Film... and things

2010 Superlatives

2012-01-22T17:24:00.000-08:00

Best Director
David Michod Animal Kingdom
Christopher Nolan Inception
David Fincher The Social Network
Roman Polanski The Ghost Writer
Darren Aronofsky Black Swan

Best Male Performances
Ben Stiller Greenberg
Colin Firth The King's Speech
Jesse Eisenberg The Social Network
Leonardo DiCaprio Shutter Island
Leonardo DiCaprio Inception
Sean Penn Fair Game
Ryan Gosling Blue Valentine Aaron Eckhart Rabbit Hole Javier Bardem Biutiful Annette Benning Mother And Child Annette Benning The Kids Are All Right Emma Stone Easy A Hye-ja Kim Mother Julianne Moore The Kids Are All Right Naomi Watts Mother And Child Naomi Watts Fair Game Natalie Portman Black Swan Nicole Kidman Rabbit Hole Michelle Williams Blue Valentine Ben Mendelsohn Animal Kingdom Chris Marquette Life During Wartime Christian Bale Fighter, The Geoffrey Rush The King's Speech James Frecheville Animal Kingdom John C. Reilly Cyrus John Hawkes Winter's Bone Miles Teller Rabbit Hole Richard Jenkins Let Me In Samuel L. Jackson Mother And Child Cherry Jones Mother And Child Dale Dickey Winter's Bone Marion Cotillard Inception Melissa Leo Fighter, The Olivia Williams Ghost Writer, The Hailee Steinfeld True Grit Dianne Wiest Rabbit Hole
Cinematography
True Grit Inception Black Swan Social Network, The Animal Kingdom
Editing Inception Shutter Island Social Network, The American, The Fighter, The
   Hans Zimmer Inception Michael Giacchino Let Me In Trent Reznor & Atticus Ross Social Network, The Gustav Santaolalla Biutiful John Powell Black Swan "Pimps Don't Cry" - Adam Mckay, Will Ferrell, Jon Brion The Other Guys "Little One" - Lucy Schwartz Mother And Child "If I Rise" - Dido 127 Hours "Life During Wartime" - Life During Wartime "Never Say Never" - The Karate Kid
Social Network, The Inception Enter The Void
Adapted Shutter Island Rabbit Hole Social Network, The Fair Game Ghost Writer,
Original The Toy Story 3 Inception Mother And Child Blue Valentine Animal Kingdom
Best Soundtrack Kick-Ass Social Network, The The Other Guys Let Me In Cyrus
Best Voice Work Jeff Garland Toy Story 3 Paul Rudd Casino Jack And The United States Of Money Tom Hanks Toy Story 3 Stanley Tucci Casino Jack And The United States Of Money Michael Keaton Toy Story 3
Best Ensemble Inception Cyrus Animal Kingdom Shutter Island Date Night
Best Pair Chloe Moretz & Kodi Smit-McPhee Let Me In
Best Line "You have part of my attention; you have the minimum amount" The Social Network "I getting mad… is this what men do?" Blue Valentine "No, I have a job where I CAN get drunk at 8am." Blue Valentine "I need your help. I can't tell you what it is, you can never ask me about it later, and we're gonna hurt some people." The Town "And I thank god for the catfish because we would be droll, boring and dull if we didn't have somebody nipping at our fin." Catfish
Most Entertaining ("The Happening" Award) Rare Exports: A Christmas Tale

Best Poster
127 Hours
The Social Network
Animal Kingdom
Inception
Enter The Void

Most Groan-worthy Product Placement Award BMW Ghost Writer

The Congratulatory Lack of Product Placement Award
The Karate Kid
Most Underrated Film of the Year Mother And Child
Most Overrated Film of the Year True Grit
Best Directorial Debut David Michod Animal Kingdom
Breakthrough Male Performance James Frecheville Animal Kingdom
Breakthrough Female Performance Hye-ja Kim Mother
Best Performance In A Bad Film Chris Marquette Life During Wartime
Worst Performance In A Great Film Paz de la Huerta Enter The Void
Best Hero "J" - James Frecheville Animal Kingdom
Best Villain "Pope" - Ben Mendelsohn Animal Kingdom
Best Trailer The Social Network
Most Surprising Film The Ghost Writer
Most Ambitious Film Inception
Most Disappointing Film (Based on Expectations) Winter's Bone
The Sexiest Film Black Swan Fish Tank The Social Network Easy A The Killer Inside Me

The Best Films of 2010

2011-03-01T16:28:00.000-08:00

Film 2010

55 titles... a lot of bad ones, a lot of good ones. Maybe one or two for the top 100, but nothing too memorable. Here's the breakdown:

The Worst

5 The Expendables

It surely was the manliest line-up of any film this year, but considered the ‘action’ talent involved, it wasn’t a good action movie.

4 A Prophet

Rants and raves are aplenty here for ‘A Prophet,’ but I didn’t see the draw.

3 Tooth Fairy

Okay, so obviously I didn't expect this to be good, so I took it with a grain of salt and had a surprisingly good time... but, oh yeah, it's bad.

2 44 Inch Chest

NOTHING HAPPENS.

1 The Spy Next Door

Pretty much as bad as you can get, but I was never tempted to walk out or scream in anguish.

Not The Best

(From Worst to Good)

I'm Still Here Could have been something with real meaning, but Phoenix opted for poop jokes and gay shit. Daybreakers was good for the tail end of a double feature... a fun sci-fi adventure, really. The Killer Inside Me wasn't good or easy to follow... sexy at times, but really disjointing and uninteresting for the rest. Splice was fun... not as terrible as Natali's Cypher or Nothing. Terribly Happy was Scandinavian, but it kind of confusing and not all too thrilling. Wall Street: Money Never Sleeps was a great idea on paper, but it's premise morphed into a half-baked love story... and Gekko was relegated to bit-part status. The Girl With The Dragon Tattoo has lots of room for improvement... it's not as thrilling as it should be, and the script and story are extremely elementary. I think there's someone on that... The Karate Kid resisted rampant product placement, for which I give it props (AHUHGCTHtheblindsideHUHGHTCH). It was fun to watch, and it didn't drag on. Dogtooth... shocked that it got Greece's foreign film submission slot; but it's really not as deliciously deranged as it looks. Life During Wartime was a minor Solondz effort... not maddeningly awful, but not good. Youth In Revolt was really funny and enjoyable to watch... but I don't remember a THING. Props to Fred Willard and Ray Liotta for great bit roles. Winter's Bone... to quote a colleague, it's a slightly elevated B-movie about, well, nothing when it actually comes to a close. How To Train Your Dragon will leave in awe... you just had an amazing non-Pixar animation experience! But you won't remember it. Mother is a great entry into Bong-Joon Ho's filmography... funny at times and thrilling at others. The Other Guys is funny and very quotable... but the strained plot drags on way too long. Easy A... loved it! Funny and relevant. The King's Speech is supposedly the best picture in the land... I don't have one bad thing to say about it, but I didn't leave the theater amped up on the royal British spirit. 127 Hours... any movie that starts with a cut-away shot montage of all of America's favorite fast-food joints as an exercise in illustrating 'America' deserves no credit. But, it gets kind of exciting, and it never dragged. Date Night was fun! Probably the best ensemble cast of the year. The Square was a wannabe Animal Kingdom, but it was thrilling enough to seek out and memorable enough...

Better Than Good

Fair Game

A great showcase for the potent combo of Penn and Watts... strangely, it made me the most patriotic I've ever felt leaving a movie.

And Everything Is Going Fine

A perfect tribute to Spalding Gray... what better way then to have an 88-minute montage of his monologue's? Well, some interviews, maybe. But it was okay...

Kick-Ass

This dropped a bit, but still hangs in my mind as a hella, balls-to-the-wall awesome cinematic experience.

The American

Very basic story, very un-basic cinematography and supporting performances... Clooney's as gruff as ever.

True Grit

Disappointing un-Coen... not as funny or thrilling as everyone's making it out to be. I think the brothers really sold out for this one...

Cyrus

Not too original and not too memorable, but Cyrus was a lovable diamond in the rough.

The Kids Are All Right

Great performances and a solid script, but it didn't have a purpose or a message, and the final scene gets my '500 Days of Summer' Award for 'you just ruined the whole movie the final line.'

Please Give

Total beauty of film I just randomly watched... this has a great message and a great cast. Awesome dialogue, too.

Greenberg

Ben Stiller's best role in years... loved a lot about this, and a lot about what it was trying to prove.

Fish Tank

The sexiest film of the year... I loved everybody's performances, and was really blown away by how everything played out.

20 Rare Exports: A Christmas Tale

Some fucking random... a top 20 spot just for shits and gigs. Pure Scandinavian entertainment.

19 Enter The Void

This started out very high on my list, but then I realized it was almost three hours long and featured about an hour of people fucking with neon light coming out of their genitals... if I could have watched a movie exactly like the first 30 minutes, it would have been a masterpiece. Paz de la Huerta's performance definitely ranks as my least favorite female performance of the year.

18 Inside Job

Absolutely fascinating tale about how the 2008 financial crisis went down... especially for someone who didn't know dick about it walking in.

17 Toy Story 3

This also started high on my list, but dropped down after I realized how much of rehash it was... some touching moments and lots of tears, but the gimmicks really bring it down to 'oh, it's still a kids movie' territory (like Spanish Buzz). Really loved how it was all tied up, though.

