Summer Music Festival Preview

 

Summer is almost here, and that means music festival season is just around the corner. Chicago is home to not one, but two excellent festivals: Lollapalooza and Pitchfork. Lolla is the bigger and more established of the two, the brainchild of Jane’s Addiction lead singer Perry Farrell. While it began as a touring festival in 1991, it found a permanent home in Chicago after it was reestablished in 2005 following a two year break. SInce then, it has featured some of the biggest names in rock and pop, including Kanye West, Radiohead, Arcade Fire, and Lady Gaga among others. Last year’s headliners were uncharacteristically weak, leading me to hope that Farrell would atone for his sins this year.

But after looking at this year’s lineup, I was once again underwhelmed. The Black Keys and Jack White will certainly be able to command the main stages, and Black Sabbath was unquestionably a big draw (though they’re at least 30-40 years past their prime). But the other three headliners (Red Hot Chili Peppers, Avicii, and Justice) are rather uninspired. Red Hot Chili Peppers would have been an excellent choice in the mid-90s, but their output since 1999’s Californication has been boring at best, and needlessly over-indulgent at worst. You can almost hear lead singer Anthony Kiedis checking his watch as he delivers some of the sleepiest vocals I’ve ever heard on snoozefests such as “Snow” and “The Adventures of Rain Dance Maggie”.

As far as the electronic acts are concerned, I appreciate Farrell’s efforts to make Lolla more diverse, but few electronic artists have the clout and stage presence to headline a main stage. Justice’s high energy style would have been a perfect fit for Perry’s (the predominantly electronic stage), where the atmosphere is more frenzied and intimate. Avicii, on the other hand, represents the bland techno that has come to dominate the electronic music scene. The undercard, while not quite as deep as I would have hoped, is more exciting, featuring a healthy array of established acts and promising up and comers.

Though it debuted the same year Lolla found its current home, Pitchfork has always been seen as Lolla’s younger brother, featuring smaller, often more experimental acts. Run by the highly-influential indie taste-making website of the same name, Pitchfork has always had a knack for finding bands just as they break out. The festival really hit its stride during the past two years, grabbing some of the biggest names in independent music (Fleet Foxes, LCD Soundsystem, TV on the Radio, Pavement), and arguably surpassing Lolla in terms of quality. This year seemed like the year Pitchfork would establish itself as a world-class festival, as some very big names circulated on the rumor mill. Pulp? Jeff Mangum? Bon Iver? Maybe (fingers crossed) a full-fledged Neutral Milk Hotel reunion? But my lofty hopes came crashing down in a fiery heap of disappointment when the actual headliners were announced.

Vampire Weekend were a satisfying, if not enthralling pick, but the other two (Feist and Godspeed You! Black Emperor) do not have the type of live shows that warrant a prime slot. Especially considering that there is at least one other band on the lineup (Beach House) who could have easily replaced either Feist or Godspeed. Frankly, I’m confused as to why Pitchfork did not choose The Walkmen (who are playing Lolla instead) to headline, since they’re half-way down the bill for Lolla, and will likely land a mid-afternoon slot unreflective of their considerable talents.

But as has been the case in recent years, Pitchfork’s non-headlining acts are as strong as ever, eclipsing Lolla in terms of quality and depth. From the aforementioned Beach House to Sleigh Bells, Cloud Nothings, and Wild Flag, Pitchfork has proven it can consistently stay on the cutting edge. This is especially true in regard to the hip-hop and electronic acts. Where Lolla’s hip-hop and electronic slate is often more commercially viable (while consistently mediocre), Pitchfork has always been more willing to book more adventurous and ambitious artists. This year alone boasts the likes of Flying Lotus, The Field, Danny Brown, A$AP Rocky, and Nicolas Jaar. Due to the depth of the lineup, I’ll give Pitchfork a pass (this year) for their weak headliners, and a slight edge over Lolla for the second year in a row.

For those of you who choose to attend either or both festivals (and both are certainly worth attending), here are my top four non-headlining acts to check out at each festival (for the record, The Black Keys, Jack White, and Vampire Weekend are far and away my favorite headliners).

