throws too many half-fleshed out ideas in the form of samples and guests instead of coherence and quality. The album, at its worst, could be compared to West’s twitter persona—scatterbrained, both musically and lyrically.

The Life of Pablo and Knight of Cups both reach moments of grandeur, but these moments only point to a greatness that is usually absent throughout the rest of their works. My initial response to The Life of Pablo was mixed, and as I continue to listen to the album I find it more problematic (but that still hasn’t stopped me from listening). Inversely, my only viewing of Knight of Cups was a chore that left me bored and irritated, but I find myself thinking about it more often than I anticipated.

At the heart of both works is a problem with auteurism. I have previously mentioned that both pieces serve as the strongest sense of vision from the artist, but this vision doesn’t translate into a language most audiences can understand or necessarily want to hear. Yet, on the other side of the spectrum, auteurism bolsters the careers of West and Malick, driving the creativity in both of their recent outputs. The Life of Pablo and Knight of Cups don’t work due to a lack of effort; Malick and West’s visions get lost on a large portion of their intended audience because they are too consumed in their own art.

They say you can’t judge a book by its cover. But what about movies? We’re huge fans of well-designed movie covers here at Way Too Indie, and while we wouldn’t say the design impacts our overall judgment of the film, we admit a good design may influence us to watch it in the first place. So we created a list of the 75 Greatest Movie Cover Designs of all-time, comprised of new and old titles, special edition releases, and from boutique distributors like the Criterion Collection (clearly our favorite, earning 34 spots on this list).

12 Angry Men (Criterion Collection)

Brilliant design with 12 hand-drawn portraits of the jury featured in this essential courtroom drama, each with red backgrounds except for the one in the middle, which represents Henry Fonda as the man who stands out from the group with his own opinion. [DJ]

127 Hours

It may not be immediately obvious, but the sides of the canyon form an hourglass timer and the setting sun looks like sand. Very fitting with the tagline of the film, “Every second counts.” [DJ]

A Clockwork Orange

Simply an iconic poster with minimal design that somehow makes the ’70s block font used on the title tolerable. [DJ]

A Girl Walks Home Alone at Night

A Girl Walks Home Alone at Night is an eerie, experimental film, so it’s only fitting that its home video release includes eerie, experimental cover art. [BH]

Adaptation

A funny little image that hints at the madness of Charlie Kaufman and Spike Jonze’s hilarious and painful world. [RS]

Almost Famous (Special Edition)

Cameron Crowe’s magnum opus gets a fantastically ornate and fun cover for its Bootleg Cut. Have a magnifying glass handy. [NG]

Anatomy of a Murder (Criterion Collection)

The first of several Saul Bass designs on this list. This striking design is such a classic that Spike Lee essentially stole the design for his 1995 film Clockers. [DJ]

Artificial Intelligence

Using the kid from the film as the ‘i’ in Intelligence and then inversing him to form the ‘a’ in Artificial is a simple, yet clever design. [DJ]

As Above, So Below

The design fits the title of the film so perfectly. [DJ]

Being John Malkovich (Criterion Collection)

There’s more brilliance than meets the eye in this simple Criterion cover of Being John Malkovich, perfectly suiting the eccentric nuances of the film. [NG]

Bicycle Thieves (Arrow)

The shadow from the two main characters form a bicycle. Great use of…foreshadowing.[DJ]

Blade Runner (Steelbook)

The rainy spotlight shines on the origami in this gorgeous Blade Runner Blu-Ray steelbook, evoking the pulpy, mysterious mood of the classic sci-fi noir. [NG]

Blind Woman’s Curse (Arrow)

The original Girl with the Dragon Tattoo. Through beautiful design, Teruo Ishii’s exploitation classic practically jumps off the cover. [NG]

Blue Is the Warmest Color

Simple but gorgeous artwork which plays off the color from the film’s title. [DJ]

Boogie Nights

Simply a beautiful retro design on the special edition release of this masterpiece. [RS]

Boyhood

The contrast from the grass provides excellent contrast for the title. Plus, it wonderfully represents the dreamlike ideology of boyhood. [DJ]

Buried (Steelbook)

This cover explains the entire premise of the film; a man buried under ground and trapped inside a box. [DJ]

The Cabin in the Woods

The cabin pictured in the design looks almost like an Rubik’s cube, hinting at the puzzling plot found in the film. [DJ]

The Complete Jacques Tati (Criterion Collection)

Might be the best on the list because it doesn’t just come with one spectacular looking design cover, it’s a collection of several beautiful illustrated covers in one package. [DJ]

The Conjuring

At first glance it looks like an ordinary horror film cover, until you notice the shadow near the bottom. [DJ]

The Dark Knight Rises (Steelbook)

The broken mask and heavy rain combine for one dramatic looking design. [DJ]

The Devil’s Backbone (Criterion Collection)

There’s very little ambiguity in Criterion’s cover design for The Devil’s Backbone. A wartime horror film dealing with the paranormal receives artwork that seamlessly bridges the gap between those two subjects. It’s impressive, to say the least. [BH]

Day For Night (Criterion Collection)

Francois Truffaut’s masterpiece is a love letter to the beautifully chaotic nature of making a movie, and Criterion’s cover art for the film perfectly encapsulates the vibe of Day for Night. [BH]

Days of Heaven (Criterion Collection)

I love how sharply in focus and imposing the house is in relation to Gere’s fuzzy appearance in the foreground. [BB]

Dogtooth

A man staring at grass infront of a fence accurately sums up the absurd censorship portrayed in the film. And after you’ve seen the film the airplane makes a lot of sense too. [DJ]

Diabolique (Criterion Collection)

A dazzling illustration of a key scene in this French thriller. The rippling water effect on the typeface is a brilliant touch. [DJ]

Dressed To Kill (Criterion Collection)

A wonderful composition equal parts suggestive and creepy, totally befitting De Palma as a master of erotic thrillers. [RS]

Drive (Steelbook)

This Steelbook cover has rad ’80s flair thanks to hot pink lettering and the neon sign looking design. [DJ]

Enemy

The Toronto skyline transposed over Jake Gyllenhaal’s head signifies the brain-teasing doppelganger story found in the film. [DJ]

Enter the Void

Bright neon colors. Overstimulated visuals. Odd angles. The cover design perfectly matches the film. [DJ]

Escape From Tomorrow

The easy to recognize drawing of a certain iconic Disney character covered in blood captures the frightening twist this film has of the “happiest place on earth”. [DJ]

Eyes Without A Face (Criterion Collection)

Those eyes!! Edith Scob’s piercing gaze is captured in haunting fashion by Criterion’s designers here, made all the more striking by its ingenious choice of white as facelessness. [NG]

Foreign Correspondent (Criterion Collection)

The vibrant Criterion cover, with its 3D-like rain and sea of murky umbrellas, elevates one of Alfred Hitchcock’s lesser-known films to must-own status. Watch the behind the curtains video for this particular design. [NG]

The Game (Criterion Collection)

A brilliant design for a film about a man brought to the edge by both temptation and the illusory structure of society finally forgets his weight and allows gravity to pull him downward. [EH]

