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The real fun in the AV Club's list each year - and this year, Winter's Bone crowns their top 15 - is in the individual ballots. Ben Kenigsberg on Serge Bromberg's Henri-Georges Clouzot's Inferno: "The talking heads are talking heads, but holy cow - what footage." Hank Sartin on Katie Aselton's The Freebie: "A couple agree to allow each other one night of infidelity in this raw, painful, largely improvised look at a good relationship about to go bad." Clearly, since we can't raise taxes on the wealthy, what we need is a new genre of shame-inducing billionaire biopics: 'Get Christy Walton,' say, or 'The Brothers Koch.'"īoth Time Out Chicago critics, Ben Kenigsberg and Hank Sartin, put The Social Network at the top of their lists (though I should note that the film shares the #1 spot on Jones's list with Debra Granik's Winter's Bone and Nicole Holofcener's Please Give).
#AVCLUB BEST MOVIES 2017 MOVIE#
And now that the movie has won rave reviews, played for ten weeks, and emerged as a surefire Oscar contender, Zuckerberg has joined the Giving Pledge, the philanthropic campaign launched by Bill Gates and Warren Buffett, and promised to donate more than half his fortune to charity.
#AVCLUB BEST MOVIES 2017 SERIES#
Early arguments about the accuracy of The Social Network and whether that even mattered gave way to a series of reviews, essays and debates about Facebook, digital entrepreneurship, friendship, business, meritocracy and the Ivy League far richer and more relevant to contemporary life than Aaron Sorkin's glib script or David Fincher's elegant atmospherics."īut the Chicago Reader's JR Jones asks: "Can any do-gooder documentary released this year claim to have done more good than The Social Network.? Its portrait of CEO Mark Zuckerberg as a conniving little shit who elbowed his best friend out of the business was so scathing that, shortly before the release date, Zuckerberg pledged $100 million to the school system of Newark, New Jersey. It was more fun to read the impassioned, geeky arguments about Inception than to endure a second viewing of that film. An attempt at synthesis can only fail, so in lieu of a comprehensive theory of Cinema Now, I offer a handful of postulates on the Cinematic State of Things." One of those postulates, "The Bush era is not over," takes us straight to his #1 film of the year, Charles Ferguson's Inside Job.Ī second postulate explains why he's not included The Social Network in his top ten, nor even in the list of 20 runners-up that follow: "The discussion of movies is frequently more interesting than the movies themselves. "A great year? Hard to say, and finally, who cares?. And our week-long celebration list of the Best Films of the 2010s has us more excited than ever about what they might be to you tomorrow.Īs the week goes on, we’ll be posting lists of the decade’s best performances, scenes, scores, and posters, as well as a timeline of the news stories that shaped the last 10 years, and interviews with the filmmakers who made it all happen.īut for now, IndieWire is proud to kick things off with our list of the 100 best movies of the 2010s."Was it a good year for movies?" asks AO Scott in the New York Times. If the most vital work of the 2010s has made one thing clear, it’s that movies have never been more things to more people than they are today. And while the decade will no doubt be remembered for the paradigm shifts precipitated by streaming and monolithic superhero movies, hindsight makes it clear that the definition of film itself is exponentially wider now than it was a decade ago. Cinema is in a constant state of flux, but it’s never mutated faster or more restlessly than it has over the last 10 years.
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Perhaps the arrival of James Cameron’s “Avatar” in the waning moments of 2009 could have been seen as a harbinger of strange things to come, but no one in Hollywood has ever lost sleep over a movie that grossed nearly $3 billion. DVD sales were strong, Netflix was still just a sad little envelope at the bottom of your mailbox, and China was starting to give studios the biggest safety net it ever had. It came with the added benefit of making the people in charge comfortable with the idea that cinema’s future wouldn’t look all that different from its past.
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That idea was inflexible, and supported by a century of precedent. Ten years ago, it seemed like we all had a pretty solid idea of movies - what they can do, who they’re for, and where they’re watched.