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.