The Top Tens Archive for January, 2011

The Top Tens: January 12, 2011

As we get closer to finishing the 2010, the top of the chart seems solid. Nothing changes in the top ten, but Everyone Else moves up into the rankings.

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Top Tens: January 8, 2011

The top ten shuffle a bit and Inception is now in the number two slot. Black Swan moves up, Toy Story 3 and Winter’s Bone slip back.

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The Top Tens: January 7, 2011

True Grit continues to climb up the chart, Toy Story 3 is closing the gap with Inception, and The Social Network stands alone.

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The Top Tens: January 3, 2011

While The Social Network stays put, True Grit and The Fighter are slowly working their way up the chart. More lists still to come.

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Top Tens: January 1, 2011

More lists .. and True Grit moves up into the top ten. While most of the rest of the chart remains the same, there are more than 150 titles on the list .. proving that almost every movie has someone out there who loves it.

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray