Check out this 'Black Swan' visual effects reel

It's a complete mystery to me as to why Black Swan wasn't nominated for Best Visual Effects. Watch the video below for a look at some of the many subtle-but-excellent effects utilized throughout the film. The video features heavy spoilers so only watch it if you've seen the film!

2010 in Review

Below you'll find my favorite films of the year, along with a random assortment of distinctions. (I hesitate to say awards, because no one is winning anything here.)

Disclaimer: I have thus far been unable to see the following films, and from all that I've heard I do not doubt that some or all may warrant a spot on this list: 127 Hours, The Kids are All Right, Exit Through the Gift Shop, Mother.

1. The Social Network

Featuring the technically perfect direction of David Fincher and a litany of strong performances, most notably by Jesse Eisenberg and Andrew Garfield, The Social Network stands as the year's best film. A great film that strives to illustrate one man's trouble in making human connections, even while creating the world's largest social media website. I never thought I would care about the "the facebook movie," but once the final credits rolled I was ready to watch it all over again.

2. Black Swan

Without a doubt the year's most disturbing film, Black Swan also benefits from Darren Aronofsky's typically astute direction, as well as a brilliantly deranged turn by Natalie Portman. You'll never look at ballet the same way again. The year's best genre film.

3. Winter's Bone

Cold, bleak, oppressive and perfectly done, Winter's Bone is a small triumph. Jennifer Lawrence and John Hawkes give unbelievable performances in a film that will stick with you long after the credits roll.

4. Inception

With this year's defining motion picture event, Christopher Nolan once again proves that no one makes smart blockbusters like he does. A mind-bending premise, star-studded cast, and world class visuals all contribute to this bravura thriller.

5. The Fighter

A rousing story of family dysfunction and the quest for glory, both real and imagined, by two very different brothers. Great direction and a screenplay that resists the urge to lapse into cliche take a backseat to Christian Bale, who is dynamite in a film chock-full of great performances.

6. Toy Story 3

A poignant, touching, and often hilarious closing chapter to one of the great film trilogies of our time. The highest grossing film of the year and quite deserving of that distinction. Oh, and try not to tear up at the end; go ahead, I dare you.

7. The King's Speech

A delightful period piece anchored by two of the best performances of the year. Colin Firth is fantastic here in a subtly demanding role and Geoffrey Rush once again reminds the world of his prodigious talents. The feel-good movie of the year.

8. The Town

Ben Affleck returns to the Boston crime scene for his second feature; the resulting effort may be the best heist film since Heat. Jeremy Renner is especially notable as part of a fantastic cast that ensures that The Town finds a place on this list.

9. True Grit

Although I wasn't as enamored with True Grit as most, I found it to be an enjoyable, if slight, Western with some great performances and cinematography. Jeff Bridges reaffirms his place as one of the great film stars of our time.

10. Vengeance

Another stylish crime film from Johnnie To, Vengeance is filled with philosophical hitmen and creatively staged shoot-outs. A fine genre film marked by the unusual, but welcome, appearance of French icon Johnny Hallyday.

Best performance of the year:

Natalie Portman

Performances by a lead actress:

Natalie Portman, Jennifer Lawrence, Hailee Steinfeld

Performances by a lead actor:

Colin Firth, Jesse Eisenberg, Jeff Bridges, Mark Wahlberg

Performances by a supporting actress:

Amy Adams, Melissa Leo, Barbara Hershey

Performances by a supporting actor:

Christian Bale, John Hawkes, Vincent Cassel, Jeremy Renner, Geoffrey Rush

Best direction:

Darren Aronofsky for Black Swan || Runner-up: David Fincher for The Social Network

Best cinematography:

Black Swan || Runners-up: The Social Network and True Grit

Best soundtrack/score:

Inception || Runners-up: The Social Network and Black Swan

Best ensemble:

The Fighter || Runner-up: The Town

Best ending:

Black Swan || Runner-up: Inception

Best action sequence:

The Hallway fight in Inception ||Runners-up: The car chase in The Town and pretty much any part of Vengeance

