The Best Years of Our Lives is the best film ever made about war veterans. That’s not exactly an alluring endorsement, so let me add that it’s a nearly three-hour film without a moment of mind-drift. It’s funny, moving, wrenching—a total tear-jerker that earns its emotional wallop.
Before Midnight is the unplanned Part 3 of what may turn out to be a lifetime series—one episode every nine years, so far—following the romance of Jesse and Céline. Before Sunrise (1995) had them, at 23, meeting on a train in Europe, getting off together in Vienna, walking and talking all day and night, and making love at dawn. Before Sunset (2004) found Jesse, author of a best-selling novel about that brief affair, running into Céline at a reading in Paris, resuming their walking and talking through the winding streets, and ending in her apartment on an ambiguous note: Will he catch his plane back to Chicago, returning to his wife and child, or stay with Céline, for whom he’s been pining all these years?
Silver Linings Playbook is the most oddly enticing rom-com in a long time. Think Billy Wilder filtered through Martin Scorsese, which isn’t a bad way to describe the flip sensibility and kinetic style of writer-director David O. Russell at his best (Three Kings and Flirting with Disaster, not I Heart Huckabees). It’s a movie about crazy people: self-destructive and socially oblivious in various ways to varying degrees, all of them finding a place in the sun through love, family, community, music, and sports.
White Heat is one of the greatest gangster movies ever made. It’s a true film noir, a Freudian character study, and a pioneering police procedural, with slick suspense, a dry wit, and a deep-cutting (but not bloody) cruelty that’s still jarring today. The script is by Ivan Goff and Ben Roberts, who later wrote a few seasons of the Charlie’s Angels TV show, which at its best pulled off a warmed-over, softly satirical simulacrum of those traits.
To my mind, Lincoln was the best film of 2012. In any case, it’s a rare thing: an old-fashioned biopic, a 19th century costume drama, a “talky” set piece about a debate in Congress—and yet it’s riveting, stirring, transporting. This is a film about the struggle over the 13th Amendment, which abolished slavery; but it’s also about the nature of hard-boiled politics, the tension between compromise and principle, and the meaning of leadership—and, somehow, it doesn’t come off as preachy (except, a bit, at the very beginning and ending, though what comes in between almost earns it the right of a little sentimentality).
Hannah and Her Sisters is Woody Allen’s most novelistic film: a tale of crisscrossing plotlines, strewn by multiple narrators, each a fully drawn character locked in or out of love with one of the others, and seeking answers to human needs and darker mysteries. It’s also Allen’s most redemptive film. In the end, the strands are resolved, the needs met, the mysteries not solved but set aside for the sake of enjoying life’s pleasures. In this sense, it’s reminiscent of Fanny and Alexander, the similarly titled (and also atypically euphoric) film made four years earlier by Allen’s morose hero Ingmar Bergman. Both films begin and end with lavish holiday dinners, and both chart voyages of infidelity, doubt, and despair, before settling into a celebration of the good life: family, friends, and haute elegance.
The Kid With a Bike is a heartbreaking, gripping, ultimately unsettling, but very satisfying film—an odd jumble of adjectives, I know, but the Dardenne brothers of Belgium routinely provoke these dissonances in the works they jointly write and direct. Their earlier films (The Child, The Son, La Promesse, among others) are notoriously hard to warm to: The characters are obstinate, the pace slides and rambles. The Kid With a Bike, which won the Grand Prix at Cannes, is sunnier, more kinetic, but it, too, disrupts assumptions, snaps you in unexpected directions: just like life.
All of you know the taxicab scene from On the Waterfront in which Marlon Brando tells Rod Steiger, “I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am. Let’s face it.” But I’d bet not many have recently seen the whole movie—and never have you seen it looking as breathtaking as it does on this Blu-ray Disc, a wondrous collaboration between Sony’s 4K digital-restoration lab and the Criterion Collection’s special-features team.
Lawrence of Arabia may be the last extravagant blockbuster that was also a great film. It’s nearly four hours long, much of it consisting of men galloping on camels through the desert, shot on location with a cast of hundreds, no sex, almost no women—yet this is riveting, heart-pounding stuff, and witty, to boot. It’s based on the true story of T.E. Lawrence, the romantic British officer who led a gaggle of bedouin armies against Turkish strongholds in World War I, helped bring down the Ottoman Empire, came to believe his own myths and see himself as a demigod—and thus became a delusional monster. The film has the feel of a grand epic and an intimate psychodrama. It’s an adventure, a clash of cultures, and a tragedy.
Wong Kar-wai, the greatest living Hong Kong filmmaker, is a weaver of smoldering dreams, and In the Mood for Love is his masterpiece. He may be the most intense practitioner of pure cinema. Very little happens in this film, but his brash colors (like something out of a Matisse painting), arch compositions (long shots at slightly off angles, slow tracking shots signifying the passage of time and the ache of waiting), and use of music (a languorous, longing string motif) sow a hypnotic tension and a charged passion (though its beautiful lead actors, Maggie Cheung and Tony Leung, barely touch each other and show not a smidgen of bare skin).