16 Casino Jack And The United States Of Money

Just as WTF as Gibney's Enron doc... it plays out like a narrative because of how absurb it is. But, one must remember that there was someone out there named Jack Abramoff, and he did things like naming a surfing instructor as CEO of an international trade organization... must be seen to be believed.

15 Rabbit Hole

Good amount of tears for this one... based on a stage play, 'Hole' plays up one of the most devastating things that can happen to a marriage. Loved how this progressed and how it was wrapped up...

14 Exit Through The Gift Shop

I thought this was going to be some hipster-douche story of how art is gone forever and how we need to find it again... instead it IS about the loss of 'art' told by artists themselves. I literally can't explain what the hell this is about, but cannot strain enough that you MUST MUST see it.

13 Shutter Island

Absolutely stunning that this held up after being shoved off to a February death slot last year... features (easily) some of the best cinematography, best performances, and one of the best adapted screenplays of 2010. For a film that's literally 95% exposition, it's thrilling. Definitely 'major' Scorsese.

12 Let Me In

Matt Reeve's sophomore effort (Cloverfield being the first) was a ripe, perfect tribute to Tomas Alfredson's 2008 classic... probably 2010's second best love story. Can't wait to see where Smit-McPhee and Moretz go from here; they've got some talent.

11 Catfish

The quintessential Facebook movie of the year (and, yes, I've thought about that statement). You will not be able to figure where it's going, and it will touch you, believe it or not.

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Top 10

Mother And Child

Naomi Watts and Sam Jackson sex scene? Pretty much the first word I heard of this, but I knew Rodrigo Garcia would deliver a touching and tear-filled tale of women in trouble. Loved the hell out of this film, and cried more than I did watching any other film this year. Annette Benning gives the best female performance of the year...

The Town

I'm probably your biggest fan of Affleck's directing debut, Gone Baby Gone. Couldn't wait this, and it wholly delivered. I will never get sick of Boston-based crime movies, especially ones with believable accents and performances and thrilling plots. Nothing bad I can say about this, and that's saying a lot.

The Fighter

Originally gestated by Darren Aronofsky, this was a labor of love for Wahlberg, who started bulking up for this 6 years ago. I remember watching High On Crack Street: Lost Lives In Lowell back in middle school, and being blow away by how real it was. Seeing the other side of the coin (Dickie thinking the film was about his comeback) was heartbreaking. Loved the way this was filmed; it could have been very basic, but Russell turned this into an art film, with year-stealing performances from Bale and Leo.

The Ghost Writer

Had absolutely no expectations for this film... but I trusted Roman Polanski's reputation and checked it out... and I loved it. I've never a Polanski film as thrilling as this. Such a simple premise, but it's got impeccable execution and great performances on it's side. Aside from an absolutely maddeningly piss-poor bit of BMW product placement, it was great. Did you Nic Cage was original supposed to play McGregor's role? Ughhh.

Animal Kingdom

David Michod's directorial debut is amazing... the best movie about lives of crime since Heat (seriously). Featuring my favorite supporting male role of the year (Ben Mendelsohn as Pope) and another one of my favorites in the brand-new James Frecheville... the Oscar's had it wrong; Jacki Weaver was okay, but the men in this complex Australian crime family steal the show. So many great shots, so many great twists, and a lot of pent-up emotion.

Biutiful

Well, it's beautiful... Inarittu's first Spanish-language feature after Amores Perros isn't as fleshed out and well-organized as 21 Grams or Babel, but it's heart-wrenching and inter-weaving as ever. Death and existentialism is pretty much my favorite topic for a film, and this explores it so magically and adeptly.

Black Swan

It had all the right stuff from the start… Natalie Portman in the lead role, Darren Aronofsky writing and in the director’s chair, and a lot of pent-up demand from the public to see what he could craft from the world of high-stakes ballet; and it delivers. The film began its life rolled in with Aronofsky’s previous feature The Wrestler… that movie would have seen Randy the Ram (Mickey Rourke) fall in love with a beautiful ballerina. A ballet movie sounds stupid on paper, but I thought the same thing about wrestling when I saw The Wrestler... it's awesome.

Blue Valentine

It really hit the spot... it's an emotionally-draining, infuriatingly honest story of falling in and out of love... Derek Cianfrance is definitely a director to watch out for, and I didn't love a single male performance this year more than Ryan Gosling's.

Inception

A film written by Christopher Nolan in his teenage years, and also his first original work since 1998's Following (both feature a character named Dom Cobb in the lead role). Given free-reign after the widespread acclaim The Dark Knight received, Nolan churned out one of the most fascinating and thrilling sci-fi films of the last decade (sci-fi, right? Whatever).

The Social Network

A damn shame that David Fincher did not take home an Oscar for this... but 20 years down the line, when he does, we'll all be like 'finally, David Fincher got an Oscar,' and it will be much more satisfying... think of this as his Taxi Driver or Raging Bull. He's my favorite living director, and I can say with confidence that this is his most fully fleshed-out film; not his best, but probably the one he's put the most effort into. Believe what they say about watching it a second time, too... it gets great. So perfectly edited, such a perfect and well-timed ending, and such a timeless message: on your road to fortune, you will lose friends.

---

All in all...
Not a very stand-out year by any means, though we did get treated to the likes of Fincher, Aronofsky, Nolan, Polanski, Scorsese, the Coens, and a lot of promising newcomers... 2011 going to be a hell of a year with Malick returning with The Tree of Life, Fincher's Dragon Tattoo, 2 Soderbergh features, more Scorsese (in 3D), sci-fi from von Trier, some much needed period romance from David Cronenberg, and a great batch of promising Sundance titles. Let's hope it's a great one...

Voicemail Mix #3

2010-07-30T12:12:00.001-07:00

Best Day For Trailers Ever

2010-07-08T21:58:00.000-07:00

You Will Meet A Tall Dark Stranger

Jack Goes Boating

The Social Network

Machete

I'm Coming With You: The 25 Best Episodes Of LOST

2010-05-09T13:22:00.000-07:00

Lost is almost over, and I thought it best to pay tribute to THE best television series of all time by looking back at some of the best hits. Let's take a look...

The almost theres...

25. Par Avion

24. All The Best Cowboys Have Daddy Issues

23. Dave
22. ?

21. Maternity Leave

20. The Shape Of Things To Come

19. Eggtown

18. LaFleur
17. Ab Aeterno

16. LA X: Parts 1 and 2

15. The Incident: Parts 1 and 2

14. Beginning Of The End

13. Lighthouse

12. The Life And Death Of Jeremy Bentham

11. Happily Ever After

The top ten...

10.
The Other 48 Days

Definitely the winner for most time covered in one episode... a great way to develop and integrate new characters into the show, '48' starts just like the Pilot did, and progresses similarly, except there's a lot more death and intrigue. The episode achieves what the entire first season did in 42 minutes. And then, it all ends in a devastating collision of factions.

9.
Exposé

I had to get this into the top ten... nothing that happens in the entire episode affects anything at all that occurs later in the season (except Miles steals Nikki and Paulo's diamonds, which they don't even really show). It was just a great way for the writers to break loose and create a great self-contained story that rocked, and I really liked it. Not sure if the line is even in this episode, but Nikki and Paulo watch Boone and Shannon yelling at the airport, and Paulo says "I hope we don't end up like them." In the end, they end up EXACTLY like them; buried on the island in the same grave.

8.
The Constant

I consider The Constant one of the only episodes of the series that had the potential to be its own movie... the self-contained storyline in which Desmond has to connect to his past self was so outside of everything else happening that season, and still hasn't really been connected to everything. Really great episode amid a meh season.

7.

There's No Place Like Home: Parts 2 and 3

Here we see a continuation of the Looking Glass flashforward scene, which was probably the best part of this episode too. We also get to see who was in the casket. The reveal of the donkey wheel and the island moving where interesting moments, and real game changers. I was expecting a little more in the end.

6.

Man Of Science, Man Of Faith

After a season of what is that and what is this and who is that guy, we get a big reveal and see what is in 'the hatch,' which took the series in an ENTIRELY new direction and really changed up the whole 'desert island' aspect. Here, the series also sets up the main science and faith dichotomy between Jack and Locke (and whole factions on the island) that is still a running theme in the series.

5.
Exodus: Parts 1 and 2

The landmark first season comes to a close with a very frustrating cliffhanger... but the season 2 opener is a great consolation. Everybody splits up and goes on their own little adventure, Kate wants to come with you, people blow up, and people yell. It was exactly was season 1 needed to come to a close.

4.
A Tale Of Two Cities

The opening scene is really all the needs to be discussed. Here we see a new character in what we assume is a flashback baking muffins, doing woman stuff, having a book club meeting, blah blah. But it's entrancing because we want to know who she is and why this stuff is so frigging important. Then, an earthquake! Then... oh god they're on the island! So great. I honestly didn't even care or remember what happened in the rest of the episode.

3.

Live Together, Die Alone: Parts 1 and 2

Aside from maybe Jack, Desmond's flashbacks are ace, and having this whole two-part episode dedicated to him (and have most of it happen on-island), it was truly a treat (especially at a time when we nothing about Desmond). We learn all about the Swan and why pushing the button is so important, and then, it's gone.