Hard Candy

The bright red hoodie draws your focus in like a target, and the trap fits well with the cat and mouse theme in the film. [DJ]

High and Low (Criterion Collection)

Perfect use of the epicenter motif that couldn’t be paired with a better image from the film. [BB]

House (Criterion Collection)

Those eyes just don’t leave you. It’s a fiery and startling image that you can’t help but pause to take a second look at while browsing through the DVD racks. [BB]

The Human Condition (Criterion Collection)

A simple design but not one without the kind of quiet power that characterizes Kobayashi’s work. [BB]

Jaws

I was tempted to write nothing here, quite possibly the most iconic cover in all of film it pretty much speaks for itself. [RS]

Jurassic Park

The iconic logo (which is used all over in the film) helped make this design an instant classic. [DJ]

The Lobster

Technically, this is a poster design for a film that hasn’t been properly released yet, but we’re including it anyways. Fantastic use of negative space. [DJ]

Lord Of War

Nicolas Cage’s face made out of bullets is exactly what the world needs. [DJ]

Make Way For Tomorrow (Criterion Collection)

Wonderfully represents two companions forced apart by circumstances out of their control, drifting gradually but surely down separate, melancholic paths. [EH]

Medium Cool (Criterion Collection)

A tremendously striking image from the juxtaposition of its colors to the image-within-an-image design. [BB]

Melancholia (Plain Archive)

Great contrast between the sepia tone still from the film and the turquoise script lettering of the title. [DJ]

Memento (Special Edition)

Nothing fancy here. Just pure, unfiltered, genius. Presenting Memento in the form Leonard’s case file will put an insta-smile on every fan, while enticing anyone who hasn’t seen the film to peek inside and get their minds blown. [NG]

Mishima: A Life in Four Chapters (Criterion Collection)

A fittingly flamboyant explosion of color and a gorgeous application of the mirroring effect. [BB]

Moonrise Kingdom (Criterion Collection)

The latest Wes Anderson on Criterion is one of his very best films, aptly honored by one of Criterion’s most epic and intricate designs. [NG]

Network (Arrow)

A wonderful rendering of a rouge news anchor ‘telling it how it is’ on air, with the finger-pointing arm coming out of the TV set. [DJ]

Nymphomaniac (Vol. 1 and 2)

The whole marketing campagin behind the film was very on point, and so is this cover design featuring nine characters mid-orgasm. [DJ]

On The Waterfront (Criterion Collection)

This screen print looking design is splendid, especially with the inclusion of the birds, which are a major theme in the film. [DJ]

Onibaba (Eureka)

This formidable Masters Of Cinema cover, alluding to the dementia in Shindo’s classic ghost tale, does Criterion one better! [NG]

Quadrophenia (Criterion Collection)

The choice to color and arrange The Who lyrics in a way that replicates the band’s logo and circles the film’s main character is simply awesome. [BB]

The Raid (UK Steelbook)

One of the best-looking steelbook designs around, the picture on this cover of The Raid paints a thousand words of glorious violence. [NG]

Repo Man (Criterion Collection)

It makes perfect sense for a decidedly West Coast punk rock film to receive a punk rock artwork over a map of Los Angeles. It’s a bit surprising that Criterion is the distributor to make that happen, but they have done a fantastic job. [BH]

Repulsion (Criterion Collection)

This Criterion cover recalls the broken nerves and intense paranoia of Roman Polanski’s classic apartment horror in loud and disorienting whiteness. [NG]

Scanners (Criterion Collection)

Criterion’s cover design for one of Cronenberg’s most beloved films features a different kind of head explosion, but it’s extremely clever nonetheless. [BH]

Seconds (Criterion Collection)

A strange and interesting design that draws me in every time I come across it. [RS]

The Secret of the Grain (Criterion Collection)

Hands held high in the air but eyes facing the Earth and a disparity of light and darkness on either side: will the story end in glory or tragedy? [EH]

The Shining

Saul Bass designed equally amazing the yellow theatrical release poster, but the actual cover used for the home release of the film is great too. Very Kubrickian. [DJ]

Submarine

Using a white background allows the colorful text and images to really stand out. Great example of a clean design. [DJ]

The Sweet Smell of Success (Criterion Collection)

It’s rare for DVD art to double as something that could easily be hung on the wall and admired. This is one of those rarities. [BB]

Talk To Her

Like the film itself, shows a wonderful use of color and Pedro Almodovar’s great imagery. [RS]

The Thing

Never fails to capture my attention. I always end up watching the film if I stare at this cover too long, usually only takes a minute or so. [RS]

Three Colors Trilogy (Criterion Collection)

Criterion borrows one the most emblematic shots from Kieslowski’s indelible Trilogy for this spectacular mixture of red, white, and blue. [NG]

Trance

A chatoic arrangement of shapes, colors, and an image of a man screaming. As the title suggests, it puts you in a trance. [DJ]

The Tree of Life

Gorgeous snapshots of life are found throughout the film, so it’s fitting that the cover contains a bunch as well. [DJ]

Under the Skin

Scarlett Johansson’s colorful face blended in with outer space personifies her character in the film perfectly. [DJ]

The Vanishing (Criterion Collection)

Possibly the most brilliant cover I’ve ever seen, the simplistic design brilliantly reflects the painful frustration of the protagonist as the more you step away the clearer the image becomes. [RS]

Vertigo

The figures appear to be falling into the vortex of the geometrical downward spiral which symbolizes the meaning of the film’s title. And the imperfect hand lettering of Saul Bass. [DJ]

Videodrome (Criterion Collection)

Setting aside the disturbing central image, the color bars in the Criterion bar and the subtle horizontal lines running throughout make this an inspired design. [BB]

We Are Still Here

With We Are Still Here, writer-director Ted Geoghegan pays tribute to old-school Italian horror. Its brilliant cover design pays tribute to traditional haunted house films. It’s a damn-near-perfect artistic interpretation. [BH]

Wings of Desire (Criterion Collection)

An angel looks down at the world, a well-meaning voyeur, and his gaze shows a fusion of both inquisitiveness and sorrow. [EH]

World on a Wire (Criterion Collection)

An individual trapped in the center of a sideways cultural venn diagram, unsure of whether the environment surrounding him is the reality he’s used to, or merely a simulation brought forth by the incomprehensible Simulacron. [EH]

Y tu Mama Tambien (Criterion Collection)

A brilliant composition of blended images meant to look like an old photograph; slighly out of focus, large sun burst, and faded colors. A perfect summer road trip vibe. [DJ]

You’re Next

Even the pull quotes are aesthetically pleasing on the You’re Next home video cover, which is as aggressive and in-your-face as the home invasion masterpiece. [BH]

Zodiac (Director’s cut)

I’m a sucker for covers that double as pseudo-props from the movie like this Zodiac letter addressed to the San Francisco Chronicle. [RS]

Zazie dans le métro (Criterion Collection)

A clean, flat design which visually expresses the zany and cartoonish main character. [DJ]

All week long we’ve slowly been revealing our choices for Best 50 Movies Of The Decade So Far, and today we’ve reached the top of the list. While every film we’ve chosen thus far represents the incredible cinematic achievements made during the first half of this decade, the following ten films are the best of the best. Here’s to an amazing first five years of the decade, and hoping the next five lead to even bigger and better things.