 

Lollapalooza

 

1. The Walkmen

 

Easily one of the most under-appreciated bands of the past decade, The Walkmen have maintained a consistency most bands would envy. Their sound, a Smithsesque mixture of 80s alternative and surf rock, feels familiar, but is in reality very distinctive. The interplay between the band members is deceptively skillful, as their messy rapport would indicate otherwise. This could be a recipe for disaster for many bands, yet The Walkmen make it look easy, creating a loose vibe that highlights their incredible chemistry. But what makes them special above all is the unmistakable sense of longing and regret so successfully conveyed on their records.

Take the piano riff on the breakout single from their debut LP, “We’ve Been Had”. Evoking an ice cream truck, carousel, and music box all at once, the sound of that piano not only recalls, but embodies the concept of nostalgia, calling to mind just about every childhood memory you’ve ever had. While technical prowess can certainly bolster a band’s effectiveness, the ability to forge an emotional connection with their audience is what separates good bands from great bands. And The Walkmen are a great band.

 

2. tUnE-yArDs

 

Arguably the breakout artist of last year, Merrill Garbus (who works under the moniker tUnE-yArDs) is one of the most exiting young musicians working today. Her kinetic, exuberant second album, Whokill, garnered significant critical acclaim, pulling a significant upset over Bon Iver and PJ Harvey to take the top spot in the 2011 Pazz and Jop Critics’ Poll. Melding Afropop, folk, and hip-hop, while drawing from influences as diverse as Beck, M.I.A., and Talking Heads, Garbus’ sound is nevertheless uniquely her own, due in no small part to her contagious enthusiasm. She clearly loves making music, and you can hear that joy in her booming yet pliable voice. She received rave reviews for her live shows last year, even being named the best act at last year’s Pitchfork Festival by Tribune music critic Greg Kot. If you’re looking for something a bit off the beaten path this summer, look no further.

 

3. At the Drive-In

 

Texas based post-hardcore outfit At the Drive-In broke up at the height of their powers in 2001, fresh off of their landmark album Relationships of Command. Members Cedric Bixler-Zalava and Omar Rodriguez-Lopez split off and formed The Mars Volta while the other members became Sparta. And while both bands achieved some measure of success, neither achieved the acclaim of At the Drive-In. Rumors of a reunion had been floating around for the past few years, though they appeared to be shot down by Rodriguez-Lopez and guitarist Jim Ward in 2009. But the rumors were proven true when ATDI announced a tour at the beginning of this year, including some very high-profile dates at Coachella and Reading.

Their propulsive, high octane, chaotic sound has had a significant impact on the punk and emo scenes since their breakup, though few bands have been able to recreate ATDI’s high wire balancing act with as much finesse and ferocity. Their final two releases (Relationships of Command and Vaya) were particularly successful at recreating the energy of their famed live shows without sounding sloppy or unprofessional. Their Lolla date may be the last time they play in Chicago, so catch them while you still can.

 

4. Twin Shadow

 

Evoking the likes of 80s stalwarts Prince and New Order, Twin Shadow mastermind George Lewis Jr’s style is firmly rooted in the past with an unmistakably modern spin. His 2010 debut Forget could serve as a spiritual companion to Destroyer’s masterful 2011 album Kaputt, as it skillfully incorporates components of new wave and synth pop without the cheesiness that plagued many of the artists who inspired him. This guy means business, and his dance-floor ready sound pulls no punches. The seductiveness of his songs makes them alluring and magnetic, drawing you further and further in until you can’t escape their pull. In a lineup heavy with faceless techno and dubstep artists, Twin Shadow should provide a danceable, yet more substantive respite.

 

Pitchfork

 

1. Beach House

 

Brooklyn dream-pop duo Beach House have a remarkable ability to get more with less. Using just a slide guitar, drums, an organ, and Victoria Legrand’s smoky voice, Beach House’s sound is as lush and melodic as any today. This is due to the incredible synergy between Legrand and guitarist Alex Scally. The feeling produced by this combination is similar to what I would imagine it would be like to walk on a cloud. It feels both weightless and triumphant transcending reality for something deeper and more soulful. Simply put (and I don’t use this descriptor lightly) their music is beautiful, a feat accomplished by very few artists in any medium. Their 2010 record Teen Dream is one of the most mesmerizing records of the past decade, and their follow-up Bloom (set to be released May 15, though it has already been leaked online) proves a worthy successor. While their live show is fairly low-key, it should provide the perfect soundtrack to a warm July afternoon.

