Good day, readers, and Happy
(Belated) New Year!
It’s hard to believe such time
has passed already, but there is no purpose in questioning it: here we are in
2020, at last. Not only a new year, but a new decade. Before we settle
into this new decade, I think it’s only appropriate to look back on the 2010s
in movies, because to tell you all the truth: it was a great decade for movies.
Interesting that I say that,
though, because I came into 2010 kind of worried about where film was going:
the late 2000s further perpetuated the trend of overblown CG epic action
flicks, a cycle attributed primarily to the 2009 release of Avatar,
but also synonymous with the one-two punch of Iron Man and The
Dark Knight in 2008, reviving comic book movies after dying for a
while in the mid-to-late 90s. I don’t hate these movies, but for a while it
felt like that’s all there was with no alternative. Even indie/arthouse cinema
was stale at the time, stuffed with vapidly mundane films shot on handheld
masquerading as “hyperrealism”.
I’m not sure what happened,
but suddenly there were more solid movies being released rather consistently,
and by the late 2010s, I couldn’t believe just how much great cinema was coming
out, and how appropriate that 2019 was quite possibly the best year for movies
this decade. Even movies that weren’t particularly great were at least
interesting. Here’s what I have noticed, though: more risks from producers
& distributors. It blows my mind that Paramount actually managed to
get mother! and Annihilation major theatrical
releases. And along with the riskiness from producers have been remarkable
ambitions from independent filmmakers like Terrence Malick, who cinematically
contemplated the entirety of existence in The
Tree of Life, as well as Richard
Linklater and his epic coming-of-age chronicle Boyhood
But the real heroes of the
production/distribution side of movies are A24 and Neon Films, who frequently
put out exceptional movies time and time again, and what a great domino effect:
I can’t imagine how inspiring it must be for ambitious, aspiring young
filmmakers realizing that there is, indeed, a market for their unique films, as
well as producers willing to give them a chance. And who would’ve thought that
Netflix, once a simple disc-mail rental service, have not only dominated the
streaming market (something that admittedly has me nervous about the future of
physical media), but continue to prove themselves as a powerhouse studio with
masterworks like The Irishman and Roma.
The 2010s were certainly a
great time to be a sci-fi fan, with some of the most remarkable movies this
decade wisely taking notes from artful sci-fi of the ‘70s, the kind of films
that deeply penetrate you consciousness and make you seriously contemplate life
and the very world around you, something that’s been depressingly absent from
sci-fi for so long. Two releases of this category in particular – Blade
Runner 2049 and Mad Max: Fury Road – not only live as
ultimate proof of the upward trajectory of sci-fi, but also proved what a
sequel/reboot can be, no matter how belated or unnecessary it may be.
While we’re talking about
genre films, I feel the 2020s are going to be a great time for horror, a genre
that has failed to rise up to the bar set by its ‘70s golden age (with a few
exceptions, of course). The former half of the 2010s saw the release of plenty
of horror films that ultimately weren’t too special, but were at least trying.
But then they started getting not only more interesting, but more terrifying.
Then came Ari Aster in ’18 and ’19 with Hereditary and Midsommar,
and I officially have faith that horror will see greatness before too long.
So, there’s my overall
thoughts on the decade itself, but now I need to get into what this post
is really all about. Throughout next week (starting Sunday), I
will not only be counting down my top 30 favorite films of the decade, but also
my 10 most honorable mentions, 10 most overrated, as well as 5 underrated gems
& 5 biggest disappointments.
What are the qualifications?
Simple: using IMDb as my primary source of dates, it can only be on the list if
it premiered from 2010-2019, even if the wide release wasn’t until later. For
example: Lee Chang-dong released a terrific faith drama called Secret
Sunshine in 2007, but it didn’t see a wide release until 2010. In
spite of its wide release in 2010, it still first premiered in 2007, so it
won’t be making it on the list.
Before I let you go, I will be
posting the schedule of entries below for your reference. See you on Sunday!
SUNDAY: 5 Underrated Gems
& 5 Biggest Disappointments
MONDAY: Top 30: 30-21
TUESDAY: 10 Most Honorable
Mentions
WEDNESDAY: Top 30: 20-11
THURSDAY: 10 Most Overrated
FRIDAY: Top 30: 10-1
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