My Chronological Top Ten Films of 2010:

The Book of Eli (17/1/2010):
More of a movie apocalypse than the realism of The Road, with arse kicking action, superb visuals, and a great soundtrack. It's not perfect, and the central theme might turn some away, but I really quite enjoyed it from start-to-finish.

Shutter Island (27/3/2010):
A B-Movie genre flick with the talent and budget of an A-Movie. Scorsese excelled at forboding atmosphere and paranoid asylum-bound mystery, while DiCaprio delivered yet another quality performance.

Kick Ass (4/4/2010):
Superheroes that aren't so super, but who cause a lot of violent havoc and have filthy mouths. Pure, unrestrained entertainment. Sequel please.

Inception (19/7/2010):
A mind-bending blockbuster with a thunderous score, the best trailer of the year, and the ability to mix wow-factor visuals with huh?-factor smarts.

The A-Team (1/8/2010):
One of the pleasant surprises of the year. I thought it was going to be a disaster upon first hearing about it, but it grew on me gradually, and then proved to be an thoroughly enjoyable action romp.

The Expendables (22/8/2010):
I prefered Rambo, but the sheer bad-assery of this 1980s throwback actioner employing modern techniques provided an addictive dose of adrenaline. Plus Terry Crews' shotgun was amazing.

Scott Pilgrim Vs. The World (28/9/2010):
It's a shame it didn't do a bit better at the box office, but it was clear from the first frames that this was going to be a cult hit all the way. This unappologetically niche flick has kept coming back into my mind over the months since its summer release, and I look forward to delving deeper into the Pilgrim universe with the graphic novels.

Jackass 3D (7/11/2010):
The whole 3D thing hasn't evolved beyond a flashy visual gimmick, and I doubt it ever truly will, so a bunch of idiots hurting themselves and flinging various bodily fluids at the camera was an ideal use for this technology. An ideal audience participation experience, filled with absurdly gross-out moments.

Toy Story 3 (Blu-Ray) (23/11/2010):
Perhaps the best one of the three, but certainly tied with the original, this series closer provided guffaws and lumps-in-throats in equal measure. A visual treat with a heart-felt script to match. It tugged on your heart strings with Pixar's perfected storytelling skills and was a definite 2010 Top Five moment. That sequence in the final act alone was enough to earn it endless kudos.

Tron Legacy (2/1/2011):
The script could have used a touch more shading for certain aspects, but as a visual and aural experience it was second-to-none for 2010. The 3D wasn't employed to particularly involving effect as the neon glitz of The Grid overtook any depth-of-field snazziness with ease, and the soundtrack by Daft Punk was pulse-poundingly perfect. I really enjoyed this flick, and while the original was a very important moment in cinematic history, this sequel really delivered the goods for me.

Honourable Mentions:

The Road (31/1/2010):
This is exactly how the apocalypse would be in real life - unlike The Book of Eli's darkly entertaining movie-apocalypse - a harrowing and tough experience. It didn't quite have the hauntingly memorable quality of Cormac McCarthy's superb book, but the heartfelt father/son tale translated perfectly to devestatingly moving effect. It's a film for fathers to deal with the fact that one day they'll be gone and their offspring will have to fend for themselves, and it's a film for sons to deal with the realisation that one day their guiding light will be extinguished. Like I said - devestatingly moving.

Machete (28/11/2010):
Perhaps I had amped it up in my head too much since the release of the thoroughly enjoyable Grindhouse, but Machete didn't quite fire on all cylinders after an uproariously entertaining opening. However, despite the slight disappointment, it was filled with that gleeful grindhouse vibe and I'm sure I'll enjoy it time-and-again on home video.

The Town (26/9/2010):
Ben Affleck's heist thriller might have treaded similar boards to many other heist thrillers, but it's honest and detailed approach to Boston's criminal class, and the three superbly crafted heists made it stand above its peers who have come out in the wake of influential flicks like Michael Mann's Heat.

Back to the Future (re-release, 3/10/2010):
I didn't include this in the 2010 Top Ten as it's a re-release, but it was easily one of - if not the - best cinema-going experience of 2010. The movie is perfect already, so it was glorious to see this life-long favourite on the big screen, but more than that it was heart warming to see young parents bring their young children to see this film that had been so important to them and successfully pass their enjoyment onto their offspring.

The Road...

Coming to our local Cineworld three weeks after release, I finally got to see the film version of Cormac McCarthy's moving and brutal post-apocalyptic father & son journey story The Road.

In 2008 I took part in a YouTube user collaborative project for Channel 4's "3 Minute Wonder" slot - everyone submitting footage that would then be re-edited into four short films that were inspired by McCarthy's Pulitzer Price winning book. At this stage I hadn't read the book - but got the jist of it before submitting my footage (which was one of the chosen pieces to be edited into the final films which showed during the last week of October 2008 on Channel 4).