2.
Pilot: Parts 1 and 2

You can't give much praise to everything else without looking to where it all started. This episode is possibly the best pilot episode of any series. Originally inspired by 'Castaway,' and put into production by ABC executive Lloyd Braun, LOST almost never was. Braun was fired because the production of the episode was too expensive and the high-concept series was thought to never catch on. 7 years later, while not as popular as it once was, LOST can be considered on the biggest television success stories ever. The pilot episode sets up a mystery that one could never have imagined could blossom to what it is today. I've watched it at least six times.

Through The Looking Glass: Parts 1 and 2

Without a doubt, 'Looking Glass' takes the cake. Jack-centric episodes are always some of the best, and to have the whole two-hour finale dedicated to him was beautiful. On Island, Charlie and Desmond finally decide to follow the wire into the ocean, and find the titular Looking Glass DHARMA station, and big reveal for DHARMA station fans. Inside, Naomi and Greta are taking blind orders from Ben, and eat it almost immediately. Then, Charlie, after a season of near-deaths, realizes he needs to kill himself to end the nightmare. Desmond doesn't agree, and misses webcam-ing with Penny. At camp, the others invade. Hurley runs one over one in his van, Sayid snaps one of their necks WITH HIS LEGS, and Sawyer kills Tom in what is possibly THE best LOST sequence of the series. For the flashback, we see Jack in a bad way. He freaks out about his father (also one of the best sequences ever), tries to kill himself, visits a casket, and keeps trying to call this woman. Then we have the scene that LITERALLY changes the entire series. We see Kate, whom Jack has never met off-island, revealing the fact that the whole flashback has occurred post-island (introducing the flashforward). In THE best scene of the series (I'm certain this time), Jack pleads with Kate to go back, and she doesn't want to. I remember not moving for minutes after this episode.

2010-05-04T20:28:00.001-07:00

20 Films You Should See This Year (And More)

2010-01-19T21:19:00.000-08:00

Lots of Films You Should See:

And Everything Is Going Fine

(Steven Soderbergh, TBA)

The Spalding Gray documentary

Black Water Transit

(Tony Kate, TBA)

The only thing he's made since American History X

Brooklyn's Finest

(Antoine Fuqua, March 5th)

Buried

(Rodrigo Cortes, Sundance)

Ryan Reynolds buried alive for 90 minutes

Cemetery Junction

(Ricky Gervais, TBA)

Chloe

(Atom Egoyan, March 26th)

Liam Neeson, Julianne Moore, and Amanda Seyfried

Cyrus

(Duplass Brother, Sundance)

John C. Reilly, Jonah Hill & Marisa Tomei

Date Night

(Shawn Levy, April 9th)

Tina Fey & Steve Carrell

Dawn Of War

(Tarsem Singh, TBA)

Haven't heard much about this, but I guess it's filming

Defendor

(Peter Stebbings, TBA)

Woody Harrelson as a fake superhero

Dinner For Schmucks

(Jay Roach, July 23rd)

Steve Carrell

Dogtooth

(Giorgos Lanthimos, TBA)

A brutal Greek film about child captivity

Due Date

(Todd Phillips, November 5th)

Robert Downey Jr. & Zach Galifinakis

Edge Of Darkness

(Martin Campbell, January 29th)

Mel Gibson in Taken 2, from the director of Casino Royale

Fair Game

(Doug Liman, TBA)

Sean Penn & Naomi Watts together again

Get Him To The Greek

(Nicholas Stoller, June 11th)

Get Low

(Aaron Schneider, TBA)

Sony Classics has it, but when they'll show it is the question. Robert Duvall plays a old-south carmudegeon who plans his own funeral

Greenberg

(Noah Baumbach, March 26th)

Ben Stiller

Hot Tub Time Machine

(Steve Pink, February 26th)

The red-band trailer is worth a look-see

I Love You, Philip Morris

(John Requa, March 26th)

Jim Carrey & Ewan Macgregor as a gay couple who met in jail

I'm With Cancer

(Jonathan Levine, TBA)

Probably won't be out this year, but features Seth Rogen, James McAvoy, and Anna Kendrick. Oh, and it's Jonathan "The Wackness" Levine.

Iron Man 2

(Jon Favreau, May 7th)

Kick-Ass

(Matthew Vaughn, April 16th)

Watch the red-band trailer

Leaves Of Grass

(Tim Blake Nelson, TBA)

Edward Norton as twins

Lebanon

(Samuel Maoz, TBA)

A foreign war film told entirely from the perspective of soldiers in a tank, I think.

Metropia

(Tarik Saleh, TBA)

Sort of a motion-capture type-deal with Vincent Gallo. Deals with some sort of corporate dystopia.

Mr. Nobody

(Jaco van Dormael, TBA)

Jared Leto plays the same person in three different fractures of his own life

My Suicide

(David Lee Miller, February 1st (DVD))

Caught my eye; I think it did Sundance last year. Features a student who wants to film his own suicide as his final project in film class.

Never Let Me Go

(Mark Romanek, TBA)

Romanek hasn't done dick since One Hour Photo, so this is welcome. General consensus is that it's some sort of The Island with British boarding students. I picked up the book, and couldn't get into it.

Ondine

(Neil Jordan, TBA)

Just picked up by Magnolia. Colin Farrell catches a mermaid in his fishing net.

Paul

(Greg Mottola, TBA)

Simon Pegg and others; sci-fi comedy

Please Give

(Nicole Holofcener, TBA)

Oliver Platt and Catherine Keener play New Yorkers waiting for their neighbor to die so they can super-size their apartment

Red Riding: 1974

Red Riding: 1980

Red Riding: 1983

(Julian Jarrold, James Marsh, Anand Tucker, February 5th)

IFC is bringing this British miniseries to screens. It's three films about the search for a serial killer.

Remember Me

(Allen Coulter, March 12th)

Jenny "Rachel Getting Married" Lumet wrote it

Repo Men

(Miguel Sapochnik, April 2nd)

Red-band trailer looked cool

Terribly Happy

(Henrik Ruben Genz, February 5th)

Norwegian (I think) film about a town gone crazy and a rogue cop gone to check it out

The Company Men

(John Wells, Sundance)

Corporate downsizing. Tommy Lee Jones, Ben Affleck, more cool people

The Green Hornet

(Michel Gondry, December 22nd)

Christoph Waltz!

The Rum Diary

(Bruce Robinson, TBA)

Johnny Depp as Hunter S. Thompson again, kind of

The Runaways

(Floria Sigismondi, March 19th)

Michael Shannon, Kristen Stewart, Dakota Fanning

The Tempest

(Julie Taymor, TBA)

Across The Universe director Taymor switches Prospero to Prospera (played by Helen Mirren) in this Shakespeare reimagining

Tron: Legacy

(Joseph Kosinski, December 17th)

The original sucked, but the teaser trailer will blow you away

Welcome to the Rileys

(Jake Scott, Sundance)

James Galdolfini, Kristen Stewart, Melissa Leo

You Don't Know Jack

(Barry Levinson, TBA)

Al Pacino plays Jack Kevorkian; it's airing on HBO

You Will Meet A Tall Dark Stranger

(Woody Allen, TBA)

The next Woody Allen

The Big 20:

The Tree Of Life

dir. Terrence Malick

Release: TBA, Apparition

I've personally never gotten through a Malick film, but this sounds extraordinary; the eldest son of a 1950s family witnesses a loss of innocene. The simplicity of that description drives me wild with anticipation. And Brad Pitt and Sean Penn are in it.

Blue Valentine

dir. Derek Cianfrance

Release: Sundance / TBA

The film centers on a contempo married couple, charting their evolution over a span of years by cross-cutting between time periods. PERIOD.

The Fighter

dir. David O. Russell

Release: TBA

Russell took over from Darren Aronofsky so he could direct Black Swan. Looks good, with Wahlberg, Bale, and Amy Adams.

Mother And Child

dir. Rodrigo Garcia

Release: May 7th, Sony Pictures Classics

Just got picked up. I love Garcia's work, and anything with strong female characters (like Watts and Annette Benning) is fine with me. This had Oscar buzz out of some of the festivals, but never got picked up.

Let Me In

dir. Matt Reeves

Release: October 1st, Overture

The much-chagrined remake of Tomas Alfredson's amazing 2008 film Let The Right One In, directed this time by Cloverfield's Matt Reeves. We've got the kid from The Road, Hit Girl from Kick-Ass and Richard Jenkins (google him!). I'm exciting to see an 'American' spin on the story, even if it does suck. One of three films on this list to come out October 1st, too.

Hesher

dir. Spencer Susser

Release: Sundance / TBA

An anarchist (Leavitt) moves in a with a grieving family in LA. Natalie Portman and Rainn Wilson round out the cast. 'Twill be excellent.

Splice

dir. Vincenzo Natali

Release: Sundance / TBA

This has been in the can for a while; I'm a mild of Natali's Cube, but this looks off-the-charts creepy and watchable; Sarah Polley and Adrien Brody are a scientist couple who screw with human DNA.

Wall Street 2

dir. Oliver Stone

Release: April 23rd, 20th Century Fox

Well, it's coming, and it actually looks not half bad.

Your Highness

dir. David Gordon Green

Release: October 1st, Universal

Franco, McBride, Portman, Deschanel, and superb director D.G. Green join forces for a medival stoner comedy.

Knockout

dir. Steven Soderbergh

Release: TBA, Lionsgate

Soderbergh signed some boxing chick to a James Bond-style spy movie. I'm a fan of Soderbergh's little projects, but with a ballooning cast and studio interference from Lionsgate, this could suck, but I'm still wildly excited.