Next week we will release our Best 50 Songs of the Decade So Far and later this month we will feature Best Albums and Best Television Shows!

Best 50 Movies Of The Decade So Far
(#10 – #1)

The Act of Killing

The perspective Joshua Oppenheimer presents to his audience in his landmark documentary The Act of Killing is simply extraordinary. The most fitting comparison might be when horror movies in the 1980’s started using forced perspective shots from the killer. But The Act of Killing is about real life—and the genocide that spread through Indonesia in the mid 1960’s is far from the events of Camp Crystal Lake. The Act of Killing primarily does two things. First, it describes the Indonesian murders the gangsters committed in almost meticulous detail. Oppenheimer gives Anwar Congo and the other executioners the stage (quite literally) to create a historical record of what they did and how they did it. In doing so, the film becomes a deep and surprising character study of these men, who may easily be described as real life monsters. The boldest result of the documentary’s format, however, is how it forces these men to reflect on themselves—what was probably described to them as a showcase of their personalities, perhaps even as a way to show the world who they really are, instead forces the subjects to return to their crimes and reconsider them. This “act” is probably something Congo has done a million times in braggadocious retellings to friends and enemies, but there is something in the reenactment that incites a break in his character. The Act of Killing is quite disturbing, but also incredibly cathartic. [Aaron]

Blue is the Warmest Color

This film sent ripples around the festival circuit pretty quickly, and if you’ve seen it, it isn’t hard to see why. It has been described in a variety of ways, from “coming out narrative” to “bildungsroman,” and undoubtedly has provoked plenty of discussion around its sex scenes alone. But Blue is the Warmest Color does not fit into any one of the many labels it recalls, because it is not one movie. It is as easily placed into a genre as one can place the life of a woman into a genre. Because that is exactly what this film is: a life, a narrative that has more emotional reality than plot, and more symbolic function than events. To describe it in a summary of plot events does it little justice, because said events bear the relative significance of a wall to a house: indispensable, undoubtedly, but not anywhere near the defining feature. For one film to tackle love, art, literature, culture, class, education and above all, consumption, is ambitious enough, but to do so while seamlessly jumping a few years in time, and then leave us wanting more at the end of nearly three hours? That is truly remarkable. [Pavi]

The Turin Horse

Béla Tarr’s self-declared final film The Turin Horse is, if nothing else, a perfect ending to an amazing career. Tarr has defined himself for his use of long, elaborate takes, shooting long films in as few shots as possible. The most extreme example of this would be his 430-minute epic Satantango, which only contains about 150 shots. The Turin Horse runs at a considerably smaller length of 150 minutes, and only in 30 shots, but it can be a grueling experience. Taking place over six days, the film follows a farmer and his daughter as they live out an existence that almost amounts to nothing. Tarr spends over an hour of his film watching them go through the exact same daily motions, before slowly removing one aspect after another from their lives. First their horse won’t move, then the well dries, and by the sixth day things take an apocalyptic turn. The Turin Horse doesn’t exactly sound like a fun time, but its power is immense. Tarr has a style that’s all his own, and his work behind the camera (along with regular cinematographer Fred Keleman) is nothing short of extraordinary. There are plenty of grim films, but few can pull off the all-encompassing and evocative world Tarr creates here. The Turin Horse isn’t a pleasant experience, but it’s one that’s well worth taking. [CJ]

The Social Network

Let’s talk about unlikely masterpieces. “The Facebook Movie” interwove three timelines, two litigations, a hard-to-like protagonist, and the deterioration of his relationships, both personal & professional, into a story that more closely resembles Citizen Kane than other social media-based projects like Catfish or Unfriended. This coming from a filmmaker whose most iconic film works depict a serial killer who bases his murders on biblical sins and on an underground group of brawling men. Like most of David Fincher’s films, part of what makes The Social Network so distinctive is that it features his collaborators operating at peak ability. The movie features Jesse Eisenberg’s only truly transcendent performance, one that turns his neurosis into focused passive aggression. Both Andrew Garfield and Justin Timberlake are stellar here as well. Aaron Sorkin’s script tosses around computer programming jargon with the elegance of a ‘30s screwball comedy. The Trent Reznor & Atticus Ross score, their first contribution to Fincher’s films in what has since become a partnership, is likely the best of their collaborations to date with “In Motion” still a standout among the many great tracks they’ve produced. The Social Network captures the qualities of ambition and selfishness innate in the origins of wildly successful people, with an engrossing, modern aesthetic. [Zach]

12 Years a Slave

Steve McQueen’s unflinching depiction of slavery in the mid-19th century is the type of harrowing portrayal of true-life tragedy that rarely emerges from American cinema (perhaps explaining why this picture came from a British director). A thoughtful, focused look at an ugly but historic American institution is stripped of the hero’s journey narrative forced on a majority of studio-made films. There are few moments of triumph in 12 Years a Slave, barely any speechifying, and thankfully a notable lack of angelic, white savior figures to save Solomon Northrup. Instead McQueen implements his signature long takes to become a fly on the wall to the truly awful treatment that slaves received. Scenes involving the brutality of slave owners unfold in real-time, and without allowing the audience the benefit of a cutaway to more pleasant scenes. None of the movie should feel like a revelation to anyone with knowledge of America’s tainted past; however, the no frills honesty with which McQueen approaches his subject seems the only proper approach to this sad era of history. Complimented by stellar performances from Chiwetel Ejiofor, Lupita Nyong’o, Sarah Paulson and a terrifying Michael Fassbender, 12 Years a Slave is the type of film tragedy deserves, an unwavering representation of both the power of the human spirit and the evils of which humans are capable. [Zach]

Under the Skin

These days, science fiction seems to be all about the big budget FX. Recent sci-fi offerings ranging from the cerebral Interstellar to the MCU’s Guardians of the Galaxy all rely on huge FX set-pieces to sell their sizzle to the audience. It wasn’t always this way. In fact, one of the greatest, yet simplest, sci-fi entries of all time wasn’t even a movie—it was a radio show. Performed by Orson Welles and the Mercury Theater on the Air players in 1938, The War of the Worlds, adapted from the H.G. Wells novel of the same title, proves in retrospect that all the digital cinematic wizardry in the world can’t trump the powerful simplicity of a solid story and terrific performances. The same can be said about Jonathan Glazer’s 2013 film Under the Skin. Sure, it has some dazzling FX, but it’s the simplicity of story—a mysterious woman of otherworldly origins assumes the characteristics of another girl and methodically hunts men in Scotland—and a career-defining performance from Johansson (which is saying something), that makes the film not only mesmerizing, but an entry worthy of mentioning in the same breath as The War of the Worlds. It might be disguised as an art house film, but have no illusions, Under the Skin is a seminal entry in the sci-fi genre, setting a new standard of excellence and positioning itself to be the topic of discussion for decades to come. [Michael]