Shortly afterwards I bought the book and was thoroughly impressed by the sparse verse that managed to convey such a strong sense of how an unexplained, but sweeping disaster, had turned the world into a cruel and vile place where the few good struggled endlessly against roaming gangs of cannibals (still few in number, but certainly out-numbering those refusing to succumb to cannibalism).

However, that is merely the world presented, the crux of The Road is "Man" and "Boy", a father and son who lumber on, following the road south to find a warmer climate, and how they cope along the way. It's a powerful and moving read, with some of the most heart-felt final pages ever written.

Similarly the film adaptation is uncompromisingly bleak in its presentation. The terrifying glimpses of cannibalistic behaviour in the book are now written large in brief moments of abject and visceral horror, but these are thankfully punctuated by quiet and caring moments between Viggo Mortenssen (perfect casting) and Kodi Smith-McPhee's (nailing the tone of his character from the book) "Man" and "Boy".

The discovery of a can of Coke (calm down "advertising!!!1!!!1!" freaks - it was in the book, and Coca Cola had to be personally convinced by Viggo himself to allow their product to be used), or sharing the spoils of a lucky find, or the father bathing his starving son - even the moment that they address the Man comes from a world entirely alien to that of the Boy, are all moving and fascinating moments.

While the book might go into more detail and speak of things that film can rarely show in such detail, the film is a more intense experience. You can put the book down every few pages if your reading time is brief, but the film grasps your attention for two whole hours and lays out the visuals in gritty, cold examination. So in terms of impact, it's a draw, but for different reasons on each side.

The book is a meandering journey with moments of sharp action or horror, so the film has a slow-burn pace that transcends your usual 'movie apocalypse' style. This isn't Mad Max, this is what the end of the world would really be like. It's harsh, cruel, bleak and at times intensely tragic - but in amongst it all are clutches of something brighter, of a glimmer of hope for the future no matter how uncertain it may be. Ultimately The Road (both book and film) is a rewarding experience. It most definitely isn't a barrel of laughs (duh), or a Hollywood action extravaganza (as one trailer so inexplicably painted it as) ... what it is, is a thoughtful and moving piece of filmmaking ... and it's a strong contender for my own personal Film of 2010.

As a side note to finish on, the score (by Nick Cave & Warren Ellis) is just superb. The pair had previously scored The Assassination of Jesse James (one of my all-time favourites), and proved they have unending skill and craft - with The Road, they have out-done themselves. Just like the film, the soundtrack is emotional and thought provoking. Incredible.

The Book of Eli...

I was hoping to have an "apocalypse weekend" at the cinema, but annoyingly our local Cineworld wasn't showing The Road - hopefully it will be sometime soon - so it was just one dose of apocalypse for us at the cinema this past weekend. I wasn't expecting an awful lot, and went into it with mild interest - indeed the trailer makes it look like a dumb actioner.

Fortunately I was pleasantly surprised. It's not a dumb actioner. Sure it has some action in it, some quite good action too, and one set piece that's sparse but immensely stylish, but it's much more thoughtful.

No surprises though that the titular book is The Holy Bible, but mercifully there isn't any bible bashing (of either kind). The film performs a straight forward balancing act between the good and bad sides of religion through, you guessed it, a good guy and a bad guy.

The thoughtful nature of the film however is in its construction. The ruminations on the Bible are there, but it's more a case of the feel of the film as a whole. At times we don't see the visual payoff we might expect - we know something is going to happen, and that's good enough - indeed, it makes it better. The post-apocalyptic world feels functional (replete with a simple, but informative look at the bartering process) and fleshed out, even though it's treated merely as the setting and not the subject.

Many of the elements in the film could have been expanded upon (and some sequences could have been trimmed for pacing), but you rarely feel short changed. You're left wanting more in a good way.

This flick is also stylish. Really stylish. Not in the MTV way of 'style', but in a more thoughtful way (hooking back to the thoughtfulness again). It feels considered and dramatic, with the right amount of sensation thrown into the mix.

It's a hard flick to sum up, but needless to say it's not the actioner that the trailer leads you to believe. Indeed I would wager that in most screenings there will have been people who either walk out disappointed, or are frequently in-and-out to go for a piss after they've spent the first half guzzling eighteen litres of Coke. This was the case at our screening, which was a mid-afternoon showing. It was far from sparsely populated, but there were people in and out like a fucking Yo-Yo. It did amuse me to see a teenager - decked out in expensive trainers, football shirt, low slung trousers, and a baseball cap - wearing a gaudy crucifix around his neck. Considering the content of the film, it seemed like an odd juxtaposition, but strangely related.

So far it's been a surprising start to the year for me at the cinema - first with the rather enjoyable Sherlock Holmes that I wasn't sold on until the final trailer - and now with The Book of Eli, which is far better than its paint-by-numbers stock trailer suggests.

Now come on Cineworld, show The Road.