The Beaver

dir. Jodie Foster

Release: TBA, Summit

Just look at the picture.

Jack Goes Boating

dir. Philip Seymour Hoffman

Release: TBA, Overture

This is the reason PSH was wearing that creepy hat at the Oscars that year. We've got Amy Ryan playing love interest to PSH's stoner limo driver character. With this and Let Me In, Overture could be becoming a little Oscar-hopeful studio this fall.

Life During Wartime

dir. Todd Solondz

Release: TBA

This didn't exactly light up the festivals last year, and it hasn't been picked up since. Only hardcore Todd Solondz fans like myself (okay, I liked Happiness and that's it) are excited. And yes, that is Paul "Pee-Wee" Ruebens.

The Town

dir. Ben Affleck

Release: September 10th, Warner Bros.

Ever since Gone Baby Gone, I've been very excited to see what Affleck would do next. The Town features Jon Hamm as a FBI agent who falls for a crook, or something. Either way, I'm very excited for this Boston-based thriller (?).

Toy Story 3

dir. Lee Unkrich

Release: June 18th, Disney

Let's hope it's a good button to a classic series that we've all grown up with. Please don't screw this up, Pixar. But, they never screw up.

Biutiful

dir. Alejandro Gonzalez Inarittu

Release: TBA, Focus Features

First announced for release in 2009, Focus hasn't said a peep about it since. Doesn't mean I'm not still looking forward to it. Javier Bardem stars as a man who confronts a childhood friend, who is now a cop. That's all we've got.

Shutter Island

dir. Martin Scorsese

Release: February 19th, Paramount

This topped my 'Most Anticapted of 2009' list, so it's a little disappointing, yet hopeful, that it's on this years list as well. There's little to say; it still looks awesome.

The Social Network

dir. David Fincher

Release: October 1st, Sony

When it was first announced that Fincher was directed a Facebook movie, I groaned as did most of the general public. Since then, I've begun to read the book (The Accidental Billionaires), which is excellent, and a solid cast (Jesse Eisenberg, Andrew Garfield) has come together. I have absolutely faith that this could be a superb tale from the master himself. October 1st is going to be a busy day.

True Grit

dir. Joel & Ethan Coen

Release: December 25th, Paramount

Today (1/19/10), Paramount announced a Christmas Day release date for the Coens next. Four projects in four years? A Coen fan's dream, sure, but ever since these cats won Best Picture, there's no stopping their drive to churn out some films. I can't complain. So, we've got Brolin, Damon, and (hopefully) Oscar winner Bridges headlining this remake of the classic John Wayne western. We'll take it.

Inception

dir. Christopher Nolan

Release: July 16th, Warner Bros.

The first teaser trailer for this debuted, surprisingly, during Inglourious Basterds. Before then, fans speculated that this project was indeed "Batman 3," but now, fans have moved on and embraced this film as something entirely different. With similar 'in the dark' marketing as The Dark Knight, we know little about Nolan's secretive project, which makes it all the more enthralling. An all-star cast headlines this psychological thriller. It will be intense and could even get that Best Picture nod that the knight never got. Fingers crossed that this will be the best movie of the year.

The Best Films of the Decade

2010-01-18T22:43:00.000-08:00

Honorable Mentions (No Particular Order)

Brothers (2004), The Road, One Hour Photo, Memento, No Country For Old Men, Panic Room, Sunshine, The Man Who Wasn’t There, The Lookout, The Prestige, Amores Perros, Hard Candy, S1M0NE, Lucky Number Slevin, Y Tu Mama Tambien, Syriana, The Assassination Of Richard Nixon, Pretty Persuasion, Collateral, Thirteen, Swimming Pool, Miami Vice, In Bruges, All The Real Girls, Up, Little Children, The Wackness, Little Miss Sunshine

The Top Thirty Of ‘00

#30

DOGVILLE

(2003) #4

dir. Lars von Trier

Going in, the only detail I knew was ‘minimal scenery’ and three hours later I had experienced a film literally like NO other. If you’re familiar with black box theatre (I actually was), then this is black box cinema. It’s a lot of ‘see for yourself;’ hard to explain. You couldn’t ask for a better cast. Honorable mentions to Patricia Clarkson and James Caan. Bettany and Sivegny could have used work, but Kidman was a powerhouse as the gamechanger, Grace; I’m beginning to love her work, between this and Eyes Wide Shut, as of recent. It’s three hours long, but it has a lot to say. From the revealing title cards to the hurts-so-good climax, Dogville is a must for any lover of experimental cinema. And I mean –experimental-.

#29

KING KONG

(2005) #2

dir. Peter Jackson

I’m not seeing so much love for this in any decade’s best lists… why so serious?. Let your guard down and enjoy this fun, thrilling, visual-effects-benchmark setting film from Peter Jackson, who tends to get more credit for LOTR and nothing else. It’s not perfect, but it defines the ‘epic’ and features out-of-character performances from Brody and Jack Black, among others.

#28

CIDADE DE DEUS (CITY OF GOD)

(2003) #3

dir. Fernando Meirelles

For some reason I thought I never saw this, but after I was done I realized I had seen the whole thing at least three years ago… I guess it didn’t have the same effect on me then; I’m definitely glad I watched it again. It’s amazing that a film that’s essentially 90% backstory manages to hold your attention and intrigue you that much. It completes my common-era Fernando Meirelles slate (though I didn’t know I was doing it in chronological order); so COG>Blindness>Constant Gardner. Top one hundred.

#27

THE KING

(2006) #8

dir. James Marsh

The King, directed by James Marsh of 2008’s Best Documetary Man On Wire, is Gael Garcia Bernal’s best film, as well as a tender, slow-moving tale of a man gone insane for love. Welcome to the top fifty.

#26

LOVE LIZA

(2002) #4

dir. Todd Louiso

This is Hoffman's best performance. I was captivated. And he even found a place fit in the 'fuck you' rant where he forms the 'L' down at his waist with his hand... check it out, he does, like, every movie. Anyway, this film is deliciously random (what's even more random is that it's directed by Dick from 'High Fidelity), and the places it goes truly make you feel grateful for what YOU have; or makes you pine for what you want or can't have. I loved Kathy Bates as well (not playing her usual 'hick-type' character), and most of the supporting cast was memorable, especially Wilson's friend Denny. It clips along, drags a little, and leaves you hanging (if you want to think it that way), but it's a great trip through the psyche of a fragile man who's just lost his wife. You really have to dig to find this one, and I'm glad I did.

#25

EL MAQUINISTA (THE MACHINIST)

(2004) #2

dir. Brad Anderson

Absolutely jaw-droppingly intense and intriguing. ‘The Machinist' comes out of left field and blows away all of your expectations. If I begin to explain the movie in any way I'll want to start watching it again right away because it's confusing, dumbfounding, and exciting all at the same time. And yes, Christian Bale is basically the only person worth remembering in this film, and yes he did lose like a hundred pounds to play the role, and yes he did play Bruce Wayne right after this. See it to believe it.

#24

THE CURIOUS CASE OF BENJAMIN BUTTON

(2008) #5

dir. David Fincher

Words can't describe how _ and _ this _ly _ film really is. After seeing 'Zodiac,' I sought out the rest of Fincher's work, and when I was done, I crowned him my favorite director. Hearing about this, I read the short story right away, and it brought tears to my eyes for two reasons; the emotion of the tale and the epic potential of a film weaved from it with such a talented filmmaker at the helm. I was damn excited for this, and I can say with brutal honesty that it exceeded all of my expectations. A few months before release, meddling reviews began to pour out. Lots of good, some bad. When you wait more than two years for something like this, there's an extreme anxiety that comes with it, and I began to fear that all the hype was going to lead to a huge disappointment. Fortunately, now that the wait is over, it's all good. Going into the year, it was my most anticipated film, and I had to wade through 362 days of 2008 to get to it. Overall, it's still a top one hundred film for me. Pitt, while not Pitt for most of it, gives the performance of his career. From 1994 to now, John Travolta and Tom Cruise were possible Benjies; it makes me shudder to think of another other than Brad doing this role. Every director has his golden child; Scorsese had De Niro (now it's DiCaprio), Soderbergh has Clooney, Spike has Denzel, Nolan has Bale, Wes has Owen, Reitman has J.K. Simmons, and I could keep going. My point is that Brad is Fincher's baby (quite literally here), and from Se7en to this, Fincher has crafted him into an extremely versitile and non-type casted actor. Blanchett has finally made a mark in my book with this. Before now, she's never made an impression of me, but here she shows a broad spectrum of talent, whether it be under pounds of 80-year-old makeup, or done up as a nineteen-year-old. The first Daisy, Elle Fanning (who played Pitt & Blanchett's daughter in 'Babel'), gave the most memorable supporting performances. With only a few minutes of screentime, she exhibited an extremely mature but muted brilliance; she has a bright future in cinema, and will make more of an impact than her older sister Dakota. Taraji Henson was alright; she kind of seemed like a caricature of what she was portraying at times. Tilda Swinton (who always seems to play a mistress), was not incredibly disengaging; funny to think that she’s my favorite for 2009’s best actress for Julia. The cinematography is very dark, in classic Fincher style, and the subdued lighting highlighted by 'dark' yellows gives the film a unique touch. The screenplay is top notch; you'll get a classic line that about every twenty minutes that stays with you until the next one. The makeup and CG face effects are really something to see, if you're not the type for seeing an epic romance about life and death, but still want to see cool effects. The sets are extremely memorable, and the New Orleans setting is truly workable and spectacular. For all you Forrest Gump and Titantic comparers, I'll just say think again. Not only is this a better film, it's more unique, it teaches an important lesson, and it creates it's own personal tragedy to draw on its emotion and power. Just remember; not all classics are Best Pictures. The film presents a situation and says 'this is life, this is death, live every moment to the fullest, and love.' It doesn't bash you over the head with anything profound or political. It says 'this guy lived backwards, so look at how much more he saw.'