Most atmospheric:

Winter's Bone || Runner-up: Black Swan

Best sequel:

Toy Story 3 || Runner-up: Iron Man 2

Biggest disappointment:

Shutter Island

Worst plot twist:

Book of Eli

Tom Hooper's The King's Speech (2010)

I don’t typically go for Oscar bait centered on the British Aristocracy. It’s not really my thing – too stuffy and self-important. Well, you can go ahead and throw that out the window because director Tom Hooper has delivered a crowd-pleaser if ever I’ve seen one. The story of King George VI and his determination to conquer his severe stammer, aided by his quirky speech therapist, Lionel Logue, is the feel-good film of the year. Brilliantly realized by Colin Firth and Geoffrey Rush, both characters spring to life with the sort of enthusiasm that you can practically feel through the screen. While at first it may appear that this is yet another in a long line of stuffy aristocratic historical dramas, the truth is that The King’s Speech is as much a comedy as anything. At the risk of losing what credibility I have, I dare to use one of the great clichés—a triumph of the human spirit—because there really is no better way to describe the film and the feelings it arouses.

The film opens with Albert George (Firth), the Duke of York (for he has not yet taken the throne), preparing to address the crowd before the 1925 Empire Exhibition at Wembley Stadium. His stammering speech has a visibly unsettling effect the listeners in attendance and we see this problem extend to his home life, where he struggles to tell his daughters a bedtime story. At the behest of his wife, Elizabeth (the excellent Helena Bonhom Carter), Albert begins taking lessons with a goofy speech therapist named Lionel Logue (Rush). It was around this time that the radio began to play a large part in the British monarchy, with the prospect of regular radio addresses looming in the near future. As King George V declines in health and eventually dies, the crown is passed to Albert’s brother Edward (convincingly played by the great Guy Pearce); however it soon becomes clear that the hard-partying Edward has no interest in being King, and he eventually runs off to marry the twice-divorced Wallis Simpson, abdicating the throne and thrusting the responsibility to the understandably terrified Albert. Upon declaration of war with Germany, Albert, now King George VI, is given a three-page speech to read over the radio. This is the titular speech and serves as the culmination of a long struggle between Albert and Lionel. The journey these two men take to this famous moment is chronicled with tenderness, wit, and humor, transforming what could have been a rather dull and dreary story into an uplifting and wildly entertaining one.

As mentioned above, the reason The King’s Speech works so well resides with the two leads. Geoffrey Rush does what he always does, effortlessly imbuing the character with multiple layers and idiosyncrasies that culminate in a character that is both humorous and stern, believable and wonderful. It is the kind of performance that Rush is now know for, but that doesn’t diminish its impact. As good as Rush is, Colin Firth is even better; building off of his fantastic work in last year’s A Single Man, Firth tackles what may be the most difficult role of his career and comes up aces. He takes on the challenge, not only of portraying a king (with living relatives, as his daughter went on to become Queen Elizabeth II), but a king with a severe speech impediment. It’s easy to imagine the role becoming grating for audiences, but it is a credit to Firth and director Tom Hooper that the film rises above what in hindsight seems a petty concern by resisting the urge to tone down the king’s stammer. The struggle and consternation is plainly seen on Firth’s face and the audience will empathize with him, regardless of their own speech habits. It is the crowning achievement of Colin Firth’s career, and he will most certainly be rewarded by the Academy.

With all of that said, I must confess that The King’s Speech didn’t take hold of me in the way that films like Black Swan, The Social Network, and The Fighter did. I chalk it up to my own personal viewing preferences, as there is nary a fault to be found in Tom Hooper’s film. The King’s Speech contains excellent performances (most notably by the two brilliant lead actors), sterling production values, assured direction, and a humorous and measured screenplay. It may sound like a simple story about one man helping another with his stammer, but the film somehow transcends its subject matter and stands as one of the better films of the year. 4.5 out of 5 stars.