 

2. Cloud Nothings

 

Dylan Baldi’s first two records consisted of pleasant, if forgettable lo-fi garage pop. His goals were fairly modest, and consequently, the results were as well. But in 2011, Baldi felt as if he had hit a creative wall. He wanted a sound that would allow him to experiment and improvise, and he enlisted legendary producer Steve Albini (In Utero, Surfer Rosa) to facilitate this shift. What resulted (Attack on Memory) is a sharper, more abrasive record that still manages to utilize Baldi’s pop tendencies. Though the album is relatively brief (eight songs in thirty-three minutes) its conciseness serves it well; all eight songs are necessary pieces in a greater whole. Baldi’s bold move was one of the biggest surprises of this year, and with such a willingness to reinvent himself, it will be exciting to see where he goes next.

 

3. Sleigh Bells

 

For many, Sleigh Bells were the “it” band of 2010. Their hard-hitting debut Treats combined metal, hip-hop, and pop in ways rarely seen before. Reign of Terror, their highly anticipated follow-up dropped in February of this year, to somewhat less enthusiastic reviews. Personally, I prefer Reign of Terror to Treats, as it has a greater sense of craftsmanship and cohesiveness, the work of a more mature band. While Treats was louder and more exciting, there were times when guitarist Derek Miller and lead singer Alexis Krauss sounded as if they were on completely different pages. Reign of Terror flows far better and is more consistent than Treats without sacrificing Sleigh Bells’ genre-bending style. Considering the ear-splitting amounts of noise Sleigh Bells produce, their set at Pitchfork should provide a stark contrast to some of the more mellow acts at the festival.

 

4. Cults

 

New York indie-pop duo Cults were responsible for one of the catchiest, most infectious records of last year with their self-titled debut. Full of xylophones, synths, and sunny vocals (courtesy of Madeline Follin), Cults was light enough to be easily digested on first listen, but dynamic enough to warrant repeated visits. The depth of the production fully utilized the diverse instrumentation, giving them an edge over other indie pop acts such as Foster the People. For such a cheery band, Cults are a surprisingly aggressive in a live setting, adding an edge to their easygoing sound. Two near-consecutive years of touring have given Cults a confidence that should allow them to hold their own against some of the more experienced acts on Pitchfork’s bill.

Top 5 Albums of 2011

1. David Comes to Life– Fucked Up

It’s July 18, 2009, and I’m at the Pitchfork Music Festival watching an obese, shirtless, incredibly hairy man bite into a beach ball while screaming into a microphone incoherently. After about five minutes of this, I decide that I’ve had enough, and move on to another stage. If you had told me then that this band would produce my favorite album of 2011, I would have laughed before completely dismissing and likely forgetting your insane prediction. Yet here I am two years later, proclaiming Fucked Up’s latest, David Comes to Life, the best album released over the past twelve months.

After garnering critical acclaim for their first two LPs (Hidden World and The Chemistry of Common Life) Toronto hardcore-punk outfit Fucked Up upped the ante with David Comes to Life, a 78-minute rock opera that towered above everything else released this year.

The first thing that draws my attention when I listen to David Comes to Life is lead “singer” Damian Abraham’s vocals. I put singer in quotations because what he does cannot in any way be described as singing. Rather, he emits a primal growl that simply demands attention. While it took me a while to adjust to it, I cannot imagine any of Fucked Up’s songs without it.

Yet the record’s main draw is the the blistering guitars. The interplay between the group’s three guitarists prevents the songs from becoming tiring or monotonous, while keeping the energy at frenzy-inducing levels. While the mixing is a bit sloppy, the guitarists play with such enthusiasm that I can overlook the flawed production. Jonah Falco’s drumming only adds to the blissful cacophony, providing a frenetic backbeat to the chaos caused by Abraham and company.

And while Fucked Up are surprisingly proficient from a technical standpoint, their technique is not what sets them apart. Rather, it’s their insatiable ambition. Not content to merely be an enormously entertaining punk band, Fucked Up continue to push themselves to their limits. At eighteen songs, one would expect at least a handful of subpar tracks on David Comes to Life. Yet remarkably, there is no filler on the album. Every song is an absolutely necessary component of what is one of the most audacious records in recent years.

