The Best of Futfanatico: 2012

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A motion-capture acrobat. A deformed troll who kidnaps Eva Mendes and eats her hair. The leader of an accordion army. Moonrise Kingdom. It all comes down to fishhook earrings. In The Life Aquatic , Anderson argued that artificiality—faked documentaries, plasticine fish—can be a conduit to real emotions, and in Moonrise Kingdom , he proves the point. Zero Dark Thirty. In the months and days leading up to the release of Zero Dark Thirty , about the hunt for Osama bin Laden, the film was pilloried by the right as propaganda for President Obama in an election year, and by the left as a love letter to torture.

But director Kathryn Bigelow and writer Mark Boal, the team responsible for The Hurt Locker , are primarily interested in pursuing the truth wherever it leads them, and evoking history without appeal to ideologues of any stripe.

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The Master. The era The Master covers, from roughly to , was a tumultuous one in American culture. A glorious companion piece to Inglourious Basterds, Django Unchained finds Quentin Tarantino once again using the vocabulary of exploitation movies, especially spaghetti Westerns, to tell a tale of revenge and vengeance rooted in a great historical injustice perpetrated against an oppressed minority.

Here, Waltz plays a deadly bounty hunter who is a whiz with guns, but whose greatest weapon is his ability to talk himself out of any predicament, no matter how dire. Waltz frees slave Jamie Foxx, and together, they go on a mission of vengeance that leaves massive trails of blood in their wake. Django Unchained elevates schlock to the level of art, most spectacularly in a shootout for the ages that cross-pollinates Scarface and The Wild Bunch , but with an exhilaratingly anachronistic hip-hop flourish.

The Imposter.

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The Kid With A Bike. Middle Of Nowhere. Without a studio behind it, the film got only modest attention in theaters, but people will be catching up with it for years to come. Photographic Memory. Veteran documentarian Ross McElwee was inspired to make Photographic Memory by his strained relationship with his now-grown son Adrian, whom McElwee worries is too distracted by technology. To understand his son better, McElwee revisits his own early 20s, when he was a hippie free spirit, kicking around France and worrying his father.

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Meanwhile, McElwee revisits the films and videotapes he has of his son, of his own father, and of a life that keeps slipping by and changing before he can get a handle on it. As he realizes that the memories and associations he has with his old photos are very different from how their subjects experienced those moments, McElwee grapples poignantly with the idea that nothing is fixed: not images, not people. This Is Not A Film. The Turin Horse. Tarr was inspired by an incident that reportedly drove Friedrich Nietzsche to madness: Outside his home in Turin, Italy, Nietzsche witnessed a cart driver who, in frustration over a stubborn horse, started beating the animal mercilessly with a whip.

Nietzsche threw his arms around the horse, sobbing, to stop the beating. Where Do We Go Now? Lebanese writer-director Nadine Labaki keeps the details general in her sharp black musical comedy about women trying to keep the peace in an isolated village populated by equal numbers of Muslims and Christians.

The film is sometimes heartbreakingly sad; Labaki fully acknowledges the pain of war, and how it tears people apart. Sam Adams Top 15 1. Moonrise Kingdom 2. Middle Of Nowhere 4. Magic Mike 5. Killer Joe 6. Amour 7. The Deep Blue Sea 8. Wuthering Heights 9. Barbara The Master Zero Dark Thirty Holy Motors Starlet Killing Them Softly. In Killer Joe and Magic Mike , he tears into the roles of a murderous cop and a satanic stripping impresario like a starving man, sucking every last drop from the juiciest of roles.

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If nothing else, the film deserves endless praise for its bombshell kicker, a final line that blasts through the coy innuendo at the heart of most screen romances. But people found their way to this touching, acutely well-observed character study all the same. He also draws fine, understated performances from his raw leads.

After the neo-Nazi drama American History X and a black-and-white documentary on anti-abortion activists, who could have expected a phantasmagorical tale of substitute teaching? Assembled as a string of sensational episodes—James Caan uses a photo of an infected vagina to dissuade a student from going braless; a blank-eyed boy mutilates a kitten while his peers look on impassively—the film approaches a kind of hallucinatory hysteria, a prolonged shriek of smash cuts and shifting film stock. Frequently insane but never less than watchable, it has to be seen to be believed.

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