It’s the time of year for lists, and all of the movie review sources are launching their top ten movies of 2011. Most of them are filled with tiny independent films that never made it to a theater near you or movies that got a wide release but were so outsider-cool that they’re the film equivalent of hanging out with someone dangerous and emotionally unavailable. Oh yeah, and documentaries. Our list contains movies that got a wide release, most of them got a lot of mainstream press, and all of them succeeded in the most fundamental principles of successful filmmaking: They were very entertaining, told an involving story, and I was emotionally invested in the characters. Included are snippets of my previous reviews of the films.

10. Water for Elephants

Unlike almost everyone in a book club on the North Shore, I’ve never read the source material that Water for Elephants was based on, so I had no pre-conceived notions of it. The movie version is a wonderfully moving story filled with heartfelt performances and brought to the screen with conviction and style. Although surprisingly violent, it’s mostly a beautiful story of forbidden love, and even though the market is pretty detrimentally saturated with that right now, I completely bought into this one, and by the end, there wasn’t a dry eye in the house.

My personal opinion: I’m actually surprised at how much I liked this movie. I highly recommend seeing it. And it might not hurt to bring a little Kleenex with you.

9. The Beaver

I’m afraid that the legacy of The Beaver will be summed up with a sentence I heard a woman say in the row behind as the lights went down: “I’m surprised there are other people here.” The only fatal flaw this movie is suffering from is having A-list actors and a real budget behind it. Toss an R-rating on it and sneak it in the backdoor of Toronto or Cannes with a group of talented no-names attached and this thing would have cleaned house.

This isn’t like other movies. It isn’t easily definable, explainable, or marketable. It’s a dark and fascinating look at severe depression using a guy with a ridiculous beaver puppet on his hand. When I say it’s dark, I mean DARK. I’ve seen other reviewers call it messy, but that’s because the script barely complies with the traditional three-act structure and it’s tonally complicated. I think it’s a five-act story that unfolds more like a meticulously constructed parable than anything aspiring to seem like reality. It’s essentially the screenplay equivalent of literature, which translates to unproduceable, and it’s a credit to Jodi Foster as a director that she saw it through.

My personal opinion: Well worth seeing. It’ll stay with you for a while. We’re just not used to seeing such recognizable people tell such unconventional stories.

8. Jane Eyre

I’ve heard that this rendition of Jane Eyre is reasonably faithful to it’s source material. Having never read Charlotte Brontë’s classic novel, I can’t say. But the exquisitely executed, highly involving, gothic love story that I just saw is one of the better movies I’ve seen this year.

The Jane and Rochester relationship is the headline news here. Wasikowska and Fassbender play really well off each other and watching the romance steadily escalate is a real pleasure. When Jane can finally let drop her carefully honed armor and smile at him with genuine affection, we gratefully smile with her. The dialogue between the two of them at their most passionate is practically poetry and it’s twice as effective when combined with the performances of these actors.

My personal opinion: The 2011 film version of Jane Eyre is an awesome love story served in rich hues of black and gray with tense gothic undertones. I loved it. I’d see it again.

7. The Help

The Help is an absolutely wonderful movie about love that can cross all boundaries and finding the courage to go against the grain and do what’s right.

My personal opinion: It’s time for the book group to head to the movies. Fantastic acting and a heartfelt story make this a must see. Just a heads up though, bring some tissue in your purse; the lights come up directly after the most emotional scene in the picture and you’re going to want a little time in your seat to collect yourself.

6. Midnight in Paris

Since he abandoned farce in the mid-70s, Woody Allen movies fall into three sub-categories:

1—Everyone has affairs. How does it affect discourse?

2—Here’s how to get away with murder. Now you’ll be tortured by the meaninglessness of the universe.

3—I have a fairly literary existential crisis. I will explore it through a magical deus ex machina.

Midnight in Paris falls into the third sub-category and it results in the most entertaining and substantial Woody Allen film since Match Point, with the benefit of being fun instead of dark.

My personal opinion: Superb writing, enjoyable characters, and a love letter to Paris make this a wonderful time at the theater. The three Woody Allen sub-categories from above belong in three categories:

1–Self involved and pretentious.

2—Superbly written and pretentious, but worth it.

3—Must-see filmmaking by one of the masters of the medium.

This belongs in the third category. I mean, the guy is currently directing his 43^rd film and he has 68 writing credits. The fact that he still has something to say is remarkable.