When artists in any medium swing for the fences, the results are usually either classics or colossal failures. For every Stankonia, there’s a Lulu fading into ignominy and irrelevance. David Comes to Life falls squarely with the former, a towering testament to the benefits of fearless ambition. While there were other great albums released in 2011, David Comes to Life was bigger, bolder, and rocked harder than anything else.

 

2. Kaputt– Destroyer

This album should be terrible. With songs containing hints of Kenny G and Michael Bolton, one would expect a migraine-inducingly awful record of no discernible benefit whatsoever. But Destoyer mastermind Dan Bejar is not like most musicians. Instead of injecting Kaputt with a heavy dose of irony, he fully commits to the 80s soft rock aesthetic, creating an album that is mysterious and seductive rather than cheesy and insincere. By taking an often-ridiculed genre seriously, Bejar gives himself the room to explore its full potential.

And what results is quite unlike anything else released this year. Bejar’s mellow, wispy vocals, paired with abstract, often nonsensical lyrics create an aura of mystery that perfectly complements the spacey instrumentation. Featuring a heavy use of saxophones and drums that feel like they’re lifted directly from a Peter Gabriel record, the instrumentation on Kaputt is distinctive, to say the least.

Yet no verbal description can do justice to this album. It must be experienced to be understood. There’s something that keeps drawing me back to it that I can’t quite explain but is so uniquely its own. Then again, that’s what makes Kaputt such a great listen, you might not understand why you like it so much, but you do, and in the end, that’s all that matters.

 

3. Bon Iver– Bon Iver

Despite having released his debut album a mere four years ago, the mythology of Justin Vernon is well-documented. After breaking up with his band and girlfriend, and suffering a bout of mononucleosis, Vernon retreated to his father’s cabin in Wisconsin, during which time he recorded his debut, For Emma, Forever Ago. Released to near-universal acclaim, For Emma established Vernon as an incredibly promising new talent and drew the attention of other musicians. Over the next three years, he would collaborate with St. Vincent and Kanye West, among others, raising his profile substantially.

When it came time for his follow-up, many thought they had Vernon pegged. The stripped-down ballads consisting of little more than an acoustic guitar, drums, and Vernon’s distinctive falsetto had come to define the Bon Iver sound, but when lead-off single “Calgary” was released last May, it was Vernon who had the last laugh. Nowhere was Vernon’s trademark acoustic guitar to be found. Rather, “Calgary” was an airy array of synths and electric guitars, with the one constant being Vernon’s singular voice.

The rest of the album is similarly surprising. While For Emma proved Vernon an adept songwriter, his sophomore effort shows marked improvement in his compositional skills. Where For Emma was intimate, Bon Iver is expansive, the work of a musician willing to challenge himself. An impressive selection of instruments are used on the record, with everything from the aforementioned electric guitars and synths to trumpets and French horns featured at some point. In using such an expansive palette, Vernon makes the album about textures and moods rather than words. A daring move for such a young musician, but one that pays off completely.

Bon Iver’s one glaring flaw is the divisive final track, “Beth/Rest”. Unlike Dan Bejar, Vernon is too blunt with his 80s influences, ending an otherwise excellent album with a bit of a thud. Otherwise, Bon Iver is a standout record that appears to be just the beginning for a musician destined for greatness.

 

4. Helplessness Blues– Fleet Foxes

Fleet Foxes burst onto the scene in 2008 with their well-regarded self-titled debut. Critics and fans alike were impressed by their impeccable harmonies and warm, 60s-folk inspired sound. Three years later, they returned with their highly anticipated follow-up, Helplessness Blues.

The years between these records were not wasted, as Helplessness Blues is the work of a more worldly and confident band. Lead singer and songwriter Robin Pecknold in particular personifies the band’s maturity. His lyrics, once concerned with idyllic stories of escaping the industrialized world for the natural world, turned inwards, as he struggled to make sense of the world around him and his place in it. The first song on the album, “Montezuma”, begins with a recognition of the fact that Pecknold is now older than his parents were when they had their children, and he proceeds to ask if he can finally, “wash my hands of just looking out for me.” It is this reflectiveness that makes Helplessness Blues incredibly relatable. We all ponder the purpose of our lives at some point, yet rarely with the gracefulness and brutal honesty of Pecknold.