#23

MATCHSTICK MEN

(2003) #2

dir. Ridley Scott

The only Ridley Scott film I like. This is one of three or so movies where Nic Cage's overacting actually works. They've done the 'I have a daughter?' thing before so many times, but here, they do it so well, and Alison Lohman is a joy to watch. Sam Rockwell is also excellent, a harbinger for lead roles that he has these days. It all spirals to a twist you WON'T see coming; probably one of the best twists you'll ever see on film. But it's not the twist that makes it a great movie. The performances, the direction, and the style just ooze perfection.

#22

IN THE BEDROOM

(2001) #1

dir. Todd Field

I'll start by pointing out the excellence of the poster. The top half features Matt & Ruth in the last scene of the film, and the bottom half features Frank & Natalie in the first scene of the film. To top it all off, it's quietly brilliant and shows the quadratic dissonance between wife/mother, husband/father, son and son's lover. Going in, I expected a stark commentary and contrast between the sexual relationship of an aging couple and, on the other hand, that of a young couple. Just look at the poster and the title. I was wrong; in fact, 'the bedroom' refers to the inside netting of a lobster trap. When two lobsters enter the bedroom, the begin to turn on each other, illustrating the need to empty the traps often. There's so much subtext there that relates to the rest of the film, but I won't get into it. So, it's not all about sex, but it deals a lot with lobsters and a bunch of other things you never see coming. The film takes place in and around the Camden/Rockland, Maine area, as well as a brief venture to Old Orchard Beach. I don't believe I've ever visited the former, but as for the latter, I know it well and recognized most of the landmarks gleefully (OMG that's Palace Playland!!!1!). Camden is a beautiful town, and the film perfectly captured the true elegance of the Maine coast and it's small-town charm. After seeing it, I’m proud to say 'I live there,' and truly feel special to live in the land of 'the way life should be.' To me, that was the most moving element for me. Onto the film. Drector Todd Field, no stranger to Maine (the cabin featured is his personal summer home), and the subilties of what it means to be from Maine shows (I totally just wrote the Poland Spring slogan without even thinking about). For example, there's Oakhurst milk, Hannaford brand products, Route 73 through Camden, Red Sox games on the WEEI Red Sox Radio Network; just to name a few. It was nominated for 5 Academy Awards (Best Picture, Best Adapted Screenplay, Best Actor (Wilkinson), Best Actress (Spacek), and Best Supporting Actress (Tomei)), and it won none of them; shocking. Then again, getting an Oscar these days doesn't mean shit (Slumdog Millionaire). Once the story goes where it goes, it investigates emotions so closely and deals with the subject mattter so masterfully; it's a dream for the characters and it's a dream to watch. If you live in Maine, it's required viewing. If not, treat yourself to an introspective into the psyches of four deep characters and what drives them to do what they do. And, the film is based on a French short story; the credits and such are in French. Just a heads up.

#21

21 GRAMS

(2003) #1

dir. Alejandro Gonzalez Inarittu

A stunning emotional drama. With the unique use of flashbacks and flash-forwards (which reminded me of 'Lost'), 'Grams' shocks you and haunts you. Although it could have been trimmed down just a little (and since you basically know how everything is going to turn out by the middle of the film), it is an excellent watch.

#20

LUNI, 3 SAPTAMANI SI 2 ZILE (4 MONTHS, 3 WEEKS, 2 DAYS)

(2008) #4

dir. Cristian Mungiu

4 Months, 3 Weeks, 2 Days is powerhouse cinema. No music, no frills; it just sucks you in straight from the start and tells you a dark, unflinching tale.

#19

BABEL

(2006) #7

dir. Alejandro Gonzalez Inarittu

2006 just keeps getting better, in terms of film. It’s the best year for film of the decade. After adoring 21 Grams, I felt it was my duty to check this out. I didn't think it could top it, but Babel definitely has more weight (ha!). The raw human emotion exposed here is tragic, moving, and, most of all, real. Anyone can make a film where 'everyone is connected,' but most of those aren't good (see Magnolia). Here, Inarittu crosses borders, languages, and cultures, and brings ethical and political situations into the spotlight to tell a great story. And the music; it's chilling and effective. I kept listening to the credits just to hear more of the score. Pitt and Blanchett don't really blow down the doors here; they just feel like another cog in the machine of the whole story, which was the intention. Hold your breath for Biutiful, his next project due out this year. And yes, I cried… quite a bit. I watched this a couple times in a row writing a paper for film class, and it never lost its edge.

#18

NINE LIVES

(2005) #1

dir. Rodrigo Garcia

Hyperlink cinema, a term coined by author Alissa Quart, refers to the multilinear and connective qualities in films such as this, Traffic, City Of God, Syriania, Crash, 21 Grams, Amores Perros, Babel, Short Cuts, Nashville, and a few others. See the pattern? I for one am a huge fan of this style of film, and this is no exception. The nine lives, headlined by Elpidia Carrillo as Sandra, Robin Wright Penn as Diana (my favorite vignette), Lisa Gay Hamilton as Holly (my favorite performance), Holly Hunter as Sonia, Amanda Seyfried as Samantha, Amy Brenneman as Lorna, Sissy Spacek as Ruth, Kathy Baker as Camille, and Glenn Close as Maggie. Towards the end, you feel like one vignette will tie all the storylines together when they all get into a glorious car wreck (I’ve been watching too much Inarittu), but they don’t, and it’s so much better. A few of the vignettes have very thin connections to the other women, but each story exists on its own legs. If you’re hesitant about the femme-centered branding of the film, don’t be. Each story follows a certain woman, but that woman is in a non-feminine situation. I don’t know; I’m trying to say it’s not a chick flick. Each vignette focuses on life, death, love, regret, etc., and each one hits HARD. Reading up on the film afterwards, I kicked myself for not recognizing some blatant symbolism. Of the hyperlink genre, it’s my favorite.

#17

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD

(2007) #4

dir. Andrew Dominik

A beautiful western (in the east) of epic proportions. Roger Deakins's cinematography is exhibit one; stunning camerawork through the use of 'Deakinizer' lens (which created a blurred look on the edges of the screen), the stark contrast between dark and light, and the utilization of the grandiose set pieces, which is exhibit two. I guess there's still pristine, untouched wilderness in Alberta (where it was filmed). Beautiful pine trees and such. I can go on and on about how the film looks, but the performances were notable as well. Pitt steps into a villainous (albeit misunderstood) role as Jesse James (whom he bears a noticeable resemblance to) and plays it perfectly. Casey Affleck (in an Oscar-nominated role) shines as the coward Robert Ford; it's a nuanced performance for the ages. Pretty soon Ben's gonna be Casey's brother. Zooey Deschanel turns up for a few scenes near the end (many of her scenes were cut so the 4-hour running time could be trimmed down to the theatrical 160 minutes). She seriously had like a minute and a half of screen time, but it was her. Ted Levine turns up for a few minutes as well. I don't recommend this film; I only admire it selfishly, and not a week goes by where it doesn’t pop into my mind. The magical score by Warren Ellis and Nick Cave is also a daily listen.

#16

INSIDE MAN

(2006) #6

dir. Spike Lee

Easily the best heist drama that's graced my eyes. Very impressive performances by Owen and Foster and an outcome that you don't see coming combine for Spike Lee’s highest grossing and most engaging film yet. But, it still has those Spike Lee perks, like looking at inner-city rascism and that classic ghostly dolly shot. When I see this on TV, I change the channel. It’s not for watching on TV. Don’t treat like a whore; it’s fine cinema.

#15

BEFORE THE DEVIL KNOWS YOU’RE DEAD

(2007) #3

dir. Sidney Lumet

After a career seasoned with many taught films, director Sidney Lumet is on top with 'Devil.' He utilizes the film's insane bevy of talent in Hoffman, Hawke and Finney and manages a quite an exciting, shattering film. The way the it jumps around the timeline isn't as confusing as it could be, but you do have to pay attention quite a bit. The best part about this film, though, is the chilling score. Carter Burwell produces amazing music for this, which takes control of the film and adds an air of despair and hopelessness. Everyone in the film is fucked one way or another, and each star portrays it in a different way, which adds a variable and tantalizing element. You must see this if you love intense films with intense actors (or if you'd like to see another Marisa Tomei sex scene).

#14

RACHEL GETTING MARRIED

(2008) #3

dir. Jonathan Demme

Ending up seeing this on accident, and it turned up to be one of my top ten films of the year. You feel like you're watching a wedding documentary, due to the real performances and the shaky camera work, which you come to ignore when you're engrossed in the film so deeply. You can't even imagine a more fucked up person, but Hathaway pulls it off so well and gives a performance for the ages. Every other supporting character is interesting as well; even the most insignificant characters in the film are so memorable, because you can relate them to people in your own life that annoy the shit out of you. Just an amazing and moving film.