5. Harry Potter and the Deathly Hallows, Part 2

Full discosure: I am a Harry Potter fan; I’ve read all the books and I went to the midnight screening of this. It wasn’t the best film in the series, but it was a fitting and satisfying final chapter to an astounding decade-long film franchise.

They couldn’t have ended up with a better director to close out the series. David Yates (Nothing Americans had seen before the Harry Potter franchise) took the helm for the fifth film and made the movies what they always should have been. He knew the characters, the tone of the books, and what we were supposed to feel better than any of the big name directors (Chris Columbus, Alfonso Cuarón, Mike Newel) who came before him, AND the wizard battles got much cooler. His affection for the series shines through above everything else and the cinematography and stark color grading for the final two films was simply gorgeous.

My personal opinion: I loved it. I don’t think seeing it in 3D would make much difference, it wasn’t shot for 3D. Anyone who has read the books HAS to see it. Anyone who hasn’t will feel a little dissatisfied and in the dark. The most amazing part of this 10-year, eight-movie feat is that, with the exception of a death, they did this without recasting any of the major roles. The hardest part about seeing the movies come to an end is saying goodbye to the three main kids, who have felt like part of my inner-circle for the last decade.

4. Moneyball

You don’t need to know or care about baseball to love Moneyball. But in grand sports-movie tradition, it has you rooting for the black sheep of the underdog team.

Everyone does an outstanding job on this movie. Brad Pitt is terse and clever, Jonah Hill is so understated and likeable, the writing is top notch, and it unfolds with confidence at every turn. At two hours and 13 minutes, I thought this movie would feel a little long but it’s paced perfectly.

My personal opinion: It’s funny, it’s real, it’s human, and it’s a fascinating look behind the curtain of the baseball industry. I want to see it again.

3. Super 8

Here’s how I feel about Super 8 in one sweeping oversimplification: If you love movies, you’re going to love this movie.

It has everything I want in a movie. Adventure, action, suspense, humor, and relatable characters who experience things the way humans do. Sure, there were a couple moments at the end where I thought, “Really?,” but J.J. Abrams (Star Trek) and the gang were savvy enough to put almost every objection my overly-rational, grown-up mind had throughout the picture and put skeptical words into the mouth of a nearby character, thereby stealing my ammunition.

My personal opinion: It felt like I was watching early Spielberg again, like ET and Close Encounters. Abrams is one of my favorite writer/directors and this was his love letter to the movies that made him want to make movies. A fantastic time.

2. The Descendants

Writer/director Alexander Payne has a track record of wowing critics with unapologetically independent films that seem to speak singularly to upper/middle class adults over 30 (Sideways, About Schmidt). The Descendants is probably his best. It’s funny, it’s heart wrenching, and it’s honest.

Clooney has never been better. I don’t think he’s ever played this vulnerable before, and watching him try to keep it together as his world falls apart is spellbinding. The supporting cast is outstanding. I’m going to blame the minutes upon minutes of expository voice over in the beginning on the fact that this was based on a novel, but it’s the only weak part in what’s probably going to be The Help’s main competitor for Best Adapted Screenplay this year.

My personal opinion: The Descendants is Alexander Payne and George Clooney at their best. It shouldn’t be missed.

1. The Girl with the Dragon Tattoo

Advertised as “the feel bad movie of the year,” The Girl with the Dragon Tattoo pulls none of its punches, bringing to horrifying life the most stomach churning moments from the international bestselling novel and holding the audience spellbound in their seats for all of its 158 minutes.

I’ve read the books, seen the Swedish language trilogy, and this version of The Girl with the Dragon Tattoo is my favorite. Everything about it comes together beautifully. David Fincher’s meticulous direction, the gloomy black/white/gray color palate, the impish score of Trent Reznor and Atticus Ross, the pitch-perfect performances of the actors, the writing of the adaptation, the locations, the sound design, this is simply masterful motion picture making.

My personal opinion: I’m a die hard Fincher fan, so maybe it’s no surprise that I think this is one of the best movies of the year. –Jake Jarvi

Keeping the flashiness of Christmas strongly glowing for another week, the Broadway touring production of the celebrated revival of La Cage Aux Folles has settled into the Bank of America Theatre for plenty of tune filled, costume popping mirthfulness.

Best known to modern movie lovers as the basis for the Robin Williams’ comedy The Birdcage, La Cage Aux Folles has undergone many incarnations since Jean Poiret’s popular French play first appeared in 1973. After the immense success of the original 1978 film version, Harvey Fierstein and Jerry Herman created the much loved musical featuring opulent production numbers and such renowned Herman numbers as “We Are What We Are” and “I Am What I Am”.

