We're down to the last three months of the year, and as such it's time to take a look at what will (hopefully) be worth a visit to the theater as we move through changing leaves, Halloween, Thanksgiving, exams, and of course, the dreaded wave of critics awards that will kill any chance of a surprise on Oscar night. Now, since two of the movies on this list opened yesterday, and I've already seen one, I'll condense their entries and keep their placement separate of the main list. And as much as I hate to do it, I'll be cutting down on anticipated foreign titles, if only because it can become difficult to determine where their releases/Oscar eligibility lie. For example, Palme D'Or winner Uncle Boonmee... might be eligible for Oscar consideration, but it won't be hitting normal-people theaters until March of 2011, which is after the ceremony as currently scheduled (late February). So, with that out of the way, here are the top ___ reasons to give your money to those who already have far too much of it over the remainder of the year:
The Social Network and Let Me In - October 1 [Wide]: I've already given my review of The Social Network (go HERE), but Let Me In is one I haven't gotten around to see that has my interest peaked:
Why?:
- Surprisingly good reviews considering it's a remake of a beloved Swedish film
- Praise for both of the child performances, which is absolutely key to this story
- Vampires actually acting like vampires (no sparkling necessary)
Why Not?:
- If you've seen and love the original, do you really need to bother?
- Amped up blood and gore in spots might not do service to the story
And now for your feature presentation...
2010 4th Quarter Preview Part I:
18. The Tourist dir. Florian Henkel von Donnersmarck - December 10 [Wide]
Why?:
- The first pairing of mega stars Angelina Jolie and Johnny Depp working with the director of The Lives of Others.
- Um...it's set in Venice?
Why Not?:
- The unimpressive trailer and poster. The studio seems to think that slapping Depp and Jolie's names on it are all it takes. Audiences like to see EFFORT.
- Angelina's doing a foreign accent. God help us all.
- No, the film doesn't need to be Oscar-worthy to be good, but it wouldn't hurt if there was something really intriguing about this. So far? Eh...
17. TRON: Legacy dir. Joseph Kosinski - December 17 [Wide]
Why?:
- For those who have seen the original, a chance to see the story continued. For those who haven't? Cool special effects and Oliva Wilde in a tight black suit with asymmetrical hair.
- Special effects have finally advanced enough to catch up with what the makers of the original probably wish they could have done.
- The film can't afford to be to much of a insider's film if it wants to make money (the original flopped), so no risk of being super confused by what went on in TRON.
Why Not?:
- It didn't really suck audiences into its world the first time around. Why should the sequel be any different?
16. The Girl Who Kicked the Hornet's Nest dir. Daniel Alfredson - October 29 [Limited]
Why?:
- The conclusion of the hugely (and not entirely deservedly) successful Swedish adaptations of Stieg Larrson's trilogy.
- The last chance to see the perfectly cast Noomi Rapace as Lisbeth, in full-blown mohawk, no less.
- The last installment, also directed by Alfredson, was a disaster.
- The continuing blandness of Michael Nyqvist.
15. Miral dir. Julian Schnabel - December 3 [Limited]
Why?:
- Interesting, timely subject matter (Israel/Palestine conflict).
- Talented cast including burgeoning (stateside) star Hiam Abbass, who has been really strong in films like The Visitor and Lemon Tree.
Why Not?:
- The less than kind reception at Venice.
- Generally unkind reviews for star Freida Pinto's performance.
14. The Fighter dir. David O. Russell - December 10 [Limited]
Why?:
- Strong cast featuring Mark Wahlberg, Christian Bale, Amy Adams, and Melissa Leo.
- Small-but-early buzz is fantastic.
- A chance to see Amy Adams in a tougher, grittier role.
Why Not?:
- The trailer makes it feel like just another sport-triumph-of-the-will story.
- O. Russell isn't exactly a film maker for everyone (I Heart Huckabees, anyone?)
13. The Tempest dir. Julie Taymor - December 10 [Limited]
Why?:
- An absolutely phenomenal, eclectic cast headlined by the likes of Helen Mirren, Chris Cooper, and Alfred Molina.
- Julie Taymor made her mark on film with a vivid Shakespeare adaptation (1999's fabulous Titus), so working on the Bard again should be grounds for quality work.
Why Not?:
- The extremely mixed reactions out of Venice and New York.
- Apparently Taymor wasn't as wild in her mix of time periods this time around, which was one of Titus' strong suits.
12. RED dir. Robert Schwentke - October 15 [Wide]
Why?:
- A fun concept led by a wonderful cast of older actors including Bruce Willis, Helen Mirren, and John Malkovich.
- Early reactions have said that the film is very fun and engaging.
Why Not?:
- It could just be a throwaway shoot-em-up.
11. Blue Valentine dir. Derek Cianfrance - December 31 [Limited]
Why?:
- Very strong reviews out of Sundance and additional festivals.
- After several years of wandering, Michelle Williams and Ryan Gosling could be back in the Oscar race.
- The film was snatched up by the Weinsteins, and with Miral not looking good, they'll need a performance piece to drive them through the coming months.
Why Not?:
- Some say it's unbalanced and unfairly slanted against Williams' character.
- An entire film about two people in love? Sounds like Before Sunrise/Before Sunset, right? Yes, only this time it's all really, really bleak.
10. Rabbit Hole dir. John Cameron Mitchell - December 17 [Limited]
Why?:
- Apparently it's the end of Nicole Kidman's MEH streak of mixed and badly reviewed films, and frankly, it's about damn time.
- Rave reviews for the performances, especially Kidman and Dianne Wiest.
- Mitchell has been praised for expanding the film enough to eliminate any staginess, which is always a big nitpicking point for stage-to-screen translations.
Why Not?:
- Grim subject matter (though there is apparently some humor) that is discussed almost constantly.
- This road (coping with a child's death) has been covered so many times before. What else can it bring to the sub-genre aside from some great performances (not to discount this, btw)?
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