Yeah, we know.  We’re late with the list again. But 2011 had a remarkable run in cinema, and this year’s list truly runs through nearly the entire spectrum.

Something to keep in mind:  none of the individual lists are the same. Films listed as number one by some people weren’t even seen by others. But, indeed, this is part of the film going experience and part of why the list is formulated as it has been. This is a snapshot, a look inside what different people are interested in, and what they thought of what they have viewed.

Below you’ll find the official Company list, followed by all the individual lists, and the scoring and explanation of how the list was created.

1.  Beginners

2.  Melancholia 

3.  Tree of Life 

4.  Midnight in Paris 

5.  Hugo

6.  Meek’s Cutoff

7.  Weekend

8.  Moneyball

9.  Bill Cunningham New York

10.  Drive

*          *          *

Giampaolo
Mysteries of Lisbon
Sleepless Nights Stories
The Turin Horse
Melancholia
The Future
Meek’s Cutoff
Contagion
Hugo
Le Havre
Bridesmaids

Jake
Tree of Life
Melancholia
Moneyball
Poetry
Le Quattro Volte
Hugo
Weekend
The Descendants
The Arbor
Take Shelter

M. Pitkoff
Hugo
Midnight in Paris
Too Big to Fail
The Trip
George Harrison: Living in the Material World
The Love We Make
Beats Rhymes & Life: The Travels of A Tribe Called Quest
The Black Power Mixtape (1967-1975)
Moneyball
Zookeeper

Liz
Beats Rhymes & Life: The Travels of A Tribe Called Quest
Sleeping Beauty
Tree of Life
Beginners
Weekend
Heartbeats
Page One
Bill Cunningham New York
Bridesmaids
Conan O’Brien: Don’t Stop

Brian
Le Quattro Volte
Beginners
Tree of Life
Shame
Midnight in Paris
The Trip
I Saw the Devil
Mission Impossible: Ghost Protocol
Moneyball

M. Paley
Beginners
Melancholia
Drive
Meek’s Cutoff
Into the Abyss
Tree of Life
Poetry
Weekend
Uncle Boonmee Who Can Recall His Past Lives
The Artist

Adam
Beginners
Drive
Tree of Life
Melancholia
Shame
Midnight in Paris
Bill Cunningham New York
The Artist
Meek’s Cutoff
The Girl With The Dragon Tattoo

Peter
The Ides of March
Win/Win
Harry Potter and the Deathly Hallows: Part 2
Midnight in Paris
Crazy, Stupid, Love
Bill Cunningham New York
Melancholia
Super 8
Bad Teacher
X-Men: First Class

The list was created through a compilation of frequency and then weighted through adding their rankings and dividing the sum by the frequency. The films in four lists or more have their averages equally weighted with one another.

Beginners – 4  ( 1, 1, 2, 4 ) // 2

Melancholia – 4  ( 2, 2, 4, 4 ) // 3

Tree of Life – 5  ( 1, 3, 3, 3, 6 ) // 3.2

Midnight in Paris – 4  ( 2, 4, 5, 6)  // 4.25

Hugo – 3  ( 1, 6, 8 ) // 5

Meek’s Cutoff – 3  ( 4, 6, 9 ) // 6.3

Weekend – 3  ( 5, 7, 8 ) // 6.6

Bill Cunningham New York – 3  ( 6, 7, 8 ) // 7

Moneyball – 3  ( 3, 9, 10 ) // 7.3

Drive – 2  ( 2, 3 ) // 2.5

Le Quattro Volte – 2  ( 1, 5 ) // 3

Beats Rhymes & Life : The Travels of A Tribe Called Quest – 2  ( 1, 7 ) // 4

Shame – 2  ( 4, 5 ) // 4.5

The Trip – 2  ( 4, 6 ) // 5

Poetry – 2  ( 4, 7 ) // 5.5

The Artist – 2  ( 8, 10 ) // 9

Bridesmaids – 2  ( 9, 10 ) // 9.5

We’re in the middle of a blizzard here in Boston, so I thought I’d share some tips for those who need a hand getting through it.

1) The Autobiography of Mark Twain, Volume I – Probably the best Christmas gift anyone could get this year, unless you needed a kidney or something. Twain stipulated that his autobiography only be published 100 years after his death. Lucky for us, we live to see the day. At over 700 pages, volume I is endless amusement to help you weather the storm.

