The Rejects of 2010

These are the rejects of 2010. While some were well-received critically, all were unable to find a substantial audience in theaters. None of these films will appear on my forthcoming "Best of the Year" post, and as such there are no masterpieces to be found here. Some of these films I don't even like very much. However, they all deserve a second chance on DVD, the chance with audiences they never got during their initial release. Here is the list, in alphabetical order:

The Ghost Writer

A fascinating thriller from Roman Polanski, telling the story of a ghost writer (Ewan McGregor) who has been hired to write the memoirs of Adam Lang (Pierce Brosnan), the former British prime minister. As the film goes on, the writer begins to discover there is more to Lang’s past than one would initially suspect. It doesn’t haunt your dreams, but it’s more than intriguing while it lasts.

Going the Distance

The romantic comedy genre has long been a wasteland, and exceptions are few and far between. This year was no different, but one film, Going the Distance, was able to separate itself from the pack. Chronicling a long-distance relationship between characters played by Justin Long and Drew Barrymore (yawn, right?), the film uses an intelligent script and an engaging cast to create a romantic comedy of unusual honesty and humor.

Green Zone

For one reason or another, Hollywood just can’t get you people to go see a solid drama/action movie about the Iraq War. One year after The Hurt Locker became the lowest-grossing Best Picture winner of all time, Green Zone was released in theaters to equally inauspicious box office. It isn’t the most sure handed when it comes to jugging the high-velocity action and the (out of date) political issues, but director Paul Greengrass could make a slam-bang action movie out of No Exit.

Hereafter

Many have called Clint Eastwood’s Hereafter a sleepy trifle, but I found it strangely and subtly powerful. It doesn’t have a whole lot to say when it comes to the afterlife, but above all it makes the case that we, as a species, need an afterlife to believe in. It builds into something beautiful despite its flaws, which are many.

It’s Kind of a Funny Story

The teenage psych ward comedy/drama (not dramedy) It’s Kind of a Funny Story is a bit too bright and cheery for its own good, but it plays into all of those adolescent feelings of “my life is awful” in a poignant way. The best part, however, is the performance of Zach Galifianakis, which hints at a greatness that lies beneath the surface. Instead, the film settles for the old clichés, but many will still be able to look past it.

Kick-Ass

This one comes with a gigantic freaking warning label, as it is likely about half of those who see Kick-Ass will probably despise it. At a moral level, it’s reprehensible, but it’s made with enough energy and flair that you might not mind the awful things that 13-year-old Chloë Grace Moretz is doing onscreen. I saw it in a crowded movie theater, where there was a group of obviously intoxicated twentysomething guys in the back of the room laughing, cheering and shouting at every new ultraviolent development. Try to replicate that environment and you’ll have a good enough time. This one didn't necessarily fail at the box office, but it didn't blow anyone away.

Leaves of Grass

I saw this one a while back and never found time to review it, but it’s an intriguing film from Tim Blake Nelson which stars Edward Norton as a college professor and… Edward Norton as his pot-dealing twin brother. Norton is positively brilliant here in a film that changes tones far too often (the violence is a wee bit too much), but when it stays in the realm of comedy it becomes far more fun to behold. It’s Coen brothers-lite.

Let Me In

If you haven’t seen the Swedish film Let the Right One In, then I wholeheartedly recommend the American remake Let Me In, which covers the same plot with a similar tone throughout. As such, it’s nearly equally powerful at points, and my original review simply seemed negative because it never truly needed to be made. However, Let Me In’s failure in America is a bit disheartening, as that means you all are missing out on one of the best stories the recent vampire craze ever gave us. This film, along with Kick-Ass, solidified Chloë Grace Moretz as the young girl who, if necessary, will freaking tear you apart.

MacGruber

Jorma Taccone’s MacGruber is, strictly speaking, not a good film. However, it’s an incredibly silly good time for all those who are up for it. Will Forte brings his Saturday Night Live character to the big screen with predictably insane results, and the story seems intent on cranking up this insanity scene after scene. MacGruber, like many of the films on this list, is not for everyone, but it’s far better than its dreary box office would indicate. It wasn’t even able to make back its $10 million budget, and it was removed from theaters as quickly as it arrived.

Morning Glory

A delightfully giddy film which features Rachel McAdams as the incredibly caffeinated producer of Daybreak¸ a national morning show on the verge of cancellation. Of course it’s predictable, but like Going the Distance it’s intelligent enough to get by, and the cast performs admirably. Of all the year’s box office failures, this one might sadden me the most.

Scott Pilgrim vs. the World

I liked Edgar Wright’s Scott Pilgrim vs. the World. However, many loved it, and some call it one of the best films of the year. I would wholeheartedly recommend it to anyone, as it is undoubtedly one of the most original and energetic. Sadly, it isn’t quite able to sustain itself for the entire running time, dooming itself from the moment it decided to run with all seven evil exes. I want to like it more than I do, but it certainly deserved better than it got in theaters.

Splice

Another one that’s hard to defend, and I’m not entirely sure I want to, but it’s a bold, inventive psychological horror film that goes places that few filmmakers dare to go. Sadly, it drastically misfires in its final act, but I hope all can agree that its intentions were admirable. Some may dismiss it as stupid, but that’s merely the result of trying really hard to be intelligent. Splice has to be seen to be believed, and sadly not many people have done either.

Stay tuned for more posts chronicling the year in film.