Nightcrawler

There are antiheroes, there are villains, there are sociopaths, and then there is Lou Bloom. Jake Gyllenhaal as the emaciated and determinedly self-assured young Bloom is more intricate than the average villainous protagonist. I’m not sure he can even be described as a sociopath because his motivations in becoming a scumbag video journalist, capturing the gruesome aftermath of horrendous Los Angeles crimes and accidents late at night, is decidedly an emotional investment. An investment in his own shockingly self-absorbed and narcissistic ambitions. A sociopath has no sense of their wrong-doing, Bloom knows and has already decided his own need to excel takes precedence. As the film debut of Dan Gilroy, Nightcrawler is especially impressive. Each action-filled scene made darkly beautiful by Robert Elswit’s camerawork—and the pace steadily increasing as Bloom’s thirst for notoriety increase—the film portrays the seedy side of Los Angeles and insightfully proves the darkest capabilities of humanity don’t always lie with the guy holding the gun. With exceptional work from Renee Russo—who proves she can shine when given the chance—as well as Bill Paxton and Riz Ahmed as Bloom’s unfortunate protege, the film is unsettling and yet guiltily fun. After all any sociopath or villain is only as compelling as how well they provoke us to consider how far our own ambitions could take us. Gyllenhaal’s Bloom sets a new bar for controlled crazy. But its exactly that control that makes this film so amazing and unsettling. [Ananda]

Her

Quite a turn from Spike Jonze’s last feature film in 2011, Where the Wild Things Are, which he also produced and directed, 2013’s Her was a necessary science-fictional exploration into a concern that has been discussed to no end since the introduction of the handheld mobile device. What would it lead to? Where could it take us? Jonze had already touched on those questions with his 2010 short I’m Here, but was able to delve a lot deeper with a feature film and a larger budget; and with the invention of Siri in 2011, the discussion became even more pronounced and more imaginative. Artificial Intelligence isn’t a new concept by any means in the world of science fiction, however this one tends to hit close to home. When one can barely go out in a crowd without most of the faces in it being buried in their phones, it doesn’t seem quite as far fetched as it used to be portrayed. We are already exceedingly further dependent on our devices than anyone is truly comfortable with. Spike Jonze capitalizes on that concern without actually getting preachy or sinister, while at the same time opening a window into the possibilities and allowing us to draw our own conclusions and moral stances on the subject. The response to the movie was hugely positive and it was considered a strong contender for the Best Picture category at the Oscars. It didn’t win but it did win an Academy Award and a Golden Globe for Best Original Screenplay. With an original score composed by Arcade Fire, it was also considered for an Oscar for Best Original Score and Best Original Song. Joaquin Pheonix is left alone to create most of the dramatic tension, emotional conflict, and plot-furthering entirely on his own physically-speaking, an incredible accomplishment. Although he was overlooked for an Oscar nomination, he was nominated for a Golden Globe for his performance. This futuristic love story holds just enough logic to be thought provoking, and its charming portrayal of a future society that seems only a few steps removed from our own makes for a mesmerizing watch. [Scarlet]

Boyhood

We’re constantly fighting time: we rush to work in a sweat, take medicine to extend our lives, agonize as we procrastinate instead of doing our taxes. Our war against time—the most unyielding, unstoppable thing in the universe—is a losing one, but with the advent of movies we discovered a way to cheat time, in a sense. With movies we can capture moments and relive them again and again, trick ourselves into thinking we’re someplace else, and even spend time with those who’ve long since left our world. It’s a wondrous thing. Richard Linklater’s Boyhood captures time in a most fascinating way, stuffing a sprawling 12-year story about a boy and his family into a 165-minute bottle of modest, elegant filmmaking. All movies help us cope with time in their own way, but what’s special about Boyhood is that it beautifully reminds us how lucky we are that we need not face life alone. The people who stand by us through all the ups and downs, through the little triumphs and the massive failures, through the mundane, ephemeral moments that fill up most of our days—they’re our greatest gift. Boyhood isn’t about extraordinary people. It’s about ordinary people who’ve shared lots of time together, and in doing so have found love in one another. It’s a film about family in the deepest sense of the word, and there have been few films over the past half-decade more worthy of your precious time. [Bernard]

The Tree of Life

It’s 2011, and the venerable Terrence Malick is set to make his Cannes debut with a new film. Six years passed since The New World, his last film, which was met with hushed response (though, many would later cozy up to it). So, nobody could really tell how The Tree of Life  would play out. Aside from Malick, the flames of intrigue were stoked by the casting of Brad Pitt and Sean Penn, and rumblings of it being Malick’s most personal film to date. Fast track to 2015, and The Tree Of Life is a Palme D’Or winner, an important player in the year that turned out to be The Year Of Jessica Chastain (forget Pitt and Penn, though the former is outstanding here as well), and a gargantuan critical darling. Case in point: Sight & Sound released their updated Greatest Films Poll (updated once every 12 years) in 2012, and The Tree Of Life was just shy of cracking the Top 100.

All of this makes complete sense to most of us here at Way Too Indie (it’s No. 1 on my personal list, too). Terrence Malick has found a way to tap into the wonders of the human experience unlike any other director in the decade so far. Malick’s vision, and his creative impulse to search for God in the details of this semi-autobiographical story of a remembered childhood, is perfectly partnered with Emmanuel Lubezki’s luminous cinematography. The result is a limitless exploration into the essence of what makes us who we are, what we take from our mothers (materialized in Chastain’s eternal mother) and fathers (materialized in Pitt’s mortal father), and where God fits into it all. Like Linklater’s quest for life’s defining moments in Boyhood, Malick’s quest is similar, but with him the end result is a much more solemn and incorporeal one. More than any other film of the century so far, The Tree Of Life expands the boundaries of the art to its furthest corners. [Nik]

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 (#20 – #11)

In honor of Oscar season being fully upon us, Oscar Winners Revisited is a new column that combines three of our favorite things: arguing about the Oscars, nostalgia, and passing judgment on others. These features hope to re-evaluate past Academy Awards results and see how well the winners and nominees held up versus the choices Way Too Indie Staff members would make today. We’ll be sticking to the big six categories: Best Picture, Director, Actor, Actress, Supporting Actor, and Supporting Actress. Make sure to visit yesterday’s installment on the 2011 awards, and check back on Way Too Indie tomorrow for another year’s batch of Academy Award winners, revisited.

