The Best Films of 2014

OK. I made a mistake. I wrote out most of my top 10 films of the year and then, apparently, didn’t save the post. That means I now have to do the whole thing again, which is a bummer, because it took a while. Therefore, this might be slightly abridged as I skim through most of the list.

A couple of other notes. I have included all films released in the UK in 2014, even if they were up for awards in last year’s awards season so some of these you might think shouldn’t be valid, but they are. So there.

Finally, last time I did this it turned out I miscounted and had 11 films in my top 10. I see no reason to change. However, I’m still going to start the countdown at 10. Ha. My list, my rules. I only realised my mistake when I got to number 3 last time, so there were two number 3s, but seeing as I know going in I have 11 films this time, we’ll have a joint 10th.

So, at 10…

=10. Calvary – dir John Michael McDonagh

Where McDonagh’s brother, Martin, followed up his brilliant small Irish crime thriller In Bruges with the underwhelming 90’s-style Pulp Fiction knockoff Seven Psychopaths, John Michael goes a different route after his debut, The Guard.

Calvary takes a philosophical look at matters, slowing the pace down to something far more contemplative. Brendan Gleeson is again the lead, this time as a priest who is told in confession that in one week he is to be killed and he should use the time to put his affairs in order. The time is used to meet his parish and try to diagnose the underlying motives that might exist before his date with destiny. It’s brilliant and understated and well worth your time.

=10. Frank – dir. Lenny Abrahamson

In 2013, Abrahamson’s brilliant What Richard Did made my list. Frank doesn’t quite reach those heights, but it’s still a very funny black comedy about the fictionalised life of Frank Sidebottom creator Chris Sievey. Michael Fassbender takes the lead inside the papier-mâché head (as far as we know) and adds another string to his bow.

9. Paddington – dir. Paul King

Look. When I first heard about this I assumed it would be bad. Like the Thomas The Tank Engine movie or something. It isn’t. It’s delightful. Funny, fun, good all-round family entertainment. So don’t make assumptions.

8. Dallas Buyers Club – dir. Jean-Marc Vallée

It won lots of awards. Justifiably. It signalled a peak in the McConaughsance as well as having a great supporting performance by Jared Leto. It dealt with a difficult topic sensitively and humourously. It was just great. And it’s on Netflix already.

7. Edge of Tomorrow – dir. Doug Liman

If they’d given it a better title (like Live. Die. Repeat. which is all over the bluray box, for example) and a slightly better trailer, this would have been a monster smash. It’s by far the best action film of the year (and yes, I include the Marvel films which were fine, but nothing more). It’s perhaps the best action film since Inception. It’s the kind of thing we need to encourage Hollywood to make more of, rather than Transformers movies, so go out and do your bit by buying a copy. Now.

6. The Boxtrolls – dirs. Graham Annable, Anthony Stacchi

A lovingly made stop-motion animation that has undercurrents of Roald Dahl in its heart. It’s delightful and weird and deserves to be seen by many more people. I’m not sure it’s as good as ParaNorman, but that was brilliant. This is close.

5. 12 Years A Slave – dir. Steve McQueen

This has probably only fallen down this far due to recency bias. This came out a year ago and you probably know everything about it by now. It’s a genuinely great film.

4. Nightcrawler – dir. Dan Gilroy

Set aside the fact that I read the title and hear ‘Nightcrawler, Nightcrawler…’ to the tune of the Beegees Night Fever for a moment. This is a great character study with a brilliant central performance by Jake Gyllenhaal. Gyllenhaal has become a firm favourite of mine now, after a string of great movies (Zodiac, Source Code, Brokeback Mountain) and great performances in flawed movies (Prisoners, Jarhead, End of Watch). He seems to have great taste in scripts. This may now be at the top of the list, certainly performance-wise, if not film-wise.

3. Pride – dir. Matthew Warchus

Pride follows in what has become a tradition in British film-making of funny, heart-warming movies about issues, often with a historical context. The Full Monty was the first, but following on from that was Brassed Off, Billy Elliot and Made in Dagenham. Pride may be the best of the lot.

Set in the mid-80s as the AIDS epidemic was taking off and the miners strike was hitting its peak, Pride follows a group of London gays and lesbians who set to support the miners of a small, Welsh village. An unlikely alliance is made. The film is based on a true story and, by all accounts, gets almost every detail bang on. It’ll make you laugh, it’ll make you cry. It’s the feel-good film of the year. And some other clichés. Seriously though, it’s brilliant.

