From my tumblr:

My top 10 films of 2012 (mainstream)

Alas, I have not yet seen a few of the end-of-the-year Oscar bait films, but assuming “Django” or “Les Mis” may bump a couple smaller films off the list, I’ll go ahead and do it now.

10. Chronicle

Found footage films have certainly gotten stale recently, but the combination of Max Landis’ creativity coupled with director Josh Trank’s sense of thematic bravado turned this into a surprise film for me. And with that excellent finale, there’s really no need to remake a live-action Akira now.

9. FrankenWeenie

Speaking of surprises, this was a great one. Who would know that Burton’s re-hash of his 1980s short would end up being one of the more genuine and lovely films of the year? It seems that Burton’s best films are usually his least successful (Ed Wood, Sweeney Todd, etc) and unfortunately this didn’t play well to audiences. But it’s a beautifully designed and written parable.

8. Argo

Argo may be one of the most competently made films of the year, which may actually also be a detriment. It blisters through it’s runtime and features a lot of serviceable if not remarkable performances, and a taut sense of urgency. If anything, I wish Affleck had stylized it a little more and taken a few more chances, where as it stands it’s a very good film about a great story. Affleck continues to improve his craft as a director.

7. Moonrise Kingdom

It runs on some fumes at the end, but the vast majority of Anderson’s quirky film (basically the entire portion during which Sam and Suzy are on the lamb) is a hysterical and magical little tale. While some tire of Anderson’s visual hijinks, I think this is a far better outing than both Darjeeling and Life Aquatic (ducks as fruit is thrown.)

6. ParaNorman

Two stop-motion films on one list… what are the odds! Chris Butler’s hysterically morbid film was another huge surprise. This film delves into even darker and scarier territory than Burton has in the past, and leaves us with a film that is probably easier to digest if you’re an adult than a child. It was a great year in the medium.

5. The Hobbit: An Unexpected Journey

After multiple viewings I can now firmly solidify this on my list, where after the first viewing it would simply be fan service. While not as breathtaking or magnificent as the previous trilogy, the foundation is set in this first chapter and aside from some casual gripes, it mostly delivers the goods. The riddles scene in particular might be the best in the entire canon so far, and the protracted opening featuring the dwarves is excellently done.

4. Cloud Atlas

Ironically, I expected to be challenged a lot more by Cloud Atlas, considering the multiple storylines and heavy metaphysical elements, but actually had a different experience: Cloud Atlas, for me, was very easy to follow and flowed over me like an early fall rainshower. It’s beautiful at times, magnificently devious at others, and aside from some minor spats, it adequately communicates the overarching message and manages to be one of the most unique films I’ve ever seen.

3. Lincoln

I love that Spielberg ditched the overzealous blaring approach he’s taken in some recent films and simply let the film breathe. It’s like watching a play with a master actor in every role, and manages to remain sturdy in it’s delivery without crossing over into pompousness. I can say that I think it’s one of the best jobs of “directing” I believe Spielberg has done, and even the effortless humor injected into the film feels natural.

2. The Cabin in the Woods

Yeah, it’s not high art. But on inventiveness alone, I have to give Whedon and Goddard credit… plus it’s absolutely badass. Watching this film was one of the most fun theater experiences I’ve had in recent years, and every nod to a specific film or genre makes it that much more delightful. There are also a good deal of easter eggs for the audience, making it more fun to digest even after the reveal has hit you.

1. Skyfall

Alright, I’m going to say it… it’s the best Bond film ever made. There. Done. I know that in a historical context you could argue for another one, but what Mendes did for this series, and really the genre as a whole, is pretty remarkable. The villain entrance was one of the most exquisitely handled scenes I can remember, and Bardem makes the most of his ability to chew scenery in the best way (like a Bond villain should.) But this overcomes the pacing issues of Casino Royale and the mundanity of Solace to be not only the year’s most exciting films, but also one of the prettiest and best constructed. All around kudos.

Honorable mentions:

The Perks of Being a Wallflower

Ruby Sparks

Safety Not Guaranteed

The Woman in Black

Life of Pi

Wreck-it Ralph

Looper

Salmon Fishing in the Yemen

V/H/S (for two segments alone)