2010 in Review: The Overrated.

Let us begin our look back at the year in film with a token acknowledgement of ten films whose reputations did not proceed them. For the record, not all of the films below are bad pictures. But they all generated critical and/or audience esteem that they perhaps did not entirely earn. There is nothing wrong with overpraising a good film. It often emanates from a hunger for quality that often causes we the critics to look at a merely solid and/or competent piece of cinema and hail it as a groundbreaking work of art. The following are in alphabetical order.

The Ghost Writer
The release of this film timed so conveniently with the arrest of director Roman Polanski that the reception of this film seemed to fall into two categories: 'a triumphant thriller from a master artist' and/or 'the new movie by that kiddie-rapist'. Truth be told, the film is a well acted and genuinely old-fashioned would-be thriller. But far too much time is spent on the dull romance between Ewan McGregor and Olivia Williams, at the expense of Pierce Brosnan's terrific turn as 'not Tony Blair'. Furthermore, the climactic revelations are not bone-chilling, but rather silly and comforting. Like most conspiracy theories, it provided a more melodramatic and reassuring explanation behind the last ten years of British politics. Tony Blair wasn't really deceived/tricked/cajoled into following George W. Bush down the post-9/11 rabbit hole, was he? No, there is a far more sinister explanation afoot... right? The ideas offered are far more comforting than the notion that maybe, just maybe, Tony Blair agreed with George W. Bush. If you want a great thriller with Pierce Brosnan, check out The Tailor of Panama.

Explaining the fates of Kick-Ass and Scott Pilgrim vs. the World: Alternative/cult films are, by definition, not mainstream.

There has been much discussion over the last few months over the relative box office failures of more cult-ish genre properties. But, the fact remains that films based on cult properties or inherently aimed at cult audiences are almost designed not to break out beyond the pre-established audience. In the end, the real victories for (among others) Watchmen, Scott Pilgrim vs. the World, and Kick-Ass is that they got made and were released to a wide audience. Expectations were out of whack for all three, but those that wanted to see them had ample opportunity and will enjoy them accordingly. The problem is, at heart, an entertainment media that treats the niche as mainstream.