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Critics Top Ten List 2011: Adrian Martin

Adrian Martin Mysteries of Lisbon (Raúl Ruiz) The Tree of Life (Terrence Malick) We Need to Talk about Kevin (Lynne Ramsay) Road to Nowhere (Monte Hellman) Bridesmaids (Paul Feig) Attenberg (Athina Rachel Tsangari) Drive (Nicolas Winding Refn) Sleeping Beauty (Julia Leigh) Friends with Benefits (Will Gluck) Journals of Musan (Park Jung-bum)

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Critics Top Ten List 2011: Ray Pride

Ray Pride Movie City News The Interrupters 1. Margaret 2. Drive 3. Melancholia 4. Take Shelter / Tree of Life 5. Tinker Tailor Soldier Spy 6. A Separation 7. Martha Marcy May Marlene 8. Shame 9. Road to Nowhere / Certified Copy 10. Aurora / Tuesday, After Christmas

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Critics Top Ten List 2011: Rodrigo Perez

Rodrigo Perez Playlist 1. Shame 2. Rampart 3. Beginners 4. Like Crazy 5. Certified Copy 6. The Skin I Live In 7. A Separation 8. Moneyball 9. Beats Rhymes & Life: The Travels Of A Tribe Called Quest 10. The Ides Of March

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Critics Top Ten List 2011: Quentin Tarantino

Quentin Tarantino 1. Midnight In Paris 2. Rise Of The Planet Of The Apes 3. Moneyball 4. The Skin I Live In 5. X-Men: First Class 6. Young Adult 7. Attack The Block 8. Red State 9. Warrior 10. The Artist / Our Idiot Brother 11. The Three Musketeers

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Critics Top Ten List 2011: Cinema Scope

Cinema Scope 1. This Is Not a Film 2. The Turin Horse 3. L’Apollonide—Souvenirs de la maison close 4. Dreileben 5. Once Upon a Time in Anatolia 6. The Tree of Life 7. Kill List 8. It’s the Earth Not the Moon 9. Sleeping Sickness 10. The Kid With A Bike

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Critics Top Ten List 2011: Mal Vincent

“One of the funniest and most humane comedy-dramas of the year, this is about a young man who is presumably dying of cancer. Sure, the minute you read that sentence, you plan to stay away. You shouldn’t, and a surprising number of you didn’t. “

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Critics Top Ten List 2011: Peter Martin

My Top 10 released in the US.

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Critics Top Ten List 2011: Stephen Bradley

“There wasn’t a film this year that boasted more style or had a firmer idea how to effectively employ that style than “Drive.”

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Critics Top Ten List 2011: Gene Triplett

“You can dress up a turkey in IMAX, 3-D and ear-shattering Surround Sound and throw it up on the biggest screen in town, but if there’s no great story, direction or acting to go with the visual feast, it’s still just a big fat turkey that gobbles loudly. Here are 10 that weren’t turkeys in 2011. ”

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Critics Top Ten List 2011: Susan Tavernetti

“Infectiously joyful and charming, this black-and-white love letter to the movies reminds us that cinema is a universal language — no dialogue needed.”

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Critics Top Ten List 2011: Tyler Hanley

“Mastermind director Martin Scorsese’s longstanding affection for all things cinema is colorfully showcased in the enchanting “Hugo.” Scorsese paints a rich tapestry in adapting the Brian Selznick novel “The Invention of Hugo Cabret,” presenting a vibrant 1930s Paris with exceptional costuming, set design and cinematography.”

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Critics Top Ten List 2011: Peter Canavese

“No studio release this year was more ambitious, emotional or elegant than Terrence Malick’s searching epic about our place in a family, a town, a galaxy, the universe.”

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Critics Top Ten List 2011: Keith Cohen

Number One: Hugo

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Critics Top Ten List 2011: Carol Hemphill

“This picture begins by shocking. Before the end, it becomes twisted and grotesque; a disturbing vision fully realized by Pedro Almodovar.”

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Critics Top Ten List 2011: Kent Tentschert

“One of the most beautiful films of the year. This fictional account of Butch Cassidy’s later life is sad, poignant and emotional.”

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Critics Top Ten List 2011: Brandy McDonnell

Brandy McDonnell The Oklahoman 1. The Artist 2. Drive 3. War Horse 4. Buck 5. The Girl With the Dragon Tattoo 6. Project Nim 7. Hanna 8. Hugo 9. Shame 10. The Way

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Critics Top Ten List 2011: Sara Vizcarrondo

Sara Vizcarrondo Box Office Magazine Tinker Tailor Soldier Spy Tabloid Certified Copy Drive No Strings Attached Martha Marcy May Marlene Rise Of The Planet Of The Apes Fright Night Love Exposure Tucker & Dale vs. Evil

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Critics Top Ten List 2011: Scott Renshaw

Scott Renshaw Charleston City Paper 1. Certified Copy 2. The Muppets 3. Martha Marcy May Marlene 4. We Need to Talk About Kevin 5. A Separation 6. Like Crazy 7. The Tree of Life 8. Drive 9. The Last Lions 10. Meek’s Cutoff

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Critics Top Ten List 2011: Anders Wright

Anders Wright San Diego City Beat The Descendants The Double Hour Drive Extremely Loud and Incredibly Close Of Gods and Men Hugo Into the Abyss Midnight in Paris Project Nim The Tree of Life Warrior

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Critics Top Ten List 2011: Orlando Weekly

Justin Stout, Rob Boylan, William Goss Orlando Weekly 1. The Tree of Life 2. The Descendants 3. Circumstance 4. Hesher 5. Hugo 6. Source Code 7. Being Elmo, Buck 8. Hanna 9. 50/50 10. Take Shelter

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Quote Unquotesee all »

“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award