The songwriting also shows improvement, if less so than the lyrics. While their debut showed impressive song craft, the tracks on Helplessness Blues are, with a few exceptions, a bit leaner and more purposeful without sacrificing the sublime harmonies that have become Fleet Foxes’ calling card. Yet the longer cuts (“The Plains/Bitter Dancer” and “The Shrine/An Argument”) speak to a greater ambition that may be a hint of things to come. Robin Pecknold may not know his place in the world, but Helplessness Blues places Fleet Foxes firmly among the indie elite.

 

5. The King of Limbs– Radiohead

Well-received at the time of its February release, Radiohead’s eighth studio album, The King of Limbs, garnered little attention on critic year-end lists. Perhaps it was the unreasonable expectations that arise when a band has a reputation as daunting as Radiohead’s, or maybe it didn’t fare well on repeated listens, but for whatever reason, The King of Limbs has been unfairly overlooked.

Radiohead has amassed a body of work like no other in the past two decades, largely due to the fact that they are continually willing to test their limits and refine their sound. The King of Limbs is no different, with a heavy dubstep influence that is unlike anything Radiohead has attempted before. Yet what remains constant is Radiohead’s impeccable craftsmanship. Their incredible chemistry is apparent from beginning to end, as they never sound even the slightest bit uncertain. When they really hit the mark, the effect is almost otherworldly, as if each member of the band is completely in tune with both each other and the listener. While they don’t reach those highs here as often as they have in the past, Radiohead still manage to produce a record that holds its own within their impressive discography.

Most Anticipated Films of 2011

Looking at this year’s crop of films, there are fewer that I am truly excited about than last or next year. Much has been made of the overwhelming number of sequels likely to dominate the box office, and few excite me. I had far more trouble finding ten films that genuinely piqued my interest in the same way that Where the Wild Things Are did in 2009 and Inception did last year. Only two films come even close to sparking the same level of excitement, with the rest of my top-10 being relatively underwhelming. Yet all hope is not lost, as 2012’s projected slate more than makes up for this year’s deficiencies. With potential new releases from Christopher Nolan (The Dark Knight Rises), Alfonso Cuaron (Gravity), Paul Thomas Anderson (Inherent Vice), and Wes Anderson (Moonrise Kingdom), not to mention The Avengers and The Amazing Spider-Man, 2012 looks to be a spectacular year for film. Until then, I’ll have these to tide me over.

10. Bernie

I was tempted to put  Sundance hit Like Crazy in this spot, but the clips I have seen thus far have left me unimpressed. Instead, I’m going with Richard Linklater’s latest, about a small-town mortician who, after befriending and killing a wealthy widow, attempts to convince the townspeople that she is still alive. The film has been described as Linklater’s Fargo, and if that holds true, we could be in for a pleasant surprise. Dazed and Confused is one of my favorite films, and I love Before Sunrise/Sunset, so I will always be excited for a new Linklater film, but I have reservations with this one. The cast (Matthew McConuaghey, Jack Black, and Shirley MacLaine are the most notable cast-members) is nothing to write home about, the plot sounds too much like Weekend at Bernie’s, and Linklater has hit a bit of a dry spell recently. Nonetheless, I’m still holding out hope that this can match his best work, though I have my doubts.

9. Tintin/War Horse

It’s been almost six years since Steven Spielberg made a good film, but at least one, if not both of his projected releases this year should end the drought. My money’s on Tintin, as what I have heard of the books has a very Raiders of the Lost Ark feel, and the initial photos look excellent. Frequent Spielberg collaborators Michael Kahn (editor) and John Williams should help Spielberg capture the magic of his best work. With Cars 2 being Pixar’s production this year, I have a strong feeling Tintin will take home Best Animated Feature at the Oscars next year.

I’m having trouble getting excited for War Horse, but with Spielberg’s track record, I’ll give him the benefit of the doubt. The play it’s based off of  has received tremendous acclaim, and Kahn, Williams, and cinematographer Janusz Kaminski (another frequent Spielberg collaborator) are involved, so I’ll wait until a trailer is released to pass judgement. The December release date seems to indicate that there is at least some confidence in the film’s quality, but I’ll need to see footage of some sort before I’m convinced one way or the other.

