I found 2011 to be a great, overstuffed year in film, though the sweeping trend of nostalgia that peaked during this awards season left me a little cold. Hugo, War Horse, The Artist, The Adventures of Tintin, The Help, even the self-aware looking back of Midnight in Paris -- when it's been such a turbulent 12 months beyond the movies, the comfort of evoking the past, especially the cinephilic past, is understandable, particularly with attendance down once again. But the features I really loved tended to be more prickly, vital affairs, about tragedy and life messily, stubbornly going on in its aftermath -- ones that reminded us that film can not only be a great escape, but can also engage and reflect the outside world.
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"Well yeah, you could see my face. I was choking, because I'm watching a friend having a meltdown. And what he's saying is horrendous in a roomful of press. He was asked an inappropriate question [about his family] and his response was to make a joke about it. But no one laughed and he just kept unravelling." Kirsten Dunst told her side of the Lars von Trier Cannes controversy to The Guardian recently, wondering why none of her fellow Melancholia co-stars stepped in to stop their director from shoving his foot squarely into his own mouth.
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In this week's Hanna, 16-year-old knife enthusiast Saoirse Ronan joins the illustrious ranks of the lethal young women who've taken up arms (or fangs, or machine gun-arms) in the movies in the name of raining down righteous fury upon their enemies. Whether raised as assassins or transformed by tragic circumstance, these ten adolescent girls and teens don't take crap from anyone -- and they have the combined body count to prove it. If you run into any of these fierce misses in a darkened alley, let's hope they're on your side.
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