#13

GONE BABY GONE

(2007) #2

dir. Ben Affleck

With the death of Ben Affleck's on-screen career comes the birth of Casey's, as well as Ben's off-screen, directorial career. Had that 'Departed' feel and kept the suspense up even when the main storyline ended. Also, a mind-blowing ending leaves you hurting-so-good. Good stuff. Can’t wait for Affleck’s The Town, which better get more attention than this did in ’07.

#12

THE DARK KNIGHT

(2008) #2

dir. Christopher Nolan

A visceral and harrowing motion picture. Batman Begins WIMPERS in comparison to this. It almost feels like a reboot, if it weren't for the cast carryover. Don't get me wrong, Begins was excellent, but the tone, feel, and heart was some much more present here. It was a mere launching point for the well-crafted and thought out sequel. This will shoot Christopher Nolan up in the stratosphere of legendary directors, and he will never come down. Not one moment of this film drags and every segment is important. At first it felt a bit rushed, but I realized that they had a lot to say and do; so I sat back and enjoyed the ride. Maggie Gyllenhaal's replacement of Rachel Dawes is a welcome refresh and not jarring; she brings more to the character. As for Bale and the rest of the gang, still very good. No solitary character carries this movie; everyone contributes to the story. It's not a Batman movie, and it's not the Joker movie; it's an epic crime saga that touches all the bases, stretches the limits of PG-13 like no other, and satisfies on every single level. Howard and Zimmer's score is familiar, daunting, and grating; just the way it's supposed to be done. It’s also quite an experience in IMAX. Aside from the inaugural midnight showing, it was the best yet. The seat rumbles when anyone gets punched and every time Batman dives off a rooftop, you feel like you're falling too. I'm afraid I'll miss something so I'll stop here.

#11

PUNCH-DRUNK LOVE

(2002) #3

dir. Paul Thomas Anderson

Adam Sandler’s best performance is here. Paul Thomas Anderson continues to impress (sans 'Magnolia') in this unusal, non-three-hour epic piece. The underlying 'plinky' score underneath the entire movie drives the entire story along, and provides a unique touch. Also, the wide, colorful, depressing shots really made this remarkable. PTA regulars Guzman and Hoffman are on-point, and Watson, while not really bringing much to the table, was not the average 'pretty-face' female lead. In the end, I was pining for another 90 minutes to resolve all the unfinished ends. All in all, great.

#10

ROAD TO PERDITION

(2002) #2

dir. Sam Mendes

An extremely overlooked picture; it was nominated for 6 Oscars and only won for Conrad Hall’s amazing cinematography.

Rain never looked so good. Sam Mendes’ follow-up to his Oscar-winning American Beauty, Road To Perdition does not fail to deliver. For some reason, this was placed amidst the summer schedule, going up against Reign Of Fire and The Crocodile Hunter 2. Because when Oscar-winner Sam Mendes comes out with a follow-up, you think ‘big summer tentpole’ not ‘Oscar bait.’ And it had the lowest screen count of the four wide releases that weekend (July 12th). But, it doesn’t mean it wasn’t awesome. I was an inconsolable wreck towards the end and through the whole credits. The neck of my shirt was wet from the tears (they traveled that far!).

PERFUME: THE STORY OF A MURDERER

(2006) #5

dir. Tom Tykwer

Never has a film mesmorized me more than this. It starts off slow, particularly with the Dustin Hoffman bits (he just comes off silly), but when our anti-hero (played by a coy, calculated Ben Whishaw) gets to Grasse, the story intensifies when new characters (played by Alan Rickman and Rachel Hurd-Wood) are introduced. None of their performances are particularly inspired, but you'll find out sooner than later that this is a visual masterpiece, rather than a performance-driven period piece. Tom Tykwer (pronounced Tick-ver) is a marvelous director. 'Lola' is one of my top ten films, and 'Heaven,' while visually stunning, didn't blow me away. 'Perfume' takes a spot in my top one hundred, among many other excellent 2006 films (it's truly the best year for film ever). I'll admit I was thoroughly bored with the first 100 or so minutes of this; it put me into deep sleep twice in a row over two days. But, for a film to come back and bite me in the ass so good like this is truly an amazing feat. I want to bang down the doors of everyone I know right now to make 'Perfume' a part of their lives. You must see it. From all of Tywker's little close-ups and fast shots, to the jaw-dropping final sequences, to John Hurt's flawless and engaging narration, 'Perfume' is a rare foreign gem that cannot be passed by. But, it's not for everybody. It's not for A LOT of people.

ADAPTATION

(2002) #1

dir. Spike Jonze

Kaufman keeps you on your toes with this film, making the viewer guess what is real, what is the film, and god knows what else is what. He is truly a talented and inventive filmmaker (making up a twin brother?!) and proved that with 'Malkovich,' this, 'Eternal Sunshine,' and 2008's 'Synecdoche, New York.' 'Adaptation' is just great, intertwining many aspects into one while still coming out with a hilarious, touching, and dramatic film.

ZODIAC

(2007) #1

dir. David Fincher

This film seems like it's 5 hours long... but you still don't want it to end. Everyone in this film is truly electric, especially Mark Ruffalo. After a 5-year absence, Fincher blasts back into his dark and brooding ways. A great soundtrack supports this movie through close to twenty years of material, and it still doesn't get soft. Excellent in every way. Also, people say Iron Man was Downey Jr.’s comeback… but, this was. Words can't describe how much I love Zodiac; it's a perfect film that tells an awesome story. I admittedly love serial killer-centric films, and this is my favorite.

UNITED 93

(2006) #4

dir. Paul Greengrass

The most important film on this list is 2006’s controversial 9/11 film, United 93. I was so against this and World Trade Center for the longest time because I thought they were made to profit off of tragedy and mar an otherwise sacred tragedy (WTC sucks, by the way). I gave in, and in turn, was given one of the most heart-wrenching and glorious tales of heroism, triumph, and miscommunication; no matter if it’s true or not. Setting aside the subject matter, it’s a great lesson in what happens when management styles clash, and when people are afraid to make a split second decision. A top twenty-five motion picture for me.

SYNECDOCHE, NEW YORK

(2008) #1

dir. Charlie Kaufman

A long-awaited masterpiece from master screenwriter Charlie Kaufman. Being under the visual constraints of directors Jonze, Gondry, and, dear God, George Clooney for his first five films, Kaufman was able to show his true genius with 'Synecdoche.' I saw this at a secret advanced screening in Cambridge, which was seasoned by a Q&A with Charlie Kaufman himself. He is a meek, sad, little man. But that's a good thing, because his sadness translates into great, but depressing, films. This is no exception. Philip Seymour Hoffman plays the main protagonist, Caden Cotard, who builds a masterpiece of his own, either in his head or not (it's debatable). And that's where the skepticism of the entire film begins. It is truly a watch-it-six-more-times-before-you-even-begin-to-understand-it film. The film never drags; it's editing is extremely taught, the pacing was perfect, and Jon Brion’s score is classical, yet modern. Onto the almost exclusively-female supporting cast, which boasts the likes of Michelle Williams, Samantha Morton, Dianne Wiest, Catherine Keener, a nekked Emily Watson, and more. I hate doing this, but I’d say its 'The Truman Show' meets 'Punch Drunk Love.’ The nature of existence itself is on the line here. Thank you, Mr. Kaufman, thank you, for a beautiful motion picture.

DEN BRYSOMME MANNEN (THE BOTHERSOME MAN)

(2006) #3

dir. Jens Lien

It’s open for quite a bit of interpretation, but we think we follow a man in a purgatory-hell-like city where no emotion is exhibited, and nothing tastes like anything; nothing. It appealed 100% to my ‘not everything is as it appears to be’ and ‘unfamiliar dystopia’ benchmarks, taking a spot in my top ten. Highly recommended, if you want a heady, fantastic, Norwegian journey into an unknown world.

THE DEPARTED

(2006) #2

dir. Martin Scorsese

Scorsese's said it was his ‘only movie with a plot.’ The coolest cast ever tops off this essential cops and gangsters movie. I was told not to watch Infernal Affairs, the J-Crime flick this was adapted from (and still haven’t). It's Oscar was definitely deserved and Scorsese got his due at just the right time. Mark Wahlberg loosing to Alan Arkin for Little Miss Sunshine is the definition of Oscar uspet, too. He has yet to produce anything worthwhile from his momentary nomination (i.e. Shooter, The Happening, Max Payne). The film probably has the most shocking and thrilling ending of all time, too.

PRIMER

(2004) #1

dir. Shane Carruth

In Primer, it seems like nothing is outside the realm of possibility. But, if anyone understands this movie, they need to be killed. The best part is not knowing what the fuck is going on. Interesting things to point out: the term 'time machine' is never uttered (it’s essentially about a time machine), the film was created with a $7000 budget (which was mostly film stock purchases), and it only had a crew of five. It is never known what city or time period it takes place in because [Shane]Carruth (director/writer/producer/star/composer (right?)) deliberately alternated the technology (computers, fridges, phones, etc.) that was used. I’ve seen the film five or six times and it gets better and easier to decipher every time, and I’ve slowly come the relization that while The Truman Show is my favorite film, this is favorite film to watch. At a crisp 77 minutes, the time commitment is a sinch. It’s an amazing film; a film that tickles the mind in a way no other visual experience can. There’s no allegories or symbolism at work; it’s presenting a real-life situation and letting your mind wade through it. The quote on the poster (‘the headiest, most singular science fiction movie since Kubrick made 2001’) doesn’t even do it justice; 2001 was purely a symbol and a trippy visual amalgam of ideas. I’m trying to knock the ultimate trip, but I am saying that Primer is not only the headiest, most singular science fiction movie since Kubrick made 2001, it’s the headiest, most singular science fiction movie. Period. And, according to an anonymous source on Shane Carruth’s Wikipedia page, he’s been working on a sophomore project for the last four years. Let him work on it for another seven years; I’ll wait.