8. Hugo Cabret

Under most circumstances, I wouldn’t be too excited for this adaptation due to the fact that I have not read the book and Hollywood’s frustrating tendency to dumb down kids’ films. But with Martin Scorsese at the helm, I’m confident that he can bring more to this material than almost any other director could. While I haven’t seen all of Scorsese’s films, of the ten I have seen, not one has disappointed me. With a cast boasting the likes of Chloe Moretz, Sacha Baron Cohen, Jude Law, Emily Mortimer, and Ben Kingsley; and the writer of Gladiator, The Aviator, and Sweeney Todd, Hugo Cabret could be this year’s pre-eminent family-friendly film.

7. Young Adult

I wasn’t the biggest fan of Juno (excellent acting and direction saved a poor script), but I very much enjoyed Jason Reitman’s other two films (which he wrote himself): Thank You For Smoking and Up in the Air. While many would disagree, it appears that he is far more comfortable with his own material, as he is a sifnificantly more nuanced writer than Juno scribe Diablo Cody. For this reason I was disappointed when Reitman announced that he would be teaming up with Cody again for his next project, about an author (Charlize Theron) returning to her hometown with the hope of re-kindling her relationship with an ex-boyfriend (Patrick Wilson). Yet my worries have been calmed by reports that Cody’s script is more mature than her previous work, and if so, this should hopefully be on par with Reitman’s best.

6. Shame

2008’s Hunger was unique in that most of its story was told visually rather than verbally, creating a very powerful, emotionally resonant experience that established Steve McQueen as an extremely promising young filmmaker. Reuniting with Hunger star Michael Fassbender (if he is not a household name by the end of the year, I’ll be shocked), and adding Oscar nominee Carey Mulligan, Shame should contend for an Independent Spirit Award, if not an Oscar.

5. Contagion/Haywire/The Last Time I Saw Michael Gregg

Two years ago, Steven Soderbergh released two excellent films, one a product of the mainstream studio system (The Informant!), the other more adherent to art house sensibilities (The Girlfriend Experience). This year, he will up the ante by releasing three films: Contagion, Haywire, and The Last Time I Saw Michael Gregg. Contagion and Haywire are thrillers that center on the outbreak of a deadly virus and a black ops soldier seeking revenge, respectively. Both reunite Soderbergh with screenwriters from his previous films (Informant screenwriter Scott Z. Burns and The Limey’s Lem Dobbs) and boast  A-list casts (Matt Damon, Gwenyth Paltrow, Mario Cotillard, Kate Winslet, and Jude Law for Contagion; Michael Fassbender, Channing Tatum, Ewan McGregor, and Antonio Banderas for Haywire). The Last Time I Saw Michael Gregg is an improvisational comedy about an Australian theatre troupe, with Cate Blanchett being the only big-name actor on the bill. Soderbergh is easily the most versatile filmmaker working today, as he has an uncanny ability to adapt his style to best suit the material. I have no doubts that he can pull off all three films successfully, and I look forward to each of them.

4. Meek’s Cutoff

Kelly Reichardt is both incredibly talented and overlooked, and is due to break out very soon. Her previous two films, Old Joy and Wendy and Lucy were intimate and meditative, qualities well suited to capture the desolate expansiveness of the Oregon Trail. With frequent collaborator Jonathan Raymond penning the script, and Michelle Williams and Paul Dano as the leads, Meek’s Cutoff has the potential to be a dark horse Best Picture candidate come Oscar time.

3. The Girl with the Dragon Tattoo

I’ll admit I have neither read any of the books nor seen the original adaptations, but my interest in this film has nothing to do with the source material. David Fincher is one of my favorite directors, and after making my favorite film of 2010 (The Social Network), I am eagerly awaiting his next project. Judging from the initial photos of lead Rooney Mara, Fincher should bring an edge sorely lacking in Hollywood action films. With Daniel Craig starring opposite Mara, TGWTDT has the potential to replace the Bourne series as the next great American action franchise.