Debra Granik's Winter's Bone (2010)

Ozark-noir. It’s a new genre. Winter’s Bone is the reason why. This second film from Debra Granik is an atmospheric, lean, nasty mystery set among the trailers, dilapidated houses, and broken down cars of an unfortunate Ozarks mountain community. Our hero is 17-year-old Ree Dolly (imbued with fearlessness and gravitas by 20 year old Jennifer Lawrence), who we see taking care of her two young siblings and mentally damaged mother. She hunts for squirrels, teaches her brother and sister how to shoot, and generally works to hold their world together. We quickly understand that this is a girl with experience and responsibility far beyond her age. She has been forced to grow up much too fast and the trials she endures through the course of Winter’s Bone only reinforce this sad fact. Ree’s dad, a local meth cook, has disappeared after posting the bond for his latest arrest. He put up the family home and land as collateral. Ree must find him and make sure he appears in court, or they will lose everything. She sets out on a nightmarish journey of the community and the network of drug dealers, criminals, and miscreants that inhabit it. It becomes increasingly clear what awaits the girl at the end of her journey, and although armed with this vile knowledge, audiences will be unable to look away.

Winter’s Bone pulls no punches – this is a hard film full of hard people living what look to be very hard lives. It should come as no surprise that it can be hard to watch at times. For those used to the world of noir consisting solely of the seedy nightclubs and alleys of L.A., the setting and mood of Winter’s Bone will provide a sharp rebuke. This is the most atmospheric movie of the year and the oppressive, cold gloom settles on the characters, the rusted out cars, and the dilapidated trailers like the thick fog of the Ozarks. This bleakness extends beyond the direction and setting to the characters and performances. Jennifer Lawrence is a revelation here, establishing her character Ree as a force to be reckoned with even though she is just a teenager. She may be naïve and unprepared for the danger that awaits her, but she will not yield and Lawrence captures this resolute attitude perfectly. It is a subtle and brilliant performance, but the real showstopper is Teardrop, Ree’s frightening drug-addicted uncle, played by John Hawkes in a mesmerizing performance.

As played by Hawkes, Teardrop’s presence looms over the entire film, and it quickly becomes clear that he is rightly feared by just about everyone. Hawkes has made a career of playing sympathetic nice guys, most famously Sol Starr in Deadwood and more recently Dustin Powers in Eastbound and Down, but here Hawkes shuffles about, all 150 pounds of him, with a look that will chill you to the bone. It is the kind of performance that makes even the most casual observer sit straight up in rapt attention. I have a bad feeling, that Oscar is going to ignore John Hawkes come nomination day, but everyone who sees this film will know that his performance is one of the best committed to celluloid in recent memory.

I want to go on, but it’s probably best not to divulge any further plot points or details, lest I ruin this dark journey into the criminal world of the Ozarks. This is a brave film, led by two powerful performances and a heavy atmosphere of dread and gloom. You may not “enjoy “ Winter’s Bone in the traditional sense, but this is a film that, through the skill of the performances and quality of the direction, will demand and receive your respect and admiration. 5 out of 5 stars.

David O. Russell's The Fighter (2010)

There have been a lot of boxing movies over the years. Rocky and Raging Bull stand apart as the greatest the genre has to offer. The Fighter is not far behind. In the works for years with a revolving door of directing and acting talent, the only constant was Mark Wahlberg. Seeing this film made has been a passion of Wahlberg’s for over five years now, and once you see it, you’ll understand why. David O Russell has crafted an intelligent, compassionate, and funny film about the concurrent rise and fall of boxers Micky and Dickie Ward, two Irish brothers living in Lowell, Mass in the early 1990s.

Based on the true story of seemingly washed-up Micky Ward’s rise to glory despite the downward spiral of his brother and the mismanagement of his lecherous mother, The Fighter had the potential to be just another syrupy underdog story. Luckily for all involved, a strong screenplay and the wealth of talent involved help to create a film that resonates much deeper than you might initially think. Russell has long proven to be a special director, with Three Kings and I Heart Huckabees, both past collaborations with Wahlberg, serving as high points on his resume. Those two films contain some of Wahlberg’s best work, and the trend continues in The Fighter. Wahlberg gives a thoughtful, at times almost understated performance that really holds the film together. He doesn’t make the character a cliché or stereotype, as easy as that might have been. It’s not the flashiest role, and is nearly swallowed up by Christian Bale’s performance, but Wahlberg’s performance stands as further proof of a solid career, with many highlights yet to come.