2. Boyhood – dir. Richard Linklater

A film literally 12 years in the making and one that may clean up in the coming months. Richard Linklater got his cast together once a year for 12 years to film the childhood of a boy (Ellar Coltrane). It’s moving and powerful and something that is unlikely to ever be attempted again, let alone pulled off so well. Its strong central dramas at the core are brilliantly realised, with great performances by Patricia Arquette and Ethan Hawke. I’m not sure I can do it justice…

1. Under The Skin – dir. Jonathan Glazer

So I want to get into this movie a bit more. In 2013 I reviewed everything I saw. In 2014… not so much. But I feel I have something to say about this. It will contain spoilers though. I’ll highlight the spoiler section clearly when I get there, don’t worry. It’ll be after the embedded trailer.

When I see films I give them a rating in a little database I have. It helps me keep track of what I’ve seen and gives me a broad idea of where films fit in but it’s far from hard and fast. My initial rating for Under The Skin slotted it in 8th for the year, but it’s got the (coveted?) number one slot because, more than any other film, it’s the film that has stayed with me the longest and made me think more than any other.

The film has little in the way of story. Scarlett Johansson plays an alien driving around Glasgow, picking up men to seduce and lure back to her lair where they are engulfed in infinite blackness. It is purposely obtuse, it is unlike anything else. It is bizarre, scary, haunting, and, on some level, erotic. It is, as I am proving, indescribable really.

It’s a film I can’t guarantee you’d like. It’s a film I would expect a lot of people not to like. But, as I said, it stayed with me more than any other film on this list. I think it is a masterpiece.

SPOILERS

I’m not even sure these will be spoilers, but they are my thoughts on what the film means and they may give away things that you wish you didn’t know before seeing the film.

Johansson’s alien is seeking out men and through the course of the film her encounters are all different (as you would hope), while her approach in all situations is pretty much the same. Her demeanour doesn’t change. In no way is she the reason the different men react in the way they do.

We live in a culture which demeans women or tries to subjugate them. The culture will try to tell women that the way in which they are treated is because of them, and that men can’t be blamed. ‘Rape culture’ says that women shouldn’t drink to excess, shouldn’t wear short skirts or show skin, and that if they do then it’s their fault if they get assaulted. While that is the extreme end of the spectrum, those attitudes are present in all areas of life – the home, the workplace and all social spaces. There was a revealing video recently of a woman who just walked through the streets of New York recording all the comments that were sent her way. These are things that, fortunately, I am not subject to, and don’t even occur to me most of the time, but which are commonplace across society.

If women are held responsible in society for these things – “It only happens because they dress too sexily/dowdily” is the kind of comment you hear from people justifying the unsolicited complements or put-downs – then this film is a reaction to that. Johansson never alters in her approach to men but the reactions she gets are across the board – nervous, admiring, obsessive, assault. Johansson doesn’t court these reactions. She is neutral. They are the true nature of men asserting themselves in ways they feel are appropriate. The film is designed to show the lie at the core of the ‘blame culture’ that surrounds us. The responsibility for how women are treated by men lies with the men, not with the women.

Now, I don’t know if this is what Glazer and Johansson meant when they made the film, but that’s my reading, and I do find it interesting that Johansson is involved. Johansson was, of course, hacked several years ago, with nude photos being leaked over the internet. This was a massive violation, with many people pointing the blame at Johansson for having the photos in the first place. Things have taken a turn since then and when Jennifer Lawrence was hacked earlier this year, her reaction was not to apologise for having the gall to have nude photos for her own private reasons, but instead label the theft and publication as a sex crime and to call out people for asking her to apologise.

These cases of photo theft are just the extreme end of men taking a form of ownership of female bodies and sexual freedom. It’s an important topic and one that should be addressed. Of course, it’s not one that many in the media want to address because so much of what the media does is predicated on the exploitation of female flesh.

That then gets into whole other discussions about sex, pornography and so on that I’m not tackling here. It’s merely to link the themes of this film to the pervading narrative in our culture.

Under The Skin has a lot to say, but makes the audience work for it. Like great art should. And Under The Skin is certainly that.

B-Movies A-Hoy! – White House Down & The Call

The movie fulfils the promise of this image.