Best Supporting Actress

Who Won – Octavia Spencer, The Help
Who Should’ve Won – Berenice Bejo, The Artist

The Artist cleaned up most of the major categories in 2012, earning wins for Best Director, Best Picture, and Best Actor. But I was bummed when Berenice Bejo’s dashing performance in the film failed to capture a win on Oscar night, falling to Octavia Spencer in The Help. Even to call Bejo a supporting actress in the silent film era throwback is kind of a stretch, she spends a great deal of time on-screen with Jean Dujardin. Her charming performance as the young dancer and love interest was done without saying a word. It’s hard to deny Octavia Spencer’s captivating performance, but part of me just wanted this to end in a tie between these two great actresses. [Dustin]

Best Supporting Actor

Who Won – Christopher Plummer, Beginners
Who Should’ve Won – Nick Nolte, Warrior

I’m tempted to award the newcomer Jonah Hill, the youngest nominee by more than 20 years, for his surprisingly textured work in Moneyball. Considering the combined age of the other four nominees totalled more than 250 years, it was unlikely the Apatow-bred actor was going to break through. Beyond Hill, 3-time Oscar nominee Nick Nolte may have delivered the most heart-wrenching performance in this group of actors. Christopher Plummer does solid work in Beginners, but likely garnered a lot of support due to the nature of his role and Plummer’s long career (at 82, Plummer became the oldest competitive Oscar winner ever). Nolte’s Warrior performance came as the sole nomination for a mostly overlooked but beloved smaller project (much like Plummer for Beginners), but his gravel-voiced vulnerability gives his role an emotional anchor. Both veteran actors are deserving of acknowledgement, but the more affecting performance scene to scene for me was Nolte’s. [Zach]

Best Actress

Who Won – Meryl Streep, The Iron Lady
Who Should’ve Won – Viola Davis, The Help

Surprise, surprise Meryl Streep wins again. Okay, so maybe she doesn’t win all the time, but Streep has racked up a whooping 19 Oscar nominations. That’s enough nominations to make one wonder if she’s getting noms now solely based on her name, not her performances. Her portrayal of Margaret Thatcher in The Iron Lady wasn’t particularly impressive. In fact, most people that year expected Viola Davis to win since she won at the Screen Actors Guild. And rightfully so. Davis dominated the screen and our hearts when she’s forced to bite her tongue as a black maid serving her white employer. If there was one thing to take away from the 2012 Oscars, it’s that you should never count Streep out when it comes Oscar night. [Dustin]

Best Actor

Who Won – Jean Dujardin, The Artist
Who Should’ve Won – Brad Pitt, Moneyball

2012 lacked the type of standout male lead that drives most Oscars races. With all due respect to Demián Bichir whose surprise nomination came in a film not many had seen (including myself, although the role garnered acclaim from those who did), his inclusion feels like a reward in and of itself. Dujardin’s malleable performance in the lead of the Best Picture winning “silent” film The Artist certainly has a novelty the other nominated performances lack; however, as strong as Dujardin was in the movie, there are inherent limitations to the role. Brad Pitt’s role in Moneyball is by far the more conventional of these two performances. Yet Pitt is delivering a performance that exemplifies the qualities that has made him one of Hollywood’s biggest stars for decades. The ease with which he delivers his lines, the disaffected persona he portrays while still communicating a committed interest in his actions, and the subtlety of the role in comparison to Pitt’s other not-so-subtle standout performances make the part of Billy Beane a highlight of Mr. Jolie’s acting career. He’s no runaway winner, but Pitt is an appealing alternative to Dujardin here. [Zach]

Best Director

Who Won – Michel Hazanavicius, The Artist
Who Should’ve Won – Martin Scorsese, Hugo

I don’t give Hugo the win for Best Picture and I don’t usually like to give splits in Director/Picture (though in 2013 I would give Cuaron Best Director and The Wolf of Wall Street Best Picture), but Martin Scorsese really deserved it this year. The 3D family film was in fact a much more deserving effort than his long-awaited win for The Departed five years earlier. Hugo saw the filmmaker working completely out of his comfort zone and he absolutely nails it, I’d be hard pressed to think of a more inspiring and heartfelt family film to be released this decade. His use of 3D is also incredible, the best use of the technique I’ve seen thus far, as if Scorsese had turned himself into a sort of modern day version of Méliès (sorry Terry Gilliam). Marty really knocked it out of the park on this one. [Ryan]

Best Picture

Who Won – The Artist
Who Should’ve Won – The Tree of Life

Other than Drive, The Tree of Life was easily my favorite film of 2011 it was one of the most beautiful, poetic, and awe-filled experiences one could have with a film so far this century. A philosophical and emotional epic that sees abstract filmmaker Terrence Malick operating on his most breathtaking canvas yet with the help of God’s gift to cinematography, Emmanuel Lubezki. It’s his most powerful film in a small, but nonetheless outstanding filmography (though Badlands will probably always be my favorite). It’s kind of incredible the Palme d’Or-winning film was even nominated at all (the expanded field helped I’m sure) and it definitely feels like one of those films where the voting body was saying “the nomination is your reward, but you have no chance.” Out of the other nominees only Hugo really comes close to The Tree of Life, though it seems unlikely Malick’s masterpiece ever would have taken home the top prize when competing with the Academy’s continually frustrating choices. The Tree of Life will stand the test of time though which is far more important and telling of a film’s impact. [Ryan]

In the spirit of the Cannes Film Festival having recently announced this year’s winners, the staff here at Way Too Indie have decided to compile our favorite films that have previously won an award at the Cannes Film Festival. In order to give ourselves the most freedom, we voted on films that have won any award at the festival, instead of just ones that have won the top prize of the Palme d’Or. Not only are these films our favorite Cannes winners, but these are films that all film lovers should make an effort to watch.

Top 10 Cannes Winners

#10 – Dogtooth

Dogtooth is nothing if not original. In 2009, the film was the winner of the Un Certain Regard category, a selection of film at Cannes that tend to be of the “edgier” fare, though surprisingly it did go on to earn a Best Foreign Language nomination at the Oscars. The film is about a brother and two sisters that are completely fenced in from the outside world by their over-protective parents. The parents instill fear into their children by telling them the cat they sometimes see in the backyard is a vicious creature that they should stay away from. Pairing well with the unique story is the brilliant camera work that carefully keeps everything in the center of the frame. This fixed camera technique means that you are only allowed to see what is inside the frame, detaining the viewer similar to how the high-wall fence around the house detains the children. Dogtooth is a wonderfully disturbing satire on censorship. [Dustin]

Dogtooth movie review

#9 – Taste of Cherry

Abbas Kiarostami is one of the most unique and poetic directors in film today, and Taste of Cherry is as good an example of his vision as any. Mr. Badii, middle-aged man, scours Tehran looking for someone who will aid him in killing himself. He is willing to offer quite a sum of cash to any who will help, but to his surprise, no one is willing to carry that weight. Badii’s potential accomplices try desperately to talk him down from the ledge, but he’s a stubborn one. Winning the Palme d’Or at Cannes in 1997, Kiarostami’s life-affirming masterpiece is one of the great indie treasures of the ‘90s. [Bernard]

#8 – Apocalypse Now

Francis Ford Coppola’s film is one of the best ever made about man’s decent into hell. Taking place during the Vietnam War, Captain Willard (Martin Sheen) is tasked with exterminating (with extreme prejudice) a Colonel (Marlon Brando) who has lost his mind. Traveling up the Nung River on a boat into Combodia, Willard is joined by a small group of soldiers who all seem to be at their breaking point. Coppola fills his film with exciting, visceral images that will haunt you long after the film finishes. Sure some of it is extreme, in one scene has an ox hacked to death with a machete in another Willard’s boat passes a slew of decapitated human heads on large sticks, but certainly you cannot deny how powerful the film is. Dennis Hopper, Robert “I love the smell of Napalm in the Morning” Duvall, Harrison Ford and Laurence Fishburne populate this frightening film. While the film is definitely hard to watch at times, it is one that is not to be missed. Coppola’s vision of the Vietnam War is the best that cinema has ever produced; unrelenting, disgusting, nightmarish, deplorable, fascinating all at the same time. [Blake]