Speaking of Bale, a lot has already been said regarding his performance as the troubled crack-addicted former boxer Dickie Ward, but it bears repeating as his presence looms over the film regardless of whether or not he’s on screen. Sporting a bald spot and gaunt frame, Bale appears here as a ghostly figure, a constant reminder to Micky of where this hard-luck life can lead. It’s a wild, take-no-prisoners performance and the kind of stuff Oscar statues are made of, both hilarious and tragic. In a career chock-full of special performances, Christian Bale’s riveting, manic portrayal of Dickie Ward stands alongside Patrick Bateman as the best of his career. The Oscar for Best Supporting Actor is a foregone conclusion. Melissa Leo and Amy Adams also deliver standout performances as Micky’s mother and girlfriend, respectively. The two woman serve as opposing forces in Micky’s life, and with Dickie serving as the wild card, there is plenty of turmoil surrounding Micky’s battered career .

I was surprised at the amount of genuine humor in The Fighter, as a film dealing with family turmoil, crack addiction, and violent beating for small paydays didn’t initially seem a candidate for large helpings of comedy. It’s never too much, however, and unlike True Grit, the director Russell seems to know when to draw the line and avoid compromising the tone of the film.Oddly enough, the film’s only misstep comes in the ring, as the fight scenes lack the speed and intensity of Rocky or the cinematic verve of Raging Bull. Russell opted to shoot them from a broadcast perspective, and the resulting effect, complete with commentary, HBO graphics, and a marked change in cinematography, feels disjointed and underdeveloped. Still, Wahlberg is in fantastic shape and is more than convincing as a welterweight fighter. The punches pack a wallop, but suffer in comparison to the stomach punch of family drama that permeates Micky’s climb to the top. Despite the tragedy of Dickie Ward and the awfulness of his = mother and sisters, The Fighter is a feel-good movie. We all know how it will end; it is based on a true story, after all. What matters is the fight to get there and, thanks to a screenplay which rises above cliché and a host of excellent performances, The Fighter is still standing tall at the final bell. 4.5 out of 5 stars.

Capsule Reviews from 2010

Vincenzo Natali's Splice (2010)

Natali deserves some praise for the unconventional and thought-provoking science fiction/sexual horror exploits of Splice. Adrien Brody and Sarah Polley give satisfactory performances, and the creature effects are convincing and, at times, downright disturbing. French actress and model Delphine Chaneacis is Dren, the genetically engineered creation of Brody and Polley’s scientists. The film begins with a bang and continues along an interesting and enjoyable path until regrettably devolving into the standard horror chase film by the third reel. Worth seeing due to it’s bizarre and disturbing themes, but don’t expect much more. 3 out of 5 stars.

Lee Unkrich's Toy Story 3 (2010)

Woody and Buzz (Tom Hanks and Tim Allen, as great as ever) are back in a near-perfect film that serves as the crowning achievement of what can now be called a classic trilogy. This time around, the toys end up in a preschool and must contend with unruly three year olds and tyrannical toys as they quest to return to their owner, the now college-bound Andy. In theaters, the film’s 3D was a wonder, but it is little more than extra incentive to see this great adventure of heartfelt storytelling. The funniest and also most harrowing of the three films, Toy Story 3 is able to make a deep emotional impact while entertaining people of all ages. The only thing that keeps this final adventure for a perfect score is an overly schmaltzy ending, albeit an ending that had the majority of the theater in tears, and rightly so. It’s been a great ride. 4.5 out of 5 stars.