CHILDREN OF MEN

(2006) #1

dir. Alfonso Cuaron

THE best film of 2006 and the best film of the decade is Children of Men. It’s a dystopian thrill-ride in depressing future-Britain; it’s so real it makes you believe it could actually happen. It could be a classic film that everybody looks back on and says 'Children Of Men is happening!' kind of like we say 'Brave New World or 1984 is happening!' I'm not saying women will become infertile (actually, you never know), but the nuclear annhilation of the planet (among other things the film predicts) could. I'll never be able to duplicate the feeling I got when the credits rolled when I saw this for the first time. The theater was silent, and people clapped (that actually happens a lot nowadays, and I hate it. Who are you clapping at? The projectionist?). I was too stunned/hopeful/depressed/excited/sick to move my hands. From the mulitple seven minute + shots, to the flawless and haunting performances of Owen, Moore, and Cain, 'perfect' is too miniscule a word to describe it.

2009

2010-01-18T20:46:00.000-08:00

2009: Best & Worst

Bottom Ten:

The Informers, Transformers: Revenge Of The Fallen, Lemon Tree, Killshot, My Bloody Valentine 3D, 12, Donkey Punch, Taken, Visioneers, [REC]

21 and Under:

The Goods: Live Hard Sell Hard, The Men Who Stare Who Goats, The Lovely Bones, Sherlock Homes, Grace, The Brothers Bloom, Gigantic, Up In The Air, (500) Days Of Summer, Bart Got A Room, Observe And Report, The Messenger, The Hurt Locker, Star Trek, Extract, Moon, District 9, Duplicity, Antichrist, The International, Watchmen, Food Inc., Adventureland, The Hangover, Whatever Works, Julia, The White Ribbon, Funny People, Crazy Heart, Lymelife

#20

The Informant!

dir. Steven Soderbergh

#19

Where The Wild Things Are

dir. Spike Jonze

#18

The Fantastic Mr. Fox

dir. Wes Anderson

#17

World’s Greatest Dad

dir. Bobcat Goldthwait

#16

The Girlfriend Experience

dir. Steven Soderbergh

#15

Coraline

dir. Henry Selick

#14

Away We Go

dir. Sam Mendes

#13

Precious: Based on the Novel ‘Push’ by Sapphire

dir. Lee Daniels

#12

The Bad Lieutenant: Port of Call: New Orleans

dir. Werner Herzog

#11

Nine

dir. Rob Marshall

#10

Avatar

dir. James Cameron

You can argue that it has bad dialogue. You can argue that the story is weak. You can argue that there's no character development. But, you cannot argue the impact of the visceral, generation-defining special effects, the relevant environmental message, and the raw, spell-binding energy of the movie.
During the first scene on Pandora, I began keeping a mental tally of the god-awful lines... then I didn't care. I got sucked up into the situation, and the dialogue just came with territory. The names they had for things (Hometree, Unobtainium, etc.) were a little facepalm, but nothing tops The Matrix of Leadership for 2009, so we're safe there. There's a lot to like here, and if you can't get into it, then you can't be entertained; 160 minutes FLYS by.
I just hope that this inspires more sci-fi epic film production; the world James Cameron creates is so original and involved, and it's a shame more films aren't this inspired. It's a little sobering too; there's a line near the end where they say something like 'our earth isn't green anymore because we didn't take care of it' or something that really hits home. I haven't been entertained like in a while.

The acclaim it's receiving (Globes for Best Director and Picture) are a little unwarranted, though. It's not that good, and America needs to be recognizing better filmmaking, like these...

Public Enemies

dir. Michael Mann

Michael Mann’s Public Enemies is essentially 'Heat' set in the 1930s, resulting in the best action film of the summer, Mann’s fourth-best effort, and a gangster film that will get even better with age. Depp gives one of his best performances ever, and one of the best of the year. So does Marion Cotillard. And so does everyone else... no supporting character goes unnoticed or unremembered. The pacing could have used work, but nobody tops Mann's vision in the art, sound, cinematography, and sexy departments. Holds up after repeat viewings, as well.

Brothers

dir. Jim Sheridan

I'm biased because I loved Susanne Bier's original so much, but, damn, this was just as good. The Afghanistan scenes where a little underwhelming; not as intense as Bier's. Taylor Geare and Bailee Madison, who played Maggie and Isabel, where the brightest spots of the whole film; never have I seen child actors -act- so much. I'm not a fan of the remake train, but when a well-known director gets three exceptional actors together to add their own spin to a great story, I have no problem. Definitely a top ten for the year.

A Single Man

dir. Tom Ford

One of the most "ding: perfect" films of the year. Newcomer Tom Ford crafts an exceptional film, chronicling one day in the life of a 1960s California-based gay Brit. Colin Firth plays this man perfectly, and gives one of the top five performances of the year. No film this year had more style and grace, and it knew what to do with the talent. For fans of perfect film.

Summer Hours

dir. Oliver Assayas

Going in, I knew nothing about Oliver Assayas’ French-language film Summer Hours. Coming out, I was thoroughly touched by its simple story and how it mirrored some of my own experiences.

Inglourious Basterds

dir. Quentin Tarantino

Inglourious Basterds is Quentin Tarantino's best film since Pulp Fiction. I don't need to say anything more.

A Serious Man

dir. Joel & Ethan Coen

A film with this much style and class doesn't need to a plot or a resolution. A classic 'let's see how much shit can happen to this guy before he flips his shit'-type story. The Jewish stuff goes a little overboard at types, but, on the whole, it's a film that I would love to watch over and over again. I walked out of the theater and didn't say a single word until getting to the car, where 'Somebody To Love' was promptly cued up. The Coens in top form.

Thirst (Bakjwi)

dir. Park Chan-Wook

Thirst is the best piece of Asian cinema I've ever seen. Never have I laughed so hard and simultaneously been more horrified at the same time. The film is beautiful, erotic, tender, and it never gets campy. It tells a vampire story that's deeply grounded in fairly real circumstances and real emotion. Also, one of the best experiences I've ever had in a theater. Never have a seen moviegoers get so into a movie collectively like that.

dir. Pete Docter

Nothing short of amazing; if you thought Pixar’s luck was up with this, you are wrong (it’s luck is up with Cars 2). It’s hard to rank this among other Pixar films because it’s perfect on its own merits, but if I had to, it would rank at #4, below WALL-E, Toy Story 2, and Toy Story. Then again, it’s one of the best films of 2009, and it's leaps and bounds ahead of anything Dreamworks or Fox Animation churns out bi-annually. The amount of effort and thought that was put into this shows through brilliantly, and it deserved it's Globes for Animated Feature and Score (done by Michael Giacchino; it’s amazing and catchy).

We have Carl Fredrickson, who appears to be a curmudgeon of an old man; we find out soon why that is. Then there’s Carl’s childhood hero Muntz, the stowaway Russell, the ‘talking’ dog Dug, and the rare female pheasant Kevin, among others. I cannot stress enough how amazing and hilarious this ensemble is. At the most random of times, the thought ‘Kevin the Pheasant’ just pops into my head and I start laughing. It’s pretty violent, and it’s very mature; the most mature Pixar’s ever done. The adult themes clash well with the comic adventure at hand, and the story is easy to follow and succinct. I don’t foresee any other movie this summer that has a chance of being better than this.

My take-two (complete with 3D), was even more amazing; I was reduced to even more tears (and started tearing up just by knowing what was coming). The 3D isn’t there for spectacle, it’s just there to make an amazing film even more layered; not for pop-outs. I've seen the film five times, and it hasn't soured yet.

The Road

dir. John Hillcoat

Going in, I wanted a film that transported me back to the world that McCarthy's novel created for me; and I got just that. Any fan of the book will be pleased, but don't expect any converts based on the film alone; it's bleak, dark, and plunges the depths of human emotion in a way the book couldn't. It's rough, and one particular scene puts the entire ordeal into perspective; seeing it instead of reading it is a whole new experience. Not a lot of films make you want to read the book again, and this does. Mortensen and newcomer Kodi Smit-McPhee (whom we will be seeing in 'Let Me In') emulate Man and Boy very well; I can't think of anyone else who could play the man. Theron (as 'wife' in flashbacks) doesn't add much, but she didn't need to. The real impact comes from supporting turns by Garret Dillahunt (whom I love from TAOJJBTCRF), Guy Pearce, and a stunning performance from Robert Duvall. John Hillcoat (who directed 'The Proposition' previously) makes everything about the barren, dusty, desolate, landscape absolutely beautiful. Not for everyone, but for those it's for, it'll do wonders. Best film of the year (and the only film from 2009 to hit my top one hundred).