The movie fulfils the promise of this image.

There are two types of B-movie – the big, brash and bold, and the simple idea followed through until the end – and this double bill provided me with one of each.

White House Down is the second ‘terrorists take over the White House’ movie this year and if you’ve been taking notes you’d know I didn’t see Olympus Has Fallen, the Gerard Butler led version that was first out of the gate. By all accounts, that movie took itself far too seriously, a problem which afflicts too many films with entirely preposterous set-ups. White House Down does no such thing. It’s knows it’s a big dumb action movie from the start and goes out to have some fun with it.

After the latest mishap, this time Obama really means it - he will give up smoking.

After the latest mishap, this time Obama really means it – he will give up smoking.

It also knows it’s going to be labelled “Die Hard in the White House” and seems hell-bent on being a Die Hard cover version featuring, amongst other things, elevator shafts, walking barefoot, vest-wearing, rocket launchers being fired at armoured vehicles, helicopters being shot down, a bespectacled computer geek employed to break some codes, and a fair few other key images or ideas from what I believe to be the greatest action movie of all time. And this is no bad thing. White House Down always maintains a sly wink to the audience and is more than happy to accept its own ludicrousness, be it in a White House lawn-based car chase featuring the president firing a rocket launcher or an aside from the lead terrorist that he doesn’t want cake because he’s diabetic.

It is, like almost everything, too long, clocking in at over 2 hours, but it is bloody good fun throughout and it’s difficult to exit the cinema without a big broad beaming smile on your face.

Halle Berry does Madonna at the Warner Bros Christmas Karaoke Party

Halle Berry does Madonna at the Warner Bros Christmas Karaoke Party

The Call is a very simple idea looking at a side of the emergency services that is all too often overlooked – the emergency call operator. Halle Berry plays the operator and we’re quickly brought up to speed on the kind of pressures and situations an operator has to deal with. The people on the other end of the phone can be in pain, in fear of their lives, and the operator must remain calm and try to ensure the caller’s safety until the police or an ambulance can arrive. As the trailer gives away, Berry takes a call from a girl afraid of someone attempting to break into her house and does everything almost perfectly, but her one small and instinctive mistake ultimately leads to the girl’s death. Shaken, Berry becomes a trainer rather than an operator, until a tour of the ‘hive’ leads her to taking the lead on a kidnapping in progress. The caller is in the boot of the kidnapper’s car and Berry has to try to track her down.

The film keeps your nerves on edge the whole way through and asks the audience what they would do in the same situation, before ruling out each of those options. It’s taut at a little over 90 minutes and is the kind of claustrophobic thriller you wish came along a little more often but without the big effects there’s little to draw people in at first glance. Hopefully word of mouth will lead to a good life on DVD as this is a film which deserves a bigger audience than the one it appears to have found at the cinema.

One note, the ending, ultimately, is ridiculous and you can go with it or you can walk out feeling let down. I’d say just go with it. It’s playing up to some generic conventions and what has gone before earns some leeway and artistic licence.

White House Down – B – Length: 2hrs 11 mins – Feels like: 2hrs 10 mins

The Call – B – Length: 1hr 34 mins – Feels like: 1hr 30 mins

White House Down trailer:

The Call trailer – warning – it gives away basically the whole movie. If you think you may enjoy the film, just skip the trailer and jump in.

Alan Partridge: Alpha Papa

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If you don’t know who Alan Partridge is then shame on you, but at least you have a brilliantly funny journey to set yourself on. Alan (the comic creation of Steve Coogan) is a sports reporter, turned chat show host, turned radio broadcaster and over the past 20 years we have followed him on the highs and lows of his journey, most recently ending up at the local radio station North Norfolk Digital (NND, for short), and that is where we join him here.

NND has been taken over and rebranded, and the new owners are intent on reshaping it and getting rid of some of the dead wood. Specifically, either Alan or another older presenter, Pat, played by Colm Meaney. At first Alan is intent on saving both their roles but when it becomes apparent in a brilliantly funny boardroom scene that it is either/or the message is clear, Just Sack Pat. But Pat goes postal, returning to a staff party with a gun and taking everyone hostage. He feels that Alan is the only one he can trust and so uses him to negotiate with police, a role Alan loves – he’s the centre of attention and he’s important again.

