This is the final Aisle Seat column of the year. No big whoop, we’ve been here before. But this one is a little different, and thus, a little more special.
This is my final Aisle Seat column in the pages of The Morning Star.
When I first started this gig back in the winter of 1988, I had a lot more hair, a lot less waist, and a whole lot of spare hours on the slate.
Twenty three years, marriage, three kids, a career, a ton of great memories, a wealth of experience, and about 2,300 movies later (I stopped counting about a decade ago on that last one, but the estimate is close), the proverbial plate is awfully full –– full enough that I know it’s time to spend a little less time both at the theatre AND at the keyboard, so I don’t have to constantly re-introduce myself to the family.
But that doesn’t mean I won’t miss hacking away at this stuff. Or meeting many of you and talking about one of my great loves –– movies.
Special thanks and appreciation to Kristin Froneman for being such a good editor and a great friend. She puts together a darn fine arts and entertainment section, and I’ve been very proud to be a part of it.
And thanks to you, the readers of The Morning Star. I know you didn’t always agree with my opinion, and that’s totally cool –– that’s all it ever was, one guy’s opinion –– but I hope the reviews sparked discussion (and yeah, in some cases, debate), or, at the very least, provided a smile when you really, really needed it.
If I managed to do that last one, even once, then this gig was indeed time well spent. With that, I’ve still got work to do. Here then, my top five films of 2011:
–– Moneyball
Brad Pitt has made some fine films (including one this past summer, The Tree of Life), but this is, and yes I’m taking Fight Club into consideration, his absolute best performance.
A sports movie that isn’t really a sports movie, Moneyball follows baseball’s Oakland A’s, specifically general manager Billy Beane (Pitt), through a wild year in which they change how the game is played –– off the field. Absorbing stuff.
–– The Help
Based on the best-selling novel, this is as good as you’ve probably heard – and then some.
Set in Jackson, Mississippi during the 1960s, The Help is not only a rich period piece, but a broad, sincere story about black maids and the many trials and tribulations they face.
Though it doesn’t get overly mean in exploring the racial horrors of the deep south, the message is there. And, despite the often light approach of The Help, it’s strong.
––The Muppets
Guilty pleasure? Probably. But the return of Jim Henson’s beloved pack of furry pals accomplished something very, very special this fall; it attracted a whole new generation of fans to the still-solid humour and delightful simplicity of the Muppets, while catering beautifully to the kids-at-heart who grew up with them.
I had a goofy grin pasted on my face from start to finish, and still smile when I think of this flick.
–– Hugo
Visually, Martin Scorsese’s tale of an orphan living in a Paris train station during the 1930s, had no equal in 2011. None. This is one gorgeous motion picture.
–– Bridesmaids
Hey, who couldn’t use a good laugh? Bridesmaids, while raunchy and wrong in just SO many ways, provided a whole lot of ‘em. Congratulations ladies, you have a Hangover to call your own.
And… that’s it. Thanks again, everyone. And see ya at the movies.
–– Jason Armstrong was The Morning Star’s long-time movie reviewer. This was his final column.
