If you think Top Ten film lists are arbitrary, try putting together a “best of” for DVD and Blu-ray. What’s the criteria? The best movies? Quality of video and audio mastering? Creative featurettes and archival supplements? Historical importance? Cult interest? Or some balance of all these?

I’m all for the balance, which makes it as subjective presentation as there is, so allow me to break it down into a few categories to spread out the kudos. After all, it’s hard gauge the qualitative difference between a single disc debut of a historical cult item and a deluxe box set of a classic Hollywood blockbuster from the golden age.

I did not see everything that came out in 2011, of course, or even most of it, and my viewing choices were (like anybody’s) influenced as much by my own interests as by editorial demands, and shaped by deadlines and time constraints. In particular I did not see as many manufacture-on-demand releases as I would have liked, simply because there are far more interesting releases than I have the time to see. But based on what I did get the chance to watch and explore, here are my choices for the best DVD and Blu-ray releases of 2011.

DVD of the Year

Island of Lost Souls (Criterion)
“Are we not men?” Paramount’s 1932 answer to Universal’s gothic horrors is appropriately less Universal gothic than Paramount elegance, yet it is also more weird, cruel and transgressive, a wicked horror with Charles Laughton as a the proto-Dr. Mengele vivisectionist who operates on his subjects without anesthesia or compassion in an operating room he calls “The House of Pain.” Themes of humanity, identity, instinct, sex, bestiality, compassion and cruelty roil around in the hothouse jungle fabricated in the studio out of fog and flourishes suggesting the primitive and the perverse, a feral world as claustrophobic as it is intimidating.

It has been one of most requested classics for years. Though released on VHS and laserdisc in the nineties, it had been MIA on DVD, in large part because of the deplorable condition of the vault elements. No negative exists and the best 35mm prints were still damaged and incomplete. Criterion took on the task of preparing the DVD by piecing together the best possible version from multiple sources, from a damaged fine-grain 35mm positive to a 16mm print from a private collector, and digitally repairing as much damage as possible. The result is the first complete presentation of the most perverse and the least seen of thirties horror movie landmarks. There are better looking and sounding discs this year, and more exhaustive collections of supplements, but the effort expended in creating this release and the goodwill of the contributors makes this labor of love my pick for the best of 2011. DVD and Blu-ray. Reviewed on Parallax View.

Special Edition of the Year

The Social Network (Sony)
Directed with typical technical fastidiousness and textural richness by David Fincher from a verbally dexterous script by Aaron Sorkin, this story of the creation of Facebook is less interested in how the website was created than in how a young, arrogant genius with no people skills managed to deconstruct and reconstruct the social experience as a web-based simulacrum: a club that even Mark Zuckerberg (or, rather, “Mark Zuckerberg”) could thrive in. This is a story of hubris and ambition, of friendship and jealousy, of class and cultural cache, of success as status and revenge.

Fincher is one of the most exacting filmmakers in the world today and the supplements on the DVD and Blu-ray release offer a glimpse into his process, from a reflective commentary track to the superbly produced feature-length documentary “How Did They Ever Make a Movie of Facebook?,” among the many supplements. It’s as intelligent and illuminative a collection of supplements as you’ll find on DVD/Blu-ray and it’s a superbly-mastered disc to boot. DVD and Blu-ray. Reviewed on Parallax View.

Blu-ray of the Year

Taxi Driver (Sony)
Martin Scorsese’ incendiary masterpiece of alienation and anger and urban anxiety may be the most maverick vision in all of seventies American cinema. It is certainly one of the most courageous and passionate portraits of the American underbelly ever put on film, a movie bathed in blood as much as in light, and revisiting the film on its Blu-ray debut, mastered from the brand new digital restoration currently making the rounds on the festival and repertory cinema circuit, only confirms the power of the film to, after all these years, sink the audience into the mind and filthy, fetid world of Travis Bickle.

The film received a top-to-bottom digital restoration, which premiered at Berlin before Sony’s Blu-ray debut of the modern classic. The new restoration doesn’t “clean up” the image so much as sharpen the texture of the portrait — it’s so visceral it you can feel the heat and grime waft off the screen — and the Blu-ray features all the supplements of previous DVD releases plus the original commentary track recorded by Martin Scorsese and Paul Schrader for the 1986 laserdisc: one of the very first commentary tracks ever recorded. New to this edition is the interactive Blu-ray exclusive “Script to Screen” function, which scrolls actual script pages (with Scorsese’s notations) along with the film. A great presentation of a great film. Reviewed on Parallax View.

Runner-up:
Three Colors: Blue White Red (Criterion)
Krzysztof Kieslowski ended his career with this trilogy of delicately connected films that many hold as his greatest work. Criterion returns to the original materials for new high-definition masters for the Blu-ray debut, and they are stunning. In place of the commentary tracks from the previous Miramax DVD release, Criterion offers superb video essays for each film. Reviewed for Turner Classic Movies, linked via Parallax View.

