YNOT at the Movies

John Ottway (Liam Neeson), a guard (from wolves) in an oil refinery in Alaska, is on the blink of committing suicide, because he is devastated by the recent separation from his wife. When his plane crashes, despite his injury that is hardly shown later in the film, he becomes the instant leader of the few survivors. Without food and water, he not only needs to lead the team out of the area that has nothing but blizzard and snow, he also must fight back against an army of hungry wolves.

Even after one after another perishes, John is not discouraged and is determined to go on with his incredible journey to stay alive.

It is true that when you cannot see predators, you are more frightened by them. The film brilliantly uses that psyche and rarely shows any wolf, but the gruesome aftermath is often on full display. Even the harsh freezing environment becomes less fearful compared to constant roars from wolves in the dark. The effect is absolutely chilling.

Yet, John is miraculously focused and fights back with both his knowledge and bravery. He does not show any sign of despair. That makes you wonder whether this is the same John who is about to kill himself at the beginning of the film. Whatever bestirs him, pharmaceutical companies should conduct research about it and make it into pills for depression. It obviously works its magic in the film, although we are not told what it is.

Despite a few unconvincing moments, the film is a scary ride into the freezing emptiness where is actually a wolf kingdom. You will want to get out of it as soon as the credit starts to roll.

"The Grey," an Open Road Films release, opens on Friday, January 27, 2012 at Bay Area theaters.

Mallory Kane (Channing Tatum) is an amazingly skillful freelance assassin for hire. She walks into a breakfast joint, sits down, and minutes later, she gets into a vicious fight with an ex-colleague, Aaron (Channing Tatum). That is just the beginning of her endless running for her life. The film flashes back episode by episode what she has been doing in Europe, which seems nothing other than fighting, killing, escaping, and occasionally drinking. Then repeat. Eventually, she gets her chance to revenge toward her handlers who double across her.

Despite the attempts to make the plot seem relevant by applying an intriguing rhythm, the story is absurd.

Actually, even you try to engage in the plot development, you will be lost in an artificially twisted puzzle. But not to worry, in the end, you will be given all the answers about the puzzle, just in case you care.

The film's characters are also preposterous, regardless they are played by fine actors like Michael Douglas, Ewan McGregor, Antonio Banderas, and Michael Fassbender. They all serve one purpose only—to give ex-mixed martial arts fighter Channing Tatum an excuse to beat up some hunky guys on her character's behalf. Or, to be beaten. But of course, she is like a superwoman and never gets injured for unknown reasons. And from my observation, Ewan McGregor should be singing instead fighting.

This is a forgettable film that does not expect you to remember anything when you walk out of a theater.

"Haywire," a Relativity Media release, opens on Friday, January 20, 2012 at Bay Area theaters.

However, none of that happens in celebrated and controversial director Roman Polanski's new film "Carnage" (France/Germany/Poland 2011 | 79 min.), besides the shouting match part. The parents' diplomatic meeting turns into a carnage about character, marriage, ideology, philosophy, and anything but settling children's dispute.

After Ethan loses two teeth to Zachary during a teenager brawl in a playground, their parents decide to get together to "settle" the issue, politely and civilly.

Zachary's parents are lawyer Nancy (Kate Winslet) and banker Alan (Christoph Waltz). Ethan's parents are writer Penelope (Jodie Foster) and wholesaler Michael (John C. Reilly).

Their pretentiously civilized discussion does not last long before all hell breaks out. Each of them reveals deeply suppressed anger, grudge, discontent, and self-righteousness. It is anything but civilized and eloquent.

The film is based on Yasmina Reza's French play "God of Carnage" and it changes the location to Penelope and Michael's expensive high-rise apartment in New York City—it supposed to be in New York City anyway, although obviously Roman Polanski has not stepped on the US soil since he fled in 1978.

Oddly, even this is no longer a stage production, the entire film is still confined in this cozy apartment, very much like it is recording a stage production. Like these characters, we are unable to escape this confinement. By no means Alan and Nancy enjoy the company of Penelope and Michael. Yet, even after they step out the door, Alan and Nancy are mysteriously dragged back into the apartment for another round of argument and debate, as if there is a magic force inside the apartment.

The truth is that if they had left as people do in a real life situation, none of these four fine actors would have the opportunity to give slightly exaggerated on-stage-style performance as in this film. Nothing would have happened.

Therefore, the four adults are grounded into this apartment in order to develop their high drama and to vent their frustration.

They should have gone outside and breath some fresh air. That way, perhaps they would not be that grumpy and become happier. That would be a different movie instead of the recording of a stage play.

"Carnage," a Sony Pictures Classics release, opens on Friday, January 13, 2012 at Bay Area theaters.

During the entire calendar year of 2011, I watched 272 feature films, including screenings for the SFIAAFF 2012 that will be added to that list later.

Again, my top ten films are selected from the films I saw in the calendar year of 2011, not based on when they are released in the theaters. This seems to be the best way to define "a film in 2011." We are living in a small world now. If I fly to Beijing or Europe to see a film that has not opened in San Francisco or New York City, does this film belongs to 2011 or 2012? Why should a film's year be based on a US release date?

Enough said.

Therefore, "Mother" (마더) is on my Top Ten Film in 2009, while it appears on many critics' top ten lists for 2010 or 2011. And, I am a little behind on viewing "Winter's Bone."

So, these are the top ten best films I saw in 2011.

1. Winter's Bone (USA 2010 | 100 min.)

   

2. Extremely Loud and Incredibly Close (USA 2011 | 128 min.)

   

3. A Separation (جدایی نادر از سیمین | Iran 2011 | in Persian | 123 min.)

   

4. The Descendants (USA 2011 | 115 min. | My review)

   

5. Incendies (Canada 2010 | in French/Arabic | in French | 130 min. | My review)

   

6. Shame (UK 2011 | 101 min.)

   

7. The Illusionist (L'Illusionniste | UK/France 2010 | 80 min. | My review)

   

8. Bi, Don't Be Afraid! (Bi, đừng sợ! | Vietnam/France/Germany 2010 | in Vietnamese | 90 min. | My review)

   

9. The Flowers of War (金陵十三钗 | China 2011 | in Chinese/English/Japanese | 145 min. | My review)

   

10. The Fourth Portrait (第四張畫 | Taiwan 2010 | in Chinese | 102 min.)

    

Until next year...