This greatly streamlined production reduces some of that initial spectacle, resulting in an occasional flatness, but still winningly tells the story of a gay couple, Georges and Albin, who run a celebrated nightclub in the French Riviera. Both are astonished when their straight son, Jean-Michel decides to marry – a woman. Most importantly, the conservative nature of Jean-Michel’s future in-laws and his own embarrassment over the effeminate nature of drag superstar Albin causes many comic and emotional complications.

The draw here, of course, is the presence of international superstar George Hamilton as Georges. Hamilton is a bit more timid than previous actors (including the aforementioned Williams and TV host Peter Marshall) whom have played Georges, but he livens up the fast paced second act with wit and grace and brings a much needed calm, masculine sense to the role. While, he strains at bit at the higher notes, he also brings a beautiful sensitivity to songs such as “Song on the Sand” and “Look Over There”.

Meanwhile, Broadway legend Christopher Seiber brings a turn on a dime dramatic nature to Albin while relative newcomer Jeigh Madjus, as the famous duo’s butler, is a comic sensation with his quick timing and extreme body antics. Billy Harrington Tighe brings both impulsiveness and emotional weight to his selfish Jean-Michel while Cathy Newman is truly hysterical and multi-leveled in the smaller role of Mme. Dindon.

Unfortunately, the close minded notions that La Cage strikes at are still as present as they were almost forty years ago. Yet, the humor and grace of the show make it a constantly touching and enjoyable evening of theater.

La Cage Aux Folles runs through January 1, 2012 at the Bank of America Theater, 18 W. Monroe. Tickets are $32-$95 and can be purchased at broadwayinchicago.com or by calling 312-977-1710. –Brian Kirst

Advertised as “the feel bad movie of the year,” The Girl with the Dragon Tattoo pulls none of its punches, bringing to horrifying life the most stomach churning moments from the international bestselling novel and holding the audience spellbound in their seats for all of its 158 minutes.

Mikael Blomkvist (Daniel Craig, Cowboys and Aliens), a bloodhound of an investigative journalist, gets hired by a reclusive retired business magnate (Christopher Plummer, Beginners) to secretly dig through his dysfunctional family’s sordid history with the aim of uncovering a murderer in their midst. He recruits the help of the brilliantly resourceful hacker, Lisbeth Salander, (Rooney Mara, The Social Network) who is deeply troubled, has a history of being victimized, and a history of victimizing others. Together they uncover more than they bargained for and soon find themselves in unimaginable danger.

I’ve read the books, seen the Swedish language trilogy, and this version of The Girl with the Dragon Tattoo is my favorite. Everything about it comes together beautifully. David Fincher’s meticulous direction, the gloomy black/white/gray color palate, the impish score of Trent Reznor and Atticus Ross, the pitch-perfect performances of the actors, the writing of the adaptation, the locations, the sound design, this is simply masterful motion picture making. It’s not an easy movie by any means. The repeated sexual assaults in the first half do not happen behind closed doors. But right from the frenetic, dark-imagery laden, Nine Inch Nails music video that is the open credit sequence, Fincher promises not to take it easy on the audience and it’s a promise he keeps.

Craig is great as Blomkvist. He’s human and approachable, not a Bond in sight, more at home looking for clues in a library than in a suspect’s home. Mara is outstanding as Lisbeth, which isn’t an easy task considering how beloved the character is by the readers of the series and the sheer amount of characterization she had to communicate wordlessly. Plummer is actually really funny as the old patriarch who can’t stand his family. He has to carry a lot of regret, but he balances it with a wry smile and a sarcastic glint in his eye. That’s another thing this adaptation does better than the Swedish films and probably even the books, the characters are mercifully allowed brief moments of levity in between all of the miserable things they face.

A surprising amount of the clues in mystery are unspoken. There are long sections of the film where characters are doing research and we’re invited to draw conclusions through inserts and close-ups on relevant pieces of information instead of through characters voicing what they’ve discovered. It’s refreshing. The Girl with the Dragon Tattoo succeeds where so many other book to movie adaptations fall short: The characters feel true to the book and the tone and plot feel intact instead of mangled. If any part of the film feels rushed, it’s the first act, but after all the chess pieces are in place, the resulting game is impeccable.

My personal opinion: I’m a die hard Fincher fan, so maybe it’s no surprise that I think this is one of the best movies of the year. –Jake Jarvi