Home Video Debut of the Year

The Prowler (VCI)
The long-awaited home video debut of Joseph Losey’s superb 1951 film has been one of those acknowledged classics of film noir that many have had to take on faith for far too long. Produced by Sam Spiegel and scripted by the blacklisted Dalton Trumbo (behind front Hugo Butler), it is a classic of working class envy and restless resentment of the “bad breaks” that arrogance and assumed entitlement get you. Van Heflin is superb as the sour Horatio Alger, a former golden boy turned brutal opportunist willing to do anything to get what he’s sure is due him, and he shifts from one pose to another to charm and cajole those around him with cold-blooded focus. It doesn’t look like a classic film noir—Losey uses light to reveal and lay bare rather than cast webs across the characters—and he saves the shadows for intimacy to show the corruption of emotion and the way desire clouds judgment. That subtle touch makes the savagery of the scheme all the more brutal.

All but absent from TV showings for decades and never officially released on home video in any form, comes from a restoration by the Film Noir Foundation partnered with the UCLA Film and Television Archive and an insightful collection of supplements. It is the best looking disc to come from VCI to date. DVD only. Reviewed on Videodrone.

Continue reading on Videodrone

The Tree of Life, which led the Online Film Critics Society nominations with seven, was the big winner at the 15th Annual Online Film Critics Society Awards. The film took home the prize for Best Picture as well as trophies for Best Director (Terrence Malick), Best Supporting Actress (Jessica Chastain), Best Editing and Best Cinematography. No other film won more than one award.

The other three acting winners were Michael Fassbender winning Best Actor for his performance in Shame; Tilda Swinton’s work in We Need to Talk About Kevin won the award for Best Actress; and Christopher Plummer received the Best Supporting Actor prize for his work in Beginners.

The full list of winners of the 15th Annual Online Film Critics Society Awards:

Best Picture:
The Tree of Life

Best Animated Feature:
Rango

Best Director:
Terrence Malick – The Tree of Life

Best Lead Actor:
Michael Fassbender – Shame

Best Lead Actress:
Tilda Swinton – We Need to Talk About Kevin

Best Supporting Actor:
Christopher Plummer – Beginners

Best Supporting Actress:
Jessica Chastain – The Tree of Life

Best Original Screenplay:
Midnight in Paris

Best Adapted Screenplay:
Tinker Tailor Solider Spy

Best Editing:
The Tree of Life

Best Cinematography:
The Tree of Life

Best Film Not in the English Language:
A Separation

Best Documentary:
Cave of Forgotten Dreams

Special Awards (previously announced):
To Jessica Chastain, the breakout performer of the year
To Martin Scorsese in honor of his work and dedication to the pursuit of film preservation

Founded in 1997, the Online Film Critics Society has been the key force in establishing and raising the standards for Internet-based film journalism. The OFCS membership consists of film reviewers, journalists and scholars based in the U.S., Canada, Europe, Latin America and the Asia/Pacific Rim region. For more information, visit the Online Film Critics Society at ofcs.org.

For Seattle cinema lovers, 2011 was a good news/bad news year. For the bad, there was the May closure of the Columbia City Cinema and the February conversion of the Neptune into a music and events hall. The empty Uptown reminded us of another neighborhood theater with history gone dark. And the rush to digital projection in the minimally manned multiplexes left too many screens getting dimmer because of 2-D digital prints run through 3-D splitters (no, it’s not your eyes going bad) and more digital prints replacing 35mm screenings of classic films. But let’s not forget the good. Here are the 10 best reasons for movie-loving Seattleites to celebrate this year.

1) SIFF saves the Uptown! And in the same year the Seattle International Film Festival left its McCaw Hall time-share for its own year-round theater/permanent headquarters at Seattle Center. The Uptown deal came together more quickly (over the past year), and its October reopening gave SIFF four screens with both film and digital capabilities. Two blocks apart, the two venues will expand local access to the kinds of foreign, art-house, and independent films that other cities can experience only on Netflix and VOD.

2) The Cinerama 70mm Festival. Paul Allen just gave his pet movie palace a costly new renovation, and brought in independent management (Greg Wood of Portland’s Roseway Theater) to replace national operator AMC. So while it can and does show big blockbusters and digital 3-D, the Cinerama celebrated its makeover in September with 16 days of 70mm and Cinerama prints of classic films (the original high-def). Change is inevitable, but every movie lover deserves to see the texture and color of actual film.

Continue reading at  Seattle Weekly

The 2011 Village Voice Film Poll is out and I once again was invited to participate.

The only disappointment for me is that I was unable  to see two of the films that made the Top Ten compilation list: Margaret (still hasn’t screened for Seattle critics and no Fox offered no DVD screeners) and A Separation (that did screen in Seattle, but only after the poll deadline).

On the bright side, my top four films all placed in the compilation Top Ten. Which ones are those? You’ll have to can see my list here.

Just for the record, and because it’s no surprise, The Tree of Life took the top spot, just as it did for the Indiewire survey and the MSN poll.