#7 – The Piano

Told with a sweeping paintbrush of emotion, Jane Campion’s 1993 Palme d’Or winner, is a haunting film. Mute Ada arrives from Scotland on the shores of 19th century New Zealand to enter into an arranged marriage. With only her daughter Flora to interpret her sign language, Ada prefers to communicate by playing her piano. So when her husband-to-be decides the piano isn’t worth the trip through the swamps to their home, she’s understandably upset. Their neighbor Baines retrieves the piano and bargains with Ada to earn it back by teaching him to play; lessons that quickly turn into something more. Holly Hunter truly earned her Oscar that year, making each stroke of the piano keys more sincerely intense than any line uttered (for only her “mind’s voice” is heard in narration), and for fogging glasses with a sexually charged romance with a blue-tattooed Harvey Keitel. Anna Paquin made history as the second youngest actress to win an Oscar for her role as Flora, the contrarily verbose and imaginative daughter to silent Ada. Resonating with imagery, one almost feels damp as the characters traipse through New Zealand’s unsettled land. And accompanied by a flawless score written by Michael Nyman, a librettist who understands how to allow a piano to do most the speaking, The Piano is evocative and unforgettable. [Ananda]

#6 – Uncle Boonmee Who Can Recall His Past Lives

As he prepares to die from kidney failure, Uncle Boonmee goes to the countryside with his family to live out his final days. Ghosts, monkey creatures and princesses are only a few of the oddities that pop up throughout Apichatpong Weerasethakul’s masterpiece, a film about moving on to the afterlife that feels like it exists between our world and the next. Despite its bizarre content and free-flowing narrative, including a 15 minute detour involving sex with a catfish, the film walked away with the Palme D’Or in 2010. It was one of the few years at Cannes where the Palme was given to the most deserving film in competition. [CJ]

#5 – The Seventh Seal

Still (for my money) the best example of cinema at its most lyrical and literary, Ingmar Bergman’s The Seventh Seal is one of cinema’s most essential works. When it won the Special Jury Prize at Cannes in 1957, it alerted the entire film community of the genius of Bergman and the silver-screen titan that is Max Von Sydow. Set in an exquisitely realized middle ages, a knight on the way home from the crusades engages in a high-stakes chess game with death himself (one of cinema’s most enduring images) as he treks a plague-ridden countryside with his partner, the squire. Bergman used The Seventh Seal, like many of his other films, as a way to visually articulate his inner-struggle with mortality and God’s muteness. Says the knight, “I want God to put out his hand, show his face, speak to me. I cry out to him in the dark, but there is no one there.” [Bernard]

#4 – The Tree of Life

Terrence Malick’s The Tree Of Life took home the coveted Palme d’Or in 2011 for his visual masterpiece of a film. Despite winning over many critics and picking up Oscar nominations, the film had a difficult time winning over the general audience and has the box office numbers to prove it. But Malick is one of those directors who is in the rare position to not depend on commercial success, which allows him to make such daring and experimental films such as this. The Tree Of Life is a mesmerizing cinematic experience that contains some of the most visually stunning scenes you will ever see in film. It is too bad its theatrical run was cut short, this is a film that deserves to be seen on the big screen. [Dustin]

The Tree Of Life movie review

#3 – Taxi Driver

Taxi Driver was amid the first few films that kick started De Niro’s career, and one that won the Palme d’Or award in 1976. Argued to be one of the greatest films of all time by Roger Ebert, it holds great cultural and historical significance to American history in regards to the post-Vietnam era. De Niro’s character, Travis Bickle is a war veteran who received honourable discharge from the U.S Marines. He is an extremely lonely and depressive man whose chronic insomnia allows him to take a job as a taxi driver. Travis soon finds himself being overwhelmed and angered by the street crime and prostitution he is witnessing on a daily basis and turns this built up frustration into training his body and his mind into a man capable of doing anything. Taxi Driver is a great classic that has imprinted profoundly within film history and definitely worth a watch. [Amy]

#2 – Pulp Fiction

Resevoir Dogs was a hit for Quentin Tarantino in 1992, but it wasn’t utnil 2 years later when he premiered his highly influential game changing masterpiece Pulp Fiction to the world. The film shot Tarantino into the stratosphere of filmdom’s elite and to countless year-end awards. Pulp Fiction tells three tales of blood, mayhem and hilarity. Two hit men, their boss’ wife, the prize fighter they hunt and a special briefcase that is an enigma unto itself. Tarantino and screenwriting partner Roger Avery expertly weave these three stories from back to front to middle to the back again. Tarantino’s dialogue glides off the actor’s tongues like an ice cube in the heat. A career best performance from John Travolta leads the numerous supporting turns from Bruce Willis, Uma Thurman, Samuel L. Jackson, Eric Stolz, Frank Whaley, Harvey Keitel, Ving Rhames and Christopher Walken in a single scene stealing cameo. This is one of the most invigorating film going experiences that cinema has to offer; one that only becomes richer and richer the more it’s viewed. [Blake]

#1 – Oldboy

It is unbelievably difficult to summarize this film in just a few short sentences, seeing as the storyline is so complex and vastly different to anything you may be expecting. Oldboy focuses on the painfully playful torment and torture of Dae-su Oh who has been kidnapped and imprisoned for fifteen years without any known reason. His mission, once released, is to find his captor and confront him. As Western popular film audiences have only been introduced to Asian cinema through the horror genre, Oldboy is an excellent example of modern East Asian cinema. Oldboy was a phenomenal stylistic achievement and along with the soundtrack and intense original storyline makes it essential viewing to any film fan. [Amy]

At the core, the cinema is the most powerful art form between sound and image. From his most direct, plot-driven narrative, Badlands, to his most abstract, polarizing film The Tree of Life, Terrence Malick has been progressively moving toward the highest form of pure cinema poetry. To explain: While many hail Badlands as his penultimate masterpiece–namely for its ingenious reshaping of a story of vagabond serial killers to a lyrical ode of unabashed human impulse–it ironically is as far removed as anything that Malick originally intended to be his masterwork. In fact, I don’t think we’ve seen his masterwork yet. The New World and The Tree of Life are both towering masterpieces. Both exercising improvisational scripting, the physicality of open body language acting, and the absence of generators or any manufactured “studio” lights. But they are merely precursors to a much grander cinematic opera of the soul that Malick is slowly chipping away at with his current cavalcade of prolific motion pictures. And that’s exactly the best way to describe the cinema of Malick: “motion pictures.” If anything, Malick has come closer than any filmmaker to breaking down and building up the very foundation of the cinema. In turn, he has shown us at our most feral, our most vulnerable and our most majestic. Malick’s moving image is the penultimate cinematic experience. Let it wash over you.

