As rapidly as it arrived, 2010 is rushing to a close and into the history books. This is that special time of year wherein you will be bombarded with "Best of the Year" lists from every film website in existence. That's not to say there is no value in these lists: Hollywood.com's list is due up soon and my selection will be thusly featured, but the sheer truth is that you have innumerable websites drawing from essentially the same pool of titles and the result is an echo chamber of nearly identical lists. For the most part, we rely on theatrically released films that have already received attention from countless film critics' associations. A vast majority of these films have earned every scrap of praise lavished upon them and their inclusion on multiple lists only serves as further evidence of their greatness. In the ongoing interest of celebrating the lesser known, here are my Under the Radar selections for Best of 2010. Most of these films have not received a wide release stateside and some of them were relegated to direct-to-video, but they are all worth tracking down.
If you frequent this column than you already know how much I love this film. The Finnish Christmas tale weaves horror and comedy, fantasy and cultural mythology and the end result is a wholly unique, wildly entertaining soon-to-be holiday classic. The moment wherein the young protagonist transforms into a pint-sized action hero is still one of the most memorable film moments of 2010.
Two years ago, Korean director Ji-woon Kim knocked Fantastic Fest audiences on their asses with The Good, the Bad, the Weird, a high-octane, farcical remake of Sergio Leone's classic The Good, the Bad, & the Ugly. At Fantastic Fest 2010, he gave us the decidedly different but no less brilliant follow up entitled I Saw the Devil. This crime thriller pits a secret agent against a sadistic serial killer in a savage game of catch and release. As beautiful as it is haunting, I Saw the Devil was my absolute favorite film at this year's Fantastic Fest.
Some movies are so bad that you can't help but love them. Troll 2 is certainly counted among those guilty pleasures and in fact is one of the premier bad films ever made. Michael Stephenson, child star of the 1989 flop, takes us on a hilarious ride that traces the film’s meteoric rise to cult status and ultimately reminds us what it means to be a cinemaphile.
It’s no secret that the serial killer thriller is a dime-a-dozen genre. But where most of these films rely on scares and ham-fisted tension, A Horrible Way to Die brings the character study back into the fray. It’s the story of an escaped killer making his way back to the woman he loved that turned him over to the police, leaving a trail of bodies in his wake. A.J. Bowen (House of the Devil, The Signal) turns in an unbelievably layered performance as serial killer Garrick Turrell navigating through a taught, genuinely suspenseful script by Simon Barrett.
When describing Rubber, it’s hard not to dwell on concept. When people hear that it is a film about a killer tire, it becomes an arduous task to focus on any subsequent explanation. But the multi-faceted approach to absurdist humor, coupled with the strong performances and interesting cinematography throughout are what keep Rubber rolling long after the novelty of its central conceit has worn thin. Also, the more than slight homage to David Cronenberg is easy to appreciate.
Adolescence is a rough enough ordeal as it is without the addition of homicidal obsession. Aussie horror flick The Loved Ones is a bloody, shocking, darkly comedic cautionary tale about what it could cost to shun the loneliest girl in school. The performance from young Robin McLeavy as the psychotic, lovesick Princess is quite literally so good it’s scary.
Director Adam Green turns a relaxing day on the slopes into an epic nightmare. Frozen is a testament to the power of close-quarters horror; creating tension in limited space. The peril in which the characters find themselves seems totally authentic and Green manages to create terror out of convention and test his characters’ survival instincts in a truly fascinating way.
Why Donnie Yen isn’t a bigger star in America is beyond me. The guy has all the dedication and technical martial arts proficiency of Bruce Lee and his films of late have been incredible. In Legend of the Fist, as he did in Ip Man, Yen plays a Chinese cultural hero who fights against the Japanese oppression of his people. The production design and story of Legend of the Fist are fantastic, but it’s the fight sequences that allows for this film’s inclusion on the list. With blazing speed and brutal force, Yen dispatches rooms full of enemies effortlessly in a thrilling spectacle of violence.