British sitcoms have a long and storied history of being transferred to the big screen, without a huge amount of success. In The Loop was a brilliant spinoff from The Thick of It, and The Inbetweeners certainly brought in the crowds without hitting the heights reached by the TV series. This, then, may represent the first genuinely successful translation, though it’s really the character rather than a sitcom that’s making the move.*

I said in my review of The World’s End that it was one of the most enjoyable films of the year, well Alpha Papa happily sits alongside it. It works for the same reasons, both the plot and the laughs spin out of who the characters are and it remains truthful to those characters at all times. It is certainly funny. From the opening sequence, resulting in Alan lip-syncing to Roachford’s Cuddly Toy, right the way through to the last dramatic moments, comedy is found every step of the way. It never strikes a false note and delviers everything you could ask for. But to be fair, that’s what should be expected from Coogan and writing/producing partner Armando Iannucci.

What makes the character so brilliant is that he is, for wont of a better term, a bit of a dick. In fact, he is the ‘bit of a dick’ that lives inside us all, and that Cuddly Toy sequence is the perfect example. I’m sure that plenty of people do that in cars – I know I do – but Alan really throws himself into it and does a far better job than most of us would. Likewise, later on (and in the trailer below) when he walks along a corridor briefly doing some Saturday Night Fever type moves – we all do it at some point, and we all think we look like Travolta, but really we look like Alan. Alan magnifies the worst in us and for that he gains our sympathy. For us, we get to file those moments away and think that God I’m not like that the other 99% of the time, but Alan is like that always, and we love him for it.

And here, finally, Alan gets to be the hero, and he does it in the way that we would be a hero, not in the way Bruce Willis would. And for that, we don’t only love him, we finally respect him.

A

Film length: 1hr 30 mins – Feels like: 1hr 30 mins

*In fact, while In The Loop is a spinoff, it’s probably fairer to call that a sitcom transposed onto the big screen than it is with AP.

A Hijacking

a_hijacking

Denmark has, in recent years, become the centre of dramatic revolution, with television series like The Killing and The Bridge wowing highbrow television viewers in ways that a British series hasn’t for a long time, while films like The Hunt and A Royal Affair have been taking some cinematic plaudits. The latest in this long line is A Hijacking, written and directed by Tobias Lindholm, the writer of both The Bridge and The Hunt. My own experience of these works is limited – I have seen The Killing and The Hunt but, thus far, have yet to catch up with the others. For me A Hijacking is more successful than the previous ventures I have seen.

The film tells the story of a ship bound for Mumbai being taken over by Somali pirates and the subsequent negotiation process for the safe release of both the ship and its 7 man crew. The story centres on two men, Mikkel, the cook on board the ship, and Peter, the CEO of the company which owns the vessel, and while there is undoubtedly tension built into the piece, that is not the central concern. Instead we focus on the emotional weight taken on by both men. Mikkel is selected by Omar, the designated ‘negotiator’ (he claims not to be one of the pirates, just a middle man), for the role of the emotional blackmail to be used in during the ransom negotiations, attempting to break the man in order to force the hand of the ship’s owners.

We are introduced to Peter taking part in a different kind of negotiation, a multi-million dollar deal with some Japanese business men, talking them down to an acceptable number when his minions were failing. It is his belief that he is cut out for exactly this kind of role and that is why he rejects the advice of the expert in the these situations, Connor Julian (Gary Skjoldmose Porter – someone who I felt I recognised, but who has no other credits), and decides to lead the negotiations with the pirates himself.

Peter is warned specifically that he cannot get emotional, that these negotiations will take a lot of time, and that there is a way to do things. He is also warned that the process could be very debilitating. Peter, though, is over confident in his abilities and takes on the mantel.

The film’s success is in the fact that it follows the natural course of events and doesn’t try to force anything. Lindholm understands there is enough drama in the story and he doesn’t need to Hollywood-ise it by turning it into an Under Siege scenario. We learn how the pirates manipulate circumstances to force the hand of those they are talking to, and we see how their games way heavy on everyone involved. The film is perfectly paced, nothing extraneous makes its way in, and nothing is left out. It is appropriately lean and all the more riveting for it.