David Fincher's The Social Network (2010)

David Fincher has done what I privately deemed to be impossible. He has taken the seemingly moribund subject of facebook and crafted what is perhaps the greatest film of the year. Technically perfect, The Social Network follows Facebook creator Mark Zuckerberg (a pitch perfect Jesse Eisenberg) through the inception and initial trials and tribulations involved in creating the social media site. This is all quite effectively told through Rashoman-style flashbacks during the course of two separate depositions. Fincher’s films have always had style to spare and his usual brilliance, along with a fine cast including young Andrew Garfield and the surprisingly good Justin Timberlake, helps to create a mesmerizing tale of one man’s rise to power during the dawn of social media. 5 out of 5 stars.

Johnnie To's Vengeance (2009/U.S. release 2010)

The latest crime thriller from legendary Hong Kong auteur Johnnie To contains all of the existential angst, style, and moodiness of his past work. Notable for being To’s first primarily English-language film, Vengeance was jointly produced by To’s own Milkyway productions and a French studio. This French influence extends to the cast as singer and actor Johnny Hallyday occupies the lead role as a visitor to Macau looking to avenge the shooting of his daughter, and the deaths of his son-in-law and grandchildren. He hooks up with three hitmen (reliable To regulars Anthony Wong, Lam Suet, and Ka Tung Lam) in a bid to take down Simon Yam’s Triad crime boss and have—yes—vengeance. Balletic gunplay, gorgeous cinematography, and strong performances anchor this above-average entry to To’s canon. 4 out of 5 stars.

Jeff Tremaine's Jackass 3D (2010)

Johnny Knoxville, Steve-O, Bam Margera, Chris Pontius and the rest of the beloved crew of idiots returns in this completely unnecessary third entry in the Jackass franchise. The big draw here is 3D and I must admit that the effect is often utilized quite well. Much of Jackass 3D was filmed with expensive phantom 3D cameras and the effects are stunning and a far cry from the shoddy post-conversion jobs appearing in theaters every Friday. Still, we’ve seen this all before and the bathroom humor and crotch hitting jokes have officially worn thin. The Jackass fellows remain likable enough, but it has been a decade now and their weariness is apparent. The film cleaned up at the box office, ensuring a sequel or two, but I can only recommended Jackass 3D for the diehards out there. 2 out of 5 stars.

Nimrod Antal's Predators (2010)

File this one under “useless” sequel. Director Nimrod Antal and producer Robert Rodriguez essentially recycle every halfway decent idea from the original film with less than satisfactory results. The film tells the story of several mercenaries and killers dropped onto a an alien planet game preserve as they are hunted down by the title creatures. Plenty of people die, the visual effects are lacking, and the whole thing seems like a waste of time. Kudos must be given to Adrien Brody, however, for effectively conveying an action hero without the usually requisite tough guy build. Still, he’s no Arnie or Carl Weathers. Through the film’s runtime, I continuously found myself wishing I could just watch the original. 2 out of 5 stars.

Ben Affleck's The Town (2010)

Ben Affleck returns to the crime genre that served him so well with Gone, Baby, Gone; the result is character-driven action film featuring a knockout cast led by Affleck himself and a superb Jeremy Renner as bank robbers run amok in Boston. The film reeks of authenticity (one character from the film would say it’s very authenticious). While lacking the emotional resonance of his first film, The Town still manages to make you care for the characters while providing some of the best action sequences of the year. The film hits all the expected beats - there’s really nothing new here; but damn, it’s well done. One of the better films this year. With Jon Hamm, Rebecca Hall, Blake Lively, Chris Cooper and Pete Postlethwaite all joining in the drama. 4 out of 5 stars.

Neil Marshall's Centurion (2010)

Neil Marshall has yet to recapture the magic he so effortlessly displayed with The Descent and unfortunately, Centurion is another missed opportunity. Offering his take on the fate of the mysterious 9th Legion of the Roman Empire, Marshall fills the screen with so much violence and gore that character development, plotting, and acting all seem to fall by the wayside. Michael Fassbender acquits himself nicely as the film’s hero and Olga Kurlyenko makes an impression as the mute and deadly warrior on his tale. It sure looks nice and Marshall can film an action sequence with the best of them, but the material could have been so much more. Instead we get one long chase sequence, filled with Roman characters we don’t care about who speak in an array of British accents. Worthwhile only for those with a strong bloodlust who wish to check their brain at the door. 2.5 out of 5 stars.

