Highlights: 2012's Best Line Delivery...

...is "Calm down, crazy!" by Jennifer Lawrence in Silver Linings Playbook.

At various stages, I'd opted for either of the runners-up you see below, but in the end J.Law wins out, not just because her delivery is ace, but also because believe that line will become the most quotable one uttered in any film this year. Attempt to capture Lawrence's pitch-perfect cadence at your own peril though!

Runners-up
"The law says you can not touch, but I think I see a lotta lawbreakers up in this house tonight." by Matthew McConaughey in Magic Mike
"You're dangling my vagina out there like it's bait." by Aubrey Plaza in Safety Not Guaranteed


All 'Best of 2012' Entries...

Recent Screening Update

Killing Them Softly (dir. Dominik)
Lacking the poignancy of Dominik's last film, but just as beautifully stylized; lacking the subtlety of that film, too, but compensating with bitter comedy, and an absolutely killer last line. (B+)

Bernie (dir. Linklater)
You wouldn’t know, spending time with these plastic characters, that Bernie is based on a true story. Black tries his best but he can’t wipe the faux sheen from the film's face. (C)

Tabu (dir. Miguel Gomes) (thoughs)
Pure magic incarnate and far and away the best film of 2012. Tabu's enchanting love story and subtle study of post-colonialist aggression puts the audience in a delirious state that's hard to shake off. (A)

Amour (dir. Haneke)
It creeps up on its audience as slowly as death itself. A heartbreaking, disturbingly frank portrayal of everlasting love in the final days of life. (A)

The Hobbit: An Unexpected Journey (dir. Jackson)
A thin children's tale stretched over three unbearably bloated and hideous hours. Repetitive and aimless plotting only strengthens the feeling that Jackson's decision to extend the films to a trilogy is motivated by $$. (C-)

Silver Linings Playbook (dir. Russell) (thoughts)
Glaringly flawed, but directed with verve and acted with passion. Russell oversimplifies mental disorder to quirkiness, but exhibits even greater prowess at touching the heart than he did with The Fighter. (A-)

Anna Karenina (dir. Wright)
Enhanced by Wright's vision and the need to creatively overcome financial restrictions, Anna Karenina is vivid, original, luminous and with the exception of Vronsky, superbly performed. Marianelli's score is the best show. (B+)

In Defence of Flawed Filmmaking...

Immediately after Silver Linings Playbook won the audience award at TIFF, an intense backlash started against it by critics who hadn't taken to the film. And the rapid escalation in the number of people who claimed it was a serious contender for Oscars only made matters worse. At the moment, I think Silver Linings Playbook might actually be the most divisive film of the year, even ahead of The Master.

It's an understandable position on the critics' part, as Playbook is by no means a perfect film. In fact, it has enormous flaws in both its conception and execution that would under any other circumstance be incredibly grating. There are moments where one can point to specific decisions in camera work or directing that hurt the film. There can be legitimate complaints about its treatment of mental disorder or its practice of tired romantic comedy tropes. From virtually any angle, this is a film that, on paper, should not work. And yet, it totally does. Because, every now and then, comes along a film that reminds me why I love films in the first place. It reminds me that I watch them to be moved, and to be affected and to live with its characters beyond the two hours I spend in the dark of the theatre. Silver Linings Playbook is that film. Not because I can dissect it and analyze it with what I learnt in university film classes, but because it's honest and moving. Because it can look at itself and like everything about itself without reservation; the loving part and the slutty part and the crazy part. All of it. And I commend it for that.

The beauty of Playbook is in the unpredictable energy of Tiffany's dishonest cries of "he's harrasing me," contained within a performance (by Jennifer Lawrence) that is so at ease with the character's insecurities and her unsubtle sexual allure that it becomes reminiscent of the greatest works of Barbara Stanwyck. The greatest moments in the film aren't the work of a director who creates calculated set-ups, but one who reaches inside his actors and finds their deepest human instincts; like when Dolores gently kisses his son on the forehead, or when the father swells up as he opens up his age-old wounds in the attic, and more often than not, in Pat's confused, heartfelt and sky-blue gazes into our soul. It's a film full of nuanced performances that, under Russell's (problematic but) gutsy direction, breathe a new life into an otherwise generic story with their compassion. Russell may well be the greatest humanist working in American cinema today; a director not with his eyes on the viewfinder but with his heart on his sleeve.