Bringing it back to those Danish imports I have seen, it avoids their failings. The Killing was let down by the demands of the format. With so much time to fill, the story wondered up paths that made little sense and should have been seized upon in the reviews. The Hunt, on the other hand, tried something much more in line with A Hijacking, telling the story of a man falsely accused of sexual assault by a child. It was largely a success, again focusing on the emotions and characters, but was let down, for me, by the procedural elements – there were processes you expected to be followed that weren’t. It remained a solid piece of work though, anchored by a great performance from Mads Mikkelsen (currently playing Hannibal Lector in the magnificent TV series Hannibal).

A Hijacking felt genuine throughout, with no detail feeling out of place or untrue, and while enjoyable is probably the wrong word for a drama like this, it is a top quality dramatic work.

A-

NB – as so many films are clocking in well over 2 hours these days, completely unnecessarily, I am going to start adding the film’s run time, and how long it felt like to me, at the end of my reviews.

Length: 1hr 39mins – Felt like: 1hr 39mins

The Best and Worst Films of 2012

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The best and worst films of 2012

I saw 59 films at the cinema in 2012, plus another 2 that were released at the cinema during the year at home. I also have Berberian Sound Studio on blu ray waiting to be watched. That’s just to give some context. As a disclaimer, there are a few other films that I have not seen which could potentially make it onto the list (judging by other lists I have heard), including the aforementioned Berberian Sound Studio, A Royal Affair, Once Upon A Time In Anatolia, Life of Pi and You’ve Been Trumped (which is on my Sky+ box).

Neither have I seen The Hobbit, but unless it is significantly different from the Lord of the Rings, I can guarantee that it’s not my thing, no matter how impressive the technical achievement. I admired those films, but I did not enjoy them on any level, I’m afraid.

So just for comparison’s sake here are the top fives from the last few years:

2011
1. Senna
2. 127 Hours
3. Submarine
4. Black Swan
5. Source Code

2010 (exc the Back To The Future re-release, which would be number 1, otherwise)
1. Toy Story 3
2. Inception
3. Kick Ass
4. Sex & Drugs & Rock & Roll
5. Four Lions

2009
1. Milk
2. Moon
3. Gran Torino
4. Cloudy With A Chance of Meatballs
5. In The Loop

2008
1. There Will Be Blood
2. King of Kong
3. The Dark Knight
4. Son of Rambow
5. In Bruges

2007
1. Hot Fuzz
2. The Bourne Ultimatum
3. Enchanted
4. The Assassination of Jesse James by the Coward Robert Ford
5. This Is England

It’s interesting for me looking back at those (and yes, I do keep track of all the films I see) to see how different the films are from one year to the next. In 2011, for example, there are only 3 films I would call proper blockbusters in my top 20 (Rise of the Planet of the Apes, Super 8 and Bridesmaids), with Source Code being mainstream but more low-key and films like Black Swan, The Artist and Tinker Tailor crossing over to have mainstream success while clearly being films with an art-house sensibility. Compare that to 2010, when the top 3 were all mainstream films, 2 of them amongst the biggest of the year.

The point being, it really is a mixed bag, and that I don’t favour one over the other – there is something clearly to be said for documentary, art-house, foreign language and blockbuster films. When they are done right, each can be just as powerful, emotionally and visually, as the other. So, with that in mind, on to the top 10, in reverse order. And, a little like Mark Kermode, I have cheated ever so slightly…

=10. The Raid – The best action movie of the year, fantastically choreographed fight sequences feel almost as bruising to the audience as they undoubtedly did to the performers themselves.

=10. Ted – The funniest film of the year. Seth MacFarlane shows he can do it on the big screen as well as he can do it on the small screen. The plot isn’t the strongest but it’s solid enough to hang a lot of jokes on, a significant number of which hit home, many out of the park.

9. Silver Linings Playbook – Somewhere between a romance, a romcom and a serious look at mental illness, this was a surprising treat with Bradley Cooper putting in a great performance. I have to admit that when he first came on the scene I thought there wasn’t much more to him than his looks, but I was wrong. With this and Limitless he has made two very good films and put in two very good performances.

8. The Muppets – a film guaranteed to put a smile on your face. Great songs by Brett McKenzie from Flight of the Conchords. Fun for all ages and a great way to introduce kids to the Muppets and have an excuse to go back to the old films.

7. Martha Marcy May Marlene – couldn’t be further from The Muppets and the first movie form the art house end to make it onto the list. A very disconcerting film about a girl who returns to her family some years after leaving to join what at first seems like a hippy-ish cult, but later reveals itself to be something all together more disturbing. Brilliant central performance by Elizabeth Olsen.