Joel & Ethan Coen's True Grit (2010)

My childhood was filled with John Wayne westerns. To this day, True Grit stands as Wayne's finest hour; so it was with both curiosity and apprehension that I first heard a remake was in the works. My apprehension soon gave way to excitement when I heard about the principals: The Coen Brothers, Jeff Bridges, Matt Damon, and Josh Brolin. I was still unsure that anyone could match the presence and impact of the legendary Duke, but who better to try than the Dude? The western genre has enjoyed a brief, but critically viable, resurgence in recent years and True Grit is a welcome, if unspectacular, addition to the genre. There are very few missteps, but I can't help but feel that we just missed witnessing something that could have been truly spectacular.

For those unfamiliar with the origins of the story, True Grit is a remake/reimagining of the 1969 Henry Hathaway film of the same name, which is in turn based on the 1968 book written by Charles Portis. Hathaway's film was notable for earning John Wayne only Oscar and Wayne's performance, though a bit on the hammy side, still stands as one of the high points of a legendary career. The Coen Brothers approached the material with the intent of delivering a more faithful adaptation of the book, and on that count they succeeded quite admirably. Told from the point of view of the young Mattie Ross (fantastic newcomer Hailee Steinfeld), True Grit tells the story of a young girl, dead set on finding and killing her father's murderer. She enlists the help of a drunken US Marshall named Rooster Cogburn (Bridges, clearly having a ball) and a boisterous Texas Ranger played by a riotous Matt Damon. Together, the three set out into Indian territory; what follows is a beautifully shot and often funny, if slight, journey.

The Coen Brothers are known for their quirkiness and it is somewhat disappointing that True Grit possesses so little of this trademark oddness. Indeed, the film is likely the Coen's first straightforward genre exercise; to their credit, they set out to make a western and they made a good one. This is primarily due to the quality of their assured direction, the beautiful cinematography by longtime collaborator Roger Deakins, and the excellent performances by a star-filled cast.

Bridges plays Cogburn as a drunken mess of a man, though a man still scarily competent when it comes time for bloodshed. As he staggers about, slurring his words and rattling off stories of past adventures, it's clear that outside of Wayne, Bridges is the only actor that could possibly inhabit the role. It is an Oscar-worthy performance, although one likely to result in only a nomination, given last years' win for Crazy Heart. Damon is hilarious as the cocky Texas Ranger, La Boeuf (pronounced La Beef, and repeated numerous times to hilarious effect by Cogburn), and Josh Brolin and Barry Pepper also turn in high quality performances in limited screen time as the villains. Those four actors comprise a murderers' row of talent, but the real star of True Grit is the young Steinfeld, who goes to toe to toe with Bridges and Damon and emerges unscathed. It is a remarkable debut, and while the role is admittedly one-note, it's certainly a promising start to what looks to be a long career. The 14-year old has garnered significant Oscar buzz, and deservedly so.

The direction and acting are excellent, but where the film falters is in both pacing and tone. While it is quite funny, I couldn't help but feel that it was almost too funny, as the darkly serious subject matter didn't seem to be treated with the proper weight. And although this is no fault of the Coen Brothers, the film seemed rather slight, as there simply wasn't a lot going on. There are only three major events in the film, and the villains only appear for five minutes or so. My biggest gripe, however, was the lack of John Wayne. Again, it's hard to criticize a film for something beyond its control, but when you enter the remake game, you must accept that you will be judged against those that came before you. While Bridges version of Cogburn is certainly more believable and far funnier than the character as played by Wayne, I couldn't help but wish Wayne would take over during the scenes involving gunplay. The climactic gun battle lacks the power and ferocity of the original's finale, and it was with some disappointment that I realized that even the Coen Brothers, armed with Jeff Bridges and a host of great actors, cannot always pull an ace from their sleeves. True Grit is a good film, and compared to most recent entries in the genre, a great western, but it fails to leave much of a mark. 4 out of 5 stars.