The Screen Poetry of Terrence Malick

The Playlist names their Top 10 most anticipated indie films this summer. Some of them that made the list are; Moonrise Kingdom, Beasts of the Southern Wild, Safety Not Guaranteed, To Rome With Love, and Take This Waltz. [Playlist]

Speaking of Top 10’s recently Roger Ebert names his Top 10 Movies of All Time. The biggest surprise in his list was the inclusion of last year’s Tree of Life. Or maybe it was not such a big surprise, it scored high in our review of the film. [HitFix]

LA Film Festival made their lineup announcement with Steven Soderbergh’s Magic Mike and Wood Allen’s To Rome With Love making premieres. There are almost 200 films playing at that festival which begins on June 14th in downtown LA and ending on June 24th. [LAFilmFest]

Sounds like Spike Lee finally found his villain for his re-make of Oldboy. Sharlto Copley (District 9) will be playing the “mysterious billionaire trying to destroy the life of Joe Douchett (Josh Brolin).” I just hope the remake is half as good as the original (it’s one of our highest rated films). [MovieLine]

We posted a trailer for Beasts of the Southern Wild that we think must be watched by all. The film won the Grand Jury Prize for Drama at Sundance. Watch the trailer now.

Another trailer worth taking a look at is Your Sister’s Sister. We recently posted the official trailer for the film by director Lynn Shelton that stars Mark Duplass, Emily Blunt and Rosemarie DeWitt.

It was nice knowing you Kodak. A deal was struck that The Dolby Theatre will host the Oscars’ for the next 20 years. “Dolby will continue to update the theatre with innovative, world-class technologies to ensure that the theatre remains state-of-the-art, beginning with the immediate installation of its recently released Dolby® Atmos sound technology.” [HitFix]

Ever wanted to go behind the scenes with a film festival judge? Follow an IFC contributor who joins a film jury at the Sarasota Film Festival. [IFC]

News hit last week that Windows 8 will not support DVD or Blu-ray playback natively. Because of decoding licenses Microsoft has opted to not support playback by default even if the computer comes with a DVD or Blu-ray drive. Windows 8 will require you to buy an upgrade option in order to play your movies.

Blake and I list our top ten favorite films of 2011. Comparing films to one another is hard to do when they are often so different. Thus ranking other people’s artwork such as films is never easy but everyone likes a Top 10 list (which is the reason why I told Blake we should do a numbered list of 10 instead of just an alphabetical one). So without further ado, our list of Top 10 Films of 2011:

]]> http://waytooindie.com/features/top-10-films-of-2011/feed/ 0 http://waytooindie.com/news/awards/2012-oscar-nominations/ http://waytooindie.com/news/awards/2012-oscar-nominations/#comments Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=2630 The nominations for the 2012 Oscars were announced this morning with Hugo leading the pack for the 84nd Academy Awards with 11 nominations. The Artist came in as a close second with 10 nominations including; Best Picture, Best Director, Best Original Screenplay and Best Score. There were a few big surprises in the Best Picture and Best Director categories. Click Read More to see the full list of Oscar nominations.]]>

The nominations for the 2012 Oscars were announced this morning with Hugo leading the pack for the 84nd Academy Awards with 11 nominations. The Artist came in as a close second with 10 nominations including; Best Picture, Best Director, Best Original Screenplay and Best Score. This is the first year with the new Best Picture rule, no longer is there a set number of Best Picture nominations, instead a film needs to get 5% of votes get a nomination. The new rule is a great change. This year still ended up with 9 films, a few more than I expected.

Perhaps the biggest surprises were The Tree Of Life getting nominations for Best Picture and Best Director, which I am glad that film is getting some love from the Academy. Other shocker is Michael Fassbender not getting a nomination for Best Actor for his role in Shame, shame on you Academy. Tilda Swinton comes up empty for Best Actress for We Need To Talk About Kevin. But some good news, Gary Oldman received his very first Oscar nomination which makes a lot of people happy.

Full List of 2012 Oscar Nominations:

The Artist
The Descendants
Extremely Loud and Incredibly Close
The Help
Hugo
Midnight In Paris
Moneyball
The Tree Of Life
War Horse

Michel Hazanavicius – The Artist
Alexander Payne – The Descendants
Martin Scorsese – Hugo
Woody Allen – Midnight In Paris
Terrence Malick – The Tree Of Life

Demian Bichir – A Better Life
Jean Dujardin – The Artist
George Clooney – The Descendants
Brad Pitt – Moneyball
Gary Oldman – Tinker Tailor Soldier Spy

Glenn Close – Albert Nobbs
Viola Davis – The Help
Rooney Mara – The Girl With The Dragon Tattoo
Meryl Streep – The Iron Lady
Michelle Williams – My Week With Marilyn

Kenneth Branagh – My Week With Marilyn
Jonah Hill – Moneyball
Nick Nolte – Warrior
Christopher Plummer – Beginners
Max Von Sydow – Extremely Loud and Incredibly Close

Berenice Bejo – The Artist
Jessica Chastain – The Help
Melissa McCarthy – Bridesmaids
Janet McTeer – Albert Nobbs
Octavia Spencer – The Help

Michel Hazanavicius – The Artist
Kristin Wiig & Annie Mumulo – Bridesmaids
J.C. Chandor – Margin Call
Woody Allen – Midnight In Paris
Asghar Farhadi – A Separation

Jim Rash, Nat Faxon, Alexander Payne – The Descendants
John Logan – Hugo
George Clooney, Grant Heslov, Beau Willimon – The Ides Of March
Steve Zaillian & Aaron Sorkin – Moneyball
Peter Straughan & Bridget O’Connor – Tinker Tailor Soldier Spy

A Separation
Bullhead
Footnote
In Darkness
Monsieur Lazhar

A Cat In Paris
Chico & Rita
Kung Fu Panda 2
Puss In Boots
Rango

Hell And Back Again
If A Tree Falls; A Story Of The Earth Liberation Front
Paradise Lost 3: Purgatory
Pina
Undefeated

Guillaume Shiffman – The Artist
Jeff Cronenweth – The Girl With The Dragon Tattoo
Robert Richardson – Hugo
Emmanuel Lubezki – The Tree Of Life
Janusz Kaminski – War Horse

Anne-Sophie Bion & Michel Hazavanicius – The Artist
Kevin Tent – The Descendants
Kirk Baxter & Angus Wall – The Girl With The Dragon Tattoo
Thelma Schoonmaker – Hugo
Christopher Tellefsen – Moneyball

The Artist
Harry Potter and the Deathly Hallows Pt. 2
Hugo
Midnight In Paris
War Horse

Anonymous
The Artist
Hugo
Jane Eyre
W.E.

Albert Nobbs
Harry Potter & The Deathly Hallows Pt. 2
The Iron Lady

Ludovic Bource – The Artist
Alberto Iglesias – Tinker Tailor Soldier Spy
Howard Shore – Hugo
John Williams – The Adventures Of Tintin
John Williams – War Horse

“Man Or Muppet” – The Muppets
“Real In Rio” – Rio

Drive
The Girl With The Dragon Tattoo
Hugo
Transformers: The Dark Of The Moon
War Horse

The Girl With The Dragon Tattoo
Hugo
Moneyball
Transformers: The Dark of The Moon
War Horse

Harry Potter and The Deathly Hallows Pt. 2
Hugo
Real Steel
Rise of the Planet of the Apes
Transformers: The Dark of the Moon

The Barber Of Birmingham: Foot Soldier of the Civil Rights Movement
God Is The Bigger Elvis
Incident In New Baghdad
Saving Face
The Tsunami & The Cherry Blossom

Dimanche
The Fantastic Flying Books Of Mr. Morris Lessmore
La Luna
A Morning Stroll
Wild Life

Pentecost
Raju
The Shore
Time Freak
Tuba Atlantic

From the acclaimed director Terrence Malick comes The Tree of Life, an artistic and profound film about the meaning of life centering on a normal and rather insignificant family of the Midwest. The film forgoes traditional narrative in favor of a visual opus that even Stanley Kubrick would appreciate. The best thing you could do is go into the film expecting a cinematic experience; it rids itself of any conventional qualities.