6. Holy Motors – A film unlike any other and probably the hardest to describe. I don’t just mean on this list, I mean ever. What’s it about? Erm… Well, who are the characters? Now, you see, umm… A surreal masterpiece. Is it about the history of cinema? What cinema is capable of? What acting does to the soul? I don’t know, you’ll have to make your own mind up.

5. Magic Mike – Soderbergh’s arty take on a sleazy B movie about male strippers. It certainly has something to say about the sex industry and the type of person you need to be make it work for you. It also has plenty of flesh to keep the more aesthetically motivated members of the audience happy. Far better than it really has any right to be.

4. The Imposter – A beguiling documentary/reconstruction of the story of French/Algerian who claims to be a boy who has been missing from Texas for several years. Best not to say any more for fear of giving away the story. Let’s just say that if it weren’t a true story you’d walk out in disgust that any writer could ask you to believe a word of it.

3. ParaNorman – Brilliant stop-motion animation about an outcast boy who can see the dead who becomes his town’s only hope when a curse unleashes zombie hordes. There are enough surprises along the way and a more low-key ending relying on emotion and character is much more satisfying than the usual destruction derby that comes at the end of many films of this ilk. The best children‘s film of the year, without doubt.

2. Looper – Brilliant, barmy science fiction, following in the footsteps of Source Code and Inception as something you go with whole-heartedly but which probably doesn’t make too much sense if you try to unpick it. Rian Johnson shows how brilliantly he can create a world again (after Brick) and Joseph Gordon Levit continues to show how ready he is to step up to A list status (with both Premium Rush – great fun – and The Dark Knight Rises – underwhelming – also out in 2012).

1. Argo – A proper adult thriller, judged to perfection (how many movies were too long this year? A lot, but not this one) and keeping you on the edge of your seat until the last moment. Not only that, a very serious and dangerous true story is given just the right amount of humour in the right places. Ben Affleck is developing into a brilliant director (with Gone Baby Gone and The Town under his belt already), and he also takes the central role here, playing it to perfection. There were a lot of good or very good movies this year, but this one stood out to me as easily the best.

So, there we have it.

Related to all of this, I have a bit of a new year’s resolution for 2013 and that is to post some kind of review of every film I see this year. They may only be as long as the thoughts above, but some will undoubtedly turn into something much more…

Now, on to the worst films:

5. Taken 2 – Worthless, nonsensical, toned down sequel. That’s nonsensical in a bad way, not in the good way that goes with the original film.

4. The Cold Light Of Day – An attempt to make a euro-thriller in the mould of Taken and Unknown with Henry Cavill (the new Superman) in the lead role. Fell very flat indeed.

3. American Pie: The Reunion – Any smiles to be found in this are over and done with in the first 5 minutes. Incredibly tedious.

2. John Carter – Like the deserts on Mars, this was both massive and very dry. What people who dislike science fiction think of when they think of science fiction. Dull.

1. Dark Shadows – A mess. The tone is all over the place and Burton seems to have taken up the mantra “Tell, don’t show”. One sequence involves a character walking on the beach with Johnny Depp, telling Depp how much her brother has grown to like and indeed rely on him since he’d been staying with them. The brother’s screen time to that point was probably under a minute, and he had shown no sign of communicating with Depp, let alone growing to like him. Disgraceful story-telling like that peppers the film. It might be possible to turn the film into something passable with some judicious editing of the current content, the addition of some deleted scenes and a few reshoots, but as it stands it is just awful. I have not been more bored in the cinema for a long time. It’s even worse than Burton’s Alice In Wonderland.

 

Now, some stats – you can probably skip this as it’s really only interesting to me…

This year I only saw 2 documentaries at the cinema, down from 5 in 2011 (3 of which were in my top ten). I saw 4 foreign/foreign language films, plus one that sort of was (more on that later), up from 3 (and a half) the previous year. Out of the 61 total films released in 2012 that I saw (again up from 2011 where the total was 53 in the cinema, plus 4 more at home, so far), I would call 12 of them outright art-house films, with a further 9 being kind of half-way houses between the art-house and mainstream. That leaves 40 mainstream movies. In 2011 it was 10 art-house and 10 half-way. Pretty similar numbers.