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The Top Tens Archive for December, 2010

Top Tens: December 31, 2010

There were a couple of technical glitches as the new system settles in – but the lists are starting to add up now. Yes, Social Network stays on top, but Inception and The King’s Speech are moving up the charts.

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The Top Tens: December 24, 2010

The lists keep coming in, but the chart remains (almost) the same. Carlos and The Ghost Writer move up a notch, and the top five stay locked in place. The Social Network stays on top by a wide, wide margin.

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The Top Tens: December 22, 2010

No surprises so far – The Social Network still dominates the top of the list with Winter’s Bone a strong second. The King’s Speech and 127 Hours are back into the top ten and Toy Story is moving up slow and steady.

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The Top Tens: December 17, 2010

With almost 50 lists in, The Social Network still sits on top, but Winter’s Bone is gaining ground. Futher down the list, Black Swan dances into third, Toy Story 3 stays steady in fourth, with Carlos nipping at its heels.

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Top Tens: December 13, 2010

The Social Network sits alone at the top of the chart, with Inception, Winter’s Bone and Toy Story 3 battling it out in the next three spots. But it’s still early in the race…

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Critics Top Tens 2010 (as of Dec 9)

The first Top Ten lists of 2010 are coming in. For the next couple of weeks, MCN will be updating daily as we aggregate lists from all parts of the critical community.

With just 6 lists in, Nolan and Fincher are duking it out for the top slot…

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Quote Unquotesee all »

“Film criticism as a business operates like the film industry itself: The people in charge like to hire people who remind them of themselves, and those people at the top are by and large straight white dudes (baseball caps are an option). That’s not to say they can’t have wildly diverging opinions on a variety of topics, but privilege comes with blinders that are often hard to acknowledge and even tougher to remove. The past few months have seen some of the most prominent film publications taking on new writers who are for the most part white men: Rolling Stone, Film Comment, Indiewire, and of course, Owen Gleiberman at Variety. Many of them have championed underdog filmmakers, but you can’t get over the sense of gatekeeping going on. Film criticism often feels like the treehouse girls are banned from entering, and it’s not hard to assume the conversations we’re missing out on aren’t exactly centered on women in the business… Our world and our art suffers when we limit the number of perspectives allowed to not only tell the story but to discuss it. Women are no better or worse in their opinions than men, but the key differences we bring allow further dimensions in the narrative. Whether they’re conscious of it or not, the ingrained biases of white maleness will continue unchallenged without contrasting voices under the banner, and the commodification of women’s faces and bodies will exacerbate to increasingly damaging levels.”
~ Ceilidhann

DENNIS COOPER

The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

INTERVIEWER

What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
~ Dennis Cooper Discovers Bresson

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