The Tree of Life starts off by tells us that there are two different ways through life either nature or grace and we must choose which one to follow. Grace does not try to please itself and accepts being forgotten, disliked, insults and injuries. Nature only wants to please itself, like to have it’s own way and finds reasons to be unhappy. Clearly that symbolizes the differences between how the mother and father end up raising their children.

The film then briefly shows a glimpse of Mr. O’Brien (Brad Pitt) and Mrs. O’Brien (Jessica Chastain) who lost one of their children. We hear from the father, mother and brother how they regretted things they did or did not do while the son was alive. A quick introduction is given to the present day Jack O’Brien (Sean Penn) who is an adult but is remembering his deceased brother from childhood.

To say the film is visually stunning is a gross understatement and it does not take long for the film to show it. The film shifts not just back to the beginning of the story but the beginning of time. Beautiful shots depicting how the universe expanded and life as we would know it began.

Fast forward millions of years and Jack O’Brien is born. It slowly shows different stages of him growing up, mostly consisting of his upbringing in the house with his family. A short while later another son is born into the world and shows Jack curious of him. The children grow up together living normal lives under the somewhat strict guidance of their disciplinary father. In one immensely emotional scene, the father breaks down a bit and admits his regret of pushing his kids too hard.

One of the things I enjoyed most about the film is how Malick shows us the smallest of detail and we can instantly relate to it. Such as the way the sunlight is reflected onto a wall, the way your hand moves through the air when you put it out of a moving vehicle, or the way the wind blows through clothes hanging from the clothesline in the summer. The way he evokes emotion through visuals instead of words is amazing.

There is definitely more style over substance overall in the film which is why a lot of people have a problem with the film, it can be a bit of a challenge to watch. I would say it was more of an experience than it is a traditional film. People hated 2001 Space Odyssey when it came out because of the long absence of dialog during the opening 25 minutes. If you dig deep though the film does touch on some philosophical questions such as the age-old nature vs nurture debate.

The cinematography and use of the camera was done masterfully from the very beginning and carried throughout. It might be the most technical and beautiful American shot film since 2001 Space Odyssey. The film would certainly have my Oscar vote for cinematography but time will tell if it actually will or not. It did, however, win the Palme d’Or at Cannes Film Festival this year.

It is a rare that a film so poetically written and masterfully filmed comes along. Watching what Malick perceives what life and death looks like is stunning. The Tree of Life may be hard for most people to watch because of it’s non-linear narrative and art like visuals but that is really quite a shame because I think it would take multiple views in order to fully appreciate. Although, to fully understand the film may be difficult to do because of how subjective the film is, which is a subject that the film itself brings up.

Cannes Film Festival came to a close Sunday night and announced the winners of Palme d’Or, Grand Prix, Best Director and other high status awards. Kirsten Dunst won Best Actress in Lars von Trier’s film Melancholia and thanked the director after a very controversial comment he made about Nazi’s during a press conference that caused a lot of media attention last week. The top prize, Palme d’Or, went out to The Tree of Life directed by Terrence Malick which stars Brad Pitt and Sean Penn.

See the full list of nominations.

The Tree of Life, (director Terrence Malick)

The Kid with a Bike, (directors Jean-Pierre and Luc Dardenne)
Once Upon a Time in Anatolia, (director Nuri Bilge Ceylan)

Nicolas Winding Refn, Drive

Joseph Cedar, Hearat Shulayim

Las Acacias, (director Pablo Gorgelli)

Polisse, (director Maiwenn)

Kirsten Dunst, Melancholia

Jean Dujarin, The Artist

Cross Country, (director Marina Viroda)

Arirang, (director Kim Ki-Duk)
Stopped on Track, (director Andreas Dresen)

Elena, (director Andrey Zvyaginstev)

Cannes Film Festival is considered one of the most prestigious film festivals in the world and today they announced their lineup for 2011. This year the festival will be held from May 11th through May 22nd with American actor Robert De Niro being The President of the Jury.

Midnight In Paris (director Woody Allen)

The Beaver (director Jodi Foster)
La Conquete (director Xavier Durringer)
The Artist (director Hazanavicius)
Pirates of the Caribbean: On Stranger Tides (director Rob Marshall)

The Skin I Live In (director Pedro Almodovar)
L’Apollonide – Souvenirs de la maison close (director Bertrand Bonello)
Hearat Shulayim (director Joseph Cedar)
Pater (director Alain Cavalier)
Bir Zamanlar Anadolu’da (Once Upon a Time in Anatolia) (director Nuri Bilge Ceylan)
Le gamin au vélo (director Jean-Pierre and Luc Dardenne)
Le Havre (director Aki Kaurismäki)
Hanezu no Tsuki (director Naomi Kawase)
Sleeping Beauty (director Julia Leigh)
Polisse (director Maïwenn)
The Tree of Life (director Terrence Malick)
La source des femmes (director Radu Mihaileanu)
Ishimei (Hara-Kiri: Death of a Samurai) (director Takashi Miike)
Habemus Papam (director Nanni Moretti)
We Need to Talk about Kevin (director Lynne Ramsay)
Melancholia (director Lars Von Trier)
Drive (director Nicolas Winding Refn)

Restless (director Gus Van Sant)
Martha Marcy May Marlene (director Sean Durkin)
The Hunter (director Bakur Bakuradze)
Halt auf freier Strecke (director Andreas Dresen)
Hors Satan (director Bruno Dumont)
Les neiges du Kilimandjaro (director Robert Guédiguian)
Skoonheid (director Oliver Hermanus)
The Day He Arrives (director Hong Sangsoo)
Hong Sangsoo (director Cristián Jiménez)
Tatsumi (director Eric Khoo)
Arirang (director Kim Ki-duk)
Et maintenant on va où? (director Nadine Labaki)
Loverboy (director Catalin Mitulescu)
Yellow Sea (director Na Hong-jin)
Miss Bala (dir. Gerardo Naranjo)
Trabalhar cansa (Travailler Fatigue) (directors Juliana Rojas and Marco Dutra)
L’exercice de l’Etat (director Pierre Schoeller)
Toomelah (director Ivan Sen)
Oslo, August 31st (director Joachim Trier)

Labrador (director Frederikke Aspöck)
Wu Xia (director Chan Peter Ho-Sun)
Days of Grace (director Everardo Gout)
Le Maitre Des Forges De L’Enfre (director. Rithy Panh)
Michael Petrucciani (director Michael Radford)
Tous Au Larzac (director Christian Rouaud)