2. The Tree of Life

Boasting one of the best trailers in recent memory, The Tree of Life is one of two films that I absolutely must see in theaters this year. It doesn’t hurt that it’s written and directed by Terrence Malick, one of the most talented and elusive filmmakers of the past half-century. While I have my reservations about Brad Pitt in a leading role, Malick’s unmatched visual artistry should more than make up for any potential shortcomings. Together, he and Children of Men cinematographer Emmanuel Lubezki should make this easily the best-looking film of 2011.

1. The Descendants

While it was an incredibly difficult decision, Alexander Payne’s first film in seven years ultimately gets the nod over Tree of Life. The lack of attention this film has received has befuddled me, as Payne has amassed an incredible filmography (Election, About Schmidt, and Sideways) in his brief career. He has consistently managed to write incredibly dynamic characters and infuse his films with a masterful combination of humor and poignancy. Both his writing and directing skills rank among the best in the film industry, with Sideways placing among my favorite films of all-time. George Clooney seems a perfect fit for Payne, as he has an effortless comedic timing as well as a remarkable ability to authentically express sadness. Hopefully, public awareness of the film will increase by the time of its release, but if not, it should still find a place on critic top ten lists by the end of the year.

Most Anticipated Films of 2010

10. Toy Story 3

Anything from Pixar (other than a Cars sequel) would have made this list, and while this would appear to be a cash grab at any other studio, I’ll give Pixar the benefit of the doubt until proven otherwise.

9. Green Zone

Paul Greengrass is one of the premier action directors working today, and he turned Jason Bourne into an cultural icon. He’s proven he can handle more serious fare with United 93, and this appears to be a combination of the two. With the writer of Mystic River and L.A. Confidential (Brian Helgeland) handling the script and a cast headed by Matt Damon, Amy Ryan, and Brendan Gleason starring, Green Zone looks to join The Hurt Locker as the best Iraq War movies.

8. Kick Ass

I know nothing about the comic book series, I have not see either of director Matthew Vaughn’s first two films, I am not familiar with any of the stars other than Nicolas Cage, and yet the buzz surrounding the test screenings and the trailers that  have been released left me very excited for this film. The trailers have an energy and wit that remind me of Kill Bill.

7. Shutter Island

This appears to stray somewhat out of Scorsese’s comfort zone, containing elements of horror and surrealism that I have yet to see from his work. Seeing that he is the greatest working filmmaker today, I have full confidence that he can make it work. Throw in Leonardo DiCaprio, Ben Kingsley, Michelle Williams, Mark Ruffalo, and Jackie Earle Haley, and this should be a contender come Oscar season next year.

6. The Social Network

A Facebook movie was inevitable and under most circumstances I would be dreading this rather than looking forward to it, but the writer-director combination of Aaron Sorkin and David Fincher is very promising. The cast is nothing special, and I’ve seen mixed reviews for the book it is based upon, but Sorkin (whose script has been well received) and Fincher have the talent to make this a great film.

5. 127 Hours

Danny Boyle’s account of Aron Ralston, a mountain climber who had to cut his arm off in order to survive, will have no dialogue for the first forty minutes to an hour. Boyle is not the first director I’d choose to try this, but with 28 Days Later, Millions, and Slumdog Millionaire, he has taken stories that could have been unmemorable and has produced excellent films in the often stale horror and family genres, and a Best Picture-winner. With material of this caliber, this could be better than any of those three.

4. The Tree of Life

I’m worried about Brad Pitt in the starring role, but Sean Penn should at least offset him. Terrence Malick is an enormously talented filmmaker, and The Thin Red Line is an extremely underrated war film that breathed new life into the genre. Not much is known about the plot, but in a Malick film, the plot is secondary to the mood and atmosphere.

3. The Green Hornet

I loved both Eternal Sunshine of the Spotless Mind and The Science of Sleep, and Michel Gondry’s vivid imagination will surely produce a unique take on the super-hero genre. The equally inspired casting of Christoph Waltz, Tom Wilkinson, and Seth Rogen along with the writing team behind Superbad and the Pineapple Express (Rogen and Evan Goldberg) has piqued my interest even further This could very well be a disaster, but there is enough talent involved to produce something unlike anything we’ve seen before.

2. Black Swan

Natalie Portman is a veteran ballerina who is in the middle of a competition with a rival who may or may not be a figment of her imagination. With Darren Aronofsky at the helm, this could become a compelling psychological study, and possibly up to par with Aronofsky’s first two films, Pi: Faith in Chaos and Requiem for Dream. Aronofsky has a gift for exploring the inner demons of his characters, and Natalie Portman and Mila Kunis have proven they can shine with the right material.

