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The Year in Film: Team Margaret

The best movie of the year (that you haven't been able to see). And 9 more picks.

1. MARGARET

Kenneth Lonergan, United States

2. MELANCHOLIA

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THE YEAR IN FILM

Critic's Poll Results

10 For 2012

J. Hoberman's Personal Best
His 10 favorite of the year, plus 2

Handicapping the Poll
Sure, The Tree of Life won, but did it really win?

The Old Men and 3-D
Transcending the gimmick in 2011

Team Margaret
The best movie of the year (that you haven't been able to see). And 9 more picks.

People of the Year
Or: The Netflix meltdown, the resurrection of Harvey Weinstein, and Kristen Wiig's box office coup all in one list

Film Poll Voter Comments
Critics elaborate on their votes, their favorite movie moments of the year and OK OK WE GET IT YOU LIKE MARGARET

Related Stories

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Lars von Trier, Denmark

The sheer beauty and personal depth of Lars von Trier's triangle of depression, anxiety, and cosmic apocalypse has been well documented. What has been overlooked, I think—and what pushes Melancholia into masterpiece realm, for me—is its subversion of Hollywood's two primary currencies: the special-effects epic and, in the casting of Kirsten Dunst as von Trier's alter ego, the celebrity confessional.

3. MEEK'S CUTOFF

Kelly Reichardt, United States

Has a better American film about survival instincts in the face of economic desperation since the start of the downturn other than Kelly Reichardt's gorgeously unsettling Oregon Trail tale been made? In a great year for supporting actors, Bruce Greenwood's incredible transformation into the rugged titular character is the most unjustly overlooked.

4. THE TREE OF LIFE

Terrence Malick, United States

Even if the reach of Terrence Malick's infinite loop exceeds its grasp, that reach is unprecedented. At Cannes, it was tempting to pick a side between Tree of Lifeand Melancholia—Team Terry's earnest theological questioning versus Team Lars's Dogme dystopia. But even in their wildly diverging stylistic and philosophical approaches to life, death, and the mysteries of the universe, the two films defined the year in film with their implicit dialogue between one another.

5. THE ARBOR

Clio Barnard, United Kingdom

Not just the best nonfiction film of 2011, Clio Barnard's hybrid of primary-source reporting and dramatic staging to tell the tale of alcoholic British council estate bard Andrea Dunbar and the daughters she left behind is also the most innovative—not a small feat in a year that also brought the archival super-edit The Autobiography of Nicolae Ceausescu.

6. A SEPARATION

Asghar Farhadi, Iran

A master class in storytelling and character study under any circumstances, Asghar Farhadi's Berlinale winner, about the reverberations of one middle-class housewife's decision to leave her family when her husband refuses to leave Iran, is all the more impressive as an implicit—but, in an incredible feat of footwork, never direct—critique of the standards and practices of the Iranian government that sanctioned its production.

7. DRIVE

Nicolas Winding Refn, Denmark

The best music video Michael Mann never made. Ryan Gosling's (unsuccessful) campaign ad for the crown of Sexiest Man Alive. A movie-length escalating joke about the manipulative seduction of genre-film tropes, Drive is the visual-pleasure bomb that critiques itself.

8. CONTAGION

Steven Soderbergh, United States

A filmmaker whose primary obsessions have been work and sex, Steven Soderbergh turned an outbreak story that demonizes both into an unflinching, dispassionate nail-biter. Contagion is uniquely Soderberghian in its appropriation of a Hollywood genre for personal ends. When the big emotional catharsis comes, it's all the more devastating as a break from the total coldness that preceded it.

9. THE FUTURE

Miranda July, United States

The best of 2011's many Sundance-hits-turned-box-office-bombs. The reception accorded Miranda July's second feature—a deeply personal and fully unique hybrid of hipster relationship drama, lo-fi sci-fi, and filmed performance art—only affirms its courage as a would-be commercial endeavor.

10. MONEYBALL

Bennett Miller, United States

Am I biased as a baseball fan? Maybe, though as a faithful follower of the Dodgers—whose 2011 season offered a gripping seesaw of tragedy and triumph—I hardly needed to go looking for baseball drama elsewhere. Less an adaptation of Michael Lewis's bestseller than a cinematic rendering of the unlikely marriage between passion and fiscal ration that motivated the sport to put its faith in sabermetrics, Moneyball moved me to tears. Twice. My vote for most satisfying popcorn movie of the year.

The following films (listed alphabetically) almost made the cut: The Autobiography of Nicolae Ceausescu, Beginners, Certified Copy, City of Life and Death, A Dangerous Method, Dragonslayer, Fast Five, Go Go Tales, House of Pleasures, Jane Eyre, The Lincoln Lawyer, Love Exposure, Martha Marcy May Marlene, Mysteries of Lisbon, Rubber, Silver Bullets, Take Shelter, The Trip, Uncle Boonmee Who Can Recall His Past Lives, and Winnie the Pooh.

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2 comments
Cadetinpanama
Cadetinpanama

"Margaret " by Kenneth Lonergan is an amazing film. I went to see it because of this review and "best of 2011" round up. What a shame that it was under appreciated. It has great characters, great acting, and a real New York feel. It should sweep the Oscars, but no doubt because it's not trivial and "uplifting," it will be ignored.

new Yorkers, turn out en masse and see this film!

Ed Kollin
Ed Kollin

I don't know for those of us who were around and aware during September 2001 if any art be it movies or music directly about or insinuating the attacks will not seem awkward on some level. The older generations did not seem have this problem my dad's generation flocked to war movies. Nobody had an issue with "Springtime for Hitler" and one of the best comedies still is "Dr. Strangelove" . I wonder why we are such wimps?

 

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