Jeremy Beck, Author at MovieManifesto

The Manifesto’s Official 2012 Oscar Nomination Predictions

January 9, 2013March 18, 2024 Jeremy BeckOscars

There are a number of disadvantages to being a lowly blogger rather than a bona fide movie critic – I have to pay to see movies rather than being paid to see them, I lack access to studio executives, no one takes my opinions seriously, etc. – but my greatest hardship when it comes to predicting the Oscars is one of timing. Unlike actual critics, who are afforded the blessed opportunity to watch most films before they arrive in multiplexes, I’m required to wait until a local theatre has the decency to screen them. I also happen to live in the quasi-metropolis of Denver, a very nice city that isn’t exactly a thoroughfare for art-house pictures. The result is that I’m placed in the problematic position of prognosticating about the Oscar potential of a number of movies that, much to my dismay, I’ve yet to see.

Which brings me to Michael Haneke and Amour. If you’re unfamiliar with either of them, Haneke is a controversial German director whose films typically range from decidedly unpleasant to utterly nauseating. He’s a bit of a darling in Europe – five of his seven most recent movies have nabbed major awards at the aggressively haughty Cannes Film Festival – but outside of a few Best Foreign Language Film nominations, the Academy has never warmed to his chilly sensibility. Amour is his latest film, and it’s being hailed by an extraordinary number of critics as an absolute masterpiece. It’s also reputedly his most tender and inviting picture to date. Read More

The Best Movies of 2011 (Part III)

December 30, 2012March 18, 2024 Jeremy BeckTop 10 Lists

And finally, the Manifesto completes its countdown of the Top 25 Movies of 2011. If you missed the earlier installments, here’s Part I, and here’s Part II.

5. The Adjustment Bureau. The skeleton of The Adjustment Bureau – an adaptation of a Philip K. Dick story about omnipotent beings with the power to shape the course of human history – hardly sounds like the blueprint for a stirring romance. Yet while George Nolfi’s movie engages on numerous levels – as crackerjack thriller, as soft-spoken political commentary, as metaphysical mind-bender – it works strongest as a pure love story. As a charismatic politician and his elusive soul mate, Matt Damon and Emily Blunt exhibit a rare chemistry that is both electric and soothing. Nolfi’s screenplay toys with a number of legitimately fascinating ideas, particularly the Promethean notion that humanity is destined to destroy itself absent divine intervention, but at its core, it’s about two people’s desperate efforts to be together, even as otherworldly forces conspire to keep them apart. To that end, the success of The Adjustment Bureau hinges entirely on its ability to illustrate that its two heroes were literally made for one another, and when we see Damon and Blunt on screen together – when we witness the ease of their laughs, the softness of their smiles, the longing in their eyes – there’s simply no doubt. Another entry in the canon of cinematic romance might suggest that their problems don’t amount to a hill of beans, but The Adjustment Bureau proffers a different theory: that in this dystopian universe of sinister angels and teleporting doors, love is the most powerful force in the world. Read More

The Best Movies of 2011 (Part II)

December 14, 2012March 18, 2024 Jeremy BeckTop 10 Lists

The Manifesto is counting down its Top 25 Movies of 2011. If you missed Part I, check it out here.

15. Crazy, Stupid, Love. A happy mess of a movie, Crazy, Stupid, Love. skates nimbly across the surface of a number of genres, from coming-of-age story to midlife-crisis mania to the lothario with the heart of gold. But underlying all of these stories is a core of genuine sweetness, and it’s that sincerity that elevates the film from a disposable pleasure to a singular snapshot of contemporary romance. Dan Fogelman’s screenplay, which features its share of legitimate surprises, has a warm regard for its characters, and the inordinately talented cast (Steve Carell and Ryan Gosling co-headline as sap and stud, respectively, with Julianne Moore and Emma Stone providing superlative support as shrew and sex kitten) imbue their parts with undeniable humanity. Directors Glenn Ficarra and John Requa put the players through their humiliating paces – most memorably in a hilarious slice of farce – but they also undergird the playfulness with real pathos that only rarely stumbles into sanctimony. In the end, the film is a winning reminder that, while love may indeed be crazy and stupid, movies about it can be smart and true. Read More

The Best Movies of 2011 (Part I)

November 25, 2012March 18, 2024 Jeremy BeckTop 10 Lists

What a year.

Formerly an annual vehicle devoted exclusively to analyzing the Oscars, the Manifesto has now been running in blog format since 2008, meaning this marks the fourth time I’ve dedicated a specific post to the best films of a particular year. On each prior occasion, my tone in those would-be celebratory posts was vaguely alarmist; even as I trumpeted a handful of great movies and exhorted readers to see them, I lamented that the vast majority of that year’s films failed to excite me. Such involuntary pessimism annoyed me, because the last thing I want is to come off as one of those stodgy, the-cinematic-sky-is-falling critics who constantly grouses that movies aren’t what they used to be. Still, I couldn’t escape the gnawing sensation that, as much as I enjoyed going to the movies and always would, cinema as a whole was settling into a state of pleasant, disposable entertainment rather than reinforcing its stature as a vital medium for energizing the public.

Not in 2011. As of today’s date, I’ve seen 166 movies released during 2011 (77 in theatres, plus another 88 on Netflix and one original HBO production). If you include the honorable-mention selections, the forthcoming three posts will highlight a whopping 34 of these films, good for over 20%. Admittedly, not all of these movies are masterpieces – rather, they’ve ranged from “flawed but intriguing” to “pretty damn good” to “fucking great” – but they are all worth watching. And that’s worth celebrating.

On to the list. Here are the Manifesto’s Top 25 Movies of 2011: Read More

The Best Scenes of 2011

August 23, 2012April 28, 2019 Jeremy BeckFeatures

There’s a famous aphorism attributed to the great director Howard Hawks: “A good movie is three good scenes and no bad scenes.” Hawks knew quite a bit more about movies than I do, but I respectfully disagree with him on this particular point. One of the pleasures of visiting the theatre is that a brief passage of any given movie can be extraordinary, even if the film itself amounts to utter dreck (see: this scene). Not all great movies have great scenes, and not all great scenes appear in great movies. Yet when a director and his cast and crew collaborate on a truly memorable sequence, that’s something worth celebrating, regardless of the quality of the surrounding product.

And so, the Manifesto is unveiling its first ever “Best Scenes of the Year” list. There is, however, one slight caveat: I’m restricting myself to clips that are currently available on YouTube. I’m imposing this rather cumbersome limitation for two reasons. First, I want my readers to be able to actually watch the scene in question. Second, it’s difficult for me to evaluate a scene in detail from pure memory. The latter may be a valid excuse, or it may indicate one of my many failings as a critic. Now, in the Manifesto’s Utopia, every scene from every movie is instantly accessible via YouTube, but although we’re trending in that direction, we aren’t quite there yet. Read More