Haven't Seen (That I Want To See):

A Town Called Panic, Adam, An Education, Big Fan, Black Dynamite, The Box, Bright Star, Bronson, Cold Souls, The Imaginarium of Doctor Parnassus, It’s Complicated, Mary & Max, My Son My Son What Have Ye Done, Mystery Team, Ricky, Tetro, Two Lovers, The Vicious Kind

2009 Superlatives

2010-01-18T20:36:00.000-08:00

Best Picture

The Road

Thirst

A Serious Man

Inglourious Basterds

Summer Hours

A Single Man

Brothers

Public Enemies

Avatar

Best Director

Werner Herzog, The Bad Lieutenant: Port Of Call New Orleans

Park Chan-wook, Thirst

Joel & Ethan Coen, A Serious Man

John Hillcoat, The Road

Michael Mann, Public Enemies

Best Lead Actor

Nicolas Cage, The Bad Lieutenant: Port Of Call New Orleans

Johnny Depp, Public Enemies

Viggo Mortenson, The Road

Colin Firth, A Single Man

Michael Stuhlberg, A Serious Man

Best Lead Actress

Tilda Swinton, Julia

Ok-bin Kim, Thirst

Gabourey Sidibe, Precious: Based on the Novel 'Push' by Sapphire

Melanie Laurent, Inglourious Basterds

Marion Cotillard, Nine

Best Supporting Actor

Timothy Hutton, Lymelife

Kodi Smit-McPhee, The Road

Scott Bakula, The Informant!

Alec Baldwin, Lymelife

Christopher Waltz, Inglourious Basterds

Best Supporting Actress

Bailee Madison, Brothers

Jill Hennessy, Lymelife

Mo'Nique, Precious: Based on the Novel 'Push' by Sapphire

Marion Cotillard, Public Enemies

Rachel Weisz, The Brothers Bloom

Animated Feature Film

Coraline

The Fantastic Mr. Fox

Best Art Direction

Nine

Inglourious Basterds

Public Enemies

A Serious Man

A Single Man

Best Cinematography

The Road

Thirst

Nine

The Hurt Locker

A Single Man

Best Costume Design

Nine

The Road

Inglourious Basterds

Public Enemies

Where The Wild Things Are

Best Documentary Feature

Food, Inc.

Best Film Editing

A Serious Man

Avatar

Public Enemies

Inglourious Basterds

Nine

Best Foreign Language Film

The White Ribbon

Thirst

Summer Hours

Best Makeup

The Road

Inglourious Basterds

District 9

Watchmen

Thirst

Best Original Score

Elliot Goldenthal, Public Enemies

Mark Isham, The Bad Lieutenant: Port Of Call New Orleans

Michael Giacchino, Up

Warren Ellis & Nick Cave, The Road

A Single Man

Best Original Song

"The Weary Kind," Crazy Heart (Ryan Bingham)

"Cinema Italiano," Nine (Kate Hudson)

"Be Italian," Nine (Fergie)

"Take It All," Nine (Marion Cotillard)

"Running Out Of Empty (Make Ourselves At Home)," Lymelife

Best Sound Editing

Avatar

Star Trek

Watchmen

Public Enemies

District 9

Best Sound Mixing

District 9

Star Trek

Watchmen

Public Enemies

Avatar

Best Visual Effects

Avatar

Star Trek

Watchmen

Best Adapted Screenplay

Scott Z. Burns, The Informant!

Wes Anderson & Noah Baumbach, The Fantastic Mr. Fox

Joe Penhall, The Road

David Eggars & Spike Jonze, Where The Wilds Things Are

Michael Collins, Camille Natta, Aude Py, Erick Zonca, Julia

Best Original Screenplay

Joel & Ethan Coen, A Serious Man

David Eggars & Vendela Vida, Away We Go

Bob Peterson, Up

Park Chan-wook, Thirst

Derick & Steven Martini, Lymelife

OTHER SUPERLATIVES

Best Soundtrack

(500) Days Of Summer

World's Greatest Dad

Watchmen

The Hangover

Adventureland

Best Non-Original Song

"Sweet Disposition," (500) Days Of Summer (The Temper Trap)

"I Hope I Become A Ghost," World's Greatest Dad (The Deadly Syndrome)

"All Along The Watchtower," Watchmen (Jimi Hendrix)

"Under Pressure," World's Greatest Dad (Queen)

"Somebody To Love," A Serious Man (Jefferson Airplane)

Best Scene

Opening Scene, Antichrist

Dance Sequence, (500) Days Of Summer

Carl & Ellie, Up

Pool, World's Greatest Dad

Final Scene, Away We Go

Best Title Sequence

Watchmen

Best Shot

"Ocean Vista," Thirst

"Man in a Diaper," The Girlfriend Experience

"Rain Man Escalator," The Hangover

"Final Shot," The International

"Lance’s Discovery," World's Greatest Dad

Best Voice Work

James Gandolfini, Where The Wild Things Are

Ed Asner, Up

Keith David, Coraline

Bill Murray, The Fantastic Mr. Fox

Catherine O'Hara, Where The Wild Things Are

Best Ensemble

Lymelife

Nine

Brothers

Where The Wild Things Are

Funny People

Most Entertaining ("The Happening" Award)

Avatar

My Bloody Valentine 3D

The Bad Lieutenant: Port Of Call New Orleans

The Hangover

Nine

The Most Anticipated Films of '09: A Look Back

2010-01-15T01:30:00.000-08:00

Published January 8th, 2009, my most anticipated films of the year... here's how they stacked up:

10. The International (2/20)

Clive Owen & Naomi Watts? I'm listening. Tom Tykwer's directing? Sold.

With that February release, it definitely got lost in the shuffle. Could have been better, could have been worse. Probably never belonged on this list, though.

09. Duplicity (3/20)

I liked Michael Clayton, so I would be mildly excited for this, but the inclusion of Owen, Wilkinson, and Giamatti sells me.

Didn't really make a mark on me. Again, didn't belong on the list.

08. The Fantastic Mr. Fox (11/6)

Lets see if Wes can still work his quirky magic with animation. Slow-motion climax set to obscure music? There better be. George Clooney? Cool!

No slow-motion climax (but how do you do it with stop-motion?). Made it into my top twenty for the year, so... success!

07. The Box (11/6)

I hated Donnie Darko and was advised against seeing Southland Tales, but The Box intrigues me. Especially it's jump from Fall release, to Spring release, back to a deeper Fall release. Someone must have seen some early footage, and sat it in Oscar territory. Frank Langella will be coming off of a nomination, and I can't wait to see him again. Plot sounds and sets sound/look great, too. Oh, and some of it was filmed at NASA.

Ha! I never saw it... I'll see it, but not right away. But I did watch Southland Tales, unfortunately.

06. Public Enemies (7/1)

I'm slowly becoming more and more of a Mann fann, and this looks like Heat meets... wait it's a remake. I just can't wait to see a period gangster-epic from Mann on July 4th weekend. I am predicting an epic-fail box office, though.

A top ten for 2009, but it's not without it's flaws. Couldn't have been a little bit ironed out, but all things considered, it was fantastic ride.

05. The Brothers Bloom (5/15 - 5/29)

After a planned October 2008 release, which became a December-to-January rolling release, I'm not skeptical of it's quality. After Summit Entertainment's mega-hit Twilight, they have a chance to spend their blood money on properly marketing their upcoming slate, including The Hurt Locker, that should have come out Fall 2008. And it's coming out my birthday week! I liked Brick, and was excited when I heard Rian Johnson was back with more.

Summit is spending their blood money on The Hurt Locker right now. This? It suuucked, and it marked one of the only times this year where I was angry the movie wasn't over yet. High marks for Rachael Weisz, though.

04. Biutiful (12/11)

Inarittu. Not only is that 'nuff said, it's all said. Except for the casting of Bardem.

Never came out, and haven't heard a word about it since. We better see it this year.

03. Where The Wild Things Are (10/16)

Spike Jonze's much-maligned and shuffled kid movie will finally come up, reworked, less dark, and more box-office and child-friendly. Nevertheless, you get excited because it's the first Jonze flick in 7 years. He gave up doing Synecdoche, New York for this, so it better be good.

Made it into the top twenty, but it was very disappointing. I cried quite a bit, then it hit on the ride home; it was emotionally empty and had no point whatsoever. Twas a shame, too. The film was beautiful.

02. Up (5/29)

After the boffo successes of Ratatouille and WALL-E, financially and critically, I can't wait to see this reworking of the classic tale of Don Quixote (it's what insiders say it's about, but it not all too clear). The teaser trailer is full of heart and wonder, and I believe the film will be EPIC, Pixar-style.

Number two for the year. Success. I won't go over it again.

01. Shutter Island (10/2)

I read the book. I loved it. Best Supporting Actor 2009: Ted Levine. Anyway, this will be the best movie of 2009 by far. The best casting possible (DiCaprio, Ruffalo, etc.), combines with period-piece sensuality, and a New England setting for Best Picture glory. Bring it on, Marty.

Paramount decides to shelve this puppy to focus on Oscar marketing for The Lovely Bones. Ha! And how's that working out? We'll see it in February, and it'll be on the top of this year's list, too.

Honorable Mentions
The Lovely Bones (haven't see it yet)

Avatar (Number three for the year)

Toy Story [3D re-release] (Never saw it)

The Dark Knight [IMAX & standard re-release] (Really? I saw it, but why did I put it on this list?)

All in all, this proves that you can never predict what's going to be good...