2) Casino – Martin Scorsese is the only person who can make a casino look and feel like a cathedral. Strange (or maybe not so strange) that a film about the desert gets you through a snow storm. Special bonus: anyone who dresses as DeNiro or Pesci from this movie for Halloween 2011 will get something special from me.

3) Hollis Frampton on Ubuweb — Okay, I have to come clean. This is where I’ve been for the past however many months. I’m writing a senior thesis about Frampton, and before I was able to get my hands on the bulk of his films, I was leaning on Ubuweb like Walter Brennan on a wall. Do yourself a favor and watch Gloria!. If you don’t shed a tear you’d better get back on the yellow brick road.

4) A Winter Romance — Dean Martin’s 1959 Christmas album is good enough to listen to for a few days after Jesus’ Birthday has passed. In fact, I’ll probably have it spinning well into the new year. Put it on, listen to “Baby, it’s Cold Outside.” It doesn’t get any better.

5) Woodford Reserve – Whatever you’re doing, have some of this. You can replace the ice with a little clump of fresh snow from outside. And yeah, you can have another. Even a few others. The later you wake up tomorrow the later you have to shovel snow. Either that or you could wind up doing some serious playing in the snow.

I’m glad I did. It took all of 30 seconds and provided a needed dose of creative therapy.

If you’re like Adam and myself, you’ve been patiently slogging though the first episodes of HBO’s Boardwalk Empire, hoping that the show will suddenly hit its stride (and that the writing will miraculously improve) and live up to its obvious potential. But while I sat on my couch lamenting that Mad Men was nearing its Season 4 finale, Adam (ever proactive) developed a plan to improve HBO’s lackluster creation himself.

Without further ado, I offer you Adam’s alternate (obviously improved) title sequence for HBO’s Boardwalk Empire.

Check out Adam’s current blog, dear stupid blog, for more curiosities.

Shutter Island, dir. Martin Scorsese (2010)

As Leonardo DiCaprio and Mark Ruffalo approach Shutter Island by ferry, what strikes us is the sky: it goes on forever in a way that anyone from Boston knows is impossible, and the artificiality of the colors and the actors makes it clear that this isn’t Changeling or Schindler’s List. This is the past of film, not a film of the past, and it’s clear that Scorsese is taking his cues from Samuel Fuller’s camp experiments as much as Alfred Hitchcock’s psychological obsessions, tossed with a dose of Hiroshima Mon Amour.

The film itself is unerringly harrowing, composed of uneven realities interwoven with hallucinations and dreams that are puzzling without being gimmicky. The only mystery here lies not in DiCaprio’s identity but in his non-identity: why can’t he be what he is now? The film posits that DiCaprio’s own trauma has become inseparable from the trauma of the 20^th century: his drowned children are the same children that lie in the Dachau snow. Yet by the end of the film, when all has been “revealed,” Scorsese has done such a good job rendering any revelation arbitrary that it rings more like a parody of a reveal than a true moment of enlightenment.

One of the film’s best moments comes when DiCaprio—fighting with an escaped inmate in the wave of a devastating storm—hears a brief exegesis on the hydrogen bomb. “Why would I ever want to leave here?” asks the violent psychotic. “They have H-bombs out there.” One of the most powerful poles of the 20^th century—the bomb itself, the object that turned everyone paranoid and had everyone hiding under desks, next to filing cabinets. It’s from these 20^th century sciences of destruction—clunky and creative, the American wartime avant-garde—that Shutter Island takes its potency.

In line with this, Shutter Island recognizes that it was in the Holocaust that the 20^th century found its most terrifying and emblematic manifestation of all its potentiality. Everyone in the film looks like a Nazi, and whether or not they are is irrelevant. Within the first half hour we’re struck by flashbacks showing gaunt faces and barbed wire, paperwork residue of the Nazi machine floating serenely in a concentration camp office that looks, replete with filing cabinets, eerily functional and familiar. Mad scientists and totalitarianism: Nazi Germany, the Soviet Union…and to complete the triumvirate, we need FDR and the United States, don’t we? Where was our Holocaust, our Gulag? That’s what Detective DiCaprio is looking for—the place where the United States caught up with the 20^th century.