1. Inception

With Christopher Nolan directing and Lenoardo DiCaprio, Ellen Page, Cillian Murphy, Joseph-Gordon Levitt, Marion Cotillard, Ken Wantanabe, and Michael Caine starring, this would automatically take the top spot, but throw in the brief plot description, “a contemporary sci-fi actioner set within the architecture of the mind”, and I’m already counting down the days until its release. I can’t imagine this being anything but a classic, and it should set an impossibly high standard for the rest of the summer’s films.

Top 10 Films of the Decade

1. There Will Be Blood

No film this decade has defined the American dream  like PT Anderson’s epic masterpiece. Watching Daniel Plainview’s increasingly insatiable desire for power strip away his humanity is one of the most haunting and compelling cinematic experiences in recent history. Daniel-Day Lewis completely absorbs his character, giving an extremely powerful performance. After the scattershot Magnolia, Anderson has developed a masterful control of the camera in his last two features, Punch-Drunk Love and TWBB respectively.

2. No Country for Old Men

My favorite Coen Brother’s film, No Country for Old Men is a brilliantly executed thriller that understands less is more. The pacing is methodical, but extremely effective, as the tension slowly builds in each scene, making the use of violence all the more shocking. The Coens adapt Cormac McCarthy’s spare, yet poetic style perfectly, relishing each word of dialogue. Javier Bardem created the most frightening villain of the decade in nihilistic serial killer Anton Chigurh.

3. Little Children

Easily the most underrated film of the the decade, Todd Field’s suburban drama has a more complete understanding of suburbia than any other film I have seen. All of the characters are fully realized with very satisfying arcs. Each is given conflicts with no easy answers, and Field refrains from judgement, letting the viewers form their own opinions. The performances are effective without being flashy, though Jackie Earle Haley is the standout as a pedophile who desperately wants to be normal.

4. Eternal Sunshine of the Spotless Mind

Charlie Kaufman is the best writer of his generation, using inventive, mind-bending stories to examine the human condition. In Eternal Sunshine, he tackles the complexities of love, and the difficulties of maintaining a relationship. There is not one false or overly sentimental moment in this film, as both main characters feel real and fully developed, far from the one-dimensional stereotypes found in most standard romantic-comedies. Michel Gondry’s imaginative directorial style meshes perfectly with Kaufman’s, as the memory-erasing sequence especially is both sad and beautiful.

5. Sideways

The chemistry between Paul Giamatti and Thomas-Hayden Church is fantastic as both give the performances of their careers as two middle-aged men unsure of where their lives are headed. Alexander Payne provides a poignant look at the strength of love and friendship.

6. Traffic

Steven Soderbergh manages to create three equally interesting parallel narratives, no small feat,  without trying to force connections or a message upon the viewer. The use of a different look and camera style for each story-line is very effective without ever being distracting.

7. Requiem for a Dream

An emotionally-draining and unflinching look at the horrors of drug use, Darren Aronofsky successfully employs a quick-cut, music video style to convey the recklessness and desperation his characters face.

8. Children of Men

Alfonso Cuaron provides some extraordinarily captivating cinematic sequences, thrusting the viewer into the film while maximizing the full potential of hand held cameras. He manages to create a world without hope, raising the question, what if there was no future?

9. Punch-Drunk Love

Adam Sandler shows a surprising amount of potential in his turn as Barry Egan, an emotionally fragile and disturbed man who has no one he can trust or confide in. This changes when Lena, played by a very charming Emily Watson, enters his life. Paul Thomas Anderson asserts himself as one of the most distinctive voices of his generation with this delightfully offbeat examination of the transformative power of love.

10. The Royal Tenenbaums

This was an excruciatingly difficult decision, as there are at least six other films that I considered for this spot (The Dark Knight, The Pianist, George Washington, Y tu Mama Tambien, Almost Famous, and Before Sunset). In the end, Tenenbaums was simply one of the most fun cinematic experiences I had in the past ten years. While not as emotionally taxing or thought provoking as any of my other choices, I can’t help but enjoy it each time I watch it.